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

2020-04-07

V-Ray for 3ds Max

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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.

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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.

Texturing

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.

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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.

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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.

Rendering

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.

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The parameters of SSS test rendering are:

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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.

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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.

Compositing

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

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V-Ray for Maya 11

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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.

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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.

V-Ray for Maya 1

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

The best cloud rendering services provider and 3ds Max render farm, Fox Renderfarm will share with you a tutorial of using 3D to make 2D style scene.In this case, we show the use of 3ds Max to create 2D animated movie-style scenes and will focus on explaining the Makoto Shinkai-style picture performance. From his animation works, we can feel a strong personal style, exquisite light, and shadow applications, strong light and dark contrast and gorgeous colors are the biggest features of his works, these features make his works look more real. Reference material from Makoto Shinkai’s animated film "Koto no ha no niwa".Some pictures material comes from the 2D animated film "Koto no ha no niwa", and some screenshots are found for reference.The whole idea:Composition layout and lighting testMaterial adjustment and rendering settingsUse of channelsColor comparison and synthesisComposition layout and lighting testIt is very important to make scene lights in this style, often in small details, such as the bright and dark junction of very bright objects, reflections in small details, the color gradient of objects under the influence of light, and the objects interspersing and blocking, the resulting changes in light are all things we need to pay attention to. Every time I watch an animation, I am always moved by these nuances. The models used in this tutorial are very simple. When doing interior scenes, it is often to build a simple BOX first and modify the approximate shape to test the lights to see if they meet the expectations. But when making, it is better to have an imaginary picture first, so that you can judge whether you have achieved the desired effect when you are done, but you must know what kind of effect you want before you do it.This is a scene from the animated movie "Koto no ha no niwa", which is real in Shinjuku Gyoen Park, Japan. What I want to do now is to make the 2D animation feel with 3D. First, use a simple model to determine the main pavilion. And the location of the surrounding trees, place the camera, as the picture shows:Then we can see through the original animation that the light is shining from the bottom left corner.Here, a standard target parallel light is used as the main light source. The angle of light and the attenuation range of the illuminated area are adjusted. The shadow length and direction of the trees are observed and adjusted to a suitable position. Adjust the UVW in the shadow parameters to blur the tree projection to make it unreal. Open the environment and effects panel, add a VRaySky map to the environment map, drag it to the material panel by example, check the first column, pick the target parallel light in the scene, and set the map light intensity to 0.03. You will get a sky environment that matches the scene lighting, making the rendering more realistic.A high light and dark contrast picture is needed here, so no ambient light is used in this scene. In addition, a VRayLight was created in the direction of the light to simulate a small range of strong sunlight. It can produce more intense light and shade. The parameter settings are the shape of the light is spherical, the intensity is 200, the color is warm, and the light is not visible.Open GI and test the lighting effect, as follows:After the lights are almost well, we start to refine the scene, and finally, it looks like this:In order to simulate the feeling of the rainy season in the original animation, I used the 3ds Max particle system to simulate some raindrops, created a standard particle flow source, and added a random rotation to make the raindrops have some random changes.I also used the MultiScatter plugin to plant some grass.Material adjustment and rendering settingsIn terms of materials, I will focus on the material of the pavilion and the surface of the water. The material of the pavilion must be rendered wet and wet. Because the scene is rainy, I chose mirror high reflection on the material. I did not check Fresnel. The top will be completely reflected in the surrounding trees, plus the projection of the tree occlusion to get a similar effect.The water surface did not make it reflect the sky and clouds like the original painting, but chose a green that matches the scene, as shown in the following figure:The material of water is as follows:Next, we can adjust the rendering parameters. Anti-aliasing uses Catmull-Rom with a certain sharpening effect, which can make the details of the trees richer. Turn on the reflection environment. A VRayHDRI map is added to the reflection environment. The exposure selection is the last one. The term Reinhard mixed exposure is similar to the combination of exponential exposure and linear exposure. Set the blend value to 0.7.VRayHDRI is displayed as a sphere with an intensity of 4.Using the VRayHDRI map can increase the reflection details of some scenes. Turn on the GI and use the Irradiance Map for the first bounce. The first bounce is the first global light calculation for the direct light. The second bounce uses the Light Cache. Actual calculation, turn on display calculation phase. As the picture shows:Open the rollout of the light cache, set the light subdivision to 1500, andcheck the options in the figure.The rendering effect is as follows:Now please follow the best CPU &x26; GPU render farm and cloud rendering services provider to our next part: Creation Analysis: Using 3D to Make 2D Style Scene（2）.

2022-07-27

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

As the leading cloud rendering services provider and GPU &x26; CPU render farm, Fox Renderfarm is here to continue to share with you how to make 2D scene with 3D.Creation Analysis: Using 3D to Make 2D Style Scene（1）In this article, we still show the use of 3ds Max to create 2D animated movie-style scenes and will focus on explaining the Makoto Shinkai-style picture performance.The use of channelsWhen rendering into a map, we need to add some channels to the rendering elements to help us post-process the scene. I added VRGI channels, VR lighting channels, VR reflection channels, VR shadow channels, VR highlight channels, and Z channel. The Z channel needs to test the distance of the camera in advance. It can be measured directly with a tape measure, or the camera's ambient range display can be turned on. The rendering results are as follows:Adjust the color and compositionIn the last step of color processing, you must first have a clear understanding of the overall picture effect processing ideas. Let's analyze the original picture of Makoto Shinkai first. "Koto no ha no niwa" uses the delicate design and delicate application of color elements to enhance the overall expression of the work. In the picture, the author uses a variety of green and gray with different purity and brightness. Multi-tones such as blue, white, and white are painted and painted. The crystal clear and colorful colors contrast with each other, forming the vivid art style of the film. The courtyard scene uses high-purity dark green forest leaves as the main thing, and the dark parts are generally biased to cool gray, so we must focus on these factors in the post-processing.Select the color of the GI channel and the reflection channel for the superposition method, and select the soft light for the superposition method of the light channel. Adjust the opacity of the screen overlay according to the picture conditions. The Z channel is reserved, and then the center of the picture is brightened with warm colors. The colored sky map gives the original image a soft light overlay. The opacity is set to 50% to make the picture breathable. Then adjust the color balance, saturation, and curve of the overall picture to improve the overall color purity and contrast of the picture. Warm color filter, as shown below:Next, use the Z channel to create the blue fog effect in the dark part at the top of the screen. Display the Z channel separately, adjust the color level to make the black and white obvious. Then, in the RGB channel, Ctrl + left mouse button to select the white selection area. One layer, fill it with blue-gray, and adjust the opacity as shown:Create a new layer, use the radial gradient in the gradient to make a rainbow in the upper left corner, wipe out the desired shape, and then add a Gaussian blur to give the rainbow a foggy feel.Next, create a soft light effect for the overall screen. Ctrl + Alt + Shift + E stamps all visible layers duplicates one layer and uses Image-Adjust- Threshold to change the image to black and white. Similarly, select the white part of the selection, Ctrl + J duplicates one layer, uses soft light for the superposition method, and gives a Gaussian blur with a value of 10, so that you can get a soft light effect that enhances the bright part of the overall picture, adding a depth of field effect, and the final effect is shown in the figure:Fox Renderfarm hopes it will be of some help to you. It is well known that Fox Renderfarm is an excellent cloud rendering services provider in the CG world, so if you need to find a 3ds Max render farm, why not try Fox Renderfarm, which is offering a free $25 trial for new users? Thanks for reading!

2022-07-27

Rainy Scene Performance of Building Exterior

The best cloud rendering services provider and GPU &x26; CPU render farm, Fox Renderfarm will share with you a good 3D tutorial to make rainy scene.This is a rainy scene performance of building exterior, from 3D artist Han Shilin. The software used is SketchUp, 3ds Max, V-Ray for 3ds Max, Photoshop, and Substance Painter, etc.How to be "realistic"?"Realism" doesn't just give each material a very accurate parameter that can be applied to any environment, so that it can render a very realistic effect. It also refers to realistic performance = according to your own visual experience, controlling parameters to make the map in line with expectations.The difference between the two understandings is that the former has no control and expectation of the final result, and is based on the idea that "parameters are correct.".ReferenceThe reference picture is very important, this is an expectation of the final effect, such as light and shadow, atmosphere, composition. And it is recommended to combine all the reference pictures into one plate.In order to show a sense of tranquility and quietness, a darker, rainy weather was set. The architectural details of this scene are not many, the atmosphere of light and the treatment of the ground part are very important.ModelingGrasshopper makes the appearance, imports SketchUp to make the main body of the building, and then imports into 3ds Max, and rendered with V-Ray. The process is very simple.The important thing is to do a good job of layering, otherwise, it will become more troublesome when importing into 3ds Max.As for the composition, a very low angle was used, as much as possible to expose the ground material and the wider sky.TextureThe main body of the building is far away from the lens, so only ordinary materials are needed, and the texture of the materials can be maintained. Taking the skin material as an example, the rest of the building materials are very basic.Sidewalk and road eaves: indoor concrete texture package, because there will be a lot of dirt in the outdoor scene, so the concrete texture and the dirt texture are mixed together. The area in the close shot is relatively small, so the repeatability of the material is serious. Since it is a rainy scene, the roughness value is also very low.PS. The main building can be modeled in SketchUp and then imported into 3ds Max. The environment and settings of the scene are best created with 3ds Max because the SketchUp model will have some problems when imported into 3ds Max, such as the UV will be messed up.Performance details (Substance Painter draws some textures)From the perspective of the camera, the pavement greatly affects the picture, so its material is very important. You need to import this pavement into Substance to draw textures.Import the mesh file that needs to draw textures into Substance Painter.Remember to turn off the channels other than the natural color when drawing the natural color map. After drawing the natural color map, create a new layer and draw the bump.Then you can add some standing water to both sides of the road.There are many ways to draw. One of the simpler methods is to add a material to adjust a very flat height and then apply it several times with a dirt brush to get a better random effect. Because what to do is a rainy scene, there is no wet feeling. So adjust the level of the roughness layer.One thing to note is that if you want to get the same effect in 3ds Max as in Substance Painter when importing the texture, adjust the blur to 0.2. For sharper effects, lower it. In addition, the imported map gamma needs to pay attention to, the map color of the natural color is selected automatically, and the rest are all 1.0.Then it is relatively simple work and found some model-rich scenes from Evermotion's model library.Such as the middle and lower left cars. After that, I used V-Ray rendering in 3ds Max, and finally adjusted it in Photoshop.Fox Renderfarm hopes it will be of some help to you. It is well known that Fox Renderfarm is an excellent cloud rendering services provider in the CG world, so if you need to find a render farm, why not try Fox Renderfarm, which is offering a free $25 trial for new users? Thanks for reading!

2022-07-13