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Making Of 'Back In Memory'

By Esam Darweesh
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Date Added: 19th August 2010
Software used:
3ds Max, Photoshop, V-Ray

After making the diffuse texture, it was time to create the displacement texture. Please don't think that this just consists of a black and white conversion only, as you must treat every layer separately and calibrate its brightness and contrast. Also, some layers may require colour inversion, such as the "footer bricks" layer in our case (Fig07).

162_tid_fig7.jpg
Fig. 07

All textures were created in the same way. An important thing was the resolution, which had to be high - no lower than 3000 x 3000 - to get fine results. In this work, the building textures were close to 3000 x 6000 pixels, and the ground texture was 8000 x 4000 pixels. The ground texture was composed of three different textures (Fig.08).

162_tid_fig8.jpg
Fig. 08

Lighting & Rendering

I tried a lot of lighting setups, from hot sun to sunset, but I was not satisfied with the mood or the direct shadows and so I decided to make it a late afternoon lighting scenario, with a purple overall colour. So to do this, the Vray light of the Dome type was an appropriate choice for me, as there are no hard shadows and well-defined edges and details with this one. I also used HDRI in the Texture slot for the Vray light and a Vray physical camera (Fig.09). You can't set any of the light or camera parameters alone; you must work on them in parallel, even the render settings, especially for the colour mapping. The intensity of the Vray light depends on the ISO and shutter speed of the Vray physical camera, and these two depend on colour mapping, whether it's linear or exponential and vice versa.

162_tid_fig9.jpg
Fig. 09

In this case, I worked in LWF (Linear Work Flow). What LWF does is it sets the display gamma to 2.2 in order to display the linear rendering data correctly on the monitor, but it needs some procedures such as calibrating the monitor brightness, setting gamma values in 3ds Max settings (Fig.10), and correcting the colour-corrected textures.

162_tid_fig10.jpg
Fig. 10



Now let's take a look at the rendering settings (Fig11).

162_tid_fig11.jpg
Fig. 11

With regards to colour mapping settings, I used Gamma correction because I was using LWF.  The inverse gamma value was 1/2.2, which is 0.4545. Important note: If your monitor is CRT then the gamma will be 2.5!

Post - Production

The post production process was not a big deal really. I used an Ambient Occlusion pass and added a bright purple photo filter layer - that was all!

Conclusion

Texturing was the main part of this work; it gives the life and reality to your scene, and the right lighting will also add to the mood of it!

162_tid_Final.jpg
 



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