3ds max Red Vertex Foliage Tutorial

<div dir="rtl" style="text-align: right;" trbidi="on"><div style="text-align: center;"><h2>Red Vertex Foliage Tutorial</h2></div><div style="text-align: center;"><br /> </div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.evermotion.org:8080/exclusiv/RedVFoliageTut/tutorialTitle.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://www.evermotion.org:8080/exclusiv/RedVFoliageTut/tutorialTitle.jpg" width="317" /></a></div><div style="text-align: center;"><br /> </div><div style="text-align: center;"><b>SCENE OVERVIEW</b></div><div style="text-align: center;"><br /> </div><div style="text-align: center;">The scene consists of a round patch of grass, the house in the center and trees surrounding it. They had to be close to each other so you couldn't see through them, creating the impression of a forest. For every camera view, I added, removed or moved trees and foliage to shape the composition. <br /> <br /> </div><div align="center"> <img alt="" height="401" src="http://www.evermotion.org:8080/exclusiv/RedVFoliageTut/thscene.jpg" width="640" /><br /> The whole scene </div><br /> <div style="text-align: center;"><br /> </div><div style="text-align: center;"><b>GRASS</b></div><div style="text-align: center;"><br /> Grass cut in patches <br /> The grass is actually very simple and similar to the grass most people produce with displacement. The key is having a lot of displacement subdivisions and a good noise map. I used VrayDisplacement modifier, set to 2D mapping. The amount, controlling the length of the blades was different for every camera - shorter for close-ups and longer for broader views. The very detailed look is mainly provided by the resolution set to 3500. This also varied thru the different scenes, but generally I kept it to a very high level of above 2000. <br /> <br /> </div><div align="center"> <img alt="" src="http://www.evermotion.org:8080/exclusiv/RedVFoliageTut/displsettings.jpg" /><br /> Grass displacement settings </div><br /> Of course, as you would imagine, this generates a huge amount of polygons which had to be rendered and I shortly ran out of memory even on a 6GB RAM machine. The problem was solved by cutting the whole grass field in patches. Then I would turn on the displacement only for those seen in the view. I also added some bumps to the surface which was displaced to make it more random. I did this by subdividing the grass surface and then applying a standard displacement modifier, with a smoke map in it. Just next to the building or the trees I added some extra, untrimmed grass blades. Each one is a VrayProxy, because I had to save every polygon I could. <br /> <br /> The map for the displacement is a plain noise map. You just have to set it up properly, so there aren't any bright white dots which make the grass look like a carpet. You need just the right balance between the high and low settings and the right size, which in my case was the smallest possible. <br /> <br /> <div align="center"> <img alt="" src="http://www.evermotion.org:8080/exclusiv/RedVFoliageTut/bumps.jpg" /><br /> Grass bumps </div><br /> <div align="center"> <img alt="" src="http://www.evermotion.org:8080/exclusiv/RedVFoliageTut/noise.jpg" /><br /> Displacement noise map </div><div align="center"> </div><div align="center"> </div><div align="center"><b>TREES</b></div><div align="center"><b> </b></div><div align="center">Most of the trees were modeled in Onyx Tree and two were made with the Bionatics plugin, because it provides very detailed leaves. Making trees in Onyx Tree is quite simple, furthermore simplified by the pre-saved parameters that come with it. The hard part part involved the leaves. Since I used SSS material (More on that topic in the Materials section), I couldn't use opacity maps, so I had to have leaves made by geometry only. Onyx Tree does not support complex leaves, which is OK in most cases, but not in this one. I needed the leaves to be well shaped and to have volume. <br /> <br /> <div align="center"> <img alt="" src="http://www.evermotion.org:8080/exclusiv/RedVFoliageTut/barkdispl.jpg" /><br /> Tree bark displacement </div><br /> This meant I couldn't use the original leaves, imported from Onyx. In the scene I had trees for background and some better detailed for foreground and close-ups. The leaves on the background trees I left almost as they came from Onyx Tree. The only thing I did was to add a shell modifier to add volume instead of having just a surface (Why, you'll find out in the Materials section). Sounds easy, but it isn't. With the thousands of leaves these trees had, that operation turned out to be quite heavy and it had to be done in pieces. All the leaves were in a single object, which I split to several parts. This let 3dsmax apply a shell modifier to each part without freezing. Then I attached them back together. Things got even harder with making the detailed trees. 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, deleting the distribution object. <br /> <br /> <div align="center"> <img alt="" src="http://www.evermotion.org:8080/exclusiv/RedVFoliageTut/highpolyleaves.jpg" /><br /> High poly leaves </div><br /> <div align="center"> <img alt="" src="http://www.evermotion.org:8080/exclusiv/RedVFoliageTut/lowpolyleaves.jpg" /><br /> Low poly leaves </div><br /> Onyx tree and Bionatics produce pretty good trunks and branches. As far as geometry goes they give you all the subdivisions you could need. There was, however, some tweaking and model enhancement I did to one of the trees, mostly because I needed it to be thicker and more detailed since it was taking a central part in the composition. <br /> <br /> <div align="center"> <img alt="" src="http://www.evermotion.org:8080/exclusiv/RedVFoliageTut/treeBnW.jpg" /><br /> Tree bark </div><br /> The fine detail of the bark was added with VrayDisplacement. I tried to have displacement on all of the trees, but it didn't turn out to be a good idea, because the amount of memory this took was too much. I had to restrict it to the closest trees to the camera, or even to some of the boughs and branches. The thinnest branches didn't need any displacement and disabling it freed a lot of memory. You should always be very careful with VrayDisplacement. It's best if you make sure that only objects or parts of objects, that are in the render frame have displacement applied to them. <br /> <br /> 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. You can then easily map your selected texture by adjusting its size and position. <br /> <br /> After I've modeled the trees I had to convert them to proxies, so I can copy every type multiple times and shape a forest. What I did was, instead of making a single proxy, I made a group of two proxies for every type of tree. One proxy for the leaves and one for the trunk and branches. The purpose of this was to let me replace the trunk proxy with its mesh equivalent, so I could apply a VrayDispl modifier to it when needed. This way I could choose the close trees and add displacement only to them. You can't use VrayDispl with proxies. <br /> <br /> <div align="center"> <img alt="" height="608" src="http://www.evermotion.org:8080/exclusiv/RedVFoliageTut/proxies.jpg" width="640" /><br /> Tree proxies </div><br /> Every large tree had over a 1,000,000 polygons and there were a total of around 5 large trees and 5 more smaller trees or bushes. I don't have an accurate number for the total polycount of the scene, with almost everything being a proxy, but as the scene is the counter shows 13.6 million polygons. It isn't much at all, but the most of the final polygons come from the displacement of the grass and the tree bark. <br /> <b> </b></div><div align="center"><b>MATERIALS</b></div><div align="center">For grass material, I used a Vray2SidedMtl. As Front material, in the 2Sided, a simple VrayMtl was used, and the translucency color is a 140 140 140 gray. In the VrayMtl I had only a diffuse texture and some opacity added with VrayColor with a grey at 140 140 140. The use of 2 sided material and the lowered opacity gave the grass a bit softer look. To the grass patches that had no displacement, I gave the same material, but darker and opaque because they get reflected and take part in the GI calculations. Displaced grass gets darker than just textured, so I had to even them. <br /> <br /> Since the main material is see-through I had to put an opaque plane under the displaced grass. It had the darker, opaque material. <br /> <br /> <div align="center"> <img alt="" src="http://www.evermotion.org:8080/exclusiv/RedVFoliageTut/grasstexture.jpg" /><br /> The grass texture I used </div><br /> Nothing special here. Bark texture for diffuse and the same but greyscale for Reflect and Reflect Glossiness. The Fresnel IOR is 2.0. Also, interpolation was used on some trees with reflections to speed things up. For every tree the scheme is similar but with different textures. <br /> <br /> <div align="center"> <img alt="" src="http://www.evermotion.org:8080/exclusiv/RedVFoliageTut/barkshader.jpg" /><br /> Bark material </div><br /> <strong>Leaves</strong><br /> This was the biggest challenge. After several days of testing I decided that I should use VrayMtl with translucency enabled to achieve that special look of the greenery. The other option was to use Vray2SidedMtl, but my tests with it didn't give the results I could achieve with SSS. The main problem that came up was that in order to use SSS, I had to use fog, and fog works with geometry only. This means you can't use opacity maps to shape your leaves. You can't make an object transparent with a texture if it has fog enabled. You also have to have a solid object to use fog with it, that's why the leaves can't be flat. I applied a shell modifier to give them width and thus was able to enable fog (Be careful with the amount of the shell. Don't make it too thin, or the fog won't work. If you get black leaves, check whether it's not because of this). I have the following way of setting up a SSS shader: First I set the refract level to 100%. 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, depending on the thickness). If I want to have some diffuse texture in the shader, I lower the refraction level, making a mix. Then I put a value lower than 1 in the Glossiness slot, 0.8 or 0.6 is great. This is very important, otherwise the translucency won't work properly. You should increase the subdivisions to at least 20 to get a smoother light distribution. The hybrid translucency model worked fine for me. With the light multiplier I control the brightness of the shader. To simulate the "skeleton" of the leave I put a black/white texture for translucent. The other settings are a matter of testing. Of course there's some reflectiveness and bump in the material as well, as you can see in the screenshot. <br /> <br /> <div align="center"> <img alt="" src="http://www.evermotion.org:8080/exclusiv/RedVFoliageTut/leavesmat.jpg" /><br /> Leaf material </div><br /> <div align="center"> <img alt="" src="http://www.evermotion.org:8080/exclusiv/RedVFoliageTut/leavesshader.jpg" /> </div><div align="center"> </div><div align="center"> </div><div align="center"><b>TEXTURING</b></div><div align="center"><b> </b></div><div align="center"><div class="frEx_sectionBodyBrdr" style="width: 900px;"> <div align="justify" class="frEx_imageDescription"> My main source of textures was <a href="http://www.cgtextures.com/" rel="nofollow" target="_blank">www.cgtextures.com</a>. They have great textures there, and even sets of photos for a specific use. I took a set of several bark photos and mixed them to make a tall texture for the trunks. For leaves I used mainly photos, but also did some corrections by hand to make the translucency and bump maps. 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. <br /> <br /> <div align="center"> <div style="width: 420px;"> <img alt="" src="http://www.evermotion.org:8080/exclusiv/RedVFoliageTut/bark2.jpg" style="float: left; margin: 0px; padding: 0px;" /> <img alt="" src="http://www.evermotion.org:8080/exclusiv/RedVFoliageTut/bark2disp.jpg" style="float: left; margin: 0px; padding: 0px;" /> <br style="clear: both;" /> </div><div style="width: 630px;"> <img alt="" src="http://www.evermotion.org:8080/exclusiv/RedVFoliageTut/ACN1_C.jpg" style="float: left; margin: 0px; padding: 0px;" /> <img alt="" src="http://www.evermotion.org:8080/exclusiv/RedVFoliageTut/ACN1_BGtrans.jpg" style="float: left; margin: 0px; padding: 0px;" /> <img alt="" src="http://www.evermotion.org:8080/exclusiv/RedVFoliageTut/ACN1_BG2.jpg" style="float: left; margin: 0px; padding: 0px;" /> <br style="clear: both;" /> </div></div><br /> </div></div><br /> <div class="frEx_sectionBar" style="width: 902px;"><div><b>LIGHTING</b></div></div>The light setup is pretty simple. Direct light for sun, VraySky for GI, and a VrayColor with a boosted RGB multiplier for an environment to be reflected. This makes the reflections brighter. The color mapping is Exponential. The sun light has area shadows turned on to smooth the shadow edges. On some frames I placed planes around the camera to stop the light coming from behind. <br /> <br /> <div align="center"> <img alt="" src="http://www.evermotion.org:8080/exclusiv/RedVFoliageTut/sky.jpg" /><br /> VraySky settings </div><div align="center"> </div><div align="center"> </div><div align="center"><b>RENDER SETTINGS</b></div><div align="center"><b> </b></div><div align="center">I rendered the scenes with irradiance map and brute force engines. Image sampler was DMC with catmull-rom for antialiasing filter. I used the 1-100 technique to get better blurred reflections. You may be unfamiliar with this method, but it's very simple actually. You have to set max subdivisions of the DMC sampler to 100 and uncheck "Use DMC sampler thresh". This way you can control quality and render time with the Clr. thresh setting. It does get slower, but you get much better reflections. The reflection subdivisions in the materials you can leave at 8, everything is controlled with the Clr. thresh setting. <br /> <br /> <div align="center"> <img alt="" src="http://www.evermotion.org:8080/exclusiv/RedVFoliageTut/rendersettings1.jpg" /><br /> Render settings <br /> <br /> <img alt="" src="http://www.evermotion.org:8080/exclusiv/RedVFoliageTut/rendersettings2.jpg" /><br /> Render settings </div><br /> In this scene it was very important to set properly the dynamic memory limit. Since most of the geometry was either displacement or proxies I had to increase the limit as much as possible. The system I was rendering on had 6GB RAM, so I set the dynamic memory limit to 4000MB, leaving some memory for the mesh geometry. After I optimized the displacement and the rendering settings I was able to render a frame in a single pass, however for one of the frames I had to render the grass in a separate pass, because there were too many displacement polygons to be handled. <br /> <br /> To help the postprocessing I rendered multimatte elements for the different trees and materials. I also added a Zdepth channel for the depth of field effect to be applied later in PhotoShop. <br /> <b> </b></div><div align="center"><b> </b></div><div align="center"><b>POSTPRODUCTION</b></div><div align="center"><b> </b></div><div align="center">All of the postproduction for this project was done in Adobe Photoshop using various plug-ins: DFT-55mm, Nik Software Color Efex Pro 3.0,Digital Anarchy-Knoll Light Factory and Richard Rosenman DOF-pro 3.0.This is a step by step tutorial of making the post for one of the five frames but a similar method was used for the other four. <br /> <br /> This is the pure render right from the render machine, there are no corrections. <br /> <br /> <div align="center"> <img alt="" height="640" src="http://www.evermotion.org:8080/exclusiv/RedVFoliageTut/prva_korekcija.jpg" width="640" /><br /> </div><br /> There are two additional passes with the foreground trees and the grass that will be introduced later in the post production. First thing of all, here is to take all of the color channels from the multimatte elements and literally brake the render into layers for easier color correction. This is a method that we use in every project. 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 total of 84 layers of fine adjustments, color correction, curves, "re-paints" and blurs in the final frame. <br /> <br /> The first thing that I did was to generally "light up" the picture a little bit because the original render was too dark. I work the same way every time. First I make a level correction for all the layers, then I start color correcting layer by layer. When I'm happy with the general result, I collapse all the layers and start up some plugins and play around. <br /> <br /> The house on this picture has 3 layers on top of the original. I used levels and curves to give it more contrast, 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. That is all, there is nothing more done to the house. <br /> <br /> <div align="center"> <img alt="" height="640" src="http://www.evermotion.org:8080/exclusiv/RedVFoliageTut/vtora_korekcija.jpg" width="640" /><br /> </div><br /> Now the really tricky part. <br /> <br /> <div align="center"> <img alt="" height="640" src="http://www.evermotion.org:8080/exclusiv/RedVFoliageTut/treta_korekcija.jpg" width="640" /><br /> </div><br /> I put in and color correcte the pass with the displacement grass to match with the rest of the green in the picture, also there is a subtle gradient from dark to white with blending mode set to screen, this will give more depth to the grass. The two foreground 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. All of the leaves had the dodge treatment. In the original render the leaves are made with sub-surface scattering, so I wanted to enhance that and add an extra simulation of the light scattering effect. In the left upper corner are added some additional branches with leaves. The bark of the big tree on the right is "over-painted" and I placed somewhat cool photo filter in its layer. Some of the leafs in this stage are intentionally over exposed or burned, in the next stage I will reintroduce the original render with opacity set to 20 to dial down the burned area. There is also a warm filter applied to all of the leaves in the scene. The background trees have more pronounced dark areas and a little more light from the sky to simulate real world light reflection, they are also desaturated and cooled a little bit to get the effect of depth. A little bit of vignette effect and level adjustments finish this stage. <br /> <br /> Leaves with bokeh effect are added in the foreground, to achieve a similar effect in PS you must find a good Depth Of Field generator, I use Richard Rosenman's DOF-pro it's a wonderful plug-in with a lot of capabilities. In one of the other final pictures there is a branch on focus and the house is fully blurred, there DOF-pro played a big part in achieving the final look. The blur in that frame is made with Z-Depth channel that is loaded as a depth map in DOF-pro, then in the aperture tab the aberration is altered to make the aperture shape. At this stage there is also a curves adjustment layer that affects everything in the scene, the sky is cooled down and a little glow is added to simulate light passing through the leaves. I regularly copy all the layers into a new one on top of them. I do this to preserve layers and previous corrections in case I need to undo. I used DFT 55mm and Nik Software Color Efex Pro for additional color correction. <br /> <br /> Here additional layers are added using the plug-ins. <br /> <br /> <div align="center"> <img alt="" height="640" src="http://www.evermotion.org:8080/exclusiv/RedVFoliageTut/petta_KOREKCIJA.jpg" width="640" /><br /> </div><br /> A foreground plant is added also, and blurred with motion blur. A little bit of chromatic aberration is added, the vignette is strengthened to frame the house better. And this is all, this is the final look and feel of this frame. <br /> <br /> This is our way of working at RED-VERTEX. We make the post production for almost every static picture in the exact same steps. Everything is subjective when it comes to color correction and post-production because everyone perceives colors differently and sees things in his own way. The main thing is to be critical of your work, and of course learn from the best to become one of them. <br /> <b> </b><b> </b> </div><b> </b> </div><b> </b><b> </b> </div><div style="text-align: center;"><b> </b> </div><div style="text-align: center;"><br /> </div></div>

3ds max Red Vertex Foliage Tutorial

Red Vertex Foliage Tutorial SCENE OVERVIEW The scene consists of a round patch of grass, the house in the center and trees surrounding it...

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3ds max tutorial Anisotropic shader tutorial using vray 1.5 final SP 1

<div dir="rtl" style="text-align: right;" trbidi="on"><div style="text-align: center;"><div class="style2" style="height: 7149px; text-align: center; width: 616px;"> <ins style="border: medium none; display: inline-table; height: 15px; margin: 0pt; padding: 0pt; position: relative; visibility: visible; width: 728px;"> </ins><br /> <ins style="border: medium none; display: inline-table; height: 15px; margin: 0pt; padding: 0pt; position: relative; visibility: visible; width: 728px;"> <ins id="google_ads_frame1_anchor" style="border: medium none; display: block; height: 15px; margin: 0pt; padding: 0pt; position: relative; visibility: visible; width: 728px;"> </ins><br /> </ins> <div class="secondMenu" style="text-align: center;"> <span style="color: white;">THIS IS OLD TUTORIAL. IT CAN BE DISPLAYED WRONG OR CORRUPTED - IF SO </span><br /> </div><div class="secondMenu" style="text-align: center;"> <br /> </div><div class="secondMenu" style="text-align: center;"> <img alt="" height="215" src="http://evermotion.org:8080/exclusiv/anisotropicShaderVray/garnki_2.jpg" width="400" /><span style="color: white;"> </span>PLEASE<br /> </div><div id="tut_content"> <div style="text-align: center;"> <style type="text/css"> body { background-color: rgb(0, 0, 0); }.frEx_sectionBar { background-color: rgb(74, 74, 74); margin: 0px; font-size: 12px; }.frEx_sectionBar div { padding: 3px; }.frEx_sectionBodyBrdr { border: 1px solid rgb(74, 74, 74); }.frEx_imageDescription { color: rgb(132, 134, 142); }.frEx_imageDescription div img { border: 1px solid rgb(255, 255, 255); }.frEx_imageDescription a { color: rgb(255, 255, 255); }.frEx_imageDescription div { padding: 2px 3px 3px; } </style> <br /> <div style="width: 725px;"> <img alt="" src="http://evermotion.org:8080/exclusiv/anisotropicShaderVray/tutorialTitle.jpg" /> </div></div><div class="frEx_sectionBodyBrdr" style="text-align: center; width: 910px;"> <div class="frEx_sectionBar" style="width: 660px;"> <b>INTRODUCTION</b><br /> </div><div align="justify" class="frEx_imageDescription"> <div class="style1">Hello, in this tutorial I will show you how to create realistic steel shader with anisotropic reflections.</div><div class="style1">We can observe this effect quite often in real life. Here are some reference photos: </div><div class="style1"><br /> </div><div class="style1"> <img alt="" height="302" src="http://evermotion.org:8080/exclusiv/anisotropicShaderVray/introduction_01.jpg" width="640" /> </div></div></div><div style="text-align: center;"> <br /> <br /> </div><div class="frEx_sectionBodyBrdr" style="text-align: center; width: 910px;"> <div class="frEx_sectionBar" style="height: 28px; width: 518px;"> <b>MODELING</b><br /> </div><div align="justify" class="frEx_imageDescription" style="width: 663px;"> <div class="style1" style="width: 610px;">First of all let's create model of the pot. Create it's profile using spline, next use loft modifier and move its axis to center and then convert it to editable poly. </div><div class="style1"><br /> </div><div class="style1" style="width: 643px;"> <img alt="" height="467" src="http://evermotion.org:8080/exclusiv/anisotropicShaderVray/3.jpg" width="640" /> </div><div class="style1">Use chamfer and connect to make proper edges.</div><div class="style1">To view final result add turbosmooth modifier with 2 iterations. </div><div class="style1"><br /> </div><div class="style1"> <img alt="" height="467" src="http://evermotion.org:8080/exclusiv/anisotropicShaderVray/4.jpg" width="640" /> </div><div class="style1">Create top using cylinder, then bevel and extrude center faces to make upper part. </div><div class="style1"><br /> </div><div class="style1"> <img alt="" height="467" src="http://evermotion.org:8080/exclusiv/anisotropicShaderVray/6.jpg" width="640" /> </div><div class="style1">The handle is created with simple box modeling with shell and turbo smooth. </div><div class="style1"><br /> </div><div class="style1" style="width: 635px;"> <img alt="" height="461" src="http://evermotion.org:8080/exclusiv/anisotropicShaderVray/handle.jpg" width="640" /> </div></div></div><div style="text-align: center;"> <br /> <br /> <style type="text/css"> body { background-color: rgb(0, 0, 0); }.frEx_sectionBar { background-color: rgb(74, 74, 74); margin: 0px; font-size: 12px; }.frEx_sectionBar div { padding: 3px; }.frEx_sectionBodyBrdr { border: 1px solid rgb(74, 74, 74); }.frEx_imageDescription { color: rgb(132, 134, 142); }.frEx_imageDescription div img { border: 1px solid rgb(255, 255, 255); }.frEx_imageDescription a { color: rgb(255, 255, 255); }.frEx_imageDescription div { padding: 2px 3px 3px; }.style1 { text-align: center; }.style2 { margin-right: 0px; } </style> <br /> </div><div class="frEx_sectionBodyBrdr" style="width: 910px;"> <div class="frEx_sectionBar" style="text-align: center; width: 912px;"> <b>CREATING SHADER</b><br /> </div><div align="justify" class="frEx_imageDescription"> <div style="text-align: center;"> Now we are going to create steel shader. Here are settings for this material. It is quite simple, there is scratch map put in bump slot to achieve subtle brushed metal effect. Use cylindrical uvw mapping on each part of the pot And then convert object to poly. <br /> <br /> <img alt="" src="http://evermotion.org:8080/exclusiv/anisotropicShaderVray/shader_01.jpg" /> <br /> Now we have to create anisotropic shader for the bottom part. <br /> <br /> Anisotropic material settings: <br /> <br /> <img alt="" height="626" src="http://evermotion.org:8080/exclusiv/anisotropicShaderVray/shader_02.jpg" width="640" /> <br /> Here are maps used in reflection and normal bump slots:<br /> <a href="http://evermotion.org:8080/exclusiv/anisotropicShaderVray/radial_reflect.jpg"> Get full resolution reflect map</a><br /> <a href="http://evermotion.org:8080/exclusiv/anisotropicShaderVray/radial_normal.jpg"> Get full resolution normal map</a> <br /> <br /> Very important thing to do is set BRDF to Ward mode. This mode behaves much more physically correct than phong or blinn. <br /> </div><div class="style1"><br /> </div><div class="style1"> <img alt="" src="http://evermotion.org:8080/exclusiv/anisotropicShaderVray/BRDF_types.jpg" /> </div><div class="style1">I deleted faces from the bottom and then caped the hole, to make it completely planar surface. Select this face and apply UVW modifier to it, select planar mapping. Check if gradient map from anisotropy rotation is properly placed by displaying it in viewport. </div><div class="style1"><br /> </div><div class="style1"> <img alt="" height="467" src="http://evermotion.org:8080/exclusiv/anisotropicShaderVray/9.jpg" width="640" /> </div><div style="text-align: center;"> Now just Apply this material to selected bottom face of our pot.<br /> If shader doesn't work you may have to change UV vectors derivation is anisotropy settings. That's all, here is final render with a a little post production in PS: <br /> </div><div class="style1"><br /> </div><div class="style1"> <img alt="" height="344" src="http://evermotion.org:8080/exclusiv/anisotropicShaderVray/garnki_2.jpg" width="640" /> </div><div style="text-align: center;"> Here is complete scene with camera and studio setup:<br /> </div><div style="text-align: center;"> <a href="http://evermotion.org:8080/exclusiv/anisotropicShaderVray/scene.zip"> scene.zip</a><br /> </div></div></div></div></div></div></div>

3ds max tutorial Anisotropic shader tutorial using vray 1.5 final SP 1

THIS IS OLD TUTORIAL. IT CAN BE DISPLAYED WRONG OR CORRUPTED - IF SO  PLEASE ...

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3ds Max tutorialsFinal Gather Tutorial Introduction

<div dir="rtl" style="text-align: right;" trbidi="on"><div class="secondMenu" style="color: black; text-align: center;"><b>Final Gather Tutorial Introduction</b></div><b style="color: white;"><img alt="" height="207" src="http://www.evermotion.org/files/tutorials_content/francisco_p/BANER.jpg" width="640" /></b> <br /> <div class="secondMenu" style="color: white; text-align: center;"><b>Introduction</b></div><div></div><div id="tut_content" style="text-align: center;"><style type="text/css"> #tut_content { font-size: 15px; background-color: rgb(27, 27, 27); }p { padding: 5px; } </style> <br /> <div style="color: white;">Hi, the following tutorial will be part of a series of 2 tutorials explaining the basics of rendering with 3d Max and Mental Ray, I'm actually using the version 2009 of 3D max but the same concepts can be applied to the newest version 2010. This tutorial is not trying to explain in depth all the features of Global Illumination with Mental Ray, I would like to explain the most important concepts that will help you to develop your own rendering technique and apply this knowledge to different scenes in a optimal way, with out over-killing values that will only increase your render time. </div><div style="color: white;">To start we open the rendering menu, select the indirect illumination option, basically Mental Ray has 2 way to simulate indirect illumination, one is called Final Gather the other one is Global Illumination. I will cover Final Gather only in this tutorial. <b><br /> <br /> In the Final Gather window the first scroll control, configure FG with different preset values, as you can see, this preset can be easily used in a production environment, but from time to time you'll need some extra tweaking of these values, to get the optimum result between render time and quality. <br /> <br /> This area is the core of FG and this values are the fist that we should play with.</b></div><div style="color: white;"><b><img alt="" src="http://www.evermotion.org/files/tutorials_content/francisco_p/001.jpg" style="margin-left: auto; margin-right: auto;" /></b></div><div style="color: white;"><b>Initial FG point density: control how “dense” or how many FG rays are in one sample area, that means when the bigger these values are, the more FG ray will be concentrate in one area, then your solution will be more precise, but the FG calculation will take longer.</b></div><div style="color: white;"><b><img alt="" src="http://www.evermotion.org/files/tutorials_content/francisco_p/002.jpg" style="margin-left: auto; margin-right: auto;" /></b></div><div style="color: white;">Rays per FG point: This controls how many ray of FG are counted for your solution, more rays, more precision, but at cost of render time, this is one of the controls that I play the most.</div><div style="color: white;"><b><img alt="" src="http://www.evermotion.org/files/tutorials_content/francisco_p/003.jpg" style="margin-left: auto; margin-right: auto;" /></b></div><b style="color: white;"><br /> </b> <br /> <div style="color: white;"><b>A D V E R T I S E M E N T<br /> <ins style="border: medium none; display: inline-table; height: 250px; margin: 0pt; padding: 0pt; position: relative; visibility: visible; width: 300px;"><ins id="google_ads_frame2_anchor" style="border: medium none; display: block; height: 250px; margin: 0pt; padding: 0pt; position: relative; visibility: visible; width: 300px;"></ins></ins></b> </div><b style="color: white;"><br /> </b> <br /> <div style="color: white;">Interpolate over number of FG point: This option controls how many ray are merged or how many rays are counted to get one average lighting information, this can speed up your render time and mostly smooth some dark areas of you FG solution, but if you over use it the Indirect illumination solution will be less precise and also can create some over bright areas.</div><div style="color: white;"><b><img alt="" src="http://www.evermotion.org/files/tutorials_content/francisco_p/004.jpg" style="margin-left: auto; margin-right: auto;" /></b></div><div style="color: white;">Diffuse bounces: This control how many bounces in the scene a FG ray will have before it return the light information, when more bounces, the scene will tend to be more illuminated, but the render time will be longer.</div><div style="color: white;"><b><img alt="" src="http://www.evermotion.org/files/tutorials_content/francisco_p/005.jpg" style="margin-left: auto; margin-right: auto;" /></b></div><br /> .So let's get started with a practical exercise. I will work with the Sponza Atrium scene, from Marko Dabrovic(mdabrov@rna.hr) well known to many of you<br /> <br /> <br /> <embed align="middle" height="600" name="movie1" pluginspage="http://www.macromedia.com/go/getflashplayer" quality="high" src="http://www.evermotion.org/files/tutorials_content/francisco_p/FinalGatherTutorial_part1.swf" type="application/x-shockwave-flash" width="600"></embed><br /> <br /> <embed align="middle" height="600" name="movie2" pluginspage="http://www.macromedia.com/go/getflashplayer" quality="high" src="http://www.evermotion.org/files/tutorials_content/francisco_p/FinalGatherTutorial_part2.swf" type="application/x-shockwave-flash" width="600"></embed><br /> <br /> <embed align="middle" height="600" name="movie3" pluginspage="http://www.macromedia.com/go/getflashplayer" quality="high" src="http://www.evermotion.org/files/tutorials_content/francisco_p/FinalGatherTutorial_part3.swf" type="application/x-shockwave-flash" width="600"></embed><br /> <br /> </div></div>

3ds Max tutorialsFinal Gather Tutorial Introduction

Final Gather Tutorial Introduction Introduction Hi, the following tutorial will be part of a series of 2 tutorials explaining the basic...

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3ds max Modeling and rendering tutorial by Alfa Smyrna

<div dir="rtl" style="text-align: right;" trbidi="on"><div style="text-align: center;"><div class="secondMenu">Modeling and rendering tutorial by Alfa Smyrna</div><img alt="" height="420" src="http://www.evermotion.org/files/tutorials_content/alfa_smyrna/glowny.jpg" width="640" /> <br /> <div class="secondMenu">Introduction</div><div id="tut_content"><style type="text/css"> #tut_content { font-size: 15px; } </style> Hi, Thanks for Evermotion team for this great site and Thank you to all who gave me feedback and encouragement. I will try to tell you my Making Of Story for my Bedroom Concept. I hope you find my tutorial useful. <br /> <div class="secondMenu">1. Concept and Workflow</div>I believe that making sketches is a vital step in designing architecture or objects ; as well as for designing the images. For this bedroom, I took a slightly different workflow. I can call it "sketching in 3d" First, I had vision of this bedroom on my mind. I was imagining the sun falling down into the room, I was imagining about the wallpaper and bed. All of this formed a strong and clear vision and I found myself choosing chairs for my virtual bedroom, and designing some of the furniture myself. After making few basic sketches of furniture I design, I started building/modelling the room. Sketching in 3d, provided a lot of space and time for me to concentrate on forms, surfaces, materials. As I was modelling each element, at the same time I was thinking of each element as a part of the whole, and concentrating on the whole design. <br /> <br /> <br /> <div class="secondMenu">1.Modelling</div>Most of the models of basic poly-modelling as you see in the images. Poly-modelling is a strong tool which I am learning myself as well. I will not discuss the basic poly-modelling techniques inside this Making Of Story as there are many tutorials about this. <br /> <br /> <br /> <div style="text-align: center;"><img alt="" height="360" src="http://www.evermotion.org/files/tutorials_content/alfa_smyrna/Mod_01.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></div><div style="text-align: center;"><img alt="" height="360" src="http://www.evermotion.org/files/tutorials_content/alfa_smyrna/Mod_02.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></div><div style="text-align: center;"><img alt="" height="360" src="http://www.evermotion.org/files/tutorials_content/alfa_smyrna/Mod_03.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></div><div style="text-align: center;"><img alt="" height="403" src="http://www.evermotion.org/files/tutorials_content/alfa_smyrna/Mod_04.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></div><div style="text-align: center;"><img alt="" height="403" src="http://www.evermotion.org/files/tutorials_content/alfa_smyrna/Mod_05.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></div><h4>Modelling the Bedcover :</h4>I used Max Cloth Simulator for creating the bedcover and other cloths except the pillows. Pillows are created with Simcloth plug-in, just for experimenting. Both plug-ins give great results. The idea and workflow is similar so you can carry out the same process with any of them. First start with a plane with adequate segments and apply cloth modifier to this plane. <br /> <br /> <div style="text-align: center;"><img alt="" height="360" src="http://www.evermotion.org/files/tutorials_content/alfa_smyrna/Mod_06.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></div><br /> <br /> Go to Object properties and assign this object to behave as cloth during simulation. Add all the rest of the elements that are part of the simulation and assign them to be collision objects. Here in my example, bed sheet, frames, bed feet and even floor is assingned to be collision object as I didn't exactly know how cloth will fall. You can see all the settings in the images below. <br /> <br /> <div style="text-align: center;"><img alt="" src="http://www.evermotion.org/files/tutorials_content/alfa_smyrna/Mod_07.jpg" style="margin-left: auto; margin-right: auto;" /></div><div style="text-align: center;"><img alt="" src="http://www.evermotion.org/files/tutorials_content/alfa_smyrna/Mod_08.jpg" style="margin-left: auto; margin-right: auto;" /></div><br /> <br /> Now all you need to do is press "simulate" button and wait for the bedcover to fall.You don't even need to animate the cover because it will fall down automatically due to the gravity. I saved the simulation as a video to give you an idea. <br /> <br /> <div id="vimeo_content" style="text-align: center;"></div><div class="secondMenu">3. Pre-Lighting</div>Before starting texturing work, I always try to make up a basic light setting to test my shaders and to see how my textures look. I find the daylight setting best for my purpose. I usually make a "final lighting" stage after I put my shaders and textures. For this project, "final lighting" was not necessary as I always imagined this bedroom in a bright sunny late morning. Some little tweaks was enough at the final lighting stage. I use Vray for my rendering and I love it so much. So for my daylight, I used the VraySun-VraySky and the VrayCamera. When you add a VraySun in your scene, VraySky is automatically replaces the Max Environment map and they are linked to each other so setting up my lighting was very easy. Here are the settings and wireframe image: <br /> <br /> <div style="text-align: center;"><img alt="" height="402" src="http://www.evermotion.org/files/tutorials_content/alfa_smyrna/Lighting_01.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></div><div class="secondMenu">4. Texturing</div>When basic daylight was set, I moved onto the texturing step. I downloaded many textures from www.cgtextures.com. This is a great site with many nice free textures. I find it very useful. 90% of the objects have a basic UVW Mapping, standard planar maps, box maps or cylindrical maps. The round top element of the Fur Chair has an unwrap modifier. I used spline mapping to adjust the UV coordinates of this part. It is very easy and basic. After you create the spline to follow, you will pick it up from the rollout. You can see my settings and you can see the spline. (in white) <br /> <br /> <br /> <div style="text-align: center;"><img alt="" height="325" src="http://www.evermotion.org/files/tutorials_content/alfa_smyrna/Texturing_01.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></div><div style="text-align: center;"><img alt="" height="403" src="http://www.evermotion.org/files/tutorials_content/alfa_smyrna/Texturing_02.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></div><br /> <br /> Below is one of the wood materials and its component maps. It is a basic shader- only some tweaking and testing is needed. The rest of the materials inside scene are on the same basis. <br /> <br /> <div style="text-align: center;"><img alt="" height="173" src="http://www.evermotion.org/files/tutorials_content/alfa_smyrna/Texturing_03.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></div><div style="text-align: center;"><img alt="" height="403" src="http://www.evermotion.org/files/tutorials_content/alfa_smyrna/Texturing_04.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></div><br /> <br /> <h4>Creating the Wallpaper Texture</h4>First make your own custom brush. Draw circles with a brush tool. You can play with different settings of the brush to create the exact circle you have on your mind. <br /> <br /> <div style="text-align: center;"><img alt="" height="491" src="http://www.evermotion.org/files/tutorials_content/alfa_smyrna/Texturing_05.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></div><br /> <br /> You can see the rest of the process in steps in the image below. After I choosed my base color, I created a pattern on top of this diffuse color out of gradient texture to give a touch sense in the 3rd dimension on the wallpaper texture. <b>Color Correct</b>: Then I had some color correction on this texture. It was a subtle change but I am very picky about my colors so this change was significant for me. You can make color correction with Hue Saturation Adjustment Layer or Color Balance Adjustment Layer or Curves Correction. Hint: It is essential to use adjustment layers (and fun) because you can easily change things without harming the original image and can always revert back or change more. <b>Variance</b>: What I had in mind was combination of a vintage base with a more pure and stylised pattern on top. I wanted to create some variance on my texture. You can easily make this by brushing in different blend modes (usually in black or white in different opacity). Another way to make this is to use dodge and burn. Hint: I try to work everything on seperate layers so I can adjust the opacity individually. Moreover it is fun to experiment with different blend modes. So I made the new strokes on a seperate layer. <b>Circles</b>: I changed my brush to the brush I have previously created. I adjusted the flow and scattering and scale to have varying rhytms of circles. Then I freely brushed on my canvas the circles. This was the most fun part because circles interact and form very nice flows and you can feel it under your hand. Again, if you work on a seperate layer, you can manipulate this layer with more control. Moreover, having the circles on a seperate layer, will make it easier for you to make the final color correction. <br /> <br /> <div style="text-align: center;"><img alt="" height="426" src="http://www.evermotion.org/files/tutorials_content/alfa_smyrna/Texturing_06.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></div><br /> <br /> <div class="secondMenu">5. Effects</div><b>DOF</b> Using Vraycamera also gave me chance to experiment and get familiar with VrayDOF. In future works, I want to experiment with DOF in post-production but for this project I wanted to stick to VrayDOF which is just a setting of VrayCamera. So it is easy to setup with one click, but it is important to remember that it will increase your render times. After making few basic tests,I kept this parameter off until the final renders. <br /> <br /> <br /> <div style="text-align: center;"><img alt="" src="http://www.evermotion.org/files/tutorials_content/alfa_smyrna/Effects_01.jpg" style="margin-left: auto; margin-right: auto;" /></div><div style="text-align: center;"><img alt="" height="640" src="http://www.evermotion.org/files/tutorials_content/alfa_smyrna/Effects_02.jpg" style="margin-left: auto; margin-right: auto;" width="515" /></div><br /> <br /> <b>Hair and Fur</b> After I modeled the chair, first, from the modifiers panel, I added Hair and Fur Modifier, which is under World Space Modifiers. You can see the parameters I used in the image below. <br /> <br /> <div style="text-align: center;"><img alt="" height="339" src="http://www.evermotion.org/files/tutorials_content/alfa_smyrna/Effects_03.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></div><br /> <br /> The fur will not look like as you see in the image at first hand because we have to "style" it. This step makes fur look realistic because we comb the the fur as we like with a brush. When we click on the "Style Hair" Button, you will see the hair guides. We will shape these guides with our brush and our fur strands will follow. <br /> <br /> <div style="text-align: center;"><img alt="" height="366" src="http://www.evermotion.org/files/tutorials_content/alfa_smyrna/Effects_04.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></div><br /> <br /> First start with adjusting the size of your brush. You can select hair guides individually or in groups. The selection menu is very detailed. Hint: At first, I selected all guides and tried to give the general look I wanted. (I will explain how to brush and style in the next part) As the second step, I selected guides in groups and continued brushing. For fine-tuning, you can even select edges or roots of hair or single vertex like in sub-object mode. <br /> <br /> <div style="text-align: center;"><img alt="" src="http://www.evermotion.org/files/tutorials_content/alfa_smyrna/Effects_05.jpg" style="margin-left: auto; margin-right: auto;" /></div><br /> <br /> Under Style Roll-out, there are many tools as you see in the image. We will use some of them to brush our fur. Here I paste some definitions of these terms from 3dsMaxHelp File: <br /> <ul><li><b>Hair Cut</b> - Lets you trim the guide hairs. To cut hair.</li> <li><b>Translate</b> - Moves selected vertices in the direction that you drag the mouse.</li> <li><b>Stand</b> - Pushes selected guides toward a perpendicular orientation to the surface</li> <li><b>Rotate</b> - Rotate or swirls guide hair vertices around the cursor location (at the center of the brush).</li> <li><b>Attenuate Length</b> - Scales selected guides according to the surface area of underlying polygons.</li> <li><b>Recomb</b> - Makes a guide parallel to the surface, using the guide's current direction as a hint.</li> <li><b>Clump</b> - Forces selected guides to move towards each other (drag mouse leftward) or farther apart (drag mouse rightward).</li> </ul>Now you start styling, cut it where you need. As you brush, you will see that fur changes shape. You can move the strands in any direction you want, rotate them individually or in groups, clump them so they can move towards like a bunch. You can shape up your fur according to your imagination. Hint: It is easier to understand when trying to make it. Here, it sounds more complicated than it is. Start brushing and play with tools and you will see you get nice results. Here is the result after I styled it: <br /> <br /> <div style="text-align: center;"><img alt="" height="366" src="http://www.evermotion.org/files/tutorials_content/alfa_smyrna/Effects_06.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></div><div style="text-align: center;"><img alt="" src="http://www.evermotion.org/files/tutorials_content/alfa_smyrna/Effects_07.jpg" style="margin-left: auto; margin-right: auto;" /></div><br /> <br /> Don't forget to turn on the Hair-Fur effect from Effects rollout. You can disable this to save RAM when the fur object is not in the visible POV. <br /> <br /> <div style="text-align: center;"><img alt="" height="640" src="http://www.evermotion.org/files/tutorials_content/alfa_smyrna/Effects_08.jpg" style="margin-left: auto; margin-right: auto;" width="632" /></div><br /> <br /> <div class="secondMenu">6. Final Lighting</div>My target was a sunny look for my Bedroom. I didn't need to re-design lighting but only tweaking exact position of sun and how it falls into my room for fine-tuning and tweaking few camera shutter-speed settings. So there is not much to tell or show for this stage but I wanted to include it to give idea of my workflow. <br /> <br /> <br /> <div class="secondMenu">7. Rendering</div>I rendered the scene with Vray which I like very much. Here are the render settings: <br /> <br /> <br /> <div style="text-align: center;"><img alt="" src="http://www.evermotion.org/files/tutorials_content/alfa_smyrna/Rendering_01.jpg" style="margin-left: auto; margin-right: auto;" /></div><div style="text-align: center;"><img alt="" src="http://www.evermotion.org/files/tutorials_content/alfa_smyrna/Rendering_02.jpg" style="margin-left: auto; margin-right: auto;" /></div><div style="text-align: center;"><img alt="" src="http://www.evermotion.org/files/tutorials_content/alfa_smyrna/Rendering_03.jpg" style="margin-left: auto; margin-right: auto;" /></div><br /> <br /> It is hard to tell about rendering times because I usually left each render when I go to sleep and found it ready when I wake up. During this project, the hard disk containing this project gave me big problems because of a bad sector. Luckily I was able to finish the renders and the project without a file loss :) <br /> <div class="secondMenu">8. Post-Production</div>There is not heavy post-production. Only little color correction and adjusting contrast. I also added some glow. I tried to paint the glow by hand by adjusting with levels and blurring the layers. Check this thread on Evermotion.org forum. <a href="http://www.evermotion.org/vbulletin/showthread.php?t=78852">My Bedroom Design</a> <br /> <br /> <br /> <div style="text-align: center;"><img alt="" height="640" src="http://farm5.static.flickr.com/4055/4340316396_e7c1262187_o.jpg" style="margin-left: auto; margin-right: auto;" width="512" /></div><div style="text-align: center;"><img alt="" height="629" src="http://farm3.static.flickr.com/2765/4340317040_311a44fe23_o.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></div><div style="text-align: center;"><img alt="" height="533" src="http://farm5.static.flickr.com/4031/4340316672_1276dd97a0_o.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></div><div style="text-align: center;"><img alt="" height="640" src="http://farm5.static.flickr.com/4020/4339572893_fff02e1071_o.jpg" style="margin-left: auto; margin-right: auto;" width="519" /></div><div style="text-align: center;"><img alt="" height="470" src="http://farm5.static.flickr.com/4067/4339572731_a11bb7d7e3_o.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></div><div style="text-align: center;"><img alt="" height="613" src="http://farm5.static.flickr.com/4067/4339573181_000576a9ac_o.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></div><div style="text-align: center;"><img alt="" height="640" src="http://farm5.static.flickr.com/4009/4340316776_f05c17f2f0_o.jpg" style="margin-left: auto; margin-right: auto;" width="525" /><br /> <br /> <br /> </div></div></div><br /> </div>

3ds max Modeling and rendering tutorial by Alfa Smyrna

Modeling and rendering tutorial by Alfa Smyrna Introduction Hi, Thanks for Evermotion team for this great site and Thank you to all ...

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