CG Education. Shading A Hard Surface Model 2015: Texturing A SciFi Power CellBy Neil BlevinsCreated On: Nov 7th 2015 Are you a 3d Concept Artist who uses Keyshot but wishes its materials were more flexible and it had better painting capabilities?
Are you a Texture Artist who works on the final asset, but are tired of waiting for complex models with thousands of parts to be UVd? Well this video tutorial shows how I texture the hard surface model of a scifi power cell using a projection painting technique that requires no UV unwrapping and gives you far more flexibility than Keyshot provides while still retaining the speed. The tutorial is for 3dsmax and vray, but the ideas can be applied to your 3d package and renderer of choice. 33 min video, $1Shading A Hard Surface Model 2015: Texturing A SciFi Power Cell Video Tutorial (Gumroad, accepts Credit Card and Paypal) The video is also freely available on youtube, but the quality is not as high, and its not downloadable.
Needed Plugins and Scripts. Procedural Sand. Free Vray Shaders. Realistic Terrain. IES lights with VRay. Rendering Very Large Images - V-Ray 3.2 for 3ds Max Help - Chaos Group Help. Create an Ivy Covered Tree Stump with 3ds Max, Ivy Gen, and VRay. Ryse_moss_tutorial_zenpat.pdf. Procedural V-Ray Sand Material by Javier Pintor. Materialism 1.5 – rough metal. There are many types of metal, many uses for it, and thus more than one way metal ages.
Here, I’m picking a few arbitrary examples and how I would go about recreating a specific look in 3ds Max and Vray, using an object modeled for my Haussmann series and a more complex material than those I went through in the first Materialism post. While this shader is object-specific, it may yield a few general principles to be applied to a range of metals. The render above shows the final result. Materialism (1) As promised, I wanted to follow up on my Eames series with a few pointers about the materials created for the chairs.
This is the first in a series of mini how-to tuts about materials. The Eames chairs are a good place to start. They all use materials that are meant to show some age, a certain vintage quality and patina, yet are as simple as materials can get.
Vray 2.0 materials guide. An in depth look at each setting within a V-Ray material.
You can jump to a specific section using the links below. DiffuseReflectionRefractionTranslucencyBRDFOptionsMapsReflect/Refract interpolation Diffuse Diffuse This is the actual colour of the surface, reflection and refraction colours can affect the visual appearance of this colour. Roughness Can be used to simulate dust on a surface by controlling the way the surface reflects direct light. Reflection Reflect Like diffuse it uses a colour value to determine the reflection strength.
Fresnel reflections Most materials except metals have a Fresnel reflection, making the reflection strong at glancing angles but weak at more front on angles. Fresnel IOR IOR stands for index of refraction and is used to measure how light refracts through a surface relative to the viewing angle (Yourself), confusing at first but read on. Hair & Fur in 3D Studio Max.
Following a great thread in the finished works section of the forums, pixela was very kind to send me a little ‘How-To’ about the the use of 3D Studio Max’s Hair & Fur modifier you can see on the chair in the image above.
I hope you’ll enjoy this article, even though it is just a small taste of what could be achieved with this great modifier. In my 3d interior visualization scene ‘Bedroom Concept’ I had one chair with fur which many people asked me to write a small tutorial about. Here I will try to explain the process of making it using 3D Studio Max internal Hair & Fur modifier.
I used poly modeling techniques for creating the chair, but I won’t elaborate on that any further since I’m focusing on the use of the Hair & Fur modifier I applied on the chair after I finished it’s modeling. So… While the chair is selected, from the modifiers panel, you add Hair & Fur modifier (under World Space Modifiers). First you should start with adjusting the size of your brush. 3D Underwater Scene. 14 May 2010 In this tutorial we’re going to create an underwater scene in 3ds Max.
We’re going to create a deep blue sea with light rays and bubbles. Making of Maison Hermes 3d render – 3D Architectural Visualization Rendering Blog - Ronen Bekerman. Roberto De Rose from State of Art studio posted his great ‘Maison Hermes’ image at the forum not long ago.
I was very impressed with that 3d rendering of Renzo Piano’s building and asked him to share with us how he created it. I hope you’ll enjoy this article and learn from it as much as I did! Author: Roberto De Rose (Cepp) Roberto is a Director at State of Art Studio – An architectural visualization studio based in Italy. Visit their website at – www.stateofartstudio.com Hi everyone, welcome to the Maison Hermes Making of. Let’s start! Project Manager. Author Name: Alexander Kramer Project Manager - Asset Browser for 3ds Max Easy to organize and use 3ds Max models, materials, textures and lights.Interactive rendering previews for materials and IES files.Show native previews for 3ds Max files, HDRI & etc.Search files by tags and file-names.Missing external files management.Support to most used renderers like Vray, Corona, Octane, Mental Ray, Maxwell & etc.
Changes for Project Manager v.2.31.12: Updates the studio for rendering previews for materials. Update History for all versions. Quick Start Frequently Asked Questions Main Features Simple adding the models, materials, textures and IES into the sceneCataloging libraries of models, materials, textures and IESSync database on network. Asset Tracking Misc Features. Vray Linear WorkFlow Different ways to add Gamma in your renders. Share with your friends!
Every real device to take pictures adds gamma. We actually are “producers” of images and we need to correctly setup the gamma in 3ds Max, in order to imitate the behavior of real cameras. In 3ds Max the options we have to add gamma are various: Compositing V-ray Render Layers in Photoshop. In this tutorial Ahmed Fathi takes a look at how to composite together V-ray render layers using blending-modes and masks in Photoshop.
Once completed, this process allows you to change or tweak any aspect of your image in seconds without having to re-render a thing! Ahmed also covers a few extra post production techniques such as Chromatic Aberration and Depth Of Field, as well as how to emulate a Cross-processed look. Republished Tutorial Every few weeks, we revisit some of our reader's favorite posts from throughout the history of the site.
This tutorial was first published in July of 2010. V-Ray Render Optimization. Intro This tutorial attempts to cover the process of optimizing your V-Ray render settings to get the best possible render quality and fastest render time for a given scene. There's often a lot of confusion surrounding V-Ray's sampling methods and what 'ideal' settings are. Many times you'll see artists adopt the 'Universal V-Ray Settings' of having the Image Sampler (Anti-Aliasing, or AA) Max Subdivs value set very high (like 50 or 100), and then simply lowering the noise threshold value until the render becomes clean enough - thinking that it's the best / fastest that V-Ray can do.