3ds Max Modeling Tutorial: Hard Surface Modeling (3)

2020-10-10

3ds Max Tutorials

For example, if we want to make such a more complicated robot model, what should we do? StructureBuild a rough head model structure, paying attention to the overall proportional structure. First of all, don't rush to make a detailed structure, we must first build the overall outline of the model.!3D Tutorials Hard Surface ModelingIn this way, the key structure of the model is roughly constructed, without worrying about the details of the model, just the simplest geometry. For this model, it is a symmetrical structure, so we only need to make half of the head, and then copy the other half with symmetry. After ensuring that the proportional relationship is basically accurate, we can move on to the next step. DetailsRefine the preliminary model, and further make the topological structure, pay attention to the quasi-structure line with uniform and appropriate wiring. The next step is to add details, follow the reference to make some lines of the concave and convex structure of the model, this step needs to be as accurate as possible. The surface and line parts need to be as reasonable as possible,More subdivision is needed for smooth areas, less subdivision for flat areas, and the curvature of the model is adjusted.Finally, the topological structure of the model is made. The following is to make the topological structure of the model.!3D Tutorials Hard Surface ModelingFor this model, it is more complicated, and the key consideration is the red shell part. Although the other parts look complicated, they are actually composed of relatively simple small parts, which are easier to handle.!3D Tutorials Hard Surface ModelingContinue to add details and deal with parts of the hard surface model. Since there are many problems will be encountered at this stage, adjustments and changes are required.!3D Tutorials Hard Surface ModelingTips: During this process, we can press the Q key to quickly open and close the subdivision surface to check the effect of the model.After that is the production of eye sockets, ears and other structures. These are not difficult, but require patience and time. Finally, some small parts will be added to perfect some deficiencies.!3D Tutorials Hard Surface Modeling!3D Tutorials Hard Surface ModelingNow the model is basically completed.!3D Tutorials Hard Surface ModelingFox Renderfarm hopes it will be of some help to you. As you know, Fox Renderfarm is an excellent cloud render farm in the CG world, so if you need to find a render farm, why not try Fox Renderfarm, which is offering a free $25 trial for new users? Thanks for reading!


3ds Max Modeling Tutorial: Hard Surface Modeling (2)

2020-10-09

3ds Max Tutorials

According to the principle mentioned above, the closer the line is, the harder the structure.!3D Tutorials Hard Surface Modeling Diamond structureThe diamond structure is a very important and practical technique in modeling.!3D Tutorials Hard Surface ModelingThe shield model and the top six lines finally converge on the bottom corner. Because the upper part of the shield is a relatively wide structure, we need more faces to form its structure. But the bottom corner is a very small structure, and we don't need so many faces. This wiring will make the bottom surface look very crowded, wasting a lot of surfaces, and it is also very inconvenient for subsequent modifications. So, how should we optimize the lines here? This requires the so-called diamond structure.!3D Tutorials Hard Surface ModelingAfter the modification, the upper part of the model still has six faces, but at the bottom corners, there is only one face. Such lines are evenly distributed on the model. By using the diamond structure many times, the number of faces can be gradually reduced, and the wiring of the model can be more optimized.At the same time, the diamond structure can not only play the role of lowering the surface, but also can play the role of raising the surface. If we look at the wiring in reverse, it actually starts from the bottom side and gradually increases the number of sides to the top six sides. We must flexibly use the positive and negative effects of the diamond structure according to the different situations of the model. SemicircleSometimes the model may need to have some very regular structures. For example, this model has a semicircular structure on top and bottom. The best choice is to use some basic shapes to make it. The cylindrical shape is probably used the most.!3D Tutorials Hard Surface ModelingFirst create a cylinder and adjust the size of the lower cylinder. The parameters here are set as integers as much as possible to facilitate the matching of the size of the lower cylinder. At the same time, it needs to reduce the number of segments of the cylinder, so there is no need for so many segments, leaving 12 segments.!3D Tutorials Hard Surface ModelingDelete the unused half of the surface and extrude the structure below; create a new cylinder, reuse the shape again, adjust the parameters of the bottom cylinder, and pay attention to matching the size of the structure above.!3D Tutorials Hard Surface ModelingThen we can select all the lines at the break and use the stitching tool to connect the two structures. The last is some follow-up work, cleaning up the number of faces and so on.!3D Tutorials Hard Surface ModelingNow follow the best CPU&GPU render farm to the next part: 3ds Max Modeling Tutorial: Hard Surface Modeling (3)").


3ds Max Modeling Tutorial: Hard Surface Modeling (1)

2020-09-30

3ds Max Tutorials

The fast and affordable cloud rendering services provider, Fox Renderfarm still share with you 3ds Max modeling tutorials. In this project, we will learn to use 3ds Max's hard surface modeling technology to practice making a robot head. In this process, we will also explain some points that need to be paid attention to in the production. NURBSWhen using NURBS to make a model, the position of the point and the distance between the points determine the curvature of the NURBS. The closer one point to another, the harder the structure.!3D Tutorials Hard Surface ModelingThis is a figure drawn by NURBS. The mode of the spline is B-spline. Five key points constitute this figure.!3D Tutorials Hard Surface ModelingNext, start drawing with polygons and place the five points of the polygon at the same positions as the five vertices of the B-spline, and finally add subdivisions.At this time, it can be found that the curvature of the graphics obtained by using polygons and subdivision surfaces is almost the same as that of the graphics drawn by using splines. Therefore, the principle of modeling using subdivision surfaces is similar to that of drawing splines. Editing the point, line and surface of a polygon is actually the same as using a pen to draw lines in PhotoShop. The steps are to draw the key points on the structure first, and finally get a smooth surface through these points.The above graphics are very smooth, so what should we do if we want the structure of the model to look harder?In fact, the method of making splines in B-spline mode is the same. Just add one or two points close to it next to the hard point, and the structure will become hard.!3D Tutorials Hard Surface ModelingThe figure below is a combination of polygons and subdivision surfaces. Similarly, as long as you add two very close points on the edge of the hard point, the result is the same.Therefore, when modeling with subdivision surfaces, the closer the points are, the harder the structure. Four-sided PrincipleAn important principle of polygon modeling is to try to ensure that all faces are four-sided faces, and avoid triangular faces and faces with more than four sides.!3D Tutorials Hard Surface ModelingThe reason is simple. When adding subdivision surfaces to the model, if there are triangles and more than four sides on the model, the result may be very bad.!3D Tutorials Hard Surface Modeling-16 PointsIn a polygon mesh, if a point is connected to more than four edges, it is easy to make the surface of the model not smooth, so there should be as few such points in the modeling process. If this point cannot be avoided, it can be placed in an unimportant place or on a flat surface.!3D Tutorials Hard Surface ModelingAs shown in the figure, this point is just on the middle crease line, resulting in an ugly pothole in the middle of the model. But if moved to the plane, there is no problem.!3D Tutorials Hard Surface ModelingNow please follow the best CPU&GPU render farm to our next part: 3ds** Max Modeling Tutorial: Hard Surface Modeling (2)").


3ds Max Tutorial: Analysis of Building Rendering in Dusk

2020-03-25

V-Ray for 3ds Max

Fox Renderfarm, as a leading archive render farm, brings to you the analysis of architectural renderings at dusk made with 3ds** Max and V-Ray. An outstanding works include two aspects: one is the picture effect, including color matching and composition of the picture. This is the key, as well as professional knowledge and photography skills, and the level of appreciation of photographic works. Another aspect is technology, which can use various tools. This is extremely critical. You must fully understand what to do and how to do it. If you can balance these two aspects well, you can make effective worksSoftware used3ds Max, V-Ray, Solid Rocks, Forest Pack Pro, Siger Shaders, Photoshop Cs6, Red Giant Magic Bullet and Nik Software.Reference pictureBefore the production of the artwork, the key step is to find the correct reference photos, prepare the reference for the future atmosphere, lighting and post-production, and try to approximate the reference photos.!3ds Max Tutorial Analysis of Building Rendering in Dusk (12)Basic SettingsLinear Workflow is a highly recommended way of working, the basic settings are shown in the figure,!3ds Max Tutorial Analysis of Building Rendering in Dusk (1)ModelingAll models are based on flat design drawings. The basic model of this figure is made using Autocad and then imported into 3ds Max. The details after that are added based on your own imagination without any reference.The terrain and surrounding environment are modeled using Forest Pack Pro, which can make stones, grass, and trees with a random and natural feel. The plants on the side of the building should be arranged according to the layout indicated in the drawings of the landscape design.!3ds Max Tutorial Analysis of Building Rendering in Dusk (2)Materials and texturingAll textures in the scene use the Siger material as the base texture. Based on this texture, the texture effect is made according to the needs of the project. Keep the texture as simple as possible, using only some basic channels, such as Diffuse Map, Specular Map, Bump Map, etc. It is produced according to the reference in the reference. Using the texture library is a time-saving method. You don't need to spend a lot of time to make each texture from beginning to end. You can make some adjustments on the basis of the texture library to meet the requirements of the project.The material of the swimming pool is a little tricky in refraction on the water surface, and the final result is very close to the reference picture.!3ds Max Tutorial Analysis of Building Rendering in Dusk (3)LightingHDRI lighting technology is one of the very useful ways to achieve real effects, which can get very realistic and accurate lighting effects. When setting the position of the main light source sun, you can have several options, place it on one side, use warm colors, and then set a transition light source from warm to cold and light to dark. This transition light source can give with a more natural effect on the picture, the light won't appear too flat.In terms of outdoor light sources, the Dome light plus HDRI method uses Peter Guthrie's PG SKIES 2028 for the texture, and the indoor light uses a standard Target combined with V-Ray shadows and V-Ray surface light to match the IES. The small downlight on the ceiling uses V-Ray light to simulate the feel of a light bulb.!3ds Max Tutorial Analysis of Building Rendering in Dusk (4)RenderingThis part is a bottleneck for many people. How to set a set of effective parameters? A very old but extremely useful plugin for Solid rocks is used here. Solid Rocks has a very useful set of V-Ray parameters. The interface is very simple. As long as you know V-Ray, you can understand it. Basically it covers all the parameters needed. It is very convenient and quick to use. For those who are not interested in going deeper V-Ray's parameters are very suitable for those who influence the rendering process behind the scenes. Here are the very basic parameters.!3ds Max Tutorial Analysis of Building Rendering in Dusk (5)In V-Ray Elements, it is required to be able to control some effects such as light and dark contrast, reflection and refraction, etc. The V-Ray Raw Global Illumination channel has been added for better post-control. Finally, if you want the effect to be realistic, especially if your local machine fails to meet the rendering hardware requirements, often when the machine crashes, it is recommended that you use a cloud rendering services to render.Post-productionThe beginning of a work starts from the post-production period, and the earliest reference picture found determines the effect of the final artwork.In the post-production processing, try to keep everything simple, use the V-Ray Raw Global Illumination channel, change the layer to Hue / Saturation overlay mode, and adjust it to indoor without exposure. Then add some texture on the left cement floor.!3ds Max Tutorial Analysis of Building Rendering in Dusk (7)So far, everything has been made with 3ds Max and V-Ray. If you need to adjust the color, you can use the Selective Color adjustment layer, because only this layer can make every color in the scene controllable. The principle is keep the effect of the transition light in the scene, because the four colors in this layer basically cover all the colors in the scene, so this provides the flexibility of color control of this scene, which can well harmonize various colors and tones.The color balance is changeable, so a good reference picture is necessary, as long as you try to imitate the effect in that photo, the trick is actually to find a photo close to the existing rendering effect as a reference, so for post-processing the process is relatively easy.You can also use Hue / Saturation or Curves with this Selective Color adjustment layer.!3ds Max Tutorial Analysis of Building Rendering in Dusk (8)Observe the artwork with your own eyes and make adjustments, such as the halo of the light bulb, you can simply draw a halo around the light bulb to simulate the temperature of the light bulb (the light bulb has no color, only the temperature). This halo can be made a little bit The feeling of exposure.!3ds Max Tutorial Analysis of Building Rendering in Dusk (9)There are two main plugins used in the final step: Magic Bullet Photolooks and Nik Software. The main purpose is to better integrate the adjustments made before, so that the colors, brightness, saturation and saturation in the picture are more natural.As a night scene, you must be aware of the characteristics of the light at night. In photography technology, you need to reduce the shutter speed to get more light through the lens, and observe more photographic works to simulate the characteristics of such photos to achieve realistic effects.!3ds Max Tutorial Analysis of Building Rendering in Dusk (10)Because real photos do not have anti-aliasing, you can use Analog Efex Pro 2 to simulate some graininess and do a little blurring, so that the picture will look more like a real photo and more natural.Hue is a difficult topic to define. It is definitely wrong in real photography, but in the post-production of PS adjustment, this hue technology is used everywhere because the human eye is seeing a picture with a color tone. Unconscious people will think this is a photo, so I will use this feature to use this color tone technology in PS. The suggestion is not to use it excessively, but to control it when using it so as not to cause unnatural effects.The final step is to use High Pass Filter to sharpen the picture, the final renderings,!3ds Max Tutorial Analysis of Building Rendering in Dusk (11)Above is the analysis of architectural renderings at dusk made with 3ds Max and V-Ray brought by Fox Renderfarm. As the leading cloud rendering service provider, Fox Renderfarm continues to bring the latest news about 3D art. We hope you can learn something from our article.


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


3ds Max Tutorials: Semi-realistic 3D Game Scene Interior Production Sharing (1)

2020-06-12

3ds Max Render Farm

Fox Renderfarm, as the best 3ds Max 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.This project uses the standard PBR process, using 3ds Max to complete the basic model building, and determine the object scale. Complete high poly carving in ZBrush, topology in Maya, baking in Marmoset Toolbag 3, Substance Painter to complete the production of PBR materials, and finally use Marmoset Toolbag 3 for rendering.!3ds Max Tutorials Semi-realistic 3D Game Scene Interior Production Sharing Production processThe production is divided into three parts:- Modeling- Material production- Rendering ModelingBefore production, determine what materials, what objects are in the scene, and the overall ratio, and then determine the production order according to the ratio. Most of the scenes are walls and stones and wooden furniture, so they are the key part of the production.Quickly build up their approximate proportions in 3ds Max.!3ds Max Tutorials Semi-realistic 3D Game Scene Interior Production Sharing Complete the medium polygon modelAfter establishing the proportion of large objects, continue to build down the remaining objects in the scene. And further, enrich the details of the model. There are a lot of repetitive objects, just make a few different shapes. This does not seem to be too repetitive.!3ds Max Tutorials Semi-realistic 3D Game Scene Interior Production SharingTaking the above book as an example, many different types have been produced, which can reduce visual duplication.There are two fabrics in the scene, here is a pillow as an example,!3ds Max Tutorials Semi-realistic 3D Game Scene Interior Production SharingThis product uses the cloth calculation that comes with 3ds Max. The specific process is as follows,!3ds Max Tutorials Semi-realistic 3D Game Scene Interior Production SharingCreate blocking objects,!3ds Max Tutorials Semi-realistic 3D Game Scene Interior Production SharingCreate a pillow basic model (the higher the number of segments, the better the simulation effect, but it also stuck).!3ds Max Tutorials Semi-realistic 3D Game Scene Interior Production SharingSquash and find the fabric in the modifier,Analog computing!3ds-Max-Tutorials-Semi-realistic-3D-Game-Scene-Interior-Production-SharingFinally, get a simple pillow model. (The folds of the fabric should be sorted out, the above is a simple demonstration. The curtains are the same, MD may have better results)!3ds Max Tutorials Semi-realistic 3D Game Scene Interior Production SharingNext, import the model into ZBrush for sculpting. Carving High PolyTake the wall and stone of the house as an example:!3ds Max Tutorials Semi-realistic 3D Game Scene Interior Production SharingAfter importing the medium-surface model into ZBrush, it is because of the irregular shape of the stone. You can use Dynamesh in geometry editing to edit the model.!3ds Max Tutorials Semi-realistic 3D Game Scene Interior Production SharingThe No.1, No. 2, and No.3 brushes are used for large-scale carving of stones. The No. 4 brush adjusts the shape to prevent insertion. Finally, the No.5 and No.6 brushes flatten some edges and corners to make the structure hard. Thus reflecting the texture of the stone.The big idea of the wall is the same. Finally, use the noise in the surface, adjust the curve and noise ratio, etc. to simulate the graininess of the wall and the stone surface.!3ds Max Tutorials Semi-realistic 3D Game Scene Interior Production SharingFinally, add some details such as cracks and bumps to enrich the picture. Use the No. 6 brush mentioned above and press it again to achieve better results. (This part of the production reference is very important)Now follow the best cloud rendering service provider, Fox Renderfarm, to the next part: 3ds** Max Tutorials: 3ds Max Tutorials: Semi-realistic 3D Game Scene Interior Production Sharing (2)").


3ds Max Tutorials: Semi-realistic 3D Game Scene Interior Production Sharing (2)

2020-06-15

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!


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


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 render**ing services.Thanks for reading!


How to Use 3ds Max to Make a Game Environmental Scene

2021-09-24

3ds Max Render Farm

Hi, this is Cassie from the best cloud renders farm, Fox Render**farm. This time, I will share with you an article about how to use 3ds** Max to make a game environmental scene.!How to Use 3ds Max to Make a Game Environmental Scene!How to Use 3ds Max to Make a Game Environmental Scene!How to Use 3ds Max to Make a Game Environmental Scene!How to Use 3ds Max to Make a Game Environmental Scene!How to Use 3ds Max to Make a Game Environmental Scene!How to Use 3ds Max to Make a Game Environmental Scene Observe and analyze the original painting and asset allocationThis is a case of the PBR process, specifically used 3ds Max to complete the low-poly model, ZBrush to complete the high-poly model sculpting, V-Ray rendering during the high-poly model, Substance Painter, Photoshop to complete the texture production, and finally using UE4 rendering.In order to ensure that everyone can match the model proportions after the division of labour. In the early stage, the rough model was constructed based on the original painting and used as a reference for proportion. We divide the modeling work into three parts according to the overall situation, including house, props and environment construction.!How to Use 3ds Max to Make a Game Environmental Scene Making of Mid-poly modelHouse: As the main body of the scene, the time-consuming experience is naturally the most. I divide the house into three parts: roof, wall and floor.Props: The props of the scene include a three-faced Buddha, stone lamps, wood carvings in the house, etc. There are not too many types of props, but they basically require ZBrush carving and production.Environment: The main part in charge is the stone steps at the door, the green plants at the door, the mountain behind the house, the spider webs in the house, etc. My requirement is to find the available materials according to my needs.The production process of the mid-poly model is to continuously refine on the basis of the rough model, adding more details, and try to use the loop line as the main wiring in the wiring, mainly to facilitate the card line in the later high mold stage. When making a mid-poly model, you must not forget the relationship between a single part and the whole, and the ratio is constantly adjusted and optimized. Because I made the house model separately, I need to compare before I refine it, otherwise, it will be a big disaster for the proportion in the later stage.!How to Use 3ds Max to Make a Game Environmental SceneThe high-poly model production process is relatively smooth, and everyone is doing their own work step by step. Because the proportions are the most basic before, it is relatively easy to adjust the scene.!How to Use 3ds Max to Make a Game Environmental SceneHouse sculpting Because the whole house is made up of boxes, the mid-poly model is relatively simple. Its highlight is the high-poly model sculpting. To restore the original flavor of the ancient architecture, there are more places to carve. Because the style of the overall scene is rather dilapidated, my idea of sculpting is to try to ensure the hardness of the wooden structure and make it old with more surface details. Due to lack of experience, the sculpting was relatively slow at the beginning, and some patterns could not be restored. The method used for sculpting many details may not be correct. After many attempts, a lot of time was wasted; in the end, I found a way to use grayscale images, which saved a lot of time. First find a suitable grayscale image, which is conducive to mask generation in ZBrush.!How to Use 3ds Max to Make a Game Environmental Scene!How to Use 3ds Max to Make a Game Environmental SceneProp sculpting I also need to hand in homework in the high-poly model stage! Because the scene models are all high-poly models during rendering, and in order to ensure the rendering effect, it was decided to copy and place the recurring models of flowers and plants. Use VRAY to render directly in 3ds Max. But I didn't expect it to be that simple. The two pictures were rendered on two computers for more than four hours.!How to Use 3ds Max to Make a Game Environmental Scene!How to Use 3ds Max to Make a Game Environmental Scene Making of low-poly modelFor those early stages, the topology production of a low-poly model is actually more like a test of operating specifications and file sorting, which is mainly obtained by using the previous mid-model addition and subtraction lines. The human headstone lamp and statue in the scene used Topogun. Low-poly model topology is simple but patient work. There are two ideas,1. Simply use editing and adjustment tools, and patiently realize the silhouette and structure. 2. Use the automatic topology tool, and then manually adjust the wiring slightly. Low-mode production wiring requirements are more stringent, the wiring is as simple as possible, in line with the wiring principle, but without losing the structure.!How to Use 3ds Max to Make a Game Environmental SceneThere are not many difficulties encountered in the low-poly model topology stage. The difficulty lies in the development of UV and texture distribution. After the entire low-poly model is finished, it is time to show the UV. Before the UV is displayed, the smooth group needs to be distinguished, and then the UV is exploded according to the smooth group, and then find the place that needs to be disconnected again and cut it. A good seam problem, because if the seams are too obvious or too broken, there will be many flaws in the post-production of the texture. After all, you haven't collaborated on the production of scenes before, so they are relatively unfamiliar with the unification of checkerboards and the allocation of texture resources.Finally, I used 1m³/256 pixels as the standard to make textures, and the house was divided into more than 30 textures. When I first divided the shader, I was divided into a circle; secondly, although there is an automatic placement to adjust the size of the checkerboard to just right, it is still necessary to check carefully. UV is a normal job; it is easy because it is moderately good. A minor error occurred, so that rework was needed to adjust the UV later.!How to Use 3ds Max to Make a Game Environmental SceneThe next step is to bake the normals and other textures. I need to match the high-poly and low-poly models in 3ds Max. The edge silhouettes must be carefully matched and overlapped. Then the high and low-poly models of the same part are named and matched, and then the normals are baked in SP. I use Substance Painter to name the baking method for baking. In order to get a better normal map, I will bake an average normal and a vertical normal, and then retain the inner part of the vertical normal and the edge part of the average normal in PS. Although I have been careful in the early stage, some of the baked normals will still have problems. Most of them are due to the wrapper problem, but some need to be manually changed. The modification needs to export the UV selection in 3ds Max, and then go to Select the area in PS to modify the normal of the problem.For the distinction between different materials, I still use the method of making ID maps. For the part of the model of different materials, I use different colored shaders to distinguish MaterialsAs a next-generation realistic style work, the material is actually good. However, some special experiences can be summed up in scene cooperation. For example, the material of some props can actually be packaged into a shader and used directly on another prop of the same material. In addition, in order to ensure the harmony and unity of the final results, communication among the team is extremely important, and you must not do it alone. When making materials, our plan is to do the volume first and then the details. After all, after the volume comes out, adding details will make the effect easier. First of all, I first separate out a few materials and create a few large layer groups to make selections. One point worth noting here is the occlusion and dirt relationship between objects. When the material is almost the same, I will sharpen the top edge to make the details more obvious, that is, create a new layer and add a sharpening filter, and change the overlay method to pass through.!How to Use 3ds Max to Make a Game Environmental Scene!How to Use 3ds Max to Make a Game Environmental Scene!How to Use 3ds Max to Make a Game Environmental Scene!How to Use 3ds Max to Make a Game Environmental Scene!How to Use 3ds Max to Make a Game Environmental Scene RenderingFirst of all, the file organization must be done well, otherwise, it will be messy when rendering the textures and the work cannot be carried out. Qualified file organization can make the rendering work twice the result with half the effort, and it will be more convenient if you want to replace the textures later.!How to Use 3ds Max to Make a Game Environmental Scene!How to Use 3ds Max to Make a Game Environmental Scene


How to Make a Next-gen Cartoon Restaurant Scene in 3ds Max

2021-09-02

3ds Max Render Farm

Hey guys, we are students from a 3D Design school. It’s such a pleasure to share our creative process to make the cartoon restaurant in 3ds Max. We are a team with 6 members, and many of us are quite new to 3D art, so we hesitated a bit on the concept art we chose. At last, we chose this scene which is quite narrative, and the cartoon characters in it add quite a lot of spooky feeling to the scene with the fine lighting.Below are how we made it from scratch and some difficulties and experiences we wanna share with you. The content is also organized by the best 3ds Max render farm, Fox Render**farm. Concept art & assets allocationThe key to a successful render is to properly analyze the concept art. Since we are a team of six, we need to figure out what models, UVs and materials can be widely used in order to organize assets effectively and efficiently later on. The other thing that needs special attention is the definition of all the material.Making is scene is not like creating some small gadgets, the objects that can be publicly used is the priority. Only by paying more attention to the whole picture other than details at the beginning can we allocate the tasks well to maintain our final result and efficiency of creation. So the big picture can be divided into 4 groups: hard surface, house and the floor, characters, wooden gadgets and food. We allocate our jobs accordingly. But hold on, if everyone just bluntly does their job immediately, a lot of trouble will be caused. We strongly recommend that one of the team members do the blocking first to give the whole team a clear sense of the structure and proportion. Though there is a uniform unit, you will still find it difficult to composite and match each part without blocking. So blocking is a necessary part to make everyone on the same page. BlockingThe key to starting blocking is to find the right middle point of the picture which will hold up the whole picture and help locate other parts accordingly. After that, we can generate a box to speculate other parts’ locations. Take care of the proportion, since the right proportion in this part will save a lot of time later on.So we recommend that ask someone who is more sensitive to proportion to take charge of the blocking process. Multiple checks and revisions are required after it is done. Then you can save a 3ds* Max file and send it to other members to let them play their roles.!How to Make a Next-gen Cartoon Restaurant Scene in 3ds MaxThe purpose of making blocking is to assure the right proportion. No matter what you create, try to turn it into a basic polygon because it’s way easy to adjust the proportion of a simple polygon. Later adjustment of the objects won’t affect the proportion once you have it right in this part which saves a lot of time and effort. Making mid-polyIn this part, we need to make the basic outline, even splines on the right amount of surfaces, so as to easily sculpt high-poly. Take your time and be careful about the right position of the points in this part. The splines are better to be looped so that it will be easier to aline in the high-poly process. And always keep in mind the proportion between single objects with the whole picture. The proportion needs constant refinement and progress. You can take the blocking file to make mid-polys referring to the concept art.You can never strengthen the concept of managing assets too much in scene creation. The names and directories have to be unified. The right habit has a lot of benefits to the whole creative process.Naming files: Messy files will bring you a lot of trouble. Everyone should name the textures and maps accordingly with the texture files for a convenient rendering process. And texture replacement will be easier, especially on large scene files, or your team leader may kill you. Small tip: you can use the name acronyms of team members when naming files if there are a lot of team members. Making high-polyRefining details is what you need to do in the high-poly process for a better final result. This process is time- and effort-consuming, so don’t panic, be precise and be patient. Another detail is that we won’t use high-poly directly for baking. So in this process, you need to consider which parts cannot to made as texture in the later baking process. It’s important to think ahead.!How to Make a Next-gen Cartoon Restaurant Scene in 3ds Max!How to Make a Next-gen Cartoon Restaurant Scene in 3ds MaxBesides the hard surfaces, the cute cartoon monsters are also made in Zbrush. We lay much emphasis on the unity of all the models, from their completeness to the sculpturing style. Thus, we had a lot of discussions in this process to keep them uniform. The leader should keep an on every members’ progress.!How to Make a Next-gen Cartoon Restaurant Scene in 3ds Max!How to Make a Next-gen Cartoon Restaurant Scene in 3ds MaxI used a 3D sphere to create the cartoon character. The outline of the monster is smooth, so I decided to sculpt it directly. I used Move to draw the basic outline and used clay pen to do the pose. If there is heavy distortion, I will use grids to arrange the lines. In the beginning, it’s better to make as few polys as possible to maintain the structure first. Then you can refine the details. For beginners, if you can add a sphere, do it. Because making a one-object model is too difficult for beginners. If you can stretch the structure in just one move, do it. Be bold, don’t drag it back and forth which can’t deliver you any good result, just wipe it and do it again. And always keep in mind to refer to the concept art. Additionally, separate the parts according to different textures for easier texturing.Don’t stick to one software if there is some part you are just able to get the anticipated result. You can switch between 3ds Max and ZBrush.!How to Make a Next-gen Cartoon Restaurant Scene in 3ds Max!How to Make a Next-gen Cartoon Restaurant Scene in 3ds Max Making low-poly Making low-poly is the most important and also the most complicated process. It requires not only patience and carefulness but also the capability to arrange splines. To match the high-polys properly, we need to use TopoGun.The advantage to keeping the uncollapsed hard surface high-poly is that low-poly can be made easily. Delete the subsurface and reduce faces, then you can make a perfect low-poly.!How to Make a Next-gen Cartoon Restaurant Scene in 3ds Max!How to Make a Next-gen Cartoon Restaurant Scene in 3ds MaxThe composited low-polyHere is a quick tool to make low-poly: ZRemesh. But if you have high requirements, TopoGun is still the better choice. Making UVsAfter the low-poly process, making UVs comes next. You need to separate the smooth group before making UVs, then find the broken part to cut it. The seams need to be well pampered. If the seams are too obvious or too scattered, many flaws will appear after texturing.Here are 3 key points. First off, keep the precision uniform. All the objects need to be measured with the grids. Every team member generates a 11*1 box to make a chessboard to measure the reference object. Then everyone can measure the objects with the chessboard.!How to Make a Next-gen Cartoon Restaurant Scene in 3ds MaxWe separate every component and put them on the chessboard to see the planning of texture to lay the UVs. It didn’t take long to make deconstruct, but laying it took a long time.!How to Make a Next-gen Cartoon Restaurant Scene in 3ds Max!How to Make a Next-gen Cartoon Restaurant Scene in 3ds Max!How to Make a Next-gen Cartoon Restaurant Scene in 3ds Max!How to Make a Next-gen Cartoon Restaurant Scene in 3ds Max!How to Make a Next-gen Cartoon Restaurant Scene in 3ds MaxThe integrated low-poly with UVs BakingTo elevate the efficiency and effects of baking, we chose Marmoset Toolbag to do the baking. The brushing tool to check the normal lines is quite handy. However, the matching between high-poly and low-poly determines the final result of the baking.!How to Make a Next-gen Cartoon Restaurant Scene in 3ds Max Making MaterialsWhen making materials, we need to decide the texture first. Once the texture and shading are correct, all the details will make sense. Firstly, I made some materials and created some layers groups to make the chosen area. Then make the bright and dark parts and scratches. Here you need to be careful of the relations of the scratches between each object, cause you will easily forget about the whole object when you indulge in the small parts too much. Team members need to communicate constantly in the process. After finishing the material, sharpen all the objects on the top layers. To make all the details clearer, you can create a new layer with a sharpening filter, and convert the blending to overlay. And add a generator to the whole project -- light, which will make the visualization more uniform. The visual style is very cartoon, and we didn’t make the style too shabby to keep it clean and simple.!How to Make a Next-gen Cartoon Restaurant Scene in 3ds Max!How to Make a Next-gen Cartoon Restaurant Scene in 3ds Max!How to Make a Next-gen Cartoon Restaurant Scene in 3ds Max!How to Make a Next-gen Cartoon Restaurant Scene in 3ds Max!How to Make a Next-gen Cartoon Restaurant Scene in 3ds Max!How to Make a Next-gen Cartoon Restaurant Scene in 3ds Max!How to Make a Next-gen Cartoon Restaurant Scene in 3ds Max RenderingWe did rendering in Marmoset, which is quite good at interior lighting design. At first, we didn’t know how to set the lighting, and it turned out to be a very creepy small shop. After some advice and trials, we finally got it right.The layers of lighting are quite important, the outside parallel light seemed to be the main light but actually auxiliary lights. As a result, the interior floodlights and spotlights are the main lightings. The strong contrast of the strength and hues can help the audience find the focus.Lighting is essential to present the sense of space, with the transmission from cold and warm, and multiply lights in one area should be varied in their strengths. The core is the variation of lightings in the corners.The third point is the understanding of the lighting strength. No exposure doesn’t mean all black. Using the details in the dark parts to manifest the light details is a very useful technique. Be careful when using the volumetric fog, the lighting system in Marmoset cannot be compared to that in UE. Using volumetric fog is a good way, but you should really keep an eye on it.!How to Make a Next-gen Cartoon Restaurant Scene in 3ds Max!How to Make a Next-gen Cartoon Restaurant Scene in 3ds Max SummaryAbove are the workflows we used. This experience is quite precious to us which makes us more united and lets us know each other more. Wish our sharing can help you and your team a bit in scenes production.


How to Create a Classroom Scene With 3ds Max and Zbrush

2021-08-27

3ds Max Render Farm

This tutorial brings about the scene production process of "Classroom", and the tutorial was organized by the best online render farm, Fox Render**farm. The content will introduce in detail the process from resource allocation to model making, then drawing textures, and finally rendering. The software used includes 3ds** Max 2018, Zbrush, Substance Painter, Marmoset Toolbag3, etc.!How to Create a Classroom Scene With 3ds Max and Zbrush Production Process1. Resource AllocationBecause of the large number of models in the scene, It is necessary to analyze the scene first, disassemble it into separate resources, and then allocate them to each member for production, and finally build and integrate them. This will greatly increase efficiency.The specific division of labor is as follows,!How to Create a Classroom Scene With 3ds Max and Zbrush!How to Create a Classroom Scene With 3ds Max and Zbrush!How to Create a Classroom Scene With 3ds Max and Zbrush!How to Create a Classroom Scene With 3ds Max and Zbrush2. ModelingBefore making the medium model, we must first build a simple model to determine the approximate size and location of each object. The focus of this step is the accuracy of the overall proportion and position, so there is no need to spend too much time on the model.!How to Create a Classroom Scene With 3ds Max and ZbrushIn order to better grasp the position and size, you can find the perspective angle of the original painting by adjusting the position and field of view. At this time, create a camera and press c to call up the camera for easy matching.After the simple model is built, the next steps can be made according to the assigned tasks. The production process of the three representative models will be introduced below. I hope everyone will like it.3. Asset productionThere are a lot of assets in it, so here are a few to discuss the production process.Case 1: BroomMid-poly modelingThe manufacturing process of the mid-poly model is relatively simple, using a cylinder and a sphere to complete, making the broom simple and large.!How to Create a Classroom Scene With 3ds Max and ZbrushIn the process of making, pay attention to the overall wiring distribution of the model to be even, so that it can be engraved in zb later. High-poly model modelingAfter the mid-poly model is completed, the modeling of the high-poly is carried out. First, analyze the shape of the broom. The broom in life is generally not very regular and will have a messy posture, so the details of the broom wire will be relatively large.So when sculpting, I used the move brush to make a simple adjustment to the large irregular direction, and used the standard brush to simply make a rough sculpting.!How to Create a Classroom Scene With 3ds Max and ZbrushThe next step is to sculpt meticulously. At this time, I used the ClayBuildup and Standard brushes to depict the details. In some areas with larger cut surfaces, I also used the ClayPolish brush to make the edges cleaner.!How to Create a Classroom Scene With 3ds Max and ZbrushFinally, use the CurveStrapSnap brush to pull out the rope on the broom, and then adjust the shape to make it more suitable for the shape of the broom wire, so that the entire high-poly modeling is completed. Low-poly model topologyBecause the shape of this broom is relatively simple, it is also relatively easy when the topology is low mode. However, due to the large changes in the appearance of the high-poly model, the mid-poly model cannot be used for production, so I re-topped a low-poly model in TopoGun3.!How to Create a Classroom Scene With 3ds Max and Zbrush UV unfoldingBecause it is a single object, it is easier to expand the UV, and the model is symmetrical, which makes it more convenient to make textures. There are other models in the blank part of the UV in the picture below, which are not so big to avoid misleading, and the UV still maintains a high utilization rate.!How to Create a Classroom Scene With 3ds Max and Zbrush Texture makingFirst of all, each texture was baked in SP.!How to Create a Classroom Scene With 3ds Max and ZbrushNext, I used a shader similar to hair as the inherent color and texture.!How to Create a Classroom Scene With 3ds Max and ZbrushThen added a layer of color change and a layer of dirt on it to achieve the effect of distressing.!How to Create a Classroom Scene With 3ds Max and ZbrushThe part of the broom wire is basically completed, so I selected the line on the broom and gave it a unique color separately.!How to Create a Classroom Scene With 3ds Max and ZbrushThree fill layers are used here to give different colors, and only the intrinsic color and height channels are turned on. The next thing to do is the part of the broom handle. I first gave a wood shader a natural color.Then made some slight color changes on it.Finally, some cracks and dirt were added to enrich the effect.!How to Create a Classroom Scene With 3ds Max and ZbrushIn this way, the materials of the three structures of the broom are finished. The render is as follows.!How to Create a Classroom Scene With 3ds Max and ZbrushCase 2: SchoolbagMid-poly modelingThe modeling is mainly based on the grasp of the proportion, and the main shape and size of the low-poly model are made through the reference of the original painting.!How to Create a Classroom Scene With 3ds Max and Zbrush High-poly modelingFor the production of the high-poly model, I used ZBrush to carve some parts to make it more like leather. In fact, the production of the high-poly model is relatively simple. For most of the details, I prefer to make it with Substance Painter. The advantage of making in Substance Painter is that it is convenient and quick. There are many ways to make models that are not limited to just one.!How to Create a Classroom Scene With 3ds Max and Zbrush Material productionIn order to save UV, before importing Substance Painter, I chose to put together a few small objects to make. Here I mainly explain the production of leather schoolbags.First, you can make small screws with normal thread to make the high model rich, and then give the background color to make damage.!How to Create a Classroom Scene With 3ds Max and ZbrushSecondly, the details are further perfected. The leather itself is not particularly smooth, so the unevenness of the leather should be made.!How to Create a Classroom Scene With 3ds Max and ZbrushFinally, in order to better integrate with the scene, it is necessary to make the schoolbag dirty and dust more obvious, which will be more abrupt when viewed alone, but for the overall scene, the details of a single object can be appropriately made more obvious, so that it will not be particularly flat in the scene. !How to Create a Classroom Scene With 3ds Max and ZbrushCase 3: Desks and ChairsIn addition to the atmosphere, the walls and floors of the scene, all kinds of objects in the classroom also need to conform to the atmosphere. Take the desks and chairs that occupy the most space for example. The main difficulty in making is how to integrate the color of the texture into the atmosphere. Since the model of this object is simple to make, I won’t repeat it here. The specific operation process of the map is as follows (due to the similar process, only the table is used for display),First, we create a filling layer, and create a natural color based on the color and material of the table and chair in the original painting.Add a fixed shaderFill the metal part with gray that is similar to the metal color of the original image and then adjust the metal degree and roughness. Add dark and bright stains;Create a fill layer, right-click to create a filled black mask, add a fill, and select the dirty trace below.The effect after adding dirty marks is as follows,!How to Create a Classroom Scene With 3ds Max and ZbrushAdd wood grain strength and metal roughness.Create a fill layer, right-click to create a filled black mask, add a fill, and select the dirty trace below.Add different basic colors to the filling layer to create a staggered effect of wood grain colors, and select penetration for the blending mode.On the metal side, you can choose to add dirt again or directly make the final effect. The effect after this step is completed is as follows:!How to Create a Classroom Scene With 3ds Max and ZbrushFinally, add a layer of shabby dirt that matches the atmosphere of the classroom.Create a fill layer, right-click to create a filled black mask, add a generator, and select the generator below.Parameter selection (wood grain)Add sharpening to the metal, create an empty layer, right-click to add sharpening, and the sharpening intensity is 0.5.Then add dirt, create a fill layer, right-click to create a filled black mask, add a generator, and select the generator below.Parameter selection (metal)The final effect after adding is shown in the figure:!How to Create a Classroom Scene With 3ds Max and Zbrush RenderingThe software used in this rendering is the eight monkey engine, which has a good display of the effect of the light map. Before importing the file, you need to unify the HDR environment used by the sky option in the eight monkeys with the environment used by the sp software to make the material. The environment used this time is panorama.!How to Create a Classroom Scene With 3ds Max and ZbrushAfter importing the model, paste the corresponding texture map. In order to make the subsequent lighting effect better, we reduce the intensity of the ambient light and use a pure color for the background.!How to Create a Classroom Scene With 3ds Max and ZbrushThe next step is lighting. Three lights were used this time, which were illuminated into the house from three different angles.!How to Create a Classroom Scene With 3ds Max and ZbrushThe simulated indoor light on the right side uses a yellowish warm light source. Through the adjustment of the illumination direction and angle, the indoor objects can be projected to conform to the environment atmosphere. Under the light shape option, adjust the shadow parameters to make the outline clear and the details more detailed.!How to Create a Classroom Scene With 3ds Max and ZbrushThe parallel light used on the left is irradiated from the window. It uses a light source with a cooler tone, which is in contrast with the light source on the right. This time we slightly increase the shape parameter to make the shadow edge slightly blurred.!How to Create a Classroom Scene With 3ds Max and ZbrushFinally, we open the GI, slightly adjust the color curve under the camera option, darken the dark part, and brighten the bright part.!How to Create a Classroom Scene With 3ds Max and ZbrushThen start rendering, and the final effect is as shown in the figure:!How to Create a Classroom Scene With 3ds Max and ZbrushThank you very much for taking the time to read to the end of the article. I hope that the sharing of this tutorial can be helpful to you.


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