[ Tutorial Ps-Max ]: Creating Cartoon Characters in MODO 701

[ Tutorial Ps-Max ]: Creating Cartoon Characters in MODO 701: The modeling and painting tools in MODO are powerful and easy to use. Creating a cartoon character will give us a chance to look at ...

Creating Cartoon Characters in MODO 701

The modeling and painting tools in MODO are powerful and easy to use. Creating a cartoon character will give us a chance to look at how those tools can be used to model organic shapes, follow existing designs, and finish with texture maps. Our design will be a simple but appealing one that will allow us to concentrate on the tools and techniques while creating something fun. We'll start by adding images to use as reference and then begin building up the geometry from scratch. We'll build and shape the main body before spending some time creating more complex topology for the head. Tools like Loop Slice, Edge Slice, and Bevel will help us create our character quickly and efficiently. We'll also create parts like the teeth, eyes, and horns from primitive shapes or by using our existing geometry. Once our model is built, we'll spend some time looking at UV layouts and then create some color textures for the character. In addition, we'll add some bump to the character as well as some ambient occlusion. In the end you'll have a finished cartoon character ready for rigging and animation as well as the knowledge you need to create models from your own designs. 

http://www.digitaltutors.com/tutorial/1450-Creating-Cartoon-Characters-in-MODO

[ Tutorial Ps-Max ]: Huong dan photography & rendering

[ Tutorial Ps-Max ]: Huong dan photography & rendering: Introduction to the 5SRW method In this chapter we will carry out the first four steps of the 5-Step Render Workflow (5SRW), made up ...

[ Tutorial Ps-Max ]: Model

[ Tutorial Ps-Max ]: Model: "/> up vài model mọi người góp ý kiến.mình sẽ up map trong bài tiếp theo link download  http://www.mediafire.com/download/266colp...

Model

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up vài model mọi người góp ý kiến.mình sẽ up map trong bài tiếp theo link download 
http://www.mediafire.com/download/266colp12lsu33d/Update.rar

Model

Mọi người đều biết model là thứ không thể thiếu được trong dựng cảnh.may mắn mình có khá nhiều model kiểu như Tủ Gỗ,Bàn,ghế vv... ở đây mình up 1 vài model góp vui cộng đồng mình cũng như ai có thì chia sẻ cho người khác vì một cộng đồng phát triển.Mọi người có yêu cầu model nào thì có thể comment phía dưới mình sẽ up nhanh nhất có thể.

Link tải:http://www.mediafire.com/download/t3z6c2brhb2t1bd/Model.rar

Huong dan photography & rendering

Introduction to the 5SRW method

In this chapter we will carry out the first four steps of the 5-Step Render Workflow (5SRW),

made up of the following points:

1. Analysis of the model;

2. Balancing of the lights;

3. Creation of materials;

4. Final rendering.

The fifth step, Post-production, will be dealt with in Chapter 13 - White balance and

contrast. The purpose of this exercise is to create uniform, diffused lighting throughout the

space — the soft and encompassing light that is often used in design catalogues.

To explain the 5-Step Render Workflow (5SRW), we’ll examine an interior rendering,

Figure11-1 and analyse the various fundamental phases used to achieve a photorealistic

outcome, Figure 11-2.

Download now:

https://www.mediafire.com/folder/6mxa10sa57fo7/3ds%20max

[ Tutorial Ps-Max ]: The Making Of Summer Holiday Park

[ Tutorial Ps-Max ]: The Making Of Summer Holiday Park: Hi guys, First of all I’d like to thank Jeff Mottle and CGarchitect for the opportunity to participate in the Making Of articles. My name i...

Eat3D - Live Action & CG 3 - A Comprehensive Guide to Compositing

In this DVD, Instructor Matt Skonicki takes you through the entire process of compositing 2 HD Shots with 3D integration. The best part of this tutorial is it uses Autodesk Composite for compositing which ships free with Autodesk Maya 2011. Matt starts off by taking you On Location to demonstrate the capturing of the raw plate and HDRI images. From there he goes through creating the final HDRI image in Photoshop. The next chapters include detailed tracking in SynthEyes, setting up the scene in Maya, creating masks in After Effects, Animation of the 3D objects in Maya, adding particle effects, lighting, and render layers. Last, Matt composites the final scenes in Autodesk Composite. 

This tutorial is perfect for those who want an "Out of the Box" comprehensive tutorial on compositing 3D into your own camera footage primarily using Autodesk Maya and Composite. 

Link: http://eat3d.com/livecg3

The Pixel Lab kitchen Pack

I’m extremely excited to introduce The Pixel Lab “Kitchen Pack!” I’ve collaborated on this project with my buddy Rob Redman of pariahstudios.co.uk. We’ve created a great pack with over 30 kitchen/cooking themed models. I really hope this pack will be helpful to you!
The models are made with Cinema 4D R12 and include textures. NOTE: They will NOT work in versions previous to R12. I have made a .lib4d file so you can load these models into your Cinema 4D Content Browser and easily access the models at any time!

Many of these models are worth well over $30 individually so we have again provided a great deal in the hopes of making this affordable for everyone! If you have any questions about the pack, please e-mail me at: joren@thepixellab.net.

This pack includes:

Chopping Board and Knife
Coffee Grinder Machine (Orange Metal or Stainless Steel)
Coffee Machine (Orange Metal or Stainless Steel)
Coffee and Tea Canisters (Orange Metal or Stainless Steel)
Colander
Cooking Utensils
Cutlery
French Press Coffee Maker
Tea Kettle (Orange Metal or Stainless Steel)
Napkin and Napkin Ring
Pepper Shaker
Pestle and Mortar
Spoons
Table Ware (10 models)
Toast Rack
Cooking Tongs (Wood, Plastic or Metal Options)

http://www.thepixellab.net/

The Making Of Summer Holiday Park

Hi guys,

First of all I’d like to thank Jeff Mottle and CGarchitect for the opportunity to participate in the Making Of articles.
My name is Luis Cardoso and I’m a senior CG Artist at Assembly Studios (www.assemblystudios.co.uk) based in London.

The Summer Holiday Park is not a commercial image. It’s one of many case studies I produce to learn and test new settings and techniques. One of the challenges of this project was getting to setup a scene inspired in a place I’ve been on holidays with my familiy this summer, without any kind of photography support, reference, drawings, etc. Tough task as I had to trust on visual memory for the scale and details for modeling and textures.

Workflow

My workflow is usually the industry standard model: model, light and composition, texturing, render and post production.

The software I’ve used are: 3ds Max, V-Ray and Photoshop, but on this project i’ve also used Multiscatter for the vegetation.

Modeling

Having no drawings and measurements to start with, I’ve used the standard steps and standard door size as a starting point, and start building up the scene from there.

Things started to be a bit more interesting as model progressed, especially when I’ve started to model some of the details

This is when I started to introduce the vegetation model into the scene with multiscatter, an amazing tool that kept me playing with the settings for a quite long time

Light and Composition

Lighting and setting up the compositions is certainly one of my preferred stages in any project. I’ve started to place a camera in the scene and framed it in a way to get the door on the top right of the rule-of-the-thirds and also having diagonals created by the ceiling perspective and the foot path. The lighting was very simple. I’ve placed and perpendicular to the camera to get volume and contrast.

Materials and Texturing

The materials and textures used on this scene are very simple. Diffuse map plus a reflection map and a vrayedgestex on the bump slot to smooth the edges of the geometry.

Render Settings

I usually don’t use this render setting at work for production as it takes a lot of time to render. This was an opportunity to play around a bit with the settings. I normally use Irradiance and lightcache in GI settings

Post Production

I’ve rendered some elements and masks using multimatte elements for post in photoshop. I tend to use multimatte (RGB) more often as I can select color by channel in Photohop and get the masks also with antialising.

Bài 1:Hướng Dẫn Render

VideoCopilot - JetStrike - FlightKit Trình làm phim rất hay

https://www.videocopilot.net/products/3d/jetstrike/

Evermotion ArchViz Training vol. 2

Evermotion is known for creating high quality,ready to render interior  scenes,called Arinteriors.This tutorial will show you the exact process of creating professional interior scene from scratch,using 3ds max and V-ray rendering engine.All of the process in simply explained in over 10h of narrated videos (in English).You'll learn everything you need to produce stunning renderings:modeling,creating materials,light and camera setup,useful tips & production.you will also get the project files-complete interior scene (for V-ray with 3ds max)with all the material,camera and light setup.

Year:2013

Publisher: Evermotion 

Author :Jakub Dabrowski 

Yotal time: Over 10 hours

http://www.evermotion.org/modelshop/show_product/th...vol-2/10575/0/0/

Bài 1:Hướng Dẫn Render cơ bản

Windows 8.1 Redmond Flack

Tự mãn Microsoft nét mềm công cụ trong công in 3D trên Windows 8.1 Redmond Flack 'là vui mừng như Tom Cruise trên Oprah " bởi Iain Thomson, ngày 16 tháng 11 năm 2013   của Windows 8.1 người dùng với một yên cho in ấn 3D và một vài nghìn đô cho một máy in có thể nhận được một ứng dụng thiết kế miễn phí từ Microsoft - như Redmond tìm cách hiển thị nó như hiện đại như phần còn lại của họ. 3D Builder công cụ cơ bản để giúp bạn có được trên đôi chân của 3D "Tôi được vui mừng về in ấn 3D Thật vui mừng như Tom Cruise trên chiếc ghế của Oprah vui mừng.. . Vì vậy, tôi không thể vui mừng hơn là chúng ta đang phát hành một ứng dụng in ấn 3D cho Windows 8.1, "đã viết Microsoft tiêu dùng PR Kristina Libby. "Chúng tôi đang bước vào một kỷ nguyên mới thú vị mà trong đó tất cả mọi người sẽ có thể tạo ra và in ba . đối tượng chiều Chỉ cần tưởng tượng có thể in một phụ tùng cho thiết bị gia dụng, hoặc tạo ra dòng trang sức của riêng bạn tùy chỉnh bông tai 3D-in ". Các ứng dụng 3D Builder là không đặc biệt phức tạp; đến với một số thiết kế cơ sở đối với các nhà sản xuất vừa chớm nở tùy chỉnh bằng cách sử dụng một tập hợp khá hạn chế của công cụ. Nó cũng sẽ cho phép các thiết kế 3D được nhập khẩu thông qua SkyDrive. Nhưng thời gian của việc phát hành là một cách tốt cho Redmond để làm nổi bật rằng nó bán máy in 3D Makerbot từ bán lẻ và cửa hàng trực tuyến của mình. Redmond hứa rằng Makerbot và 3D in ấn đối thủ Tiertime (PP3DP) sẽ hỗ trợ Windows 8.1 người sử dụng trong thời gian cho sự điên cuồng mua sắm Lễ Tạ Ơn mà vượt qua Mỹ vào cuối tháng này. ®

Apple Bank

Apple banks more profit from iPhones than ALL Android mobes combined

Tim Cook: 'We're not in the junk business.' The cash-gobbling business, however...

By  Rik Myslewski,  16th November 2013  

5 ways to prepare your advertising infrastructure for disaster

Apple rakes in more profits from its iPhones than all Android phones combined, despite the fact that Android phones command an 81 per cent market share to Cupertino's 12.1 per cent.

Earlier this week, IDC reported that Android was used in four out of five smartphones shipped during the third quarter of this year, with Apple, Windows Phone, and Blackberry far behind.


On Thursday, however, another report revealed that despite Android's overwhelming market-share lead, Apple's operating margin of 33 per cent enabled it to haul in 56 per cent of all handset profit.

"The latest data from Canaccord Genuity ... estimates that Apple took 56 percent of the operating profits for feature phones and smartphones in the third quarter of calendar 2013," reports AppleInsider. Close behind was Samsung, with 53 per cent of what Canaccord Genuity calls the "value share" of the handset market.

Surely you, sharp-eyed Reg reader, immediately noticed that those two figures add up to 109 per cent of the smartphone and feature phone value share, and asked, "How the %$#@! is that possible?"

Canaccord Genuity 'value share' data 
Apple in the lead, with Samsung closing fast (source: Canaccord Genuity via AppleInsider – click to enlarge)

Simple. Most of the competition – Nokia, BlackBerry, Motorola, LG, and HTC – lost money during the quarter. The only other phone vendor surveyed who didn't – Sony – simply broke even.

To be scrupulously fair, it should be mentioned that AppleInsider's Cannacord Genuity source told them that Chinese phone folks Lenovo, ZTE, Huawei, and Coolpad were not included in the analysis because their profitability numbers aren't available, and that if those profits – or losses – were factored in, Apple and Samsung's value share would likely be lower.But not by much.

The figures demonstrate two simple facts. First, that in the world of smartphones and feature phones, it's very much a two-horse race between Apple and Samsung – and Cupertino doesn't even play in the feature-phone market. Second, market share does not equal profit share. Not by a long shot.

A hefty chunk of those Android phones are cheapo devices with razor-thin profit margins. As IDC pointed out this Tuesday, the average selling price for Android phones is steadily sinking, down 12.5 per cent in the third quarter of this year alone to an average of $317.

Prices that low – and that's the average, remember – may grab a lot of market share, but it won't make you a company with the world's largest market capitalization. As of this Friday, Apple's market cap stood at $475.2bn, with number-two Exxon Mobil coming in at $407.2bn. Samsung, by the way, has a market cap of $217.2bn – less than half of Apple's.

Apple CEO Tim Cook's focus on the high end of the smartphone market – "We're not in the junk business" – seems to be working.

The Making of Tea Houses

Hi everyone! Before we begin, we would like to thank our friends of CGarchitect for allow for the opportunity to show our work to the community. Thanks Jeff Mottle!

The software used for this image was 3ds Max 2011, V-Ray and Photoshop CS5.

The project belongs to the architectural studio Swatt and Miers, called "Tea Houses”.  Below you will find the images that inspired the composition of this scene.

MODELING

The modeling of this house is quite simple. We've shown the model to understand the parts that make it up

FOCUS AND COMPOSITION

The composition and focus were the result of a search through major legislation such as the middle third and vanishing point.

LIGHTING SETUP

Three main lights, a global illumination dome, a fill plane and small planes for the interior light.

MATERIALS

In this section we highlight the most interesting materials in the scene.

RENDERING SETUP

For V-Ray parameters are standard values without any secrets or tricks. The gamma is set to 2.2.

POST PRODUCTION

The post production of this image was made with the use of layers and masks to prevent loss of quality and able to resume any instance editing. For editing were used V-Ray passes as VRay Refraction, VRay Reflection, VRay Global Ilumination and VRay WireColor.

The sky was inserted in post-production (levels and saturation settings).

V-Ray Global Illumination with the layer mode to Screen at 35% opacity, VRay Reflection with the layer mode set to Overlay with an opacity of 45% to highlight indoor lighting & VRay Refraction pass with 20% opacity.  

In the steps that follow the person was placed and worked with lighting and fog effects to add depth to the focusing.

Finally we balanced tone, saturation, curves, vignettes and masks to contrast the image and give prominence to the scene.

Making of the Bergman Werntoft House

Hello everyone, it's very nice to see you all here in Blogger. Today I will try to explain my interior renderings for "dinning room and pantry". The idea is based on the Werntoft House. Actually this is a very simple house but I felt very comfortable when I saw the photo. Here are the reference images:

                                                                                       Reference Photograph 1

 Reference Photograph 2

1. Workflow

My workflow may be the same as other 3d artists. Here are the workflow breakdowns and explanation:

1. Preparation

1.1. Gamma

In this part I must select the gamma I will use for this scene. For me there are two ways: First we can use gamma 1.0 which means we use the default 3ds Max gamma settings, and the second, we can use Linear Workflow gamma 2.2. I always use Linear Workflow gamma 2.2. This scene will be very easy to get correct brightness if we use Linear Workflow gamma 2.2. but this time I choose gamma 1.0.

1.2. Modeling

For all of the modeling I use 3ds Max 2011. There are no difficult objects in this scene. I only modeled the house and the furniture, the rest I use Archmodels. But still there are some details we need to preserve in the image below:

Point A: Give a chamfer to the edge of your objects, don't leave them sharp or it will make your final image look fake  

Point B: Give a proper distance between doors, usually 3mm.

These two points are only an example. In interior rendering you must do modeling as close to the way objects are in real-life. We will need to do this because in interior rendering the camera position is not that far away from the objects. You need to make all of your object detailed as it looks in real-life.

Below you can see the wireframe of my interior scene without accessories. Only the room and the furniture.

1.3. Material basic

I always use the VRay material, I never use another material (ex: standard material). And now perhaps you are asking what I mean by a basic material. A basic material in my workflow only uses a bitmap and standard reflection (only use RGB, without bitmap in reflection bitmap slot). If I already have the library I will use my material library, but here, the floor and the wood are a new material so I use only standard settings just to speed up my process when it comes to the lighting setting. After I finalize my lighting settings I'll go back to the material I need to further tweak. The more detailed material settings will be shared it in next section.

1.4. Preset Settings

These are the preset settings I use in most of my renderings, but for irradiance map, this time I try to use high, but in daily work I only use medium.

2. Camera & Lighting Setup

For me the lighting setup is the fun part, but also the hard part. For interior rendering, I always avoid using the VRay light plane on windows. By using the standard VRay light plane it will drastically increase your render time, and if I use a skylight portal the result will not turn out the way I want. I only use VRay Sky for GI. For spotlights I use VRay IES and for hanging lamps I use the VRay light sphere.

To create GI in your scene using only the VRay sky has never been easy, but for me it is the best way to achieve real GI. I always remember what my teacher Nelson Liauw (www.nelsoncourse.com) said: "V-Ray is just numbers, the important thing that you need to know is how the sun, the sky, and camera settings work in the real world". That is why in my conceptual work I never have a fixed setting for the VRay Sun, VRay sky and VRay physical camera. I always explore with every scene I make.  Based on his instruction, I always set the type of mood I want in my rendering.

For example, in this interior scene, I want to make an evening visualization with all the lights on, and to create a cozy and cool atmosphere in the room. Another important thing is I don't want the VRay sun beam to go into room, so in this this case I only use GI and I turn off the VRay sun. Based on this mood I try to create the lighting. From the beginning I create the VRay physical camera with an angle that can show the entire room, just like the wireframe.

From there I start creating the GI. I use the VRay Sky and I manually connect it with the VRay sun, because I want the glare of the sun in the VRay Sky exactly the same as the VRay Sun position. After a lot of trial and error I found the settings you can see the image below.

As you can see there is nothing special with my GI settings. Almost all standard settings. I also add a landscape texture using the V-Ray material as the background of the room. You can see this in the image below.

After I set the GI, the next step is to set the artificial light. Here I've selected a VRay IES light instead of a regular photometric IES because it's faster. I adjust the color and the intensity until it's bright enough. You can also see my artificial light, VRay IES and VRay light sphere positions.

Now it's time to render a preview. Here is the result:

OK, now the brightness of the VRay IES lights and the GI are good enough and also the color of the GI is just how I want it. But it still needs more work for overall lighting. I will show you more in the next section.
3. Advanced Materials

In the image above look at the wood and the floor material. The material is too standard and it needs more work to make it look more realistic and dramatic. In any rendering, exterior or interior, material settings have their own settings. We must make the materials look like in the real-world and to do that we need to use a bitmap in the reflection slot and reflection glossiness slot. We also need to use Fresnel to make the reflections physically correct.

Here are the settings for the wood and the floor material.

These are two materials which I think have a very crucial role in my interior scene. Lets go to the next section.

4. Adding More Objects

After all the lighting and the material settings are done, its time to add more objects like fruit, microwave, oven, refrigerator, hood fan, spoons, forks, plates, plants. Here are the wireframes after I placed all of the support objects.

OK I think all the detail I need is set. Now it's time to go to the next section.

5. Composition

Many great 3d artists use composition for their image. In photography there are a lot of rules about the composition, such as rule of third, diagonal rules, golden section, and many more. Here I'm using the rule of thirds, because I think it's very easy to use, and more importantly we can show the grid in the 3ds Max viewport. How do you do that? Go to Views and then choose viewport configuration and see the image below.

Here I will provide an example of one of my camera compositions.

Look at the vertical cyan colored line and the horizontal yellow color line. That's the guide line for the rule of thirds. To keep the explanation simple lets just say about 1/3 and 2/3 of your image. You will see with my dining table, the width of the table is about 2/3 of the width of the image. If you look at the island table and the refrigerator area, it fills 1/3 of the image composition. Using this composition technique you can direct the focus to the dining table and the island table looks further away and will create depth in your image. I think its OK for now, so just press the holy magic button, F9, RENDER!!!. The best part! hahaha.

6. Render result and V-Ray frame buffer image processing

Now, we can see the result in the V-Ray frame buffer.

OK its good enough I think. Lets go to the last section. Post production.

7. Post Production

In this post production process, I want to change the mood to a greenish tint. I was bored of the original mood. To change the mood I use color balance to do it. Here is the step by step process:

7.1. Mood changing

1. Copy your original render
2. Go to image, adjustment, color balance
3. Adjust the midtones, shadow and highlights

4. Reduce the opacity as needed

5. After that I merge it to be one layer

6. I want the result to have more contrast, so I adjusted it below.

7.2. DOF Effect

After changing the mood I add a depth of field effect using Z-Depth Here is the Z-Depth map I've already tweaked:

I only want to blur the chair. Here are the steps to create a DOF effect using Photoshop:
1. Copy your layer and give it a mask
2. Copy your Z-Depth image then go back to your render image layer and go to channel

3. Select the last channel and paste your Z-Depth (control +V)

4. Back to the layer and select the image. Don't select the mask.

5. Select filter, blur, lens blur, change the parameter as you like.

6. Select the mask and right click on your mouse and delete the mask. As you can see the dinning table also gets blurred. Next I want to erase the blurred dining table.

7. Select eraser and erase everything except the chair near the camera.

8. Flatten the image to see the result.

7.3. Chromatic Aberration

The last effect I want to add is Chromatic Aberration. Usually CA occurs because of imperfections in the camera lens. It usually happens if you use old lens. This time I used Photoshop CS2 to do it, because I cannot get a good result if I use Photoshop CS5. Here are the steps:

1. Go to filter, distort, lens correction
2. Change the parameter like the image below

Here are all the final render results:

I hope this tutorial will help you all in the future, and don't forget, the important thing is always practice rendering and sharpen your sense of art. With a combination of both you will automatically create your style and it will be your differentiation in 3d market. Hopefully we can meet again in the next tutorial.