LUXIGON ULGC FRANKLIN AZZI ARCHITECTURE Labtop : architectural rendering at work - Thomas Sériès - Auralab ® The Making of The House in the Woods NOTOS from Argentina has an detailed new tutorial on the making of their recent House in the Woods scene.Visit the NOTOS Facebook page to see more of their work. We created this image with the help of all the members of the studio in a period of seven business days. Everybody gave something to the project, and that is what made it really special. Notos art direction for this pic This is an image we created for an Argentinian studio named www.estudiobabo.com.ar. It is a house designed for a midle aged couple for their second marriage. The first thing that came to our minds was Autum, as an Autum in life. Altera-by-Virginie-Plauchut Forest in belgium Scott-Morgan7 Paula-Pire13ds Max scene general settingsLet start with the basics on the scene: 3ds Max 2012, V-Ray 2.0 Scene setup Sun parameters: We used a vraysun even though we had a vraydomelight, because we needed to get the shadows proper really quick and vraysun was way faster for us than moving the domelight. HDRI Settings Fill light
ARThitectural Post-Production Trends in 3D Visualizations Advertisement Post-production might well be the most underappreciated part of creating 3D visualizations. It gives you the power to easily make some changes; put in the sky you like, add some dirt, make the colors more vibrant and even correct some little mistakes in your 3D mesh. Most of the traditional 3D artists tried to do as much as possible wihtin their 3D package since these packages were not focusing on post, but rather on the 3D products themselves. Rendering masks for the different color corrections one would like to do was a painstaking job of fixing the lighting and materializing — making artists choose to do most of the work in 3D (such as adding dirt and textures) and so leaving only color correction for post-work. The techniques and styles of correcting images in post-production have changed a lot over the last couple of years. Different Styles of Post-Production This is what a 3D image should look like according to the corporate industry. Same thing here: Techniques Do: Don’t:
c o m: 3D Process / Post Process: tricks revealed! Many of you have asked for my post production process…so here it is. I typically use AE (Adobe After Effects) for my post work, but for this post I’m demonstrating in PS (Photoshop) because most people use PS over AE for stills. However the principles apply to all software. Some of you already know, but I do most of my modeling in SU ( SketchUp ). I also start materials and texturing in SU. Using Max 2011 has been great, because I can import SU files straight from Max without needing to export models from SU. During import I opt not to import the SU cameras. Some of the general settings for my A&D materials: If I can keep glossy samples to 8 then I do. Next I go to lighting. This image is what the render straight out of max looks like, known sometimes as the beauty pass. This is a flare pass for the lights. This image is a dummy people pass. These are the people that replace the dummy people. This is a volume pass that I render in 3ds max. Lastly, I render a Z depth pass.
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PAINTING LIGHT: EXTERIOR GLASS - BLOG Not everyone has the capabilities to render huge models with a ton of lights. I am one of those people where more times than not I have to manually add light to my illustrations because I don't have the computing power. At first, this method can seem tedious. But, when you think about the time that it takes to insert lights into a model and then the time that it takes to render so many lights, knowing how to do this in Photoshop can be a great resource to have as a backup. 1. 2. 3. 4. 5. Archinect