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Tutorial DetailsProgram: 3D Studio Max, V-RayDifficulty: IntermediateEstimated Completion Time: 1hUpdated: June 20, 2012
The following tutorial is based on a real project. This unique tutorial will take users through the real process of creating shaders with bespoke physical properties and applying textures based
on real photo references. The subsequent stage will introduce users to the fascinating process of creating and matching the overall lighting closely to the original photo reference supplied by
the client while using state-of-the- art techniques to achieve fast and convincing results.
The final step will navigate users through the intricacies of using the best post-production approaches to help enhance and finalize the 3d shot at the highest level.
Most post-production effects implemented in this tutorial are kept in layers with their respective masks to achieve the ultimate control over the final results.
Overview
This tutorial is part of a project I have finished recently.
While projects often start from the pre-production phase, this specific tutorial will focus mainly on production and post- production process.
The pre-production process is not being covered simply because the client had already supplied me with a photo reference and all the necessary information to achieve acceptable results.
The initial brief was to incorporate the clients bespoke design and lighting in a completely new office space. For that, at my request (plea), I was provided with a photo reference of one of
their existing office design to be used as a reference.
The IES light pattern on the wall may not be coherent with the ceiling light model. However, it was specifically chosen to make the overall image more appealing and sellable .
Had I not been given the photo-reference by the client, I would have had to go through the entire process of pre-production, which consists of: sourcing for striking photos (Flikr, books,
Google, etc) and help the client choose (i.e. liaise) the best photo/s to be used as reference for lighting, cameras, colors, etc.
This vital pre-production stage often takes from one hour, to few days, depending on the project.
Please check my latest manual book entitled h3d realism practical and easy workflows to see the entire in-depth process of pre-production, production and post-production.
Tutorial
1. Let s start by opening the file under the name of Office close_Start.max .
It s worth mentioning that the camera and the render size had been chosen already during the pre-production process. After numerous trial and errors, the camera height was set to about
1.60/1.59 meters, which is about the standard eye level of most cameras. See fig1.0 and fig.1.1
Fig 2.0
Fig 2.1
3. To ensure that objects merged/imported into this scene retain their original scale/size, we are going to open the system unit setup dialog.
Once opened, ensure that the respect system units in files function is enabled.
Please note that, the original system unit scale function should never be changedunless there s an exceptional reason to do so. See fig. 3.0
Enlarge
Fig 6.0
Fig 6.1
Floor Material
7. The first material to start with is the floor material.
Prior to opening the material editor, I normally choose the compact material editor type. To do so, simply go to the main toolbar. Click and hold the material editor icon, and choose the
compact material editor type.
Open the material editor (m). See fig. 7.0 and 7.1
Fig 7.0
Fig 7.1
8. It is common practice to open in 3Ds max the photo reference/s of each material to be worked on. This is to help match the texture and its physical properties more closely.
To do so, simply click on the rendering main toolbar and choose the view image file option from the dropdown list. Locate and open the file under the name of photo reference small.jpeg .
See fig. 8.0 and 8.1
Fig 8.0
Enlarge
10. Next, we are going to change the current standard material to a v-ray type.
A- Click on the standard toggle to open the material/map browser dialog.
B- In the material/map browser dialog, open the v-ray adv rollout.
C- Double click on the vraymtl shader from the list. The v-ray shader should load up. See fig 10.0 and 10.1
Fig 10.1
11. Next, we are going to locate and apply a floor texture to the surface. Please note that the floor texture had been supplied by the client.
For hyper-realistic results, reputable companies often take a flat on photo of the surface without direct shadows. The photos often encompass large areas of the relevant surfaceas
opposed to high-resolution photos of small areas. This technique will ensure that less tiling is needed and more realistic details are kept in the original photo (i.e. dust, subtle discrepancies,
etc).
Click on the diffuse toggle and double click on the bitmap material to load the texture under the name of woodfloorBig yellow.jpeg . See fig.11.0 and 11.1
- Click To Enlarge
Fig 12.0
13. Next, set its mapping type to box and click on the fit button. The texture tile is looking much better now.
Finally, tweak with its U and V values in order to closely match it with the photo reference image. The values that worked well were U=8.0; V=3.0; W=1.0. However, you may try different
values, if desired.
See fig. 13.0; 13.1 and 13.2
Fig 13.0
Fig 13.1
Fig 14.0
Fig 16.0
Fig 16.1
17. Some of the main characteristics of a wooden floor are its slight reflectiveness and shine. We will be using the photo reference to emulate these physical properties.
A- Click on the go to parent button to return to the main v-ray parameters.
B-In the reflection group click and hold the reflect color swatch to bring up the color selector dialog. Black color equals to no reflection, and white equals to full reflection.
To enable a slight reflection on the surface, simply give it a greyish color by moving the arrow down a bit(R=96; G=96; B=96).
C- Looking at the photo reference, the glossy highlight of the wooden floor looks slightly diffused. To emulate that, first click on the highlight glossiness toggle to enable its numerical values.
Decrease its current value to about 0.55 to disperse its sharp glossy highlight. It s common practice to closely see these changes occurring in the material slot thumbnail.
D-To control the blurriness of the reflections first enable the background button in the material editor slot. Decrease the refl. glossiness value to about 0.75. Note in material editor slot how
the background thumbnail is gradually becoming blurry. You may try different values, if desired.
E- Finally, increase the subdivis value to about 35. This value will increase the rendering time of this material. However, lower values will yield very grainy glossy results.
Test render to see the results (Shift+Q). See fig.17.0; 17.1 and 17.2
Fig 17.0
To Enlarge
Fig 18.0
Fig 18.1
19. Inside the bump toggle, increase the blur value to 1.0. This is to prevent the bump from becoming too sharp.
Next, replace the current texture map with a jpeg under the name of woodfloorBig yellow_Bump .
Copying and pasting the texture diffuse values onto the bump values enables users to update the texture and the blurriness without having to tweak with the offset values. Test render the
results. See fig. 19.0
Glass Table
21. The next material to focus on is the glass table.
A- Select the object under the name of table , in the scene.
B- In the material editor, select a new slot and create a v-ray material as previously done.
C- In the reflection group increase its reflectivity by clicking on its reflect color swatch and changing its current color to light grey (R=96; G=96; B=96). One can later change these values if
necessary.
D-To add a bit of shine to the glass decrease the highlight glossiness value to about 0.85. You may change this value if required. Note how the material is changing in the material editor
slot. See fig. 21.0
Fig 23.0
24. Test render the changes.
Most objects in the real world have chamfered edges. So it makes sense to also emulate such effects in cg.
A- While the glass material is still selected, scroll down to the bump function and click on its toggle to open the material/map browser dialog.
B- In the material/map browser dialog, under maps / standard , scroll down and double click on vrayedgestext procedural map.
Its parameters should load up. See fig.24.0