How To Use Fox Renderfarm for 3ds Max

How To Use Fox Renderfarm for 3ds Max

2019-01-21

Render Farm

This is a tutorial show you how to submit 3ds 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: LoginEnter 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. Render settings(optional) 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). Step 5: 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.Step 6: Download Image. Tick done jobs, click Download to a local folder. ConclusionWith the best CPU&GPU cloud rendering service provider, Fox Renderfarm, rendering for 3ds Max will be very easy and fast. And now there's a free $25 trial available for everyone who signs up new! Why not give it a try?


Behind the Scenes: 3D Game Scene

2020-01-02

Maya render farm

Today, as the leading cloud rendering service provider, Fox Renderfarm 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.!Behind-the-Scenes-3D-Game-Scene 1The production is divided into three parts:1. Modeling2. Material production3. Rendering ModelingBefore 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.!Behind-the-Scenes-3D-Game-Scene 2Complete the medium face number modelAfter 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.!Behind-the-Scenes-3D-Game-Scene 3Taking 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,!Behind-the-Scenes-3D-Game-Scene 4This production uses the cloth calculation that comes with 3ds Max. The specific process is as follows,!Behind-the-Scenes-3D-Game-Scene 5Create blocking objects:!Behind-the-Scenes-3D-Game-Scene 6Create a pillow base model (the higher the number of segments, the better the simulation effect),!Behind-the-Scenes-3D-Game-Scene 7Squash and find the cloth in the modifier,!Behind-the-Scenes-3D-Game-Scene 8 Simulation!Behind-the-Scenes-3D-Game-Scene 11 !Behind-the-Scenes-3D-Game-Scene 9 !Behind-the-Scenes-3D-Game-Scene 12The 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,!Behind-the-Scenes-3D-Game-Scene 13Next, import the model into ZBrush for sculpting. High Poly sculptureHere is an example of a house's walls and stones:!Behind-the-Scenes-3D-Game-Scene 14The 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.!Behind-the-Scenes-3D-Game-Scene 15Brushes 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.!Behind-the-Scenes-3D-Game-Scene 16Finally, 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,!Behind-the-Scenes-3D-Game-Scene 17The 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).!Behind-the-Scenes-3D-Game-Scene 18 !Behind-the-Scenes-3D-Game-Scene 19The 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.!Behind-the-Scenes-3D-Game-Scene 20 !Behind-the-Scenes-3D-Game-Scene 21 !Behind-the-Scenes-3D-Game-Scene 23 !Behind-the-Scenes-3D-Game-Scene 22The final High Poly display,!Behind-the-Scenes-3D-Game-Scene 24Low polygon model and bakingThe 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.!Behind-the-Scenes-3D-Game-Scene 26 !Behind-the-Scenes-3D-Game-Scene 25The final baking uses Marmoset Toolbag 3. 2. MaterialAfter 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 processFirst of all, we make the natural color of the material, and the natural color layer can add filters appropriately to increase the details.!Behind-the-Scenes-3D-Game-Scene 27Add 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.!Behind-the-Scenes-3D-Game-Scene 28And 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.!Behind-the-Scenes-3D-Game-Scene 29 3. RenderingFinally, 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.!Behind-the-Scenes-3D-Game-Scene 30The explanation of the production process of a 3D game scene is over. We hope this sharing will help you. Fox Renderfarm is an excellent CPU&GPU cloud render farm, so if you need to find a render farm, why not try Fox Renderfarm, which is offering a $25 trial for new users.Source: Thepoly


Big News! 3ds Max 2021 Is Now Available

2020-06-10

3ds Max Render Farm

Hey guys! You know? 3ds Max has updated the new version 3ds Max 2021.1. As the leading cloud rendering service provider, Fox Renderfarm, will check out the new features in the lately released 3ds Max 2021.1 with you together, 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. Fluids:- 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. Viewport Improvements:- 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. Arnold Renderer:- MAXtoA 4.0.4- 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. PBR Material Both PBR materials now support displacement. Shared Views 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. UDIM DisplayWhen 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. Viewport 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. ConclusionThese are all the update points of 3ds Max 2021.1. Let's make more good artworks with 3ds Max in the future! As a leading cloud render farm, Fox Renderfarm, will continue to bring you the latest news about 3ds Max. Thank you for reading!From: http://help.autodesk.com/view/**3DS****MAX**/2021/ENU/?guid=GUID-9C24A540-EDA3-4BE3-BBF6-EB5C005BE8CC


3ds Max Tutorials: 3D Toilet Scene in Silent Hill (1)

2020-08-25

3ds Max Tutorials

Today your TPN-Accredited cloud rendering service provider, Fox Renderfarm will share with you a toilet scene made with reference to the horror and thriller game Silent Hill. The process is from the original painting to the 3ds Max model production, then to the texturing in Substance Painter, and finally the Marmoset Toolbag for rendering. Let’s have a look at the final effect:!3ds Max Tutorials 3D Toilet Scene in Silent Hill-8Software used: 3ds Max, ZBrush, Substance Painter, Photoshop, Marmoset ToolbagHow long does it take: one and a half weeks IntroductionThis is a personal project for practice, the purpose is to learn some new skills and improve workflow, and make your work better.In this project, the production is not so difficult, but the texturing and rendering took a lot of time. A lot of tests were carried out in these two stages, and the most perfect results were obtained. And through texturing in Substance Painter production and rendering with Marmoset Toolbag, the overall thrilling atmosphere of the scene is perfectly displayed, making people feel as if they are on the scene at a glance.The whole production process is divided into five parts: target, modeling, UV, texturing, rendering, etc. ModelingThe scene is based on the original setting of the game scene, so the model production is not too difficult. In the early stage, I first decide the angle of the scene, and then increase or decrease the number of model faces according to the distance from the scenes.First import the image into 3ds Max, build the entire room with simple shapes and then start adding props and details. For the smaller details, such as the breakage and cracks of the wall tiles, they are all made by Dam Standard brush, OrbFlatten_Edgeprotect, and Alpha.Part of the details after the carving is completed:!3ds Max Tutorials 3D Toilet Scene in Silent Hill-12!3ds Max Tutorials 3D Toilet Scene in Silent Hill-4!3ds Max Tutorials 3D Toilet Scene in Silent Hill-14 UVMost of the work in the UV part is relatively simple, and the most difficult part is the broken tiles and gravel falling from the ground.1. The small pieces are baked as much as possible in the post-production2. Reduce the number of faces of other models that are not part of the visual center3. Use the correct model resolution to make the size of the texture, etc.Follow the leading cloud render farm, Fox Renderfarm, for the next part: 3ds Max Tutorials: 3D Toilet Scene in Silent Hill (2)").


A Sharing of the Process of Copying the Scenes of Uncharted: The Lost Legacy

2022-05-07

3ds Max

!Copying the Scenes of Uncharted The Lost Legacy 2 Part 1. Reference and Task AllocationThis scene was created using the PBR (Physically-Based Rendering) process, using 3DS MAX for the frame and base, ZBrush for the high poly model sculpting, Substance Painter for the textures, Photoshop for the materials and Marmoset Toolbag 3 for the final rendering.As it is a multi-person collaboration, assets need to be allocated upfront, and the scene assets are divided into 5 parts by analyzing the original paintings:1. Principal object and vegetation;2. Pillars & Grounds;3. Side fences with canopies and props;4. Top wall;5. Dome and set decoration.They completed these tasks separately first and then combined them in the correct proportions. To ensure that all the proportions remained correct, they first built the whole scene using a simple model.!Copying the Scenes of Uncharted The Lost Legacy 3 Part 2. Modeling & SculptingThe Main Part: The stone elephant is the most important object in the scene. I first used 3DS MAX to create the Blockout and then went directly into ZBrush for high poly modeling. The difficult part of this process was the physique of the statue and the decoration of the body.Pillar and Ground Sections: Using 3DS MAX to create the stone pillars and ground. The stone pillar and the ground are the parts of the scene that take up the most space. The stone pillar also determines the height of the scene, so the pillar needs to be carefully compared with other objects in terms of scale to get a relatively accurate size. The floor is made up of many bricks and is relatively simple, so making the floor was relatively easy.Side Fences and Canopies and Props Sections: This part of the model was all made using 3DS MAX. The important thing about the fence section is the dimensions. As the fences need to be attached to the stone columns, the length of each different fence has to be analyzed.The Dome and Scene Decoration Sections: the Dome and Scene Decoration Sections: they were made in 3DS MAX throughout, with the size of the dome model determined by the frame and the smaller statues sculpted directly in ZBrush.!Copying the Scenes of Uncharted The Lost Legacy 4Most of the high model production is sculpted in ZBrush. For some simple fragmented models, the high poly models were first made in 3DS MAX and then the details were sculpted in ZBrush. As some of the models in the scene have a large number of patterns on them, these are sculpted. Stone Statue Sculpting:!Copying the Scenes of Uncharted The Lost Legacy 5The most important thing about the stone statue is the proportions. The head is separate from the limbs to make it easier to adjust the proportions. The hand prop is made in 3DS MAX, when making the hand you need to pose the way you want, a separate model is easier to adjust (you can take a photo of your own hand for reference).PS: Be sure to pay attention to the accuracy of the scale of the model. Pillar and Other Props Sculpting:!Copying the Scenes of Uncharted The Lost Legacy 6!Copying the Scenes of Uncharted The Lost Legacy 7The models sculpted in ZBrush, they are made with so much detail that the number of faces of the model is very large:!Copying the Scenes of Uncharted The Lost Legacy 8topologyIn order to make the final integration smooth, they need to create a clean topology of the model and in order to have a perfect topology, a lot of patience is needed to achieve the best model with the minimum number of faces.There are a few points to note:1. Make a little more face number of external surfaces and not to make some small internal structures.2. Try to make the wiring as neat and easy to modify as possible.3. Minimum face number!!Copying the Scenes of Uncharted The Lost Legacy 9For this kind of cylindrical model you can just adjust it in 3DS MAX, deleting the extra lines that do not affect the structure.!Copying the Scenes of Uncharted The Lost Legacy 10After subtracting the excess lines and surfaces it is time to work on the UVs.The most important thing is to make the UVs of the models in the visual center and those with a lot of details larger, in order to ensure that the textures are clear. After this, the most difficult part is the baking of the normal maps, which will affect the rendering results.!Copying the Scenes of Uncharted The Lost Legacy 11 Part 3. Material ProductionThe materials were made using Substance Painter and Photoshop, but the majority of them were made using Substance Painter. The main materials are stone and brass.!Copying the Scenes of Uncharted The Lost Legacy 12!Copying the Scenes of Uncharted The Lost Legacy 13The materials are divided into several parts, and if you get the basic materials right, there will be no major problems with the rest, and the final render will not be bad.1. Basic Materials:The basic materials are the most crucial, if the basic materials are not done well, then a lot of things are wasted. The basic materials need to be distinguished from the textures, such as it is iron, bronze, wood, painted metal, stone, etc. The role of the material is to give a sense of the texture of the model.2. Surface WearTo create traces of use of the material, some wear and tear bumps are added to give the model the look of time.3. RelationshipsPay attention to the relationship between objects and objects. Make the area where the two parts link a little more natural, and also highlight the volume of the model.4. Roughness VariationThe same thing with different variations of roughness will make the prop material more realistic and rich.5. StainsThe main purpose of stains is to show the detail of the object and also to emphasise the relationship of the object. Everyone's habits are different so it's not always the best approach. Making materials is still quick. Volume, roughness variation, texture and detail are like painting. You need to know how they relate to each other in order to create small details.6. Rendering!Copying the Scenes of Uncharted The Lost Legacy 14For the rendering they used Marmoset Toolbag 3, and there are some things to be aware of in terms of lighting. For example, the lighting should not appear in places too dark and try to make the subject as bright as possible.A three-point light source is not really just three lights, a three-point light source is three things:1. Primary light source2. Auxiliary light source3. BacklightingThere are several lights in each of these three points. As in the case of auxiliary light; we see a white reflector in addition to the light from the sun when taking photographs. The auxiliary light serves to make a natural transition between dark and light areas, and also to reflect the details of the dark areas, so the auxiliary light source is equivalent to a reflector. But when rendering the light you can play more lights to illuminate the dark parts, not just one light alone.Backlighting is actually contour lighting, it's all about making the outer contours come through. The way to do this is to put it on the back, and this can be done by trying to add a couple of spotlights to brighten up the important areas.In addition to this, you can also vary the colour of the lighting to give a contrast between warm and cold scenes, or to create atmosphere. For example, if you want to highlight the subject, then add a warm light above the subject thus giving it a little color change. ConclusionThat's all the information about the production of the scene of Uncharted: The Lost Legacy that the leading cloud rendering service provider, Fox Renderfarm has shared with you. We believe that anyone who encounters difficulties and then solves them will definitely keep moving forward. Thank you for reading!The final result:!Copying the Scenes of Uncharted The Lost Legacy 15


How to Make a Beautiful Elf Mage in 3ds Max Step by Step?

2022-05-06

3ds Max

How to Use 3ds Max to Make a Beautiful Elf MageMaking an elf mage is certainly not easy, but if you put some time into it, then you will certainly be able to create a perfect elf mage just for you.The specific steps are as follows:1. Human ModelThe author has used a previously stored human model. The scale and style of this model is very close to the 2D concept art. This human model is tall, with a slim waist, long legs and a concave shape, however, the disadvantage is that the muscles need to be adjusted.2. Face MakingTry to adapt the appearance to a more 2D concept.3. Equipment BuildingThe proportions of the equipment should be appropriately sized and layered, and the metal structure should be careful not to be too thin, otherwise it will not look heavy enough.4. FoldsPay attention to the neatness of the folds of the clothes, the folds should be painted in a natural way, but also to the variation of the shades of the texture, to have a layered look, not too messy and not too uniform. Part 1. 2D Concept Art and ReferencesBefore making the elven mage, the author searched for a large number of other artists' works as a reference according to the concept art. After all, good references are not only much more efficient, but you can also learn good production methods from them.!Make a Beautiful Elf Mage in 3ds Max 2!Make a Beautiful Elf Mage in 3ds Max 3!Make a Beautiful Elf Mage in 3ds Max 4!Make a Beautiful Elf Mage in 3ds Max 5 Part 2. Body Proportioning/Mid PolyA proper human model is the basis for making a good model, which can greatly improve efficiency and save time in production. As shown in the picture below, the author has adjusted the proportions of the ear part and some of the body.!Make a Beautiful Elf Mage in 3ds Max 6From the concept art, the proportions of the character's body are exaggerated, with a small head, long legs and a tall body, so the author used masks to modify the proportions of her body.- Turn on the mask and click on the feathering mask so that the proportional adjustment is not too stiff.- You need to be careful not to destroy the structural wiring of the prime model, especially the face of the model. Be careful that the back mask brush is turned off at the mouth to avoid misalignment, this setting is very commonly used to avoid some areas being misaligned.The sculpting of the face is very important and is adjusted throughout the production of the model, the beauty of the face sculpting determines the quality of the model. The sculpting of the face needs to be constantly adjusted to the original drawing. The structure of the female face is not obvious, but it still needs to be shown. It is only the degree of expression that makes the difference.The modifications to the body structure and proportions were probably the most difficult part of the model for the author, as he wanted to keep the structure as close to the concept art as possible, and although the character was wearing clothes, he still had to sculpt the muscles of the torso to ensure that the clothing and equipment would fit and match the character's temperament when added.- Structures can be generated in the mask position using the Extract+ plugin!Make a Beautiful Elf Mage in 3ds Max 7Tips: Mask drawing shapes - using Extract + Plugin to generate structures Part 3. High Poly/Hair/PleatsAfter building the model of elven mage in 3ds Max, we can go directly into Zbrush to make edge adjustments. The advantages of this production method are the following:1. The softness of the sub-tool structure can be adjusted by adjusting the fold level.2. It is possible to fold the edges with one click, which increases efficiency and makes it easy to modify the edges even if they are not satisfactory.4. Once the mid poly has been built, it is time to fold the edges, add subdivisions and sculpt the high poly. To ensure the neatness of the character, we can turn on the stroke - LazyMouse - to adjust the delay step and delay radius.The majority of the character's equipment is hard structured and although no obvious breakage or textured structure is visible in the original painting, we still need to sculpt some textures to show its materiality, to give the character more richness and texture, and the hard structure build needs to show a sense of layering.!Make a Beautiful Elf Mage in 3ds Max 8The engraving of the cloak is very time consuming and although it is made of fabric, it requires a very high degree of workmanship and the process of making it is as follows:Alpha (import) - turn vertically - press Alpha Mask - distort - expand/balloon upOnce the general shape was created, it was textured and sculpted, and the author found the following image as his reference:!Make a Beautiful Elf Mage in 3ds Max 9The model initially felt stiff when it was created as shown above. The cloak was so prominent that it was too eye-catching, so the author weakened its effect so that it would not steal the attention of the character from the viewer.The neatness of the hair and folds is very important. If the hair and folds are not sculpted naturally and neatly, the quality of the model will plummet. So once you have made the large shape of the hair and clothing, smooth out the surface in one go. Be sure to avoid intermittent and tinkering. You can turn on the Lazy mouse tool in Strokes to help you sculpt smooth, natural lines.!Make a Beautiful Elf Mage in 3ds Max 10The process needs to be carried out using both sculpting and patching to avoid a single structure for the model. It is also possible to import Alpha brushes to give more possibilities.!Make a Beautiful Elf Mage in 3ds Max 11Using the hair brush, drag it out and finally adjust it to look as it was rendered in the original painting.- The hair brush has a small feature, it is attached to the surface of the object, so before making the hair you can lay out a large outline of the hair where it needs to grow out in a relatively whole, and then pull the hair out one by one on this shape, which will save a lot of time in hair adjustment. Part 4. Rendering1. About the lightingThe author adjusted the lighting many times and finally chose to light the front with a main light source, followed by a surface light not far from the head to differentiate the top and bottom of the model to achieve the effect of light on top and dark on the bottom. A cold light source and a warm light source on either side of the model, and a secondary light behind to light the back. The top and bottom need to be differentiated, but not too dark. Even if it is dark, make sure it is not pure darkness. (As shown in the picture below)!Make a Beautiful Elf Mage in 3ds Max 122. About camera adjustmentsThe author has chosen an orthogonal view, where the perspective is not as pronounced, so that no big perspective errors are likely to occur.3. About the choice of model rendering engineThis time the author used KeyShot for the rendering, which gives a better rendering and more natural lighting, and the image below shows the final result.!Make a Beautiful Elf Mage in 3ds Max 13 ConclusionThe above is all Fox Renderfarm's explanation on how to make an elf mage in 3ds Max. Fox Renderfarm is sure you can make a very nice elf mage too. If you want to render your 3D models, why not try a render farm, which can help you render offline without any extra work on your part.!Make a Beautiful Elf Mage in 3ds Max 14


How to Convert 2D Concepts to 3D Firearms in 3DS MAX

2022-04-28

3ds Max

This 3D gun refers to the works in the game "Call of Duty", is also a style of firearms that is very popular, not only in terms of shape, but also the production of materials are top works.The main color of this 3D gun is pure black, which looks very low-key, but still gives a bright feeling, because the performance is very realistic and gives a sense of metallic heft. It is rich in detail.And we can very clearly see the difference in its roughness, highlighting, metallicity and other parameters properties. The various materials make the whole 3D gun look coordinated, and the texture of the metal is after a long time of use. Metal parts will also have fallen ash and wear. The overall style is still very much in line with the requirements of high-end games in our market now. At the same time we also look for other real firearms pictures to use as a reference to analyze the metal texture and the traces after use. 1. ModellingAny gorgeous model is slowly outlined in detail with geometric shapes, so you can initially use only simple geometric shapes, it is important to know how to grasp the proportion, as well as splitting the structure. Some structures will be more complex to do as one, UV is also difficult to expand. We can divide the barrel, the body, the stock, and the magazine parts. There is a scope that can be done separately. After determining the shape, then go to each piece separately to add lines to outline the structure and refine.!How to Convert 2D Concepts to 3D Firearms in 3DS MAX 2!How to Convert 2D Concepts to 3D Firearms in 3DS MAX 3 2. Optimization ModelingIn this part you have to pay attention that you need to try to produce all visible structures. Proportions are still important, and inaccuracies need to be fine-tuned. When it comes to the finer parts you must not focus on only one structure to do. Delay too much time in a structure, the final bulk may lead to overall incoherence.!How to Convert 2D Concepts to 3D Firearms in 3DS MAX 4!How to Convert 2D Concepts to 3D Firearms in 3DS MAX 5 3. Modelling High PolyYou need to be careful not to let the high poly have a distorted surface as much as possible. The best line is a loop line. You can add the chamfer command in the model editor to adjust the softness of the line, and add the turbosmooth command, provided that the low poly is divided into smooth groups first. If the chamfer command does not work well and needs to be modified, you can also adjust it manually. Ensure the smoothness of the lines at the corners and reduce defects.!How to Convert 2D Concepts to 3D Firearms in 3DS MAX 6!How to Convert 2D Concepts to 3D Firearms in 3DS MAX 7 4. Modelling Low PolyLow poly is obtained by reducing the number of faces by high poly. Some structures or lines that are very messy are not suitable to be reduced. You can use topogun to topology to get low poly, and then make adjustments in 3DS**MAX. Try to make the low poly wiring neat, do not have a distorted surface, in order to facilitate future UV work, improve the utilization of UV.!How to Convert 2D Concepts to 3D Firearms in 3DS* MAX 8 5. UV Unwrap Low PolyHere you can see that the uvS are very fragmented, and there needs to make a certain gap between each uv, because the mapping is a pixel concept, if the gap is too small will lead to the interpolation of your mapping pixels, and it will be very difficult to deal with the location of the seams when drawing.!How to Convert 2D Concepts to 3D Firearms in 3DS MAX 9Also need to pay attention to the placement of the uv, one is the spacing, one is the size of the ratio, the structure with a relatively large area, or the place with many details. You can enlarge the uv a little, so that the uv accounts for a larger area, the accuracy of the mapping is also increased. 6. Bake NormalsThe normal line is equivalent to the high poly model, and there are many ways to bake the normal line, 3DS**max can do it, Substance Painter can also do it. We use Substance Painter to name the baked normals.!How to Convert 2D Concepts to 3D Firearms in 3DS** MAX 10The first thing to do is to match the high and low poly models inside 3DS**max** to split the structure. Do not bake where the model is interspersed, or the articulation will have a serious black edge.After splitting, naming. Similarly, the same structure of high and low poly models, the naming should correspond, for example, qiang_low corresponds to qiang_high naming suffix.Low poly models are exported in FBX format, high poly models are exported in OBJ format. It is recommended to export in batches, because if the normals need to be modified, you can focus on that batch for modification and then pour it in, which is much more efficient than the whole export. Less waiting time.Substance Painter baking normals: with average normals (average normals selected), the structure of the hover piece will be distorted, but the edge seams will be fine. The effect of using vertical normals (without average normals selected) is the opposite of average normals.Sampling 44After getting the two normal maps, use Photoshop to merge the UV selection maps: vertical normal - average normal, sorted from top to bottom.Select the selection map to reduce a few pixels and then enter the vertical normal to add a mask directly.!How to Convert 2D Concepts to 3D Firearms in 3DS MAX 11 7. TexturingFirst, create several groups corresponding to the entire gun with several materials, then put a fill layer in each group to give a different color, and then add a color selection mask to the group and select the corresponding structure.!How to Convert 2D Concepts to 3D Firearms in 3DS MAX 12Make each piece of structure has a basic formula, first make the basic material (base color), then make a bright dark color to highlight the volume of the heavy feeling (fill layer + black mask + generator), and then make bump, mottled, dirty, old, dust, scratches and other details.!How to Convert 2D Concepts to 3D Firearms in 3DS MAX 13Now is time to export the mapping. Use the shortcut Shift+Ctrl+E to export the texture. And export Substance Painter's background scene image, because you will need it later.!How to Convert 2D Concepts to 3D Firearms in 3DS MAX 14 8. RenderingHere we use the Marmoset Toolbag, but you can also use Fox Renderfarm for a faster cloud rendering. First import the model FBX file into the Marmoset Toolbag, then find the location of our Substance Painter mapping and the scene map, give the model a material ball, and paste our mapping on the right side of the Marmoset Toolbag. Click FlipY to flip it.!How to Convert 2D Concepts to 3D Firearms in 3DS MAX 15Then select the image in Sky and choose the Panorama.exr environment image in Substance Painter, change the environment background to darker. You can also change the Mode to Color according to your personal preference.!How to Convert 2D Concepts to 3D Firearms in 3DS MAX 16Then play two lights to illuminate the sense of volume, add sharpening inside the camera, adjust the curve. These can be set in the rendering menu.!How to Convert 2D Concepts to 3D Firearms in 3DS MAX 17!How to Convert 2D Concepts to 3D Firearms in 3DS MAX 18Click Settings to set our picture size accuracy.In Image you can adjust the Width, Height and Sampling. The higher the sampling, the higher the precision of our image, but it means a slower output. Choose the output format. Just leave the rest as default. Click F11 to output the image.!How to Convert 2D Concepts to 3D Firearms in 3DS MAX 19 SummaryAbove is all the explanation, now you can try it yourself to convert 2D concepts to 3D firearms. Maybe you also want to learn how to make the hard surface of firearms. Fox Renderfarm always provides you with first-hand news about 3D modeling and cloud rendering services.Thanks for reading!


Using 3ds Max to Copy a Legendary Hemok of Apex Legends Production Tutorials(3)

2021-06-29

3ds Max

Fox Renderfarm, the best cloud render farm in the CG industry, still share with you the tutorial about using 3ds Max to copy a legendary Hemok of Apex Legends production tutorial from 3d artist Michael. And this is part three, for part one you can click here") and for part two you can click here"). TexturingAfter all the MSP baking is over, you can start texture production. I will take some of them as an example of how to make textures.I use part of the metal structure as an example, all materials are actually the same. First, the most important thing is the basic texture. The color selection in this step is very important because all the subsequent effects will be superimposed on the basic texture. The correctness of the basic texture color tendency can almost determine the overall color of the model.!Using 3ds Max to Copy a Legendary Hemok of Apex Legends Production Tutorials -8Next, I use the metal edge generator for bright colors and the dirt generator for dark colors. I only need to control the range and color to enhance the light and dark parts of the model.The next step is to add some color changes to the model so that the colors are no longer monotonous. Because it is metal, rust, scratches and other effects can be added to strengthen the metal texture in the process. It should be noted here that these dirty and old need to be adjusted. If necessary, you can add a drawing layer to manually control the range.To add roughness changes to the model. Because after the firearm is used for a long time, there will definitely be signs of friction, handprints, etc., rust and scratches, etc. I need to make some changes to prevent the surface of the model from being too smooth, and that model will look fake.The last step is to add the patterns and decorations of the weapon body. I imported the pictures made in Photoshop into Substance painter. After adding the layers, I use the mapping function to draw them. The light effect can open the emission channel. The height effect can open the height channel.It can be said that the main method I use is basic material + bright and dark colors (to highlight the volume of light and dark) + color changes (increase color diversity) + roughness changes (to make objects more life-like, more real) + mottled, dirty, scratched the details such as marks, rusts, breakages, etc. It is easier to find and modify different structures by distinguishing groups and naming them.!Using 3ds Max to Copy a Legendary Hemok of Apex Legends Production Tutorials -18There is a little trick, when making the effect, pay attention to choosing Tri-planar Projection as much as possible, because the default UV Selection is based on the UV texture we made to superimpose the effect and show it on the model The effect is sometimes not very good, and the three-sided mapping is based on the model to superimpose the effect, which is more accurate.!Using 3ds Max to Copy a Legendary Hemok of Apex Legends Production Tutorials -19 RenderingAfter finishing the texture map, you can export the texture map for rendering. There are many options for lighting production. I used the most common method: main light + auxiliary light + contour light. In addition, I chose to follow the light direction of the original painting. After observation, I found that the original painting used a total of six different lights. For my model, I chose five lights, namely main light, auxiliary light, contour light, top light, and bottom light. The main light direction mainly adopts warm light, and the auxiliary light mainly adopts cold light, creating a kind of conflict between cold and warm. For the visual effect, the auxiliary light must not be stronger than the main light.It should be noted that if you are not good at lighting or lack some experience, it is best to learn from other people's lighting effects. In addition, the auxiliary light sources other than the main light must remember to turn off the shadows to prevent the shadows from affecting each other. The next step is to set up the rendering.!Using 3ds Max to Copy a Legendary Hemok of Apex Legends Production Tutorials -7This is my final effect,!Using 3ds Max to Copy a Legendary Hemok of Apex Legends Production Tutorials -1


3ds Max Tutorials of “God of War 86"(1)

2020-11-13

3ds Max Tutorials

The fastest GPU & CPU cloud rendering services provider, Fox Renderfarm still share with you 3ds Max tutorials. This project is made by the 3D artist, Yuliang Zhou. He made the "God of War 86" in 3ds Max, Substance Painter, Photoshop, and others. In this tutorial, he will introduce his workflow. IntroductionIn this tutorial, I will share the production process of one of my works "God of War 86" finished within 3 weeks. To complete a mecha within 3 weeks, it is a big challenge. Thanks for the help of my friend Xiao Zuo. I will also share the whole production process and some techniques used, including modelling, texturing lookdev, and lighting.!3ds Max Tutorials of God of War 86 Concept/ReferencesWhen choosing a concept, it needs to make some preparations in advance. When I saw the figure of the 86 Mecha Ares, I was like making a 3D model of it. The production of this model is not difficult, but it has a lot of small parts that take time to produce. And the difficulty lies in whether the overall proportions can be the same as the original image. !3ds Max Tutorials of God of War 86I really like to add some of my own ideas when making models to enrich the work, so I will also find some reference pictures of other mechas on the Internet before starting to make them.!3ds Max Tutorials of God of War 86 BlockingOnce the concept is clarified, we can start to make the model. The first step is to use the blocking of the basic shape BOX to make the appearance. In this process, we must ensure that the basic shape is the same as the appearance of the reference. It does not need to be smoothed. We can make the foundation body in all places first. When the foundation body is done, open all the parts, and then make the details for each position. Do not start with small parts in a certain part from the beginning.!3ds Max Tutorials of God of War 86I added some details to the model, such as the anti-collision bar of the head guard, pipes, wires, and some small parts to make the mecha more realistic. Hence, it is really important to find references! Next, I will briefly explain the process of a part when I make a mid-poly model. Here I have selected the main body of the head.!3ds Max Tutorials of God of War 86We can see the basic shape of the head, the part of the red frame is a cuboid with a smaller front part. The green line is where the model is recessed. It takes time to make a slightly complicated structure like this. Once we have ideas, it will be relatively simple for us to start production. After adjusting the points and adding lines, we get the following model,!3ds Max Tutorials of God of War 86Next, let’s look at the yellow circle again. It is obvious that there is a model similar to a lighting lamp stuck in the brain in the yellow circle. At first, I thought that just make a lighting lamp and insert it directly. But after I tried it, I can obviously see that there will be many connection problems in the interspersed place, and it will obviously feel fake when making the material. I will release the comparison chart below,!3ds Max Tutorials of God of War 86!3ds Max Tutorials of God of War 86It can be clearly seen from the above two pictures that the method of using Boolean to create a pit in the first picture is obviously more realistic and reasonable than the direct interspersed in the second picture. In contrast, there will be a little difficulty in the card line.Part 2 and Part 3 will be continued soon.


3ds Max Tutorials of “God of War 86''(2)

2020-11-16

3ds Max Tutorials

We can see that the heads of these mechas all have a bumper similar to the head protection. So we can consider adding this detail to the head position when making the head.!3ds Max Tutorials of God of War 86In order to consider the rationality, I added a model similar to a retainer at the end of the protective bar and added some similar protective sleeves to reduce impact in the middle.Next, we continue to analyze the references.!3ds Max Tutorials of God of War 86!3ds Max Tutorials of God of War 86On these mechas, there are obviously similar wires and small pipes interspersed on the model. This is what we want because these will make the mechas more accurate. So when I make these details, I also have to consider whether I was reasonable or not.!3ds Max Tutorials of God of War 86!3ds Max Tutorials of God of War 86!3ds Max Tutorials of God of War 86!3ds Max Tutorials of God of War 86!3ds Max Tutorials of God of War 86By constantly adding details, the mecha model is made to look a little more refined, and the presence of those parts looks real and reasonable. High PolygonI use the traditional way of making hard surface models and the Chamfer plug-in. The higher version of 3ds Max comes with a Chamfer plug-in, which will cut corners and card lines based on the distinction of smooth groups, which is very useful for hard surfaces making. This is a screenshot according to Chamfer:!3ds Max Tutorials of God of War 86It should be noted that in the From Smoothing option, we need to check the third Unsmoothed Edges option. In the Tension option, we also need to call up our desired edge between 1 and 0 according to the effect.One more thing to note is that before using Chamfer, the smooth groups must be distinguished. All surfaces do not need to be connected to a quadrilateral, but there will be no problems if the lines are connected to a flat surface.It can be seen that the effect of using Chamfer is very good, saving us a lot of working time, and improving work efficiency very well!!3ds Max Tutorials of God of War 86!3ds Max Tutorials of God of War 86 Low PolygonLow Polygon production is actually a very simple step. It just needs to copy a set of High Polygon models to reduce the lines on the model without affecting the appearance. Since this is personal work, there is no need to be too strict on the number of faces, and it can be relaxed appropriately.Low Polygon!3ds Max Tutorials of God of War 86The part 3 will be continued soon.


How to Make A Tomahawk in 3ds Max

2020-11-23

3ds Max Tutorials

1 month rendered in 2 hours, the fastest GPU & CPU cloud rendering services provider, Fox Renderfarm still shares with you 3ds Max tutorials, how to make a tomahawk in 3ds Max. IntroductionHello everyone! What I want to share with you today is to use 3ds Max to make a tomahawk and share some skills and techniques used in the production process. This is a relatively basic tutorial, including modeling, sculpting, pbr texturing. ConceptThis tomahawk was inspired by a weapon concept image in "World of Warcraft". It looks cool and looks very beautiful. So I want to make it into a 3D version in my own way.In the concept drawing, I first observed the outline of the front and side and modified some details. These main structures are very important for making the model. We can see the white and black side profile in the figure below. The black is obviously more three-dimensional than the white.!How to Make A Tomahawk in 3ds Max ModelingFirstly, I split the model into three parts, the handle, the main body, and the axe body on both sides. Each part is modeled in the most suitable way, and then merged. This part is very easy and simple to make this type of mode in 3ds Max.!How to Make A Tomahawk in 3ds Max!How to Make A Tomahawk in 3ds Max!How to Make A Tomahawk in 3ds MaxThe axe body on both sides of the battle axe is very important, so its shape is very important. The thread exists for structure, so please add enough thread at the turning point, and pay attention to the thickness of the axe since it needs to have layers. Models that can be made separately, please make them separately. Use as few faces as possible, and make transitions as smooth as possible.!How to Make A Tomahawk in 3ds Max UVsUV production can be divided into four parts,- Plane projection: put the messy uv in a box.- Dismantling: adjust the UV without stretching and saving space.- Operation: solve stretching.- UV placement: a. The UV of objects with a larger model can be enlarged, and the UV can be reduced if there is less texture information; b. Try to optimize the UV space, and then the seams.!How to Make A Tomahawk in 3ds Max TexturingNow that the model is complete, we can start making textures. Firstly, I filled in the background color. For example, If the overall concept map is blue, fill it with blue. If the overall concept map is red, fill it with red.!How to Make A Tomahawk in 3ds MaxWe can use the concept map for reference. As the background color, don't use too dark or too bright colors.!How to Make A Tomahawk in 3ds MaxThe next step is to create a hand-painted texture. There is a concept map for reference, just follow it to draw it. When drawing, pay more attention to the light source. I want it to look like a cold light source illuminates from the upper left, so that it can have a good sense of volume. In this step, large blocks of colors and changes need to be drawn, and no details are needed.!How to Make A Tomahawk in 3ds MaxNext is the details. It should be noted that no matter what we draw, such as bandages, decorations, and bumps on the handle, we need to pay attention to the sense of volume.!How to Make A Tomahawk in 3ds MaxFinal effert:!How to Make A Tomahawk in 3ds Max


3ds Max Tutorials of “God of War 86”(3)

2020-11-17

3ds Max Tutorials

The following is the process of making textures.I plan to make it look like a battlefield. Its appearance is rather worn, not so new, there will be some dust, stains and other things, showing a sense of oldness. Then, we can start making textures.First, make the most basic texture, which is divided into three layers, inherent color, light, and dark. These three layers of texture are the most critical. Only when these three layers are superimposed can the effect of worn-out dirt be better. What still needs to be considered is what other details will be on the metal surface. It is best to look for references.!3ds Max Tutorials of God of War 86As we can see in the above references, the details on the metal surface are still rich, including dust, scratches, breakage, paint peeling, dark edges of objects, strong reflections, rough surfaces, etc. Of course, the fastest way is to directly use the material that comes with Substance Painter to test what we need. Other textures are made in the same way, including wood, plastic, and so on.Since the color of the texture and the color of the metal are both cold, it is necessary to add some color changes to the metal when making the texture, such as adding some warm stains, so that the complementary colors will not appear as monotonous.One more thing to note is that lighting should also be considered when making textures in Substance Painter. A good model must be equipped with good lighting to show the best results. If possible, we can perform a rendering test when making textures.Texture map made by Substance Painter,!3ds Max Tutorials of God of War 86 RenderingWe need to set up the light before Renderer. Since the color of the mecha and the metallic tone are relatively cold, the main light source must be a warmer light. For the backlight, I chose a purple light to illuminate the outer contours of the back. Since the mecha is still relatively large, many places are not illuminated by the main light source, so we still have to make some warm light to illuminate partially dark places.!3ds Max Tutorials of God of War 86


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