For the wall and ground materials, they have a little glossy reflection (especially a little on the wall), and the Color maps went in the bump slot, too (Fig20).
After I applied the materials for all the objects, I made a render of every piece to see if they looked real.Â At this point I used low quality settings (Fig21 and Fig22).
After I rendered the beauty pass, I rendered some extra passes that I could use later on in the compositing stage (Fig23).
In order to speed up things and have multiple choices, I always use different renderers in my personal projects.Â There was no reason for me to use Vray to render the Object ID and zDepth passes, since I could render them using the Scanline renderer, which is much faster for that (Fig24).
- Default lights:Â Disable this; we don't need any other light.Â
- Image Sampler:Â Choose Adaptive QMC, because it's faster than the default.
- Antialiasing Filter:Â Mitchell-Netravali: sharp and good edges.
- Min. subdivs:Â 2 will generate good results.
- Irradiance map:Â Choose Medium and HSph. Subdiv 30; if necessary you can also increase that value to 50 (more than that is rarely necessary).
- Light cache:Â Subdivs 1200, Sample size 0.001, Pre-filter at 1000 will decrease noise but will increase the render time a little; "Use light cache for glossy rays" active will speed up the render a little bit; filter: "None".
- Colour mapping: Â Exponential will avoid "burnouts".
- QMC Sampler:Â Noise threshold 0.005 and Global subdivs mult. 4,0 will reduce the overall noise, increasing the quality.
- System: Reducing the render region to 32x32 will save a little RAM (Fig25).
- Samples: The quality of the overall solution and the bigger the value, the better the result, but with a big cost on render time.
- Spread: The diffusion level: smaller values give you tighter results.
- Material Override:Â This will apply the material to all objects in the scene.
I loaded up the beauty pass and the AO pass in Photoshop, then made a copy of the beauty pass and added a Gaussian blur, with a radius of 1, changed the blending mode to "Overlay", and decreased the opacity to 35%.Â This gave a warm look to the image.Â Then I adjusted the Levels of the Ambient Occlusion pass, changed the blending mode to "Multiply" and the Opacity to around 35%.
Using the object ID pass and the "Magic Wand Tool", I selected specific areas that I wanted to colour correct and/or adjust levels.Â To finish the project, I added a slight camera de-focus and noise using the zDepth pass on the "Depth of Field Generator" plugin (Fig26).
I hope you have enjoyed this little Making Of.Â Thanks everyone for reading this and thanks to 3DTotal for the opportunity!