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Making Of 'Unplugged'

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Date Added: 9th December 2009
Software used:
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).

Fig. 20


After I applied the materials for all the objects, I made a render of every piece to see if they looked real.  At this point I used low quality settings (Fig21 and Fig22).

Fig. 21

Fig. 22

After I rendered the beauty pass, I rendered some extra passes that I could use later on in the compositing stage (Fig23).

Fig. 23

In order to speed up things and have multiple choices, I always use different renderers in my personal projects.  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).

Fig. 24

  • Default lights:  Disable this; we don't need any other light. 
  • Image Sampler:  Choose Adaptive QMC, because it's faster than the default.
  • Antialiasing Filter:  Mitchell-Netravali: sharp and good edges.
  • Min. subdivs:  2 will generate good results.
  • Irradiance map:  Choose Medium and HSph. Subdiv 30; if necessary you can also increase that value to 50 (more than that is rarely necessary).
  • Light cache:  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:  Exponential will avoid "burnouts".
  • QMC Sampler:  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).

Fig. 25

  • 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:  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%.  This gave a warm look to the image.  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.  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).

Fig. 26

I hope you have enjoyed this little Making Of.  Thanks everyone for reading this and thanks to 3DTotal for the opportunity!

Final Image


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