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.


The 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,

The 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.

After background synthesis,

The 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.

The final rendering effect,

It 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.

Finally, add some small details: add lights.

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.


This 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.


After 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.

The 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.

In 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)!

All 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.

Because I have previous experience in industrial design, the design of the spaceship engine is not too difficult for me.

The final model is completed! As long as the overall shape and parts are reasonable, well, the overall shape looks streamlined and comfortable.


When 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.

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.


Making 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.

Because 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.


When 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.

As 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.

After the 3ds Max rendering work is completed, it is now the work of entering PHOTOSHOP, we need to further add details to the picture.

I 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.

The 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.

Finally, 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(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".


Before 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.

The 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.

After 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.

However, 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.


After 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 v**alue, 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.

The 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.

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 placement

After 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.


Before 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.


Due 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:

Environment 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(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.


After 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 head

The 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.

The 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

Finally, the two are combined to complete the high-poly.


First 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.

Low poly

The 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 baking

The 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.

Then import the low poly model into Substance Painter, and use the following five steps to bake the normals.

  1. Click the baking model texture
  2. Adjust the resolution
  3. Adjust the expanded boundary value
  4. Identify the position of high mode
  5. Adjust the matching method to follow the model name

Finally, 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(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.


After 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.


Because 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.

After 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.

  1. 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

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.


After 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.

Create a rough model first, then adjust the shape.

Rendering test,

Then use 3ds Max's default hair and fur to make some short hairs.

Final render,


Next 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.

In Substance Painter, the 3 textures were used for processing.


The material of the leather jacket,

Skin texture

The 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.

On the basis of some materials, a better projection material was obtained by modifying the highlights and shadows and then imported into Mudbox for projection.

The displacement map was baked in ZBrush.

All materials include an Overal Color map, Base specular map, Oil specular map, Scatter color map, Sub-Surface-Scattering, Bump map, Displacement map.

Displacement Map

Lighting settings

The 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.

The environment uses the following HDR.

Final render and compositing

The scene and the characters are rendered separately and finally composited in PS.

Finally, 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


Character 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.


Before starting, I had a general idea, and then I drew the idea in my mind into a sketch.

Before starting to make a model, you also need to consider the composition of the scene, such as the position of the characters.

At 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.

The 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.

The 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.

Building the model

To 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.

Weilong 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.

The clothes are also sculpted in ZBrush, but you need to pay attention to the distribution of folds on the fabric to be reasonable.

In order to speed up, Weilong Zhang still uses some alpha.

The insert stitch 01 brush is used on the clothesline, and the zipper chain uses a brush called IMM ZipperM.

Once 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.

Skin details

The details on the face such as pores can be drawn manually, or you can find some alpha to make the pores.

This is the final step, but pay attention to leaving a layer.

The glass behind the character is made with the Rayfire.

The UV processing is very simple, and it is made by UV Master directly.

To be continue..

V-Ray 5 for 3ds Max Is Now Shipping


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 modeling

The 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.

There 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.


The 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.

As 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.

Afterward, 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.


First, 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.

The parameters of SSS test rendering are:

Still 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.

Then 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.


Here we put some layered rendered images first, then go into Nuke composition.

The four lights used directly in the composition stage are added with a Color Correct node under each to change the color of the light.

Now 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.

3ds Max Tutorial: Analysis of Building Rendering in Dusk


V-Ray for 3ds Max

Fox Renderfarm, as a leading archive render farm, brings to you the analysis of architectural renderings at dusk made with 3ds Max and V-Ray. An outstanding works include two aspects: one is the picture effect, including color matching and composition of the picture. This is the key, as well as professional knowledge and photography skills, and the level of appreciation of photographic works. Another aspect is technology, which can use various tools. This is extremely critical. You must fully understand what to do and how to do it. If you can balance these two aspects well, you can make effective works

Software used

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

Reference picture

Before the production of the artwork, the key step is to find the correct reference photos, prepare the reference for the future atmosphere, lighting and post-production, and try to approximate the reference photos.

Basic Settings

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

Modeling All models are based on flat design drawings. The basic model of this figure is made using Autocad and then imported into 3ds Max. The details after that are added based on your own imagination without any reference.

The terrain and surrounding environment are modeled using Forest Pack Pro, which can make stones, grass, and trees with a random and natural feel. The plants on the side of the building should be arranged according to the layout indicated in the drawings of the landscape design.

Materials and texturing

All textures in the scene use the Siger material as the base texture. Based on this texture, the texture effect is made according to the needs of the project. Keep the texture as simple as possible, using only some basic channels, such as Diffuse Map, Specular Map, Bump Map, etc. It is produced according to the reference in the reference. Using the texture library is a time-saving method. You don't need to spend a lot of time to make each texture from beginning to end. You can make some adjustments on the basis of the texture library to meet the requirements of the project.

The material of the swimming pool is a little tricky in refraction on the water surface, and the final result is very close to the reference picture.


HDRI lighting technology is one of the very useful ways to achieve real effects, which can get very realistic and accurate lighting effects. When setting the position of the main light source sun, you can have several options, place it on one side, use warm colors, and then set a transition light source from warm to cold and light to dark. This transition light source can give with a more natural effect on the picture, the light won't appear too flat.

In terms of outdoor light sources, the Dome light plus HDRI method uses Peter Guthrie's PG SKIES 2028 for the texture, and the indoor light uses a standard Target combined with V-Ray shadows and V-Ray surface light to match the IES. The small downlight on the ceiling uses V-Ray light to simulate the feel of a light bulb.


This part is a bottleneck for many people. How to set a set of effective parameters? A very old but extremely useful plugin for Solid rocks is used here. Solid Rocks has a very useful set of V-Ray parameters. The interface is very simple. As long as you know V-Ray, you can understand it. Basically it covers all the parameters needed. It is very convenient and quick to use. For those who are not interested in going deeper V-Ray's parameters are very suitable for those who influence the rendering process behind the scenes. Here are the very basic parameters.

In V-Ray Elements, it is required to be able to control some effects such as light and dark contrast, reflection and refraction, etc. The V-Ray Raw Global Illumination channel has been added for better post-control. Finally, if you want the effect to be realistic, especially if your local machine fails to meet the rendering hardware requirements, often when the machine crashes, it is recommended that you use a cloud rendering services to render.


The beginning of a work starts from the post-production period, and the earliest reference picture found determines the effect of the final artwork.

In the post-production processing, try to keep everything simple, use the V-Ray Raw Global Illumination channel, change the layer to Hue / Saturation overlay mode, and adjust it to indoor without exposure. Then add some texture on the left cement floor.

So far, everything has been made with 3ds Max and V-Ray. If you need to adjust the color, you can use the Selective Color adjustment layer, because only this layer can make every color in the scene controllable. The principle is keep the effect of the transition light in the scene, because the four colors in this layer basically cover all the colors in the scene, so this provides the flexibility of color control of this scene, which can well harmonize various colors and tones.

The color balance is changeable, so a good reference picture is necessary, as long as you try to imitate the effect in that photo, the trick is actually to find a photo close to the existing rendering effect as a reference, so for post-processing the process is relatively easy. You can also use Hue / Saturation or Curves with this Selective Color adjustment layer.

Observe the artwork with your own eyes and make adjustments, such as the halo of the light bulb, you can simply draw a halo around the light bulb to simulate the temperature of the light bulb (the light bulb has no color, only the temperature). This halo can be made a little bit The feeling of exposure.

There are two main plugins used in the final step: Magic Bullet Photolooks and Nik Software. The main purpose is to better integrate the adjustments made before, so that the colors, brightness, saturation and saturation in the picture are more natural.

As a night scene, you must be aware of the characteristics of the light at night. In photography technology, you need to reduce the shutter speed to get more light through the lens, and observe more photographic works to simulate the characteristics of such photos to achieve realistic effects.

Because real photos do not have anti-aliasing, you can use Analog Efex Pro 2 to simulate some graininess and do a little blurring, so that the picture will look more like a real photo and more natural.

Hue is a difficult topic to define. It is definitely wrong in real photography, but in the post-production of PS adjustment, this hue technology is used everywhere because the human eye is seeing a picture with a color tone. Unconscious people will think this is a photo, so I will use this feature to use this color tone technology in PS. The suggestion is not to use it excessively, but to control it when using it so as not to cause unnatural effects.

The final step is to use High Pass Filter to sharpen the picture, the final renderings,

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