Big News! 3ds Max 2021 Is Now Available
3ds Max Render Farm
Hey guys! Let’s check out the new features in the lately released 3ds Max 2021.1, including texture baking improvements, Arnold as Default Renderer, expanded PBR workflow capabilities, viewport, fluid and modeling tool enhancements.
The feature-rich update is targeted at modernizing and upgrading performance for artist workflows across design visualization and media and entertainment disciplines.
Bake to Texture:
- Output now supports multi-tile UV mapping (UDIM)
- Animated map outputs are now supported as well as multiple animated frames
- Various usability improvements.
Model courtesy of TurboSquid and their artist, Luke_Ahearn.
- The Fluid loader is now exposed so that object types such as particle systems can work with the data
- The Velocity channel now reports correct information when not using meters as your default scene scale. This fix will enable motion blur in your renderer
PRT now supports a signed and unsigned integer values (via .ini change).
Interactive Extrusion and Inset:
Users can now utilize a Shift+Drag (left mouse button) with the Move transform tool to extrude polygon component selections when using an Editable Poly or an Edit Poly modifier
- Shift+Drag with the Scale transform tool now performs a polygonal inset action on selected polygon component selections when using an Editable Poly or an Edit Poly modifier
Clone/Copy actions are now performed with Ctrl+Shift+Drag when using the Move transform tool on the polygon component on and Editable Poly or an Edit Poly modifier.
Depth of field now affects the environment map
- Vignetting scale is now the same value as defined in the camera
- Matte/Shadows material now work in the viewport
Each view can now have its own exposure, white-balance and vignette settings.
- AOV token system
- Animation support for Alembic
- Increased shader spinner accuracy
Bake to Texture support for projection of normals from high to low resolution, normals spaces, and Mikkt.
Enhancements and Changes
Weighted Normals Modifier
Now includes support for multi-threaded processing to enhance speed and performance when performing calculations as well as other stability improvements.
Explicit Normals Preservation for Mesh
Applying an Edit Mesh modifier no longer invalidates explicit normals, nor do the following actions: Attach, Detach to Object, Detach to Element, Clone to Object, Clone to Element, Detach as Clone to Element.
Both PBR materials now support displacement.
Shared Views now supports Physical material.
SketchUp model importation
There is improved handling of internal edge visibility, improving the imported mesh quality, and SketchUp 2020 models are now supported.
Slate Material Editor
The Slate Material Editor now pans and zooms smoother and faster when using a 4k monitor. In addition, the Search field has been improved to perform global search through all materials and maps in the editor. For example, if you were searching for the Advanced Wood map and typed "wood," the old search would not find it but now it will.
Render output size
HDTV resolution of 1280 x 720 is the new default output size.
When you work with UDIM, you are now able to view all textures in the viewport when using the Bitmap Lookup OSL shader, instead of just viewing one as when using the Multi-Tile map.
User Defined Defaults
Allows you to set your own default values for ParamBlock2 supported spinner, radial, checkbox, or input field through MAXScript calls.
Depth of field now affects the environment map, the vignetting scale is now the same value as defined in the camera, Matte/Shadows materials now work in the viewport, and each viewport can now have their own exposure, white-balance and vignette settings.
Behind the Scenes: Spy House Production (3)
Behind The Scenes
Next, we will share the production process of two other materials:
Making wood material
Pay attention to the following points when making wooden materials:
• When you split the UV, try to place the squares as much as possible to ensure that the post-texture image will not be distorted.
• It is also necessary to consider the utilization rate of UV space and try to give priority to the things you can see, which can improve the quality of the material.
• The texture of the wooden structure is simple to produce, and it is necessary to find a lot of references that combine with the situation of the scene. For example, what does the wooden structure look like in an underground wet environment for a long time? Or the wood in this environment is more corroded? So to make such a feeling, a lot of references is very important.
Substance Painter wood texture production
• Import the baked Normal stickers and prepared materials into Substance Painter. Before creating something, create two fill layers, leaving only the Color option. One layer puts the AO diagram on the Color and adjusts to a positive overlay, which is used to improve the dark color. Another layer puts the Curvature map on Color and adjusts to Overlay, which is used to improve the bright color of the edge. After these operations are completed, the production of the texture begins.
Pay attention to the production of wooden texture: Consider the actual situation of the scene. Take the scene we made (spy house) as an example. For a long time in a dark and humid environment, the corrosion will be relatively serious. Afterward, it should be noted that the edges of the wood will not be particularly bright. The bright edges of the wear marks will also be darker, and then the scratches and the wear of the places where they are often used. A little brightness is needed here. Finally, there is dust accumulation and stains in places that are not often encountered. After these things are done, you can basically get a good real texture.
The material for making paper and book
When making a single-page paper with no thickness, please pay attention to the following points:
When you split the UV, try to place the square as far as possible to ensure that the textures in the later period will not be distorted.
The texture of the paper is simple to produce, without Hight Polygon, just baking Low Polygon Normal.
How to make paper in Substance Painter:
Import the baked Normal map and prepared materials into Substance Painter. Create a layer (unfilled layer), select Color for the material and put the material in Base Color, and select None for UV Wrap. In F1 3D/2D mode, place the picture material in the corresponding position.
Just pay attention to the book texture production: from the beginning, it is necessary to distinguish between the shell and the content. If it is made into one, it will not be easy to separate when making the texture.
Marmoset Toolbag 3 rendering
Finally imported into Marmoset Toolbag 3 for rendering, the first is to layout the light source, choose to add an HDR suitable for the scene, adjust the Child Light to the appropriate position to make the model produce a 45-degree shadow.
Because the scene is larger, more lights are added, but when rendering, pay attention to adjusting the size and illumination range of those fill lights to prevent the mutual influence of light.
I hope our learning and sharing can help you, thank you.
Behind the Scenes: Spy House Production (2)
Behind The Scenes
After baking all normals, AO, and curvature, import Substance Painter to make materials. It is worth noting that the normals baked in Marmoset Toolbag 3 and Maya use OpenGL mode in Substance Painter, and the normals baked in 3ds Max use DirectX mode. The first step after successfully importing the model must be to check whether the normal direction is correct.
After successful import, the remaining textures are baked in the texture set-baking model texture.
The following uses the sofa leather material to share the basic process of the material: the production of sofa leather material.
Inherent color of the leather
Choose a suitable material map and paste it in the color channel, adjust other parameters appropriately to make the effect more natural
Create a new fill layer to keep the height channel, paste the height map corresponding to the background color layer, and add Level to adjust the height. At the same time, add anchor points to ensure that the color changes with the height.
The AO diagram of the model pasted in the AO channel is that the dark parts of the edges are deepened, and the bumps are more three-dimensional.
Adjust the roughness of the sofa surface. Frequent contact with objects will wear more, such as the edge of the cushion, the inner and upper sides of the armrest, the bottom of the sofa, the top of the backrest, etc. Grunge textures can be added to make the effect more natural.
The edge fades
Create a fill layer and add a generator to produce a faded edge wear effect. Adding only one generator effect will be very stiff. Add a few more layers to interrupt the continuous effect to make the wear more natural, and finally, add hand-painted details.
Use the Grunge map to add scratches, stains, and other details to the surface.
There are two kinds of dust: dust accumulated in corners and trace dust on the surface. Create a fill layer to leave the color, roughness, and height, and then use the generator to calculate the dust position adjustment parameters to make the effect natural, and you can appropriately add hand-painted details.
Manually add black to deal with gaps and other details.
Behind the Scenes: Spy House Production (1)
3ds Max Render Farm
This is a sharing of making a spy house with 3ds Max, provided by your TPN-Accredited 3ds Max render farm. The main software used in this article is ZBrush, Marmoset Toolbag 3. The following is the final effect display, then share the overall production process.
First of all, this project uses the standard game production process, using 3ds Max to complete the basic Polygon construction, and part of the production of Hight Polygons， and ZBrush completes the carving of local Hight Polygons, Marmoset Toolbag 3 baking, Substance Painter, complete the production of the PBR material, and finally use Marmoset Toolbag for rendering.
After the above process is established, production begins,
In the Low Polygons stage, Polygon is started according to the angle of the original painting, which is convenient for establishing the scale of the model.
After the Low Polygons are completed, in order to facilitate the unification of the material style, the production of the Middle Polygons, High Polygons is completed according to the material.
- Material production
Marmoset Toolbag rendering
First of all, there is an iron table in the center of the scene, so we first set the height of this table as the scene height reference, the table height is set to 1.3m, and then complete the Low Polygons in 3ds Max.
After Low Polygons is completed, put the models together, and adjust the size and distribution of each model.
It is established that the proportion position of each part of Low Polygons is correct, and some details can be added to the model. There are a lot of reusable objects, we have added different details to them so that the repetition is not too high.
Taking these metal boxes as an example, adding different details to them can better reduce visual duplication.
Here takes one of the metals as an example to share the production process:
After Low Polygon was completed, it began to add details, and then the model was UVS split:
Points to note:
We made the prototype groove on the surface so that when making materials, we can use the intelligent mask to calculate the paint and stains, reducing the workload. When making circular grooves, pay attention to controlling the number of lines according to the size of the circle, and try to make Low Polygons and High Polygons match each other when baking to produce a good normal map.
When making the lampshade, the glass cover is a Geosphere, to avoid a strange texture when the glass cover reflects.
After selecting the sphere, click Hemisphere to get a hemisphere, so as to avoid the generation of strange textures, and then use the zoom tool to adjust the size ratio.
The edges of the sphere need to add lines to avoid the deformation of the model and check for useless points or lines.
High Polygon Production
It is not difficult to make the metal part Hight Polygons. The edge position needs to add lines to avoid model deformation. Add a turbo smooth modifier to check if there is any deformation. If there is any adjustment, adjust it again.
Low Polygon Production
Directly use the Hight Polygons made by Turbo Smooth, directly reduce the surface based on the model with added details, delete the lines that do not affect the structure, and use the options in the graphite tool to check whether there are polygons.
Make the Low Polygons of the sofa, make the basic shape of the sofa in max, and then sculpt the High Polygon in ZBrush, and then use the topology tool to complete the Low Polygon. Note that the place close to the 90-degree angle must distinguish between the smooth group and the cut-off UV.
The sofa Hight Polygon is completed in ZBrush. When sculpting, different wrinkle effects should be added according to the different materials finally presented. As shown below: a relatively hard leather sofa, the folds are mainly distributed at the stitches, and there will be no large and wide folds. The surface of the seat cushion will be slightly concave and convex due to long-term use, and the foot cushion and the bottom of the armrest near the place will be slightly slack. The stitching of the sofa is not easy to be too neat, and a little curvature will appear more natural.
Baking uses Marmoset Toolbag 3, of course, there are many other ways, you can also use Substance Painter and ZBrush baking normal. But the advantage of choosing Marmoset Toolbag 3 is because we intuitively modify the normal.
The following figure is a basic introduction to the baking normal of Marmoset Toolbag 3:
Next is the normal modification panel:
3ds Max Tutorials: How to Set A Realistic Interior Lighting
3ds Max Render Farm
This article is a 3ds Max tutorial about how to set a realistic interior lighting shared by the powerful but affordable 3ds Max render farm, Fox Renderfarm. We hope that can help you with 3ds Max learning. For interior designers, to make a good work rendering includes many aspects, such as modeling, color matching, lighting atmosphere, composition angle, and so on. In this 3ds Max tutorial, I will discuss with you the lighting layout of the 3ds Max scene. Taking the bedroom space as an example, there is a set of small principles on how to arrange the lights, that is, the order of placing the lights: ambient light → main light source → supplementary light.
This time I will show you the lighting layout process of the Bedroom. This kind of effect is different from the general rendering. It is based on the demonstration of hotel space lighting technology. The purpose is to let everyone know more about the backlighting indoor space and indoor lighting design. Let's take a look at a few photos first, you can watch and observe at the same time,
The above figures have one thing in common, that is, the lighting atmosphere is relatively strong, and the key places are particularly bright, such as pillows, decorations, and dining tables, from which conclusions are drawn. Taking commercial pictures as an example, you don't need to blindly follow the trend to make photo grades. What you want to do is to combine realism and art.
The following uses a set of models as examples. The first step is to add a VRaySky to add ambient light. The rendering setup parameters are shown in the figure, the settings of the image sampler and color map. Adaptive DMC → Mitchell-Netravali → Type: Exponential.
Then open Indirect illumination and check on, set Irradiance map and Light cache, the parameters are as follows,
It looks very dark right now, yes, only by reducing the darkness of the space can the light atmosphere be shown! So I decided to increase some ambient light, it can be imagined that there is no feeling of turning on the lights during the day.
Two VR surface lights are added, the indoor VR lights are to strengthen the effect of the skylight on the interior,
Lighting parameter value,
Rendering test results:
Although it will not be so dark in reality when the lights are not turned on, the lights cannot be so bright in the 3D software, which will dilute the performance of indoor lights.
In the second step, the ceiling hidden lights are lit according to the area of the square light troughs on the ceiling. Such ceilings are more common. If you find it troublesome, you can look for some plugins to make.
In order to save time and have a contrast effect, you can choose the area rendering test to see,
After placing the ceiling wall lamp, you can see the effect of the background wall around the top, which is the effect of the hidden lamp.
The third step is to add the lights of the bedside table lamp and place a VR ball lamp inside the lampshade of the table lamp.
The fourth step is to make the effect of the tube-shaped lamp, and the brightness of the key positions is improved. This makes the space more important.
The fifth step is to add fill light.
Test to see the effect after fill light, it can be clearly seen that the side of the bed and the ground are not too dark. Finally, all the lights have been arranged. You can also add a light to decorate. At this time, you can choose a smaller IES optical domain network to place the decorations on the bed. This can not only improve the details, but also enrich the shadows on the bed, and finally the post-production effect. (The previously adjusted parameters have not been changed. The parameters can be adjusted higher when the final picture is produced, so the effect is even better.)
3ds Max Tutorial: Car Modeling
3ds Max Render Farm
Hi everyone, this sharing is organized by Fox Renderfarm, the powerful but affordable 3ds max render farm. For many people who are new to 3ds Max, the process of learning 3ds Max modeling is a very complicated process. For example, some models need to be split before production, and these need to have a certain understanding of the car. Hope this sharing, from 3d artist Yeenwen Qian, will help you learn the process and steps of learning car modeling at 3ds Max.
Final rendering effect
When making car models or other realistic models, accurate and detailed reference materials are very important.
Then I found a set of very beautiful 1930s car references on the Internet. The purpose of this project is to create an exact replica of the model, so I chose one of my favorite cars to make and added some of my own things on this basis.
The first step of the model is to make the main part of the car. The shape is started from a BOX, and then the Urbosmooth modifier is added to modify the shape accurately. Next, add details, such as the gap at the body connection.
While modeling, an unusual method was used to obtain model details, such as textures and other things on the hood.
The body details used a VRay Displacement Mod and a displacement map. This combination is very useful and fast to create delicate model details.
The same method was used to make the details of the tire.
The models of other parts are made in the traditional way of polygons. 3ds Max makes this hard-edged model very useful.
After the overall production is completed, we can add subdivisions and special details to the model. The degree of subdivision can be adjusted according to the size of the model. After adding the details, we get a complete vehicle model.
At first, I just wanted to make a beautiful car, but I felt that it would be better to add a background to highlight the vehicle. After considering it, I decided to make a retro street and add some houses and other furnishings, which were made of polygons.
The texture of the car is made with 2 kinds of VRay materials. And the texture of the scene, including sidewalks, walls, doors, roads, uses some textures downloaded from the Internet. In order to show the dilapidation of the old house, A Vraymtl and a small reflection were also used to simulate the wet effect after rain except for the wood.
Rendering is also applicable to VRay. And there is only one local lighting in the scene and an HDRI texture for lighting and reflection. The rendering tests are as follows.
Synthesis Layered during rendering, one is the background and the other is the car. Then import Photoshop to adjust the effect, adding some depth of field and shabby effects to make the street look more realistic.
Then adjust the brightness, contrast, intensity, and saturation values. The final effect is out!
3D Artist Ehsan Darvishi and Car Render Challenge
Hum3D.com ‘Car Render Challenge’ is one of the fantastic render challenges that artists who are passionate about both 3D creation and cars should not miss! As the sponsor, Fox Renderfarm is amazed by the fact that 3D creation not only demonstrates visual beauty, is also used as a powerful storytelling tool.
The 1st Prize Winner - Ehsan Darvishi created a stunning Chevrolet Corvette 1960 with the exquisite reflection, and the fine lighting of the diner behind. He shared with us how he did the modeling and achieved the sophisticated lighting step by step in 3ds Max.
Anyone interested cannot miss our interview: Creating the Sophisticated Chevrolet Corvette 1960 in 3ds Max
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 reason and solution about 3ds Max rendering is not enough real
Maybe you will find that the rendered pictures look fake and not real enough when making renderings. So what determines whether the rendering is real enough? There are certain methods in the process of model processing, material production, lighting arrangement and post-processing. The problems may appear in the following aspects.
If you want to make a realistic style effect, five of them are particularly important: composition, black and white balance, lighting, materials, and rendering settings.
Ordinary cameras and physical cameras of some renderers can achieve good composition effects. Their use principles are the same as real photography principles, such as depth of field, focus, composition, etc., and they involve many knowledge points. If you want a good composition, then learn the principles of photography.
- Black and white balance
Black and white balance involves balancing the intensity, temperature, and contrast. You must also learn the light balance analysis method through the light! Different processing methods for day and night scenes, office and bedroom color temperature control, and so on. Step-by-step headlights are needed to create a layered sense of light. The most important thing in this session is to design the lighting atmosphere.
The combination of different lights in different scenes will produce different effects. Pay attention to the extension direction of the lights when you arrange them, so you need to grasp the direction of the lights from the details.
The material of the model is a very important step if all the other steps are fine. Different materials, different gloss and transparency, reflection intensity, softness and rigidity of the fabric and so on all need to be obtained by adjusting the material. For example, the production of floor textures, just like the production of daily wooden flooring, the first layer is first processed into the shape of the wooden floor, with highlights and reflections along the direction of the wood grain. The second layer is waxed. The entire wooden floor has a relatively high reflection and does not follow the texture. On the third floor, people walked through the dust floor that was not cleaned.
The more detailed the material of the model, the more realistic it will be.
- Rendering settings
The parameters are not important, what is important is what effect you want, but you must pay attention to the setting of the lighting. The lighting follows the real principles. Look at the lights, see the real feeling, see the light and shadow relationships, see the details of the objects, and see if the structure is reasonable.
In addition to these five principles, there is one more important place: the model.
Details determine success or failure, and the same applies to models. If the model in the scene is not fine enough, then the rendered thing will definitely look lacking in real texture. A good model, even in the case of a prime model, still feels true and natural. And the ratio of all models to the surrounding environment must be correct.
As the leading render farm in the CG industry, Fox Renderfarm recommends that if you want to have a good work, you must repeatedly debug the details of each link in modeling, materials, lighting, rendering, and post-production to achieve the best. status. For the control of light, shadow, and material details, it is even more necessary to observe objects in real life. Various factors can be combined to make a good work.
How To Submit 3ds Max Task On Render Farm
This is a tutorial show you how to submit 3d Max project for rendering on render farm of Fox Renderfarm. Maybe we published it before, but we have an updated recently, so we should do it again, hold it can help you soon.
Firstly, there are several kindly notes, please pack the scene and all the assets before uploading. After uploading is completed, please unzip the package and then submit the job. Root directories can't exceed 22 folders. Please name file name in English, do not use special characters.
Step 1: Login
Enter your email and password, then log in.
Step 2: Upload Assets
Click ‘Assets' button.
Click ‘Upload' button, choose Upload file or Upload folder.
Download and install transfer plugin.
Refresh the page, click your file to upload.
Step 3: Create New Tasks
Click ‘New Job’to start.
Choose the render 3D software, select the asset directory and render scene files.
Add render software and plugin version, then save the config (Notice: Config name is required.), and click "Go analyze" to start to analyze files.
Step 4 Analyze Job
After job analysis done, there may be for results:
Analysis Done: Job analysis is completed, without errors or warnings
The analysis is done(with errors): Job analysis is completed, but the file exists errors. Please correct the errors according to the advise and analyze again.
the analysis is done(with a warning): Job analysis is completed, but the file exists warnings which may result in render abnormal. You can choose to correct the warning according to the advise and analyze again or ignore the warnings and forced to submit.
Analysis failed: The analysis was abnormally interrupted. You can analyze again or contact us directly to check the log.
Confirm the scene file parameters, and click submit to start rendering.
Pre-test frames: Which frames you want to test previously.
Advanced settings introduction(optional)
Project name: An account can have numerous projects to track usage and cost. The administrator can share a project with sub-account.
Frames per task: How many frames to bundle in a single task.
Timeout alert: When one frame renders timeout, the job ID will be remarked as yellow.
Instance RAM type: What kind of instance you want to use, now we have two types,64GB RAM(Standard) and 128GB RAM(Extra 40% cost).
Step5 Start Render
If you need to render photon, your job will be separate to 2 jobs, one is a photon, the other is the final image, final image job will start automatically after the photon is completed.
If you want to download specified frames to check previously, you can double click the job, and go to output, select the frames and download.
Step6 Download Image.
Tick done jobs, click Download to a local folder.
Using 3ds Max To Makes The Materials And Lighting In Scenes Of “Clone”
This is a production process of a second-generation game scene model. The main software used is 3ds Max.
Model and texture
- The basic model
Step one, I make the approximate shape of the scene as a reference, then put the shape of the model base in 3ds Max, and then make the following props with the basic shape, the wall of the scene and the UV of the ground will be reused. Part of the props I slowly added according to the scene.
With a small pattern that is made, it can make the repeatability of some models look less obvious.
The basic shape of the scene in Figure 1.
Figure 2 basic line diagram of the scene
Figure 3 use of small patterns
- Production of prop
The production process of the prop model is basically the same, first the high mold, the baking normal map, and then the low mold. Here is a simple example:
High and low modes of small objects in Figure 4.
- Reuse the UV and small pattern
Wall UV reuse:
Reuse of ground UV maps.
Reuse of small patterns.
Wireframe of the final model in 3ds Max,
- The production of textures
For textures we need to use diffsue, specular, normals, displacement, gloss, detail, and detail (gradient can also be used). The detail can be done with the diffsue, and the gloss must be done in the specular channel in the old version.
If you used the latest version, then put in the normals channel, displacement placed in its own channel. Export the tif, pay attention to the normals_dnn, displacement_displ, normals_dnna, using underscore plus suffix.
The basic texture gradient can also be used.
The preparation of the import engine Set different IDs for different materials of objects and collisions.
Cryengine engine parameters.
Lighting, birth points, particles, sound, environmental impact, basic processes.
Create a birth point, find Spawnpoint under Entity, put in the scene, and create a simple flowchart.
The Cryengine material
There are several examples of how to represent different materials.
The overall preview effect of the scene.
Author: Zhepu Wu
China Film Administration Release New License Logo
Maya 2018 Arnold's Method of Making Motion Vector Blur in AOV Channel
How the Redshift Proxy Renders the Subdivision
Arnold\ V-Ray\ Octane\ Conora\ RedShift, Which Renderer Is The Best?
Corona Renderer Learning - Denoising
Arnold\ V-Ray\ Octane\ Conora\ RedShift, Which Renderer Is The Best?
Is This Simulated By Houdini? No! This Is Max!
Arnold Render Farm | Fox Render Farm