This action might not be possible to undo. Are you sure you want to continue?
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'.
This is very simple object. Let's create central desk.We need to extrude a little bottom part of the columns. Create base box and extrude basic shape. All the time you may control your connects and extrudes from the camera view. We create it using box modeling. Use isolate selection to work only on that object (ALT+Q) . 1.
Add connects and chamfer them to create spaces 3.2. Extrude selected faces to 1 cm .
Select Borders in each of them and use CAP (ALT+P). base and the doors. chamfer them and then again press ctrl+a and chamfer again . Now add double chamfer .4. 5. Cap all holes in both objects. 6.select all edges. Now we have two separate objects. Select 'grow' and detach faces.
Select all faces and under smoothing groups parameters select "Auto Smooth" As we can obser ve shading isn't correct after auto smooth. Select these edges. without any strange gradients. It should look flat. If we want to use auto smooth we have to add some more connects. .7. and connect them. With this connects shading is back to normal. 8.
First create boxes. Here is the finished model with simple cylinders added. . 10. connect edges and control positioning with camera view. Add more chamfers to the rest of the desk where necessary and repeat process on the other parts of the desk.9. The rest of the kitchen furniture were done in the exact same way.
.MODELING CURTAINS First of all prepare holes in the ceiling.
Select plane and add Cloth modifier from modifier list. Now click on 'Node' and select first box. select 'Make group'. They will hold our curtain.Now create plane so it matches the hole. now select first vertex under first box . select 'group'. . Unroll Cloth. Over our plane create 28 boxes. Our first vertex is assigned to first box. You have to assign each vertex to box that lays over it. Plane has 240 width segments.
First open the time configuration window and set animation time to 200 .In the end you should have 28 groups consisting 1 vertex each. Use this settings for the curtain cloth: Now we have to prepare animation for the nodes. assigned to 28 nodes.
Now open CUSTOMIZE -> PREFERENCES ->ANIMATION and uncheck 'local center during animation' Jump to frame 150 and hit 'Auto Key' button. Select all boxes and scale them.then move to the side. Make sure pivot center is set to "Use selection center". .
CURTAIN IS READY .Uncheck 'Auto key'. Select Curtain and in cloth options hit 'Simulate'.
Create box touching outside corners of window holes using 3d snap.Modeling window frames 1. .
Create connects .2.
4. In bridge options select 3 segments.3. . Select opposing faces and use Bridge option to create holes.
Now select those edges and choose 'ring' .5.
6. Convert edge selection to faces by rightclicking and selecting 'convert to face' or hit CTRL + polygon selection .
remember to check Local Normal. .7. Extrude selected faces.
Select 8 verticles laying on these lines and click on "Z" in the edit geometry tab. As you can see these lines aren't straight after extrude. .8. 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.
.11. Now select all edges (CTRL+A) and add slight chamfer.
Another window frame is done in the same way: 13.12. In the end create boxes and place them inside frames as glass .
2. Create box and add chamfers. If you scaled this box before you have to use "reset Xform" utility in Utilities window before adding uvw map modifier. Set length and width to the same value. .MODELING CARPET 1. Add uvw map modifier and select planar mapping.
. Click Edit. 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..
4. After it add noise modifier. . Add connects so the wireframe of carpet is dense.
5. Now you can use FFD modifier to scale corners of the carpet. CREATING AND MAPPING FLOOR .
First we will detach floor from the main building. Now select 'detach' function to create separate object. When you select any polygon that lays on the floor.1. whole surface will be selected automatically. Select polygon. 2. Select floor and right click Isolate Selection (shortcut: ALT+Q) . use 'ignore backfacing' and 'select by angle functions' to select floor.
Now select gizmo and scale it to achi eve desired effect. it won't be streched.jpg) and display map in vieport.3. 4. apply floor diffuse (HD_1_diffuse. Create new VRay material. Add UVW map modifier to the floor and set width and height to the resolution of the diffuse image. Now when you will apply diffuse. . You can also use 'Bitmap Fit' button to do so.
and display this texture in viewport.5. Now add UVW map modifier and select box mapping. As you can observe frame isn't correctly mapped in some areas. . Here is complete shader of the floor. MAPPING WINDOWFRAMES Apply material with wood in diffuse map to window frame. This problem is easy to solve.
1. Add 'unwrap UVW' modifier.' button.. 2 Select 'Edit.. . Select all faces that have incorrect wood direction.
+90 ) . Now just rotate these parts 90 degress ( Rot. Remember to use 'constant update' optio n.Rightclick and choose 'Break' Now you can move selected faces in Edit UVWs separatly.
ADDING ENVIRONMENT . you may put checker map to check amount of stretch Other models in scene like seats.Always avoid to much streching in textures. can be found on Evermotion models collections.
jpg" Use unWrap modifier to addjust the position of trees. Now rightclick annd select VRay properties.Create plane under building and select bright diffuse color. This plane will reflect skylight GI. Now apply VRay light material on it. Choose this settings: . In color slot put environment map "land 08. Next Invert faces so normals are directing inwards. Now create cylinder around scene and delete faces that we don't need.
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. Press 8 to open environment settings.Now when you set strenght of VRay light it's exposure will rise.
Vignetting creates dark areas in corners of image and usually it isn't desired effect. Camera settings Turn vignetting off.Light setup in scene: RENDERING 1. If you want you can always add it later .
If you don't care about rendering time and want best quality. Here are all render settings: . In post-processing (VRay: Indirect illumination rollout).255). Open VRay object properties of the VRay lights.Render settings Turn GI reflevtive caustics on.easily in Photoshop. change GI saturation to 0. It will help to lit up scen e a bit. Increase GI contrast to 1. (RGB = 255. In Irradiance settings increase HSph. This is fast way to change quality of all materials in scene. decreasing and increasing them di rectly in materials. subdivs to 100.8. It will desaturate GI a little and colors will not 'bleed' that much. It will help to avoid having 'burned out' areas. You can of course set all subdives in materials by your hand. Quality of GI in small details will be better. 2. In materials reflection and refraction subdives are set to 8 by default so the result will be 16. We will choose irradiance map for first bounce and light cache for secondary bounces. 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. but brute force can produce more noise and rendertime will rise significantly.1. Color mapping is set to exponential. To control overall scene brigtness set different ISO or shutter speed. choose brute force as first engine and set its subdives to 30. increase caustics subdivs to 8000.255. 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:
SCENE OVERVIEW The scene consists of a round patch of grass. The whole scene GRASS . For every camera view. removed or moved trees and fo liage to shape the composition. creating the impression of a forest. I added. They had to be close to each other so you couldn't see through them. the house in the center and trees surrounding it.
Grass cut in patches .
because I had to save every polygon I could. Grass displacement settings Of course. as you would imagine. Just next to the building or the trees I added some extra. This also varied thru the different scenes. 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. 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. I did this by subdividin g the grass surface and then applying a standard displacement modifier. The amount. Each one is a VrayProxy. The problem was solved by cutting the whole grass field in patches. but generally I kept it to a very high level of above 2000.shorter for close-ups and longer for broader views. I used VrayDisplacement modifier.The grass is actually very simple and similar to the grass most people produce with displacement. 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. with a smoke map in it. set to 2D mapping.
You need just the right balance between the high and low settings and the right size. which in my case was the smallest possible. You just have to set it up properly.The map for the displacement is a plain noise map. so there aren't any bright white dots which make the grass look like a carpet. Grass bumps .
because it provides very detailed le aves. which is OK in most cases. I couldn't use opacity maps. Making trees in Onyx Tree is quite simple. Since I used SSS material (More on that topic in the Materials section). . I needed the leaves to be well shaped and to have volume. The hard part part involved the leaves. furthermore simplified by the pre-saved parameters that come with it. so I had to have leaves made by geometry only. Onyx Tree does not support complex leaves. but not in this one.Displacement noise map TREES Most of the trees were modeled in Onyx Tree and two were made with the Bionatics plugin.
Tree bark displacement This meant I couldn't use the original leaves. Then I attached them back together. In the scene I had trees for background and some better detailed for foreground and close-ups. imported from Onyx. that operation turned out to be quite heavy and it had to be done in pieces. This let 3dsmax apply a shell modifier to each part without freezing. The only thing I did was to add a shell modifier to add volume instead of having just a surface (Why. but it isn't. The leaves on the background trees I left almost as they came from Onyx Tree. All the leaves were in a single object. you'll find out in the Materials section). Sounds easy. which I split to several parts. . With the thousands of leaves these trees had.
High poly leaves . They had a replacement of leaves.Things got even harder with making the detailed trees. deleting the distribution object. I imported those models with square leaves from Onyx and then scattered a highpoly leaf model over the entire low-poly square leaves object.
Low poly leaves Onyx tree and Bionatics produce pretty good trunks and branches. mostly because I needed it to be thicker and more detailed since it was taking a central part in the composition. however. There was. . As far as geometry goes they give you all the subdivisions you could need. some tweaking and model enhancement I did to one of the trees.
I had to restrict it to the closest trees to the camera. It's best if you make sure that only objects or parts of objects. instead of making a single proxy. that are in the render frame have displacement applied to them. After I've modeled the trees I had to convert them to proxies. I made a group of two proxies for every type of tree. because the amount of memory this took was too much. so I can copy every type multiple times and shape a forest.Tree bark The fine detail of the bark was added with VrayDisplacement. but it didn't turn out to be a good idea. I tried to have displacement on all of the trees. The thinnest branches didn't need any displacement and disabling it freed a lot of memory. One proxy for the leaves and one for the trunk and . 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. or even to some of the boughs and branches. You can then easily map your selected texture by adjusting its size and position. You should al ways be very careful with VrayDisplacement. Wh at I did was.
000. I don't have an accurate number for the total polycount of the scene. The purpose of this was to let me replace the trunk proxy with its mesh equivalent.000 polygons and there were a total of around 5 large trees and 5 more smaller trees or bus hes. This way I could choose the close trees and add displacement only to them. Tree proxies Every large tree had over a 1. with almost everything being a proxy. so I could apply a VrayDispl mo difier to it when needed. but as the scene is the counter shows 1 3. 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. It isn't much at all. .6 million polygons.branches.
Since the main material is see-through I had to put an opaque plane under the displaced grass. As Front material. To the grass patches that had no displacement. The Fresnel IOR is 2. and the translucency color is a 140 140 140 gray. . a simple VrayMtl was used. Also. I used a Vray2SidedMtl. I gave the same material. Displaced grass gets darker than just textured.0. In the VrayMtl I had only a diffuse texture and some opacity added with VrayColor with a grey at 140 140 140. interpolation was used on some trees with reflections to speed things up. The use of 2 sided material and the lowered opacity gave the grass a bit softer look.MATERIALS For grass material. It had the darker. so I had to even them. but darker and opaque because they get reflected and take part in the GI calculations. Bark texture for diffuse and the same but greyscale for Reflect and Reflect Glossiness. The grass texture I used Nothing special here. in the 2Sided. opaque material. For every tree the scheme is similar but with different textures.
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. I had to use fog. If you get black leaves.Bark material Leaves This was the biggest challenge. To simulate the "skeleton" of the leave I put a black/white texture for translucent. and fog works with geometry only. The hybrid translucency model worked fine for me.8 or 0. This is very important. 0. or the fog won't work. . otherwise the translucency won't work properly. dep ending on the thickness). m aking a mix. as you can see in the screenshot. You also have to have a solid object to use fog with it. 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. 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. The other option was to use Vray2SidedMtl. but my tests with it didn't give the results I could achieve with SSS. You can't make an object transparent with a texture if it has fog enabled. After several days of testing I decided that I should use VrayMtl with translucency enabled to achieve that special look of the greenery. You should increase the subdivisions to at least 20 to get a smoother light distribution. check whether it's not because of this). I lower the refraction level. Don't make it too thin. The main problem that came up was that in order to use SSS.6 is great. Th e other settings are a matter of testing. Of course there's some reflectiveness and bump in the material as well. that's why the leaves can't be flat. With the light multiplier I control the brightness of the shader. This means yo u can't use opacity maps to shape your leaves. If I want to have some diffuse texture in the shader.
Leaf material .
cgtextures. Only on the trees I used the coordinates that came from OnyxTree or Bionatics. I took a set of several bark photos and mixed them to make a tall texture for the trunks. .com. For leaves I used mainly photos. and even sets of photos for a specific use. 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. but also did some corrections by hand to make the translucency and bump maps. They have great textures there.TEXTURING My main source of textures was www. All of the UVW mappings are simple plane or box.
Direct light for sun. On some frames I placed planes around the camera to stop the light coming from behind. This makes the reflections brighter.LIGHTING The light setup is pretty simple. and a VrayColor with a boosted RGB multiplier for an environment to be reflected. VraySky for GI. The sun light has area shadows turned on to smooth the shadow edges. . The color mapping is Exponential.
I used the 1-100 technique to get better blurred reflections. Image sampler was DMC with catmull-rom for antialiasing filter. This way you can control quality and render time with the Clr. thresh setting. You may be unfamiliar with this method. It does get slower. The reflection subdivisions in the materials you can leave at 8. thresh setting. You h ave to set max subdivisions of the DMC sampler to 100 and uncheck "Use DMC sampler thresh". but it's very simple actually. everything is controlled with the Clr.VraySky settings RENDER SETTINGS I rendered the scenes with irradiance map and brute force engines. but you get much better reflections. .
Render settings .
I also added a Zdepth channel for the depth of field effect to be applied later in PhotoShop. Nik Software Color Efex Pro 3.This is a step by step tutorial of making the post for one of the five . The system I was rendering on had 6GB RAM. POSTPRODUCTION All of the postproduction for this project was done in Adobe Photoshop using various plug -ins: DFT-55mm. however for one of the frames I had to render the grass in a separate pass.0.Digital Anarchy-Knoll Light Factory and Richard Rosenman DOF-pro 3. To help the postprocessing I rendered multimatte elements for the different trees and materials. After I optimized the displacement and the rendering settings I was able to render a frame in a single pass.Render settings In this scene it was very important to set properly the dynamic memory limit. Since most of the geometry was either displacem ent or proxies I had to increase the limit as much as possible. leaving some memory for the mesh geometry. so I set the dynamic memory limit to 4000MB.0. because there were too many displacement polygons to be handled.
"re-paints" and blurs in the final frame. First thi ng of all. I w ork the same way every . color correction. There are two additional passes with the foreground trees and the grass that will be introduced later in the post production. here is to take all of the color channels from the multimatte elements and literally brake the render into layers for easier color correction. There are total of 84 layers of fine adjustments.frames but a similar method was used for the other four. There is a color channel for every material in the scene from the leaves of the trees to the various materials of the house. This is a method that we use in every project. there are no corrections. The first thing that I did was to generally "light up" the picture a little bit because the original render was too dark. This is the pure render right from the render machine. curves.
then I start color correcting layer by layer. I used levels and curves to give it more contrast. When I'm happy with the general result. The house on this picture has 3 layers on top of the original. 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.time. That is all. First I make a level correction for all the layers. I collapse all the layers and start up some plugins and play around. there is not hing more done to the house. .
All of the l eaves had the . The two foregroun d trees on the left and right have layers with levels and curves to enhance the contrast. The light was then manually enhanced with the dodge tool. I put in and color correcte the pass with the displacement grass to match with the rest of the green in the picture.Now the really tricky part. also there is a subtle gradient from dark to white with blending mode set to screen. this will give more depth to the grass.
Some of the leafs in this stage are intentionally over exposed or burned. they are also desaturated and cooled a little bit to get the effect of depth. At this stage there is also a curves adjustment layer that affects everything in the scene. in the next stage I will reintroduce the original render with opacity set to 20 to dial down the burned area. Here additional layers are added using the plug-ins. In the original render the leaves are made with sub-surface scattering. . In the left upper corner are added some additional branches with leaves.dodge treatment. A little bit of vi gnette effect and level adjustments finish this stage. The blur in that frame is made with Z-Depth channel that is loaded as a depth map in DOF-pro. I used DFT 55mm and Nik Software Color Efex Pro for additional color correction. to achieve a similar effect in PS you must find a good Depth Of Field g enerator. I regularly copy all the layers into a new one on top of them. The background trees have more pronounced dark areas and a little more light from the sky to simulate real world light reflection. There i s also a warm filter applied to all of the leaves in the scene. I use Richard Rosenman's DOF-pro it's a wonderful plug-in with a lot of capabilities. The bark of the big tree on the right is "over-painted" and I placed somewhat cool photo filter in its layer. there DOF-pro played a big part in achieving the final look. so I wanted to enhance that and add an extra simulation of the light scattering effect. Leaves with bokeh effect are added in the foreground. then in the aperture tab the aberration is altered to make the aperture shape. In one of the other final pictures there is a branch on focus and the house is fully blurred. the sky is cooled down and a little glow is added to simulate l ight passing through the leaves. I do this to preserve layers and previous correcti ons in case I need to undo.
this is the final look and feel of this frame. A little bit of chromatic aberration is added.A foreground plant is added also. and blurred with motion blur. And this is all. . the vignette i s strengthened to frame the house better.
and of course learn from the best to become one of them. The main thing is to be critical of your work. 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.This is our way of working at RED-VERTEX.
MAMS. And Knoll Lighting for the lighting flare. His thread is http://mams3d.wordpress.com/ . But I did the overall lighting mood in 3ds max with vray light by using our forum member technique.Yeah I did some post-work for Colour Balance and Chromatic Aberration.
Finally I adjust the brightness in Level. I use Burn Tool to darken the edge of the image. After that I do the colour balance to add lil bit blue at Midtone and Shadow. Here is the comparison: . Then I use 55mm to apply Cross Processing filter and do the Chromatic Aberration.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. and use Knoll Light to put the Lens flare effect.
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
Setting the V-Ray renderer
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. ________________________________________________________________________________________________________________________________
post prod in photoshop. by vray.I made a friend for an architect. it was more for fun. I subsequently changed the colors of the images in Photoshop. 1: Brightness and Contrast . to add an artistic side. I used adjustment layers. the idea was final. the images are for future office. Modeled with 3ds max render. For me it easy in Photoshop.
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 also used erase tool a lot here and set the opacity to 50 percent. This is how I made it: first I found a proper texture at cgtextures. Here is the dirt layer: .Next step for me was to give the concrete some dirt.com (every texture I use is from that site). By pressing ctrl+T I could adjust it correctly onto the walls. I could have done this in max but I found this method much easier. I copy p aste it in the psd I was working in and set the layer to overlay instead of normal.
.And here it is applied on the render: At this point I flattened the image .
This gave our scene a bit depth already by dividing the background and the forground.0). Now I turned the lightness a bit higher (press ctrl+u) and set the midtones to cyan-blue.Now comes zdepth: I used this for depth of field effect. Then I selected the whiter tones (color select again) and pressed ctr+J again on the render layer and added some lens blur on . 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.
Last thing to add here is the glowing effect of the sky through the leaves.it (only the slightest!).. I went to zdepth layer again and used color-select again but now on a smaller value. Ctrl+J (again) on the render layer and some lens blur (again.. For this I have used color select tool again on the white color then ctrl+J and then a very small gaussian blur (around 0.0 or even lower!) and duplicating this layer a lot of times.5-1. Then merging these layers and using erase tool on some parts of it and then it is set. 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. Here is the result so far: . I repeated t his last move some more times but with smaller color-select value and higher lens blur.) on it (this time a bit stronger) and moved this layer to the top.
First one was Knoll Light Factory. . It is a great plug-in! I recommend everyone to get it. I used it to create the lights in the sky. 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. The one on the left is pretty obvious.
. 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.Next one is chromatic aberration done by 55mm Film Tool. Here is my attempt: Next one is vignetting also by 55mm Film Tool. Now-a-days everyone is familiar with this effect but I find that most people don't seem to get it right. It is an effect that can be really annoying if you abuse it. I say if it is clearly visible it is already wrong! It's a matter of testing and finding the right balance.
It is on a separate layer which the opacity is set a bit lower (around 50-70 percent).Last is the film grain for which I have used NIK color effects film effect tool. And here we are! We've come a long way! Check it out: .
the girl? shes PS of course! here is the wire/render: .
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! .
about the lights. playing contrast. and for the purple mood. and knolllight for lights glare/sun glare. I use photoshop for colorbalance. i onl y use purple color (diffuse color) on environment slot and vraysun for orange look that hits the wall on pool view. The grass displacement is just using ordinary black and white dots map. for morning mood i use vray sun for main light and vraysky for environtment. Walls are unwrapped texture. .
Then paste it in PS .Scatter for old leaves. Dof made in DOF PRO and Alien skin boken For glow i use After Effects and Saphire plugin.
here is grass texture here is grass texture .
simple flowers mede by me and copy with scatter.firts plane it's evermotion trees. becose they is hi quality models. ____________________________________________________________________________________________________________________________- . everything else it's Onyx trees and plants.
its Vray sky and sun. gamma 1.1 in nigt scene i used vray sky fnd vray light in lamp . and Vray light in lamp in night scene its LC+IR. nothing else.
It is not hdr. Vray. Vray sky with switched off vray sun. .Used 3dsmax 2008. Photoshop.
fog (for distance shot) by Render Element (Vray ZDepth). for bluring foreground . vignette et str. .Render Element (Vray ZDepth . graine.). And color/tone correction.I used filter digital Film Tool (lens. glow effect for sky.other map) and Depth of field Generator Pro in Photoshop.
. 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. In the night shoot are 15 vray light.
a layer whit lens blur filter... Here a some settings I hope usefull for you .The DOF is done in PS. and mask layer for details blur zone..
It was inspired by the recent progress made by Andrey Izrantsev in his Blender-Vray exporter. including initial support for SSS. everything modelled in Blender. . using lots of displacement and SSS.My first attempt at food using Vray (I did something similar in Indigo a while back). As always. rendered in Vray.
I had to decide whether to use SSS and no diffuse texture. or both.I was limited in this image by the fact that the Blender->Vray exporter I use doesn't support all of Vray's functionalities. Since I did not have access to Multilayered materials. . or a diffuse texture and no SSS (which is why the grapes look so uniform). for instance. almost all of the materials have either SSS or displacement. Otherwise.
2 but reinhard collor mapping with smaller burn sampler aDMC 2.Here are two viewport screengrabs showing the lighting setup (two rectangle lights and an HDRI map) and wires ________________________________________________________________________________________________________________________________ This is not gamma 2. 8 Any sky or sun just vray light and one direct .
. no collor correct or something normal textures. Vray 1.In windows strong blue and inside strong yellow. Render without PS is simmila r becouse in photoshop I add just vignettic and sharpen Software used: 3dsmax 2009. Photoshop..5 sp2.. Eyeon Fusion.
..I create some diferent postworks for criticism..
The long render time is why i use Brute force for primary bounce and and high subdivisions for Adaptive DMC. this for more precise GI. . If i use Irradiance map the render time are around 1:30 to 2:00 hours.....
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.he pillows and sofa not have displacements all are polygon modeling.... ..
. 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....org/files/Studio_setup_01... And sorry i cant share the sofa material why this have a commercial maps.rar ." i use values for metal and leather up to 24 subdivision.cg-project. studio setup http://www.
cubic Mandelbrot.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. complexified quaternion and octonion renderings of the Mandelbrot and Julia sets. hypercomplex. All of these beautiful and sophisticated fractals belong to the quaternion. Some others are based on iterative 3x3 matrices where power series are utilized for transcendental and trig functions. The color treatment for each fractal was decided upon by it's shape and form. .
For more information. please register for free at: http://richardrosenman.com/earlynotice/ . please visit: http://richardrosenman.com/project/?cid=192 To stay up to date with new project notifications.
.. its a cool method..________________________________________________________________________________________________________________________________ ____________ 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 .
smooth and paint the detail (eyes.The key is you have enough time to do it carefully (ask Juan [http://juanaltieri. hair cloth) make sure it's enough detail to see almost 4-7 days working time to done 1 image (included modeling.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.cgsociety.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 . rendering and compositing ) .
The lighting is basic. Color mapping is Exponential + vray lights in the windows and direct light for sun. No lwf no physical camera.Blue Direct light for sunlight .5 photoshop . Render and light settings are very simple and basic Vray light in the windows .Light Orangish Yellow You need to work on the color and keep testing till you are happy with the look Irmap and LC Environment .1 and little dark blue Exponential ________________________________________________________________________________________________________________________________ It could be looks familar but It was from my uniq design use 3dmax9 vray 1.
I used color correction with photoshop and I used Vray-sun with defualt setting.too color correction expnential dark1. 50. and photoshop work. . -1.. secondary lc default camera . GI setting . 60. primary im -3 . skylight setting default. bright 1.
All furniture B&B and lamp is Artemide tolomeo. The second render in 3dseventh style Supphire plugin in AE for some glow in lamp .done with max 2008 vray 1.5 ps3 AE All models is mine.
rar 1. Это прямоугольное помещение по периметру которого весят шторы.2 (использовать или нет гамму решать вам. должны быть миллиметры. Вот как выглядит настроенная гамма.com/files/200327635/Tolomeo_Terra.com/files/203197079/3700_2200. Каждый предмет расставлен так. я использую. .http://rapidshare. Я не дизайнер. Идея взята с магазина итальянской мебели у нас в городе. и очень мягкое освещение. Первое что надо сделать перед работой это проверить единицы измерения. чтобы создавать контраст. В работе я использовал мою любимую цветовую гамму коричневый и кремовый.rar the couch made with 3d max and zbrush the curtain u can download from here http://rapidshare. поэтому рассказывать больше нечего )) 2. Второе это настроить гамму 2. И почти все дальнейшие настройки напрямую зависят от гаммы).
Никакие плагины типа collor correct для корректировки цветов не используются. Это нормально. что выставлено в Color mapping . . это Reinhard. Так же замете. для того чтобы картинка не была бледной и бесцветной. все цвета в материалах становятся светлее.После применения гаммы. Обратите внимание. что vray frame buffer включен.
Я использовал VraySun+ VraySky + VrayPhysicalCamera . Как видите. В настройках солнца все по умолчанию. Уточню еще. солнце относительно далеко и высоко. Настройка света. Сама студия очень проста. кроме shadow sabdivs . Покажу только как я поставил солнце в сцене. Как устанавливать эту систему. .3. потому что высота солнца влияет на его цвет и на цвет теней от него. что vraysky в настройках render в Environment и в отражениях (дальше будут картинки с настройками рэндэра в которых это будет видно). я поставил 15. примерно 65 градусов над уровнем земли. Это важно. это коробка без одной боковой стены. уроков много.
и стоит vray light plane который будет пропускать вирэй солнце. как бы от искусственного света. Слева стоит другой vray light plane который должен давать теплый рассеянный свет. что с права нет стены. . а поскольку солнце не светит прямо в нашу комнату. Таким образом картинка будет иметь красивый контраст холодного и теплого рассеянного света. или говоря простыми словами тень. этот план будет пропускать красивый рассеянный голубой свет.На виде сверху видно. Вот настройки источников света.
это план который пропускает солнечный свет. что включены галочки Skylight portal и Simple (в этой работе использовался vray 1.Vray light 02 . Силу света из него я подбирал на глаз. Покажу еще настройки света из лампы. . Обратите внимание. в более ранних версиях этих галочек может не быть). это обычный точечный photometric.5 SP1.
. the project´s from Rob Dubois. and it is located at Spain. I´ve used a photo reference form a very good book called "Casas Pequenas".For this work.
mostly at saturdays. painted for diffuse. Like the rocks. bump and displacement channels.. etc. then treated one by one on MAX. those trees in light blue cast shadows and GI: . reflect. specially modelled and converted to poly. Aerial view.... A lot of unwraped maps. the terrain. Plants are from VUE.It took me about 6 days of work.
.Lights (Omnis with negative values are used to "suck" light and darken that area on the right).
Settings (nothing special here. .. Only the values on the primary and secundary bounces). I used a Vray cam. and changed only the shuter speed to 2..
. levels ajustments. and some effects like glow. but generally some color correction. there was very little things to do on post-production. . the background was comped afterwards. As I worked with a photorference. DOF and cromatic aberrations. on Photoshop CS2.Yes..
and a simple color works fine.. You just have to c onvert to Vray and tweek a little bit.. Thanks for the comment. The reason I´ve used a simple color instead of Vraysky material. 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. I decided to not use any commercial material such textures or models on this scene. Model & Render by 3dmax -vray-PS ... I try to give it a shot on Vue. is that I just could not achieve the results that I wanted f or this particular work with VraySky. I´m learning it and its a very good software. And take of the fil tering for the bitmaps. And all textures I made myself..About the plants.. Evermotion´s vegetations are great but I dont think my PC could handle that much polygons. those textures from the trees came almost ready from VUE. But in standard materials. the hint is to use 2 Sided Material to achieve a kind of translucency.
a picture of which is included in a book of architecture.this project was inspired by a house. The main point is that i used small UVW map for displacement. "Mediterranean Modern" by Dominic Bradbury. I have just finished it and I wanted to share it with you. Grass texture I used the following images to create the grass. I hope you like it. Diffuse . This particular house attracted me so much that I was tempted to present it photorealistic.
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). For each render approximately 5-6 hours were needed.Trees are from evermotion models with colour corrections on the leaves so that all trees match in colour. .
. it's pretty fast. http://www..br in my past works I always used LWF. . This time I used gamma 1. but like i said I never really like it.. ..0 and frame buffer with some changes in curves and levels.florense.com. Furniture is all from this company.i dind´t use LWF this time. I used zbrush to make the sofa. I never liked it.
gradient in environment slot and phisical camera native phisical camera in max .
100 units to obtain smooth result and as you can see on the images description (bottom) I use aperture 1.bluish vrayplane.output 15 second (fill light) right of the image .shutter speed 1/250 and second one -1/60 (darker lens) as I wrote before the main light is a gradient in environment slot .first one with the DOF looks wierd becouse of unusual aperture Settings of DOF sbdv was very huge . .8 .4 and 2.
waited .Color Mapping Reinhard and Phisical camera for proper exposure..as you can see on wireframe . waited.. Obviously some touches in Photoshop like color balanse.100 (soft. DOF's one similar In this case I used vray DOF with huge Sbdv settings . 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 .. smooth result) Put to render and waited. levels etc.
. Thank you EV. P. Used some details from archmodels. Hope you'll like them a lot more then my last work.S. Carpets are usually modeled: scatter or. particle. lately.________________________________________________________________________________________________________________________________ Here are some renders made for a furniture producer.
Below you have all the settings. it's quite simple. I've placed four simple VRayLight planes around the whole gap in the box. and in front i gave a violet glass.I always use a standard target camera. The violet light.. ..
Thanks very much for comments and stars I use just vray lights and direct as sun. 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 . 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).
Here I'll post the pure photos. . 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).
We had the real situation. We used a standart MAX camera.They become overburn in some of the areas. Please read the previous answer about the reflections . This way we hope to have more realistic result at the end of the day. No HDRI. That's why we decided to match the new image according the original photos. but most ot the work was manual. Then the camera matching was 50-50. We build the rough models of surrounding buildings and papped ther real elevations thus we have the real reflections. I mean that we use some of the EXIF info for the camera.
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! .
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..
) notice the background is much lighter and in a bluish color tone! its not hard to do! cheap trick that helps a lot!!! ________________________________________________________________________________________________________________________________ .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...
3 rooms. . dual xeon 16 gb. time for finish modeling .Scene has use many vray proxys. render time 5 hours/1 picture for 4200 pix.3-4 weeks.
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! .
1.1 Here are some configs. For all images I used: .________________________________________________________________________________________________________________________________ I always use exponential 1.
.Color mapping exponential 1..1gamma 2.2 Irr map (high) + lightcache (2200) cameras from max Studio lightning I used only HDRI Sofa model. a little bit heavy .1.
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 .http://rapidshare.de/files/41291898/sofa_corbusier_by_Rafael_Reis.rar.
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)
Anyway ideal look for holiday season It's based on another Ando's work and it comes in two flavours. Which one do you prefer BTW? . I've been playing around with pflow and cherry blossoming flowers... i know.________________________________________________________________________________________________________________________________ Simple weekend personal work. Yes. trees seem frozen but they're not.
C&C are for sure welcome 3dsmax. . AE. PS. Best regards. Vray.
naturata is represented as a black building itself built up from the ground.Some latests words: "Nature cannot be made by a human being. Fuji used to be an active volcano in the ancient times. The blackness is ascribed to the lava in the memory of the site.. trivial transformations of shadows on the black screen.. and e ven in Japan... Satoshi Okada ..."black on black" requires a delicate sense for feeling nature. which Mt.." The definition of nature has been a truth since the ancient Greek philosophy.
All in the views are 100% CG. DOF. will see And yes. No photo (except. of course textures. yes i know! It's because of onyx self-topology. 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. glows. I'm trying to fix it.Alex. ________________________________________________________________________________________________________________________________ . flowers..there's no other way About the damned brach. etc. etc.... Grass is Vraydisplacement... middle and young kind of different tree species plus bushes. and ALL of them are V ray proxies .. :mrgreen: ) There adult... fallen leaves. And finally AE for color correction. All LWF..
PShop. The work itself it's a bit darker. simplier and "dirty" than the last one and has a little old kodak-polaroid film touch post.sorry Anyway. there are maybe too many pics. AE. i really hope you like it. C&C are welcome 3dsMax. It shows the already built BCN Auditorium second chamber hall and the main courtyard.My last personal work. I know it. Vray. . It's designed by Rafael Moneo.
I wanted also to keep it clean from the begining but it became more and more rusty and grunge.. AE and Onyxtree (i'm in love with it BTW.. And now. In fact it has been a botanic exercise for me.Want to share my last personal project! It's a Louis Kahn building designed and built a few decades ago. materials and lighting -of course-.. i would like to share my last personal work. I also decide to leave it empty from books. _____________________________________________________________________________________________________________________________No posting for aaaaages! Well. It shows a truly sense of the art of architecture with the surrounding enviroment.. then i finally decided that one. some tech spec: 3DsMax. A bit playaround with volumes. It's a Satoshi Okada project called "Forest Refug e".. it's more like a raw geometrical space purpose.) . Vray (1. I liked the idea since long time ago. I think he's one of the best architects from the 20th century and my favorite by far After study for long his works.. My project (cg) itself has a several of POV showing three different time of a day (or weather). I always wanted to reproduce a Kahn's masterwork.5).
it's AE different combined glows with different colours and sizes I spent around 2 weeks from scratch. Most time drowned into mapping and textures work. . Each shot took around 1-2hr.
It's just a personal version of Osho International offices. Hope you like it. What do you think? It is made with Max. Vray 1. .5 & PS.
People are Lowpolygon people. LC + Irrmap (high preset with Detail Enhancement) and linear workflow for the tonemapping. The lighting is quite simple: direct light for the sun and Vraylights placed in the windows. About the setting are simple too. .
G: 205.The frosted glaz is fifty percent greenish grey with fifty grey too refract value and glossy refractions Spotlight R: 255. B: 128 Volume lighting was done with a real volumetric layer + a few PS retouches .
a tribute to Tadao Ando.it's LWF ( http://www.php ..best explanation so far) and i use standard max virtual frame buffer Want to share my last personal work.gijsdezwart. It's still WIP and i'll probably post new POVs and details as soon as i can Hope you like it! .nl/tutorials.. It's a bit more complex and darker than m y previous work posted here.
PS. Vray.. . Rendertime was about 5-6h per pic.Max. LWF..
and yes they all are proxies. Although the thread answered a couple of questions it also generated a lot of questions and confusion about this workflow. rendering and "finishing" took me around a couple of weeks -free time- http://www.php Linear workflow 'reloaded' In March 2004. the books are made "all" by me. I have written it in interview style. . VraySun & VraySky Settings-----> VraySun + Sky. which I hope. makes it better readible. In the following article.nl/tutorials. irrmap (medium preset) and PS for color balancing. LC. texturing.. I have tried to summarize these as well as take away any doubt people might have after reading the article.Yes.gijsdezwart.IES (from Erco).. Modelling. Rob Nederhorst posted an interesting thread on the support forum of Vray and a couple of other forums about working in linear space.
its output has a gamma of 1. when you display a linear image on a 2.O.5*) To illustrate this. In other words. or at least use this guide to do basic calibration. Summarizing the story above. If you are working in 3dsmax. Calibrating your monitor is important to match your monitor gamma to a certain standard. When calibrating your monitor.2 gamma monitor(left) and compare it with the linearly interpreted image (right). when your screen is offered an image from the web or other applications. you are mixing up two things. which is about 2. Now the article suggest to do the gamma correction in 3dsmax again. hardware calibration of your monitor is a very good first step. set your whitepoint to 6500K (most monitors have an option to choose a whitepoint). In other words. this standard gamma is 2. In fact it transforms the colors to correct for the error in your monitor. Secondly. This profile helps to output the right colors on y our screen. I calibrated my monitor with a hardware calibrator. the virtual camera of your rendering application (in my case Vray but many others as well) has a linear response to light. 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. the accompanying software will create an ICC profile..2 gamma monitor without telling that it is linear. the gamma correction is by default off. When y ou are working with an LCD screen. First of all.2 gamma environment. If you don't have a calibrator yourself.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. you get closest to viewing content as it is meant to be. For Windows based systems. Thus. what's happening here? In fact. selected a gamma of 2. the output of 3dsmax will look far too dark on your monitor. and therefore displayed to dark.K. (as a side note. . calibration is even more essential. No gamma correction means basically that you are using a gamma of 1. When you have calibrated your monitor with a hardware calibrator. by taking no action. after calibrating. consider to borrow one. because you CRT monitor has its own gamma.2. it is interpreted as gamma corrected.
Now you may think that you don't need gamma correction.5. So to summarize.2) and colorspace. you convert your images for publishing to a gamma 2. changing gamma influences the midtones of your image.5 profile (look for Native PC profile on that page). a gamma <1 makes the midtones lighter.In other words. a standard CRT monitor will probably be about gamma 2. or in other words. cameras (and probably many internet publishing software packages) will do some basic correction without telling the user. This raw linear data is then mapped to a different gamma (2. and without knowing. This CCD has in itself. That's probably because you have been using all sorts of tricks for years to get the desired result. Therefore it is advisable if you publish pictures which need to look correct for the majority of internet users. 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. Professional image editing software that works with ICC profiles. (Tricks like adding linear falloff lights. A gamma >1 makes the midtones darker. a linear response curve. so far I understand it. or lights without decay. most likely sRGB or Adobe RGB.) All these tricks you have been using were to get a more realistic result. but I never needed to correct them when viewing them on screen. it's just about setting the display gamma in 3dsmax to 2. As I mentioned earlier. a linear gamma. in most digital cameras it is). Right. can read the profile that is attached to your camera's picture. When you take a picture with your digital camera. I read somewhere that CCD's in digital cameras also have a linear gamma. Why is that then? This question actually supports the idea why you should use gamma correction. etc.2 in order to display the linear rendering data correctly on my monitor? . you were actually trying to correct for your monitors gamma! Great. bright multipliers etc. light is captured with a CCD (well.
That's true. Globally it can be assigned in gamma tab: Don't worry about the dithered and solid gray squares. You will need to tell 3dsmax that the textures you use have already been gamma corrected. because they have nothing to do with accurate calibration. . This can be done either globally or locally. but there is a little more to take care of. 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. If you have paid attention and understand all concepts.
As you can see. The only thing you need to do is copy the old color to the color correct map. or with the color correct plugin by Cuneyt Ozdas. In case you would make your own textures. and tell 3dsm ax in the bitmap loader that it has a 1.Locally you can assign the bitmap a 2. Textures can be handled by turning on gamma correction for bitmaps as shown earlier. Therefore you correct the colors manually. you are offering Vray gamma space textures and colors. Figure 1 shows the old situation without colormapping. and apply a gamma correction of 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. since you judge them based on what your monitor displays. as shown in figure 2. it is of course better to keep them in linear space.2.0 gamma. Your materials (colors and texures) will look washed out. .2 gamma in the bitmap load dialog. Please take note of the fact that this rule only applies to textures that have been gamma corrected. Finally let's look at the following figures.
. The data is not touched. when publishing on internet for example.In the most ideal situation (figure 3) you keep all your data linear and only correct the output to your display. Only in the very end. you will covert (a copy) to a non-linear profile. no gamma correction is burned in.
enough theory I'd say.O.. Can you show me some examples? Sure.K. . The following images were rendered using the described linear workflow.
manual callibration is hardly possible.at least for CRT screens. (for film you might need a different whitepoint setting like 5600K). Besides. Second. I suggest you take gamma 2.I think it is about time that I start experimenting myself. I strongly advise you to calibrate your monitor. You can abtain a reasonable result doing it manually . Or post your questions in this thread on the vray support forum Monitor calibration If you are serious about color. because gamma is changing with the viewing angle. It is preferred to do it with hardware calibration (for example iOne from Gretag McBeth). Basically the steps are as following: First. since many textures. photos and stuff on internet as well as most pictures from consumer grade digital cameras are sRGB. make sure you have proper blackpoint setting and set your monitor to 6500K whitepoint. Can I email you with questions regarding this technique? Of course. .2 as a calibration reference. choose the appropriate gamma chart from AIM-dtp (although it principally sucks. You can always ask me questions by filling in the form on the contact page. 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. If you work with LCD screens.
shines and illusion find their way among marble walls. 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). pillars cruciform chrome steel.So final gather for big area and AOcolorbleed with very large distances for little and middle details. games where games of reflexes. density to 1 for exteriors in order to take the darkness for short distances. rising the border between nature and humankind". metallic surfaces.the purpose of the project is to recreate that "space balancing the orthogonal and abstract. elements don't confuse but coexist in an asymmetrical space. . glass and travertine floors.05 for interior to obtain a good compromise for render times. 0. between full and empty. those images lets me to reproduce the 90% of real marble walls of the original real project. which never closes in on itself.
exr format and gamma control in PS. .maya lwf.
I used maya and mental ray. leaf and branche istances and a lot of patience. ... vegetation is my own.
I always make the concept of a project in Autocad (2d) than i model it in 3ds.color correction was only used for VRaySky. .
(with gamma 2. it's not lwf.05. Autocad only for a 2d concept of the whole project. Saturation set to 0. __________________________________________________________________________________________________________________________- colour mapping is linear 1. you could say.9 and contrast to 1. Than i just import it to 3ds as background and do everything over using 3 ds spline. Rest is. And a rainhard color mapping with burn value of 0.The biggest differences from all those standard renders is that i use a target camera. not vray physical one. 1.4. 1. standard.2 in preferences) . I don't like that technic too much.
burn parts.i use fresnel reflection in wood materials. i think theres no strange thing on lightness. light cache and irr map.... and unfocus ith z depth. just vray lights in windows...and faoff reflection in almost all about lights.. just a common one ____________________________________________________________________________________________________________________________- . no vray camera. i work a lot on photoshop on colour correction (with layer masks).
Raw render .Everything was done in 3ds Max 9 and Vray with post production in Photoshop. Comments and critics are very much appreciated.
For Light I used only HDRI map(mult. 15) and phisical camera.Grass I made really simple with VrayDispleaceMod (tommorow I`ll show textures). .
cgtextures. . UC Berkeley from: http://www. Sun&sky is good but sometime hard for good set. On the roof is dirt mask HDRI map from: http://www. contrast. UC Berkeley HDRI map name: Eucalyptus Grove.com/ Postwork is a lot.org/probes/ is in environment(8) slot with 15mult.All textures is from: http://www. color balance and hue.debevec. levels.org/probes/ name:Eucalyptus Grove. value+ Phisical camera iso 250 and shutter 70.debevec.
And Here grass texture Diff and Disp. .
Very helpfull for my is particle system for plants and trees. . cuple my old trees and a few planes with opacity maps.Here Vray DispMod seting: 1. Trees and bushes I made from tree generator ornatrix.
White and Affect diffuse and affect specular. and white metal ______________________________________________________________________________________________________________________________- .I use Vray light just in building Mult. Metal structure is blend material with dirt mask. 50W.
This action might not be possible to undo. Are you sure you want to continue?
We've moved you to where you read on your other device.
Get the full title to continue listening from where you left off, or restart the preview.