Tutorial :: VRay Render Settings for Interior Visualisation An advanced guide to the interior rendering of still images within Chaos Group Vray and Autodesk 3ds Max. Most will argue that there are no “universal settings” for Vray and I tend to agree. But there are steps you can take in order to get close to what you need for the majority of interior visualisation. There are many other guides out there that offer similar and different approaches to Vray rendering but I have found some techniques to be somewhat confusing and hard to follow. Before I start, I would like to point out that I will be using a linear workflow with a gamma 2.2 setup within 3ds Max and Vray. I also use the Vray physical camera, information on how to set the camera up correctly can be found here. Please click on any of the links at the top of the page to jump to a specific section within this post. In the Vray Render Setup go to Vray frame buffer and tick enable built-in frame buffer and leave the other settings as they are. You can also turn displacement off (Optional).
Graphismologie Tutorial: Multipass rendering in Maya and Mental Ray Monday, July 12th, 2010 | Article by Gustavo Eggert Boehs This tutorial shows a workflow for rendering 3D scenes in separate passes and compositing these renderings for finer control. The 3D rendering will be done in Maya, using Mental Ray and its “mia_x_Passes” materials, that allow the output of all information used by the shader at render-time. The compositing of these renderings will be done in Nuke using OpenEXRs in a linear workflow. IntroductionSeparating scene elements in contribution mapsSeparating passes for each contribution mapSaving multi-layer OpenExr filesCompositing shaders in NukeWriting custom color buffers Scene Files for Tutorial Chapter 1 – Introduction Chapter 2 – Contribution Maps Chapter 3 – Passes Chapter 4 – Multi-layer OpenEXR files Chapter 5 – Compositing shaders in Nuke Chapter 6 – Writing custom color buffers Author Bio Gustavo Eggert Boehs has a degree in Graphic Design by the Federal University of Santa Catarina,Brazil.
mental ray family ::: Blog non-officiel consacré à mental ray et 3dsmax - Linear Workflow avec 3dsmax Tutorial :: Autodesk 3ds Max and Vray Camera Matching – Part Two In part two we will be looking at how to light the scene once you have camera matched it to a photo, commonly known as a back plate. In case you haven’t read the first part of the tutorial, you can view it here. Please note this tutorial will not cover materials. The materials have already been created and applied. To correctly illuminate the scene, a HDR image will be used as a light source as well as a reflection. On this occasion I have considered an alternative method for creating a HDR image. The purpose of the lens is to capture a full 360° spherical panoramic image that can be mapped as a spherical environment inside Autodesk 3ds Max. For best results you should mount the iPhone on to a tripod to keep the camera steady and in the same location. HDR images are commonly created from RAW files, each holding different exposure information. Once you have downloaded your spherical panoramic image from your Pixeet album, open it in Adobe Photoshop. Img01.png = -2EV Img02.png = -1EV
French School of CG заметки и уроки: Кожа | Skin Бывает нужно быстро сделать кожу, а шаблонов под рукой нет. В этом уроке я приведу очень простой пример создания фактуры кожи стандартными средствами Zbrush. Используемые инструменты: 1. 2. 1. 1.1. 1.2. 2. 2.1. 2.2.Появится окно настроек модификатора Noise. а) Scale (масштаб) - 4. б) Strength (сила) - -0.008. в) Focal shift (заполняемость) - 85. 2.3. Это необходимо для того, чтобы ограничить количество генерируемого шума при "запекании" его на объекте. 2.4. 3. Применив материал SkinShade4 и поигрався с настройками Specularuty, Colorize Diffuse, Colorize Ambient я приблизился к своей цели: 4. Итак, для добавления деталей, используем дополнительные кисти, которые находятся в LightBox. 4.1. Интенсивность - 12. 4.2. а) Standard (Drag direct + Alpha 04, Intensity - 50) - делаем кожные неровности, родинки и т.п. б) Clay (Drag direct + Alpha 04, Intensity - 13) - Растягиваем по всей поверхности для добавления общего шума и неровности. Далее - все ваша фантазия!
Rendering of the Car: An Approach to a Creation of the Studio - Page 3 We apply the most usual material for the object, changing only a color. Increasing the reflectivity of the studio will strongly affect the picture. All depends on the initial idea, therefore there are a lot of variants. Now, we will try to create the light source in our studio. When we loaded the model, we are feeling a temptation to throw the light immediately, but it is initially wrong. First, let's try to set the one light source to accent the shape and illumine the car. In this case, you can see the overexposure. We adjusted the brightness and obtained this result:
Tutorial :: Autodesk 3ds Max and Vray Camera Matching – Part One Placing a 3d render within an existing photo is a process that I am frequently asked to do for clients. Usually this is referred to as camera matching or as an in situ render. If completed correctly, the end result can give a realistic interpretation of the project. This is the first of two tutorials, giving an in depth explanation of how to set up the viewport background and match the perspective of a photo. The second part will explain the lighting techniques used to render the car as realistically as possible and match it to the environment of the photo. When taking the photo, you must include a reference object that you can refer to within 3ds Max. It is also important to know the size of the reference object because you will need to recreate this inside 3ds Max. The size of the box really depends on the scene you are creating. In this step it is important to make sure your render output matches your photo size. Finally turn on show safe frames by right clicking your viewport setup.
Stitch Meshes - Cem Yuksel A knitted sweater dress for a sheep with Ridged Feather pattern, prepared using our knitted garment modeling system. The sheep character and the input mesh of the garment is modeled by Rune Spaans. Abstract Recent yarn-based simulation techniques permit realistic and efficient dynamic simulation of knitted clothing, but producing the required yarn-level models remains a challenge. See also the Project Page at Cornell University. Images Stages of our knitted garment modeling system: (a) We begin our interactive modeling process with a polygonal mesh that specifies the global shape of the cloth model; (b) using this polygonal mesh we produce a high-resolution \emph{stitch mesh} that serves as a canvas-like abstraction of the yarn model; (c) then, we specify the desired knitting pattern over the stitch mesh's surface. Knitted dresses with two different stitch mesh layouts and knitting patterns. Knitted glove with a Ribbing pattern formed by alternating knit and purl stitches. Videos