'Old_2013/tutorirls & Tips'에 해당되는 글 29건

  1. 2009.12.10 http://www.gnomongallery.com/current_show.php
  2. 2009.08.09 'Making of 'Hadron' by Grant Warwick
  3. 2009.04.15 3dsMax2009의 Select by name 예전 방식으로 바꾸는 방법
  4. 2008.10.10 Tutorial: Particle Flow for Water Dropping
Old_2013/tutorirls & Tips2009. 12. 10. 10:04

Hey guys!
I did this image for the GNOMON Gallery Show: COGNOSCO. Feel free to find out more information about the gallery here:http://www.gnomongallery.com/current_show.php

So I used my old “Angel” model and just re-rendered it. Here is the final image:


I’ve also created a showcase tutorial article about how to create cool renders using ZBrush and Photoshop.
Let’s get started.

Preparing model and document.
Create new document with size twice as bigger as image you want in result. I do that every time I render any model in ZBrush because in the end I shrink the image at half size to get rid of “jagged” lines. I also press AAHalf button to see a preview for smooth-rendered antialiased image.

double aahalf

Set up your model on the canvas as you want to see it rendered. You will need masks for easier selections at further comp stage. So just go through all subtools one by one and export image with Flat render turned on.


As result you get bunch of images with masking for each separate subtools.


There is also an alternative way to do that: Select each one of your subtools and fill it with a certain color from the ZBrush color palette. As result you get just one image with separated colors for different subtools. So you can group your mask colors depending on what kind of material you have. Here is how it works:


After that you may no longer worry about the model itself and just concentrate on rendering. Save document as *.zbr file. It will convert everything you have on canvas to pixols. You can use that as advantage and add more small details to the surface.
Use Directional Brush with Stroke set to DragRect and Texture turned off. Also make sure you apply it at Zadd or Zsub mode. I used alphas of damaged metal, bullet holes, some logos, etc. You can also add some dirt using Simple Brush with Spray stroke and mode set to RGB. Here is an example how it works


One thing you have to keep in mind is that the light in ZBrush doesn’t affect the same way to MatCap as it does to standard materials. For example: If you change the position of light and use Best render with Shadows turned on for Standard materials you get the full response of your settings including color of the light, highlight and shadow orientation. Dealing with MatCap you get only shadow orientation because MatCap material already keeps information about color of the light. So I usually render bunch of images with different materials and light setup and just combine them together.
Here is my light settings I used for rendering this model.


You can play with Shadow Curve and Shadow Length setting. Depending on what kind of lighting you want to get you may want to adjust these values. Also if you have too noisy shadows you can increase rays amount to get smoother GI effect

I’ve found at ZBC tons of super-cool materials and I take my opportunity here to thank those people who do such great stuff and share that to ZBC community. To render this image I apply many different materials to the model and then combined the renders in Photoshop using blending modes of layers. Cool thing about MatCap I’d like to mention is that it’s easy to refine it if you’re looking for something more specific.
Here is a trick:
1.Create a square size document, 1024x1024 is fine.
2.Press “AAHalf” button to get Antialiased half sized image.
3.Create a sphere, subdivide it a couple times until you get it smooth, apply a MatCap you want to refine and export image. Make sure your preview shadows are turned OFF in render menu.
4. Exported image you can edit in Photoshop and do whatever you want from changing color to adding more highlights. If you want to stay in ZBrush just convert sphere to pixols and use ZBrush 2D brushes. To do that just turn off Edit Objet mode (“T” hotkey) and pick a brush you need.
5. Import your edited image of rendered sphere back in ZBrush. I just added more highlights and edited color a bit.
6. Go to Materials/Modifiers/Material Texture and replace old sphere image with a new one.


You can go further. Combine this MatCap with ReflectedMap Material which is standard in ZBrush:


Rendering and Comp.
I rendered the whole model with applied materials of different metals, some materials for the suit and skin. To reapply a material to your *.zbr document use Simple brush with “M” mode turned on. Select a material you want to apply. Set the stroke to DragRect and fill the model with the new material. Render image with shadows turned On and save it. As result you get bunch of images with different materials applied to it.
This is what I got:


I combined these renders in Photoshop using masks I exported from ZBrush earlier. It helped to quickly apply a material to proper parts of the model. During gathering all passes together I keep the image values pretty soft for easier control. I also try to avoid overdone shadows or highlights. You can always enhance shading/lighting/contrast after.
Here is an approach I use to organize materials using masks I rendered before:


To add or enhance reflections at metal surface I put rendered reflection pass on top of rendered metal pass and used mostly “Color Dodge” mode. You can also use Soft Light or Overlay mode depending on what kind of metal or light type you want to achieve, just don’t over-burn the image with too many Overlay passes ? You can also duplicate the layer and keep at the same comp Color Dodge and Overlay for better control. Here is an example:


Regarding to different metal renders I mix the layers at Normal mode and just tweaking opacity of layer. When I’m pretty much done with general material look I move to scratches. Here is the trick:
As you can see from previous image I have a Base metal layer below Red metal. I did on purpose: if I use eraser on Red metal, the Base metal material will pop up. That is logically the same what happens in real world when a painted metal gets scratched. But there is a more flexible way to add scratches – it’s creating a mask. The advantage of that is that you can go back/forward in adding/removing scratches by switching color between black and white. This method is good for production texturing as well.


Here is a work-in-progress what I got using this approach.


As you can see it’s still pretty flat and boring in terms of color/tone and texture details. So after this I will add dirt, do a quick over-paint. You can play also with fog pass rendered in ZBrush and apply it as Multiple or Overlay pass to enhance feel of depth.
Here is a trick you can use when refining an image: duplicate flattened layer and set to Overlay Mode. Then use Blur filter, play with the radius and pick one what works better. After you’ll probably want to adjust levels and reduce pure black. The image below shows the effect. As you can see the image after applying blur at Overlay mode layer has nicer mood because of contrast and filtered color flow.


I did that overlay pass to all painted metal parts. After this I moved to other metal stuff and suit parts, refined the color here and there, painted a background, accentuated some highlights, added more dirt.
Here is work-in-progress image.


At this point I thought it would be cool to change the light and background to more warm tone. So I duplicated the layer (flattened image), applied blur to it. Went to HUE/Saturation, shifted the color to yellow. Then I refined background a bit. I used a smoke photo and distorted/twisted the image to create the effects.
Here is screenshot:


I also wanted to desaturate a little some of the parts of armor, so I created HUE/Saturation layer control with mask. Here where you go to do that:


And then click here to create mask:


This is pretty much all my tips & tricks for the process of rendering models using ZBrush and Photoshop. At the end I shrinked the image, adjusted a bit HUE/Saturation and added sharpness.
That’s it. Hope you liked that and hopefully you grabbed some useful tricks from this article.
Feel free also to check out my Training DVD about character design and modeling here:
Posted by DongHwan, Kim

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Old_2013/tutorirls & Tips2009. 8. 9. 13:42

Software Used :

3ds Max, V-Ray, Photoshop

Introduction :

My name is Grant Warwick and I’m a freelancer modeller / 3D artist in Sydney, Australia. You can view my portfolio here: http://sathe.cgsociety.org/gallery/

This making of will go over the process I used for my entry in the first Digital Apprentice modelling challenge, where I ended up winning 1st place.

Preparation :

After reading carefully through the brief I had a good idea of what I wanted to create. Ever since getting into 3D I have had an idea in my head of this particular model and the competition was the perfect way of getting it out.

After reading through the brief I spent two days drawing out very rough sketches on paper and, using this, began to build proxy geometry in 3ds Max. For people like me, with very basic concept skills, it’s a great way of quickly analyzing shape and form (Fig.01).


Functionality :

I was very critical of myself during this phase of the project. It was something I knew I would have to nail as there was the possibility of it becoming an animation tutorial and a key element in the judging process. In Fig.02 I have created the hero joints and limbs, figuring out the best angles for support and manoeuvrability.


It was something I had little experience in, but it felt like a great achievement when I saw that my design worked.

After figuring out the joint system, I then began focusing on curves and silhouette. I am a fan of curvy sports scars and Sci-Fi designs, so this was the most fun part of the competition; designing around the shell I had created.

Inspiration :

My biggest inspiration for this image was War of the Worlds. I have read the book twice and also watched the film countless times for the artistic design of the aliens alone. The reveal scene in this film is very harsh and I could definitely see a correlation between it and the competition brief.

Knowing that one of the judges, Giovanni Napkil, single-handedly modelled the tripods and that
I would have a chance of winning a video critique with him was huge for me and really got me motivated.

Other sources of inspiration were Transformers, Iron Man and Aliens (Fig.03).


Design :

I had never designed something this large before and I will admit, I heavily underestimated how challenging it would be. It was a time consuming process as one moment I would be very happy and begin moving on and then later on I would go back and complexly redo something when it wasn’t working. I wasted a lot of time doing this, but got used to it very fast (Fig.04). 


Part of the redesign process really paid off though. At first it is depressing to hit the delete key, but I was making steady progress forward so this was enough to keep going (Fig.05).


I paid close to attention to the curve flow between each piece and tried to create an even base of hard and curvy surfaces. There were some cars like the Ferrari Enzo and Koenigsegg that really helped me understand this concept.

The head was the hardest part to complete and I scrapped two fully modelled designs before continuing. The idea was to have it break away into two segments, revealing the rocket launchers in battle and protecting them when reloading. On top of this the design also needed to incorporate large stabilizing counter weights as the mech was so high off the ground it could easily become off balanced (Fig.06).


My idea of utilizing jet engine technology to force and stabilize the head can be seen in Fig.07. Along with the two stabilizing engines is a main thruster for short propelled jumps and surprise attacks over buildings or obstacles.

Weapon Design:


If you have seen my portfolio then you will know that I like modelling guns, so I felt right at home with this part and got through it relatively quickly. Hadron’s right arm is a thermo-electric railgun that discharges a large electrical beam that is deadly to enemy equipment and lethal to living things (Fig.08).




The right arm is a multipurpose weapon more suited for short range offense. It has a large degree of movement and contains an ion cannon and two smaller, silenced chainguns for removing soldiers and small vehicles.

Hadron’s last remaining attack weapon is six surface to air/land cruise missilesmounted under the tightly armoured back frame. I had to plan this part very carefully as getting the rockets to fit was difficult (Fig.09).




The neck did not need a huge amount of freedom to move due to the swivelling hips, however I incorporated some basic movement and support so it could make small adjustments, as seen in Fig.10 – Fig.12.








For the detail I wanted to add, I knew I could not keep the topology perfectly clean. I did my best though, optimizing where I could and Fig.13 shows some screenshots of Hadron’s wireframe.





Due to time constraints, I had very little time to create the lighting and shader setup. I used V-Ray as my renderer of choice and the setup was very simple: a single V-Ray light and a V-Ray sun light to create the hotspot reflections. I also had a V-Ray HDR in the reflection and illumination slots, which I got from www.hdrimaps.com

For the V-Ray settings, I used an Irradiance map and light cache with fairly default settings. There was nothing special about the raw render. I composited the file in Photoshop, adding glow effects, retouching, bad reflections and things like that. The background, and smoke are 2D effects, which a friend of mine helped me with afterwards. (Thanks man!) (Fig.14).



Modelling Technique:

For personal projects I have always used 3ds Max. Out of the box it has what is, in my opinion, the best core modelling toolset and I have never needed to install a plug-in or add-on to get more out of it.

I have my Hotkeys setup as shown in Fig.15


The tools I most commonly use are Shift+extrude, Cut, bridge, target weld and connect.

I have a very simple workflow that involves a lot of repetitive use of these tools. I recently created three fundamentals videos in which I explain how I use all these tools. They can be found here: http://digitalapprentice.net/Community/index.php?option=com_content&task=view&id=67&Itemid=154 (Fig.16).


Final Image

Thanks :

I would like to say thanks to Digital Apprentice and all the other entrants at the Digital Apprentice forums for providing me with a lot of great feedback and critique over the competition period. I really appreciate it. I would strongly encourage everyone to check out this site; it has some of the best learning material from industry leaders and veterans and is an inspiring place to be.

Also I’d like to thank my friends who gave a lot of support on the project; it was a long task and there was times when I felt like giving up but they got me over the line.

Thanks guys!




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Old_2013/tutorirls & Tips2009. 4. 15. 08:52

C:\Documents and Settings\limbo\Local Settings\Application Data\Autodesk\3dsmax\2009 - 32bit\enu\defaults\DesignVIZ.mentalray 에서 CurrentDefaults.ini 파일을 여신 ,

SelectByNameUsesSceneExplorer=1 SelectByNameUsesSceneExplorer=0으로 변경하시고 저장하신 3dsMax2009 다시 여시면 Edit>Select by name 선택시 Select Objects창을 여실 있습니다.

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Old_2013/tutorirls & Tips2008. 10. 10. 15:09

Step 01

Hi to all. That’s my first tutorial here on CGCookie. I’ll publish tutorials about shading, lighting, rendering, procedural stuffs, particles fx, dynamics and fluids. The 1st one is based on PARTICLE FLOW and it is useful to create a simple but very useful setup to generate drop falling down from a specified object.

Visit my website at: http://www.alessandrocangelosi.com/

Create a box with some subdivision like you can see in the figure, (4×15x2),

Step 02

Convert it to EDITABLE POLY and move some vertices as you can see in the figure.

Step 03

Add a FFD3×3x3 modifier to the box and move the control points to scale the mesh as in the figure

Step 04

Now add a NOISE modifier to the mesh and scale the parameters to obtain something similar to our deformed mesh, (use the FRACTAL option to deform it),

Step 05

Add a TURBOSMOOTH modifier to make it with a smoothed look, so we have more polygons to make more detailed deformation, please use max 2 or 3 as value of the ITERATIONS parameter,

Step 06

Now you can add a new NOISE modifier with FRACTAL option turned to ON, and try to change the parameters to obtain something like the mesh you can see in the figure,

Step 07

Now use the PERSPECTIVE navigation tool to find a good point of view to create the camera and press the CTRL+C shortcut to create a camera from the actual viewport configuration,

Step 08

Change the ITERATIONS parameter that you can find in the TURBOSMOOTH modifier just applied before, to obtain the right level of detail as in the figure,

Step 09

Now we can create the dynamic objects and SPACE WARPS to create the particle setup we need,

Create a GRAVITY space warp with STRENGHT set to 0.70,

Add a DUMP space warp and leave all the default value to all the parameters,

Step 10

Create a PFLOW particle system and click on the PARTICLE VIEW button to open the Particle Flow interface,

Step 11

We can start to setup the particle system modyfing the main setup, change the EMIT STOP to 50,

Step 12

Remove the POSITION ICON node and put a POSITION OBJECT node, add to the emitter object list, our deformed box and leave all the other parameters as default,

Step 13

Add a FORCE node and add the GRAVITY and the DUMP space warp we created before, so the particles will fall down with a little dumping effect like in the real world, you can change the INFLUENCE % value to 600.0,

Step 14

Add a FFD3×3x3 modifier to the box and move the control points to scale the mesh as in the figure

Step 15

Change the SHAPE mesh to SPHERE and the scale at 0,36,

Step 16

Change the DISPLAY setting to the TYPE “GEOMETRY” so you can see directly the real mesh in the viewport to simulate the drops,

Step 17

Close the Particle Flow viewport and try to move the time slide to see the animation, as you can see we have some water drops falling down from the upper rock we modeled before, it seems not bad, but we can add more realism to it,

Step 18

Now we have to add more nodes in our Particle flow setup as you can see in the figure, you can see the “Drop born event” we created before, and the new one “Drips creation”, “Drips collision” and “Drips killing”, we use it to control and cancel the spawned particles,

Step 19

You have to add a FORCE node in the “Drips creation”, and add the DRAG to the list and change the INFLUENCE % at 150.0,

Step 20

If you try to see the animation you can see something similar to the figure,

Step 21

Now copy the deformed box and change it trying to obtain the 2nd mesh you can see at the bottom of the scene, we used the mirror feature and we changed the NOISE modifier params,

Step 22

Now we can continue working on the main particle setup. In the “Drips creation” toolbox, you have to add a FORCE node and set it to use the DRAG we created before, then add an AGE TEST node and set the test value to 35 and the variation to 10, so we’ll act on particles with an age value between 25 and 45, these particles goes out to the next box called “Drips killing” as in the figure,

Step 23

To set the geometry used as shape for these particles you have to add a SHAPE node set to “Sphere” and with 0.123 as value of the “Size” parameter,

Step 24

To calculate the collision with the ground rock, you have to add a COLLISION SPAWN node, to simulate the breaking event of the drop colliding with the mesh. Set “deflector01” as deflector, leave it as “Spawn On First Collision” with “Delete Parent” active. Change “Variation %” to 74.0. In the “Speed” parameters, change “Inherited %” to 49.0, (so the particles mantain part of the previous speed value), “Variation %” to 58.0, “Divergence” to 19.5. Let’s change the “Scale Factor %” to 30.0 and “Variation %” to 62.0, so we created the secondary splashes with the right amount of chaos,

Step 25

From the “Collision Spawn” event you can goes out to a new box called “Drips collision” to calculate the properties of the particles spawned. Add a FORCE with the “Gravity” space warp inside, add a SPEED node set with “Speed” at 90.0,

Step 26

Try to check the animation, you’ll see something similar to the figure,

Step 27

Copy the “Collision Spawn” node from the “Drips creation” box to the “Drops born event” as you can see in the figure, and be prepared for the creation of two new boxes to control it, “Drops collision” and “Drops killing”,

Step 28

“Drops collision” contains a perfect copy of the nodes included in “Drips collision”, so copy it, then connect the “Age Test” of “Drips collision” to the box just created,

Step 29

As you can see the “Age test” moves the particles very quickly to the “killing” event to delete it from the scene,

Step 30

Now we have to assign a material to the particles, so you have to add a MATERIAL STATIC node in the main box called “PFSource 01” as showed in the figure, click in
the box name under “Assign material” to create a new “Raytrace” empty shader as in the figure,

Step 31

Change the diffuse as in the figure, and set “Self illum” to 36, “Transparency” to 100, “Specular level” to 104, “Glossiness” to 55, so we are creating a simple water shader for the drops,

Step 32

In the “Maps” panel, add a “Falloff” in the “Reflect” slot, a “Noise” map in the “Bump” slot, and an image you like to use as environment in the “Environment” slot,

Step 33

Enter in the “Falloff” map, set the “Type” to “Fresnel” to obtain more realistic reflection simulation, and change the “Mix curve” in a similar way as in the figure, so you have more reflection on the edge of the drop and less in the side perpendicular to the camera,

Step 34

In the “Noise” map, set the “Size” to 0.8 and leave all the parameters to the default value, only to make little irregularity on the drops,

Step 35

This is the visualization in the viewport of the final setup,

Step 36

Now you can try to render it using the default lights or adding some simple lights in the scene, and the look will be similar as in the figure, the lighting is not so
important so you can work more at the particles setup trying to change parameters and general nodes trying to simulate different situation or some kind of effects, like a simple rain system, (it will be part of a future tutorial).

Visit the Alessandro Cangelosi’s Website

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