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)
Maya Tutorials: Production Process of 3D Artwork Batman(2)
Maya render farm
When making the armor model, it needs to pay attention to some places. Adding two more lines at the edge, especially the corner, so that after smoothing, it will achieve a better final effect.
The heads of the characters are all done in ZBrush, which can sculpt out tiny details. Its delicate brush can easily shape skin details such as wrinkles, hair strands, pimples, freckles, etc., including the bump models and textures of these tiny details. ZBrush can not only easily model the shapes and textures of various creatures, but also export these complex details into Displacement and normal maps. There is a principle to follow when carving objects: from simple to complex, from whole to part.
When drawing with a brush, I use move brushes, standard brushes and clay brushes. The move brush is used to adjust the overall head shape, the standard brush is used to adjust the shape of the facial muscles, and the clay brush is used to shape large areas. I prefer to use the Layers function in ZBrush when drawing the model. It can record the details of the painting very well. When you change the details of a certain layer of skin, it will not affect the details of other layers. Strength of each layer can also be adjusted according to the final effect of the model.
When sculpting a character's face, you can first sculpt it in ZBRUSH, draw the texture and then perform the rendering test. If there is any problem, you can directly adjust it in ZBRUSH. Note that when making this adjustment, you can't make too many changes, otherwise the texture may change. Because this is just a personal project, there are no restrictions on the use of textures, so in order to show more details of the skin surface, I try to use 4K textures.
I usually use Unfold3D to make the UV of the model. Its UV splitting function is easy to use and the speed is fast. However, the character models of this project are all split UVS among Maya. The face of the model uses Maya's Cylindrical Mapping tool. Cylindrical Mapping is convenient for creating UVs on the faces of the characters.
Texturing and rendering
In terms of the texture of Batman's armor, I want to be more modern, so I didn't make the pictures very old, and there was almost no hand-painted texture. The main reason was to modify some realistic materials. The hair is made using Maya’s Shave plug-in. In order to make the hair fuller, I added several layers of hair, because a layer of hair is difficult to cover everything, like a hairdresser, slowly comb until you are satisfied with the effect.
The lighting is a combination of global light and three-point light source
The three-point light sources include the main light, auxiliary light, and backlight. I mostly use area light and parallel light for lighting. The basic method is that the brightness of the main light is 3 to 5 times that of the auxiliary light, and it slowly transitions from warm light to cold light.
The rendered image was completed in Photoshop. The visual effects of the snow were done with Maya particles, and the motion blur was turned on for more realism.
Maya Tutorials: Production Process of 3D Artwork Batman(1)
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CG character artist Nealxia shared his "Batman" project and explained in detail the production process of models, UVs, textures, renderings, etc.. Your TPN cloud rendering service provider, Fox Renderfarm hopes these experiences can be helpful to you.
Batman is a superhero under DC Comics, and in my heart, he has always been a shining image representative who grew up with me. The first time I knew Batman was the Batman game. I was immediately attracted by his mysterious, cold, dark temperament. I still like this role very much now, and I always look forward to the opportunity to do memorable work for my idol. Finally, I finished this work in my spare time last year, I hope you like it.
Before I started, I collected a lot of material about Batman. The styles of the picture materials are both realistic and cartoon. In the end, I decided to use Nolan’s film "Batman: The Dark Knight" as the model since I really like this movie.
After determining the appearance of Batman, we must determine a basic model. I found one from previous projects as a basic model. If it’s too time-consuming to make from scratch, the best way is to use the resources at hand to apply what is suitable, and do it yourself if it’s not a proper one. Displacement pump or normal can be used in the production process to show the details of the model.
The process of making Batman armor is done in Maya. After determining the approximate shape, the armor is added to the character model. Building these hard armor models in Maya is quite quick and convenient: first, create a plane, and then continue to extrude the edges of the plane model with the Extract Edge command, and continue to cut until you achieve the effect you want.
"Coffin Dance" Produced by Peru Animation Studio According to Ghana’s Dancing Pallbearers(2)
V-Ray for Maya
The TPN-Accredited Maya render farm will still share the production experiences of the CG artwork "Coffin Dance" and "Cookie Cat" with you. Hope that helps you.
How about other artworks created by your studio?
Marsha Pavlich: "Cookie Cat" is also a social short film with a similar purpose to "Coffin Dance". We hope to produce eye-catching animations to attract more people's curiosity on social media. So I thought of the character created in the past-cat biscuit, if I use it to imitate human actions, it must be very interesting. After that, we chose to reproduce the most popular scene in the classic movie "Flash Dance" in the 1980s-the dancer starring Jennifer Bells, dancing with water while stretching out the chair. So we wrote a short story for the film, let the cat biscuit go through the sweets production line, and sprinkle chocolate and dragees to make it look more delicious.
The animation is mainly produced using software such as Maya, After Effects, Substance Painter, Phoenix FD, and V-Ray. The biggest challenge is mainly the fluid simulation of chocolate. In order to make the flow of the chocolate natural and at the same time look delicious. We tested it back and forth several times. In addition, we want to make the behavior at each stage appear organized and tell a story smoothly. Just like the first cat biscuit is topped with chocolate, it can't reach the second stage. The scene still has chocolate sauce. So we cleverly used the characteristics of the conveyor belt to solve this problem, so that the picture looks like the character is leading to the next stage and let the things leftover from the previous stage disappear. Another important point is music. We chose a classic and interesting singing style. After all, the rhythm of the music will affect the action and speed of the character, so we must first confirm the style of music.
Can you share with us your production experiences?
Marsha Pavlich: Every project can always bring us new inspirations or learn new technologies. For example, in "Coffin Dance", in order to create a cyclical character dynamic similar to that in the hit movie, we tried many new techniques to make the characters dance in their respective positions to create a perfect loopit animation. In addition, different ideas were created in cooperation with Studio Uku. We shared different views and knowledge in the process learned from each other and inspired each other. This experience is great!
Where did your inspiration come from?
Marsha Pavlich: In the studio, we want to create stories or animations whenever we have the opportunity. The inspiration is based on personal experience, favorite animations or movies, special days, and even some factors of Internet popularity. For example, we created a simple animated story on the eve of Valentine's Day and released it on the day of the show. At that time, the cat Cupid, who was different from the cute image, was designed with a bit of rebellious and rogue character, and the story developed in an interesting direction.
Could you share your creative skills with us?
- Only exaggerated actions can show the cartoon style.
The most important key to making cartoon style is the "exaggerated" character dynamics, which is also an interesting part of the animation. After all, animated characters are not limited by the physical rules of the real world, so as long as the movements are natural, the audience will pay. Therefore, when creating, you can ask yourself if you can make the character's actions more exaggerated to show your style.
- Extract creative nutrients in life
All-natural characters are inspired by real life. The best way is to observe in life and begin to pay attention to minor movements and details that are not normally found, such as raised eyebrows or bent fingers. You can also search for references on the Internet, or shoot videos to watch your actions.
Could you share with us the CG industry in Peru?
Marsha Pavlich: Peru’s animation industry is booming and has gradually become one of the competitive industries. Many large-scale projects have been made public, such as animated films, albums, etc., and some are in progress. However, due to the impact of the epidemic, the animation industry has also been affected to a certain extent. It is just that our country has gotten rid of the worst moment. I believe that Peru's powerful creative energy can attract the attention of the world.
Would you share with us your next step?
Marsha Pavlich: We hope to become one of the most important local animation studios and show our creative strength. Therefore, we set our goal on the development of original animation and look forward to attracting young people through films, albums, or short films.
Maya Tutorials: Game Props Modeling
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Fox Renderfarm, a leading cloud rendering service provider in the CG industry, will share with you the game props model produced by Maya. In this Maya tutorial, we will introduce how to create a game-style 3D model based on conceptual design drawings, from ZBrush carving to high poly and low poly UV texture production.
The following is a brief description of the process of making 3D models of games. I hope that you can have some understanding of the models used in games.
Before making a model, there are usually some conceptual drawings as reference for making. In this case, you can directly put the reference drawing in the production software Maya as a reference.
Before importing into ZBrush for sculpting, you can first do some preparation work in Maya. If the model is relatively simple, such as stone, tree trunk, floor tiles, etc., they are relatively simple. You can use ZBrush to sculpt High Poly directly without making a Low Poly model. If the model is more complex, such as a biological model (animal or the like), you can make a Low Poly export OBJ file in Maya and sculpt it in ZBrush.
Import the low poly model into ZBrush for sculpting. From Blocking, make sure that the scale is appropriate. The most important thing is that the model does not deviate from the conceptual diagram. It is necessary to determine the overall ratio first, and then it is the part of some accessories, and finally the detail part. This process only uses the basic brush.
The number of model faces sculpted by ZBrush is very high, which may be as high as hundreds of thousands of faces, or even millions. Such models cannot be used in-game engines. Therefore, the high poly model sculpted by ZBrush needs to be topologically a low poly before it can be used in the game engine. The topology process uses a topology software TopoGun, TopoGun can help the model Resurfacing and Maps baking, and the details of the model will not be lost. If you are making a single static map, then the model does not need to rig bones, it is not necessary to make low-poly and Normal map.
After the topology is completed, it is the job of the UV. Normal maps can be baked after the UV is split. The UV can be organized using some plug-ins included in Maya, or can be produced using other software. You just need to expand them and adjust as needed. Try to be as reasonable as possible.
Schematic diagram of UV deployment and placement
Before bringing the model to Substance Painter, you need to bake the details of high poly onto the developed UV to make the texture. Baking and texture can be made using Substance Painter or Toolbag, especially Substance Painter has many tools and functions, which is very suitable for realistic and cartoon-like texture production.
These textures represent different information such as Normal map, Specula, Hight, and Gloss. The higher the accuracy of the texture, the better the final display effect of the model.
Import the baked texture into the most commonly used Substance Painter software to create PBR textures. Some parts can be adjusted using some preset textures, and then output different textures according to different needs.
Behind The Scenes: Sagittarius(2)
Maya render farm
Three main buildings were built according to the position in the original painting, and then the entire background was spliced out with these three buildings. This step is relatively simple.
Then put the objects made at this stage into the main scene, adjust a few materials, such as metal, leather, SSS materials, give the corresponding model, add an HDR skylight, and test the entire scene.
Now it's time to break the symmetry between the character's head and the monster's head model. This step needs to enrich the details on the skin, such as adding some wounds or something.
At this time, you need to split the head UV. Use ZBrush to export the displacement map to view the effect in Maya.
The ZBrush export displacement method is as shown above: first connect the displacement map exported by ZBrush in Maya. You need to open the subdivision level in the object properties. In this way, the object can restore the display effect in ZBrush.
When the model with refined objects is put into the scene, you can start to adjust the lights. Decrease the intensity of HDR light and use it as a secondary light source, with a film light source as the main light source, and adjust the effect of the light and dark boundary line in the sun with parallel light. The effects at this stage are as follows.
Use of character XYZ
Here you can start to try the smallest level of detail processing on all objects, such as the XYZ replacement texture of the skin, the metal texture and damage traces of the equipment itself, and the skin after the XYZ replacement, as shown below:
The effect of making detailed equipment:
The model is almost finished. Now it ’s time to split the UV. Here, UDIM is used to facilitate textures, a set of UDIM, a set of background, a set of skin, and then the cumbersome UV process.
SP texture production
After splitting the UV, the textures are created. All textures are made in the substance painter. A set of UDIM models are directly imported into the Substance Painter. As long as the options shown in the figure above are checked, they will be automatically recognized. When making textures, it is mainly due to color changes. The color changes should be rich but they cannot cover his original main color. Of course, the roughness changes are also very important. The following picture is the effect of Substance Painter.
The skin needs to be color maps, roughness maps, and rough range maps in the Substance Painter. The color maps are obtained by mapping the real face skin (the same method as XYZ). The roughness can be converted using the previous XYZ three-channel conversion then overlay some random ALPHA textures. The rough range is to control the position of the highlight, and it is hand-drawn. Generally, the forehead, the tip of the nose, and the highlights on the cheeks are more obvious.
Maya texture connection
After the three pictures are drawn, you can add the rough range in Maya, and paste the roughness below:
The color map is attached to the arrow in the figure below, and then radius gives a red color (light transmission effect).
We also need to apply the XYZ displacement and ZBrush-derived displacement that we created earlier to the displacement channel,
After the first pass of the texture, you can test the rendering, and then you need to adjust it according to the picture effect. Then the monster's head also needs to draw a map. Just like the human head, it needs three pictures of color, roughness and rough range.
The next step is to replace the wings. The method of wings uses patch stitching. First, make a single feather map in three or four different positions, and then stitch it. What it looks like at this stage,
Xgen hair production
Let's start adding hair, XGEN for hair, each part should be separated into different Maya files when making hair, and then integrated into the main scene. Mainly how to import into the main scene, first clean the Maya file of the Xgen hair that is made separately, leaving only the growth bodies and the grown hair, and then directly import the cleaned Maya hair file in the main scene, and the imported file will be prefixed with a name. The prefix cannot be deleted, otherwise an error will occur.
When rendering, you need to add AOV channel as a later auxiliary layer.
The entire scene is divided into the foreground and the background for rendering separately, and the later scenes are stacked together to facilitate the final effect adjustment. Finally, the final picture is rendered,
And the detail,
Behind The Scenes: Sagittarius(1)
Maya render farm
Fox Renderfarm, a powerful but affordable maya render farm, brings you a sharing of behind-the-scenes of Sagittarius made by Maya from 3D artist Zihao Zhou. This article introduces how to use the animation CG model production process to restore a 2D original painting Sagittarius, and tells the whole creative process, especially sharing some special places' processing methods and skills.
This artwork contains many elements in the early stage, so it is necessary to consider clearly in the planning of the early stage of production, otherwise it will affect the later model production. Zhou divides the whole work into several parts,
- Character skin: human head, body, horse and monster head.
- Equipment: protagonist equipment, wings and soldier equipment.
Construct the entire scene with simple geometric objects, and make some adjustments after determining the position of the camera lens, and try to place all the objects as well as possible. The location of the light can also be tested to find the most suitable place. It is necessary to make some model objects in ZBrush and put them into the scene as soon as possible to enrich the scene. Don't pay too much attention to the lights and details.
When everything is there, you can start making more accurate models to replace things in the scene. During the construction process, gradually adjust the shape or the position of the wrong part. In the production of this scene, I used to separate the equipment into separate Maya and ZBrush for production. There are two main reasons for this.
- There are many symmetrical objects in the equipment (although it will definitely break the symmetry later), but the previous symmetry can be improved efficiency (making high-precision models directly in the scene will be inconvenient) .
Do it separately in each Maya file. It can save some time for testing the material effect later, you can put the main scene lights into a single Maya equipment in the file, you can increase the speed of rendering. Of course, in the end, the scene effect in the lens shall prevail.
In this step, you can sculpt the protagonist's face, muscles and monster head (except for the symmetrical sculpture of muscle, human face and monster face, which is convenient for making the overall effect, and then break the symmetry later), the muscle part uses an existing body. Use the mask and move tool in ZBrush to adjust the desired appearance, and put it in the scene to match the position of the body. The head of the protagonist and the head of the monster are also placed in the placeholder model before the scene is replaced. The horse's body also needs to be sculpted with muscles, but it will be covered with a large area of hair in the later period, so the sculpting need not be too detailed.
Equipment is produced separately. When this large piece of equipment is determined, the next important thing is the pattern on the body, and there have been many versions of this pattern. In the production process, depends on the topology pattern of the equipment. Here I use Maya's own topology tool to first select the model to be adsorbed, click the magnetite, and then click quad draw to draw on the model.
Then add a line in the middle of the drawn shape, and put the added line in the direction of the normal (to turn off the suction command) so that the pattern is there, then only need to extrude the thickness, pay attention to the corners wiring.
In addition to a larger pattern, some small patterns attached to the surface of the equipment are needed to enrich it. This level is actually to find some suitable black and white pictures of the pattern on the Internet for stitching to make a continuous square picture, and then expand the equipment. UV, stick the pattern to the position corresponding to UV.
Then paste the black and white pattern into the ZBrush replacement channel (need to flip the V direction), adjust the extrusion height, and take a look at the effect. Of course, the patterns on the equipment can be stitched using some online pattern materials.
The production of the armor part is more troublesome, because the shoulder armor looks like a broken metal effect, so first make the shoulder armor large, and then use the ZBrush grouping to divide the shoulder armor into multiple groups, and rewire the regrouped part. The effect of broken metal can appear. Of course, it is still necessary to manually adjust the gap between each piece of metal. By default, the gap size is the same, which is not good-looking.
Wings can first find a wing and place it to see the effect, and then replace it with your own wings.
Blender vs Maya vs Cinema 4D, Which One Is The Best 3D Software？
Blender vs Maya vs Cinema 4D, which one is the best 3D software for animation? As the leading render farm in the CG industry, Fox Renderfarm will answer this question in a personal opinions. As we know, Blender, Maya and Cinema 4D, all are 3D production software, and they can all make 3D animation. The concept of 3D animation is actually very wide, and the movement of 3D objects can be called 3D animation. Therefore, this software should be distinguished according to their areas of expertise, and cannot be generalized.
Maya can also be said to be a resource integration platform, which is mainly used in the production of film and television animation and the integration of related resources. Maya's 3D animation, modeling, simulation, and rendering modules provide a powerful integrated toolset. Can be used for animation, environment, motion graphics, virtual reality, and character creation. We can see the figure of Maya in the major movie screens.
C4D, full name Cinema 4D. One of the major features of C4D is the integrated package. Using these packages can quickly produce good quality effects and animations. Relatively speaking, novices are relatively easy to get started with C4D. C4D can be seamlessly connected with AE(After Effects), and C4D scenes can be directly imported into AE, so C4D is still very popular in the production of short films and film packaging.
Blender is a free and open-source, cross-platform, all-round 3D animation production software, providing a series of animated short film production solutions from modeling, animation, materials, rendering, to audio processing, video editing and so on. Blender has a variety of user interfaces that are easy to use in different tasks, with built-in advanced video solutions such as green screen keying, camera backtracking, mask processing, and post node synthesis. There are also built-in cartoon strokes (FreeStyle) and GPU-based Cycles renderer. Python is a built-in script that supports multiple third-party renderers. It is favored by the majority of graphics enthusiasts in short videos and game production.
All in all, the three software cannot be compared without any restrictions. Each of them has its strengths. It depends on which area you want to develop and then choose the best software tool from them.
Behind the Scenes: Old House Impressions
Maya Cloud Rendering
Hello there! My name is Huangsong Zhang, I really like things with Chinese style. This creation refers to many pictures and restores an old house that has gone through vicissitudes. The software used is Maya, PS, Nuke.
I have always used 3ds Max software. Later, because I needed to switch to Maya for my work, I also tried to make creative works while learning, so the models in this work were completed with Maya software. It is not difficult to create a model, no special modeling skills are used, as long as the overall wiring is reasonable.
The created model is placed, but the screen feels a bit empty.
So a lot of small things were added beside it, such as screwdrivers, cigarettes, sticks, stones, etc. to enrich the picture.
UV is made with the UVLayout plugin. UVLayout is really easy to use in making UVs. Here, as long as UV production is focused on the classification of materials, similar materials are classified under the same UV, and 4 sets of UVs are divided.
The drawing of the texture is all done in PS. First, the basic texture is roughly drawn according to the output UV. Then slowly add details on the basis, and add some feeling of wear and age, and add some effects of falling gray.
An AO layer was superimposed on the material.
The last is the processing of highlights and bump mapping.
The hot water bottle placed in the scene is a kind of plastic with a light transmission effect, and the material is VRayFastSSS2.
The wood texture material has been processed by PS before each texture, so it is relatively simple. The intrinsic color map links the diffuse color channel and the highlight map link reflection color channel. Using the layered texture material node of the Maya and the highlight map, the gloss map is simply created and link to reflection glossiness channel, bump map to Bump mapping channel. Other materials are also adjusted similar to the above, and so on.
In this scene, I want to create an atmosphere of dusk. Therefore, a spotlight is used as the main light source, and then a surface light source is used to supplement the light to avoid dead corners and darkness.
Or use the Color channel of the spotlight and the black and white map of the tree branch to simulate the effect of sunlight coming in from the window through the shade of the tree. Then enter the color gain under the color balance of the texture channel and adjust it to warm yellow to look closer to dusk. Light effects. Finally, I added some small fill lights, in order to add some texture, make the details richer, and the dark parts more brilliant.
Final render and synthesis
For the convenience of adjusting the post-production, layered rendering is used. There are a total of 15 layers including diffuse reflection layer, GI layer, lighting layer, highlight layer, reflection layer, normal layer, AO layer, etc..
This project uses PS composition. And for compositing, layered rendering was performed in the early stage. Now you can grade all individual layers, which can enhance GI, enhance reflection and highlight effects. PS layer overlay method I basically use color filter, in Nuke is the plus overlay method under the merge node.
The left image is directly rendered, and the right image is the effect of layer synthesis, is it a big difference?
Thank you for reading.
Behind the Scenes: 3D Game Scene
Maya render farm
Today, we will share a production process of a 3D game scene. This project uses the standard PBR process, and uses 3ds Max to complete the basic modeling, determines the proportion of objects. Finish sculpting in ZBrush for high poly, topology in Maya, baking in Marmoset Toolbag 3, finish making PBR materials in Substance Painter, and finally use Marmoset Toolbag 3 for rendering.
The production is divided into three parts: 1. Modeling 2. Material production 3. Rendering
Before production, determine what materials, objects, and overall proportions are in the scene, and then determine the production order according to the proportions. Most of the scene in this scene is walls and stones and wooden furniture, so they are the focus of the production.
Quickly set up their approximate proportions in 3ds Max.
Complete the medium face number model
After establishing the proportion of large objects, continue to build the remaining objects in the scene. And further enrich the details of the model. There are a large number of repeated objects, and several different shapes can be made.
Taking the above book as an example, many different types have been produced, which can reduce visual repetitions very well.
There are two pieces of cloth in the scene. Here we take the pillow as an example,
This production uses the cloth calculation that comes with 3ds Max. The specific process is as follows,
Create blocking objects:
Create a pillow base model (the higher the number of segments, the better the simulation effect),
Squash and find the cloth in the modifier,
The end result is a simple pillow model. (The shape of the wrinkles of the fabric should be well organized, and the top is a simple demonstration. Similarly, curtains may have better effects).
Finally in 3ds Max medium face model,
Next, import the model into ZBrush for sculpting.
High Poly sculpture
Here is an example of a house's walls and stones:
The medium face model was imported into ZBrush because of the irregular shape of the stone. You can use Dynamesh (dynamic mesh) in geometry editing to edit the model.
Brushes 1, 2, and 3 are used for large-scale carving of stones. Brush No. 4 adjusts shape to prevent penetration. Finally, brushes 5 and 6 are used to flatten some edges and corners to make the structure hard. Thus reflecting the texture of the stone.
The big ideas on the wall are the same. Finally, use the surface noise, adjust the curve, and the noise ratio to simulate the graininess of the wall and stone surface.
Finally, add some details such as cracks and bumps to enrich the picture. Use the brush No. 6 mentioned above to suppress it again for better results.
Take the wooden table as an example below, first determine the material to be carved, and then look for the corresponding reference picture. Because the wood in the scene is too old, you need to find some pictures of old wood when looking for reference pictures, for example,
The sculpting process needs to be combined with actual life, so as to achieve a more realistic effect. In this scene, the wooden table is a little bit decayed, so the edge of the table will not be made into a hard, right-angled structure, so when carving, you can use the brush to make the right-angled portion of the edge more rounded, so reflect the texture you want to express. With appropriate deformation, it can increase the visual impact more vividly (adjust the place with the Move brush a little).
The wood in the scene needs to have an old feeling, so cracks are a good way to show that the objects are worn out. At this time, you need to use the reference picture. For example, a crack on a window plate can be carved according to the crack in the reference figure. This can better and more realistically and quickly reflect the material.
The final High Poly display,
Low polygon model and baking
The final low-poly model was reduced using ZBrush, and then imported into Maya for final low-poly model production. This can get Low Poly models faster, but the wiring will be relatively less neat. Note that it is important to distinguish between the smooth group and split UV where the angle is close to 90 degrees.
The final baking uses Marmoset Toolbag 3.
After baking all the normals and IDs, import Substance Painter to make the material. 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. After successfully importing, bake the rest of the textures in the texture set-baking model textures.
Wall material basic process
First of all, we make the natural color of the material, and the natural color layer can add filters appropriately to increase the details.
Add a dark color and use the Dirt generator. Partially unsatisfactory add a drawing layer to fix it. Add bright colors and color variations to create the approximate effect of wall decay. Here, it is mainly modified by hand-drawn layers. Continue adding color changes and roughness changes. Try to be as close to real effects as possible.
Finally, you can add an adjustment layer to increase the brightness. The material made in Substance Painter should be imported into Marmoset Toolbag 3 and the brightness will be a bit lower than that seen in Substance Painter. The wall material production is complete.
And because the furniture in the scene should reflect the old feeling, the overall color is grayish and dark. The damage and abrasion are to reflect the original color of the wood, so the color saturation will be higher than the surface color.
Finally, before importing into Marmoset Toolbag 3, you need to set up the lighting, the main light establishes the main light, and the auxiliary light supplements the light source to maintain the brightness of the picture. And to turn on high DPI and oversampling, turn on GI global illumination and AO environment occlusion.
I hope this sharing will help you.
The Usage of Maya 2018 Attribute Spread Sheet
Prior to the Maya 2016, it is automatically created a layer selection (Create Layer Override) when opening or closing object properties in bulk. But since Maya added the Render Setup layering settings, the automatic creation of layer selection features has disappeared for the layered approach of older versions of Legacy Render Layers. This is confuse many people who don't know the existence of the Create Override for Selected feature.
Today, cloud rendering will tell you that if the automatic layer selection disappears, how to use the Attribute Spread Sheet tool.
For example, I want to make a layer selection of the object's Primary Visibility property.
Step 1: Select the object you want to make the layer selection and open Maya's Attribute Spread Sheet tool.
Step 2: Select the Primary Visibility property in the Attribute Spread Sheet.
Step 3: Click Layer - Create Override for Selected in the upper menu bar.
Step 4: Change on to 0 (off).
Step 5: Check the Primary Visibility under the Object Properties and you will find that it made the layer selection automatically.
However, cloud rendering want to note that, in fact, the previous version of this feature is also available, but the Maya automatically created the layer selection in the previous version, and now you need to manually click it.)
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