And because I know the interest materials can arose, here are the specific settings I used for the material of the vine (Fig.09). The materials of the leaves, I have to admit, never quite succeeded as I wanted.
Lighting And Visualization
For the lighting I used mainly V-Ray sphere lights and a couple of plane lights for local lighting. My lighting setup can be seen in Fig.10.
As you can see in the image, I used sufficiently large sphere lights and into one of them, I placed another smaller one. This made for greater control over the gradient of the light transition into shade.
The local sources of light (those that are in the room) were created for different aims, mainly to illuminate some concrete areas or add highlights to the right places. For example, two V-Ray planes were directed onto the easel to compel the bump map to sparkle, in order to give more feeling to the texture of the campus. Two V-Ray sphere lights were placed next to the cat to brighten up the shades.
Similarly, you can probably see lines from two large sphere lights. These were standard direct lights, tied to the V-Ray light source, with the possibility of looking from it. As you may know, V-Ray light sources don't posses such a function so the check boxes on the direct lights were certainly turned off.
I did not use Global Lighting for this scene. The picture was already 3800 pixels wide without it having to take about a day to render!
Here I used a pair of interesting modes. I rendered with VrayMtlId, which helped me to cut out the objects easily with the magic wand tool in Photoshop. Here is it (Fig.11).
Again, with the help of VrayMtlId I received the next image (Fig.12)
I created the two simple materials and mixed them by using BlendMtl, laying on a channel mask texture with the waves and fishes. The last picture was needed for the creation of a small amount of luminescence around the golden picture on the wall.
During post-processing, I added different details and also did a little color correction. You can see the results of post processing in Fig.13.
Well that's all (Fig.14). If you have any questions, I'll gladly answer them and I hope you found this Making Of useful. I wish you all creative success!
To see more by Nikita Veprikov, check out Prime - The Definitive Digital Art Collection