Vray 2.40.03 3ds Max 2012-2013 32 Bits With Crack Download From 20
Mirthe Luria
I chose to put an additional ship in the background flying away from the dock for two main reasons.First, I wanted to be able to showcase more of the ship, since the front ship is mostly obscured by the foreground dock.Second, the background ship helps fill out and balance the right side of the frame more, which would otherwise have been kind of empty.
The idea of a rainy scene largely drove the later lighting direction of my entry; from this point I basically knew that the final scene was going to have to be overcast and drizzly, with a heavy reliance on volumes to add depth separation into the scene and to bring out practical lights on the ships.I had a lot of fun modeling out the dock and gangway, and may have gotten slightly carried away.I modeled every single bolt and rivet that you would expect to be there in real life, and I also added lampposts to use later as practical light sources for illuminating the dock and the robots.Once I had finished modeling the dock and had made a few more layout tweaks, I arrived at a point where I was happy to start with shading and initial light blocking.Zoom in if you want to see all of the rivets and bolts and stuff on the dock:
After trying out Substance Painter for the previous RenderMan Art Challenge and getting fairly good results, I went with Substance Painter again on this project.The overall texturing workflow I used on this project was actually a lot simpler compared with the workflow I used for the previous Art Challenge.Last time I tried to leave a lot of final decisions about saturation and hue and whatnot as late as possible, which meant moving those decisions into the shader so that they could be changed at render-time.This time around, I decided to make those decisions upfront in Substance Painter; doing so makes the Substance Painter workflow much simpler since it means I can just paint colors directly in Substance Painter like a normal person would, as opposed to painting greyscale or desaturated maps in Substance Painter that are expected to be modulated in the shader later.Also, because of the nature of the objects in this project, I actually used very little displacement mapping; most detail was brought in through normal mapping, which makes more sense for hard surface metallic objects.Not having to worry about any kind of displacement mapping simplified the Substance Painter workflow a bit more too, since that was one fewer texture map type I had to worry about managing.
I was originally planning on using a UDIM workflow for bringing the ship into Substance Painter, but I wound up with so many UDIM tiles that things quickly became unmanageable and Substance Painter ground to a halt with a gigantic file containing 80 (!!!) 4K UDIM tiles.To work around this, I broke up the ship into a number of smaller groups of meshes and brought each group into Substance Painter separately.Within each group I was able to use a UDIM workflow with usually between 5 to 10 tiles.
For the previous Art Challenge, I used a combination of PxrDisney and PxrSurface shaders; this time around, in order to get a better understanding of how PxrSurface works, I opted to go all-in on using PxrSurface for everything in the scene.Also, for the rain streaks effect (discussed later in this post), I needed some features that are available in the extended Disney Bsdf model [Burley 2015] and in PxrSurface [Hery and Ling 2017], but RenderMan 23 only implements the base Disney Brdf [Burley 2012] without the extended Bsdf features; this basically meant I had to use PxrSuface.
Below are some comparisons of the ship and robot with and without the wet effect applied.The ship renders are from the same camera angles as in Figures 13, 14, and 15. drag the slider left and right to compare:
Figure 30: Back view of the ship with (left) and without (right) the wet shader applied. For a full screen comparison, click here.Figure 31: Side view of the ship with (left) and without (right) the wet shader applied. For a full screen comparison, click here.Figure 32: Main yellow robot with (left) and without (right) the wet shader applied. For a full screen comparison, click here. Additional Props and Set Elements
In addition to texturing and shading the flying scifi ship and robot models, I had to create from scratch several other elements to help support the story in the scene.By far the single largest new element that had to be created was the entire dock structure that the robots stand on top of.As mentioned earlier, I wound up modeling the dock to a fairly high level of detail; the dock model contains every single bolt and rivet and plate that would be necessary for holding together a similar real steel frame structure.Part of this level of detail is justifiable by the fact that the dock structure is in the foreground and therefore relatively close to camera, but part of having this level of detail is just because I could and I was having fun while modeling.To model the dock relatively quickly, I used a modular approach where I first modeled a toolkit of basic reusable elements like girders, connection points, bolts, and deckboards.Then, from these basic elements, I assembled larger pieces such as individual support legs and crossbeams and such, and then I assembled these larger pieces into the dock itself.
As a bit of an aside, settling on a final umbrella canopy shape took a surprising amount of time!I started with a much flatter umbrella canopy, but eventually made it more bowed after looking at various umbrellas I have sitting around at home.Most clear umbrella references I found online are of these Japanese bubble umbrellas which are actually far more bowed than a standard umbrella, but I wanted a shape that more closely matched a standard opaque umbrella.
Having a good wet surface look was one half of getting my scene to look convincingly rainy; the other major problem to solve was making the rain itself!My initial, extremely naive plan was to simulate all of the rainfall as one enormous FLIP sim in Houdini.However, I almost immediately realized what a bad idea that was, due to the scale of the scene.Instead, I opted to simulate the rain as nParticles in Maya.
To start, I first duplicated all of the geometry that I wanted the rain to interact with, combined it all into one single huge mesh, and then decimated the mesh heavily and simplified as much as I could.This single mesh acted as a proxy for the full scene for use as a passive collider in the nParticles network.Using a decimated proxy for the collider instead of the full scene geometry was very important for making sure that the sim ran fast enough for me to be able to get in a good number of different iterations and attempts to find the look that I wanted.I mostly picked geometry that was upward facing for use in the proxy collider:
In general, one of the major lessons I learned on this project was that when lighting using practical lights that have to be be visible in camera, a good approach is to use two different lights: one visible-to-camera and one invisible-to-camera.This approach allows for separating how the light itself looks versus what kind of lighting it provides.
In total I had five lighting render layers: the key from the lampposts, the foreground rim and background fill from the floodlights, overall fill from the skydome, and two practicals layers for the visible-to-camera parts of all of the practical lights.Below are the my lighting render layers, although with the two practicals layers merged:
An interesting unintended side effect of filling the scene with volumes was in how the volumes interacted with the orange thruster and exhaust vent lights.I had originally calibrated the lights in the thrusters and exhaust vents to provide an indication of heat coming from those areas of the ship without being so bright as to distract from the rest of the image, but the orange glows these lights produced in the volumes made the entire bottom of the image orange, which was distracting anyway.As a result, I had to re-adjust the orange thruster and exhaust vent lights to be considerably dimmer than I had originally had them, so that when interacting with the volumes, everything would be brought up to the apparent image-wide intensity that I had originally wanted.
In total I had eight separate render passes for volumes; each of the consolidated lighting passes from above had two corresponding volume passes.Within the two volume passes for each consolidated lighting pass, one volume pass was for the atmospherics and one was for the heavier mist and fog.Below are the volume passes consolidated into four images, with each image showing both the atmospherics and mist/fog in one image:
Bruce Walter, Steve Marschner, Hongsong Li, and Kenneth E. Torrance. 2007. Microfacet Models for Refraction through Rough Surfaces. In Rendering Techniques 2007 (Proceedings of the 18th Eurographics Symposium on Rendering), 195-206.
In this scene, all of the blankets and sheets and pillows on the bed use a fabric material that uses extremely high-frequency, high-resolution normal maps to achieve the fabric-y fiber-y look.Because of these high-frequency normal maps, the bedding is susceptible to the harsh shadow terminator problem.All of the bedding also has diffuse transmission and a very slight amount of high roughness specularity to emulate the look of a sheen lobe, making the material (and therefore this comparison) overall more interesting than just a single diffuse lobe.
Figure 3: The bedroom scene rendered in Takua Renderer using Chiang 2019 (left) and Estevez 2019 (right). For a full screen comparison, click here.Figure 4: The bedroom scene rendered in Takua Renderer using no normal mapping (left) and normal mapping with no harsh shadow terminator fix (right). For a full screen comparison, click here. If you would like to compare the 4K renders directly, they are located here: Chiang 2019, Estevez 2019, No Fix, No Normal Mapping.As mentioned above, due to this scene being brightly lit, differences between the two techniques and not having any harsh shadow terminator fix at all will be a bit more subtle.However, differences are still visible, especially in brighter areas of the blanket and white pillows.Note that in this scenario, the difference between Chiang 2019 and Estevez 2019 is fairly small, while the difference between using either shadow terminator fix and not having a fix is more apparent.Also note how both Chiang 2019 and Estevez 2019 produce results that come pretty close to matching the reference image with no normal mapping; this is good, since we would expect fix techniques to match the reference image more closely than not having a fix!
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