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.

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,

The 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).

The 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.

The final high poly showed as below,

Low polygon model and baking

The 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.

The final baking used Marmoset Toolbag 3.

Material production

After 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 process

First, we make the intrinsic color of the material. The intrinsic color layer can add filters to increase details.

To 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.

The 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.

  1. Rendering

Before 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,

I hope this learning and sharing can help you.

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


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.

Production process

The production is divided into three parts:

  • Modeling
  • Material production
  • Rendering


Before 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.

Complete the medium polygon model

After 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.

Taking 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,

This product uses the cloth calculation that comes with 3ds Max. The specific process is as follows,

Create blocking objects,

Create a pillow basic model (the higher the number of segments, the better the simulation effect, but it also stuck).

Squash and find the fabric in the modifier,

Analog computing

Finally, 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)

Next, import the model into ZBrush for sculpting.

Carving High Poly

Take the wall and stone of the house as an example:

After 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.

The 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.

Finally, 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)

Big News! 3ds Max 2021 Is Now Available


3ds Max Render Farm

Hey guys! Let’s check out the new features in the lately released 3ds Max 2021.1, including texture baking improvements, Arnold as Default Renderer, expanded PBR workflow capabilities, viewport, fluid and modeling tool enhancements.

The feature-rich update is targeted at modernizing and upgrading performance for artist workflows across design visualization and media and entertainment disciplines.

Bake to Texture:

  • Output now supports multi-tile UV mapping (UDIM)
  • Animated map outputs are now supported as well as multiple animated frames
  • Various usability improvements.

Model courtesy of TurboSquid and their artist, Luke_Ahearn.


  • The Fluid loader is now exposed so that object types such as particle systems can work with the data
  • The Velocity channel now reports correct information when not using meters as your default scene scale. This fix will enable motion blur in your renderer
  • PRT now supports a signed and unsigned integer values (via .ini change).

    Interactive Extrusion and Inset:

  • Users can now utilize a Shift+Drag (left mouse button) with the Move transform tool to extrude polygon component selections when using an Editable Poly or an Edit Poly modifier

  • Shift+Drag with the Scale transform tool now performs a polygonal inset action on selected polygon component selections when using an Editable Poly or an Edit Poly modifier
  • Clone/Copy actions are now performed with Ctrl+Shift+Drag when using the Move transform tool on the polygon component on and Editable Poly or an Edit Poly modifier.

    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 display

When you work with UDIM, you are now able to view all textures in the viewport when using the Bitmap Lookup OSL shader, instead of just viewing one as when using the Multi-Tile map.

User Defined Defaults

Allows you to set your own default values for ParamBlock2 supported spinner, radial, checkbox, or input field through MAXScript calls.


Depth of field now affects the environment map, the vignetting scale is now the same value as defined in the camera, Matte/Shadows materials now work in the viewport, and each viewport can now have their own exposure, white-balance and vignette settings.

From: http://help.autodesk.com/view/**3DS****MAX**/2021/ENU/?guid=GUID-9C24A540-EDA3-4BE3-BBF6-EB5C005BE8CC

Behind the Scenes: Spy House Production (3)


Behind The Scenes

Next, we will share the production process of two other materials:

Making wood material

Pay attention to the following points when making wooden materials:

• When you split the UV, try to place the squares as much as possible to ensure that the post-texture image will not be distorted.

• It is also necessary to consider the utilization rate of UV space and try to give priority to the things you can see, which can improve the quality of the material.

• The texture of the wooden structure is simple to produce, and it is necessary to find a lot of references that combine with the situation of the scene. For example, what does the wooden structure look like in an underground wet environment for a long time? Or the wood in this environment is more corroded? So to make such a feeling, a lot of references is very important.

Substance Painter wood texture production

• Import the baked Normal stickers and prepared materials into Substance Painter. Before creating something, create two fill layers, leaving only the Color option. One layer puts the AO diagram on the Color and adjusts to a positive overlay, which is used to improve the dark color. Another layer puts the Curvature map on Color and adjusts to Overlay, which is used to improve the bright color of the edge. After these operations are completed, the production of the texture begins.

Pay attention to the production of wooden texture: Consider the actual situation of the scene. Take the scene we made (spy house) as an example. For a long time in a dark and humid environment, the corrosion will be relatively serious. Afterward, it should be noted that the edges of the wood will not be particularly bright. The bright edges of the wear marks will also be darker, and then the scratches and the wear of the places where they are often used. A little brightness is needed here. Finally, there is dust accumulation and stains in places that are not often encountered. After these things are done, you can basically get a good real texture.

The material for making paper and book

When making a single-page paper with no thickness, please pay attention to the following points:

  1. When you split the UV, try to place the square as far as possible to ensure that the textures in the later period will not be distorted.

  2. The texture of the paper is simple to produce, without Hight Polygon, just baking Low Polygon Normal.

How to make paper in Substance Painter:

Import the baked Normal map and prepared materials into Substance Painter. Create a layer (unfilled layer), select Color for the material and put the material in Base Color, and select None for UV Wrap. In F1 3D/2D mode, place the picture material in the corresponding position.

Just pay attention to the book texture production: from the beginning, it is necessary to distinguish between the shell and the content. If it is made into one, it will not be easy to separate when making the texture.

Marmoset Toolbag 3 rendering

Finally imported into Marmoset Toolbag 3 for rendering, the first is to layout the light source, choose to add an HDR suitable for the scene, adjust the Child Light to the appropriate position to make the model produce a 45-degree shadow.

Because the scene is larger, more lights are added, but when rendering, pay attention to adjusting the size and illumination range of those fill lights to prevent the mutual influence of light.

I hope our learning and sharing can help you, thank you.

Behind the Scenes: Spy House Production (2)


Behind The Scenes

Material production

After baking all normals, AO, and curvature, import Substance Painter to make materials. It is worth noting that the normals baked in Marmoset Toolbag 3 and Maya use OpenGL mode in Substance Painter, and the normals baked in 3ds Max use DirectX mode. The first step after successfully importing the model must be to check whether the normal direction is correct.

After successful import, the remaining textures are baked in the texture set-baking model texture.

The following uses the sofa leather material to share the basic process of the material: the production of sofa leather material.

Inherent color of the leather

Choose a suitable material map and paste it in the color channel, adjust other parameters appropriately to make the effect more natural

Bump height

Create a new fill layer to keep the height channel, paste the height map corresponding to the background color layer, and add Level to adjust the height. At the same time, add anchor points to ensure that the color changes with the height.

AO layer

The AO diagram of the model pasted in the AO channel is that the dark parts of the edges are deepened, and the bumps are more three-dimensional.


Adjust the roughness of the sofa surface. Frequent contact with objects will wear more, such as the edge of the cushion, the inner and upper sides of the armrest, the bottom of the sofa, the top of the backrest, etc. Grunge textures can be added to make the effect more natural.

The edge fades

Create a fill layer and add a generator to produce a faded edge wear effect. Adding only one generator effect will be very stiff. Add a few more layers to interrupt the continuous effect to make the wear more natural, and finally, add hand-painted details.

Details added

Use the Grunge map to add scratches, stains, and other details to the surface.


There are two kinds of dust: dust accumulated in corners and trace dust on the surface. Create a fill layer to leave the color, roughness, and height, and then use the generator to calculate the dust position adjustment parameters to make the effect natural, and you can appropriately add hand-painted details.

Gap treatment

Manually add black to deal with gaps and other details.

Behind the Scenes: Spy House Production (1)


3ds Max Render Farm

This is a sharing of making a spy house with 3ds Max, provided by your TPN-Accredited 3ds Max render farm. The main software used in this article is ZBrush, Marmoset Toolbag 3. The following is the final effect display, then share the overall production process.

Goal setting

First of all, this project uses the standard game production process, using 3ds Max to complete the basic Polygon construction, and part of the production of Hight Polygons, and ZBrush completes the carving of local Hight Polygons, Marmoset Toolbag 3 baking, Substance Painter, complete the production of the PBR material, and finally use Marmoset Toolbag for rendering.

After the above process is established, production begins,

In the Low Polygons stage, Polygon is started according to the angle of the original painting, which is convenient for establishing the scale of the model.

After the Low Polygons are completed, in order to facilitate the unification of the material style, the production of the Middle Polygons, High Polygons is completed according to the material.

Production process

  • Modeling
  • Material production
  • Marmoset Toolbag rendering


First of all, there is an iron table in the center of the scene, so we first set the height of this table as the scene height reference, the table height is set to 1.3m, and then complete the Low Polygons in 3ds Max.

After Low Polygons is completed, put the models together, and adjust the size and distribution of each model.

It is established that the proportion position of each part of Low Polygons is correct, and some details can be added to the model. There are a lot of reusable objects, we have added different details to them so that the repetition is not too high.

Taking these metal boxes as an example, adding different details to them can better reduce visual duplication.

Here takes one of the metals as an example to share the production process:

After Low Polygon was completed, it began to add details, and then the model was UVS split:

Points to note:

We made the prototype groove on the surface so that when making materials, we can use the intelligent mask to calculate the paint and stains, reducing the workload. When making circular grooves, pay attention to controlling the number of lines according to the size of the circle, and try to make Low Polygons and High Polygons match each other when baking to produce a good normal map.

When making the lampshade, the glass cover is a Geosphere, to avoid a strange texture when the glass cover reflects.

After selecting the sphere, click Hemisphere to get a hemisphere, so as to avoid the generation of strange textures, and then use the zoom tool to adjust the size ratio.

The edges of the sphere need to add lines to avoid the deformation of the model and check for useless points or lines.

High Polygon Production

It is not difficult to make the metal part Hight Polygons. The edge position needs to add lines to avoid model deformation. Add a turbo smooth modifier to check if there is any deformation. If there is any adjustment, adjust it again.

Low Polygon Production

Directly use the Hight Polygons made by Turbo Smooth, directly reduce the surface based on the model with added details, delete the lines that do not affect the structure, and use the options in the graphite tool to check whether there are polygons.

Make the Low Polygons of the sofa, make the basic shape of the sofa in max, and then sculpt the High Polygon in ZBrush, and then use the topology tool to complete the Low Polygon. Note that the place close to the 90-degree angle must distinguish between the smooth group and the cut-off UV.

The sofa Hight Polygon is completed in ZBrush. When sculpting, different wrinkle effects should be added according to the different materials finally presented. As shown below: a relatively hard leather sofa, the folds are mainly distributed at the stitches, and there will be no large and wide folds. The surface of the seat cushion will be slightly concave and convex due to long-term use, and the foot cushion and the bottom of the armrest near the place will be slightly slack. The stitching of the sofa is not easy to be too neat, and a little curvature will appear more natural.

Baking normal

Baking uses Marmoset Toolbag 3, of course, there are many other ways, you can also use Substance Painter and ZBrush baking normal. But the advantage of choosing Marmoset Toolbag 3 is because we intuitively modify the normal.

The following figure is a basic introduction to the baking normal of Marmoset Toolbag 3:

Next is the normal modification panel:

3ds Max Tutorials: How to Set A Realistic Interior Lighting


3ds Max Render Farm

This article is a 3ds Max tutorial about how to set a realistic interior lighting shared by the powerful but affordable 3ds Max render farm, Fox Render**farm. We hope that can help you with 3ds** Max learning. For interior designers, to make a good work rendering includes many aspects, such as modeling, color matching, lighting atmosphere, composition angle, and so on. In this 3ds Max tutorial, I will discuss with you the lighting layout of the 3ds Max scene. Taking the bedroom space as an example, there is a set of small principles on how to arrange the lights, that is, the order of placing the lights: ambient light → main light source → supplementary light.

This time I will show you the lighting layout process of the Bedroom. This kind of effect is different from the general rendering. It is based on the demonstration of hotel space lighting technology. The purpose is to let everyone know more about the backlighting indoor space and indoor lighting design. Let's take a look at a few photos first, you can watch and observe at the same time,

The above figures have one thing in common, that is, the lighting atmosphere is relatively strong, and the key places are particularly bright, such as pillows, decorations, and dining tables, from which conclusions are drawn. Taking commercial pictures as an example, you don't need to blindly follow the trend to make photo grades. What you want to do is to combine realism and art.

The following uses a set of models as examples. The first step is to add a VRaySky to add ambient light. The rendering setup parameters are shown in the figure, the settings of the image sampler and color map. Adaptive DMC → Mitchell-Netravali → Type: Exponential.

Then open Indirect illumination and check on, set Irradiance map and Light cache, the parameters are as follows,

Test rendering,

It looks very dark right now, yes, only by reducing the darkness of the space can the light atmosphere be shown! So I decided to increase some ambient light, it can be imagined that there is no feeling of turning on the lights during the day.

Two VR surface lights are added, the indoor VR lights are to strengthen the effect of the skylight on the interior,

Lighting parameter value,

Rendering test results:

Although it will not be so dark in reality when the lights are not turned on, the lights cannot be so bright in the 3D software, which will dilute the performance of indoor lights.

In the second step, the ceiling hidden lights are lit according to the area of the square light troughs on the ceiling. Such ceilings are more common. If you find it troublesome, you can look for some plugins to make.

In order to save time and have a contrast effect, you can choose the area rendering test to see,

After placing the ceiling wall lamp, you can see the effect of the background wall around the top, which is the effect of the hidden lamp.

The third step is to add the lights of the bedside table lamp and place a VR ball lamp inside the lampshade of the table lamp.

The fourth step is to make the effect of the tube-shaped lamp, and the brightness of the key positions is improved. This makes the space more important.

The fifth step is to add fill light.

Test to see the effect after fill light, it can be clearly seen that the side of the bed and the ground are not too dark. Finally, all the lights have been arranged. You can also add a light to decorate. At this time, you can choose a smaller IES optical domain network to place the decorations on the bed. This can not only improve the details, but also enrich the shadows on the bed, and finally the post-production effect. (The previously adjusted parameters have not been changed. The parameters can be adjusted higher when the final picture is produced, so the effect is even better.)

Create A Stylized Female Warrior Using 3ds Max And ZBrush


3ds Max Render Farm

Fox Renderfarm, as your TPN-Accredited 3ds Max render farm, brings you this sharing from 3d artist Sqyxart about using 3ds** Max and ZBrush to create a stylized female warrior. With the development of the game, the character art of the game style has always been a very popular type. Then the game's requirements for character models are getting higher and higher, also more and more difficult. So what kind of knowledge and skills should I learn to model the character of a game?

In this article, we demonstrated the production process of the entire game model with examples, and discussed each step of character production, share some problems encountered in the production process, the total production time of the entire project is 34 days.

Production process

The character reference comes from a pair of conceptual design drawings, but it is a very difficult process to completely convert the design drawings into 3D characters.

  1. Create a low polygon according to the design drawing in 3ds Max. This process only needs to build a rough shape and structure to observe the proportion of the body.

  2. After confirming the structure of the body, some large accessories such as clothing and armor can be made.


After the overall model is confirmed, more structure can be added to the body and armor and other accessories. Because we need to sculpt afterward, this part only needs to add structure without adding too much detail.


Import the adjusted model into ZBrush for sculpting. This step of engraving takes the most time, and it is also the part that requires the most patience. For the final quality, repeated modifications are inevitable.


The number of faces of the sculpted characters is very high, and the model of this number of faces cannot be directly imported into the game engine, so it is necessary to topology a low-polygon model on the carved high-face polygon Import game engine to use.

There are two methods for topology. You can use a special topology software such as TopoGun, or you can use the automatic topology function that comes with Maya or ZBrush. Although the method of use is different, the final results are the same.


Topologically low polygons need to be split into UVs before making textures, so that they can be used to bake normals, make material textures, etc. For UV expansion, you can use the 3ds Max plug-in, or use some special UV expansion software.


The baking process is to map the details of the high polygon to the low polygon, such as normal map (with bump information), color map, metal map, roughness, and other maps. Baking is generated and exported in Substance Painter or Toolbag to get textures with high polygon details,


In Substance Painter, paste the baked texture on the low polygon, make materials, adjust the parameters of various materials, add some dirt, wear, scratches and other details to the texture, showing a more realistic effect. The final effect is shown below,

3ds Max Tutorial: Car Modeling


3ds Max Render Farm

Hi everyone, this sharing is organized by Fox Renderfarm, the powerful but affordable 3ds max render farm. For many people who are new to 3ds** Max, the process of learning 3ds Max modeling is a very complicated process. For example, some models need to be split before production, and these need to have a certain understanding of the car. Hope this sharing, from 3d artist Yeenwen Qian, will help you learn the process and steps of learning car modeling at 3ds Max.

Final rendering effect


When making car models or other realistic models, accurate and detailed reference materials are very important.

Then I found a set of very beautiful 1930s car references on the Internet. The purpose of this project is to create an exact replica of the model, so I chose one of my favorite cars to make and added some of my own things on this basis.


The first step of the model is to make the main part of the car. The shape is started from a BOX, and then the Urbosmooth modifier is added to modify the shape accurately. Next, add details, such as the gap at the body connection.

While modeling, an unusual method was used to obtain model details, such as textures and other things on the hood.

The body details used a VRay Displacement Mod and a displacement map. This combination is very useful and fast to create delicate model details.

The same method was used to make the details of the tire.

The models of other parts are made in the traditional way of polygons. 3ds Max makes this hard-edged model very useful.

After the overall production is completed, we can add subdivisions and special details to the model. The degree of subdivision can be adjusted according to the size of the model. After adding the details, we get a complete vehicle model.


At first, I just wanted to make a beautiful car, but I felt that it would be better to add a background to highlight the vehicle. After considering it, I decided to make a retro street and add some houses and other furnishings, which were made of polygons.


The texture of the car is made with 2 kinds of VRay materials. And the texture of the scene, including sidewalks, walls, doors, roads, uses some textures downloaded from the Internet. In order to show the dilapidation of the old house, A Vraymtl and a small reflection were also used to simulate the wet effect after rain except for the wood.


Rendering is also applicable to VRay. And there is only one local lighting in the scene and an HDRI texture for lighting and reflection. The rendering tests are as follows.

Synthesis Layered during rendering, one is the background and the other is the car. Then import Photoshop to adjust the effect, adding some depth of field and shabby effects to make the street look more realistic.

Then adjust the brightness, contrast, intensity, and saturation values. The final effect is out!

Corona for 3ds Max Tutorial: Modern Minimalist Style Loft Production Analysis


Corona render farm

Fox Renderfarm, a powerful but affordable render farm, organizes and shares an analysis of the production of modern minimalist Loft using Corona for 3ds** Max. This Loft has some living room furniture, doors, floors, sofas, and some accessories. The atmosphere needs to be warm and comfortable. The picture composition is 16: 9.

After we had preliminary requirements, we began to discuss the concept design and decided to make a small apartment of modern Loft style. With many details, the material performance should be soft and comfortable. Compared with the sunny daytime scene, we tend to have rich color changes. The sunset scene is more suitable for expressing an interesting living space.


Before making each project, you must choose a reference, which will be used as a reference for the future atmosphere, color, details and design inspiration. At this stage, we have the basic model and reference drawings. It is time to start the next step.

The furniture is mainly divided into two areas: tables in the dining room, sofas in the living room, coffee tables, and large windows that are indispensable in Loft. Of course, the floor is also very important.

Design and modeling

There will be many items in this scene that need to be modeled by 3ds Max, so the first step is to make basic models of some key items first. After confirming the model and space layout, start to enter the lighting, add details and texture map. Below are some pictures of angles. After the shape is confirmed, you can start adding details.

Room modeling

For automatic mapping, the coordinates and different material channel IDs can be used as composite materials. The wooden grid ceiling and the floor are made by the Floor Generator plug-in. The plug-in can control the size of the model very well. Then use polygons to make shelves and windows.

The windows are made with polygons and many details are added, and the wall is made with brick walls and replacements. The advantage is that each face can accurately show the details. It should be noted that the subdivision of the number of faces of each model must be enough to obtain the best results.

You only need to find the reference picture in advance, and then make it according to a list. There are a lot of things, but it is relatively simple.

The lantern is modeled as a polygon, and a spiral coil on the edge was added using Twist and Bend.

The decorative vases in groups of three are also polygonal and Turbosmooth, and apply displacement and procedural noise maps.

The sofa also continues to add details from a Box. The pillow and fabric are also made by Marvelous Designer. This software is simple and beautiful to make this material! When importing back to 3ds Max, an optimized editor was used to reduce the face. Other things are basically the same way. After finishing the model, split the UV, so that you can directly enter the production of the texture. In order to ensure the clarity of the ground texture, 25,000 pixels are used.


After doing some tests, I decided to choose the Corona renderer. Corona renderer is a powerful renderer, and it has concise parameters and lighting effects, and only requires simple steps to have a perfect effect.


This material is very simple, it is a Falloff in the texture channel, mixed two same textures, and used Color Correct to make the two images one brighter and one darker. Color Correct has many options for editing textures. In the Displacement channel is a mixed texture with a texture and a black and white texture.


We have a physical sample of the floor and scanned to make a texture of up to 25,000 pixels, and then use CoronaRaySwitchMtl to avoid the scene from being affected by the ground with high color saturation and high texture. The texture map is loaded with the MultiTexture plugin Can cooperate with the floor generation plug-in to make a more natural and random effect.

Shading cloth

The key to this material is reasonable transparency. You need to make sure that the Thin option in the Refraction rollout is checked.

The other materials are basically the same, all made with high-quality textures.


After the material is ready, you can start testing the light. I chose some reference images of dusk as the background to diffuse beautiful light and shadow.

We set this twilight picture in Corona Lights, placed it as the main light source in the window, and placed some small but high-intensity area light to cast a clearer shadow. The next step is to make a simple background for testing and put it outside the window to enhance the realism.


Before saving the rendering results, use Virtual Frame Buffer to make some color adjustments. It is necessary to pay attention to the contrast between exposure and shadow. Save the format as a 16-bit PNG file.

Post-production is adjusted using After Effects CS6, and the final effect is as follows,

3ds Max Tutorial: Analysis of Building Rendering in Dusk


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 works

Software used

3ds Max, V-Ray, Solid Rocks, Forest Pack Pro, Siger Shaders, Photoshop Cs6, Red Giant Magic Bullet and Nik Software.

Reference picture

Before 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.

Basic Settings

Linear Workflow is a highly recommended way of working, the basic settings are shown in the figure,

Modeling All 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.

Materials and texturing

All 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.


HDRI 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.


This 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.

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.


The 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.

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.

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.

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.

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,

How to Render with 3ds Max


3ds Max Render Farm

3ds Max is a 3D production software with a huge user group, which is widely used in the fields of Film and Television, Architectural Visualization, Advertising, Games, and other fields. For 3d artists, the most troublesome is probably rendering. If you use your own computer to render, you will often face the phenomenon of slow render speed and long waiting time, and some larger pictures will even crash the computer directly.

In fact, render 3ds Max projects is not that complicated at all! Today I will introduce how to use cloud render farm to achieve the purpose of accelerating your render speed.

Take Fox Render**farm** as an example, they have two options: web page and desktop client. The specific usage methods/steps are as follows:

3ds Max web submit tutorial

I. Preparations for 3ds Max web submission:

1.1 In the case of web login, please visit web login for details.

1.2 In the case of web transfer, please visit web transfer for details.

1.3 Compare the local and could asset directories.

II. 3ds Max web submission process (4 steps: submit > analyze > render > download):

2.1 Click “Submit” button on the left, select the software for submission > set a project path (Note: this project path contains all the materials used for the Max file) > select the document for rendering, then click “Next”.

2.2 Add software configuration after submitting the job (Note: regarding the software and plugin used in the file production, VRay renderer doesn’t need configuration), click “Go Analysis” and wait patiently for the analysis to be completed.

2.3 Click the job with “Analysis Done”, set render parameters and then submit it for rendering (Note: the actual rendering starts only at this job)

2.4 On the rendering page, click the job > export the file > download.

3ds Max desktop client submit tutorial.

1.Sign in the desktop client to enter the main interface

2.Drag the max file to the job area in the client, thus to trigger the submission and start the scene analysis.

3.Add or select the software plugin version corresponding to the file and click “Next” to enter the analysis page.

4.Click “Next” when the analysis is done (Note: corresponding prompt will appear in case of any error in the analysis results or warning thereof) and set render parameter setting (including: common settings and Vray settings).

4.1. Common setting:

4.2. Vray settings:

5.Click “Submit” to start the uploading. The rendering is automatically started upon the completion of submission, and hence the submission job is successful.

Because of the high requirements of the machine's hardware during the rendering process, many people's own computers cannot support the render requirements of large files, and the render farms has solved many 3D artists' concerns about this part. With the render farm, sometimes even a 1-month project can be rendered in 15 minutes, and the rendering is completed without using the local machine, and the 3D Artist can spend more time on creation.

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