How to Use Blender's EEVEE Engine - Tutorial of 2022
Maya render farm
As the leading cloud rendering service provider, Fox Renderfarm, brings to you a tutorial about how to use Blender's Eevee engine. Blender is a great 3D software with a real-time rendering engine - Eevee. Similar to unity3d and unreal, this engine can create, adjust, and represent 3D objects and materials by using PBR workflows. How to Use the EEVEE Engine: EEVVEE uses the PBR workflow, which is the same as unity and unreal, and has both Metallic and Specular workflows. As shown below, you can choose the nodes you need: There are four textures required for the Metallic process:1. Base Color 2. Metallic 3. Roughness 4. Normal There are four textures required for the Specular process:1. Base Color 2. Specular 3. Roughness 4. Normal Of course, these four textures are basically required. If you have other textures, you can import them for free. Below we import the model Correspond to the texture, plus HDR map Well, the effect is not bad. But there are a few more features that make the picture look better, and then find the Post Processs Stack in the properties bar. They are:1. Ambient Occlusion Ambient Occlusion2. Motion Blur motion blur 3. Depth of Field Depth of Field 4. Bloom glow 5. High energy part Blender's latest version of the Cycle engine has joined the Principled node of the PBR process. This node is used to render the material that uses the PBR process offline. Already convenient, right? However, after seeing a lot of official documents and trying, I found that the Principled rendering node, working in both the Cycle engine and the EEVEE engine, and the effect is close! What does this mean? The following two images are shown, which are the same model, the same set of textures, the same material nodes, and the same lighting. In short, the settings are the same, that is, the real-time rendering and offline rendering engine switching. From-cycle Eevee engine screenshot Only switch the Cycle engine and open the window for real-time rendering Although there are differences, they are basically similar. The traditional rendering process is as follows: Vray or Arnold for Maya 1. Draw a texture It may be a PBR process, perhaps a traditional process, in a substance painter, Quixel production, or other software. However, there is no guarantee that the material preview will be the same as the final render. 2. Rendering testImport textures into Maya and test renderings using Vray, Arnold, or other rendering engines. And confirm the final model material assets. 3. Adjust the light according to the lens The rendering staff lights in different movie scenes according to different environments. With Maya plus Vray Arnold, rendering tests can take a lot of time and eventually render the final film. With Eevee's Blender, these four steps will reduce the time of production and are more friendly to the creator:Blender_EEvEE_Cycle_workflow 1. Draw a textureWhether you are making a texture in the substance painter or Quixel, as long as it is a PBR material, you only need to pay attention to the effect of the material at this time, because the effects of the EEvEE and Cycle engines will be basically the same. 2. Rendering test Importing the texture of the PBR process into Blender, whether it is EEvEE or Cycle engine, the performance is quite consistent with the software for making the material. Here, you can use the EEvEE real-time rendering engine to quickly create a variety of lights, a variety of ambient light, and quickly view the interaction between your material and light.And you can switch directly to Cycle without any adjustments and directly render offline. Cycle can also render in real time in windows, and it is very fast. It also saves a lot of guessing and waiting time. It is more convenient to light up than before, and the effect can be seen directly, and the rendering is basically the same. 3. Adjust the light according to the lens In this step, the rendering can be quickly illuminated with EEvEE and interacted in real time. You can see the interaction of light with the surface of the object, closer to the final result.Then directly switch Cycle offline rendering to further adjust the final rendering of the finished product, real-time and fast. We hope this will give you some inspiration and help. Fox Renderfarm is an excellent cloud render farm for Blender, so if you need to find a render farm, why not try Fox Renderfarm, which is offering a free $25 trial for new users.Article From DigitalCat
The Best Cloud Rendering for Maya of 2022
Maya Cloud Rendering
How to Render in Fox Renderfarm?If you have made an interior design and want to render it at 3600x2500. A normal computer will take at least 3 to 6 hours, but with a cloud rendering service, the rendering time can be less than 1 hour by simply uploading the file to the desktop. Cloud rendering is several times faster than a house rendering farm. And it doesn't take up the producer's machine during the rendering process. And for the producer, you don't always need to be in front of your computer, you can view the rendering results anytime, anywhere. Let's see how to render with Maya** render farm!Let's take the Maya web submission process as an example, only 4 steps in Maya** render farm: submit > analyze > render > download. First you need to sign up to Fox Renderfarm, then you will be taken to the cloud rendering page.!Fox Renderfarm cloud rendering!Cloud Rendering for Maya 3Step 1. Click the "Submit" button on the left, select the software for submission> set a project path (Note: select a project path to map the local Maya project path)> select the document for rendering, after that, click "Next".!Cloud Rendering for Maya 4Step 2. Add software configuration after submitting the job (Note: selection of the rendering system), click "Go Analysis" and wait patiently for the analysis to be completed.!Cloud Rendering for Maya 5Step 3. Click the job with "Analysis Done", set render parameters and then submit it for rendering (Note: the rendering actually starts only at this job)!Cloud Rendering for Maya 6Step 4. On the rendering page, click the job > export the file > download.!Cloud Rendering for Maya 7Here are some projects that also use a cloud rendering services: ConclusionA good cloud rendering for Maya can make your files render faster and better. Not to mention that most online cloud rendering services offer free rendering vouchers. Fox Renderfarm, for example, offers a free $25 trial.
Maya Tutorial: How to Make An Axe (2)
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In this part, the best CPU&GPU render farm, Fox Render**farm continues to tell you how to make an axe.- Maya Tutorial: How to Make An Axe (1)")When I feel that there is no problem with the overall shape, I can start the middle mold of the detailed blade part. Continue to refine the three structural parts that were just split.We have refined the structure of the three parts. At this point, the basic shape of the entire model has basically reached the structure in the concept map.!Maya Tutorial How to Make An Axe!Maya Tutorial How to Make An Axe!Maya Tutorial How to Make An Axe!Maya Tutorial How to Make An AxeIf these details are attached to the basic structure, if it is not easy to make in Maya, you can use the advantages of ZBrush's rapid sculpting for quick sculpting.!Maya Tutorial How to Make An Axe!Maya Tutorial How to Make An AxeThis stage is just a transitional model, there is no need to sense volume or sculpt, like some smaller details, I just quickly generated the basic shape attached to the details on the whole.These are very time-consuming if they are directly modelled in Maya or 3ds Max, so what we need is to use the advantages of each software to quickly achieve the final effect. The software used is not important, the effect is the final.The specific operation is also very simple:- Masking- If the generated thickness is too thick, adjust the thickness and generate again- Separation model- Then adjust the shape according to the original painting.!Maya Tutorial How to Make An AxeWe need to take the topologies of the models planned in ZBrush into low-polygon models and import them into Maya for further mid-model refinement. Finally, some detailed models such as nails and ropes are put on, and then the models are merged, and the preparatory work is done for the model carving. At the edge, I deliberately added some notches and bumps to make this axe look like it is often used.!Maya Tutorial How to Make An Axe SummaryWhen making this model, there are more cumbersome parts. Don't be afraid. Just break the 2D concept map into many small parts, and then distinguish the priority and make it step by step according to the previous plan.Then sculpt some worn details to the model in ZBrush. Then you can go to ZBrush to carve some broken details. In this process, you need to pay attention to the overall structure and don't make too much detail. Do it first, then do it again, otherwise, the model will look too trivial.!Maya Tutorial How to Make An AxeThere are no details everywhere because they will distract the viewer. We only need to have relatively large damage in the distant view, middle-level details in the mid-range, and close-range views to see the texture of the details, and all the things can be combined to form a very beautiful model.When making a model, you will need to make the main character first, and then other accessories. The overall model's picture needs to be coordinated, instead of focusing all the energy on a broken sculpture. We need to use damage and details to set off the subject, not to make those details too attractive.!Maya Tutorial How to Make An Axe!Maya Tutorial How to Make An AxeBy now you should know how to make an axe in Maya. We hope you can learn something from it. Fox Render**farm is an excellent cloud rendering service provider, so if you need to find a render farm, why not try Fox Render**farm**, which is offering a free $25 trial for new users.
Maya Tutorial: How to Make An Axe (1)
In this article, Fox Renderfarm, the best cloud rendering service provider in the CG industry, shares a tutorial from 3D artist G on how to make an axe with Maya.G is a 3D artist and has been engaged in model making for the game industry. Before entering the CG industry, he also made many mistakes that the beginners would make. In the process of making some 2D concept drawings into 3D works, he gradually realized that as a 3D artist. From flat thinking to three-dimensional thinking, it is necessary to have a good analysis and judgment ability for the understanding and grasp of the sense of space, especially when the 2D concept map is produced in 3D.G will mainly show the production process of the model and explain how to decompose the 2D drawing into a 3D drawing. I hope this article will be helpful for beginners. ReferenceI looked for a cool weapon concept map as a reference. The concept map of this axe has beautiful lines and a simple structure, which is very suitable for 3D.!Maya Tutorial How to Make An AxeBefore making it, I will observe the concept map first, and then have a blueprint in terms of structure, proportion and colour scheme. Take the following picture as an example. This axe looks very sharp, and the middle position is thicker, forming a strong contrast. Moreover, we need to infer the thickness and curvature of the side from the ratio and contrast of light and shadow, which is very important.!Maya Tutorial How to Make An AxeCompared with the two weapons, the first one I personally feel is that it is not a knife, because it does not have a sharp blade similar to figure 2, so it must have a heavy texture. In addition, there are sharp thorns on both ends. I can imagine the way this weapon is used. It should first stun the opponent like a hammer, and then pierce his vitals with the spikes. It's bloody to think about it. Since this weapon is very heavy, I would imagine that the person using it should be very strong and domineering!Preparatory work is very necessary. If you need more, you can find more reference pictures, such as the thickness reference of the side, otherwise, the model will be unreasonable. ModelingMy habit is to decompose the weapon according to the structure of the original concept painting before making the model, especially for this very complicated weapon, this step is more important. No matter how complicated things are, as long as they are broken down step by step, they will not be so complicated.The important point is that you should not directly make it on the basis of the concept map. If one of the structures has a problem, then a lot of repeated modifications are required, so that you need to redo it. This will be a waste of time and will lengthen the production cycle. Therefore, the early disassembly analysis is very important.In this project, first of all, we need to determine the main shape, which is basically divided into two parts: one part is the definable thing, the handle, etc.; the other part is the main body of the blade.My principle of production is the structure must be made with the least amount of surface in the early stage.!Maya Tutorial How to Make An AxeWhat can be determined is that some parts of the above picture, such as the handle and the bottom of the lower end, are cylindrical, so you can make all these simple things first, and give a reference to the width of the blade.The main body of the blade is as follows:!Maya Tutorial How to Make An AxeThe main structure of the blade is composed of two red areas as a basic structure, and other details can be ignored. Therefore, the structure of our first step is as follows:!Maya Tutorial How to Make An AxeThe model of the blade must be made with the least number of faces, and the whole structure must be made first before the other things. This production step requires a lot of patience and time because we need to modify the shape as much as possible to be similar to the concept map in a small number of faces. Because this low-profile model will be a draft of our final effect. Of course, you can also import the reference image into the background image as a reference.!Maya Tutorial How to Make An Axe!Maya Tutorial How to Make An AxeNow follow the leading cloud rendering service provider, Fox Renderfarm, to the next part of the tutorial: Maya** Tutorial: How to Make An Axe(2)").
Behind the Scenes: 3D Game Scene
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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
Creating A Game Character “Yae Sakurain” In ZBrush And Maya
Maya render farm
In this article, Fox Renderfarm, the best render farm in the CG industry, will share with you a Maya tutorial about how to create a game character “Yae Sakurain” in ZBrush And Maya. This tutorial is written by 3d Artist Sakura. This style is to use three-dimensional methods to achieve the artistic expression of two-dimensional visual style. So I chose the character Yae Sakurain in the game "Honkai Impact 3'. This is a challenge for me. This article is from looking for references in the early stage to the final model making.This article will not describe too much technical skills, but hope to share the production process and some ideas from a design perspective.Software used:- PureRef: Reference collation- Zbrush: Characters & costumes- Maya: Topology & UV- Xgen: Grooming- Mari: skin map- Substance Painter: texture map of other parts- Arnold: lighting material rendering InspirationWhen I saw the design of the character Yae Sakura in the "Honkai Impact 3'', I was attracted by its design, personality and expressiveness. Its facial features and ears are a bit like a bunny girl, as well as color matching and body proportions.!Honkai Impact 3!Honkai Impact 3!Honkai Impact 3 ReferenceThe difference between reference and inspiration is that reference is based on having inspiration as a general direction guide, and then adding more. Collecting references helps guide oneself to find the right direction, and at the same time it is not easy to go wrong in the production process.It is a more realistic style. At the same time, I also found a lot of references for Japanese kimonos and skirts, head styling, expressions, hair, etc. The character requires a lot of refinement of key features to better show their ideas. This personal project took a lot more time to find references than my other projects.!Creating A Game Character “Yae Sakurain” In ZBrush And Maya ModelingLarge stage and detailed stageIn the large-scale stage, I first built a basic structure in Maya. I like to start with the whole and grasp the overall proportional relationship to a certain extent. It can be seen that this role belongs to NPR. The characteristics of NPR mainly focus on styling design, large scale relationship and color, and the treatment of light and shadow.If you do this directly, the direction is incorrect. And the structure on the model will be too flat. Especially using the PBR process, there is no cartoon material effect, such a model does not have enough features.!Creating A Game Character “Yae Sakurain” In ZBrush And Maya!Creating A Game Character “Yae Sakurain” In ZBrush And MayaSo through the combination of these references, a rough proportion is formed in the mind and built in the software. In this way, we can slowly enter the detail stage with a holistic way of thinking, without chaos. Of course, you can find some models to fight together and adjust the shape to save some time. Various methods can be tried.!Creating A Game Character “Yae Sakurain” In ZBrush And MayaIn the detail stage, I will try my best to express the different characteristics of the model, and then the model can show some sense of hierarchy at this stage. This can predict some effects after the texture map is applied. But it does not mean that the model is finalized at this stage. After all, although this has a reference to the original painting, it is a secondary creation on this basis.So if the texture map is not suitable, it will return to the model stage for adjustment. After the appearance is determined, the detail stage is also very important. In many cases, the comparison and level changes between models are presented by the characteristics of different shapes.For example, the folds of the kimono, the embroidered patterns on the top, the shape of the skirt, the changes in the fold structure on the top, and how many different model structures are on the mask, sword, and rope. Observe the above features, analyze and disassemble them and make them all, if they are not good, you can delete them.!Creating A Game Character “Yae Sakurain” In ZBrush And MayaFor this project, I used Zbrush mainly to deal with some fabric and shoe models. Clothes and shoes do not need to be worn, but they are not completely unused. So some folds were added to make the model look authentic.I didn't use Marvelous Designer for the clothes, because those things are not complicated, and almost all of them are made directly using ZBrush.!Creating A Game Character “Yae Sakurain” In ZBrush And MayaAfter completing the topology in Maya, occasionally I will return to zbrush to adjust if I am unsatisfied, and repeatedly modify it back and forth. At the same time, in order to get more structural levels and details on the model, and to make some rhythmic distinctions between different models, the subdivision of the cloth is still given enough surface.Primary and secondary and rhythm changes. This part needs to be finalized at the model stage. Regardless of whether it is clothing or props, I have made trade-offs as much as possible in the details of the relationship with the characters. After all, it can't be details, or no details. There will be a lack of rhythmic changes in the expressiveness of the entire styling. I used the appearance changes of clothing and skirts to break the overly flat outline of the entire model, and at the same time used props to reinforce this.!Creating A Game Character “Yae Sakurain” In ZBrush And Maya TexturingMari and Substance Painter are used in the texture part. I first finished making the skin. Then the most important part begins, the production and color matching of other parts, as well as the material details. Of course it was done separately, for the same reason.For the texture mapping of the components, observe the real photos made by others or analyze the logical hierarchical relationship between them. It can be done layer by layer, the important thing is to observe and disassemble and analyze. For example, have you tried to show some texture particles, dirt, thread ends, and high light reflections on the clothing?In fact, to some extent, we need to have a certain understanding of the properties of the shader, whether you know how to use basecolor, metallic, roughness, normal, and sss textures. How do they affect each other? Basic knowledge is important.!Creating A Game Character “Yae Sakurain” In ZBrush And MayaOne of the more important reasons that problems exist is that there are too many details, and there is no planning in the early stages, resulting in details everywhere. One difficulty with this character is that the costumes are white. White is a color that is harder to produce effects. If you don't do it, the texture map of the entire costume will appear very thin, and doing too much will steal the attention of the character.In the end, I chose to add some different types of embroidery effects to the white clothing, especially the cherry blossom pattern on the large sleeves, to ensure that it conforms to the cultural background. It’s easier to say, but I don’t know how many times I have tried repeatedly when I did it. The color matching is relatively good. The design of Yae Sakura has helped you to adjust the color matching in place, mainly controlling some parameters such as saturation.!Creating A Game Character “Yae Sakurain” In ZBrush And Maya Grooming and lightingAfter finishing most of the texture maps, I will try to set up a set of basic light sources in the scene, mainly for auxiliary hair test rendering.These two are the core references:!Honkai Impact 3!Creating A Game Character “Yae Sakurain” In ZBrush And MayaBased on these two references, I found some other references. The final references are as below.!Creating A Game Character “Yae Sakurain” In ZBrush And MayaFirst, solve the large structure and the direction of the hair with the larger main body. Then add some fine splits based on the big trend, and finally add some broken hairs and so on.!Creating A Game Character “Yae Sakurain” In ZBrush And MayaIt can be seen that the hairstyle and lighting still affect the facial emotion expression of the characters very much. Take a closer look at each of them.!Creating A Game Character “Yae Sakurain” In ZBrush And MayaI try to grasp the characteristics of the role of Yae Sakura, such as the feature of her hair spreading to the ends, and the hierarchical relationship between bangs and temples. And the spread of the long hair rests behind the open styling. Because I didn't want this character to be too cartoonish, I looked for some realistic style references.!Creating A Game Character “Yae Sakurain” In ZBrush And MayaLighting rendering, first of all, I wanted to make it in the style of the first picture. After I have a foundation, I hope to express the feeling of sunlight on the hair and body in the fourth picture. At the same time, because there is a stronger light source in the scene, the overall light will be brighter. I found the second picture and the third picture to supplement. Of course, there are still many pictures to support. In order to better refine the views of this article, I have selected these four representative references.!Creating A Game Character “Yae Sakurain” In ZBrush And Maya!Yae Sakurain SummaryThe conceptual design and reference diagrams before making are very important. Basic software technical knowledge and design theories can help you improve your work. Details, proportions and composition are very important for perfect results. If you are looking for a cloud rendering service, why not try the fast and TPN-accredited cloud render farm, Fox Renderfarm**, who offers a $25 trial? Thanks for reading!
3ds Max Tutorials: Semi-realistic 3D Game Scene Interior Production Sharing (2)
3ds Max Render Farm
Fox Renderfarm, as the best Maya render farm in the CG industry, the tutorial we shared for you this time is from the 3D artist Thepoly, on how to use 3ds Max and Maya and other software to make a semi-realistic 3D game scene interior production process.- 3ds Max Tutorials: Semi-realistic 3D Game Scene Interior Production Sharing (1)")Taking the wooden table as an example below, first of all, we must determine the material to be sculpted and then look for the reference picture corresponding to it. 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,!3ds Max Tutorials Semi-realistic 3D Game Scene Interior Production SharingThe carving process needs to be combined with actual life, so as to achieve a more realistic effect. In this scene, the wooden table is a bit decayed, so the edge of the table will not be made into a hard and sharp right-angle structure, so you can use a brush to make the right-angle part of the edge more smooth when carving. Reflect the texture to be expressed. Coupled with appropriate deformation, it can more vividly increase the visual impact (the modified place is slightly adjusted with the Move brush).!3ds-Max-Tutorials-Semi-realistic-3D-Game-Scene-Interior-Production-SharingThe wood in the scene has to make a sense of oldness, so cracks are a good way to show that the objects are worn out, and reference pictures are also needed at this time. For example, the cracks on the window plate can be carved according to the cracks in the reference picture. This can reflect the material better, more realistically, and faster.!3ds-Max-Tutorials-Semi-realistic-3D-Game-Scene-Interior-Production-SharingThe final high poly showed as below:!3ds Max Tutorials Semi-realistic 3D Game Scene Interior Production Sharing Low polygon model and bakingThe final low-poly model uses ZBrush to complete the reduction and then imports into Maya to make the final low-poly model. This can get the low polygon model faster, but the wiring will be less neat. Note that near 90-degree angles, it is necessary to distinguish between smooth groups and split UVs.!3ds Max Tutorials Semi-realistic 3D Game Scene Interior Production Sharing!3ds Max Tutorials Semi-realistic 3D Game Scene Interior Production SharingThe final baking used Marmoset Toolbag 3. Material productionAfter baking all normals and IDs, 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. After successful import, the remaining textures are baked in the texture set-baking model texture. Wall material basic processFirst, we make the intrinsic color of the material. The intrinsic color layer can add filters to increase details.!3ds Max Tutorials Semi-realistic 3D Game Scene Interior Production SharingTo add dark colors, use the Dirt generator. Add a drawing layer to repair some unsatisfactory areas. Add bright colors and color changes to create a rough effect of wall corruption. Here mainly relies on hand-drawn layers to modify. Continue to add color changes and roughness changes. Try to get as close to the real effect as possible.Finally, you can add an adjustment layer to increase the brightness. The material made in Substance Painter should be led to Marmoset Toolbag 3, which will be a little lower than the brightness seen in Substance Painter. The wall material is finished.!3ds Max Tutorials Semi-realistic 3D Game Scene Interior Production SharingThe furniture in the scene is gray and dark because of the old feeling. The damage and abrasion are to reflect the original color of the wood, so the saturation of the color will be higher than the color of the surface.!3ds Max Tutorials Semi-realistic 3D Game Scene Interior Production Sharing 3. RenderingBefore finally importing into Marmoset Toolbag 3, the lights must be set before rendering. 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.The final effect showed as below:!3ds Max Tutorials Semi-realistic 3D Game Scene Interior Production SharingFox Renderfarm hopes this learning and sharing can help you. If you want to know more about 3D art, rendering and events, you can follow us. As the industry's leading cloud rendering service provider, Fox Renderfarm** have continued to bring the latest and most up-to-date news of the 3D industry. Thanks for reading!
How Does Maya Make Arnold Render Transparent Textures (Tutorial Step by Step)
Maya render farm
In the Maya production scene, it is more common to use transparent maps, such as leaf, generally do not specifically engrave the leaf model when making the leaf model, but through the texture, a patch can be saved. Model engraving time, because making in large scenes is very time consuming, and small places such as leaf do not take too much time to process.The best CPU & GPU cloud rendering service provider, Fox Renderfarm, will tell you how does Maya make Arnold render transparent textures step by step. Maya Render Transparent Background With Arnold Step by StepStep 1. Create a patch in the scene. Step 2. Create a camera and lights, then we directly render with arnold in a gray patch. Step 3. We went to find a texture of the leaf, down from the Internet, there is no alpha, we posted to try, we create an aiStandardSurface1 shader ball. Step 4. We put our leaf texcure on the color and give this shader to our face. Step 5. Now, rendering work as below, we put a thing under the patch to facilitate observation. Step 6. Then consider how to remove the extra white next to the leaf, we need to deal with transparency in this parameter we can paste a black and white textures, black is no data information, that is, the value is 0, pure white is 1, so you can make the texture transparent, and then we will process the image of our leaf, make the thing you don’t need black, and make the one you need into white. In the nuke inside, here you need to pay attention to the difference, the lower version is processed in semi-transparent like the Transmission deal with Weight in pictrue. Step 7. We put the processed image in the opacity channel. Now we have the Maya leaf, and there are no edges in Maya. ConclusionBy now you should know how does Maya make Arnold render transparent textures. You may also be wondering how to set up a Maya render farm. Or you can use an existing render farm such as Fox Renderfarm, which supports both CPU & GPU render**ing.
Any Free Render Farm for Cinema 4d, Maya, 3ds Max?
Maya Cloud Rendering
I think you always search for a free render farm for Cinema 4d, Maya, 3ds Max, but you will find that a completely free render farm does not exist, to be honest, most of the platforms needs to charge due to the reasons below.!Server Fox Render**farm 1. Hardware costThe bigger the render* farm network, the quicker the rendering speed. According to the top render farm companies such as FoxRender**farm, they have over 30,000 physical servers, you can calculate the hardware cost. 2. Maintaining CostNeed to rent a room in the data centre to place all of the rendering nodes. It would also be a large expense every year. 3. Human Resource CostNeed a lot of specialists in customer service, technical support, research & development, marketing.However, you can find out which render** farm is the cheaper one, at the same time, you can get a free trial from the render farm. I would like to introduce Fox Render**farm, the best cloud rendering service in the world. It has high compatibility, supports most mainstream software and plugins, including 3ds Max, Maya, Arnold, V-Ray, Redshift etc.Fox Render**farm is a leading cloud rendering service provider in the industry. Since the operation in 2011, Fox Render**farm has earned a good reputation for its quality performance, great customer service, and flexible pricing scheme. With over 20 years of experience, the pioneering core team served more than 200,000 users and top leading visual effects companies and animation studios from over 50 countries or regions, clients including multiple awards and Oscar winners. Web-based rendering platformThe picture is the web-based interface of the platform,1. The upper right corner is message, guide, setting and account info;2. The left is rendering steps;3. The middle is the dashboard of render info.!cloud based render**ing platform Desktop clientThe picture is the desktop client interfaceReady for Windows and Linux users;Drag-and-drop batch submission;Submit your jobs inside your 3D software.!desktop client of cloud renderingReady For WindowsSupported Software：Maya 2015 64bit+ / 3ds Max 2014 64bit+ Fox Render**farm's Data Center is powered by 100% green, renewable energy:Hydro Wind turbinesPUE 1.2!Fox Render**farm's Data CenterFox Render**farm users are making a contribution to reducing greenhouse gas emissions and protecting our environment. If you want to learn more about Fox Render**farm, we offer a US $25free trial, welcome to take an experience.!best cloud rendering serviceEnjoy your journey with Fox Render**farm!What is Rendering? How to Accelerate the Rendering Speed?What is cloud render**ing?
How to Make Realistic Characters in ZBrush and Maya(2)
Arnold for Maya
The best render farm Fox Render**farm still shares with you the post about how to make realistic characters in ZBrush and Maya from 3D artist Yi Chen, and this is part two. Yi Chen showed us the workflow of his latest realistic female character. Software used includes ZBrush, Maya, Mari, Substance Painter, Xgen, Arnold, etc. About part one, please click here. TexturingAfter the high polygon model was carved, I re-split the model's UVS into 6 UVIDs and changed it to 4K accuracy. This step is mainly to draw textures in Substance Painter and also to ensure that the high-poly displacement details will not be lost in the final rendering. If you are using Mari to draw textures, then I recommend using 2 sheets of 8K accuracy.!How to Make Realistic Characters in ZBrush and Maya -1!How to Make Realistic Characters in ZBrush and Maya -12!How to Make Realistic Characters in ZBrush and Maya -10!How to Make Realistic Characters in ZBrush and Maya -5Before using Substance Painter to paint colors, we can still use Zwrap to use some scanned model textures as background colors to improve work efficiency, and then further describe the colors and details of various areas of the face based on it. In this step, I drew the Base Color, Specular, and Thinkness maps. The Thickness map will be used as the weight map of the SSS skin to locally control the intensity of the skin subsurface scattering.!How to Make Realistic Characters in ZBrush and Maya -6Please look forward to the process of material setting and lighting render**ing next time. Thank you for watching.
How to Make Realistic Characters in ZBrush and Maya(1)
Arnold for Maya
In this post, the best render farm Fox Render**farm will share with you a tutorial about how to make realistic characters in ZBrush and Maya from 3D artist Yi Chen. Yi Chen showed us the workflow of his latest realistic female character. Software used includes ZBrush, Maya, Mari, Substance Painter, Xgen, Arnold, etc. This is part one of the tutorial, part two will be continued. IntroductionI am a 3D artist. Today I will share the production process on how to create realistic characters. The model is made using Zbrush and Maya; Mari and Substance Painter are used to make textures; Xgen is used to make hairs, and Arnold is used for rendering.!How to Make Realistic Characters in ZBrush and Maya -14!How to Make Realistic Characters in ZBrush and Maya -4A Male character：!How to Make Realistic Characters in ZBrush and Maya -13!How to Make Realistic Characters in ZBrush and Maya -15!How to Make Realistic Characters in ZBrush and Maya -16!How to Make Realistic Characters in ZBrush and Maya -3!How to Make Realistic Characters in ZBrush and Maya -9!How to Make Realistic Characters in ZBrush and Maya -19 Gathering referencesBefore starting to make the model, I will analyze the concept map and collect a lot of pictures of women. Because this work does not refer to a specific picture, I could combine and match many of your favorite elements, including clothing, hairstyles, makeup, jewelry, etc. Then starting with simple sketching and compositing in Photoshop, it is better to have a concept map at least before production.!How to Make Realistic Characters in ZBrush and Maya -2 ModelingI’m used to determining the size and scale of the model before making the model. According to Anatomy, the vertical length of the head of an adult is between 22-24cm, and the diameter of the eyeball is generally between 2.4-2.5cm.And when making a model in Zbrush, we need to set the focal length of the Zbrush view camera in advance according to the picture material. The most commonly used portrait focal lengths are 85mm, 100mm, 135mm, and 200mm. Some original photographs usually include the specific focal length value of the picture. If it is a reference picture, we can roughly determine the focal length range by observing the leakage range of the front person’s ears. The gif below can be used as a reference basis. Of course, this is only a reference for the focal length of a portrait. If it is half-length or full-length, the focal length will be different.!How to Make Realistic Characters in ZBrush and Maya -11!How to Make Realistic Characters in ZBrush and Maya -7To create the model based on the reference material, I directly used Zbrush to sculpt Blocking, and the number of subdivided faces was kept at about 50 million, level 7 so that the flow model used for rendering at the lowest subdivision level can be controlled at about 12,000.After the model was modified, I continued to use the UV split tool that comes with Zbrush to make the UV, and then manually adjusted it to the appropriate position. Then I used XYZ pore material + Zwrap plane to project the pores, and then projected some undesirable areas in Mari. Next, it was time to output the grayscale images of the three channels of R, G, and B in Mari and extrude the bumps on the surface of the model through Zbrush to get fine pores. In this step, the model used a 16-bit 8K precision texture map.!How to Make Realistic Characters in ZBrush and Maya -18!How to Make Realistic Characters in ZBrush and Maya** -17
Maya Tutorials: Production Process of 3D Artwork Crazy Fans(2)
Maya render farm
ModelingPart of the role modeling is basically done in ZBrush. But before ZBrush, a low-poly model is made. Most of the scene props are done in Maya. In terms of characters, I decided to exaggerate at the beginning, so I can’t make the character too realistic. If it is too realistic, the expressive power of the picture will be greatly reduced. Therefore, in the production of the character, I will exaggerate its characteristics abnormally, but I cannot. If it is too much, it will become too cute which is not what I want, so I positioned the picture as a cartoonish realistic style.The prototype of the fans referenced Paul Bell, the greatest manager in WWE history, and then made some modifications on his basis.!3D Artwork Crazy Fans 1!3D Artwork Crazy Fans 27The clothes are basic models made in Maya, then imported into ZBrush and sculpted using ZRemesher.!3D Artwork Crazy Fans 11Hamburg still uses the previous brushes, but with an extra Alpha. The drink is carved with InsertSphere and Dynamesh.The body still uses those brushes, and finally puts them together.!3D Artwork Crazy Fans 15The role of the player is based on the French team’s Ribery. In order to be similar to him, I collected a lot of his information and added more exaggerations when carving the model.!3D Artwork Crazy Fans 25The method of making player roles is the same as that of fans. The shoes are done in Maya.!3D Artwork Crazy Fans 8the football referee-Colina is a reference to the role of the referee, I believe everyone who likes football knows him.!3D Artwork Crazy Fans 21Since he is far from the lens in the picture, the carving is not very detailed.!3D Artwork Crazy Fans 2!3D Artwork Crazy Fans 13Those fans who are farther away are even more omitted because they are too small and there is no need to make them too detailed.!3D Artwork Crazy Fans 19The scene is made in reference to the Maracanã Stadium in Brazil, and the style is also a bit more cartoonish.!3D Artwork Crazy Fans 14The fans first made a set of very low-poly models, and then shuffled, copied, and copied them. Don't place them too neatly and randomly.!3D Artwork Crazy Fans 22The clouds in the sky are made using materials in Photoshop and then pasted on a flat surface. The airship is first modeled, and then rendered(Fox Renderfarm suppports Maya cloud rendering) separately for later compositing.!3D Artwork Crazy Fans 3 LightingAfter the model is finished, start testing the lights. The time is daytime, so the light first uses a surface light to simulate the sunlight source, then turn on GI, turn on the physical skylight of VRay, and control the light intensity. !3D Artwork Crazy Fans 4!3D Artwork Crazy Fans 23 TexturingPhotoshop and Mudbox are used in this part of texture making. Before casting, it is best to choose those with few highlights and shadows or trim off the highlights and shadows.!3D Artwork Crazy Fans 18Continue to modify and adjust until you are satisfied.!3D Artwork Crazy Fans 10Make bump highlights by color, plus the normal map baked before, and use these for basic textures. There is no difficulty in making clothes and props. The main thing is to control the highlights of different materials, and the texture will be different.!3D Artwork Crazy Fans 28!3D Artwork Crazy Fans 26 GroomingThe system is mainly produced by Hairtrix. There are many ways to make hair, but I am more accustomed to using Hairtrix, and personally feel that this is pretty easy to use.!3D Artwork Crazy Fans 20 Layered rendering!3D Artwork Crazy Fans 5 Compositing & Post-productionThe main thing in the post-production is to control the atmosphere. Just look at the excellent works of art, movies, magazines, photography, etc., to enrich your control of the atmosphere of the picture and the feeling of color. This also requires long-term accumulation.
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