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3ds MAX Tutorial :: Advance Illumination in 3d Studio MaxFree
3ds Max Tutorial by CG artist, Mario Malagrino
Illumination Tutorial for Industrial/Product/Furniture
Design
This tutorial explains all steps to illuminate an object with a
technique which simulates the illumination techniques of a photo
studio. Before we begin it is very important to inform you that we
will use "Mental Ray"as render engine (version 8 and 9 of 3D Studio
Max).Mental Ray is a very stable render engine and it allows you to
have very realistic renderings. Since we are using Mental Ray for
this tutorial it is very important to use "real dimensions" for all
the objects that we have to create. Otherwise the result will not
be realistic. It means that you have to go to CUSTOMIZE ->UNITS
SETUP and choose the units that you want to use. In any case you
should get used to create objects with their real dimensions so
that you get a feeling for correct dimensions and proportions.
The first step to do is to create an "environment object"(it is
similar to the rooms which are used in the professional field of
photography)on which later we will place our object to illuminate
(this is ideal for product/industrial design and furniture design).
There are different shapes that you can create to have an
environment-object which will be reflected correctly on your object
and will give very good render results (image 0 ). What many
designers don't know is exactly this last point:in order to have a
good 3d rendering,the object has not only to receive a good
lightning,but it needs to receive a good reflection of the room in
which it is placed.
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The color that you should assign to the environment-object (the
room)should be white like the walls of a photo-studio !The material
should not have specular highlights.In this way the color of the
environment will not affect the color of your product design
(especially if you use reflective materials).Of course it is the
designer's choice to change the color to a different one. Let's do
the first steps for an environment-object.Create a spline like the
letter "L".Then select the corner vertex and go to "modify",select
the "fillet"tool and smooth the corner like in image below .
If you like to have a very smooth environment you should put a
very big value in the fillet slot.Now we need to create an outline
of this shape (the thickness of the walls).Select "spline"and go to
outline the spline with the command "outline"that you can find
again in the modify panel. From this point you can create both
environment objects (the linear or the circular one).To create the
"straight"one (which will be the one that I will use for the
tutorial)you must assign to the spline an "extrude" modifier from
the modifier list (image below)
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To create the circular environment object you must first move
the PIVOT/GIZMO to the correct location. Check below image.
Just go to hierarchy,click on the button "affect pivot only"and
move the pivot (this button allows you to move/rotate the pivot
independently from the object)!After this step assign to the spline
a "lathe"modifier from the modifier list.You will see that you will
create an object similar to a tube.Go to the modify panel and
increase the segment number to have a smoother shape.Now go to
Degrees and put 180 in the slot.You should have the result of below
image
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Both of these two objects are really useful.It is your choice
which one to use for your renderings.
Create a teapot on the environment-object (in the room)and
create a simple skylight. Remember that the illumination direction
of the skylight can't be changed,i will ALWAYS come from the top.
(check above image) For now you can leave the standard multiplier
value=1. To be able to render correctly with a skylight you must
enable final gather in Mental Ray (without final gather the
skylight will not work - check images below).
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For the first test rendering put a low number like 40 in the
Final Gather Samples slot (in Max 9 you must use the Rays per FG
point
slot).Make now a test rendering.You should have the same result
like in image below. Tip for test render :a smaller render size
will allow you to have a shorter render time.
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The skylight is NOT able to create specular-highlights on the
object.The specular-highlights are of course VERY important to
simulate different kind of materials.This is the reason why you
should never use only one skylight in your scenes.It is important
to have an additional light.If you want to have a very strong
specular- highlights like on car paint materials you should use Mr
Omni lights (you can find the tutorial of the car paint material in
the FDA tutorials for materials).For this tutorial I will use a
photometri target area light.This light is very soft,it gives very
good and realistic results. Let's create an target area light like
on image below.
It is important to consider that the softness of the shadows of
this light will change with the size of the light (big size:soft
shadows,small size:sharp shadows).The shadow type MUST be
"raytraced shadows",only this kind of shadow will give optimal
results with mental ray.Don't create a light with a too big
size,otherwise the shadows will be too soft and will cover too big
areas,this will darken the environment and will not look
realistic.Since now we have two lights you should reduce the
multiplier of the skylight.Try to put a value between 0.4 and 0.7.I
have reduced it a lot in my scene,in this way it is clear that the
main light source is the area light.I like the contrast between
strong illuminated surfaces and darker surfaces like on image 9
.But at the end it is your taste which will decide about the
multiplier amount of the two lights.Sometimes I create an
additional
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area light on the opposite side of the first one.If you like to
have more than one area light you should disable the shadow of the
light with lower intensity.Too many shadows are confusing and
really ugly in a rendering. Make a rendering.You should have the
result of image below.
This is how I normally render objects with no reflections.If you
have an object with reflective material you need to do a few more
steps.Let's see why (chrome and other materials are in another FDA
tutorial).If you create an object made of chrome and you go to make
a rendering you will have the result of image below.
We can have a better result with a few more steps...Let's create
two big boxes. Like showen in image below
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Create a white self-illuminated material and apply it to the
boxes.If you make a rendering you will see a big difference between
the image below and last rendered image.
The reflection of this boxes are giving the impression of two
light sources like windows or big white panels which are used also
in the field of professional photography. You can notice that image
second last rendered image is a little bit darker than image above,
even I did not change the light settings.Why this ? Whenever you
enable final gather you will notice that self illuminated objects
are able to create light. The bigger your self-illuminated object,
the brighter the surface close to it will be. That's why the
rendering in above image is a bit brighter. Be careful with the
size of the 2 boxes, don't make them too big and don't place them
too close to the teapot, otherwise you will create too bright
areas.
At this point you can do a final rendering.This means you must
set all settings to the maximum values,in this way you will have a
perfect rendering.In the render panel set Minimum samples per pixel
"4", maximum 16 . If you change the BOX filter to "Mitchell" your
rendering will be a bit sharper. The minimum size of a final
rendering should be 1024*768 pixels (bigger is of
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course better). Don't forget to increase the shadow samples
(area light sampling) to 32 or better 64, in this way your shadows
will be perfect. Put in final gather sample slot 300,if this is not
enough put 400. Now make your final rendering.
The result of above image is already very good, but we can
improve it. I also teach to my students that Photoshop is a tool
which is able to improve a rendering in many different ways. Let's
apply a glow effect to our highlights (in our case we will assign a
glow effect to the reflected boxes on the teapot to give the
impression that there is a lot of energy coming from the white
panels). Select the "magic wand tool"to create a mask on the
brightest parts (which are in this case the white boxes)of the
teapot surface like on image below.
Now press on your keyboard CTRL+C and than CTRL+V (copy and
paste).You will see in the layer panel (F7)that automatically you
have created a new layer on which there is only the masked part of
the teapot. (Check image below)
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Now make a left double mouse click on the blue bar of the new
layer.You will enable a window (layer style panel) with really
great tools (try them,they are really interesting). Choose "OUTER
glow"and change the yellow glow color to white.Now select the size
slider and move it to the right side.Now you have a very nice glow
effect on the teapot. Another very interesting effect that you can
create on a image is a Depth of field effect (DOF).In this way you
can simulate a sharp focus point on the teapot.The part of the
object which is far away will be a bit blurred (like in
photography). First of all we must fuse the background image
(original rendering) with the glow effect layer. Just go to
"layer"and select "flatten image" (Check image below ).
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Now make a right mouse click on the layer and choose "duplicate
layer". Check image below.
In this way you will have two layers,one is the perfect copy of
the other.Apply on the copy a gaussian blur effect (check images
below).
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The last step is very important.Choose the "eraser tool"and
delete the part of the image which should be sharp (Check image
below ). Try to use a soft brush and set it to opacity 60.
Author: Mario MalagrinoEmail: Website: www.MarioMalagrino.com |
Florence Design AcademyAbout Author - CG Artists Mario Malagrino is
a 3ds Max Instructor in Florence Design Academy.
15 Tips&Tricks for 3D Studio Max ***
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15 Tips&Tricks for 3D Studio Max of the FLORENCE DESIGN
ACADEMY
+ Here you have 15 of the most used Tips&Tricks of the
FLORENCE DESIGN ACADEMY
(www.florencedesignacademy.com) to avoid mistakes, errors and
imperfections in your projects.
Tip 1.)
Did you know that "architectural materials" and "self
illuminated" materials are light emitting (for Mental Ray &
Vray) ? If you apply them on a box you will get a similar effect
as a "photometric area light" or a "Vray light".
Tip 2.)
Try to use always soft shadows in your renderings if possible.
Hard shadows are looking always very fake. In
"Mr Omni/Spot" scale the size of the light in the area light
parameters (mental ray).
In Mental Ray you have to use the "RAYTRACED shadows" !
In Vray enable in the Omni/Spot the "area shadow" and scale the
size of the light.
Soft shadows will take more render time !
Tip 3.)
To have perfect shadows it is necessary to create all objects
with real dimensions.
Tip 4.)
How to decrease render time for test-renderings:
a) the main setting to decrease the render time is the image
size. Normally I use 150x112 pixels as size. It is
too small to see the object's details but its is perfect to
understand the light conditions.
b) Lower the Shadow quality !
c) Reduce the polygon number of the objects (try to use the
optimize modifier if you don't have any
meshsmooth modifier on the objects)!
d) Reduce the photon number or/and the "sample" settings in the
render engines. Vray/MentalRay/Brazil
RS/FinalRender/ etc.
e) Be careful with the amount of lights (too many lights will
make the rendering very slow)!
Tip 5.)
Do not use editable MESH but ALWAYS editable "POLY".
Editable Poly is optimized for advanced modeling , creates less
errors than editable mesh and has many more
settings than editable mesh.
If you were working on a object with editable mesh , you can
without problems convert it to an editable Poly
object.
Tip 6.)
Instead to meshsmooth a box, use from the "extended primitives"
a "chamfer box"... the result is the same,
but the chamfer box" has less polygons !
Tip 7.)
Sometimes all your Vertexes disappear during modeling of an
object.
To fix this bug try this options:
a) Convert your object again to an editable poly.
b) Convert your object to an editable mesh and then to an
editable poly.
c) Save the file, Exit from 3D studio and open again the
file.
d) Save the file, Exit from 3D studio and merge the object in a
new file.
Tip 8.)
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The best light to create Highlights is the Omni light (or MR
Omni).
Tip 9.)
Do not use "area shadows" in Mental Ray, they are very slow and
not optimized for Mental Ray.
The best/fastest result is visible when you use Raytrace
shadows.
If you are working with the "light-tracer" than you can use
"area shadows". The result is the same as in
MentalRay with Raytrace shadows.
Tip 10.)
(for beginners) When you are working sometimes you can't anymore
move your object.
Probably you have pressed the key X. Press again X to enable the
move tool (GIZMO).
Similar problem: You can select only one object, all other
objects can't be selected anymore: probably you have
pressed SPACE and locked the object. Press again SPACE to unlock
it.
Tip 11.)
When you create a "loft" object it can happen that the end or
beginning of the object has an error.
To fix the problem you should choose "CORNER" vertex on the
first and last vertex of your spline.
Tip 12.)
Download ALWAYS the last service-pack for your 3D Studio Max
version. It will fix important bugs.
Tip 13.)
There can be only 2 mistakes when your extruded (spline +
extrude modifier) object has an error:
a) you have overlapping segments in your spline.
b) the shape is not closed-check where you did not weld the
vertexes-.
Tip 14.)
If you use splines to create shapes, try to use a very small
number of vertexes.
If you convert the vertexes in smooth/bezier/bezier-corner you
can create very organic and round shapes
without a too high number of vertexes (same tip for loft in
deformations-scale-panel).
Tip 15.)
If your interface/panel disappeared You have this options to fix
the problem:
a.) Maybe You are in the "expert" mode...press CTR+x...
b.) Customize > Customize User Interface > Toolbars Tab
> Reset!
c.) "Start"button on windows > Autodesk > 3D Studio Max
> change graphics mode !
d.) There should be a 3dsmax.ini file in ur max folder...delete
it and start 3D Studio Max again...
e.) Customize > load custom UI scheme.
3DS Max Material Tutorial - LeatherTutorial by CGIndia
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CGIndia brings you another very useful tutorial for 3ds Max
users. In this brief tutorial, Mario Malagrino of Florence Design
Academy explains how to create a Leather material in 3ds Max.
Leather is one of the most used materials in the field of Furniture
design. Especially for design of sofas or couches. It is quite easy
to obtain a good leather material. The leather material quality
strongly depends on the illumination in your scene.Before you start
to create the leather in the material editor you must first analyze
exactly the type of leather that you want to simulate in 3D Studio
Max. After this step go to choose an image which has the
pattern/texture of the real leather. Here in image below, you can
see an examples of images/maps which allow us to create a perfect
leather texture in the material editor. The first one is a simple
image of a scanned paper, the second one is made with
Photoshop.
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Let's see the steps to create leather.First go to add the
correct specular highlights. You must analyse the real leather and
simulate the same glossiness and specular level in the material
editor. There are no standard values. This settings depend on the
type of leather and also on the illumination. If your light is very
bright, you will have a very strong specular highlight in the
rendering. To avoid this you must set a lower amount in the
specular level slot. Choose in the diffuse slot the colour of your
leather material. Now go to MAPS and click in BUMP on the NONE
button.The BUMP map now allows you to create the leather texture.
At this point you have many different kind of maps that you can
choose. In this tutorial we will use or the BITMAP or the NOISE
map. Both are very useful.
a.) If you choose NOISE you must pay attention only for one
parameter: the size of the noise map. Usually it's very very small,
often lower than the value 1. But this value depends again by the
kind of leather that you want to simulate.In the BUMP amount slot
in maps you are able to set the strength of the texture. Normally
it is never more than 50/-50. In Rendering 3 you can see the result
of the NOISE map.
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b.) If you choose to assign a bitmap (an image) to the bump slot
you must take care of the tiling value. It has more or less the
same effect like the SIZE parameter in NOISE (you can assign to the
object also a UVW Map from the modifier list and change the Gizmo
size; it will have a similar effect like tiling).To have more
control over the specular highlights in the rendering you can use
after you have completed the scene a SPECIAL "MR Area Omni" light.
After you have placed the light in the correct location right-click
on the MR Area Omni and disable "AFFECT DIFFUSE". After this step
this MR.Area Omni will create only specular highlights on the
materials. We will use that
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MR.Area Omni ONLY to create the highlights that are normally
visible on leather. In this way we have much more control of the
position, color and brightness of the specular highlights. Disable
shadows in that MR.Area Omni. This technique can be very helpful if
you need more highlights than the existing light sources are
already creating on the leather material. To avoid that this light
affects all objects in the scene you should use the exclude option
in the modify panel excluding all other objects which should not
receive an additional highlight (you must select the light to do
this) .
PhotoshopLe't see how to create the leather texture of image
1.Go to Photoshop and create a new file. Go to the main tool bar to
FILTER and choose Texture and then Stained Glass (image 7).
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This will give you a texture like the skin of a snake. You will
have 3 parameters in that filter that you can change. Basically
this is already a "map" that you can use in 3D Studio Max as BUMP
map. It will give you quite good results.
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To make it a bit more interesting you can return to Photoshop
and duplicate the layer of the leather. Change the copied layer
from Normal to MULTIPLY. This will allow you to add different
colors on the original layer without losing the black leather
shapes that the filter has created. Choose an irregular brush and
try to create a natural looking brown color.Don't make it too
clean, otherwise it will look very unnatural.Now after this step go
to your Multiplied layer and decrease the opacity. Don't leave the
black shape of the top layer too visible. Save the image as bitmap.
Now you have 2 images. The first one which is only black and white
and the second one with brown color.
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You must place the brown one into the DIFFUSE COLOR slot in
MAPS, and the black and white one into the BUMP slot (image below).
If the leather effect is too sharp you can blur both images in
Photoshop choosing on the main tool bar FILTER and than Blur:
GAUSSIAN BLUR. The same can be done in the BITMAP settings from the
BLUR slot.
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3ds MAX + VRay Tutorial :: Time is running Free 3ds Max Tutorial
by CG artist, Jan K. Vollmer
Making of by Jan K. Vollmer
In this tutorial I want to show the making of the image time is
running made with 3ds max 2008, rendered with vray
1.50.SP1.Everything is modelled in 3ds max 2008 mostly from
standard geometry and some splines with lathe like the lampshade.
Modelling is not my favourite so I want to show the material and
the
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scene and rendering setup with vray 1.5.SP1.
First of all I build some kind of a studio surrounding with
making a concave fillet and bend it a little to get a fourth of a
cycle. So get enough studio walls around the objects. Be sure to
make it big enough.
Then I start the modelling. Everything was made from standard
forms in max and nothing special. I almost did not use textures,
because I wanted to create real metal materials and silver effects.
Just the little factory inside has textures like the ground and
some buildings.
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Wire of the whole Scene
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Close-up of the clockwork
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Close-up of the Lamp
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Close-up of the Lamp Again
The next step is to set up the materials for the different metal
objects, the glass and the factory. I used the standard vray
advanced materials and modified them for the five Basic materials
in my scene.
The chromium material:
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A standard vray material with a light gray colour in the
reflection, refl. Gloss of .71, subdivision of 12 to get nice
results but still short render time. The IOR is at 2.97 and I used
ward.
The glass material:In the reflection slot is a falloff map set
to standard and fresnel. Ref. Gloss. Is set to .98, IOR is at 1.517
and set the affect shadow and alpha to get nice shadows on the
ground. The fog colour is set to white.
The light material:Just a simple vray light material that is set
to a warm light orange colour and with a multiply of 6 to get a
bright effect. Instead of a real bulb I used a sphere with the
light material applied to get the light emission.
The hdri reflection map:This is a map I use very often for
interior scenes. I set the overall multi. to 3.0, made a spherical
environment and a vertical rotation of 75 deg. To get the ground of
the map really on the ground, I put that map in the environment
reflection slot in the vray over right slot.
The silver material :Silver material is very similar to the
chromium; it has just a much brighter reflection colour and a
almost black diffuse. I also set the refl. Gloss. to .95 for high
reflections. The IOR is at .18 for silver.
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The silver material
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The light material and HDRI Map
The next is the light set up of my studio. I put two vray plane
lights in the scene, one from the right hand side with a blue
colour and a multiplier of 5, set it to invisible and the subdiv to
25. The second light I set on the left hand side of the objects to
have some light from the opposite side. Here i used a warm colour
and a multiplier of 2 to get a soft back light. Subdivs are also at
28. in the vray light properties i set up the diffuse subdivs to
1500 for all lights in the scene to get a nice soft diffuse
effect.
The studio lighting setup
Check the VRay Lights Setting Below
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Rendering setup For Scene
I made some standard setups like switch of the default lights
and hidden lights.I used adaptive subdivision for faster renderings
and catmull-rom for sharp edges. For the environment I used a warm
colour and the hdri reflection map with the multiplier of 1.For
more contrast I set the colour mapping to hsv exponential with the
dark multiplier of .5 and the bright to 2.0.Be shure to switch
sub-pixel mapping on to reduce the highlight sparcel effect in the
bright colours. The same for clamp output and affect
background.
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The render setup part1
Before I finally render the image I do some test renderings with
low adjustments like ir-map to low and light cache to 100. If
everything is like I want it, I push up the settings to custom for
the ir-map and a higher light cache of 500 and a sample of .005m.
The vray render region is set to 32 for exact rendering. Also set
the low threat priority for better performance. I used distributed
rendering to render much faster and skip the waiting time. Here is
a small intro:Install on all slaves the vray render node for
distributed rendering and set the ip address of the master as
render host. Start the vray spawner for distributed rendering. Make
sure that the mappings and textures you are using are locates on a
server were all the slaves have a connection to. It all so has to
be the same device letter like on the master machine
(Z:\3dsmax2008\mapingfolder\...) If you have the option check for
missing files switched on, vray is looking on every slave for the
connection and will tell you if anything is wrong. To check for the
files I use the asset tracking function in max to relocate the
missing files.
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The render setup part2-3
Final Rendered Image
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I hope you find this making of interesting and you get some help
or inspiration from here. All the best and thanks for reading!
Author: Jan K. VollmerWebsite: www.jankvollmer.deEmail:
[email protected]
3ds MAX Tutorial :: Advance MaterialsFree 3d Studio Max Tutorial
by CG artist, Mario Malagrino
Advance Materials for Industrial/Product/Furniture Design
Car paint is one of the favorite materials of the industrial
design students of the Florence Design Academy
(www.FlorenceDesignAcademy.com). You can use it for any product
design, especially for mobile phones, mp3 players, bikes....or
simply for a concept car.There are many different types of car
paints. The most trendy one is the metalized car paint with two
specular highlights.
(Note: This tutorial will not teach the metalized car paint with
the random aluminum flakes, and in order to have this kind of
particles you must use Max 9 materials which are explained in other
tutorials).
The two specular highlights will give an optimal light
reflection to your object in order to show
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in a very soft and for the human eye pleasureful way the shapes
of you objects.To create two specular highlights you must change
the BLINN shader to MULTY-LAYER. This allows you to have 2
independent specular highlights (in Multy-Layer they are called
First Specular Layer and Second Specular Layer). One must be very
soft the other very hard/strong. Go to the first specular highlight
slot (it is called specular layer) and adjust it until you have a
large shape (glossiness) which is not too bright (level).Then do
the opposite with the second specular layer: small shape and very
bright. After this step go to Maps and add to the reflection map
Raytrace. Set the reflection amount to more or less 20 (like on
image 1).
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To have more control of the specular highlights in the rendering
you can use in your scene a SPECIAL "MR.Area Omni" light (normaly
it is better to use MR.Area Omni if you use Mental Ray to make your
rendering, but in this case you can use also a normal Omni light).
After you have placed the light in the correct location make a
right mouse button click on the MR Area Omni and disable "AFFECT
DIFFUSE" (like on image 2).
After this step this MR.Area Omni will create only specular
highlights on the materials. We will use that MR.Area Omni only to
create this specular effects that normally is visible on
metalized
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car paint. In this way we have much more control of the
position, color and brightness of the specular highlights. Disable
the shadows in the MR.Area Omni.This technique is very helpful if
you need a higher number of specular highlights than the existing
light sources (that you must create for normal illumination) are
already creating on the car paint material. It is also possible to
create a specular color which is different than white. With
changing the specular color you can simulate the classical car
paints that you can see in the car-tuning environment where often
we have a mix of two different colors (diffuse color + specular
color). This makes the material more interesting.Here below you
have a sample of a mix of more colors. In this case we have a red
diffuse color, a blue first specular layer color and a white second
specular layer color (image 3)
Here below we have exactly the same scene, but without the EXTRA
omni lights. The difference is strongly visible. In this sample you
can understand how important it can be to use the technique
described in this tutorial (image 4).
Tip 1: If you go to use many Mr Omnies for an object because you
want to create many different specular highlights, you will risk to
create a less visible shadow of an object. In this case it is
necessary to use Ambient/Occlusion to avoid this problem.
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Tip 2: If you have other objects in the scene that have normal
materials and have NOT to be affected by the Omnies, remember to
exclude them from the Omnies with the exclude button from the
modify panel. You can find more information for the illumination
& render settings in other Florence Design Academy tutorial. I
hope you have enjoyed this tutorial.
>> Author: Mario Malagrino>> Website: Florence
Design Academy>> About Author - CG Artists Mario Malagrino is
a 3ds Max Instructor in Florence Design Academy.
The Making of - "A Morning In Province" Using 3DS Max + V-Ray by
Julien CHIARI
OVERVIEWFor this 3D Scene, I have took reference from a very
nice Photograph, which i have found in a magazine. The whole 3d
Scene is done in 3D Studio Max and using V-Ray Rendering engine for
achiviving realisim in the scene. I have divided the whole process
into four parts : 3D Modeling, Texturing, Lighting and Rendering.
And Try to explain the steps i have used in making of " A Morning
in Province".
3D Modeling ;
The most part of 3D modeling in this scene is pretty much simple
and old fashioned, besides certain area's and portion of the scene
has to be emphasized and lots of attention should be given to
amount of detailing for them. As every thing in the scene is quite
close to the camera or in focus, so a level of detailing should be
maintained, besides emphasizing certain portions.
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To increase the realism of the ground, a little displacement is
required. For this, I have added a VrayDisplacementMod modifier on
the ground.
Than, I added small stones on the ground at the places where
they are sensible to accumulate a little more (near the steps and
the walls)..
In Front facade, I have added lots of details on wall; in
editable polygon mode (you may also model the building using
solids, and later convert the Mesh to Editable Poly) . I cut out
with the tool Cut and move the vertex. Than change the smoothing
group of the detailed area.
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More Details has been added to steps and other area's using the
same method.
Here is the wireframe Screen Shot :
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Texturing / Mapping ;
I have Unfolded of the UVW mapping in 3D Studio Max and save the
UVW in a Bitmap, for modifing and fine tuning purpose.
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I open the saved bitmap of the UVW in Photoshop and mix several
texture layers and photographs to obtain desired level diffuse for
final "Diffuse Map" texture. I improved the sharpness of this
texture and added another layer to make texture for Bump Map. To
obtain a good quality of texture when rendering, I used a
resolution of 2048x2048.
Bump Texture :
LightingFor the lighting of the scene I used only 3 lights: 2
directional spots (1 and 2) and a VrayLight Dome (3). The Dome to
simulate the ambient light coming from the sky, slightly tinted in
blue. 2 directional spots to simulate the sunlight, slightly tinted
in yellow. The first spot to light the whole of the scene and the
second right for the branches in foreground. These branches do not
project shadows on the scene. The shadows of foliage come from
three plans (with a mask of opacity) placed in front of the
spot..
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Than, I applied a small blur to the mask so that the shadow of
the foliage becomes little blured, for making it look more
realistic.
Rendering;
I have Used VRay Rendering Engine for obvious reson to making
the whole scene look as realistic as possible. Check the Images
(below) for the Vray Renderer, GI and irradiance mapping
Parameters.
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I have also added a small depth of field. The focus is done from
the target of the camera by activating - Get focal distance from
camera.
And here is the Final Rendering Output in Vray without any
compositing or Touch-ups!
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Render time : 8 H 42 min. Hardware : Pentium 4 CPU 3.20GHz, 1.50
Go RAM.
Author - Julien CHIARI Author Email - [email protected]
Authors Website Link - http://chiari.3dvf.net/
15 Tips&Tricks for 3D Studio Max ***