INTRODUCTION In this tutorial I will show you how to create simple interior scene basing on reference photo.

I wanted to make it basic and simple for beginers without any complicated advanced settings.

MATCHING REFERENCE PHOTOGRAPHY IN VIEWPORT First of all have to create help lines in Adobe Photoshop (using line tool) to set the perspective of the image. These lines should meet in one point.

Open 3d Studio Max Now open Views -> Background view (shortcut ALT+B), it will allow You to select Viewport Background. Choose the reference file from hard disk and press ok. Now You have to change render output in rendering menu to match the resolution of reference file (in our case 1025 x 819 ). N ow in your

selected viewport rightclick in top-left corner and select show safe frame. (shortcut SHIFT+F), Safe frame will appear and image should be perfectly placed. In next step we will change units to centimeters. This isn't that crucial, but may be helpful setting proper scale for the objects. Customize -> Units setup... change display units scale to Centimeters. Now right-click on the snap button, select Home Grid and change grid spacing to 1,0 CM.

Next let's create a simple box in scene. Set height of the box to 300 cm. Convert it to editable poly, Select all faces and flip them. Now right click mouse on our box and In object properties check "backface cull", because we want to see what is inside room without seeing walls from the outside. This box will be a modeling base for our room. Create Vray Physical Camera in the left corner of the box. In the same viewport where you set background, change view to VRay camera. Adjust its position, and focal length, so the box line will match the red lines in background reference. Select box and righclick on it. select object properties and in options check "see-trought" (shortcut: ALT + X ) Now your object will become transparent so you can see the viewport behind it. It will be easier to manipulate with connects and verticles this way.

Matching camera isn't easy task. So don't worry if lines aren't perfect. It would be much more easier if we had exact measurements of the room and camera specification. MODELING If correct camera position is set we can start creating some details. Now you may load reference photo without lines into your background (ALT+B). Delete faces on the walls to prepare holes for placing windows. Create central columns. Select faces on the floor and ceiling and in editable poly menu choose 'bridge'.

We need to extrude a little bottom part of the columns. All the time you may control your connects and extrudes from the camera view. Let's create central desk. 1. We create it using box modeling. This is very simple object. Create base box and extrude basic shape. Use isolate selection to work only on that object (ALT+Q) .

Extrude selected faces to 1 cm .2. Add connects and chamfer them to create spaces 3.

Cap all holes in both objects. 5. Now add double chamfer .select all edges. Select 'grow' and detach faces.4. chamfer them and then again press ctrl+a and chamfer again . Select Borders in each of them and use CAP (ALT+P). base and the doors. 6. Now we have two separate objects.

7. Select these edges. Select all faces and under smoothing groups parameters select "Auto Smooth" As we can obser ve shading isn't correct after auto smooth. 8. . It should look flat. If we want to use auto smooth we have to add some more connects. and connect them. without any strange gradients. With this connects shading is back to normal.

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Here is the finished model with simple cylinders added.9. Add more chamfers to the rest of the desk where necessary and repeat process on the other parts of the desk. First create boxes. . connect edges and control positioning with camera view. The rest of the kitchen furniture were done in the exact same way. 10.

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.MODELING CURTAINS First of all prepare holes in the ceiling.

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Our first vertex is assigned to first box.Now create plane so it matches the hole. select 'group'. now select first vertex under first box . Unroll Cloth. select 'Make group'. You have to assign each vertex to box that lays over it. Plane has 240 width segments. Over our plane create 28 boxes. They will hold our curtain. Select plane and add Cloth modifier from modifier list. . Now click on 'Node' and select first box.

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Use this settings for the curtain cloth: Now we have to prepare animation for the nodes. First open the time configuration window and set animation time to 200 . assigned to 28 nodes.In the end you should have 28 groups consisting 1 vertex each.

then move to the side. . Select all boxes and scale them. Make sure pivot center is set to "Use selection center".Now open CUSTOMIZE -> PREFERENCES ->ANIMATION and uncheck 'local center during animation' Jump to frame 150 and hit 'Auto Key' button.

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Select Curtain and in cloth options hit 'Simulate'. CURTAIN IS READY .Uncheck 'Auto key'.

Create box touching outside corners of window holes using 3d snap. .Modeling window frames 1.

2. Create connects .

. In bridge options select 3 segments.3. Select opposing faces and use Bridge option to create holes. 4.

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Now select those edges and choose 'ring' .5.

Convert edge selection to faces by rightclicking and selecting 'convert to face' or hit CTRL + polygon selection .6.

. remember to check Local Normal. Extrude selected faces.7.

.8. As you can see these lines aren't straight after extrude. Select 8 verticles laying on these lines and click on "Z" in the edit geometry tab. They will automatically become planar to z axis.

Now create new connects in the middle and select these edges: .9.

10. Extrude edges inside the model. .

Now select all edges (CTRL+A) and add slight chamfer.11. .

12. In the end create boxes and place them inside frames as glass . Another window frame is done in the same way: 13.

. Create box and add chamfers. 2.MODELING CARPET 1. Set length and width to the same value. Add uvw map modifier and select planar mapping. If you scaled this box before you have to use "reset Xform" utility in Utilities window before adding uvw map modifier.

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setect Tools and 'render uvw template' Now you can open this template in Photoshop and create carped diffuse and bump.3.. Add unwrap uvw modifier. . Click Edit..

.4. After it add noise modifier. Add connects so the wireframe of carpet is dense.

CREATING AND MAPPING FLOOR .5. Now you can use FFD modifier to scale corners of the carpet.

Select polygon.1. use 'ignore backfacing' and 'select by angle functions' to select floor. When you select any polygon that lays on the floor. 2. Now select 'detach' function to create separate object. First we will detach floor from the main building. whole surface will be selected automatically. Select floor and right click Isolate Selection (shortcut: ALT+Q) .

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it won't be streched. You can also use 'Bitmap Fit' button to do so. Add UVW map modifier to the floor and set width and height to the resolution of the diffuse image. Now select gizmo and scale it to achi eve desired effect.jpg) and display map in vieport. Now when you will apply diffuse. . Create new VRay material.3. apply floor diffuse (HD_1_diffuse. 4.

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. Now add UVW map modifier and select box mapping.5. MAPPING WINDOWFRAMES Apply material with wood in diffuse map to window frame. and display this texture in viewport. Here is complete shader of the floor. As you can observe frame isn't correctly mapped in some areas. This problem is easy to solve.

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Add 'unwrap UVW' modifier.. Select all faces that have incorrect wood direction. . 2 Select 'Edit..' button.1.

Now just rotate these parts 90 degress ( Rot.Rightclick and choose 'Break' Now you can move selected faces in Edit UVWs separatly. +90 ) . Remember to use 'constant update' optio n.

Always avoid to much streching in textures. you may put checker map to check amount of stretch Other models in scene like seats. ADDING ENVIRONMENT . can be found on Evermotion models collections.

In color slot put environment map "land 08. Now rightclick annd select VRay properties.Create plane under building and select bright diffuse color. Now create cylinder around scene and delete faces that we don't need. This plane will reflect skylight GI. Next Invert faces so normals are directing inwards.jpg" Use unWrap modifier to addjust the position of trees. Now apply VRay light material on it. Choose this settings: .

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but it will not affect final GI inside room. Add VRaySky map into environment slot. Now the scene enviroment lighting will be produced by a skylight. In this scene p ower of the VRay light is set to 7. Next add VRay plane lights to lit up room. . We don't add any dir ect lights since all shadows in scene are soft.Now when you set strenght of VRay light it's exposure will rise. Press 8 to open environment settings.

Camera settings Turn vignetting off. If you want you can always add it later . Vignetting creates dark areas in corners of image and usually it isn't desired effect.Light setup in scene: RENDERING 1.

Open VRay object properties of the VRay lights.255. In Settings rollout when you will Set Global subdivs multiplier to 2 it means that all subdives in lights and materials will be mulitplied by 2. In Irradiance settings increase HSph. Here are all render settings: . To control overall scene brigtness set different ISO or shutter speed. Color mapping is set to exponential. In materials reflection and refraction subdives are set to 8 by default so the result will be 16. choose brute force as first engine and set its subdives to 30. Quality of GI in small details will be better. but brute force can produce more noise and rendertime will rise significantly. subdivs to 100.Render settings Turn GI reflevtive caustics on. increase caustics subdivs to 8000. decreasing and increasing them di rectly in materials. It will help to lit up scen e a bit. If you don't care about rendering time and want best quality. (RGB = 255. This is fast way to change quality of all materials in scene.8.easily in Photoshop. It will help to avoid having 'burned out' areas. 2. You can of course set all subdives in materials by your hand. change GI saturation to 0. We will choose irradiance map for first bounce and light cache for secondary bounces.1. In post-processing (VRay: Indirect illumination rollout). Increase GI contrast to 1.255). It will desaturate GI a little and colors will not 'bleed' that much. This allows indirect light to be reflected from specular objects.

Here is final render using this settings without post-production in Photoshop:

Ok, now open Photoshop, we will ad some bloom. Select this area:

When you press CTRL+J it will create layer from selection. Now just add gausian blurr and select blending mode to screen. Cop y this layer few times to enchance effect. Desaturate scene a little and play with levels to achieve final effect. You may add slight vignetting using 'FILTER' -> 'DISTORT' -> 'LENS CORRECTION' Also you can sharpen image if its too blury. 'FILTER'-> 'SHARPEN' -> 'UNSHARP MASK' Final render after Photoshop:

I added. The whole scene GRASS . They had to be close to each other so you couldn't see through them. the house in the center and trees surrounding it. creating the impression of a forest. For every camera view. removed or moved trees and fo liage to shape the composition.SCENE OVERVIEW The scene consists of a round patch of grass.

Grass cut in patches .

set to 2D mapping. The very detailed look is mainly provided by the resolution set to 3500. controlling the length of the blades was different for every camera . Then I would turn on the displacement only for those seen in the view. I used VrayDisplacement modifier. The key is having a lot of displacement subdivisions and a good noise map. untrimmed grass blades. I also added some bumps to the surface which was displaced to make it more random. This also varied thru the different scenes. but generally I kept it to a very high level of above 2000. The problem was solved by cutting the whole grass field in patches. . Just next to the building or the trees I added some extra. this generates a huge amount of polygons which had to be rendered and I shortly ran out of m emory even on a 6GB RAM machine. Each one is a VrayProxy. Grass displacement settings Of course. as you would imagine.The grass is actually very simple and similar to the grass most people produce with displacement. with a smoke map in it. because I had to save every polygon I could. The amount. I did this by subdividin g the grass surface and then applying a standard displacement modifier.shorter for close-ups and longer for broader views.

The map for the displacement is a plain noise map. You need just the right balance between the high and low settings and the right size. which in my case was the smallest possible. so there aren't any bright white dots which make the grass look like a carpet. You just have to set it up properly. Grass bumps .

which is OK in most cases. I couldn't use opacity maps. so I had to have leaves made by geometry only. furthermore simplified by the pre-saved parameters that come with it. Making trees in Onyx Tree is quite simple. The hard part part involved the leaves. because it provides very detailed le aves. but not in this one. I needed the leaves to be well shaped and to have volume.Displacement noise map TREES Most of the trees were modeled in Onyx Tree and two were made with the Bionatics plugin. Onyx Tree does not support complex leaves. Since I used SSS material (More on that topic in the Materials section). .

Sounds easy. Then I attached them back together.Tree bark displacement This meant I couldn't use the original leaves. The only thing I did was to add a shell modifier to add volume instead of having just a surface (Why. imported from Onyx. but it isn't. All the leaves were in a single object. that operation turned out to be quite heavy and it had to be done in pieces. which I split to several parts. . This let 3dsmax apply a shell modifier to each part without freezing. With the thousands of leaves these trees had. you'll find out in the Materials section). The leaves on the background trees I left almost as they came from Onyx Tree. In the scene I had trees for background and some better detailed for foreground and close-ups.

They had a replacement of leaves. I imported those models with square leaves from Onyx and then scattered a highpoly leaf model over the entire low-poly square leaves object. High poly leaves . deleting the distribution object.Things got even harder with making the detailed trees.

. mostly because I needed it to be thicker and more detailed since it was taking a central part in the composition. There was. however. some tweaking and model enhancement I did to one of the trees.Low poly leaves Onyx tree and Bionatics produce pretty good trunks and branches. As far as geometry goes they give you all the subdivisions you could need.

It's best if you make sure that only objects or parts of objects. Wh at I did was. instead of making a single proxy. The thinnest branches didn't need any displacement and disabling it freed a lot of memory. so I can copy every type multiple times and shape a forest. or even to some of the boughs and branches. that are in the render frame have displacement applied to them. but it didn't turn out to be a good idea. because the amount of memory this took was too much. You can then easily map your selected texture by adjusting its size and position. After I've modeled the trees I had to convert them to proxies. One proxy for the leaves and one for the trunk and . I had to restrict it to the closest trees to the camera. I made a group of two proxies for every type of tree. You should al ways be very careful with VrayDisplacement.Tree bark The fine detail of the bark was added with VrayDisplacement. I tried to have displacement on all of the trees. One of the best thing with these parametric tree generators is that they give you UV coordinates both for the leaves and the trunk/boughs/branches.

branches. This way I could choose the close trees and add displacement only to them. It isn't much at all. Tree proxies Every large tree had over a 1. so I could apply a VrayDispl mo difier to it when needed.000 polygons and there were a total of around 5 large trees and 5 more smaller trees or bus hes. The purpose of this was to let me replace the trunk proxy with its mesh equivalent. but as the scene is the counter shows 1 3.6 million polygons.000. I don't have an accurate number for the total polycount of the scene. You can't use VrayDispl with proxies. . but the most of the final polygons come from the displacement of the grass and the tr ee bark. with almost everything being a proxy.

MATERIALS For grass material. In the VrayMtl I had only a diffuse texture and some opacity added with VrayColor with a grey at 140 140 140. I gave the same material. The Fresnel IOR is 2. a simple VrayMtl was used. The use of 2 sided material and the lowered opacity gave the grass a bit softer look.0. interpolation was used on some trees with reflections to speed things up. Bark texture for diffuse and the same but greyscale for Reflect and Reflect Glossiness. The grass texture I used Nothing special here. . but darker and opaque because they get reflected and take part in the GI calculations. For every tree the scheme is similar but with different textures. It had the darker. in the 2Sided. and the translucency color is a 140 140 140 gray. Also. I used a Vray2SidedMtl. As Front material. Since the main material is see-through I had to put an opaque plane under the displaced grass. To the grass patches that had no displacement. opaque material. Displaced grass gets darker than just textured. so I had to even them.

I applied a shell modifier to give them width and thus was ab le to enable fog (Be careful with the amount of the shell. dep ending on the thickness). The hybrid translucency model worked fine for me. m aking a mix. that's why the leaves can't be flat. This is very important. I lower the refraction level.Bark material Leaves This was the biggest challenge. but my tests with it didn't give the results I could achieve with SSS. You should increase the subdivisions to at least 20 to get a smoother light distribution. otherwise the translucency won't work properly.8 or 0.6 is great. 0. With the light multiplier I control the brightness of the shader. I have the following way of setting up a SSS shader: First I set the refract level to 100%. Then I put a value lower than 1 in the Glossiness slot. You also have to have a solid object to use fog with it. The other option was to use Vray2SidedMtl. Th e other settings are a matter of testing. or the fog won't work. The main problem that came up was that in order to use SSS. To simulate the "skeleton" of the leave I put a black/white texture for translucent. as you can see in the screenshot. Of course there's some reflectiveness and bump in the material as well. After several days of testing I decided that I should use VrayMtl with translucency enabled to achieve that special look of the greenery. check whether it's not because of this). You can't make an object transparent with a texture if it has fog enabled. If you get black leaves. . This means yo u can't use opacity maps to shape your leaves. Don't make it too thin. Then depending on the thickness of the object I set a color and value for the fog to make it have the right density and color (note that the value here may very greatly. If I want to have some diffuse texture in the shader. and fog works with geometry only. I had to use fog.

Leaf material .

The texture on the building is a mix of many dirtmaps placed according to the positions of the openings and the edges of the volume. All of the UVW mappings are simple plane or box. Only on the trees I used the coordinates that came from OnyxTree or Bionatics. but also did some corrections by hand to make the translucency and bump maps. I took a set of several bark photos and mixed them to make a tall texture for the trunks. They have great textures there. For leaves I used mainly photos. and even sets of photos for a specific use.com.cgtextures.TEXTURING My main source of textures was www. .

Direct light for sun. . VraySky for GI.LIGHTING The light setup is pretty simple. The color mapping is Exponential. and a VrayColor with a boosted RGB multiplier for an environment to be reflected. The sun light has area shadows turned on to smooth the shadow edges. This makes the reflections brighter. On some frames I placed planes around the camera to stop the light coming from behind.

thresh setting. You may be unfamiliar with this method. but it's very simple actually. everything is controlled with the Clr. thresh setting. . The reflection subdivisions in the materials you can leave at 8.VraySky settings RENDER SETTINGS I rendered the scenes with irradiance map and brute force engines. I used the 1-100 technique to get better blurred reflections. This way you can control quality and render time with the Clr. You h ave to set max subdivisions of the DMC sampler to 100 and uncheck "Use DMC sampler thresh". Image sampler was DMC with catmull-rom for antialiasing filter. but you get much better reflections. It does get slower.

Render settings .

0. To help the postprocessing I rendered multimatte elements for the different trees and materials. Since most of the geometry was either displacem ent or proxies I had to increase the limit as much as possible. however for one of the frames I had to render the grass in a separate pass. The system I was rendering on had 6GB RAM. so I set the dynamic memory limit to 4000MB. I also added a Zdepth channel for the depth of field effect to be applied later in PhotoShop. leaving some memory for the mesh geometry.Render settings In this scene it was very important to set properly the dynamic memory limit.Digital Anarchy-Knoll Light Factory and Richard Rosenman DOF-pro 3. After I optimized the displacement and the rendering settings I was able to render a frame in a single pass.0. Nik Software Color Efex Pro 3.This is a step by step tutorial of making the post for one of the five . POSTPRODUCTION All of the postproduction for this project was done in Adobe Photoshop using various plug -ins: DFT-55mm. because there were too many displacement polygons to be handled.

here is to take all of the color channels from the multimatte elements and literally brake the render into layers for easier color correction.frames but a similar method was used for the other four. I w ork the same way every . curves. This is the pure render right from the render machine. There are two additional passes with the foreground trees and the grass that will be introduced later in the post production. There are total of 84 layers of fine adjustments. There is a color channel for every material in the scene from the leaves of the trees to the various materials of the house. there are no corrections. First thi ng of all. This is a method that we use in every project. color correction. "re-paints" and blurs in the final frame. The first thing that I did was to generally "light up" the picture a little bit because the original render was too dark.

When I'm happy with the general result. I used levels and curves to give it more contrast. . That is all.time. there is not hing more done to the house. also there is a little bit of painting with the dodge and burn tool to enhance the light from the sun and the bounced light at the bottom. First I make a level correction for all the layers. I collapse all the layers and start up some plugins and play around. then I start color correcting layer by layer. The house on this picture has 3 layers on top of the original.

The light was then manually enhanced with the dodge tool. also there is a subtle gradient from dark to white with blending mode set to screen. The two foregroun d trees on the left and right have layers with levels and curves to enhance the contrast. All of the l eaves had the . I put in and color correcte the pass with the displacement grass to match with the rest of the green in the picture. this will give more depth to the grass.Now the really tricky part.

The background trees have more pronounced dark areas and a little more light from the sky to simulate real world light reflection. In the left upper corner are added some additional branches with leaves. there DOF-pro played a big part in achieving the final look. then in the aperture tab the aberration is altered to make the aperture shape.dodge treatment. I use Richard Rosenman's DOF-pro it's a wonderful plug-in with a lot of capabilities. I do this to preserve layers and previous correcti ons in case I need to undo. The blur in that frame is made with Z-Depth channel that is loaded as a depth map in DOF-pro. the sky is cooled down and a little glow is added to simulate l ight passing through the leaves. they are also desaturated and cooled a little bit to get the effect of depth. There i s also a warm filter applied to all of the leaves in the scene. in the next stage I will reintroduce the original render with opacity set to 20 to dial down the burned area. . Leaves with bokeh effect are added in the foreground. In one of the other final pictures there is a branch on focus and the house is fully blurred. The bark of the big tree on the right is "over-painted" and I placed somewhat cool photo filter in its layer. I regularly copy all the layers into a new one on top of them. so I wanted to enhance that and add an extra simulation of the light scattering effect. I used DFT 55mm and Nik Software Color Efex Pro for additional color correction. A little bit of vi gnette effect and level adjustments finish this stage. to achieve a similar effect in PS you must find a good Depth Of Field g enerator. In the original render the leaves are made with sub-surface scattering. Here additional layers are added using the plug-ins. At this stage there is also a curves adjustment layer that affects everything in the scene. Some of the leafs in this stage are intentionally over exposed or burned.

And this is all. . and blurred with motion blur. the vignette i s strengthened to frame the house better.A foreground plant is added also. A little bit of chromatic aberration is added. this is the final look and feel of this frame.

This is our way of working at RED-VERTEX. ________________________________________________________________________________________________________________ . and of course learn from the best to become one of them. Everything is subjective when it comes to color correction and post-production because everyone perceives colors differently and sees things in his own way. We make the post production for almost every static picture in the exact same steps. The main thing is to be critical of your work.

MAMS. And Knoll Lighting for the lighting flare. His thread is http://mams3d. But I did the overall lighting mood in 3ds max with vray light by using our forum member technique.com/ .wordpress.Yeah I did some post-work for Colour Balance and Chromatic Aberration.

Finally I adjust the brightness in Level. and use Knoll Light to put the Lens flare effect. After that I do the colour balance to add lil bit blue at Midtone and Shadow.For this image I use Nik Color efex ( plugin for photoshop ) and use the bleach prepass and blend it with original image with 30% opac. Then I use 55mm to apply Cross Processing filter and do the Chromatic Aberration. Here is the comparison: . I use Burn Tool to darken the edge of the image.

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This one is a quick lighting test i did last night. Scene was taken from a magazine scan which is quite noisy. **that’s why m y image got so many noise**

i use few plane vray light & universal vray setting. I followed Radic’s tutorial on post-pro, no other plugins. It works beautifully. I’ll post wires later.

Here's the link for the setting

Universal V-Ray 1.5 settings Home Tutorials

General

Setting the V-Ray renderer

Notes

Search Keywords: settings, universal General

The "universal" settings comprise a set of settings that we have found to work very well for still images in many situations. Please note that these settings are not optimal, in the sense that with enough tweaking, you can probably get similar quality with faster render times. The beauty of these settings though, is that they require almost no tweaking and you are guaranteed to get a good result in the end.

The advantages of these settings are: very little parameters for controlling render quality vs speed (essentially, only the Noise threshold); they work for a very large number of scenes; they typically produce high-quality results. Of course, there is a disadvantage: the scene may render quite slow. With tweaking, you may get faster results. ________________________________________________________________________________________________________________________________

the idea was final. the images are for future office. by vray. it was more for fun. For me it easy in Photoshop. post prod in photoshop.I made a friend for an architect. I subsequently changed the colors of the images in Photoshop. to add an artistic side. Modeled with 3ds max render. 1: Brightness and Contrast . I used adjustment layers.

2: curves 3: Levels all parameters are on the attached images. .

My name is Viktor Fretyán and I work as an architectural visualization artist here in Hungary. I recently had the chance to work on the renders of a house by Satoshi Okada and although the final results were not that amazing (i had about 2 weeks for 9 images) after the deadline i decided to go on with the project and make a series of renders out of it that would appeal to me. this personal project of mine took nearly 3 months but the end result turned out to be quite satisfying. Post process:

As you can see the original render is a bit far from the final result yet. In my work photoshopping is at least as important as the rendering part.

The first thing to do with the original render is some adjustments: some parts of the image remained dark while some are a bit burnt. To even things out I select a region and press ctrl+J. This will make a copy of that region on which I used exposure adjustments and shadow, highlights. When it looks okay I blend it in the original by using eraser tool on the edges of this region (hardness on 0).

After the image feels balanced (no black nor burnt areas) comes color balancing: first thing to do here is to make the image a bit brighter. I go to exposure control again and set the gamma to around 1-1,5. This will make the image really bright and will spoil the contrast. But believe me it will work! Press ctrl+B now. Color balancing comes up. I used the following settin gs to set the right color tones:

These exact settings can't just be applied to any other image expecting to achieve the same result but the basic idea is to set the darker tones to the warmer colors and the midtones to the blueish color tone. Here's the final result after I was done with the adjustments:

I copy p aste it in the psd I was working in and set the layer to overlay instead of normal.Next step for me was to give the concrete some dirt. I could have done this in max but I found this method much easier. I also used erase tool a lot here and set the opacity to 50 percent.com (every texture I use is from that site). Here is the dirt layer: . By pressing ctrl+T I could adjust it correctly onto the walls. This is how I made it: first I found a proper texture at cgtextures.

.And here it is applied on the render: At this point I flattened the image .

Now comes zdepth: I used this for depth of field effect. This gave our scene a bit depth already by dividing the background and the forground.0). Then I selected the whiter tones (color select again) and pressed ctr+J again on the render layer and added some lens blur on . Now I turned the lightness a bit higher (press ctrl+u) and set the midtones to cyan-blue. After this I added some gaussian blur to the zdepth map (around 2. First thing was to use color-select tool to select the black areas on the zdepth layer and then swhitch back to the flattened image and press ctrl+J.

I went to zdepth layer again and used color-select again but now on a smaller value. I repeated t his last move some more times but with smaller color-select value and higher lens blur.. Here is the result so far: . Then merging these layers and using erase tool on some parts of it and then it is set. Ctrl+J (again) on the render layer and some lens blur (again.it (only the slightest!). This method for lens blur is a bit lame I know but I have tried several and this in the end nothing worked out perfectly.) on it (this time a bit stronger) and moved this layer to the top. Last thing to add here is the glowing effect of the sky through the leaves. For this I have used color select tool again on the white color then ctrl+J and then a very small gaussian blur (around 0..5-1.0 or even lower!) and duplicating this layer a lot of times.

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It is a great plug-in! I recommend everyone to get it. I used it to create the lights in the sky. First one was Knoll Light Factory. The one on the left is pretty obvious. It is a warm light for the sun.In the last part I flattened the image once more and added some effects using different plugins. . But I have another one on the right side of the building that has a magenta color.

. Now-a-days everyone is familiar with this effect but I find that most people don't seem to get it right. Here is my attempt: Next one is vignetting also by 55mm Film Tool. First I duplicate the layer to be able to modify it later like erasing it from some parts wich I did in the top right corner of the image. I say if it is clearly visible it is already wrong! It's a matter of testing and finding the right balance. It is an effect that can be really annoying if you abuse it.Next one is chromatic aberration done by 55mm Film Tool.

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It is on a separate layer which the opacity is set a bit lower (around 50-70 percent). And here we are! We've come a long way! Check it out: .Last is the film grain for which I have used NIK color effects film effect tool.

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the girl? shes PS of course! here is the wire/render: .

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i agree there are a lot of shadows indeed! but no AO is here! i usually dont use AO instead i put dirt in all the materials diffuse slot! .

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and for the purple mood. playing contrast.about the lights. i onl y use purple color (diffuse color) on environment slot and vraysun for orange look that hits the wall on pool view. I use photoshop for colorbalance. The grass displacement is just using ordinary black and white dots map. and knolllight for lights glare/sun glare. Walls are unwrapped texture. for morning mood i use vray sun for main light and vraysky for environtment. .

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Scatter for old leaves. Then paste it in PS . Dof made in DOF PRO and Alien skin boken For glow i use After Effects and Saphire plugin.

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here is grass texture here is grass texture .

becose they is hi quality models. simple flowers mede by me and copy with scatter. everything else it's Onyx trees and plants. ____________________________________________________________________________________________________________________________- .firts plane it's evermotion trees.

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its Vray sky and sun.1 in nigt scene i used vray sky fnd vray light in lamp . gamma 1. nothing else. and Vray light in lamp in night scene its LC+IR.

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Vray sky with switched off vray sun. . It is not hdr. Photoshop.Used 3dsmax 2008. Vray.

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other map) and Depth of field Generator Pro in Photoshop. graine.).I used filter digital Film Tool (lens. glow effect for sky. .Render Element (Vray ZDepth . vignette et str. for bluring foreground . fog (for distance shot) by Render Element (Vray ZDepth). And color/tone correction.

In the night shoot are 15 vray light. post whit AO pass in PS and contrast. color correct in after efect. .in the day shoot are 4 vray light include a vray sun and 3 vray light in the window entrance.

and mask layer for details blur zone.The DOF is done in PS.... Here a some settings I hope usefull for you . a layer whit lens blur filter.

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everything modelled in Blender. including initial support for SSS. rendered in Vray. using lots of displacement and SSS. As always. . It was inspired by the recent progress made by Andrey Izrantsev in his Blender-Vray exporter.My first attempt at food using Vray (I did something similar in Indigo a while back).

Otherwise.I was limited in this image by the fact that the Blender->Vray exporter I use doesn't support all of Vray's functionalities. or both. Since I did not have access to Multilayered materials. almost all of the materials have either SSS or displacement. or a diffuse texture and no SSS (which is why the grapes look so uniform). for instance. . I had to decide whether to use SSS and no diffuse texture.

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Here are two viewport screengrabs showing the lighting setup (two rectangle lights and an HDRI map) and wires ________________________________________________________________________________________________________________________________ This is not gamma 2.2 but reinhard collor mapping with smaller burn sampler aDMC 2. 8 Any sky or sun just vray light and one direct .

Render without PS is simmila r becouse in photoshop I add just vignettic and sharpen Software used: 3dsmax 2009.In windows strong blue and inside strong yellow.. Eyeon Fusion. Photoshop. Vray 1..5 sp2. . no collor correct or something normal textures.

I create some diferent postworks for criticism... .

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. this for more precise GI... ..The long render time is why i use Brute force for primary bounce and and high subdivisions for Adaptive DMC. If i use Irradiance map the render time are around 1:30 to 2:00 hours.

he pillows and sofa not have displacements all are polygon modeling. Here i post the details of the Mezzo sofa used in my l ast living room here in evermotion.. . I hope are usefull for yours......

. . I hope are usefull for yours...here i post my camera settings.

The chromatic aberrations effects can be added with photoshop in menu "Filter/Distort/Lens correction.rar .cg-project." i use values for metal and leather up to 24 subdivision.... And sorry i cant share the sofa material why this have a commercial maps...org/files/Studio_setup_01.. studio setup http://www.

The color treatment for each fractal was decided upon by it's shape and form.This is a set of experimental 3D fractals generated with various software applications for the technical and creative exploration of computer generated abstract mesh creation. All of these beautiful and sophisticated fractals belong to the quaternion. hypercomplex. cubic Mandelbrot. Some others are based on iterative 3x3 matrices where power series are utilized for transcendental and trig functions. . complexified quaternion and octonion renderings of the Mandelbrot and Julia sets.

For more information. please visit: http://richardrosenman.com/project/?cid=192 To stay up to date with new project notifications.com/earlynotice/ . please register for free at: http://richardrosenman.

________________________________________________________________________________________________________________________________ ____________ he floor is some plane witch extruded faces (independents).... Before im use vray edge tex in bump chanel to create this efect!!.. One face per wood ruller. inspiration photo . its a cool method.

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hair cloth) make sure it's enough detail to see almost 4-7 days working time to done 1 image (included modeling.cgsociety. smooth and paint the detail (eyes.org/ ] he knows better than me :P) Sometime I have some people photo that so small and I want to put to my 4000px render I can re-size to make it more bigger.For the ladies I used Photoshop to cut from the image that I've found from Internet and work with color correct and shadow wi th Wacom tablet that's all .The key is you have enough time to do it carefully (ask Juan [http://juanaltieri. rendering and compositing ) .

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Color mapping is Exponential + vray lights in the windows and direct light for sun.The lighting is basic. Render and light settings are very simple and basic Vray light in the windows .Blue Direct light for sunlight . No lwf no physical camera.1 and little dark blue Exponential ________________________________________________________________________________________________________________________________ It could be looks familar but It was from my uniq design use 3dmax9 vray 1.5 photoshop .Light Orangish Yellow You need to work on the color and keep testing till you are happy with the look Irmap and LC Environment .

. .too color correction expnential dark1. -1. secondary lc default camera . skylight setting default.I used color correction with photoshop and I used Vray-sun with defualt setting. GI setting . 60. 50. primary im -3 . bright 1. and photoshop work.

done with max 2008 vray 1. The second render in 3dseventh style Supphire plugin in AE for some glow in lamp .5 ps3 AE All models is mine. All furniture B&B and lamp is Artemide tolomeo.

и очень мягкое освещение.com/files/200327635/Tolomeo_Terra.rar the couch made with 3d max and zbrush the curtain u can download from here http://rapidshare.http://rapidshare. Первое что надо сделать перед работой это проверить единицы измерения. Это прямоугольное помещение по периметру которого весят шторы. В работе я использовал мою любимую цветовую гамму коричневый и кремовый. поэтому рассказывать больше нечего )) 2. Второе это настроить гамму 2. Вот как выглядит настроенная гамма. Каждый предмет расставлен так.2 (использовать или нет гамму решать вам. Идея взята с магазина итальянской мебели у нас в городе. Я не дизайнер. чтобы создавать контраст. я использую. . И почти все дальнейшие настройки напрямую зависят от гаммы).com/files/203197079/3700_2200. должны быть миллиметры.rar 1.

что vray frame buffer включен. все цвета в материалах становятся светлее. что выставлено в Color mapping . это Reinhard. Так же замете.После применения гаммы. Никакие плагины типа collor correct для корректировки цветов не используются. Обратите внимание. Это нормально. . для того чтобы картинка не была бледной и бесцветной.

Это важно. Как устанавливать эту систему.3. Настройка света. солнце относительно далеко и высоко. примерно 65 градусов над уровнем земли. Сама студия очень проста. уроков много. я поставил 15. потому что высота солнца влияет на его цвет и на цвет теней от него. кроме shadow sabdivs . Как видите. В настройках солнца все по умолчанию. Покажу только как я поставил солнце в сцене. Я использовал VraySun+ VraySky + VrayPhysicalCamera . . Уточню еще. это коробка без одной боковой стены. что vraysky в настройках render в Environment и в отражениях (дальше будут картинки с настройками рэндэра в которых это будет видно).

этот план будет пропускать красивый рассеянный голубой свет. а поскольку солнце не светит прямо в нашу комнату.На виде сверху видно. или говоря простыми словами тень. как бы от искусственного света. и стоит vray light plane который будет пропускать вирэй солнце. Слева стоит другой vray light plane который должен давать теплый рассеянный свет. Таким образом картинка будет иметь красивый контраст холодного и теплого рассеянного света. что с права нет стены. Вот настройки источников света. .

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это обычный точечный photometric. Покажу еще настройки света из лампы. в более ранних версиях этих галочек может не быть). что включены галочки Skylight portal и Simple (в этой работе использовался vray 1. Силу света из него я подбирал на глаз.это план который пропускает солнечный свет.5 SP1. . Обратите внимание.Vray light 02 .

I´ve used a photo reference form a very good book called "Casas Pequenas". . the project´s from Rob Dubois. and it is located at Spain.For this work.

. Aerial view.It took me about 6 days of work.. the terrain. Like the rocks. Plants are from VUE. painted for diffuse. then treated one by one on MAX... A lot of unwraped maps. those trees in light blue cast shadows and GI: . etc. mostly at saturdays. specially modelled and converted to poly. reflect. bump and displacement channels.

Lights (Omnis with negative values are used to "suck" light and darken that area on the right). .

Settings (nothing special here. I used a Vray cam. Only the values on the primary and secundary bounces).. and changed only the shuter speed to 2. ..

. there was very little things to do on post-production. and some effects like glow.Yes.. the background was comped afterwards. but generally some color correction. DOF and cromatic aberrations.. levels ajustments. on Photoshop CS2. As I worked with a photorference.

And take of the fil tering for the bitmaps. You just have to c onvert to Vray and tweek a little bit. And all textures I made myself. I try to give it a shot on Vue. The reason I´ve used a simple color instead of Vraysky material... those textures from the trees came almost ready from VUE. Those glass bricks I´ve modeled with a box subtracted by other box (ProBoolean) with a simple glass material but with noise o n the bump channel and very light green Fog multiplier.About the plants.. Thanks for the comment.. the hint is to use 2 Sided Material to achieve a kind of translucency. I decided to not use any commercial material such textures or models on this scene. I´m learning it and its a very good software... But in standard materials. Evermotion´s vegetations are great but I dont think my PC could handle that much polygons. and a simple color works fine. Model & Render by 3dmax -vray-PS . is that I just could not achieve the results that I wanted f or this particular work with VraySky.

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I have just finished it and I wanted to share it with you. The main point is that i used small UVW map for displacement.this project was inspired by a house. I hope you like it. This particular house attracted me so much that I was tempted to present it photorealistic. Diffuse . a picture of which is included in a book of architecture. Grass texture I used the following images to create the grass. "Mediterranean Modern" by Dominic Bradbury.

Displacement .

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Reflection on Windows glass Roof texture I used Unwrap UVW .

For the vray settings and lighting settings I am sending you the following I hope I helped the final render was in resolution 3508x2480 (A4 print size).Trees are from evermotion models with colour corrections on the leaves so that all trees match in colour. . For each render approximately 5-6 hours were needed.

.. .florense. Furniture is all from this company. . it's pretty fast. I never liked it.br in my past works I always used LWF.i dind´t use LWF this time.0 and frame buffer with some changes in curves and levels.com.. http://www. but like i said I never really like it. I used zbrush to make the sofa.. This time I used gamma 1.

gradient in environment slot and phisical camera native phisical camera in max .

8 .shutter speed 1/250 and second one -1/60 (darker lens) as I wrote before the main light is a gradient in environment slot .bluish vrayplane. .output 15 second (fill light) right of the image .first one with the DOF looks wierd becouse of unusual aperture Settings of DOF sbdv was very huge .4 and 2.100 units to obtain smooth result and as you can see on the images description (bottom) I use aperture 1.

Obviously some touches in Photoshop like color balanse. levels etc.Color Mapping Reinhard and Phisical camera for proper exposure.. waited . waited. DOF's one similar In this case I used vray DOF with huge Sbdv settings .as you can see on wireframe .. smooth result) Put to render and waited. I just used gradient in env slot Sorry for misinformation I forgot about the light inside (above the worktop) but this is not main light just for the effect .100 (soft..

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Carpets are usually modeled: scatter or. Used some details from archmodels. Thank you EV. Hope you'll like them a lot more then my last work.S. .________________________________________________________________________________________________________________________________ Here are some renders made for a furniture producer. P. particle. lately.

The violet light. Below you have all the settings. .I always use a standard target camera... I've placed four simple VRayLight planes around the whole gap in the box. and in front i gave a violet glass. it's quite simple.

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Color corect I think is good just for LWF but here is without LWF and CC Material of wall is just white Next will be much better Settings nothing special just a lot vray light yellow and blue and collor maping as reinhard The most important is camera settings I use shutter 50 and Iso 150 with color balance neutral becouse I`ve got more control when Idlike more blue I add more lights with blue This is easy technic but need more tests in dark and white pleace Carpet is simply displ map 2d mapping and amout about 5mm .Thanks very much for comments and stars I use just vray lights and direct as sun. I dont like play with sun and sky becouse for me is hard in control colors.

Carpet did so: Hair and Fur---->Convert to mesh----->convert to VRMH (proksi). ________________________________________________________________________________________________________________________________ .

the pure renderings and the Vray render settigs dialog box. Also here are some answers: The original photos were taken with wrong settings for the camera (Nikon D40X).Here I'll post the pure photos. .

We build the rough models of surrounding buildings and papped ther real elevations thus we have the real reflections.They become overburn in some of the areas. This way we hope to have more realistic result at the end of the day. No HDRI. We had the real situation. Please read the previous answer about the reflections . I mean that we use some of the EXIF info for the camera. We used a standart MAX camera. but most ot the work was manual. Then the camera matching was 50-50. That's why we decided to match the new image according the original photos.

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first some wires and lightning setup: the basic lightning setup is one hdri in vrays environment override slot with a multiplier of 4! i have found it on a free site on the net! .

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.. most the materials have dirt map on them so i wont need an ambient occlusion in the end and i coul d set their radius individually! for the walls radius was 2-3 meters and for the glass frames radius was 2 cm! reflection maps had vray dirt too! trees were evermotion trees! heres the leaf: i made it myself again from some image i found on the net! could have been better.as you can see for the sun i have used a vray sphere....75 but trace reflection was off! just to see nice highlights!!! as for the displacement it was a disp modifier with a very high resolution (8-10 k!!!). .no trick here! the grass has a falloff in the diffuse map and some fresnel reflection is added to it with a glossiness of 0.

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.ivy was generated by ivy generator plugin! a free tool! as for the post process: i use gamma balancing first then reaaaaal heavy color correction!!! this is i think really important!!! this is what really adds that essence to it! then i add a little background to it (now it remained pure white..) notice the background is much lighter and in a bluish color tone! its not hard to do! cheap trick that helps a lot!!! ________________________________________________________________________________________________________________________________ .

dual xeon 16 gb. render time 5 hours/1 picture for 4200 pix. 3 rooms.3-4 weeks. time for finish modeling . .Scene has use many vray proxys.

sun+sky+ some vray lights inside the light was painted in ps and glass reflection is normal glass with IOR set to crystal then comes dof: the trick is that i add a little (not THAT little) blurring to the zdepth render so the edges will not be that sharp! for depth of field i use alien skin sofware! .

________________________________________________________________________________________________________________________________ I always use exponential 1.1. For all images I used: .1 Here are some configs.

1gamma 2..1..Color mapping exponential 1. a little bit heavy .2 Irr map (high) + lightcache (2200) cameras from max Studio lightning I used only HDRI Sofa model.

http://rapidshare.rar.html ________________________________________________________________________________________________________________________________ post in after effects and photoshop 50/50 Texture of drops has made by filters in a photoshop and the misted over part is the same texture of drops smeared by motion blur and is put on refract glosines and subdives less that looks like small drops .de/files/41291898/sofa_corbusier_by_Rafael_Reis.

curtain made by modificator "cloth" and corect by other modificators for example "edit poly" with soft selection and "FDD BOX" 1) Filter-Render-Clouds 2) Image-Adjustment-Auto Levels 3) Filter-Sketch-Plaster Image Balance аpproximately 39 - 42 and Smoothness- аpproximately 5 - 15 step by step inner glass settings of the lamp Thickness 2 mm

chairs cloth settings

the carpet is hair and fur... that simple.. just play with the settings a little and you will figure it out.. i didnt use any plug in... and i have to say when you pick hair and fur on some plane in the settings you have to check render as geometry... if you r using vray.. well i thinks that it would not be cool for all of us to have the same carpets... so i sugest that you a play with settings of hair and fur and you will get some results... the main thing is to click on render as geometry, the second is hair count ... for carpet of regular size between 150 000 and 200 000 , thickness between 1,5 and 3... size.. from 3 and 6.. and the material is simple vray mtl with combination of two colours with fresnel f allof... the color mapping is reinhard with gamma 2.2 and burn level in the midle... combination of linear and exponential (0,5-0,6)

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Anyway ideal look for holiday season It's based on another Ando's work and it comes in two flavours.. trees seem frozen but they're not. i know. I've been playing around with pflow and cherry blossoming flowers. Yes. Which one do you prefer BTW? ..________________________________________________________________________________________________________________________________ Simple weekend personal work.

Best regards. Vray. AE.C&C are for sure welcome 3dsmax. PS. .

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." The definition of nature has been a truth since the ancient Greek philosophy.. trivial transformations of shadows on the black screen. Fuji used to be an active volcano in the ancient times.naturata is represented as a black building itself built up from the ground..."black on black" requires a delicate sense for feeling nature.Some latests words: "Nature cannot be made by a human being... Satoshi Okada . The blackness is ascribed to the lava in the memory of the site.. which Mt. and e ven in Japan.

:mrgreen: ) There adult. ________________________________________________________________________________________________________________________________ . and ALL of them are V ray proxies . middle and young kind of different tree species plus bushes. glows.. And finally AE for color correction.. etc.. etc.. DOF. flowers... of course textures. Grass is Vraydisplacement. All in the views are 100% CG..there's no other way About the damned brach. No photo (except.. All LWF. I'm trying to fix it. there are a lot of billions polys so i've to render it with x64 system (it took about 5-6GB of memory) Both cloudy and late afternoon were lit by an HDRI enviroment (Hyperfocal) and the clear version it's just VraySun + VraySky.Alex. yes i know! It's because of onyx self-topology. will see And yes.. fallen leaves..

My last personal work. It shows the already built BCN Auditorium second chamber hall and the main courtyard. C&C are welcome 3dsMax.sorry Anyway. simplier and "dirty" than the last one and has a little old kodak-polaroid film touch post. . AE. It's designed by Rafael Moneo. I know it. there are maybe too many pics. i really hope you like it. Vray. The work itself it's a bit darker. PShop.

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. i would like to share my last personal work. Vray (1. A bit playaround with volumes. I always wanted to reproduce a Kahn's masterwork. materials and lighting -of course-. In fact it has been a botanic exercise for me.. some tech spec: 3DsMax. I also decide to leave it empty from books. It's a Satoshi Okada project called "Forest Refug e". I wanted also to keep it clean from the begining but it became more and more rusty and grunge. My project (cg) itself has a several of POV showing three different time of a day (or weather)..) . I think he's one of the best architects from the 20th century and my favorite by far After study for long his works. And now. it's more like a raw geometrical space purpose..Want to share my last personal project! It's a Louis Kahn building designed and built a few decades ago.. AE and Onyxtree (i'm in love with it BTW. I liked the idea since long time ago. _____________________________________________________________________________________________________________________________No posting for aaaaages! Well..5). then i finally decided that one. It shows a truly sense of the art of architecture with the surrounding enviroment.

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it's AE different combined glows with different colours and sizes I spent around 2 weeks from scratch. Each shot took around 1-2hr. . Most time drowned into mapping and textures work.

What do you think? It is made with Max. Hope you like it. .It's just a personal version of Osho International offices. Vray 1.5 & PS.

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. LC + Irrmap (high preset with Detail Enhancement) and linear workflow for the tonemapping. About the setting are simple too. The lighting is quite simple: direct light for the sun and Vraylights placed in the windows.People are Lowpolygon people.

B: 128 Volume lighting was done with a real volumetric layer + a few PS retouches .The frosted glaz is fifty percent greenish grey with fifty grey too refract value and glossy refractions Spotlight R: 255. G: 205.

Reference .

It's a bit more complex and darker than m y previous work posted here.gijsdezwart.nl/tutorials.. a tribute to Tadao Ando.php . It's still WIP and i'll probably post new POVs and details as soon as i can Hope you like it! ..it's LWF ( http://www.best explanation so far) and i use standard max virtual frame buffer Want to share my last personal work.

PS.Max. . Vray.. LWF.. Rendertime was about 5-6h per pic.

rendering and "finishing" took me around a couple of weeks -free time- http://www. texturing.php Linear workflow 'reloaded' In March 2004.. makes it better readible. Modelling. I have tried to summarize these as well as take away any doubt people might have after reading the article. In the following article. Rob Nederhorst posted an interesting thread on the support forum of Vray and a couple of other forums about working in linear space. VraySun & VraySky Settings-----> VraySun + Sky. Although the thread answered a couple of questions it also generated a lot of questions and confusion about this workflow.IES (from Erco).nl/tutorials. the books are made "all" by me.gijsdezwart. . and yes they all are proxies. which I hope.. irrmap (medium preset) and PS for color balancing. LC. I have written it in interview style.Yes.

calibration is even more essential. hardware calibration of your monitor is a very good first step. when your screen is offered an image from the web or other applications. by taking no action. after calibrating. because you CRT monitor has its own gamma. Now the article suggest to do the gamma correction in 3dsmax again. First of all. it is interpreted as gamma corrected. When you have calibrated your monitor with a hardware calibrator. its output has a gamma of 1. No gamma correction means basically that you are using a gamma of 1. selected a gamma of 2. Summarizing the story above. In other words. the gamma correction is by default off.. . In other words. consider to borrow one.2 gamma monitor without telling that it is linear. you get closest to viewing content as it is meant to be.5*) To illustrate this. If you are working in 3dsmax. the accompanying software will create an ICC profile. this standard gamma is 2. When calibrating your monitor. If you don't have a calibrator yourself. I calibrated my monitor with a hardware calibrator. the output of 3dsmax will look far too dark on your monitor.O. and therefore displayed to dark. Secondly. what's happening here? In fact. set your whitepoint to 6500K (most monitors have an option to choose a whitepoint). (as a side note. 3dsmax assumes that you will view your output on a device which has a linear response behavior and that all material you work with has also a linear gamma! Since you have calibrated your monitor to work in a 2. you are mixing up two things. When y ou are working with an LCD screen.2.2 gamma environment. This profile helps to output the right colors on y our screen.2 gamma monitor(left) and compare it with the linearly interpreted image (right). In fact it transforms the colors to correct for the error in your monitor. when you display a linear image on a 2. Thus. which is about 2. the virtual camera of your rendering application (in my case Vray but many others as well) has a linear response to light.2 and a whitepoint of 6500K. if you don't calibrate it will also look too dark. look what a gradient and 50% gray in a linear gamma looks like on a 2.K. Calibrating your monitor is important to match your monitor gamma to a certain standard. For Windows based systems. or at least use this guide to do basic calibration.

or in other words. cameras (and probably many internet publishing software packages) will do some basic correction without telling the user. a standard CRT monitor will probably be about gamma 2. (Tricks like adding linear falloff lights. and can interpret it right to display the correct tones and colors on your monitor (if it is calibrated correctly!) So how about pictures on the internet then? Although the majority of internet users will never have calibrated their monitor or know anything about color management. bright multipliers etc. I read somewhere that CCD's in digital cameras also have a linear gamma. A gamma >1 makes the midtones darker. but I never needed to correct them when viewing them on screen. Therefore it is advisable if you publish pictures which need to look correct for the majority of internet users. This CCD has in itself. light is captured with a CCD (well. So to summarize. Right. When you take a picture with your digital camera. in most digital cameras it is). changing gamma influences the midtones of your image. you were actually trying to correct for your monitors gamma! Great. it's just about setting the display gamma in 3dsmax to 2.In other words. a gamma <1 makes the midtones lighter. most likely sRGB or Adobe RGB.) All these tricks you have been using were to get a more realistic result.5. Now you may think that you don't need gamma correction. etc. Why is that then? This question actually supports the idea why you should use gamma correction.5 profile (look for Native PC profile on that page). That's probably because you have been using all sorts of tricks for years to get the desired result. or lights without decay. Professional image editing software that works with ICC profiles.2) and colorspace. you convert your images for publishing to a gamma 2.2 in order to display the linear rendering data correctly on my monitor? . can read the profile that is attached to your camera's picture. so far I understand it. a linear response curve. and without knowing. a linear gamma. As I mentioned earlier. This raw linear data is then mapped to a different gamma (2.

because they have nothing to do with accurate calibration. If you have paid attention and understand all concepts. you will know that there is a last step that has to be taken for making correct renderings: You need to correct your materials and textures.That's true. You will need to tell 3dsmax that the textures you use have already been gamma corrected. but there is a little more to take care of. Globally it can be assigned in gamma tab: Don't worry about the dithered and solid gray squares. . This can be done either globally or locally.

2.Locally you can assign the bitmap a 2. In the end you are judging the linear rendering again on what your monitor displays and try to correct for it (by using the tricks mentioned earlier) You can convert these files to work in linear space by turning on gamma correction. In case you would make your own textures. since you judge them based on what your monitor displays. Figure 1 shows the old situation without colormapping. . Your materials (colors and texures) will look washed out.2 gamma in the bitmap load dialog. Therefore you correct the colors manually.0 gamma. it is of course better to keep them in linear space. or with the color correct plugin by Cuneyt Ozdas. you are offering Vray gamma space textures and colors. The only thing you need to do is copy the old color to the color correct map. Please take note of the fact that this rule only applies to textures that have been gamma corrected. As you can see. and apply a gamma correction of 2. Textures can be handled by turning on gamma correction for bitmaps as shown earlier. Finally let's look at the following figures. as shown in figure 2. and tell 3dsm ax in the bitmap loader that it has a 1.

when publishing on internet for example. no gamma correction is burned in.In the most ideal situation (figure 3) you keep all your data linear and only correct the output to your display. . you will covert (a copy) to a non-linear profile. The data is not touched. Only in the very end.

enough theory I'd say.K.. . The following images were rendered using the described linear workflow.O. Can you show me some examples? Sure.

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photos and stuff on internet as well as most pictures from consumer grade digital cameras are sRGB.I think it is about time that I start experimenting myself. Can I email you with questions regarding this technique? Of course. not all image editors like Photoshop use ICC profiles when displaying images) Display the chart while adjusting the sliders in adobe gamma until the cha rt shows no colors and the gray bars appear to have the same luminance.2 as a calibration reference. I suggest you take gamma 2. Second. (for film you might need a different whitepoint setting like 5600K). If you work with LCD screens. You can abtain a reasonable result doing it manually . manual callibration is hardly possible. since many textures. Or post your questions in this thread on the vray support forum Monitor calibration If you are serious about color. Basically the steps are as following: First. . choose the appropriate gamma chart from AIM-dtp (although it principally sucks. because gamma is changing with the viewing angle. It is preferred to do it with hardware calibration (for example iOne from Gretag McBeth). Besides. make sure you have proper blackpoint setting and set your monitor to 6500K whitepoint.at least for CRT screens. I strongly advise you to calibrate your monitor. You can always ask me questions by filling in the form on the contact page.

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the purpose of the project is to recreate that "space balancing the orthogonal and abstract. shines and illusion find their way among marble walls.05 for interior to obtain a good compromise for render times. . metallic surfaces. All scenes take illumination from sun&sky system. I spent several time for texturing: all textures came from a lot of photo references I've found on the net (I thank picLens for this). 0. density to 1 for exteriors in order to take the darkness for short distances. pillars cruciform chrome steel. between full and empty. elements don't confuse but coexist in an asymmetrical space. rising the border between nature and humankind". those images lets me to reproduce the 90% of real marble walls of the original real project. glass and travertine floors.So final gather for big area and AOcolorbleed with very large distances for little and middle details. games where games of reflexes. which never closes in on itself.

maya lwf. . exr format and gamma control in PS.

leaf and branche istances and a lot of patience. vegetation is my own.. ..I used maya and mental ray.

.color correction was only used for VRaySky. I always make the concept of a project in Autocad (2d) than i model it in 3ds.

Autocad only for a 2d concept of the whole project. 1.4.The biggest differences from all those standard renders is that i use a target camera. I don't like that technic too much. Rest is. (with gamma 2. standard. not vray physical one. Saturation set to 0. Than i just import it to 3ds as background and do everything over using 3 ds spline. it's not lwf. you could say. And a rainhard color mapping with burn value of 0.05. 1.9 and contrast to 1. __________________________________________________________________________________________________________________________- colour mapping is linear 1.2 in preferences) .

..i use fresnel reflection in wood materials. and unfocus ith z depth. burn parts.and faoff reflection in almost all about lights... no vray camera. i work a lot on photoshop on colour correction (with layer masks).. just a common one ____________________________________________________________________________________________________________________________- . just vray lights in windows.. i think theres no strange thing on lightness. light cache and irr map.

Raw render .Everything was done in 3ds Max 9 and Vray with post production in Photoshop. Comments and critics are very much appreciated.

.Grass I made really simple with VrayDispleaceMod (tommorow I`ll show textures). For Light I used only HDRI map(mult. 15) and phisical camera.

debevec. UC Berkeley HDRI map name: Eucalyptus Grove.org/probes/ is in environment(8) slot with 15mult.All textures is from: http://www.org/probes/ name:Eucalyptus Grove.cgtextures. On the roof is dirt mask HDRI map from: http://www. contrast. UC Berkeley from: http://www.debevec. color balance and hue. Sun&sky is good but sometime hard for good set. levels. value+ Phisical camera iso 250 and shutter 70. .com/ Postwork is a lot.

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.And Here grass texture Diff and Disp.

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Trees and bushes I made from tree generator ornatrix.Here Vray DispMod seting: 1. Very helpfull for my is particle system for plants and trees. cuple my old trees and a few planes with opacity maps. .

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Metal structure is blend material with dirt mask.I use Vray light just in building Mult. White and Affect diffuse and affect specular. and white metal ______________________________________________________________________________________________________________________________- . 50W.

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