Old_2013/tutorirls & Tips2008. 7. 9. 08:43
Tutorial Steps:
Hello everyone! Clep is one of my latest projects and I'm gonna explain some techniques here which I used to create this image.

To create this project, I needed a basic main idea of what I wanted to show. I wanted to create a clear sense focused on one thing, that all the magic will be communicated through this object. The beginning was to make its design.

A good way to make designs is to have a lot of visual references. Use them with creativity, and start to mix things up in the mind through finding new ways to show what already exists. Our brains interpret visual stuff relating it with things that we have seen before.

Via Google, I found a lot of references to start with. It's good to save a lot of them in the PC and have them nearby as references.
Now with this, I started drawing some rough strokes. Honestly I'm not a good drawer at all, but that doesn't have to be a limitation. Anyway, it's very neccesary to have clear the ideas on a piece of paper not matter how badly they're drawn. Sometimes some stuff that works pretty well on paper may not work very well in 3D, so this could change during the process. Also you might have a change of mind or something else, so you shouldn't be afraid to make changes and try to make it better looking.

This drawing was pretty easy to do because I used a compass for all those circles.
In modeling, I try to be respectful with proportions -- they're very important as all 3D volume and esthetic depends on these proportions. The main skill of a good modeler is to be able to figure out how to build 3D models with good porportions, in organic modeling this ability could be known as having a sense of anatomy, for inorganic it could be called a good sense of geometry. This artistic eye can be developed by practicing modeling and trying to get things looking as similar to real shapes as possible. The remaining skills - the technique - is easier to get, but not less important.

I usually use the same technique to model inorganic pieces. I start with a primitive, creating a basic shape and then making the details and finally defining out hard edges -- this last note is very important. In the real world, it's dificult to see surfaces with perfect edges, even most objects made of metal don't have pefect edges. You can check this out by looking at objects around you, they have edges with a little range of smoothness, so, the best way to have this kind of edges is to create little chamfers in edges that need to be hard (this is for medium-close shots, but this doesn't apply to objects that are not too close). Obviously it's not always so easy, if the model has a subdivision like turbosmooth, you have to be careful with hard edges on curved surfaces.

Here are some modeling WIPs:
In some cases I find it useful to use booleans, some people may think booleans are the worst tool to use in modeling, but actually they're very useful to define cuts with a specific shape, cuts that will be hard to make manually, like cylindrical holes. Then I clean up the mesh by fixing the topology.
The leather belt stitches are pretty simple, I just modeled one bent cylinder, multiplicate it along the belt, and then bended them all together.
Splines are also useful to model some pipeline-looking kind of shapes, instead of extruding a cilinder it's easier to create a spline and make it renderable using its thickness value. Also it's useful to make objects that aren't like pipelines using splines. With the watch base for example, I created and extruded a spline, then added a shell modifier to it, and finally made the final details in editable poly.
Some textures like the belt were done by playing around in Photoshop with some photographs found on the Internet. The look that I wanted to get in the leather belt was very difficult to find, so I used some stone cracks and mixed them in with some leather textures.
The render was done with V-Ray 1.5 RC5 and I used its materials. Metal, transparent, fabric and plastic were the kind of materials that were used.

The metal material was done with a very dark diffuse and some reflection. Its glossines value was very useful to make it more realistic via blurring its reflections -- an amount of 12 in the subdivision value was enough to make it not too noisy. I enabled fresnel reflection and some anisotropy.
The transparent material was done with a light color, reflection with fresnel, and a lot of refraction with a bluish fog color.
The fabric materials have a fallof diffuse with Perpendicular/Parallel type, it's a fallof from the normal diffuse texture to a lighter one. I used the same, but with a higher output amount.
The plastic materials have some reflections and a suitable glossines amount.
When making lighting for this scene I thought about contrast in the lights color, it's a good way to make a rich scene, like sunsets, where the orange color of the sun makes contrast with the bluish light bounced by the sky. It was not supossed to be an exterior render, but the principle of contrast was almost the same. I created a studio setup, starting by the main vray Light, I choose the warm color for this one, a good subdivision amount for this was useful (16). Then two vray lights at the oposite side of the scene with a cold color and a small multiplier. The background was a bended plane.
This GI setup was made with consideration for the type of scene that I was going for. An Irradiance map for primay bounces to make a good result without too much rendering time, and Quasi - monte carlo (brute force in recent V-Ray versions) for secundary bounces, a good calculation method in secondary bounces for this studio scene wasn't too expensive because there wasn't too much light bounces like in interior scenes. I used a bluish color for the GI environment and an hdr image in Relection/refraction environment. I chose this hdri by making tests with several images until I found the most suitable. The lights reflection in the metal were too jagged even with a good Anti-aliasing setup, a good way to fix this was turning on the Sub-pixel mapping and Clamp output checkboxes in the Color mapping rollout.
This was the result:
The zdepth was useful to fake the depth of field in Photoshop, I could render it in the Render Elements tab. The Enable Filtering option makes the render anti-aliased and the zdepth min and max values controls the depth range.
In Photoshop I created a new channel (Alpha 1) in the render image and put the zdepth map there, I did this so that I could use it in the Lens Blur filter. The blur focal distance controls where to start blurring and the radius its intensity.
Next I added two layers to make a more interesting feeling. I used again the zdepth this time to make a little fog, obviously it's hard to see a scene like this with fog, but I found this effect quite interesting -- adding some density to the environment and more color contrast with a warm color. It was made with a brown gradient and the inverted zdepth in its alpha. The second layer was a dark surrounding halo to fill the background.
And here's the final result:
I hope you like this making of, see you next time!.

Felix Rodriguez Joleanes
email: phoelix(at)3dphoelix(dot)com
Posted by dhkim DongHwan, Kim

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