Which character in this piece do you like the most? They all have character and finesse but we think the guy with the blond comb-over is the bee’s knees

Artist: Filip Novy
Title: My Crew
Software: 3ds Max, V-Ray, Photobrush, ZBrush, Hair Farm

▲ This guy looks like a real character, don’t you think?

“What I enjoy most about my work in ZBrush is that you start off with a very rough base and then, when you look at your progress after a few hours, almost out of nowhere a character has appeared. I love that. This image had a challenging aspect to it, as it was the first time I used V-Ray, but I am a great believer in constantly improving my skills, so it was a challenge I relished.

“All the work and conceptualisation for the image was my own work, but I did use some textures from www.cgtextures.com. It took me several months to finish this project as I worked on it in my spare time. I’m a 3D and particle artist in the game industry and I enjoy completing scenes in my spare time, as I think it helps to keep my skills fresh and up-to-date. As an artist, I am inspired by many things, but I love the work done by Katsuya Terada and comic artists like Travis Charest and Simon Bisley.”

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Jason Harding’s pro tips for 3ds Max and V-Ray will help you improve your visualisation work

When rendering products, there’s a lot that needs to be taken into consideration to achieve believable results – getting your modelling and lighting correct is just the beginning. Here I’ll share some of the tips and tricks I’ve picked up over the years to improve product renders using 3ds Max and V-Ray.

With each of these tips, I aim to give you an insight into how I tackle product renders. There are many other approaches you can take, but this is my preferred workflow. As a 3D artist, I work on a variety of different projects – be it design visuals, advertisements or animations for TV – but I find myself using many of these techniques on a daily basis.

The main focus of this tutorial is product renders, but the same principles apply to many other areas of 3D, so hopefully everyone will be able to learn a thing or two from them, no matter what field they work in.

01 Start the project with good reference material

If you’re modelling a product that already exists, start by gathering as much reference material as possible, making sure you have views from the front, top and side so that when you’re modelling you can be sure that it looks correct from every angle. This might sound obvious, but if you get your proportions wrong then your render won’t look photorealistic no matter how good your lighting and texturing is.

To view your reference material in your Max scene, model three flat planes in the same proportions as your reference images, and position each one facing flat in the top, front and left viewports. For each reference plane, apply a standard Max material with the image applied to the diffuse slot and select Show Shaded Material In Viewport in the material editor.

02 Work to real-world scale

It’s important to make sure that your scene units are set up correctly and that you model to real-world scale. This will ensure that the lighting in your scene behaves as it would in real life.

A low-poly mesh before a TurboSmooth modifier is applied

Imagine lighting a huge mountain with just a small torch. If you model your product to be much larger than it would be in real life you’ll end up with a similar situation, and the lights won’t behave correctly. You’ll have to dial up the intensity of your lights so much that the results would become unnatural. Working to a real-world scale also future-proofs your scene should you want to introduce any dynamics at a later date, such as liquid or cloth, which rely on your units to be set up correctly.

03 Keep your mesh clean

It’s good practice to keep your mesh clean and relatively low-poly, applying a TurboSmooth modifier to anything that needs extra detail afterwards. This keeps your scene size down, making complex models easier to work with. It also means your model is suitable for any situation, be it a print-resolution visual or a low-poly game model. I prefer to use a TurboSmooth modifier over a MeshSmooth because 3ds Max handles them faster, and converting your mesh to an editable poly rather than an editable mesh gives you more modelling tools to work with.

It is better to model in quads rather than triangles or ngons, because your mesh will deform without pinching or creasing when you apply a TurboSmooth modifier, thereby keeping your renders clean. This is particularly important on refractive materials such as glass, anything with a shiny surface, or anything that will require rigging.

04 Soften hard edges

Real-world objects rarely have sharp edges, so to add realism to your renders it helps to chamfer hard edges. Not only does this make your models look more realistic, but when you light your scene these edges will pick up nice highlights.

Selecting your edges and chamfering them or adding extra edge loops manually are two ways of achieving this, but it could become a tedious process if you are working have complex models.

Another way to achieve this effect is to apply a VrayEdgesTex to the bump channel of your material and then adjust the size setting accordingly. This method will quickly and easily soften the edges of any object that has this material applied to it when you render your scene.

If you combine the VrayEdgesTex material with a noise map using a VrayCompTex, you can add rough chamfered edges to your models should you need to.

05 Avoid Booleans where possible

When modelling non-organic shapes, it’s tempting to put Boolean holes into your mesh to avoid the sometimes tricky process of modelling holes by hand. This can be fine for low-res renders, but if you plan to render at a high resolution, Booleans normally create unpredictable results and an untidy mesh that won’t reflect and refract lights correctly.

Booleans can alter reflections and refractions on your model, so avoid them where possible

To model holes in a flat surface, convert your mesh to an editable poly, go to Vertex Selection and chamfer a single vertex. This will give you a diamond shape within a square. Select the Cut tool and cut between the corners of the square, then select the four vertices on the side of the diamond and scale them up to form a circular shape. Finally, delete the faces of the circle, extrude your mesh, and add a TurboSmooth. You’ll be left with a perfectly round hole.

06 Pay attention to small details

Small details can go a long way when it comes to rendering product shots. It’s often tempting to take short cuts and avoid the small details of a model that won’t be seen very clearly – but it’s a false economy, as it’s often these small details that trick the eye into believing your render is real.

Every piece of this Lego robot was modelled using the instruction manual to ensure a perfect representation

I like to leave the modelling of all these finer details right until the end of the process, after I’ve modelled, lit and rendered my shot. Then I compare my final render to the reference material and try to find any areas where I can add subtle details to enhance the image. This can include extra details, material tweaks, additional bump or displacement maps, dirt materials or additional small lights that only affect certain objects. Adding details and real-world wear and tear reduces that ‘too perfect’ CG look.

07 Use a linear workflow

To get the most realistic results from your renders I recommend using a 32-bit linear workflow. When you save 8-bit images such as .jpg, .bmp or .tga files, they are gamma-encoded (sRGB) to look correct on your monitor, but in fact what you see is a misrepresentation.

These images are actually a lot darker than displayed, so you have to compensate when you light your scene by adding more lights and increasing their intensity, which will increase your render time.

The same light settings rendered with and without a linear workflow

When using a linear workflow, however, you can light your scene using real-world settings, so you don’t have to apply any lighting tricks to make your renders look realistic.

The result is that you won’t have blown-out highlights and contrasted renders, and your lighting and colour reproduction will be more natural. Read about this in Paul Hatton’s linear workflow guide.

08 Three-point lighting

A three-point lighting set-up is a good starting point to lighting products in a studio environment

I like to use a three-point lighting set-up, with a key light, a fill light and a back light. The key light shines directly onto the product and serves as its principle illuminator, having the strongest influence over how the shot looks. The fill light is placed on the opposite side, with a lower intensity. This brightens the shadows created by the key, while the back light is placed behind the subject to give subtle highlights and separate the product from the background. This won’t always be the best lighting set-up for every product model, but it’s a good starting point to build on.

09 Typical V-Ray settings

The V-Ray render settings panel can be a bit of a minefield for new users, so in the first instance I would recommend heading over to the Spot3D website where you can find simple explanations and examples of how each option works. To give you a head start, these are the settings I would use for a typical studio scene. There are no right or wrong settings, of course – it depends on the scene you’re rendering and what you want it to look like – but the settings below should get you started.

10 Use a VRayLight to control shadows

Rather than using directional lights or a VRaySun to generate sharp shadows, I prefer to use a standard VRayLight. I scale it down so it’s small and give it a really high intensity.

Applying shadows this way means you have full control over how sharp or soft your shadows are. A small light with a high intensity will give sharp shadows, while a larger light with a low intensity gives a softer shadow.

If you disable Affect Specular and Affect Reflections in the VRayLight settings, the light will only affect the diffuse channel. Add one of these lights, along with a three-point lighting set-up, and the result will be a nice, evenly lit product with sharp shadows in one direction.

11 Use V-Ray’s physical camera

The V-Ray physical camera has many advantages over 3ds Max’s standard camera, allowing you to change your exposure, aperture and white balance as you would with an SLR in real life.

Rather than increasing your light’s intensity or adding more lights, you can change the camera’s exposure for a similar result. I often apply a slight vignette to my camera, or use the camera settings to apply a precise depth of field – an accurate but render-intensive method.

Also, keep your camera’s safe frame turned on at all times by setting your viewport to be your camera’s view and pressing [Ctrl]+[F]. This will ensure that your composition will be the same when you render your image.

12 Use override materials when necessary

When rendering a product in a studio environment, the colour of the backdrop can often overpower the image, affecting the reflection, refraction, GI and shadow colours. If your backdrop is green, for example, this will reflect green onto your product and bounce the colour around your scene if GI is turned on. This might be fine, but it doesn’t always look natural. Using a VrayOverrideMtl lets you control the colour of the reflections, refractions and GI given off by the backdrop, while keeping the base colour the same. You can dial down the intensity of the colours or change it completely, depending on your scene requirements.

A green ground plane with and without a VrayOverrideMtl applied

To do this, select Get Material from your material editor, double-click VrayOverrideMtl and copy your original material to the Base Material slot. Apply different materials to the other slots to get the effect you want.

13 Experiment with HDRIs and environments

I almost always add an HDRI to my scene to get realistic-looking reflections. To do this, go into your render panel and, under Vray/Vray Environment, switch on Reflection/Refraction Environment Override and click None to add a VrayHDRI material. Drag this into your material editor and apply your HDRI.

Even a simple environment can enhance a model

Product shots are often rendered in white environments to look clean and professional, but this can also become quite boring because it’s been done a million times before. As well as changing your HDRI, try experimenting with different background colours. Contrasting colours can make your render stand out more and add more interest to your shot. Or you could try adding a simple environment around your product, which will give it more purpose and a real environment to reflect from.

14 Quick preview renders

For a quick preview render to see how your lights and materials are behaving, the only two settings I lower are the Min/Max Subdivs under Adaptive DMC Image Sampler and the Noise Threshold under Settings/DMC Sampler. For final renders I set the Min and Max Subdivs to 1 and 8, and the Noise Threshold to 0.01 – but for a quick preview, just change all the settings to 1. These two settings alone can double your render speeds while maintaining enough detail to see what the lights and materials in your scene look like.

Another good way to get quick previews of your scene is by setting your viewport’s active shader to V-Ray RT, V-Ray’s real-time render engine. This is great way to preview if your lights and materials are working without having to render your scene each time you make a change.

15 Render in passes

This is often overlooked, but in the long run rendering in passes can save time and really improve your renders. It can take time to set up in your 3ds Max scene, but if you’re rendering high-res images or animations, different passes can be rendered at the same time and won’t affect your render times too much.

These passes give me greater control over the final rendered image in Photoshop

These passes give you control over individual diffuse, reflection and specular channels, depth of field and much more without having to render any frames again. Choose what you want to render in the Render Setup dialog under Render Elements – I always render specular, reflection, Z-depth and material ID passes at a minimum.

Jason Harding is a freelance 3D artist based in south London with over eight years of advertising, design and TV experience

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Inspired by comics and culture, the artist here experimented with various finishes before he was happy with the final look

Artist: Onur Cayli
Title: The Army of East
Software: V-Ray, ZBrush, 3D-Coat, Mari, Photoshop

“I work as a 3D character artist by trade. In the past, I have worked for major companies in the 3D industry, such as DreamWorks, Sony Pictures and Massive Black. I spent roughly two months working on this particular project. One of the things I especially enjoyed about this piece of work was creating an artwork that was similar in style to oriental paintings with a hint of steampunk style. The combinations of those two unique influences have, I feel, given this scene a special atmosphere.

“I like to sketch out the scene to achieve better lighting and a sense of atmosphere before fully rendering in V-Ray. I also got some screenshots at different angles from Maya, painted black and white in Photoshop to get a good silhouette. Then, I added colour to check if the balance and contrast was good enough for the final image.

▲ I like to sketch out the scene to achieve better lighting and a sense of atmosphere before fully rendering in V-Ray

“When I was finalising the finished version, I approached it more as a painting than as just a render and tried several finishes before I was happy with the way it looked. I feel that sometimes you can be very limited if you try to finish everything using only render engines. I enjoy flexibility in my work and often go back and forth between rendering and conceptualising. As an artist, I am inspired by comics and culture.”

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If you would like to see your work featured in 3D World, email us, attaching a low-res version of the image

Just look at this image! It’s innovative, technically detailed and so wonderfully different. We just love it!

Artist: Jose Manuel Linares Lopez
Title: Engine
Software: Softimage, 3ds Max, V-Ray

▲ “As an artist, I am inspired by seeing an image on paper and making it look as real as possible. That desire drives me forward and always encourages me to improve”

“I work as an environment modeller for an animation studio in Spain. This scene was created in my spare time and was inspired by ‘Justicialista Gran Sport 1954 – Perónicus Motoris Vehiculae’, which is part of the Universo Chatarra (Scrap Metal Universe) series by artist Alejandro Burdisio.

“All the modelling was created using Softimage and a polygon subdivision modelling technique. V-Ray and 3ds Max were used for the rendering, and the whole project took me three weeks to complete. I really enjoyed working on the engine as it took a lot of research to get it looking right – the original design only showed part of it behind the car.”

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If you would like to see your work featured in 3D World, email us, attaching a low-res version of the image

James Cutler shows you how to give your renders that lived-in look with a coat of procedural grime

Download the support files and accompanying video for this V-Ray tutorial

Dirt and weathered effects can improve the overall look and feel of the materials in your scene. However, when you’re using procedural materials such as metals and plastics, you might not have UVW mapping. By using VRayDirt, you can add these effects without the need for UVW mapping because it’s done using procedural techniques. You can build up dirt and blend as many layers as you wish very quickly to improve the look and feel.

Start by opening 3D World 0168 t_Q&A_168_ Vray_Start.max, from the supporting files for this tutorial, and select the group named Water Hydrant. In the material editor select an empty material slot and apply it to the selected group.

Add a VRayCompTex to the diffuse slot. This texture map enables you to blend the two dirt effects into one material. In Source A, add VRayDirt, and you’ll be presented with a range of parameters for adjusting the material.

By default the dirt spreads equally until it reaches the maximum radius. The larger the radius, the further the dirt spreads from its origin, so set the radius to 100mm. The occluded colour will be where the dirt is present. The un-occluded colour will be where the dirt isn’t present. Set the diffuse for the occluded colour to R 6, G 2, B 1. The distribution and falloff parameters affect how the dirt appears within the set radius. For example, you can make the dirt more apparent closer to the origin, but for this tutorial the default settings are suitable.

Much like everything else in V-Ray, the quality of the appearance of the dirt is controlled by the number of subdivisions. Set this to 32 to increase the quality and reduce noise.

In the Radius Maps rollout, add a noise map and set the size to 1.0. This will affect how the dirt is distributed within the set radius. The noise map colours are black and white, so the dirt will appear at zero size where there are black areas, and at full size where there are white areas. A mid-grey colour would mean the dirt is at half size. Click Go to Parent, add a splat map to the un-occluded colour and set the size to 10. Set the first colour to R 68, G 0, B 0 and the second colour to R 36, G 2, B 2. This will be the diffuse colour of the material.

Click Go to Parent twice and copy the VRayDirt material from Source A of the VrayCompTex and paste it into Source B. In the Operator drop-down box, choose Minimum (Min{A,B}). This will combine the two texture maps by their darkest RGB colour.

Within Source B, set the Y and Z bias to 5.0 to force the dirt in a non-uniform direction, but leave X at 0.0. Tick the box for Invert Normal. By using the VrayCompTex, you’re combining dirt that will appear in dark corners and crevices as well as dirt that travels along open faces in a downward direction.

Click Go to Parent twice to go back to the top level of the material. Copy the VrayCompTex from the diffuse map slot and paste it in the reflect map slot. For both Source A and B in Reflection, set the occluded colour to R 0, G 0, B 0 and the unoccluded colour to R 75, G 71, B 59. This will make any area where the dirt is present non-reflective.

Remove the splat map and click Go to Parent twice to go back to the top level. Set Reflection Glossiness to 0.85 and set Subdivisions to 32. Turn Fresnel on and set the Fresnel IOR to 3.0. Scroll down to BDRF parameters and choose Ward from the drop-down list – this type is used for metallic reflections. Finally, in the bump map slot add a noise map and set Size to 0.7.

Grunge up your renders in V-Ray

Set the size of VRayDirt

Using a large radius for small objects may cause surfaces to render completely occluded, so set your radius to the size of the object and use separate materials.

Reducing influences on VRayDirt

If multiple objects are intersecting the VRayDirt material, you may wish to stop some, if not all, of them from contributing to the dirt effect. Use Exclude or consider same-object-only options to do this.

Make dirt on transparent objects

By default, VRayDirt isn’t set up to work with transparent or translucent objects such as glass. Tick Work with Transparency in the settings in order to generate accurate occlusion.

James Cutler runs MintViz Workshop, a resource for any CG artist, designer or generalist who’s looking to develop their skills

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Daiichi means ‘number one’ and this guy excels at sword and hand-to-hand combat. A memorable name and image

Artist: Hasan Barjramovic
Title: Daiichi (Number One)
Software: ZBrush, 3ds Max, V-Ray, Photoshop

“This character is called Daiichi. He is part of an elite special tactics and rescue team. ‘Daiichi’ means ‘number one’, and he excels in the art of sword and hand-to-hand combat.

“I worked on the image during breaks between other projects, and it took me roughly two months to complete. All the sculpting, topology and texturing work was done using ZBrush, and the final composition and some environment modelling and rendering was done using 3ds Max and V-Ray. There was very little procedural work required, and that was only really needed for the small scratches on the metal and carbon fibre.

“I work for a creative design agency in Denmark as a CG artist, as well as doing freelance work, and I primarily do character sculpturing and modelling. For me it’s really important to stay motivated when working, so I choose each new project really carefully.”

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If you would like to see your work featured in 3D World, email us, attaching a low-res version of the image

UPDATED: Making-of guide to creating Dinner Dream by 3ds Max artist Amir Akbarshahi. Discover more about this joint effort where character modelling skills and environment creation combine to create a fun image

Artist: Amir Akbarshahi and Navid Khezli
Title: Dinner Dream
Software: 3ds Max, V-Ray, After Effects

Amir Akbarshahi says: “My friend Navid Khezli and I created this image, which we call ‘Dinner Dream’. Navid made the character model, and I created the location, shaders for the character and objects in the scene, plus I did the lighting, compositing and rendering. To composite the image, I used five render passes.

“I used 3ds Max to create the scene, composited the image in After Effects and rendered with V-Ray. I also used some models from www.evermotion.org. It took us about four days in total to finish the project. I wanted to immortalise the image of a gluttonous boy eating his dream meal!”

Read the making of Dinner Dream

For this character, the idea was to create a character in a cartoon style with a good charisma. We used 3ds Max, After Effects and Photoshop

“This image took me about five day to complete during my free time,” says Amir. YOU COULD HAVE YOUR WORK PRINTED IN 3D WORLD TOO.

• Get published

  If you would like to see your work featured in 3D World, email us, attaching a low-res version of the image.

The character modelling rigging was done by my friend Navid Khezli

The great thing about this image is funny character but also the environment around is striking and adds to the humour of the piece. “For create the funny space. I tried to create a classic atmosphere.”

For rendering I used V-Ray, and turned on Global Illumination and light cache. I also added an HDR image on the Environment map

For the lighting I did some render test. Some were just for the skin and some with the cloth beneath the kid costume, so I could see how each shader was affected

The final light rig came out like this: I used six V-Ray planar lights and seven sphere lights as soft lights (or diffuse lights)

I’ve created my skin shader using V-Ray SSS2 shader, I tried to get a cartoon shader for this character

I rendered three passes; VRayMtID pass, V-Ray objectID pass, V-Ray normal pass, Ambient occlusion V-Ray pass and a Z-depth pass

For composite I used After Effects and Photoshop

Get published

If you would like to see your work featured in 3D World, email us, attaching a low-res version of the image.

Peer into three alternate realities through the magical CBS eye in this set of striking idents

The global media brand CBS has recently launched a series of new idents for its TV channels in Europe, the Middle East and Africa, managed by Chello Zone. In each, the instantly recognisable CBS eye logo acts as a portal, providing a glimpse into an alternate space.

The concept for the rebrand was developed by creative agency Studio Hansa, which then approached Analog to collaborate on three idents. “We were aware from the start of the project that two of our pieces were going to be live-action, and the third ident, ‘Hero’, was to be entirely CG,” says Analog’s VFX supervisor Mike Merron. “ ‘Hero’ was initially also intended to be shot, so for us a large part of the brief was to not make it look CG.”

The Analog team called on a diverse range of software to achieve this. “We always use a variety of 3D software, including Max, Maya and Softimage,” says Merron. “For us, it’s about picking the right tool for the job and not limiting our artists. We base most of our projects in 3ds Max, but ultimately it depends on the brief. nCloth is incredibly powerful, so this project required a sprinkle of Maya.

“Point-caching helped us with the separate elements so we could lay out everything in Max while simulations were being generated in Maya or Softimage. Almost everything was rendered through Max using V-Ray.”

 
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In this 23-minute video course in our latest issue, Jason Harding dissects the technical aspects of stereo production and shows how you can take control of the process

TOPICS COVERED IN THIS 23-MINUTE VIDEO COURSE

• How Stereo 3D works and its key principles
• How to set up your Stereo 3D scene
• How to render and comp your footage for stereo and anaglyph 3D displays

TAKE A LOOK AT A PREVIEW CHAPTER FROM THIS VIDEO COURSE RIGHT NOW!

Love it or hate it, stereoscopic 3D is everywhere. It’s only a matter of time before every TV, monitor and mobile supports 3D content.

In anaglyph 3D, the glasses you need to view the content cost next to nothing, and the principles for generating 3D content are the same as for feature-length films. As you don’t need a specific 3D display, there’s never been a better time to learn all about stereoscopic 3D and future-proof your skill set.

In this tutorial we assume you have a good working knowledge of a 3D package but have never generated a stereoscopic image before. We outline what stereoscopic 3D is, how it works and the key principles you need to know. We discuss the different ways in which you can set up your scene and help you understand each the pros and cons of each approach. Finally, we show you how to render and comp your footage to be seen on both stereoscopic 3D and anaglyph 3D displays.

Jason Harding uses 3ds Max, V-Ray and After Effects but the same principles should apply to any 3D or post-production package.

▲ Stereo 3D is bringing new life to visual entertainment, and the technology is getting more sophisticated year on year. This video tutorial explains all you need to know about taking control of the process

Find out more about the latest issue (170) of 3D World here.

All versions – both print and digital – come with all videos and tutorial files included.

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Artist Jorge Adrian Fernandez shows how he created this lovely arch-viz render of a Pioneer mixer using 3ds Max, V-Ray, Photoshop and Fusion

Jorge Adrian Fernandez has been working as a 3D modeller for seven years. In that time he’s learnt several skills such as camera mapping, particle flow, rigging characters and animation, among others. Here we take a look at his work entitled The Way of Sound, and Jorge shares his process:

“In order to create the image I used 3D Max 2011, rendered it with V-Ray 2.0, and Photoshop CS5 and Eyeon Fusion 6.2 was used for the post-production,” says Argentinean arch-viz artist Jorge.

“The complete process took me around 28 hours. I didn’t use any remarkable techniques, although I did paint the textures by hand in Photoshop.”

“The image was based in a free Sketch up model, I retopologized it and then I made other changes based in reference images.”

▲ Jorge used reference images found on the internet, to get the realism he wanted

My image shows the Pioneer brand, which I used in the back area of the mixer. For this I used an image from the Pioneer site as reference.

▲ He modelled all the parts for the Pioneer mixer using 3ds Max

▲ The material base for the mixer

“In general, what I enjoy the most when creating an image is looking at the end result. But I also have lots of fun when modelling an object, as I always try to make new things and think out of the box,” says Jorge.

▲ Textures for the mixer. Some of these were hand painted by Jorge

▲ Setting the light

▲ The light set up in V-Ray

“What inspires me the most is a good old challenge; music and photography are also great allies and I always get inspired by the excellent work of artists such as Bertrand Bernoit.”

• [Ed:] We also love Bertrand’s work. His first work was shown in 3D World in 2006, and boy has he progressed! To see a stunning piece of arch-viz by Bertrand please check out the following link: Masters of Arch-Viz

▲ The camera set-up in V-Ray

▲ The render setting in V-Ray

▲ The wireframe

▲ The colour renders

▲ A close-up render of the finished mixer

For more about Jorge, please visit his Behance profile page or you can email him at jorgeadrianfernandez@live.com.ar