What is the Difference Between 2D and 3D Model Rendering?
2D Model Rendering2D model rendering as a process has evolved considerably in modern history. Before the advent of 3D model rendering, the process was undertaken entirely by 2D artists (technical draftsmen or creative designers) whose job it was to project life, despite the limitations of pencil and paper.!What is the difference between 2D rendering and 3D rendering 2 Restricted ViewsPerhaps the most obvious limitation is that every aspect of the 2D model is limited to the 2D plane. Although creative license can be used here, accuracy is key.Although rendering a model in 2D is not directly related to mathematics, it is completely relevant to it. It applies to symmetry and shape. Perspective and line strength play an important role in generating high quality 2D rendered images, for example when designing architectural illustrations. Understanding basic perspective and line values is the difference between an average rendering and a good one. In addition, there is no opportunity to change perspective, as this requires changing the camera field of view, which is only possible when modeling in 3D. Easy Insertion of 2D AssetsHowever, not every 2D model rendering is hand-drawn. Some assets may actually be cropped or repurposed from real images sent by the client or their photographer, such as high-quality photographs of display furniture or accessories superimposed on a display board. Photoshop often plays an important role in such processes. Fewer Considerations when Making AdjustmentsAnother difference between 2D model rendering and 3D model rendering is that with 2D, the artist is able to create the illusion of perfect perspective while maintaining direct control over the image, without having to change any of the complexities associated with 3D rendering. PriceSo why does a two-dimensional service still exist in the industry? It's cost effective. Not every potential client has the budget required to outsource 3D models. As a result, many design firms have made themselves available to meet the demand for simpler renderings at very affordable prices. 3D Model Rendering!What is the difference between 2D rendering and 3D rendering 3When handled correctly, 3D model rendering can provide a near-perfect photograph of any scene, giving a realistic reproduction of the scene. This helps your clients to better understand every nuance of the space and helps them to understand exactly how to place items in it, or you can use 3D modeling software and make quick changes to suit their whims. Limitations of Pre-built 3D LibrariesIt can be slightly challenging if some of the assets in the pre-built 3D library are not easily accessible or difficult to build independently. This means that the designer may end up having to readjust a 3D model that differs from the client's requirements. That said, there is an advantage in this that 2D cannot offer: the ability to build your own library of furniture, environments and accessories that can be easily reused for future projects. Adjustable ViewpointIn addition to providing accurate and wide viewing angles, aesthetically pleasing camera angles and even software for digital flight, it provides a broader overall appearance of the model for 3D images. There is no problem with the accuracy of the angles when positioning the camera in the desired position. They are positioned mathematically. The rendered image is modeled from the computer and you do not need to be concerned with the framing or any detail in the image. The rendering, based on an iteration or sample of the output, will determine the focus of the detail covering each pixel of the image.Another important feature of 3D model rendering is the resulting high quality depth - 3D provides a clear view anywhere within the camera's field of view. Vivid ResultsWhen making full use of 3D rendering software, the lifelike effects are often indistinguishable from real photographs. The renderings are often convincingly realistic and look very satisfying, as the more realistic shadows and natural light are difficult to emulate with 2D illustrations. Is 2D or 3D Model Rendering Suitable for your Client's Project?!What is the difference between 2D rendering and 3D rendering 4Both have their advantages and disadvantages, but these differences can also make it easy for clients to choose the service they want to pursue. As with any project, there are many factors to consider beyond cost.If your client is more of a traditionalist looking for the visual appeal of a more classic illustration, then drawing 2D images may be the most appropriate option.If your client has a penchant for realism, then you may prefer to use a 3D presentation.2D model rendering is best suited to artists who can effectively convey space and depth. But of course, it is not for everyone. Some artists do not have the ability to visually communicate spatial differences, so mastering 3D model rendering can definitely help any professional to meet the needs of their clients and effectively communicate the vision of their project to all stakeholders.As a designer or illustrator, it is important to gain insight into your client's mind by showing as much diversity as possible in your portfolio to help you understand what they find attractive. If your clients respond more positively to 3D images than 2D, you should do your best to adapt to their sensibilities. Even if your skills lie primarily in one or the other, you should always try to improve your toolkit to meet the changing needs of today's customers. ConclusionIf you are a business looking for 3D model rendering services, or want to explore how some of the world's best companies are pushing the boundaries of 3D rendering, you can follow Fox Renderfarm, the leading cloud rendering service provider, and receive a free $25 rendering voucher to have a try!
How to Use KeyShot 9 to Render Christmas Scene - Tutorial
This article is a 3d rendering tutorial about Christmas scene shared by 3d artist Drown. The article is organized by Fox Renderfarm, the leading cloud render farm in the CG industry. Because there are so many items in the scene, this tutorial will focus on the lighting of the scene and the skills to create a Christmas atmosphere, and the adjustment of the material will be briefly described.!KeyShot 9 Tutorial Christmas Scene Rendering 0!KeyShot 9 Tutorial Christmas Scene Rendering 1Use KeyShot 9 to open the placed Christmas scene, add a camera and adjust the appropriate angle and save. The next work is to give the main body a crystal ball of glass material, and change it to the product mode in the lighting mode, so that light can pass through the glass ball to illuminate the internal details.!KeyShot 9 Tutorial Christmas Scene Rendering 3The tablecloth in the scene and the curtains in the background were selected from red velvet material. The official velvet material of KeyShot 9 was selected to bring out the atmosphere of the Christmas scene.!KeyShot 9 Tutorial Christmas Scene Rendering 4Next, we need to find a suitable HDR map. Because it is a Christmas scene, we need an indoor HDR map with many small bright light sources to simulate the scene atmosphere of the decorative chandelier on Christmas eve. After using the HDR map, rotate it to an appropriate angle to adjust the brightness, contrast, hue, saturation, etc. of the picture to make the scene warm and cold.!KeyShot 9 Tutorial Christmas Scene Rendering 5Enter the image panel, change the image style to photography, adjust the exposure, contrast, etc., to further enhance the warm and cold, light and dark contrast of the scene.!KeyShot 9 Tutorial Christmas Scene Rendering 6Next, open the HDR canvas and manually add a small warm light source to cover the cold-light incandescent light on the original image to further strengthen the Christmas Eve atmosphere. Pay attention to keep the cold light in the scene properly to avoid the scene being too warm. At the same time, the brightness of the small warm light source should be adjusted appropriately and the blending mode changed to ALPHA to ensure that the cold-light incandescent lamp can cover the original image.In order to highlight the crystal ball of the subject, add a sphere to the scene and set the material as a spotlight. After adjusting the position, illuminate the crystal ball.!KeyShot 9 Tutorial Christmas Scene Rendering 7Further fine-tuning various lighting parameters, the atmosphere of the picture is already in place at this time, but now the picture is a little too warm and lacks a bit of realism.!KeyShot 9 Tutorial Christmas Scene Rendering 8Add a cool rectangular light on the right side of the screen to reconcile the warm atmosphere of the screen, so that the screen effect will not be too false. Here we must pay attention to changing the blending mode of rectangular light to blending to avoid the glass ball reflecting pure white rectangular light directly and causing the realism of the picture to be lost.!KeyShot 9 Tutorial Christmas Scene Rendering 9After the atmosphere of the screen comes out, you can start adjusting the texture. Start with the snow in the crystal ball. Use the noise texture node to add bumps to the snow and snow colors on the surface. If the screen freezes, you can hide other items in the scene, including the spotlight.!KeyShot 9 Tutorial Christmas Scene Rendering 10Next, use the matching map to adjust the material of the lounger inside the crystal ball. Anything can be placed here, not necessarily the chair, as long as it is a suitable material and color. It is recommended to use a brighter color scheme to match the atmosphere of the scene.!KeyShot 9 Tutorial Christmas Scene Rendering 11Next adjust the texture of the Christmas tree.!KeyShot 9 Tutorial Christmas Scene Rendering 12After lighting the bulb material on the Christmas tree, observe the current effect. Note that the glass of the crystal ball must be given a transparent glass material, otherwise the light will not find the scene inside the crystal ball and let the light penetrate into the interior scene.!KeyShot 9 Tutorial Christmas Scene Rendering 13Use the matching wood texture map to simply adjust the wood texture base material, and adjust it according to your favorite, such as using a black plastic base.!KeyShot 9 Tutorial Christmas Scene Rendering 14Then open the texture of the glass ball, add the fingerprint texture that is official with KeyShot 9, and after adjusting the position size, turn off the texture repeat, and add the diffuse reflection texture as the fingerprint texture. After that, the fingerprint texture is connected to the label, and the texture is used as the color of the texture. Here, the brightness must be adjusted, and it should be reduced as much as possible to make the fingerprint faintly visible.!KeyShot 9 Tutorial Christmas Scene Rendering 15Use scratched maps, adjust the contrast with color, and control the transparency effect on the glass. Repeat this step to make scratches and bumps on the glass. The effect of the scratches is a little bit, otherwise the glass will look fake.!KeyShot 9 Tutorial Christmas Scene Rendering 16Next use to adjust the texture on the crystal ball name tag.Then use PS to edit a piece of text, pay attention to use a black background, pure white fonts, and use horizontal composition. After saving the black and white picture, use the 3D--Generate Normal Map option in the PS filter to generate a bump texture.!KeyShot 9 Tutorial Christmas Scene Rendering 18Drag the texture to the texture of the brand, create a new texture as the material of the lettering, and adjust the color according to your preference. After adjusting the texture, the black and white image is used as the opacity, and the normal texture is used as the bump. Pay attention to the normal To complete the adjustment of the brand-name texture.Simply adjust the material of the board, and the color matching needs to be darker to avoid the board being too conspicuous. Then use the fuzzy nodes in the geometry to make fluff on the tablecloth. The surface material of the nodes can directly use the original red velvet material.!KeyShot 9 Tutorial Christmas Scene Rendering 20!KeyShot 9 Tutorial Christmas Scene Rendering 19In order to prevent fluff from passing through the model, you can simply render a top view, and then draw a black and white texture according to the position of the item in PS. Use a Gaussian blur filter to blur out the edges of the black and white texture. Then use the texture map as the length texture of the fur node. The length of the fluff where the texture is black is 0. After the geometry node is re-executed, the fluff will not pass through the model.The curtain can use the color gradient node. Change the gradient type to the viewing direction to enhance the volume of the curtain fabric. The background wall is not easy to be too dark or too bright, otherwise the background is too eye-catching and will destroy the atmosphere of the scene.!KeyShot 9 Tutorial Christmas Scene Rendering 21The use of glass as the texture of the candle's wrapping paper can reduce the refractive index to make the texture of transparent plastic wrapping paper. Later, the translucent material is used to adjust the candles, and the color matching can be free.!KeyShot 9 Tutorial Christmas Scene Rendering 22To color various gift boxes, it is recommended to color each gift box, and cool colors are recommended to use blue to correspond to the cold light atmosphere in the scene.!KeyShot 9 Tutorial Christmas Scene Rendering 23Next, you need to adjust the surface effect of the gift box to make the bumpy texture on the gift box. The effect does not need to be too complicated, it can be simpler.!KeyShot 9 Tutorial Christmas Scene Rendering 24Next, add a sphere to the inside of the crystal ball to make a snow effect inside the crystal ball. Finally, fine-tune the composition, lighting, and then render the image.!KeyShot 9 Tutorial Christmas Scene Rendering 25ConclusionNow you know how to render a Christmas scene in KeyShot 9, don't you? Why not give it a try? If you want your rendered scenes to become more detailed and complex, try the best CPU&GPU render farm, Fox Renderfarm, who provides a very good cloud rendering service and a free $25 trial!
Create Flame Effects with Phoenix FD for 3ds Max Tutorial
As the leading cloud rendering service provider, Fox Renderfarm is going to show you how to create flame effects with Phoenix FD for 3ds Max.Phoenix FD 2.2 is a very complex and powerful fluid simulation plug-in that supports Maya and 3ds Max. This article will share how to make a basic flame effect. The workflow is basically using Particle Flow as the flame source, adjusting other dynamic parameters and good exposure conditions. Phoenix FD can also easily make realistic flame effects. !Create-flame-effects-with-Phoenix-FD-in-3ds-Max 0Overall settingsThe entire scene setup is very simple. We need a PHXSimulator as the simulation area, a PHXSource helper, and a Particle Flow as the source of the flame.Ready to workThe units of the scene have a great influence on the fluid simulation! Please make sure your flame is not simulated in an unreasonable range (for example, 100 km x 100 km). If you want to get exactly the same results as this tutorial, I suggest you use my scene unit settings or you can download this tutorial The final completion file. !Create-flame-effects-with-Phoenix-FD-in-3ds-Max 1 !Create-flame-effects-with-Phoenix-FD-in-3ds-Max 2 Particle FlowPlease follow the screenshot below to create Particle Flow and use particles as the source of the flame. The basic concept is to launch many small ball particles to move to the center to simulate the dynamic effects of a fire.!Create-flame-effects-with-Phoenix-FD-in-3ds-Max 7 !Create-flame-effects-with-Phoenix-FD-in-3ds-Max 6 !Create-flame-effects-with-Phoenix-FD-in-3ds-Max 8 !Create-flame-effects-with-Phoenix-FD-in-3ds-Max 9!Create-flame-effects-with-Phoenix-FD-in-3ds-Max 5 !Create-flame-effects-with-Phoenix-FD-in-3ds-Max 4 !Create-flame-effects-with-Phoenix-FD-in-3ds-Max 3 Go to Create Panel / Helpers / PhoenixFD and drag out in the scene to generate PHXSorce helper. Add Particle Flow to it: PF Source-> Event 002 (as the source of the flame). Please follow the setting parameters of the fluorescent sign in the screen. Setting the Velocity value to 4.0 will make the flame have a spray effect, which can be weakened a little according to your needs.!Create-flame-effects-with-Phoenix-FD-in-3ds-Max 10 Parameters of fluid dynamicsCreate PhoenixFD simulation grid-PHXSimulatorGo to Create Panel> Geometry and click the drop-down menu. Select PhoenixFD.Press the PHXSimulator button to drag the simulation out of the scene. This PHXSimulator grid must cover your flames. PhoenixFD's preset will take all objects and PHXSource into consideration, so you don't need to manually add objects to participate in simulation like FumeFX. !Create-flame-effects-with-Phoenix-FD-in-3ds-Max 11The important parameters are marked with a highlighter: The Cooling function is equivalent to the Burn Rate of FumeFX. It is necessary to increase this parameter slightly, otherwise, it is easy to heat up to overheat. Regarding energy conservation, you can use "Symmetric" or "Smooth". For Material Transfer, I use the "Multi-Pass" method, which can produce more details. The default Gravity makes it easy to pull the flame too long, so I lowered the gravity to 0.5. Enable burning can make the overall simulation more realistic. !Create-flame-effects-with-Phoenix-FD-in-3ds-Max 12Preset preview effect | Adjusted preview effect | Final rendering effectThe preset preview parameters are not accurate enough (left picture) and the final calculation result (right picture) is very different! inIn PHXSimulaor / Preview you can adjust "As Fire" from 1000.0 to 1400.0 to make the preview closer. The final flame effect (middle).Colors and rendering !Create-flame-effects-with-Phoenix-FD-in-3ds-Max 13The results of the "Colors and Transparency" preset by PhoenixFD are rough and unrealistic (above). I find it very unintuitive to adjust the colors and curves, and it is difficult to call up the desired effect (compared to FumeFX). Fortunately, PhoenixFD provides a method to load the settings of other scenes. You can open the sample file "burning plane.max" attached to the software after installation and save its "Rendering Settings" as a .apr file, and then save it in the current The scene is loaded directly with good color and curve settings. !Create-flame-effects-with-Phoenix-FD-in-3ds-Max 14 !Create-flame-effects-with-Phoenix-FD-in-3ds-Max 15 !Create-flame-effects-with-Phoenix-FD-in-3ds-Max 16After loading the appropriate .apr file, you can directly use the gradient and curve as shown above, which is suitable for flame calculation.!Create-flame-effects-with-Phoenix-FD-in-3ds-Max 17In order to speed up the calculation, you can increase the Step (%) parameter to 15 to achieve a good balance between speed and quality.Exposure control!Create-flame-effects-with-Phoenix-FD-in-3ds-Max 19PhoenixFD's preset rendering effects are prone to overexposure (possibly due to the relationship between physical precision attributes). This will cause details to be lost. You can apply Environment and Effects / Add Logarithmic exposure control to solve the problem of overexposure. Press the Render Preview button and adjust the Contrast and Brightness values until you are satisfied. You can also use the Color Correction function to correct the color temperature problem.Final effect !Create-flame-effects-with-Phoenix-FD-in-3ds-Max 18The above is the final animation effect of this tutorial brought to you by Fox Renderfarm. We hope you enjoy this teaching, so start to make your flame special effects with Phoenix FD! But if you need a good render farm, you can try Fox Renderfarm which offers a free $25 trial!
A Guide to the Career Growth of VFX Compositors (1)
As the leading cloud rendering services provider in the CG industry, Fox Renderfarm has an outstanding team with over 20 years’ experience in the CG industry. Team members are from Disney, Lucasfilm, Dreamworks, Sony, etc. With professional services and industry-leading innovations, they serve leading VFX companies and animation studios from over 50 countries and regions, including two Oscar winners.In this artichle, we will share a guide to the career growth of VFX Compositors from Zhiyong Zhang, Compositing Technical Director in Base FX(Base Media is the leading visual effects and animation studio in Asia).!VFX-Compositing Part 1: Introduction What is Compositing?There are many different explanations about compositing on the Internet. Since it's difficult to explain, I would analyze compositing from some shots.Like the scene in "Monster Hunt", the foreground is made with a 3D model, and the background is made with a combination of the original paintings and pictures. That is to do some MP, color adjustments, elements setting and real shot adding. Finally, all the pictures are going to be integrated, which is a compositing process.The professional value of compostingCompositing is the last part of the visual effects in the later period. You need to blend and match three-dimensional things with the real shot through compositing techniques and methods. Through techniques and methods, add some 2D or 2.5D elements to make the picture more interesting. Compositing is making the projects that the entire visual effects team makes. Hence, compositors are responsible for the entire team, striving to adjust the project to the final optimal effect. This is the professional value of compositing. The artistic charm of compostingFor me, every adjustment on color, virtual focus, interactive light and others will make the scene more realistic or better-looking. Every step of the operation will improve the scene, bringing the compositors hope and happiness. It is awesome to do better in the time allowed and finally show something beautiful. This is the artistic charm of composting. Part 2: Six Basic Skills of CompositorsThe first basic skill is erasing. Many scenes have tracking points when shooting on the green screen, or there are some things that can’t be removed from the scene. We need to do erasing, which is very basic but important.The second skill is rotoing and chroma key. The chroma key is to keying the green screen. There is also a key called no green screen keying, which is the rotoing.The third skill is to match colors. Adding an element to the real shot to change the color of the material is actually matching the material, not creation.The fourth skill is to match the virtual focus or depth of field. The material itself will actually have virtual focus, so the compositor needs to also be good at photography, otherwise, it may become a bottleneck for the compositor. The ideas of the director and the main photographer will be presented in the scenes. We use compositing to re-express what they want to express in CG. We are doing matching rather than recreating.The fifth skill is tracking. Most compositors do 2D trackings, such as billboards or on-screen patches. And sometimes they also do 3d tracking.The last one is the matching noise. For some demanding projects, it is necessary to switch between red, green, and blue screen, or even zoom in to the local area for comparison. It also depends on the broadcast platform. Generally, if it is broadcasting on a TV platform, the noise is not easy to see the noise. If in the cinema, as long as the brightness of the cinema is large enough, the noise of some scenes can be easily seen. The noise matching can make the picture more realistic. Part 3: Standards for Cinema-level Film Compositing RequirementsThe standards here are not officially stipulated standards but are just some common standards that I personally summarize based on experience. I divided the cinema standards for film compositing into two types: technical requirements and artistic requirements. Technical RequirementsFirst of all, it depends on whether the color of the original material is changed. If you are not careful or have moved other parts of the screen including the color of the material for other reasons, it may cause customer dissatisfaction.Secondly, whether the maximum and minimum values of the screen are consistent with the material or not. Of course, the maximum and minimum values are not for a certain scene, but for all the materials of a project. Thirdly, whether the metadata is correct or not. If the editing requires metadata to be accurately restored, it needs to be correctly restored to the material. Generally, at the beginning of the project, it needs to agree with the previous DI or editing on how to set back.Fourthly, whether the shifting is stuck will also be a technical requirement. The shifting should be discussed with the editor. If the editing does not require any shifting, even if it seems to be stuck, it may be a fast switch of the front and rear scenes. This is one kind of editing methods. if you do something to make it smoother, re-reverting to the clip may cause problems.The last is whether there is any obvious flaw in the picture. The so-called flaw is whether there is a black border on the edge of the picture and whether the edge of the real shot is stretched. Artistic RequirementsThe artistic requirements will be significantly different from the previous technical requirements. We will check whether the details of the keying edges are enough to maintain the authenticity of the picture. In the normal budget, the details of the edges can be kept authentic. If the edges look fake, it may make the whole picture fall short.Whether the bright and dark parts of the screen is matching with the material within the acceptable range? The dark and bright parts here refer more to brightening everything in the viewing facility, to see if the added thing is the same color as the real shot and whether the degree of the color cast is the same. Without considering the budget, as a compositor, the only requirement is to do something better, so try to match it.Then, whether the compositing elements, the virtual focus of the background and the depth of field match the real shot. The depth of field of the real shot sometimes will be very shallow, sometimes it will be very deep. Generally, there will be a range, this range is taken by the lens and the camera. We can add an element in it, and change the depth accordingly.In addition, we must also consider whether the simulation of the lens effect meets the real shooting standard. With a normal lens, the virtual focus is 1:1, and with an anamorphic lens, the virtual focus is vertical, similar to 2:1 circular virtual focus. While doing compositing, it needs to pay special attention to matching.The next thing to consider is whether the addition of smoke, flame and other atmospheres is truly fused. The light and shadow, the virtual focus and the sharpness are matched with the whole, and the things that really melt into it are realistic.The last thing is to consider the interactive effects, the corresponding interaction between the real shot material and the CG elements. When we do the compositing, in addition to shadows, there are some light interactions, we should consider whether to add them.In the process of compositing, we need to give ourselves the opportunity to exercise and do more fine, otherwise, we can't make progress. In fact, the audience is very smart now, watching a lot of blockbuster movies. Therefore, we should try our best to be realistic in the time cost of cinema-level movies. If the audience feels satisfied in the cinema, it will be successful.Follow the leading cloud render farm, Fox Renderfarm, for the next part: A Guide to the Career Growth of VFX Compositors (2)").
3ds Max Tutorials: The Production and Sharing of "Sci-Fi Guns" (3)
3d Max Render Farm
The best render farm, Fox Renderfarm still shares with you the production of the work "Sci-Fi Guns" which made with software 3ds Max and Substance Painter 2019 from 3d artist Zikai Wu. And this is part three of the sharing.- 3ds Max Tutorials: The Production and Sharing of "Sci-Fi Guns" (1)")- 3ds Max Tutorials: The Production and Sharing of "Sci-Fi Guns" (2)") TexturingNext, start the texture production. First, divide the whole into several large layers, and then create a selection area based on the id map made before. First, create a layer group and add a color selection mask. Then make the texture of each part in each layer group.When making textures, my production process is to pave the color first, and then add details. First, give a basic color, then copy the layer to make the darker part, add Dirt generator to this layer, if the effect does not meet your requirements, you can modify the generator parameters and add a brush tool to draw the part you want The effect can be. I usually add the Edge generator to the bright edges to increase the volume and make the overall effect clear. For example, small white particles on part of the surface: first create a new filling layer, add a black mask to the layer, add a filling layer to the mask, then find the picture you want in the grayscale material library and drop it on top, modify the parameters to Control the particle effect.!3ds Max Tutorial The Production and Sharing of Sci-Fi Guns 6After the texture is finished, I will create a new layer on the top and add sharpening to enhance the clarity of the details.For the gun, I used some glow textures and halo effects. These halos used some basic layers, and then used a mask to draw the shape, leaving only the Emiss self-illumination, and then changed it to blue. Then duplicate this layer, and add a Blur filter on the mask, modify the blur intensity to achieve the halo effect.!3ds Max Tutorial The Production and Sharing of Sci-Fi Guns 13Other parts of the texture also use this method, and the texture is exported after production. When exporting textures, you need to pay attention to texture size, texture location, channel, and format. RenderingAfter the texture is produced and exported, it enters the rendering stage. We also need to export the environment map used in Substance Painter to MarmosetToolbag 3 for use.Import the low polygon and add the MarmosetToolbag 3 shader, paste the exported texture according to the channel, pay attention to the name of each channel. You need to flip the Y-axis on the normal channel, just click it. Because this also has an emissive map, you need to open the emissive channel in MarmosetToolbag 3.After the texture is the lighting, the lighting method: one main light source (warmer), one or two auxiliary lights. (Colder). The main light source is located 45 degrees above the front, and the auxiliary light is located on the side and back, which is mainly used to illuminate the dark parts and express silhouette contours.!3ds Max Tutorial The Production and Sharing of Sci-Fi Guns 4After all the settings are adjusted, you can render. Below is the final rendering effect:!3ds Max Tutorial The Production and Sharing of Sci-Fi Guns 3The above is the whole process of making this gun. We hope this tutorial can be of some help to you. As the leading cloud rendering service provider, Fox Renderfarm continues to bring you the latest news about 3D art! Thank you for reading!
3ds Max Tutorials: The Production and Sharing of "Sci-Fi Guns" (2)
3d Max Render Farm
The best render farm, Fox Renderfarm shares with you the production of a work "Sci-Fi Guns" which made with software 3ds Max and Substance Painter 2019 from 3d artist Zikai Wu. And this is part two of the sharing.- 3ds Max Tutorials: The Production and Sharing of "Sci-Fi Guns" (1)") Unwrapping UVAfter the low-variability model is made, it is the job of splitting the UV. Before splitting the UV, you need to distinguish the smooth group first. My distinguishing standard is: the angle greater than 90 degrees is not separated, and the uniform smooth group is less than or equal to 90 degrees. Separate. Then there will be some large black parts after separation, which can be separated separately. When splitting the UV, first use the built-in tools to tile according to the smooth group, and then manually adjust some more complicated structures. When placing the UV in a straight line, try to keep it as straight as possible to facilitate the overall placement. The second is the allocation of UV space. The more important components will occupy a larger space, and the space utilization rate of UV should be maximized. Because most of this gun is symmetrical, half of the UV overlaps. Normal mapHere is the use of Substance Painter for baking. Before baking the Normal map, the high polygons and low polygons must be matched first. The edges of the model must be matched. The second is model naming, for example, the low polygon qiang01_low, the high polygon is qiang01_high. The low polygon export format is fixed.What is worth noting here is the export of high polygons. If you use one time to export all models, it will take a long time. And there may be some small problems when baking the Normal map, and then you have to go back to 3DSMAX to modify and re-export the entire model, which will take a lot of time. After a test, I will split the model into several parts and export them separately for easy modification.!3ds Max Tutorial The Production and Sharing of Sci-Fi Guns 18!3ds Max Tutorial The Production and Sharing of Sci-Fi Guns 7When you are ready for these tasks, start to use Substance Painter to bake textures, and use the PBR production process, import high polygons, set the parameters, select the matching method as naming, and bake a vertical normal first. The effect of the vertical normal baking is that the internal structure is clear, the small details such as screws are not offset, but there will be some defects in the edge, so it is necessary to bake an average normal to combine the two normals to retain their respective advantages, namely Keep the edges of the average normal inside the vertical normal.!3ds Max Tutorial The Production and Sharing of Sci-Fi Guns 12Then you need to re-import this normal into Substance Painter for use, and you need to check again for any problems for the first time.!3ds Max Tutorial The Production and Sharing of Sci-Fi Guns 11For small flaws like this kind of edge, you need to enter Substance Painter again to modify the normal edge.!3ds Max Tutorial The Production and Sharing of Sci-Fi Guns 10After the normal problem is solved, we will bake the id map. To bake the id map, you need to select this option, based on the texture color. The main reason is that I used high polygon layers to give textures of different colors in 3DSmax. Then you can bake other remaining textures after you get the normals and id.Follow the leading cloud rendering service provider, Fox Renderfarm, for the next part: 3ds Max Tutorials: The Production and Sharing of "Sci-Fi Guns" (3)").
3ds Max Tutorials: The Production and Sharing of "Sci-Fi Guns" (1)
3d Max Render Farm
The best 3ds Max render farm, Fox Renderfarm will share with you the production of a work "Sci-Fi Guns" which made with software 3ds Max and Substance Painter 2019 from 3d artist Zikai Wu. And this is part one of the sharing.In the tutorial, he explained and showed in detail how to make high and low poly models in 3ds Max 2018, baking method of normal map and ID map, the texture map made by Substance Paint, and render the final effect in Marmoset Toolbag 3.Let me show you the original concept map first, because its color matching and style are very beautiful, which is why I wanted to make it a 3D version at first sight. The overall style is distinguished, with rich details.!3ds Max Tutorial The Production and Sharing of Sci-Fi Guns 16 ModelingBecause the concept map of this gun has only one front view, the side and back parts need us to find more references or use our imagination. When making, you can import the concept map into 3ds Max 2018 as a background reference, which can help us make the shape of the gun more accurate in the production, especially in some corners and structures.!3ds Max Tutorial The Production and Sharing of Sci-Fi Guns 9In order to make the model more similar to the concept map, I used Line to create the model based on the outline of the concept map.!3ds Max Tutorial The Production and Sharing of Sci-Fi Guns 17After the shape of the gun is determined, the details can be continuously added on this basis to optimize the proportion. When making some bumps on the gun body, I used some basic 3ds Max tools to squeeze and push and pull the model. The disadvantage of this production method is that the lines will be messy and more. Then, on the suggestion of a friend, I separated the details from the surface, but the details on the surface, and later put the normal map on the model by baking. This way can also ensure that the lines of the model are kept as simple and tidy as possible.!3ds Max Tutorial The Production and Sharing of Sci-Fi Guns 15The model in this case is a hard surface model, so when making, adjust all the lines and add a smooth group. First, all models are distinguished according to similarities, and then the Chamfer function is added, and lines are added according to the smooth group.Then add turbos smooth on this basis to check the model. If the corners are deformed by pulling, or other problems occur, you need to go back to the bottom layer and distinguish the smooth group. If there is no change, you need to add it to the Chamfer command Edit Poly modify and adjust the corner line. It should be noted that after adding this command, you can't just go back to the first level to modify, because I added this command last.!3ds Max Tutorial The Production and Sharing of Sci-Fi Guns 1After modifying the model with a high face count, some checks are needed. For example, the position of the seams between the components, check the fit to see if the connection is better.!3ds Max Tutorial The Production and Sharing of Sci-Fi Guns 5When making a low-polygon model, you directly use the plug-in to reduce the lines of the high-poly model. The low-polygon model has strict requirements on the number of faces, especially for the use of lines, only the places that are as useful as possible are reserved, and the extra places are deleted. Try to keep the straight line of the model as straight as possible, and the overall look is simple and smooth.!3ds Max Tutorial The Production and Sharing of Sci-Fi Guns 8!3ds Max Tutorial The Production and Sharing of Sci-Fi Guns 2When making a low-polygon model, you directly use the plug-in to reduce the lines of the high-poly model. The low-polygon model has strict requirements on the number of faces, especially for the use of lines, only the places that are as useful as possible are reserved, and the extra places are deleted. Try to keep the straight line of the model as straight as possible, and the overall look is simple and smooth.Follow the TPN-Accredited cloud rendering service provider, Fox Renderfarm, for the next part: 3ds Max Tutorials: The Production and Sharing of "Sci-Fi Guns" (2)").
3D Modeling Tutorial: Handheld Fan
In this article, the best CPU & GPU could rendering service provider, Fox Renderfarm, will share with you a 3D modeling tutorial about how to make a handheld fan. Hi, I am Resh, a 3d artist, before making the handheld fan model, we need to observe its structure and composition. The overall shape of the small fan is relatively simple, the lines are relatively smooth, and the modeling is not difficult. All the steps are simple. Tool of.Because there are no three views with a suitable angle, we can use the Snipaste screenshot tool to put the reference image in the production software, adjust the size and place it in a suitable position.!3D Modeling Tutorial Handheld FanFirst, start modeling from the head of the small fan, locate the centre point to the coordinate origin and draw a circle, (note that it is best to hold down the shift key when drawing a circle to avoid the drawn entity seam line being chaotic, which will affect the modeling and aesthetics), extrude the entity along both sides, and adjust the uniaxial scaling to the appropriate width.!3D Modeling Tutorial Handheld FanUse the shell command to shell the cylinder, and copy a circle of edge lines to offset the curve inward.!3D Modeling Tutorial Handheld FanUse the offset curve to extrude the entity, adjust the position, and use it to perform Boolean difference for the thin shell.!3D Modeling Tutorial Handheld FanUse the curve function to capture the top and side points to draw a curve, and to adjust the corner radian of the curve.!3D Modeling Tutorial Handheld Fan!3D Modeling Tutorial Handheld FanRotary forming and offset by a thickness (the thickness of the offset is the thickness of the inner ring of the cylindrical shell)!3D Modeling Tutorial Handheld FanNext, to do the part of the grille, first draw a rectangle with the centre point. In order to achieve up and down symmetry, first, array 7 equal parts upward, and then mirror the upper 6 parts of the X-axis to arrange the shape.!3D Modeling Tutorial Handheld FanUse these rectangles to extrude the solid and perform Boolean subtraction to get the shape shown in the figure below.!3D Modeling Tutorial Handheld FanIn order to avoid the edge of the model after cutting and increase the difficulty and workload of chamfering, you can first chamfer the inner and outer edges of the back, and then make a backup copy (which will be used later), and then take it out. The rectangle of the previous array, as before, adjusts the position for the Boolean difference set.!3D Modeling Tutorial Handheld FanTake out the backup, draw a rounded rectangle and extrude the entity for Boolean segmentation, delete the redundant part, the obtained shape is as shown below, adjust the position and perform a Boolean union with the grille, so that our entire grille has a boolean union. The styling is done.!3D Modeling Tutorial Handheld FanNext, we will make the fan blade inside, first, locate the centre point to the origin to draw a circle and extrude a small cylinder on both sides, then copy a circle of edge lines, offset the curve inward, (for the convenience of observation and operation, you can let it is displayed separately).!3D Modeling Tutorial Handheld FanExtract the surface and split it with the offset curve, then blend the surfaces.!3D Modeling Tutorial Handheld FanDraw a rectangle, then close the curve raw surface, rebuild the surface and adjust the shape.!3D Modeling Tutorial Handheld FanThen offset a suitable thickness, round the top two sharp corners, and then adjust the position as shown in the figure below.!3D Modeling Tutorial Handheld FanThen capture the centre point of the cylinder to make 7 copies of the circular array, and then the Boolean union is completed, and the fan blade is completed; then the mesh cover of the Boolean union is also unioned.!3D Modeling Tutorial Handheld FanNext, start to model the fan handle below, and draw an ellipse in the top view to capture the origin, still extruding the entity, the size and length can be slowly adjusted according to the reference image, and then use the grille to perform Boolean difference set on it (delete Enter the object and select No), and then delete the redundant part.!3D Modeling Tutorial Handheld FanDraw a straight line and pull out a surface, adjust the height according to the reference picture, and cut out the parting line by Boolean division of the fan handle.!3D Modeling Tutorial Handheld FanNext, make the buckle at the connection of the fan handle, first hide the cylinder below, and draw an ellipse and two rectangles at the bottom of the upper section (the rectangle can be drawn on one side to maintain symmetry and then mirrored on the Y-axis), Then stretch out the corresponding length according to the reference drawing.!3D Modeling Tutorial Handheld FanTake out the cylinder that was hidden, perform a Boolean difference set on it with the three parts just extruded (delete the input object and select No), get the groove as shown in the figure below, and then hide other things.!3D Modeling Tutorial Handheld FanSwitch to the front view and draw such a curve, then pull out a surface and mirror it, and then do a Boolean difference.!3D Modeling Tutorial Handheld Fan!3D Modeling Tutorial Handheld Fan!3D Modeling Tutorial Handheld FanThen bevel this edge to get this shape.!3D Modeling Tutorial Handheld FanThen take out the two small cubes that were just hidden, select these two faces on both sides, and pull them out a little to satisfy the shape. Because it is a buckle, it can only be fastened when it protrudes a little.!3D Modeling Tutorial Handheld FanThe three components Ctrl+shift single-select the top and stretch the handle of the upper half to Boolean division.!3D Modeling Tutorial Handheld FanDraw a right-angled line, pay attention to the height of the line, to avoid that the cut shape will pass through the mould, then pull out a face and mirror it, and then display the two cuboid parts separately, you can slightly adjust the faces on the left and right sides, to make it cut out to look more beautiful and more in line with the shape of the reference image; then perform a Boolean difference set.!3D Modeling Tutorial Handheld FanNext, go to the modeling of the shape at the bottom of the fan handle, copy a circle of edge lines to offset inward and extrude the entity, and then perform a Boolean difference set on the upper part for the lower part !3D Modeling Tutorial Handheld FanCopy a circle of edge lines to offset the curve inward, then extract the surface, divide the surface with the offset line and delete the excess, then move it up a little to form a height difference, then loft the raw surface, and then combine. Take a look at the surface.!3D Modeling Tutorial Handheld FanThen take out the grille and the upper part of the handle for Boolean union, then we make a parting line, draw a straight line from the middle of the side, and stretch a small thickness on both sides for the Boolean difference.!3D Modeling Tutorial Handheld FanSo far, the whole product is basically finished. Let's do some details on the chamfer and some button logos. Except for the part of the grille, the chamfer can be poured out without any pressure using the rounding command.!3D Modeling Tutorial Handheld Fan!3D Modeling Tutorial Handheld FanThe position of the button can be extruded into a body by drawing lines and chamfered after Boolean division. There is also a Type-c interface, which is also drawn and then divided by Boolean and then chamfered.!3D Modeling Tutorial Handheld FanIn the LOGO part, you can use one-click LOGO text, or use the text tool and then Boolean segmentation, and then chamfer.!3D Modeling Tutorial Handheld FanIn the LOGO part, you can use one-click LOGO text, or use the text tool and then Boolean segmentation, and then chamfer.!3D Modeling Tutorial Handheld Fan
2021 FGT Art May Winner Anahad Kashyap
How to create a cute story about a little bulb by Blender? Introducing FGT Art May Winner, Anahad Kashyap, a young freelance artist who is proficient in Blender regarding modelling, animating, and rendering. As a platform to show CG talent, FGT Art welcomes CG artists all over the world to show off their impressive 3D artworks which were rendered with the best render farm, Fox Renderfarm. Learn more: How to Create a Cute Story About a Little Bulb by Blender: Introducing FGT Art May Winner, Anahad Kashyap!Ignore-Anahad-Kashyap!anahx-kashyap-123456789123456798
Let's Give It Up For The FGT Art June Winner, 2021！
Let’s give it up for the FGT Art June winner, 2021！Congrats to our FGT Art June Winner, 2021! The amazing artwork, Ottoman Legacy - Dolmabahce Palace, is created by Kay John Yim, an excellent Chartered Architect based in London.Caption:Sitting at the continental boundary between Europe and Asia - Dolmabahace Palace is touted as the most extravagant palace in the world - Scholars have even claimed that the huge construction expenditure has contributed to the downfall of the Ottoman Empire. It is constructed almost entirely in marble, crystal and gold, and houses some of the most outrageously expensive furnishings, artefacts and decor beyond compare.Home to six Turkish Sultans and the first President of the Republic of Turkey, the design of the palace was a synthesis of Baroque, Rococo, Neoclassical and traditional Ottoman architecture - a unique aesthetic and architectural language yet to found elsewhere.Every angle, every detail of Dolmabahace Palace screams excellence in design, craftmanship and materiality - of which are all encompassed within its water-front facade spanning along the Bosporous Strait shoreline - a grandiose icon of the Ottoman legacy.!kay-john-yim-210515-dolmabahce-palace-day-clayClay Render!kay-john-yim-210416-dolmabahce-palace-2-0001Final Render - Straighton Elevation
How to Make a Viking Warrior in Maya and ZBrush(2)
Fox Renderfarm, the best CPU and GPU render farm, will still bring you the tutorial about how to make a Viking Warrior in Maya and ZBrush from 3D Character Artist Yuyong Jie. Production of low-polygon modelsAfter the high-poly model was completed, I made a topology on it. The character's face and limbs are reduced to the low-polygon model obtained by subdividing the original model, and then enter TopoGun3 for appropriate modification and matching. If the requirements are not very high, we can also directly use the plug-in to delete the model to get the final model. If some places are very different, we may need to re-topology. The topology needs to pay attention to the position of the line, the joints need to be more, and the invisible faces are deleted. If you encounter large undulating folds, we need to increase the line appropriately.!How to Make a Viking Warrior in Maya and ZBrush Baking and material makingAfter all the objects are topological, I split the low polygon model again by UV, and consider how many textures to make according to the expected requirements. PS: The structure that can be straightened by UV should be straightened as much as possible so that the UV space utilization rate will be higher when placed. After setting up the UV, the model can be baked. I usually use MAYA for baking, but this time I want to try Marmoset Toolbag3. It is said that his operation is also very convenient. Next, import the low poly model into Substance Painter for material production. By the way, pour the previously baked textures into Substance Painter, and then bake the remaining unbaked textures to complete the texture creation.!How to Make a Viking Warrior in Maya and ZBrushFirst, the skin texture is performed. Here I use the Specular Glossiness workflow for texture production. I paste the previous XYZ colour map on the colour channel and then create a new filling layer to adjust the facial colour and makeup according to the original painting. After the makeup is determined, the gloss of the picture will be engraved. The gloss of different parts will be different. For example, the T area of the face will have more oil, which will be more shiny, and the gloss around the eyes and lips will not be the same. To the same, adjust according to the specific situation.!How to Make a Viking Warrior in Maya and ZBrushAfter finishing the face material, make the character's hair. Here I first use Maya’s XGEN to make the hair texture, and then paste the texture on the patch, and then combine the patches into different densities. The hair group is then placed on the head one by one, and the shape is adjusted through the lattice or bending life, soft selection, etc. There is no technical content in the hair placement, mainly because of the styling and patience of the hair, and it also takes a lot of time to adjust.!How to Make a Viking Warrior in Maya and ZBrushAfter finishing the face and other skin parts, the next step is to make the materials for the remaining equipment. Here I use the workflow of Metallic Roughness to make. First, distinguish the colours and textures for different materials, and then make them separately For meticulous adjustments, a generator that calculates dark and bright colours is combined with some grayscale textures to portray the surface texture of the object.For example, the colour and roughness of the dirty and worn surface will change. After the surface of the object is dirty, the metallicity and roughness will become different. Pay attention to the original painting. We can also learn from the reference picture to bring more inspiration to ourselves. When the object is used, make it old accordingly.!How to Make a Viking Warrior in Maya and ZBrush Lighting and renderingAfter finishing the materials of all the objects, export the textures and perform lighting and rendering on the model. I used Marmoset Toolbag 3 for rendering. First, I imported all the low polygon models into Marmoset Toolbag 3, and then mapped the corresponding models. According to the situation, I can adjust the properties of the shader to make the material effect better. For example, I used the 3S effect on the skin here to make the skin look more transparent. Before lighting, we choose the ambient light we want and then turn on the light. The atmosphere created by the light can be based on the effect we want. To do this, we can refer to the lighting in some movie screens.I tried the main light, and added a slightly darker light on the other side as auxiliary light, and added a contour light on the back so that a simple three-point light source was formed. Next, I can adjust the shadow of the light. The edges are soft and excessive, and then adjust some of the camera's effect attributes to make the picture softer or sharper. After everything is set, the output is rendered, and the work is complete!!How to Make a Viking Warrior in Maya and ZBrushIf we want to pose the character, we can use Maya to bind the bones first, then import the model into ZBrush, just separate the adjacent objects separately, import them into ZBrush to group them, and then select the corresponding group or object to adjust it. !How to Make a Viking Warrior in Maya and ZBrush!How to Make a Viking Warrior in Maya and ZBrush
How to Make a Viking Warrior in Maya and ZBrush(1)
Fox Renderfarm, the best CPU and GPU cloud rendering service provider, will bring you a tutorial about how to make a Viking Warrior in Maya and ZBrush from 3D Character Artist Yuyong Jie. In the following production, he'll show you how to use ZBrush and Maya to make a Viking-style female warrior. The main process is divided into several parts, including finding references, modeling, baking and texturing, and light rendering. Reference and modelingI looked for a lot of concept maps on the internet and finally decided on one of them. Then follow the concept map to find different references, such as a large number of references to bodies, clothing, Armor, etc. I think these references are very useful.!How to Make a Viking Warrior in Maya and ZBrushI then found a basic female model of ZBrush, which can also be carved directly into ZBrush, of course, but using the basic model modification saved me a lot of time. After adjusting the scale and structure, I copied a copy of the model, and to save the number of faces, I deleted the parts that were blocked by the clothes. Keep the original model and use it to do MarvelousDesigne's cloth solving and build equipment.!How to Make a Viking Warrior in Maya and ZBrush!How to Make a Viking Warrior in Maya and ZBrushWhen I carve the model, I carve the face and other exposed parts in detail. The difficulty of this part is mainly the muscle structure. In addition, I can carve the outline of the hair as a guide to making the hairstyle. After making sure the character's image is consistent with the concept map, I import the model with the lowest number of faces into Maya, split the UVs, and then import it into ZBrush, without changing the model. And all the subdivisions are there, and the technology adds the subdivision to the model with the split UVs, ready for the skin texture projection later.!How to Make a Viking Warrior in Maya and ZBrushNext, I started to prepare to project the XYZ skin texture map in ZBrush. First, I created a rectangular patch in Maya with the aspect ratio close to the XYZ texture map that needs to be projected. Then I imported the patch into ZBrush and used the ZWrap plug-in. Carry out the topology and have completed the UV model, and then paste the XYZ displacement map on the model Topological with the ZWrap plug-in of ZBrush just now, and then use the ZWrap plug-in of ZBrush to transfer the textures on the topological model to the original model and export Stickers. Finally, link the MAP to the displacement map, and use the skin texture Alpha for the details of the hands and legs.!How to Make a Viking Warrior in Maya and ZBrush!How to Make a Viking Warrior in Maya and ZBrush Adjusting the number of model facesI finished the details of my face, hands, legs, etc., And then began to work on Armor accessories and clothing. First, I'll make a medium-polygon model in Maya, and then import it into ZBrush to carve. The medium polygon model is mainly to make the main concave-convex structure out, and then add lines appropriately, or directly reduce the subdivision to get a relatively matched low polygon model, and properly arrange the model to make the lines more reasonable and the matching degree better. Once a polygon model with a medium number of faces is made, we can deeply sculpt the model. For part of the metal pattern, I use pattern Alpha production, first, reduce the model subdivision export split UV, and then use Photoshop to align Alpha to UV, paying attention to the head and tail of the pattern connection. Then import the split UV model into ZBrush, then use the Alpha mask, and then expand the height to get the pattern effect.!How to Make a Viking Warrior in Maya and ZBrush
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