Creation Analysis: Using 3D to Make 2D Style Scene(2)

Creation Analysis: Using 3D to Make 2D Style Scene(2)



V-Ray for 3ds Max

In this article, we still show the use of 3ds Max to create 2D animated movie-style scenes and will focus on explaining the -style picture performance.

The use of channels

When rendering into a map, we need to add some channels to the rendering elements to help us post-process the scene. I added VRGI channels, VR lighting channels, VR reflection channels, VR shadow channels, VR highlight channels, and Z channel. The Z channel needs to test the distance of the camera in advance. It can be measured directly with a tape measure, or the camera's ambient range display can be turned on. The rendering results are as follows:

Adjust the color and composition

In the last step of color processing, you must first have a clear understanding of the overall picture effect processing ideas. Let's analyze the original picture of Makoto Shinkai first. "Koto no ha no niwa" uses the delicate design and delicate application of color elements to enhance the overall expression of the work. In the picture, the author uses a variety of green and gray with different purity and brightness. Multi-tones such as blue, white, and white are painted and painted. The crystal clear and colorful colors contrast with each other, forming the vivid art style of the film. The courtyard scene uses high-purity dark green forest leaves as the main thing, and the dark parts are generally biased to cool gray, so we must focus on these factors in the post-processing.

Select the color of the GI channel and the reflection channel for the superposition method, and select the soft light for the superposition method of the light channel. Adjust the opacity of the screen overlay according to the picture conditions. The Z channel is reserved, and then the center of the picture is brightened with warm colors. The colored sky map gives the original image a soft light overlay. The opacity is set to 50% to make the picture breathable. Then adjust the color balance, saturation, and curve of the overall picture to improve the overall color purity and contrast of the picture. Warm color filter, as shown below:

Next, use the Z channel to create the blue fog effect in the dark part at the top of the screen. Display the Z channel separately, adjust the color level to make the black and white obvious. Then, in the RGB channel, Ctrl + left mouse button to select the white selection area. One layer, fill it with blue-gray, and adjust the opacity as shown:

Create a new layer, use the radial gradient in the gradient to make a rainbow in the upper left corner, wipe out the desired shape, and then add a Gaussian blur to give the rainbow a foggy feel.

Next, create a soft light effect for the overall screen. Ctrl + Alt + Shift + E stamps all visible layers duplicates one layer and uses Image-Adjust- Threshold to change the image to black and white. Similarly, select the white part of the selection, Ctrl + J duplicates one layer, uses soft light for the superposition method, and gives a Gaussian blur with a value of 10, so that you can get a soft light effect that enhances the bright part of the overall picture, adding a depth of field effect, and the final effect is shown in the figure:

Creation Analysis: Using 3D to Make 2D Style Scene(1)

Creation Analysis: Using 3D to Make 2D Style Scene(1)



V-Ray for 3ds Max

In this case, we show the use of 3ds Max to create 2D animated movie-style scenes and will focus on explaining the -style picture performance. From his animation works, we can feel a strong personal style, exquisite light, and shadow applications, strong light and dark contrast and gorgeous colors are the biggest features of his works, these features make his works look more real. Reference material from Makoto Shinkai’s animated film "Koto no ha no niwa".

Some pictures material comes from the 2D animated film "", and some screenshots are found for reference.

The whole idea:

  1. Composition layout and lighting test
  2. Material adjustment and rendering settings
  3. Use of channels
  4. Color comparison and synthesis

    Composition layout and lighting test

It is very important to make scene lights in this style, often in small details, such as the bright and dark junction of very bright objects, reflections in small details, the color gradient of objects under the influence of light, and the objects interspersing and blocking, the resulting changes in light are all things we need to pay attention to. Every time I watch an animation, I am always moved by these nuances. The models used in this tutorial are very simple. When doing interior scenes, it is often to build a simple BOX first and modify the approximate shape to test the lights to see if they meet the expectations. But when making, it is better to have an imaginary picture first, so that you can judge whether you have achieved the desired effect when you are done, but you must know what kind of effect you want before you do it.

This is a scene from the animated movie "Koto no ha no niwa", which is real in Shinjuku Gyoen Park, Japan. What I want to do now is to make the 2D animation feel with 3D. First, use a simple model to determine the main pavilion. And the location of the surrounding trees, place the camera, as the picture shows:

Then we can see through the original animation that the light is shining from the bottom left corner.

Here, a standard target parallel light is used as the main light source. The angle of light and the attenuation range of the illuminated area are adjusted. The shadow length and direction of the trees are observed and adjusted to a suitable position. Adjust the UVW in the shadow parameters to blur the tree projection to make it unreal.

Open the environment and effects panel, add a VRaySky map to the environment map, drag it to the material panel by example, check the first column, pick the target parallel light in the scene, and set the map light intensity to 0.03. You will get a sky environment that matches the scene lighting, making the rendering more realistic.

A high light and dark contrast picture is needed here, so no ambient light is used in this scene. In addition, a VRayLight was created in the direction of the light to simulate a small range of strong sunlight. It can produce more intense light and shade. The parameter settings are the shape of the light is spherical, the intensity is 200, the color is warm, and the light is not v**isible.

Open GI and test the lighting effect, as follows:

After the lights are almost well, we start to refine the scene, and finally, it looks like this:

In order to simulate the feeling of the rainy season in the original animation, I used the 3ds Max particle system to simulate some raindrops, created a standard particle flow source, and added a random rotation to make the raindrops have some random changes.

I also used the MultiScatter plugin to plant some grass.

Material adjustment and rendering settings

In terms of materials, I will focus on the material of the pavilion and the surface of the water. The material of the pavilion must be rendered wet and wet. Because the scene is rainy, I chose mirror high reflection on the material. I did not check Fresnel. The top will be completely reflected in the surrounding trees, plus the projection of the tree occlusion to get a similar effect.

The water surface did not make it reflect the sky and clouds like the original painting, but chose a green that matches the scene, as shown in the following figure:

The material of water is as follows:

Next, we can adjust the rendering parameters. Anti-aliasing uses Catmull-Rom with a certain sharpening effect, which can make the details of the trees richer. Turn on the reflection environment. A VRayHDRI map is added to the reflection environment. The exposure selection is the last one. The term Reinhard mixed exposure is similar to the combination of exponential exposure and linear exposure. Set the blend v**alue to 0.7.

VRay**HDRI is displayed as a sphere with an intensity of 4.

Using the VRayHDRI map can increase the reflection details of some scenes. Turn on the GI and use the Irradiance Map for the first bounce. The first bounce is the first global light calculation for** the direct light. The second bounce uses the Light Cache. Actual calculation, turn on display calculation phase. As the picture shows:

Open the rollout of the light cache, set the light subdivision to 1500, and check the options in the figure.

The rendering effect is as follows:

Rainy Scene Performance of Building Exterior

Rainy Scene Performance of Building Exterior



V-Ray for 3ds Max

This is a rainy scene performance of building exterior, from 3D artist Han Shilin. The software used is SketchUp, 3ds Max, V-Ray for 3ds Max, Photoshop, and Substance Painter, etc.

How to be "realistic"?

"Realism" doesn't just give each material a very accurate parameter that can be applied to any environment, so that it can render a very realistic effect. It also refers to realistic performance = according to your own visual experience, controlling parameters to make the map in line with expectations.

The difference between the two understandings is that the former has no control and expectation of the final result, and is based on the idea that "parameters are correct.".


The reference picture is very important, this is an expectation of the final effect, such as light and shadow, atmosphere, composition. And it is recommended to combine all the reference pictures into one plate.

In order to show a sense of tranquility and quietness, a darker, rainy weather was set. The architectural details of this scene are not many, the atmosphere of light and the treatment of the ground part are very important.


Grasshopper makes the appearance, imports SketchUp to make the main body of the building, and then imports into 3ds Max, and rendered with V-Ray. The process is very simple.

The important thing is to do a good job of layering, otherwise, it will become more troublesome when importing into 3ds Max.

As for the composition, a very low angle was used, as much as possible to expose the ground material and the wider sky.


The main body of the building is far away from the lens, so only ordinary materials are needed, and the texture of the materials can be maintained. Taking the skin material as an example, the rest of the building materials are very basic.

Sidewalk and road eaves: indoor concrete texture package, because there will be a lot of dirt in the outdoor scene, so the concrete texture and the dirt texture are mixed together. The area in the close shot is relatively small, so the repeatability of the material is serious. Since it is a rainy scene, the roughness value is also very low.

PS. The main building can be modeled in SketchUp and then imported into 3ds Max. The environment and settings of the scene are best created with 3ds Max because the SketchUp model will have some problems when imported into 3ds Max, such as the UV will be messed up.

Performance details (Substance Painter draws some textures)

From the perspective of the camera, the pavement greatly affects the picture, so its material is very important. You need to import this pavement into Substance to draw textures.

Import the mesh file that needs to draw textures into Substance Painter.

Remember to turn off the channels other than the natural color when drawing the natural color map. After drawing the natural color map, create a new layer and draw the bump.

Then you can add some standing water to both sides of the road.

There are many ways to draw. One of the simpler methods is to add a material to adjust a very flat height and then apply it several times with a dirt brush to get a better random effect. Because what to do is a rainy scene, there is no wet feeling. So adjust the level of the roughness layer.

One thing to note is that if you want to get the same effect in 3ds Max as in Substance Painter when importing the texture, adjust the blur to 0.2. For sharper effects, lower it. In addition, the imported map gamma needs to pay attention to, the map color of the natural color is selected automatically, and the rest are all 1.0.

Then it is relatively simple work and found some model-rich scenes from Evermotion's model library.

Such as the middle and lower left cars. After that, I used V-Ray rendering in 3ds Max, and finally adjusted it in Photoshop.

V-Ray for 3ds Max Tutorial: How To Create a Sniper Robot

V-Ray for 3ds Max Tutorial: How To Create a Sniper Robot



V-Ray for 3ds Max

In this production, I will explain how to create a sniper robot using the hard surface of 3ds Max, and include the texture and shader process. Hard surface modeling is also applicable to a variety of mechanical models, the main software used are 3ds Max, Photoshop, V-Ray and so on.

Basic model

There is a general idea before the production, you can use the basic functions of 3ds Max to make a rough shape with a simple BOX, and adjust the shape and proportion on this basis. Be sure to adjust all of them before you start adding details. The order of this step is very important.

Basic model after adjusting shape and scale

Once all the basic model shapes and proportions have been determined, you can add details to the large model on this basis. As for the more detailed places, you can adjust after the completion of the big block.


Now that the important parts of the model have been completed, you can add details to these locations. For example, cutting gaps, adding screws and things that are common on mechanical parts.

As shown in the image below, most of them use bevels, edge extrusion, chamfering, etc. The tangent at the edge must pay attention to the position of the line to achieve a smooth effect.

In this project, some 3ds Max TurboSmooth modifiers were used. TurboSmooth is used to make some smooth surfaces very easy to use, but also to keep the face on the model to a minimum, and can also effectively reduce the final rendering time, if you want the work more realistic and speed up the rendering speed, you can use a , like Fox Renderfarm.

Making ammunition belt

This section is very simple, you can make a single model, then copy a few and group them into a group, and then use Path Deform Binding to transform. Here you can use the deformer to try to change the Rotation and Twist values to modify more shapes.


For UV, UV splitting can be done depending on the color of the model and the different materials. The model is divided into six textures,including body, outer body, internal parts and joints, wires, tubes, small pieces, details, screws and weapons.

Lighting and materials

First set a scene of HDRI lights, a fill light, a yellow fill light, a blue point light source, and then baked an AO map.


Make a texture in Photoshop:

  1. Draw a color layer for the theme
  2. Yellow details of the robot
  3. Use channels to increase rust details
  4. Make a peel on the robot paint

Finally, add some text and logo to the material, and finally use V-Ray to render.

Tutorial: V-Ray for 3ds Max Making Forest Park Restaurant

Tutorial: V-Ray for 3ds Max Making Forest Park Restaurant



V-Ray for 3ds Max

The case study presented to you this time is based on a person's conceptual design - a restaurant that is intended to be built next to a waterfall and surrounded by vegetation. From design to final performance, it is all done by one person. The overall production idea is worth sharing with you. The software used is 3ds Max, V-Ray for 3ds Max, Photoshop.

1.Architectural modeling and material assignment

In the early stages of design, conceptual sketches can be drawn in the form of paper and pencil. According to the characteristics of the Tongas National Forest Park, combined with personal preferences, the general appearance of the base is restored and the general shape of the restaurant is designed. The 3ds Max was then used to complete the modeling of the restaurant, refining the details of each part of the restaurant from three dimensions.

Because this design does not require the display of interior details, some ready-to-use chair models can be used directly, without the need for exquisiteness. Together with the temporarily created table and luminaire model, it is placed inside the building, so that the interior has certain details related to the subject.

After the main body model is completed, the corresponding materials are given to each part. The structural part of the building is mainly black steel. The material is generally created by the method of making metal. However, in order to make the surface of the material more vivid, a texture of stainless steel is used as the mask, gloss map and bump map, the metal surface has a slight color change and reflection gloss changes.

The following is a node diagram of the material. In addition to the base material, the dirt effect is added to make the stain effect appear on the concave corner of the steel. Of course, this effect can be selected by adding PS in the later stage.

Since the main body of the building is far away from the camera, all aspects of the details can be appropriately reduced, especially the object that is occluded. Therefore, the rest of the restaurant model uses only three material balls, one is glass and the other is wood (for table) The same one), one is stainless steel. Stainless steel may be a more interesting material, but it is not clear in this scene, so it only gives a diffuse reflection and bump.

In the end, the complete building body was initially obtained.

2.Scene lighting

This step can be made according to personal habits. Here, lighting, modeling, and materials are synchronized. At the beginning of the modeling, the lighting is placed according to the design, because the lighting is an indispensable part of the design. Because it is a conceptual scene, the illumination does not have to be too limited to reality. It can be adjusted according to preferences. In order to highlight the existence of the main body of the building, you can use the shadow to block the less important places, and at the same time highlight the context of the scene and form a contrast between cold and warm. It even reduces the difficulty of the late fog.

The light source of the scene is mainly divided into three parts. The first is V-Ray sunlight, from the perspective of the camera, from left to right, and the sun is low.

The second is a dome dome lamp loaded with an HDR from Peter Guthrie at dusk, but the overall tone is cold.

The third part is the lighting in the building. The spherical light of the v-ray is placed directly inside the luminaire. Combined with the double-sided material properties of the luminaire, the lighting environment can be guaranteed while ensuring the visual effect of the luminaire itself.

Finally, four spotlights are used. Illuminate the bottom of the second floor to highlight the outline of the building's main body.

3.Environmental modeling and material assignment The next step is to start the environment modeling, first creating a large plane that covers the range seen by the camera and uses it as the ground around the building.

However, the surrounding area of the restaurant is not a flat ground, there is a river passing by, you can use the drawing function in the editable polygon to create the bump effect of the ground, and use the noise modifier to further add subtle height changes to the ground. At this point, create a plane, use it as a water surface, combined with the ground with high and low changes before, easily produce the effect of water. Of course, when brushing the terrain, you should consciously shape the riverbed instead of carving it at will. Use a similar approach to create more undulating relationships for the ground and get a preliminary environment.

The ground is almost done, and there is no difficulty in this step. Next is the cliff waterfall, you can first use the spline to hook out the plane of the cliff, then use the "clothing generator" modifier to generate the grid, and finally use the "replacement" modifier (placed the noise map) to generate the height difference Of course, use the soft selection to determine the area where the bump is to be generated before using the noise. In the upper part of the cliff, considering that the camera could not see her full picture, I only built a small part of the top of the cliff and then combined it with the model.

Use the plane to pull out a simple shape, then use the turbine to smooth the mesh, and finally use the noise modifier to give the model a bump change that simulates the rough effect of the rock surface. However, a cliff does not seem to be enough, so I copied a few more, and finally got the following effect, the environment has been basically built.

The environmental model has been roughly completed, and the corresponding materials are given to the various parts of the environment, including the dirt on the ground, the rocks behind the restaurant, and the rocks on the cliff. In order to reduce the workload, it is not intended to increase the details on the model, but to directly use the texture with sufficient information to achieve complex surface effects.

Real displacement Texture by Christoph Schindelar is a seamless map of 3D scanning with accurate diffuse, normal, gloss and displacement information to create realistic and reliable surface effects.

In order to show the high quality of the material, I made a few small tests. The following three materials are given to the scene, and the distribution is as follows.

4.Vegetation addition Here we use the itoo's grass model, convert it to a proxy, and use the advpainter for manual distribution.

5.Rendering and Post-Production

The scene is now almost processed, and finally the remaining material is filled, such as the water surface, and finally a complete scene. Raise the render parameters and add the render element zdepth (set the distance according to the scale of the scene) and change the output resolution to 2560×1440. Let's take a look at the changes from model to lighting to final rendering.

After rendering the basemap, put it into Photoshop to adjust it. Content like waterfalls and water fog, which is handled later in the post, is very advantageous for still frames. Because the color of the waterfall itself is not complicated, its characteristics are mainly reflected in the light effect of water vapor and the water body on both sides. At this time, you only need to use the polygon to simply pull out the waterfall, and process it into black and white, then use the color scale to remove the unnecessary parts, and finally repair it with a brush to get a pure waterfall "flowing body". Take one of the waterfalls as an example,

The only thing left is to polish. Adjust the overall color brightness and tendency, add a halo to the exposed area, add the lens vignetting effect, and the final result is born.

Article reference article shared by 3d artist Yu Dejie

71 Tips And Technical For V-Ray In 3ds Max

71 Tips And Technical For V-Ray In 3ds Max



V-Ray for 3ds Max

In writting this article, I want to share some tips in the rendering process for V-Ray in 3ds Max, which can save rendering time and improve rendering speed.

1.Try to limit the number of Ploygons, the less the faster rendering speed.

2.If you use V-Ray, use Proxy instead of the high-surface model.

3.When making shadows, subdivisions are best not to be too high.

4.Remove unwanted objects from the scene.

5.If the model is very small on the output screen, the texture resolution should not be too high.

6.Avoid excessive use of glossiness and highlights. You can achieve approximate results with simple diffuse, bump and reflection (0.95 ~ 0.75). Also try not to use Archshaders.

7.Use the high number of models near the camera or the main visual range.

8.When V-Ray is used in outdoor scenes, the built-in direct light (such as the sun made by yourself) and V-Ray's ambient light are much faster than V-Raysun and sky. You only need to adjust the color to achieve V-Raysun and sky effects.

9.Understand the difference between copy and instance, and the appropriate application, simple but effective.

10.Clear the undo data, especially the list of commands in the command line above, because this will eat a lot of memory. There is a need to clear, undo is not enough and it is very troublesome.

11.Regarding system resource management, turn off anti-virus software (such as norton or mcafee) when rendering, because this will slow down.

12.It is best to use textures in the details of the model.

13.Use the xref scene.

14.Optimize the model, such as using polycruncher and other plugins, MAX2010 already has ProOptimizer.

15.When making smooth surfaces (curves/meshsmoothing), note the value of iteration.

16.When using V-Ray's irradiance map, check the interpolation so that the value is the same as the reflection and refraction interpolation in the submenu.

17.Are you sure you want to use the time killer caustics effect?

18.When V-Ray renders, the first pass selection, brute force vs. irradiance map, is judged according to the case.

19.The core parameters, noisehreshold (noise threshold) and AA (AntiAlias) subdivision (anti-aliased subdivision), based on the case.

  1. Fine-tune the parameters of glossy reflection and frosted materials, based on the case.

20.Avoid using the DOF of the physical camera, you can use other plugins instead.

21.Use render elements to make various channel outputs. Then do the post-synthesis system, which can shorten the rendering time, such as using some common synthesis software AE, Combustion, etc.

22.Evermotion Archshaders and Archinterior/Exterior's default material settings are time killers that need to be adjusted and rendered.

23.Commonly used Irradiance and Light Cache (save to file) options, if the scene is unchanged, you can skip the calculation part, directly access the cached data graph, and the rendering speed will be faster.

  1. A balance is achieved between the output screen resolution and the irradiance map setting. For example, if you are 3600pixel large image, set min/max=-4;-3 (equal to "very low" preset option), interp. samples to 25 (smooth surface). or min/max=-4;-2

26.Before setting all the shaders, try to place the material in the Override mtl: Material button in the V-Ray: Global switches in the render dialog. Then test which parameter values are the fastest and the best. Use this method to get the optimal settings.

27.Too much light will also consume rendering time.

28.When rendering the test, please use the preset parameters, the speed is faster.

29.ADAPTIVE QMC improves detail and is slower; Adaptive Subdivision makes the picture smoother and less detailed, but faster. Based on the case.

30.Please check the render region division, region sequence, etc. in Raycast Parameters...

31.When using V-Ray's displacement, if 2d mapping and related settings eat a lot of memory, please limit the use area of the displacement.

32.It is recommended to use 3ds max 64 bit

33.Using the X-refs feature allows you to manipulate large, bulky external reference scenes in the main scene.

34.3ds Max handles 9000 scenes with 10k facets more efficiently than 200000 1K facets. So attaching objects can increase execution efficiency.

35.Using mrProxy or V-RayProxy in Mental Ray or V-Ray, Proxy is designed to efficiently load models and renders.

36.Bitmap Proxies: Reduces the amount of memory consumed in the scene.

37.Data resources are concentrated in one path for management, not to be scattered around.

38.Local computer operations can avoid the damage caused by remote network traffic jams or files. Remember to do backups often.

39.3ds Max users with a systematic organizational concept know how to use Layers, Groups and Selection sets.

40.Write MAX s to simplify heavy work and increase productivity.

41.Photoshop and post-production software (AE, Combustion) will be used, which will save a lot of rendering time.

42.Good knowledge of photography, training your own visual observation ability, you can immediately see where you need to modify and immediately stop rendering when rendering, you don't have to wait until you finish it to judge whether it is good or bad.

43.If the texture is too large, such as 3600pixel or above, please lower the AA (anti-aliasing) value, min/max=-1; 2.

44.Make sure to turn on the system multi-threading option.

45.Use a smaller size for the rendering test.

46.Area Rendering: Only test the important range, so have more time to check the Shader and adjust the results you want.

47.Try not to add Glossy (gloss, highlight) effect unless you think the effect will be good.

48.The more the number of scene model faces, the more memory is consumed. Some techniques can reduce the amount of RAM used. Adjust the Raycaster settings in the System volume column (reducing Max. levels, increasing Min. leaf size, increasing Face/level coefficient, switching Static to Dynamic) Default Geometry)

49.When rendering, using 2d displacement mapping will consume a lot of rams, especially large displacement maps. If so, you can use 3d displacement mapping. If you have multiple Displacement modifiers, but share a displacement map, And to set the same parameter value, it is best to replace the Displacement modifier with the attribute instance, that is, multiple models share a Displacement modifier.

50.Bitmap filtering: Summed area uses more RAM than Pyramidal. Summed area is only suitable for smaller textures.

51.Shadow maps obviously consume RAM, you can use raytraced V-RayShadows instead.

52.When the scene has only a simple model (no fine-grained model), you can use only the first Light Bounces.

53.Image sampler (AA anti-aliasing): V-Ray's anti-aliasing function requires a large amount of RAM to store data. The amount of memory depends on the bucket size (Rendering region division) and sampling rate (sampling rate). To reduce memory usage, you can reduce it. The bucket size and the use of different Image sampler, such as Adaptive QMC sampler memory usage is less than the Adaptive subdivision sampler.

54.Global illumination caches: Irradiance maps, photon maps and V-RaylightMtl maps all require additional memory for storage, with separate methods to control RAM.

For example, the memory usage of Irradiance maps is based on the number of samples, so you can lower the Min/Max value and use the loose threshold values (higher Color threshold, higher Normal threshold, lower Distance threshold).

For example, the memory usage of photon maps is based on the number of photosns, which can reduce the Diffuse subdivs of V-Ray material or increase the maximum Max. density.

55.Decrease the trace depth as much as possible.

56.Even if V-Ray's VFB (Visual frame buffer) is selected, MAX's VFB will still be colored, taking up extra RAM. You can turn off the "GET RESULOTION FROM MAX" option and set the MAX output resolution to 100×100. Set the correct resolution of V-Ray VFB.

57.Sometimes it is considered that the rendering settings are slower. If you check the scene carefully, see if there are any unused Polygons, or if there is any useless material in the Polygon? shader editor outside the Camera lens? Affect the speed of Render.

58.Sometimes the model in AutoCad is far from the coordinate center, and we call it in max, but render is very long, you can move this model to the coordinate center 0,0,0 position in AutoCad.

  1. Avoid overlapping models, so you must raise the render setting to remove spots or blemishes.
  2. It takes a lot of time to calculate a large image, so you can use a similar Super Render to split the block rendering.

61.Do not increase the Reflection/refraction value in V-Ray Global swithces, about 2~3 to meet most of the requirements.

62.The REFLECT ON BACKSIDE parameter can be turned off in the Option option of the V-Ray material.

63.If you spend a lot of time to render a flat and ungraded result, and similar to the contour map, you can check the Use interpolation in the reflection in the shader, and then adjust the reflect interpolation min/max = -3 in the Reflection volume. -1

64.Avoid using the Bump map with the glossiness of the check-in interpolation, which will produce a lot of impurities.

65.If you render 3600pixel and other large images, you can only count small sheets, such as 1600 or 2200, then use the PS/PP profit filter, or zoom in ssplinepro, unless the laser output, no one will notice .

66.Irradiance map with light cache can meet most of the rendering quality requirements.

67.After determining the GI solution (such as Irradiance + light cache), the setting of image sampling and antialiasing becomes extremely important.

68.The HSph. subdivs of Irradiance maps are adjusted upwards from 20 until the impurities are removed. Generally, good results can be obtained between 20 and 50.

69.The default min/max=1 of the Adaptive QMC sampler; 4 is only used for testing, min/max=3; 6 meets most high quality requirements, and the best between min and max should not exceed 2 or 3.

70.When Light Cache's Subdivs value is used for testing purposes, 100 is used for large scenes; 250 is used for small scenes or indoor scenes. When used as product output, multiply by 10, 1000 for large scenes; 2500 for small scenes or Indoor scenes (more details). In actual rendering, adjust according to the current environment.

71.After all, using a render farm can make the works more realistic, most useful in time-saving and money saving.

Using V-Ray For 3ds Max To Create A Real Grass Field

Using V-Ray For 3ds Max To Create A Real Grass Field



V-Ray for 3ds Max

First, a separate grass is to be made, we take a kinds of grass as a reference for model making. After creating the patch, we edit the polygon, continue to segment, and slowly adjust the shape of the grass. Establish the segment number plane Editable polygon Adjust the stem shape of the grass Continue the segmentation number to facilitate the bending deformation. The shape adjustment of the leaf is completed Only affect the axis measurement, center to the object, move to the bottom of the grass, rotate the direction of the axis, in order to prepare the bending command Use the bending command to adjust Copy a few grasses, using different bending methods and twisting operations. Since the growth law of the grass is relatively random, we try to adjust the different curvature and the size of the grass. The model of the blade is made, so that it is convenient to draw the grass for a while. 2. Make the texture of grass leaf Next, we made the texture of the grass in photoshop, created a 1000X111 size image, then used a piece of grass material as the texture, buckled the part of the blade, dragged it into the image we created, try to ps into what we want The color and texture of the foliar texture. Below we use unwrap UVW to expand the model UV and then map the blade model. Then copy the model and make some edits to the copy model to make them look different. 3. Advanced drawing Below we draw a circle as a reference ground and then convert it into an editable polygon. Use the plugin advpainter_1.5.1, which is a special object for making random placements, such as flowers and plants, hair, etc. Add the grass you just made to the plugin, make some numerical adjustments, and then draw. Click on Paint to draw, then we have to select the ring we just created, and it is easy to draw a piece of grass like a ps brush. In order to avoid taking up too many points, we can edit the polygons, then export the v-ray grid and save the file. 4. Fast terrain Create a new scene and quickly create a terrain. After the plane is edited to the editable polygon, the deformation is drawn, and then the terrain is given a soil material, and the haystack model just created is imported. Now we are starting to use the Multiscatter tool to grow grass. This plugin can quickly create large patches of grass or forest. Now combine all the objects into a default object, then redistribute the inside to pick up the ground. Add the two v-ray meshes we just prepared to export the object. Set the number of distributions, set the two hay objects to different shapes, and assign different colors. The way the dots are displayed and the inherent colors of the objects will make the whole scene display clearer. So we will arrange the grass, you can try different values to see the effect. 5.Scene test The v-ray physical camera and v**raysun are used to adjust and test the scene. For the close-up part, we need to locally strengthen the ground to make the grass and the ground more integrated. When using the Multiscatter tool to grow grass, if the terrain is too large, you can use the boundary linear cutting tool to reduce the area of the grass distribution and display only the parts that the camera can see. This form is very practical for** handling large scenes.

Rendering Work Production Sharing of V-Ray for Blender

Rendering Work Production Sharing of V-Ray for Blender



V-Ray for Blender

John just wanted to draw a illustration of chicken. He also recently learned about the Blender **v**ersion of **VRay**. He saw **V**Ray**'s node in Blender, which is much more interesting than in **3ds** **Max** and Maya, so he want to use the **V**-Ray** **for** Blender to make the work. 

Software used: Blender 2.78a, 3ds Max2017, VRay** 3.4

Collecting material,

Setting drafts can be free, but when creating 3D, the collection of materials is a thing must to do! Modeling All models are done in Blender, using the same process as the current mature process, engraving the embryo model > topology based model > engraving fine model.

The armor does not use the displacement texture, but directly after the low-module of the Blender, it is directly exported into the OBJ format and sent to 3ds Max for rendering. In the figure 2 is the engraving part, and the figure 3 uses Blender's own reducer modifier for the engraved fine mold reduction. This modifier can be regarded as a simplified version of ZBrush's Decimation Master, which is very easy to use and is almost exactly the same features as the Decimation Master.

Feather production: According to the structure of the bird feathers, do it one by one > Show UV>Rig>Skinning>Tpose>Remove Rig> and adjust to the effect you want.

The clothes and feathers are the same, first make the foundation, then rig, get the basic shape, remove the rig, use the engraving to complete the details of the fabric.

The hair between the eyebrows and the feathers on the body are obtained by combing the particle hair system of Blender. Blender's Hair&Fur is very good and can be easily converted to a Polygon line segment for export to 3ds Max.

After importing these guides into 3ds Max, he used 3ds Max's own hair system, Hair&Fur, to complete the hair generation. Pose

Quickly built the bones, because it is not an animation, so do not consider IK, as long as there are bones to pose, it is an animation, mainly to facilitate the model image adjustment, you can quickly return to the original position. You can create a lot of Blender's window, so using dual screen operation will bring a very good efficiency. Light He watched Moana and was impressed by the bright light and shadows inside. Really liked this bright light, so the lights of the Sunstar Pleiades did not use the strong contrast of light and dark to render the atmosphere, mainly to let the luminous flux is very sufficient, so that the dark part has enough light to create a bright, fresh feeling. There is basically no suspense in the light, the main light, the backlight, the top light, the side light, the fill light, basically all used again.

The lighting of surroundings uses HDR.

In the white mold stage, the basic light and darkness of the light is created. TEX Material Production Instead of using the traditional way of drawing textures, I used nodes instead of the process of editing textures in flat software. Since the birth of Quixel and Substance, the production and editing of materials has begun to change in the process. Many softwares have also added similar node functions, such as 3DCoat, houdini, etc., so VRay is no exception. The advantage of this process is that with the help of real-time rendering capabilities, editing and creating materials is basically what you can see, which can greatly reduce the trouble of switching to flat software, save more texture size, and many details and effects are simulated by the node in the PS map. The layer method is obtained, and the material editing becomes very flexible and convenient. For the natural weathering and wear of objects, this process has awesome effects and can create many natural details quickly and easily. The golden armor of the next day is the use of this process, no UV, all rely on VRay's powerful nodes to mix the details of the material. Well, the sharing of parameters have no meaning at all. The model structure, the size of the volume, and the parameters will change accordingly. Here are two V-Ray map nodes, VRayDirt and VRay**TriplanarTex:

VRayDirt uses its AO effect to create sharp-angle masks for models without UV. The VRayTriplanarTex triangle map node is a box map fusion in Blender's Cycles. This is an important update node in VRay 3.4. It is an omnidirectional texture wrap node. It allows you to perfectly apply a texture to an object without UV, and there will be no seams. By relying on the combination of these two nodes, you can easily get the Mask of the right edge effect, and then use VRayTriplanarTex to complete multiple combinations such as Diffuse, highlight reflection, bump map, and then VRay** material can be quickly obtained.

The effect here is just a show, and you can go deeper into more details. It’s just that for the work of the Sunstar Pleiades, because it’s a god, and it should be new and clean. So, there is no deliberate pursuit of war damage and dirty material performance. (In fact, this guy has no time to do it) Another introduced node is Vray's MultiSubTex, which can perform multiple objects with the same texture but different texture colors through a material, which greatly reduces the number of materials and can manage these materials very intuitiv**ely.

The clothes of the Sunstar Pleiades are made up of 4 objects. Although they are arranged in the same UV, the directions in the UV are not the same, so that the cloth size or the direction is unreasonable. In the cloth material node, I added the MultiSubTex node. Through this node, the object ID property can be used to effectively manage the texture direction and size of four different objects. This makes it easy to make the texture of the four models reasonable. Rendering The rendering settings are basically the same as the original ones. GI I used the Brute force + Light Cache method.

A lot of channel output, rendering the finished product is not easy, so avoid the channels that can be rendered after the regrets are turned on, including highlights, reflections, Z channels, object ID and AO are necessary. Post-production Synthesize the color in the PS, add the background, correct some small defects, and finally the finished picture! BY: John (Liu Yang)

TOTAL CHAOS: Chaos Group Launched Its Second Annual Computer Graphics Conference

TOTAL CHAOS: Chaos Group Launched Its Second Annual Computer Graphics Conference



V-Ray for 3ds Max

On May 17, Chaos Group launched its Total Chaos conference in Sofia, Bulgaria with a keynote from the minds behind **V**-**Ray** and Corona. The company rein**for**ced its dedication to research and inno**v**ation, its commitment to bringing **V**-**Ray** to di**v**erse creati**v**e industries and its continuing support **for** the creati**v**e community. 

After an energetic performance from Rio Dance Crew 360 and singers Torlashki Napevi, CCO Lon Grohs welcomed the 1,000-strong audience of Total Chaos attendees to the Sofia Tech Park. Next, Peter Mitev, Chaos Group’s co-founder and CEO, presented the highlights of a busy year for V-Ray and Corona including the launch of V-Ray Next for all major platforms, V-Ray for Unreal, Corona 2 and 3 for 3ds Max and Corona for Cinema 4D. The teams behind V-Ray and Corona have been collaborating closely on new technology. At Total Chaos, Corona’s Research and Development Partner Jaroslav Křivánek officially launched Chaos Research, a laboratory which will combine resources, experiment with new ideas and create the rendering technology of the future. Jaroslav handed over to Corona’s Founding Partner and Main Developer Ondřej Karlík, who celebrated the innovative renderer’s 10th birthday with a demonstration of recently introduced features of Corona, including its caustic effects, and gave a glimpse at how they’ll be refined in the future. No Total Chaos Keynote would be complete without a few words from Vlado Koylazov, Chaos Group’s co-founder and CTO. He introduced some of the exciting features users can expect in V-Ray Next updates for Maya, 3ds Max and Unreal, as well as the official release of V-Ray for Houdini. VP of Product Management Phil Miller joined Vlado on stage to wrap things up. Together, they introduced a brand new demo of Project Lavina, the incredible real-time iteration of the V-Ray engine. DAY ONE The day started with an incredible keynote from the most important people behind V-Ray and Corona. Then, the 1,000-strong crowd dispersed to check out a diverse array of presentations from professionals in the CG industry.

·Art track Arch viz and interior design was the focus of the first two talks on Total Chaos’ biggest stage, with WeWork’s Gregory Rogers and Kengo Kuma Architect’s Tomohiro Matsunaga deconstructing workflows and delving into the role V-Ray plays in their visuals. Then, we switched lanes to a presentation from Sonja Christoph. Her inspirational and moving talk looked back on a varied career which has taken her from work on movies, including Tomorrowland and Doctor Strange, to her current role as an environment artist at Massive Entertainment for games such as The Division 2.

There are many ways of representing the human form, and a trio of presenters showed their approaches to digital characters. Victor Hugo charmed the crowd with his uniquely stylized characters, Ian Spriggs showed how he’s using traditional techniques with cutting-edge technology and anatomy expert Scott Eaton blew the audience's minds with his research in AI and human figures. In a hugely exciting announcement, Ian even debuted a new portrait of THU event founder Andre Luis. ·Women in tech panel

Total Chaos was host to a packed discussion on how women can forge successful careers in the worlds of tech and CG. Juice’s Natalia Lasota, Chaos Group’s Albena Ivanova, Avengers: Endgame’s Production Technology Manager Piya Wadia, Massive Entertainment’s Sonja Christoph and INK’s Ioanna Ivanova talked about their unique career paths and switching between industries, personal and workplace challenges, advice on time and stress management and communication in the workplace, and — above all — how to follow your heart and stay true to yourself.

The Code track area is all about delving into the nuts and bolts of the technology behind powerful CG software. The lineup included software developers Javor Kalojanov (Weta Digital), Steven Parker (NVIDIA), Adrian Graham (Google), Prof. Dr.‐Ing. Philipp Slusallek (German Research Center for Artificial Intelligence), Attila Áfra and Jim Jeffers (Intel), and Asen Atanasov (Chaos Group).

This is where Chaos Group’s CTO and Co-founder Vlado Koylazov unveiled some supersmart new features coming to V-Ray Next for 3ds Max, including memory tracking, shader debugging, GPU advances and bump shadow improvements. He also shed light on a new Light Cache algorithm which even works with Project Lavina, Chaos Group’s real-time ray tracing technology.

·Craft track Volvo rev**ved up the Craft Track with a presentation on how it has developed a fully integrated pipeline for real-time and offline rendering and the knock-on effect this has had on the way its cars are built. Porsche’s Andre Matos was in swift pursuit with a look at how V-Ray GPU and VRscans have supercharged his workflow, and he was followed by fascinated and varied talks from Tobias Nientiedt (OTTO), Tarran Kundi (Woods Bagot), Adam Tunikowski and Natalia Lasota (Juice), and Anthony Christov** (IDEA Academy).

London’s INK Studio has made a name for itself in creating clean-but-playful images, animation and VR experiences for the likes of Honda and Audi, and in Ioanna Ivanova’s presentation she showed off some of the tricks of the trade. She demonstrated how Cinema 4D can be used for quick and easy previews, showed a head-spinning Escher ad — and revealed why you should never, ever try to work with cats. The Craft track finished with a journey into the (occasionally horrific) heart of Hellboy from Bulgarian VFX studios Nu Boyana and WorldWide FX. DAY TWO Total Chaos's second and final day was every bit as good as the first. The line-up of 34 presentations and discussions across four stages demonstrated the incredible diversity of the CG industry. The crowds were astonished by AI-powered world builder Promethean AI, inspired to create a mobile game with Gameloft Sofia, learning how Blur Studio coordinates artists around the world or discovering the inner workings of Chaos Cloud. Architecture and design was the theme of the Art track’s morning session. Gensler’s Scott de Woody was the first to grace the Total Chaos podium with his overview of the multinational architecture firm’s approach to creating buildings people want to work in — including an appropriately triangle-based HQ for chip firm NVIDIA.

Continuing the architecture theme was KPF’s Cobus Bothma, who detailed how the company built its cutting-edge pipeline with new V-Ray tools such as V-Ray for Unreal for creating Hololens scale models and easy, beautiful real-time walkthroughs in Project Lavina. The trip down the VR rabbit hole continued with Marko Margeta and Jose Pareja Gomez of Zaha Hadid Architects, and Factory Fifteen’s exhilarating Nissan Formula E experience. Madrid-based creative studio Beauty and The Bit has brought big-screen sensibilities to the arch viz movie with “Landmark.” In his presentation, art director Victor Bonafonte Morales explained his initial intentions and demonstrated how his sketches and previz fed into the final movie.

Meanwhile, in the Craft track, Ingenuity’s Grant Miller went procedural with a guide to how the company uses Houdini and V-Ray for Houdini to create environments populated with dense fauna, crowds of thousands for a Kelly Clarkson music video and piles of bodies for The Walking Dead. There are sure to be some audience members who will make use of Grant’s techniques to cut out the fiddly bits of their VFX pipelines.

Quickfire round! Back in the Art track, ILM’s David Wortley and Falk Boje showed how V-Ray for 3ds Max has been used seamlessly to create environments in big movies including Black Panther’s Wakanda, A Wrinkle in Time’sfloating mountains, Jurassic World: Fallen Kingdom’s Isla Nublar, Star Wars: The Last Jedi’s Skellig Island (with Phoenix FD for the sea) and Rogue One’s tropical battleground. Despite covering so many films, there was no shortage of tips and tricks here.

The Assassin’s Creed series takes pride in its accurate historical recreations — albeit with a dash of 21st-century parkour. In Yavor Yakovliev’s presentation, he showed how Ubisoft Sofia used procedural techniques to recreate Ancient Egypt for Assassin’s Creed: Origins. Next door, in the Craft track, Slashcube’s Thomas Vournazos flew us to “Moon Village.” Developed in conjunction with architect SOM, the European Space Agency and the Massachusetts Institute of Technology, this short film used Corona for Cinema 4D to visualize a human colony on Earth’s natural satellite.

How can VR help the architecture industry? And what happens when we create spaces in VR without the constraints of the real world? These are the questions Agile Lens’s Alex Coulombe answered with his dynamic and charming presentation. He looked at how VR has changed the way we plan and explore prospective theaters, and how it inspires new forms of architectural, artistic and theatrical expression.

The day came to an epic end with two major players in the visual effects industry. Digital Domain’s Deke Kincaid showed the evolution of the company’s digital humans and characters, culminating in a thorough breakdown of its spellbinding V-Ray rendered work on Avengers supervillain, Thanos. After DD’s analysis of the 750,000-year-old big bad, Method Studios showed the techniques it used to create a photorealistic baby with an adult voice for a commercial project. The wheels are already turning on Total Chaos 2020. Stay tuned, and we’ll see you in Sofia next year! Cr.Chaos Group website

The Creative Process Sharing of Work \Childhood’s Bedroom\

The Creative Process Sharing of Work \Childhood’s Bedroom\



V-Ray for 3ds Max

This work inspired by China's 60s and 80s, I decided to create a bedroom in my childhood. The collection of materials and model creation is the focus of the previous period. For this purpose, I have searched for a large number of photos, collected and produced models. The focus of the material is dirty, dusty, and irregular. The focus of the light is to open up the spatial level with volume light, which makes the picture more chronological.

The software used: 3ds Max, V-Ray

  1. Materials collection

These things are all from the 60s to the 80s of the last century. 2. Create a model

There are a lot of small objects in the scene, it is difficult to model one by one, some directly call the model library, and some are done with poly. But pay attention to some problems in Items, such as proportion, shape, color, brand, placement, and mutual matching, in order to better create a sense of time.

Attention to detail:

Some tiny details are the key to determining the realism, and the model can be created using the model. Wall wires are created directly with spirals, paying attention to the slack of the wires and the aluminum wire card and the fixed nails. Switch sockets also have to match the style of the year.

Stripped red painted windows and old-fashioned latches should be standard in those years.

Vintage photo frames, new year pictures, paper-cuts, calendars, and black-and-white photos temporarily inserted on the closet door add to the atmosphere.

  1. The material

Green paint wall surface, the surface is a weak Diffuse green paint, the inner layer is yellow sand, and a black and white mask shows the texture of the wall surface stained with water. The choice of black and white maps is the key, and the traces of water stains must conform to the real situation.

Wood grain of wardrobes, tables and chairs. Wood grain is the key material to be expressed in the scene, wardrobe, table and chair, bed frame, door and window are all the same kind of nodes, only the depth and color change. They use a deep and light wood grain to represent the surface layer and the inner layer, and then use V**rayDrit for true mixing. For each wood grain to be more natural, each is mixed with Mix. The powerful V**rayDrit works with model lights and camera angles to simulate extremely realistic and natural effects, which is hard to achieve by drawing textures!

Cement floor: The principle is the same as wood grain, a layer of rough ground, a layer of high-gloss ground mixed with V**rayBlend, showing the wear of the ground. The undulation of the concrete floor is directly added to the trace Displace. In order to express the water stains on the face of the wash basin, a layer of V**rayBlend is nested.

Others like the wooden boxes, wooden doors, wooden windows, chairs are all done with Mix, V**rayBlend, V**rayDrit, the same principle can be applied to other objects.

  1. Lighting

The scene lighting mainly shows the lighting effect at dusk, using the principle of real lighting, adding surface light to fill the light, avoiding black dead ends and reducing noise. Here I used parallel light as the sun.


Light parameters: The three faces are the main light, and the brightness is reduced in turn to make the light softer.

Sunlight volume light parameters: the addition of volume light is the finishing touch, open the space level, and more vicissitudes.

  1. Rendering

Anti-aliasing filters are used by Mitchell-Netravali, and GI uses the mainstream Brute force + Light Cache. In order to produce a higher quality parameter, Subdivs mult opens to 3, which also opens the detail enhancement and outputs the TIFF format, which is very time-consuming.

  1. Post-production

The post-production of this work is very simple, adjust the picture contrast, color curve, edge sharpening, but too much adjustment will reduce the quality.

In brief, during the production, technique is not a problem. Good works must in a good theme or style, and creativity is more important than technique. As a work of art, it is not only technology, but also aesthetic improvement, style control, material use, and efficient processes. I hope to create more good works in mutual learning!

Author: Liu Lei

How To Make a Green Bamboo Leaf Forest Cabin With 3ds Max And V-Ray

How To Make a Green Bamboo Leaf Forest Cabin With 3ds Max And V-Ray



V-Ray for 3ds Max

This article is organized from Fox Renderfarm, the world's leading render farm. It mainly teaches how to use existing models to make green bamboo leaf cabins. The main software used is **3ds** **Max**, **V**-**Ray**, Photoshop, etc.. 

After opening the model, first check and organize the model. After the group is set up, the angle is selected. After repeated comparisons, the following angles are selected:

Next, start to paste the material, the scene is small, the material is relatively simple, the effect is as follows:

The main material of the model is composed of three materials: wall and glass and wood. The parameters are as follows:

Wall material

Glass material

Wood material Next, start the lighting layout. First, create a v**raysun as the main light source in the scene. Env**ironment and reflection add an HDRI texture and use it as the background to get the following effects:

The lighting and environmental parameters are as follows:

The next step is to add plants. This stage has a great influence on the whole work. Therefore, it takes a lot of time to arrange and combine, including the spatial relationship of the whole scene, the relationship between each plant and the shadow relationship. Tested, scrutinized. Get the following effects:

The adjusted plant plane distribution is as follows:

Now that the scene has been completed, the effect is not bad, but the dark part is not well lit and the color is too dark. Therefore, we added a parallel lamp to the scene to add light to the dark part. The room also added a face light to reflect the space, and increased the dark part multiplication in the exposure control. The parameters are as follows:

Finally, the following effects are obtained, and then the big picture can be rendered. Everyone has their own big picture parameters. I won't go into details here, and I will use it with ease.

Next, go to the post adjustment section, here is the original rendering:

First make an overall adjustment to the rendered image, through soft light, color balance and other processing to get the following effects:

Then add a gray sky map to set a tone for the picture:

Then add a vignetting around, and spray some fog on the plants behind the building to increase the sense of space and emphasize the visual center of the picture:

Continue to darken the foreground and adjust the materials in the scene to make the relationship more reasonable and better integrated into the whole tone.

Next, spray warm light on the bright part to enhance the feeling of the sun. Then create a brightness contrast adjustment layer, as follows:

Create a color balance adjustment layer:

Reduce saturation:

Add a little more exposure:

Then, copy one layer as a whole and the blend mode is soft light.

Finally, if you want to make the work more realistic and the light more natural, it is best to use cloud rendering service, time saving. The tutorial is for reference only. Maybe you can change other methods based on the above, such as using cloud rendering, it may be made. For more different works, get a free $20 free trial of Fox Renderfarm. Author: Green Bamboo Leaves

Willys Jeep Production Analysis, A Real Photo-Level Rendering Tutorial

Willys Jeep Production Analysis, A Real Photo-Level Rendering Tutorial



Maya render farm

The first step in creation is a material collection, which requires careful observe and study of the structure of the car body. It is only after you understand the image and structure that you can start modeling, which will improve efficiency and prevent excessive modification.

The main software used was: 3ds Max, V-Ray

  1. Polygon modeling

After the conception, the production started. The first thing to start is the creation of the model. The model here is mainly based on the mechanical body, so it can be done with the polygon modeling tool in 3ds Max. Since there are no shortcuts, only basic modeling ability and patience are required. Of course, modeling takes a considerable part of the time.

  1. UV deployment:

Considering that the vehicle has a certain degree of damage and dirt, it is necessary to specifically paint the damaged paint and dirt at a specific position, which requires UV splitting of some models. The UV split is using 3ds Max's default Unwarp UVW tool. The UV of the car body, tires, ammunition box and fuel tank must be split, and the small parts can be used without UV removal. Only UVW Mapping can be used with appropriate mixed materials (textures). Here only the UV split of some key models is shown, as shown below.

However, some models such as: steering wheel, seat, armrest, car suspension system including sandbags, obstacles, stones do not need to be split, but with UVW Mapping with Composite texture or V**RayBlend Mtl material can be used, so for trivial small Objects can save a lot of time to remove UV and improv**e work efficiency.

There are also some models that are used with the V**RayBenldMal material in conjunction with the UV**W Mapping tool.

  1. The drawing of the map:

After the model UV is split, the texture map is drawn. The software used here is Mudbox2014. Mudbox is very powerful in drawing textures. The real-time model mapping makes the texture alignment and seam processing very simple and efficient. Very high. The display here takes the car body and the ammunition box as an example.

The main tool used in Mudbox is Projection, which maps textures, dirt, and LOGO to a UV-removed model. Since Projection can be projected with photos or processed images in PS, this can greatly increase the authenticity of the creation, so Mudbox's texture drawing is also widely used in next-generation game production and some film production.

After the drawing is completed, the texture is baked and output to the PS for further color correction and adjustment. In this example, the textures that I baked include: inherent color map, highlight map, and bump map.

The final effect of the car and small scene:

Since the ground is going to do some careful division, the ground UV is also removed and imported into Mudbox for texture processing.

According to the division of the texture (gravel land and grassland), the model of the ground is treated separately, that is, one side is the grass and the other side stone. The model of the stone is processed in 3ds Max, and the stone on the ground is brushed out by the default model drawing tool of 3ds Max.

The grass itself uses a proxy model, and the whole grass is planted using the 3ds Max plug-in Forest.

  1. Background elements

Since the idea is a hand-type of willys jeep, some of the hand-made tools are used as background elements. The main tools are airbrushes, air pumps, model knives and paint bottles, and these objects are very industrial. It can also respond to the car body, so use it as a background element. The paint bottles can be used in a variety of colors to increase the color of the background image, and the colorful colors used in the background will not be overwhelming. The photo only reflects the history of Willys Jeep, and also adds elements of the background image.

  1. Lighting and rendering

In order to have a strong sense of sunshine, V**RaySun is used here because VRSun is better and simpler to show true sunlight. Putting it on the front of the model has a meaning of "bright guidance". The warm and bright light on the grass can also form a contrast with the obstacles on the grav**el floor under the shadow of the back, the ammunition box and the sandbag. The specific light position layout is as follows:

The main parameters of V**Ray** specific parts are as follows:

  1. Post-production adjustment

Post-production used are DF and PS. The output Z channel can be used as a depth of field and fog effect. The specific effects are as follows:

Depth of field effect selection is synthesized in PS. Of course, it can be added in AE or DF according to personal preferences and habits. In PS, you can adjust the depth of field effect by adding "Z channel" to Alpha in the channel layer and then using "Filter Blur Lens Blur". Basic color correction and fog and glow are added in DF.


Even if the production of jeep is completed, the production process and ideas are expected to be helpful to everyone, thank you!

Author: Rui City


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