'3D Studio Max'


Making of 'Classic Living Room' - Using 3DTotal Textures

by Roger Vilà Castañé
 


Lighting & Rendering:

As everyone knows, lighting is an important phase. Here enters the play of shadows, the intensity of colors and reflections… so before setting up my lights, I did several tests. The final settings were as follows (Fig.10):

  1. Target Directional Light – simulates the sun and shadows
  2. First VRay Light – gives more clarity at the entrance of the sunlight
  3. Second VRay Light
  4. Omni Light – so that the side room is not completely dark
  5. Vray Light Sphere orange to reflect the effect of fire on the ground of the parquet.
  6. Third Vray Light – fills in light for the corners.

For a first time I used the physical camera and began to learn about the basic concepts of the size of aperture (f-number), shutter speed, film sensitivity (ISO)... always bearing in mind that the values of the physical camera depended on the values of the lights and the values of the lights depended on the values of the physical camera.

I used the following parameters (Fig.11).


Fig.10

Fig.11

Then I used two render passes: normal rendering and Ambient Occlusion pass (AO). The parameters for then normal render were as follows (Fig.12)


Fig.12



Photoshop_for_3d


To perform the AO pass, I created a new material (Fig.13).


Fig.13

I turned off all the lights in the scene, the Indirect illumination (GI) and the environment. For color mapping I chose the type Linear Multiply, with Gamma set to 2.2 and in Environment the ambient color was white.

It’s important to remember that if you’ve used a physical camera then you will need to turn off the exposure and vignetting before you render.

I did three AO passes, one for the full scene, one for the candles and the last one for the picture frames. In post-production it was then easy to go into Photoshop and select and separate the layers.


Post-Production:

In post-production I adjusted the brightness, contrast, color balance etc., of the normal render with a layer Object ID to more quickly select the region. I then duplicate the image and increased the brightness, contrast and desaturate values. I set that second layer to Linear Dodge mode at 10%.

I did the glow effect on the fire and the windows, then added the Ambient Occlusion pass (AO) and adjust the opacity up to 35%. Next I customized the opacity of the objects by separating the layers. And finally I created the image chromatic aberration and vignetting.

Here are the renders performed prior to the post-production process (Fig.14 – 17).


Fig.14

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