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


3ds Max Render Farm

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

How to Make a Sci-fi Spaceship with 3ds Max(2)


3ds Max Tutorials

Your private cloud rendering service provider, Fox Renderfarm, is still sharing with you the production of how to make a Sci-fi spaceship with 3ds max. RenderingThe background production directly used a previous project and made some modifications according to the reference diagram. The lighting adopts the sunlight and skylight of V-Ray. When rendering, the spaceship and the background are rendered in layers, and the background does not require too high parameter settings.The final rendering of the background,!How to Make a Sci-fi Spaceship with 3ds Max -18!How to Make a Sci-fi Spaceship with 3ds Max -4The sky in the background is not directly rendered, but a sky map is directly synthesized in Photoshop. What needs attention is the color of the water surface. If the sky is blue, then the water, buildings, and especially the reflection-sensitive things in the scene must be changed to blue.!How to Make a Sci-fi Spaceship with 3ds Max -8After background synthesis,!How to Make a Sci-fi Spaceship with 3ds Max -19The last is the rendering and post-production of the main spaceship.The rendering settings of the spaceship are the same as those of the background. Several important points to note are,First of all, the material of the spaceship is a reflective material similar to car paint, so the layout of the environment is to better reflect the texture of the car paint. When I tried to render the car paint in the initial stage, it felt very fake, without texture, and the actual material is not necessarily the material. It is not adjusted properly, but it just ignores the influence of the environment on the reflective material.At the bottom of the spaceship, I made a "plate" whose function is to give a darker reflection to the bottom of the spaceship to achieve the effect of the virtual ground. The key point is to pay attention to the height, and remember not to exceed half of the spaceship.!How to Make a Sci-fi Spaceship with 3ds Max -22The final rendering effect,!How to Make a Sci-fi Spaceship with 3ds Max -6It can be seen that the background and the spaceship are too integrated. Next, I used a few basic tools to adjust the color of the entire scene. After adjusting the color, it can be seen that the sky contrast has been strengthened and the overall tone has been unified.!How to Make a Sci-fi Spaceship with 3ds Max -17Finally, add some small details: add lights.!How to Make a Sci-fi Spaceship with 3ds Max -12

How to Make a Sci-fi Spaceship with 3ds Max(1)


V-Ray for 3ds Max

Your private cloud rendering service provider, Fox Renderfarm, is sharing an article for you this time on how to make a fish-shaped spaceship with 3ds max.IntroductionThis work is inspired by spoons. One day, I saw the spoons when I was eating in the restaurant, I suddenly felt that the spoons turned upside down looked like some kind of fish, and some of them looked like a science fiction-style spaceship. Suddenly I wanted to make this inspiration into a spaceship that can travel in the sky and water.ModelingAfter returning home, I spent one night combining some handsome sea creatures, such as whales, sharks, etc. and drew this manuscript with a pencil. Later, I thought the shape looked good, and finally decided to make it into a model with 3ds Max.!How to Make a Sci-fi Spaceship with 3ds Max -2The next step is more challenging for me because it is very challenging to make a 2D concept map into a 3D model. In particular, the 2D concept map will only serve as a reference work, while other angles and details need to be found from references and other materials. The road to spaceship design has just begun.!How to Make a Sci-fi Spaceship with 3ds Max -15!How to Make a Sci-fi Spaceship with 3ds Max -21In the production, I constantly modify the details, such as changing the original single tail to a double tail. I also tried to add a co-pilot position next to the tail, but after adding it, it felt unreasonable. Later, the cockpit was changed to a jet engine compartment. Two red fuel tanks were added on both sides of the tail (although some people say they are like batteries)!!How to Make a Sci-fi Spaceship with 3ds Max -16!How to Make a Sci-fi Spaceship with 3ds Max -13All models are not very difficult, but they are constantly adjusting their shapes during the production process. But this may have something to do with the person who made it, and I like it very much from the angle in the picture below, the eyes look very imposing.!How to Make a Sci-fi Spaceship with 3ds Max -11Because I have previous experience in industrial design, the design of the spaceship engine is not too difficult for me.!How to Make a Sci-fi Spaceship with 3ds Max -1!How to Make a Sci-fi Spaceship with 3ds Max -9!How to Make a Sci-fi Spaceship with 3ds Max -3The final model is completed! As long as the overall shape and parts are reasonable, well, the overall shape looks streamlined and comfortable.!How to Make a Sci-fi Spaceship with 3ds Max -14!How to Make a Sci-fi Spaceship with 3ds Max -10TexturingWhen designing the concept map, I have already considered the material of the spaceship. First of all, the main body of the ship is made of car paint, which is very common in industrial styling, and it is not very difficult to make.The texture of the spaceship mainly uses the standard material of V-Ray, and then some blending. This part is mainly to add different materials and textures to the 1 and 2 masks in the mixed material. The important point is that the "Falloff" map is used in the mask, and the default color sorting of attenuation is white on black. Here you should use the invert button to reverse it and turn it into black on white.1.The setting of "Material 1" is relatively simple. It is the color displayed in the dark part after the "Attenuation" mask, so the color is black (or a dark color in a certain color system, which is close to black). "Diffuse" is pure black and "Reflection" is pure white, which means 100% complete reflection. Pay attention to check Fresnel reflection. Keep the refraction options as default.2." Material 2" is relatively complicated. The reason for saying this is because the material in Material 2 is the "Shellac" material. You should know that its function is to change the color, highlight, and Reflection of "Base Material" and “Shellac Material”, and mixed them by the value of "Shellac Color Blend".In fact, the settings of the two materials are almost the same, but it should be noted that the diffuse color of "Shellac Material" is the color of the car paint. For example, if you want the model to be yellow, then change it to yellow here. And the diffuse black of "Base Material" is an attenuation color, so that the material can richly reflect the contrast of different angles.!How to Make a Sci-fi Spaceship with 3ds Max -20

3D Tutorials: Making a Sci-fi Scene in 3ds Max(2)


V-Ray for 3ds Max

Continue the 3D Tutorials: Making a Sci-fi Scene in 3ds Max(1), the fastest GPU and CPU cloud rendering services provider, Fox Renderfarm still share with you the part of texturing and rendering in making a Sci-fi scene. TexturingMaking textures is the most interesting part of the work, but realistic textures are also the most difficult to make. Understanding the texture we want to make is the first thing to do. The more common items in life, the more troublesome it is to make. So it is very important to find a reasonable reference. For this project, I used the V-Ray shader to set the material. First of all, I chose the V-Ray Mtl material type, paying attention to the highlight setting.For the metal material setting, first, add a texture to the diffuse, reflect the falloff to simulate Fresnel, and fine-tune the color in the curve and falloff parameters.!3D Tutorials Making a Sci-fi Scene in 3ds Max -11Because of the difference in metal texture, the robot's metal texture drawing has been slightly adjusted. For example, the metal texture of this robot is divided into three types, and their highlights will be somewhat different. I have used the Reflect glossiness adjustment in V-Ray Mtl. RenderingWhen the model, textures, and lights are all made, we can start rendering. As a 3D artist, rendering time is an issue that cannot be ignored. The rendering of this project uses layered rendering, which facilitates the post-processing of files and also speeds up rendering time, but the downside is that the lighting is not well controlled. If the lighting is adjusted, many files need to be re-rendered.!3D Tutorials Making a Sci-fi Scene in 3ds Max -8!3D Tutorials Making a Sci-fi Scene in 3ds Max -19!3D Tutorials Making a Sci-fi Scene in 3ds Max -16As for the production of CG scenes, it is crucial to the tone and atmosphere of the whole scene. Whether we can grasp the overall picture feeling is the key to the success or failure of creating CG scenes. The atmosphere can be created by adding special effects such as atmosphere, and the adjustment of the overall color of the picture is often achieved through color correction. There are two commonly used color correction methods, one is to directly color correct in 3ds Max, and the other is to color correct in PHOTOSHOP. I personally prefer to use PHOTOSHOP.!3D Tutorials Making a Sci-fi Scene in 3ds Max -4After the 3ds Max rendering work is completed, it is now the work of entering PHOTOSHOP, we need to further add details to the picture.!3D Tutorials Making a Sci-fi Scene in 3ds Max -13!3D Tutorials Making a Sci-fi Scene in 3ds Max -15I adjusted the color, brightness, saturation, etc. to make the picture look more comfortable. Next, add details to the picture, including weeds, smoke, light-emitting energy bars, etc. I made a variety of attempts but finally chose red.!3D Tutorials Making a Sci-fi Scene in 3ds Max -23!3D Tutorials Making a Sci-fi Scene in 3ds Max -21The final adjustment was the background. I wanted to add a distant city to the background, so I used 3ds Max to build a simple background city, then rendered it into PHOTOSHOP, and directly found some image materials to superimpose on it.The next step is to add a distant city to the screen. Because it is a faraway view, the city can quickly create a few boxes in Max, and then roughly render it, import it into PHOTOSHOP, and find the material to be directly superimposed on it. This saves the time to show the UV texture.!3D Tutorials Making a Sci-fi Scene in 3ds Max -25Finally, I want to add some clouds to the sky to make it look more natural. I used a brush to paint the clouds in PHOTOSHOP.!3D Tutorials Making a Sci-fi Scene in 3ds Max -24!3D Tutorials Making a Sci-fi Scene in 3ds Max -12!3D Tutorials Making a Sci-fi Scene in 3ds Max -14

3D Tutorials: Making a Sci-fi Scene in 3ds Max(1)


V-Ray for 3ds Max

Your powerful CPU & GPU cloud rendering services, Fox Renderfarm still shares with you the 3ds Max tutorial. In this tutorial, I conceived a sci-fi style scene, and named it "Fortress". IntroductionBefore I started production, I just made a preliminary idea. Because I didn't have too much time to create, I didn't draw a conceptual drawing. I just made a model while conceiving, so it took some time for the model to determine the final form. In the end, I rearranged it before finally making all the models. !3D Tutorials Making a Sci-fi Scene in 3ds Max -6!3D Tutorials Making a Sci-fi Scene in 3ds Max -9!3D Tutorials Making a Sci-fi Scene in 3ds Max -5The first thing I made was the head model of the robot. This model refers to the works of other artists. I defined the function of this robot as combat, so I changed its right hand to a firearm. The left and right are changed to claws according to the need to grasp things. In order to highlight the bright spots on the body, several red lights have been added.!3D Tutorials Making a Sci-fi Scene in 3ds Max -20!3D Tutorials Making a Sci-fi Scene in 3ds Max -22After the building behind the robot is made, the composition problem needs to be considered. I prefer the wide composition. Originally, I didn't plan to place a spaceship behind the robot but made a large-scale crawler machine that walks on the ground.!3D Tutorials Making a Sci-fi Scene in 3ds Max -2However, I tried placing the composition in the lens, and after several attempts, I was not satisfied with the result. Later I thought of another method. I drew a diagonal line from the upper left corner to the lower right corner of the screen. The triangle in the upper right corner of the screen would be empty, and the composition on the left would be very crowded and the scene elements would appear impenetrable. So I referred to a conceptual drawing drawn by Mr. Sebastien Larroude, removed the track of the second main body, and added a sail to turn it into a spaceship. In this way, the composition in the camera becomes a stable triangle.!3D Tutorials Making a Sci-fi Scene in 3ds Max -7!3D Tutorials Making a Sci-fi Scene in 3ds Max -1 LightingAfter the composition is determined, it is the lighting work. In this project, I use the V-ray renderer for lighting and rendering. V-ray is very easy to use and can save money. I think it is very suitable for this project.The main light source I use is the V-Ray sun in the V-ray rendering plug-in. The V-Ray sun can simulate the real sunlight effect. At the same time, I use the V-Rsky texture lighting method here and use the dome to simulate the skylight and form a more realistic shadow. They are the different effects produced by ordinary spotlights and V-Ray light.The parameters of V**RaySun are very simple. What needs attention is the light intensity. It is recommended to use V**RayPhysicalCamera when using V**Ray Sun. If you use MaxCamera, it is best to change the Intensity multiplier to a small value. The size of the size multiplier area reflects the intensity of the sun's direct illumination range. The smaller the value, the smaller the straight-line light shadow range. On the contrary, the larger the shadow range, its the numerical unit is set according to the scene size.The parameters of the V-Ray Sun are as follows.!3D Tutorials Making a Sci-fi Scene in 3ds** Max -18The most important part of lighting is that the colors of the cold light source and the warm light source complement each other. For example, when making some relatively large scenes, the foreground and the background need to be separated, and the more we separate, the stronger the sense of perspective. A reasonable main light source will be the key to success. So in this step, we need to repeatedly test the rendering results.!3D Tutorials Making a Sci-fi Scene in 3ds Max -3!3D Tutorials Making a Sci-fi Scene in 3ds Max -10

Making a Japanese-style Scene in 3ds Max(3)


3ds Max Tutorials

Continue the Making a Japanese-style Scene in 3ds Max(1) and Making a Japanese-style Scene in 3ds Max(2), the fastest GPU & CPU cloud rendering services provider, Fox Renderfarm still shares with you Making a Japanese-style Scene in 3ds Max(3). Model placementAfter the low model is completed, place it according to the set camera angle in the entire scene. The position and size of the model need to be exactly the same as the original image. After the placement, the ID is separated according to the material. Note that the name of the material needs to be the same as the name of the model. Then add a shader, and finally export the scene resources to Substance Painter to make textures. TexturingBefore making the texture, we need to make all the UVS of the low mode well. Note that the accuracy of the UV needs to be consistent with the whole scene. After dividing the UVS, match it with the high-poly to make the two models completely overlap and bake the normal, And then open the exported model resources in Substance Painter, and bake the remaining textures in Substance Painter.It should be noted that the texture of the house needs to be made with seamless textures, while the billboard UVS needs to be done in Substance Painter for the content and colors of the advertisement, and then mapped to the model.Let's share the basic process of material with the shark head.1. For the production of basic colors, the shark head is divided into several parts, eyes, teeth, black part, and white part of the shark head, as well as the tongue, gums, and oral cavity.2. Create different layers and give black masks, and use the UVS fill in the geometry fill to select the range. It should be noted here that when the model is made and when the UVS is split, it is necessary to think about the wiring between different materials on the same object in advance. When making shark heads, there is the wiring between different materials, so that we can cut along the line when we develop UVS. And we can choose the range while making the material. We can also add a brush tool to draw after using the mask, select the range or make the ID map in 3ds Max, and select the color in Substance Painter. Specific materials are selected according to different models and materials.In the basic step, not only the color, roughness, and metallicity of the model shall be adjusted, but also filters, color levels, etc. shall be added to the background color according to the material of the object to enhance the texture of the object. Use some procedural textures or masks, combined with brushes to draw dirty marks. Carry out some detailed descriptions, through procedural textures, generators, etc., to increase some surface details such as scratches, damage, stains, dust, etc., which can be adjusted by adding a brush. Rendering !Making a Japanese-style Scene in 3ds Max!Making a Japanese-style Scene in 3ds MaxDue to a large number of scene props, the workload is heavy. The Marmoset toolbag was used for test rendering at the beginning, but the effect was not very good, and the screen display was slightly shiny and rendered. There is also a certain difference between the atmosphere of the whole scene and the original painting.Finally, the V-ray renderer is used, and the still frame rendering scheme is adopted, which can improve the rendering quality of the scene.After learning some basic rendering operations of V-ray, I decided to rearrange some parts.1. Texture: Due to the difference between the V-ray texture process and Substance Painter's PBR scene channel, it was tested many times in the early stage, and finally the texture was mapped to the correct path one by one.Lighting: V-Ray has a rich variety of lighting. The main light source I use is V-Ray Sun, and there are some auxiliary light sources, area lights, and point lights. I encountered many problems when adjusting the light, such as choosing the type of light, controlling the intensity of the light, and the placement of the position. The most important thing is to gradually test the effect of the shadow.Texturing effect:!Making a Japanese-style Scene in 3ds MaxEnvironment fog: The environment fog is a difficult problem in the scene. The environment fog is arranged in the last step before rendering. The parameters are also very complicated. After debugging for a long time, I also asked the teacher some questions, and finally found that the main thing is to adjust the height of the fog. The three parameters of distance and color are arranged to have an effect similar to the original painting.!Making a Japanese-style Scene in 3ds Max!Making a Japanese-style Scene in 3ds Max

Making a Japanese-style Scene in 3ds Max(2)


3ds Max Tutorials

Continue the Making a Japanese-style Scene in 3ds Max(1), the fastest GPU and CPU cloud rendering services provider, Fox Renderfarm still share with you how to create a Japanese-Style Scene in 3ds Max. High-polyAfter the mid-poly is finished, some models with very few details, such as lanterns, can be converted into high-poly models with threading. When adding threads, be careful not to damage the original model structure. And some models with a lot of details, such as shark heads and wooden boxes, must be carved with Zbrush.Let's take shark head and plank as examples. Shark headThe first step is to divide the shark head into two parts, head and teeth. The shark head is made in Zbrush. Because the head part is biological, we must always pay attention to the exact proportion of the model when carving. On this basis, some details such as scratches and damage are described.!Making a Japanese-style Scene in 3ds MaxThe part of the teeth is done in 3ds Max. First, reduce the surface of the shark head carved by Zbrush and import it into 3ds Max to determine the position of the teeth. Making teeth in 3ds Max is conducive to the placement and can better reflect the sense of dislocation of the teeth. Then, after adding the lines, adjust the details of the tooth surface in Zbrush!Making a Japanese-style Scene in 3ds MaxFinally, the two are combined to complete the high-poly.!Making a Japanese-style Scene in 3ds Max BoardFirst split the wood from the scene, add a number of line segments to each board in 3ds Max, and pay attention to the segmentation. Then import the segmented wooden board into Zbrush, refer to the wood pictures collected on the Internet, and carve the details of the board, and use some wood brushes to reflect the feeling of bumps on the damaged surface of the board. In Zbrush, the strength of the brush can be increased appropriately, because the broken details will be reduced when the normals are baked.!Making a Japanese-style Scene in 3ds Max!Making a Japanese-style Scene in 3ds Max Low polyThe low poly is used to match the high poly for baking, so part of the low mold can be directly adjusted and manufactured in the 3ds Max. It should be noted that some concave and convex structures can be made by baking, so these structures can be directly deleted in the middle poly. And delete all the lines that have no effect on the structure, which is the largest reduction in the number of model faces. Part of the sculpted model needs to be reduced in Zbrush or topology with TopoGun.It should be emphasized here that the low model should be carefully checked for problems with the model, such as no overlapping points or surfaces, and multilateral problems. Normal bakingThe baking of normals takes wooden boards as an example, and the tool used in Substance Painter. First, match the high and low modes in 3ds Max. The high and low modes can be created in different layers, and then use the 3ds Max automatic naming function to name the high and low modes separately, and modify the naming so that the high and low modes correspond to each other. After changing the name, export the model to obj. Note that the name of the exported model file also corresponds to the name in 3ds Max.!Making a Japanese-style Scene in 3ds MaxThen import the low poly model into Substance Painter, and use the following five steps to bake the normals.1. Click the baking model texture2. Adjust the resolution3. Adjust the expanded boundary value4. Identify the position of high mode5. Adjust the matching method to follow the model name!Making a Japanese-style Scene in 3ds MaxFinally, export the normal map and paste it on the low model to complete the production of the board.!Making a Japanese-style Scene in 3ds Max!Making a Japanese-style Scene in 3ds Max

Making a Japanese-style Scene in 3ds Max(1)


3ds Max Tutorials

Your powerful CPU/GPU cloud rendering services, Fox Renderfarm still shares with you the 3ds Max tutorial. In this tutorial, I will talk about using 3ds Max, Zbrush, Substance Painter, and V-Ray Renderer to make a Japanese-style Scene. IntroductionAfter looking through many references, I chose a street with Japanese elements. The materials in the scene are very rich, including metal, cloth, wood, glass, and other elements. There are many points that can be practiced. For example, there are many billboards in the scene, and no billboard has the same texture. We must combine them and blend them in harmony.The model of the whole scene is completed in 3ds Max to complete the construction of the basic model and the production of the high-model. Some models with more complex structures and obvious changes in details, such as shark heads, are sculpted directly in Zbrush. The normals are baked in 3ds Max and Substance Painter according to the model; and the textures are completed in Substance Painter. The production of textures is finally rendered using the V-Ray renderer. ModelingBecause the scene is complicated, there are a lot of models that need to be made. So the first step is to split the entire scene. The whole street is divided into individual resources, and they are named, such as houses, billboards, bicycles, electric boxes, etc., and then grouped. Then it is needed to import them into Substance Painter to complete the texture production.!Making a Japanese-style Scene in 3ds MaxAfter all the models were almost made, I decided to set the camera perspective first and place all the models with the angle as the center point. The height of the closest house in the scene can be used as a reference, and the floor height of the house is set at 2.6m to determine the width and length of the ground, and the position of the telegraph pole is a reference for the distance of the scene.!Making a Japanese-style Scene in 3ds Max1. There are two points to pay attention to, the size and proportion of the model.2. Some structures need to be extruded to make shape changes, and the edges of the model should be cut corners. Don't make the edges look particularly sharp. Finally, delete the invisible surfaces to save resources!Making a Japanese-style Scene in 3ds Max

3D Tutorial: Noctis Lucis Caelum(2)


V-Ray for 3ds Max

Continue to the 3D Tutorial: Noctis Lucis Caelum(1), your TPN-Accredited cloud render farm, Fox Renderfarm still shares with you the tutorial. GroomingAfter the UV is completed, the next step is to make the hair. The hair production in this project uses Hair Farm, which can easily simulate a large number of hair effects in 3ds Max.Perform rough modeling according to the hairstyle in the sketch, and then adjust the shape of the hair through the modifier.!3D Tutorial Noctis Lucis Caelum -17Create a rough model first, then adjust the shape.!3D Tutorial Noctis Lucis Caelum -16!3D Tutorial Noctis Lucis Caelum -35Rendering test,!3D Tutorial Noctis Lucis Caelum -27Then use 3ds Max's default hair and fur to make some short hairs.!3D Tutorial Noctis Lucis Caelum -8Final render,!3D Tutorial Noctis Lucis Caelum -18 TexturingNext is the processing of the background props of the character. The texturing is drawn using Substance Design, and 3 textures of AO, CURVITY, and Normal are baked.!3D Tutorial Noctis Lucis Caelum -2!3D Tutorial Noctis Lucis Caelum -37In Substance Painter, the 3 textures were used for processing.!3D Tutorial Noctis Lucis Caelum -26Output:!3D Tutorial Noctis Lucis Caelum -28!3D Tutorial Noctis Lucis Caelum -30The material of the leather jacket,!3D Tutorial Noctis Lucis Caelum -4 Skin textureThe skin texture is processed in Mudbox. Firstly, projection maps are used, and some high-quality real-life skin scan materials are used to make bump maps.!3D Tutorial Noctis Lucis Caelum -29On the basis of some materials, a better projection material was obtained by modifying the highlights and shadows and then imported into Mudbox for projection.!3D Tutorial Noctis Lucis Caelum -34The displacement map was baked in ZBrush.!3D Tutorial Noctis Lucis Caelum -33All materials include an Overal Color map, Base specular map, Oil specular map, Scatter color map, Sub-Surface-Scattering, Bump map, Displacement map.!3D Tutorial Noctis Lucis Caelum -23Displacement Map!3D Tutorial Noctis Lucis Caelum -19 Lighting settingsThe rendering is done by V-Ray. The basic light is composed of three-point light sources, covering a key light, a fill light, a rim light, but you need to pay attention to the color. For example, if you want white clothes to look textured, the auxiliary lighting needs to be a little blue.!3D Tutorial Noctis Lucis Caelum -38!3D Tutorial Noctis Lucis Caelum -36The environment uses the following HDR.!3D Tutorial Noctis Lucis Caelum -20 Final render and compositingThe scene and the characters are rendered separately and finally composited in PS.!3D Tutorial Noctis Lucis Caelum -9!3D Tutorial Noctis Lucis Caelum -24Finally, I added some halo and motion blur to the scenes, adjusted the contrast and color, and darkened the background, and brightened the upper left corner.When adjusting the color, you should pay attention to integrity. Many of these aspects are related to art theory and basic knowledge. This needs to be accumulated gradually in daily learning.

3D Tutorial: Noctis Lucis Caelum(1)


V-Ray for 3ds Max

This time, your TPN-Accredited cloud render farm, Fox Renderfarm shares with you a 3d tutorial about Noctis Lucis Caelum. Software used:3ds Max、Hair Farm、V-Ray、Photoshop、Mudbox、Substance Painter IntroductionCharacter artist Weilong Zhang has been in the CG industry for five years. He shared the production process of the work "Noctis Lucis Caelum" and explained the problems encountered and its solutions. Pre-productionBefore starting, I had a general idea, and then I drew the idea in my mind into a sketch.!3D Tutorial Noctis Lucis CaelumBefore starting to make a model, you also need to consider the composition of the scene, such as the position of the characters.!3D Tutorial Noctis Lucis Caelum -12At the same time, glass is used to replace the existence of the visual focus behind the character, and the existence of lines is expressed by the halo and some windows in the background.!3D Tutorial Noctis Lucis Caelum -6The bright surface of the window allows the visual center point to be concentrated on the black dark part on the upper right side, which enhances the pressure of the scene and highlights the role.!3D Tutorial Noctis Lucis Caelum -25The light of the character gradually changes from right to left, and the background changes from left to right, so that the scene will not be focused and a halo is added to the left in the later stage.!3D Tutorial Noctis Lucis Caelum -11 Building the modelTo save time, the model uses a head model modification from a previous project, making sure that the scale of the model is similar to the scale in the design diagram. But the most important point is to pay attention to the direction of the bones and muscles for a more attractive character. Of course, in some cases, in order to achieve better results, appropriate modifications can be made while ensuring that the planning structure is correct.!3D Tutorial Noctis Lucis Caelum -32Weilong Zhang has been engaged in the production of CG characters for many years, and he has his own production method. His method is to draw all the bones and muscles of the head in his own way, taking into account the angle of the scene, lighting, and the lines of the face.!3D Tutorial Noctis Lucis Caelum -13The clothes are also sculpted in ZBrush, but you need to pay attention to the distribution of folds on the fabric to be reasonable.!3D Tutorial Noctis Lucis Caelum -5In order to speed up, Weilong Zhang still uses some alpha.!3D Tutorial Noctis Lucis Caelum -3The insert stitch 01 brush is used on the clothesline, and the zipper chain uses a brush called IMM ZipperM.!3D Tutorial Noctis Lucis Caelum -15Once you are satisfied with the carving of the clothes, use the topology tool ZRemesher to perform automatic topology, and then import it into 3ds Max for adjustment.!3D Tutorial Noctis Lucis Caelum -21 Skin detailsThe details on the face such as pores can be drawn manually, or you can find some alpha to make the pores.!3D Tutorial Noctis Lucis Caelum -22This is the final step, but pay attention to leaving a layer.!3D Tutorial Noctis Lucis Caelum -1The glass behind the character is made with the Rayfire.!3D Tutorial Noctis Lucis Caelum -31The UV processing is very simple, and it is made by UV Master directly.!3D Tutorial Noctis Lucis Caelum -7To be continue..

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V-Ray for 3ds Max

V-Ray 5 for 3ds Max is now shipping — and it’s more than a renderer!V-Ray 5 for 3ds Max brings a modern and efficient material library workflow, faster look-development with material presets and flexible post-processing features that save you time and let you go beyond just rendering.V-Ray 5 lets you do more with your renderer than ever before. Composite renders and interactively relight your scenes in the new V-Ray Frame Buffer. Set up materials fast with new presets and over 500 ready-made shaders. V-Ray 5 helps you save time and make your renders look even better.Download and try it now at:**ray/3ds-max**new

V-Ray for Maya: Male Character 3D Avatar Production


V-Ray for 3ds Max

This time, Fox Renderfarm, your TPN-Accredited cloud render farm, will bring you a tutorial on how V-Ray for Maya and ZBrush makes a male character and layered rendering in Nuke, which is shared by 3d artist Ciqujingnian. This tutorial uses V-Ray, Maya 2018, ZBrush, Substance Painter, Mari, Nuke 11 and other software.The article will talk about how to make high poly and low poly 3D model in Maya and ZBrush, as well as baking rendering, Substance paint and Mari to make material maps, and finally render the map in Maya. High poly 3D modelingThe high poly 3d model uses a medium-sized head model that was previously made. The initial carving took about half a day. After that, the UV was split and the XYZ texturing was done in Mari to make the ZBrush detail. The following picture is after the projection.!V-Ray for Maya 3There are some personal experiences here. I am used to changing the perspective window of ZBrush according to the reference picture when sculpting to be consistent. It may be helpful for the sculpting to be closer to the reference picture. The commonly used ZBrush perspective value is about 35 or 50. After that, I chose Mari to project the texture, because he supports up to 32000 pixels, and the resolution is very good.After the projection is completed, output three channels of RGB respectively, and then create a new layer in ZBrush, and paste RGB to the displacement map position in ZBrush, adjust the intensity and apply the high poly 3d model to the displacement map. TexturingThe basic skin of human skin is made using matte textures and then projected in Mari. As for the background images without light, you can use the existing ones, or find or buy them on some texture websites. The projection of the background color map can basically ensure that we do not have too much chromatic aberration and highlight exposure after the projection, and the remaining small chromatic aberration and defects can be modified in PS.The projection method is very simple. You can use a seamless skin texture as the base layer at the bottom layer, with a higher repetition rate, and then project it. Pay attention to the retention of details. This greatly improves the details of the model after rendering.!V-Ray for Maya 4As for baking, it is baking displacement and normal effect in ZBrush, and then enter the Substance Painter to draw the details.After importing Substance Painter, first, create a new layer and paste the projected texture on the color layer. Afterward, the character beard and eyebrows are mainly drawn in Substance Painter. Here I recommend the brush in Substance Painter for hair. In this project, I don't want to overlay the faces to make a beard, so I used several brushes to draw the beard in the Substance Painter. The result is not bad.!V-Ray for Maya 5Afterward, what was done in Substance Painter was the drawing of metallicity and roughness, mainly by adding a layer of bloodstains first. Create a new layer and change the color to dark red and the metal degree to about 0.1. The roughness is about 0.7, and it can be adjusted according to personal preference in the later period.Then create a new black mask and use the stain brush to draw the bleeding stains, and then adjust the height layer to give him a little bump effect. The stain layer is made by Smart Mask Dirty.When outputting, I chose the V-Ray method and added a roughness texture layer myself. Because I used the Aisurface shader in V-Ray, I need a roughness texture. Finally, two layers of highlights were made, and the other layer was directly adjusted and drawn on the projected skin with PS. Remember to ensure that one layer is a large highlight, and the other layer is a detail highlight. RenderingFirst, create a camera, set the angle and size. I chose 1024X1024 pixels as the size of the test rendering, the precision is adjusted to the lowest, mainly depends on the effect of the rendered lights. The rendering time was changed to 0.2 minutes. The layout of the light is a rectangular light behind the top left and right exhibitions, and a Domlight is added as ambient ball lighting to fill the light. Give the head a basic material ball and paste the replacement node to test the replacement effect.!V-Ray for Maya 6The parameters of SSS test rendering are:!V-Ray for Maya 7Still adjusted according to the rendering effect, Density was changed to 1.5, usually around 1.7. After the test is completed, paste the previous replacement and paste Diffuse to SSS1, SSS2, and SSS3 at the same time.There is no option to draw SSS textures here, but just use Diffuse to change the color to the corresponding flesh color, orange, and high saturation.!V-Ray for Maya 8Then copy the previously made eyeballs. The eyeballs use a common production method. The pupil is made as an object, and the replacement and the texture can be used. The white part of the eye is a Blend fusion material ball, a 3SSS material ball and a material ball with the strongest refractive index of 1.667 with refracted highlights. Use a black and white map or Ramp node to use a transparent material in the middle, and use 3SSS for the external. The material can be drawn on the 3SSS material paste.Finally, use a mixed material to mix another layer of external highlights! The part of the eyeball is enough. Finally, 4 lights and Diffuse, SPC, Reflection, AO and other textures were rendered in layers, and an EXR format was output and put into Nuke for synthesis. CompositingHere we put some layered rendered images first, then go into Nuke composition.!V-Ray for Maya 9!V-Ray for Maya 11!V-Ray for Maya 12!V-Ray for Maya 10The four lights used directly in the composition stage are added with a Color Correct node under each to change the color of the light.!V-Ray for Maya 14Now I feel that the highlight and reflection effects are a little worse, and the highlight and reflection are superimposed to enhance its effect. Then it is to modify the chromatic aberration, use the Shuffur copy to separate the three RGB channels, and overlay the Transform node on each layer, and adjust the size to make the edge have a dispersion effect. Then gave a gradient background and corner darkening effect. Then I also tried to increase the halo and depth of field effects, but it didn't feel particularly matched. Since the whole production time is in a hurry, there are many other problems. The final rendering is as shown below. I hope you like it.!V-Ray for Maya 1

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