使用3dmax制作酒店房間

介紹

我一直喜歡在不同的3D軟件中工作，并嘗試使用不同的方法來達(dá)到高品質(zhì)的渲染。 我的目標(biāo)是一貫地實(shí)現(xiàn)藝術(shù)和逼真的結(jié)果。

我設(shè)計(jì)了這個(gè)房間，基于彼得蒙德里安的20世紀(jì)20年代的作品“菱形”之一。 我是他的粉絲，因?yàn)樗�使用�?jiǎn)單的黑色線條和大膽的原色（紅色，黃色和藍(lán)色）來創(chuàng)造他的畫。

Introduction

I've always loved to work in different 3D software and experiment with different methods to reach good quality renders. My aim is to consistently achieve artistic and photorealistic results.

I designed this room based on one of Piet Mondrian's artworks from the 1920s called Lozenge. I'm a fan of his art because of the way he uses straight, simple black lines and bold blocks of the primary colors (red, yellow and blue) to create his paintings.

Workflow

Like most 3D artists, I used LWF (Linear Work Flow) as it helped to give a realistic look to my render. To do this in 3ds Max, I went to Preferences > Gamma and LUT, clicked Enable and set everything to 2.2 (Fig.01).

工作流程

像大多數(shù)3D藝術(shù)家一樣，我使用LWF（線性工作流程），因?yàn)樗�有助于給我的渲染一個(gè)逼真的外觀。 要在3ds Max中執(zhí)行此操作，我轉(zhuǎn)到“首選項(xiàng)”>“ Gamma”和“LUT”，單擊“啟用”并將其全部設(shè)置為2.2（圖01）。

Modeling Process

I wanted to reflect Mondrian's lines in the bedroom by dividing it up into five different places with different levels that vary across the room to add an interesting look to it. Fig.02 shows a bird's eye view of the room to demonstrate this.

建模過程

我想通過將臥室分成五個(gè)不同的地方，每個(gè)房間的層次都不同，以增加一個(gè)有趣的外觀。 圖02顯示了這個(gè)房間的鳥瞰圖。

The walls of the room were simply modeled in 3ds Max using a line, which was then extruded horizontally. The ceiling was done in the same way; I simply added some gaps at intervals with a height difference to allow the wash light to go in between (Fig.03).

房間的墻壁只是用3ds Max建模，使用一條線，然后水平擠壓。 上限是以相同的方式完成的 我只是在高度差的間隔添加了一些間隙，讓沖擊光進(jìn)入中間（圖03）。

The window frames and the TV unit were inspired by Mondrian lines too and modeled using the same method mentioned above.

The furniture in the room, particularly the sofa and armchairs, were taken from the Model + Model Vol.7 Library and the bed model was taken from The G Spot by Ramon Zancanaro (the Making Of this image can be found on 3DTotal). I wanted to use this bed in particular so as to break the boxy, square look of the room.

The coffee table and the rest of the accessories were simply modeled in 3ds Max using a low poly modeling method with basic primitives; it was pretty simple and straight forward. I always like to model all the furniture in separate files, and then merge them into the main 3ds Max file.

For the timber flooring I used a Floor Generator script with the settings shown in Fig.04.

窗框和電視機(jī)也受到蒙德里安線的啟發(fā)，并使用上述相同的方法進(jìn)行建模。

房間中的家具，特別是沙發(fā)和扶手椅，都是從Model + Model Vol.7圖書館中取出的，床型是由Ramon Zancanaro從The G Spot拍攝的（在3DTotal上可以看到這個(gè)圖像的制作）。 我想要使用這張床，特別是打破房間的boxy，方形外觀。

咖啡桌和其他配件只是使用具有基本原語的低多邊形建模方法在3ds Max中進(jìn)行建模; 這很簡(jiǎn)單直截了當(dāng)。 我總是喜歡在單獨(dú)的文件中對(duì)所有的家具進(jìn)行建模，然后將它們合并到主要的3ds Max文件中。

對(duì)于木地板，我使用了Floor Generator腳本，其設(shè)置如圖04所示。

After that I converted the floor object to an editable poly and started moving some timber planks up and down randomly to give it a more realistic look. You can also do this using the Tilt section in the Floor Generator script.

The feature wall was created as a series of boxes moving in and out, with a two-tone timber finish and lighting effect. It was modeled using editable polys and by chamfering the edges. I just added a V-Ray light material to the sides that pop out to give it a more textured look.

之后，我將樓層對(duì)象轉(zhuǎn)換為可編輯的多邊形，并隨意上下移動(dòng)一些木板，使其更現(xiàn)實(shí)。您也可以使用Floor Generator腳本中的“傾斜”部分來執(zhí)行此操作。

功能墻被創(chuàng)建為一系列移動(dòng)進(jìn)出的盒子，具有雙色木材完成和照明效果。它使用可編輯多邊形和倒角邊緣進(jìn)行建模。我剛剛添加了一個(gè)V-Ray光材料到兩側(cè)彈出來給它一個(gè)更紋理的外觀。

Camera Settings

For this scene, I used a V-Ray physical camera with the following settings:

 Film Gate: 40

 Focal Length: 20

 F-Number: 8

 White Balance: Neutral

 Shutter Speed: 15

 Film Speed: 150

 Exposure, Vignetting and Depth of Field: On

相機(jī)設(shè)置

對(duì)于這個(gè)場(chǎng)景，我使用V-Ray物理攝像機(jī)進(jìn)行以下設(shè)置：

電影門：40

焦距：20

 F-Number：8

白平衡：中性

快門速度：15

電影速度：150

曝光，漸暈和深度：On

Render Settings

The render settings were pretty simple. I spent so much time experimenting with the different settings I'd seen on other Making Ofs, that I was able to get a good idea of how to change my own to fit my render machine quickly and easily. Fig.05 demonstrates my final render settings.

渲染設(shè)置

渲染設(shè)置非常簡(jiǎn)單。我花了很多時(shí)間來嘗試我在其他作品中看到的不同設(shè)置，我能夠很好地了解如何快速，輕松地改變我自己的渲染機(jī)。圖05顯示了我的最終渲染設(shè)置。

Lighting

Again, lighting the scene was pretty straight forward and I only used a couple of V-Ray lights and a V-Ray sun. The two main V-Ray lights by the window were made with a Skylight Portal, and the other lights were normal V-Ray lights with a warm color tone.

I always start with a grayscale render before I start adding any textures to the scene as it helps to get the right lighting setup.

Fig.06 、 07 show my lighting setup.

燈光

照明場(chǎng)景非常簡(jiǎn)單，我只使用了一些V-Ray燈和V-Ray太陽。 窗戶的兩個(gè)主要V-Ray燈由天窗制成，其他燈是正常的V-Ray燈，具有溫暖的色調(diào)。

在開始向場(chǎng)景添加任何紋理之前，我總是從灰度渲染開始，因?yàn)樗�有助于獲得正確的照明設(shè)置。

圖06、 07顯示我的照明設(shè)置。

Texturing

I used basic V-Ray standard materials when texturing the scene. For the timber flooring I put a decent timber texture in the diffuse section of the Material Editor, and then added a grayscale texture of the same map in both the reflection and bump sections.

For the armchair fabric, I used a Falloff map for the diffuse section and copied the fabric map onto the reflection section. I added a grayscale map of the fabric in the bump section. The sofa fabric had the same settings, but in blue.

For the feature wall I used two different materials; one was done with a V-Ray Dirt map and the other one is basically the same thing just without the Dirt map, to support my checker effect (Fig.08 、 09).

紋理

當(dāng)紋理化場(chǎng)景時(shí)，我使用了基本的V-Ray標(biāo)準(zhǔn)材料。 對(duì)于木地板，我將材質(zhì)編輯器的漫反射部分放置了木材紋理，然后在反射和凸起部分中添加了相同貼圖的灰度紋理。

對(duì)于扶手椅織物，我使用了一個(gè)衰減圖，用于漫反射部分，并將織物圖復(fù)制到反射部分。 我在凹凸部分添加了織物的灰度圖。 沙發(fā)面料有相同的設(shè)置。

對(duì)于功能墻我使用兩種不同的材料; 一個(gè)是使用V-Ray Dirt地圖完成的，另一個(gè)基本上是一樣的，沒有Dirt地圖，以支持我的檢查效果（圖08、09）。

After making a couple of test renders to get the right look, I set the scene for a high res render (Fig.10).

在做了幾個(gè)測(cè)試渲染以獲得正確的外觀后，我設(shè)置了高分辨率渲染的場(chǎng)景（圖10）。

Post-editing

This is the final process, and probably the most important as the final result depends on my ability to create a good artistic look in post-editing. I usually use Photoshop as the main software for this, though sometimes I use others like After Effects or Lightroom, with the Photo-look plugin.

First I started to adjust the brightness and contrast of the image with a quick full-image color correction, and then I started to bring out the colors individually using Alpha renders or maps.

To create the Alpha map, I used two V-Ray standard materials: black and white. I applied the white material on the items I was going to adjust in Photoshop and painted the rest black (Fig.11).

后期編輯

這是最后的過程，可能最重要的最終結(jié)果取決于我在后期編輯中創(chuàng)造一個(gè)好的藝術(shù)外觀的能力。 我通常使用Photoshop作為主要的軟件，雖然有時(shí)我使用其他像After Effects或Lightroom，與Photo-look插件。

首先，我開始用快速的全圖像顏色校正來調(diào)整圖像的亮度和對(duì)比度，然后我開始使用Alpha渲染或地圖單獨(dú)顯示顏色。

為了創(chuàng)建Alpha地圖，我使用了兩種V-Ray標(biāo)準(zhǔn)材料：黑色和白色。 我將白色材料應(yīng)用于Photoshop中要調(diào)整的項(xiàng)目，并繪制其余的黑色（圖11）。

Next I retouched the image using the Burn and Dodge tool to add more shadows and give it more life, and added some lens flares with the Diffuse Glow filter to create that "photorealistic" look. I followed by adding a Lens Correction filter to get the chromatic aberration effect, removed some distortion in the image and finally added some vignetting (Fig.12).

接下來，我使用Burn and Dodge工具修飾了圖像，增加了更多的陰影并給它更多的生命，并用Diffuse Glow濾鏡添加了一些鏡頭閃光燈，以創(chuàng)建“逼真的”外觀。 我接著添加了一個(gè)鏡頭校正濾鏡來獲得色差效果，去除了圖像中的一些失真，最后添加了一些暈影（圖12）。

I then made an Ambient Occlusion render of the scene and added it in Photoshop as a layer by setting the blending mode to Multiply. You might need to change the opacity of it, but doing that will add more shadows and bring out the details in your image.

After merging all of my layers, I made some Curves color correction to create my final image (Fig.13).

然后，我將場(chǎng)景中的Ambient Occlusion渲染，并將它作為圖層添加到Photoshop中，方法是將混合模式設(shè)置為Multiply。 您可能需要更改其不透明度，但這樣做會(huì)增加更多的陰影并顯示圖像中的細(xì)節(jié)。

在合并我的所有圖層之后，我做了一些曲線顏色校正來創(chuàng)建我的最終圖像（圖13）。

I hope you enjoyed the process of making this image as much as I did and learned something from it. Finally I'd like to thank 3DCreative for giving me the opportunity to share my work.

我希望你喜歡像我這樣做這個(gè)形象的過程，并從中學(xué)到了一些東西。 最后，我想感謝給我機(jī)會(huì)分享我的工作。