公寓場景創(chuàng)建

Alberth Costa da Silva向您展示了他如何在3ds Max中創(chuàng)建高品質(zhì)的建筑圖像...

Step 1: References

My initial idea was to make a very simple scene without a lot of furniture: an apartment where a childless couple could live with only the necessities. I took a lot of time on the internet searching for references that I could use in the creation of the scene. Simplicity and functionality - that's what I was looking for.

This initial stage of researching references is indispensable in the process of creating a photo-realistic image. Knowing how a material behaves in a certain light, with shadows, camera angles and reflections - these small details make all the difference.

步驟1：參考

我最初的想法是做一個非常簡單的場景沒有很多的家具：一個公寓，一個沒有孩子的夫婦可能只有必需品生活。 我花了很多時間在互聯(lián)網(wǎng)上搜索素材，我可以在創(chuàng)建的場景中使用。 簡單性和功能 - 這就是我一直在尋找。

研究參考文獻(xiàn)的這個初始階段在創(chuàng)建照片擬真圖像的過程中是不可或缺的。 知道材料在某種光線下的行為，有陰影，攝像機(jī)角度和反射 - 這些小細(xì)節(jié)讓它有所區(qū)別。

Step 2: Modeling process

The modeling process was pretty simple in 3ds Max, but when you work on a project where your only source of reference is pictures, it becomes very important to define a scale. I had to identify elements that could give me a sense of scale: for example, the furniture, chairs, and sofas. With these scales set, I started modeling the environment

I always start my modeling using splines, defining the main shapes as floors and walls. After defining the shapes using the Extrude modifier and Convert to Editable Poly, I can finish modeling the scene as a whole with the object in poly.

步驟2：建模過程

在3ds Max中，建模過程非常簡單，但是當(dāng)你在一個項(xiàng)目上工作，你唯一的參考來源是圖片時，定義一個縮放變得非常重要。 我必須找出能夠給我一種規(guī)模感的元素：例如家具，椅子和沙發(fā)。 隨著這些尺度的設(shè)置，我開始建模的環(huán)境

我總是使用樣條開始我的建模，將主要形狀定義為地板和墻壁。 在使用“拉伸”修改器和“轉(zhuǎn)換為可編輯的多邊形”定義形狀后，我可以使用聚合中的對象完成整個場景的建模。

Step 3: Project organization

For every project that I do, be it personal or professional, I have an organizational structure which is divided into two steps. One step is the organization of the project on your computer, based on folder structure where I define all types of files. The other step is within 3ds Max, where I use a Layers system for organization, subdivided into four distinct layers:

- EST _: All the structural parts of the model

- Dec _: Any decor and environment-modeled composition

- Light _ and _ Cam: Respectively all the lights and cameras of the project

This way, whenever you need to select or isolate something, it's much easier.

步驟3：項(xiàng)目組織

對于我做的每一個項(xiàng)目，無論是個人還是專業(yè)，我有一個組織結(jié)構(gòu)，分為兩個步驟。 一步是在您的計算機(jī)上組織項(xiàng)目，基于文件夾結(jié)構(gòu)，其中我定義所有類型的文件。 另一個步驟是在3ds Max中，其中我使用層系統(tǒng)進(jìn)行組織，細(xì)分為四個不同的層：

- EST _：模型的所有結(jié)構(gòu)部分

- Dec _：任何裝飾和環(huán)境模型的組成

- Light _和_ Cam：分別是項(xiàng)目的所有燈和攝像機(jī)

這樣，每當(dāng)你需要選擇或隔離的東西，這是容易得多。

Step 4: Composition and furniture models

With the project modeled and organized, I start the composition of the interior scene. It is often the longest part of the process for me, because at this stage I usually try several styles of composition based on the references I have: furniture, accessories and details of decoration, and some different camera compositions.

In my view this is the most important step. Although it seems simple in theory, it's actually more complex, because every composition is based on some principles of Gestalt theory, quite common in photography. I won't go into details about the principles of Gestalt theory, just what I usually use in my work, but you can look further into Gestalt theories of perceptual organization if you're interested.

步驟4：組成和家具模型

隨著項(xiàng)目的建模和組織，我開始內(nèi)部場景的組成。 它通常是我最大的過程，因?yàn)樵谶@個階段，我通常嘗試幾種風(fēng)格的組合基于我擁有的參考：家具，配件和裝飾的細(xì)節(jié)，以及一些不同的相機(jī)組成。

在我看來，這是最重要的一步。 雖然它在理論上似乎很簡單，但實(shí)際上更復(fù)雜，因?yàn)槊恳粋�作品都是基于Gestalt理論的一些原則，在攝影中很常見。 我不會詳細(xì)介紹格式塔理論的原理，只是我通常在我的工作中使用的，但如果你有興趣，你可以進(jìn)一步看看格式塔的知覺組織的理論。

Step 5: Materials and textures

I usually make a few materials for my projects, adjusting the materials for the scene according to the type of project and the lighting. The materials used in this project are basic, and in order to optimize the rendering time, most of my interior scenes have few complex materials.

A tip is to never use pure white and very rarely pure black materials. Whenever you have any element, be it a mobile, a wooden floor or even a small object of decoration, it's important you always observe its texture. For every object, there is a different way to give it a more realistic appearance. We cannot just apply a material with a wood texture and not think about how it will behave with the object. That's really important.

步驟5：材料和紋理

我通常為我的項(xiàng)目做一些材料，根據(jù)項(xiàng)目的類型和照明調(diào)整場景的材料。 在這個項(xiàng)目中使用的材料是基本的，為了優(yōu)化渲染時間，我的大部分室內(nèi)場景有很少的復(fù)雜材料。

提示是永遠(yuǎn)不要使用純白色和非常罕見的純黑色材料。 每當(dāng)你有任何元素，無論是移動，木地板，或甚至一個小的裝飾對象，重要的是你總是觀察它的紋理。 對于每個對象，有一個不同的方式給它一個更真實(shí)的外觀。 我們不能僅僅應(yīng)用具有木材紋理的材料，而不是考慮它將如何與對象行為。 這真的很重要。

Step 6: Lighting and camera

Once the scene is ready, with the basic materials and camera angles set, I start lighting. However, during the lighting process some materials may change or require a few tweaks. Every scene I make has a different kind of lighting - I do not have a specific rule on how to illuminate a single environment, as I try various forms of lighting to get the result that I seek.

Sometimes I use HDRI maps, sometimes I use VRaySky. Sometimes I use neither - only some V-Ray lights. Everything depends on the outcome that I want for each scene. In this scene I use VRaySky for the environment, and V-Ray light portals for the openings of the windows and doors.

步驟6：照明和相機(jī)

一旦場景準(zhǔn)備好，基本材料和攝像機(jī)角度設(shè)置，我開始照明。 然而，在照明過程中，一些材料可能改變或需要一些調(diào)整。 我做的每個場景都有不同的照明 - 我沒有一個特定的規(guī)則，如何照亮一個單一的環(huán)境，我嘗試各種形式的照明，以獲得我尋求的結(jié)果。

有時我使用HDRI地圖，有時我使用VRaySky。 有時我不使用 - 只有一些V-Ray燈。 一切取決于每個場景的效果。 在這個場景中，我使用VRaySky的環(huán)境，V-Ray光門戶的窗口和門的開口。

Step 7: Render setup

My render configurations for this scene are fairly simple, not using anything different from what I usually use.

The important things are render time and quality. There are no render settings which can be used in all internal scenes; each scene depends on the type of light, and quality has specific render settings. I say this because some people just copy parameters used in tutorials found in magazines or online, believing it will solve their problems. Not quite! Each scene has different settings and specifics, and the important thing is to have a starting point of reference.

步驟7：渲染設(shè)置

我的渲染配置這個場景是相當(dāng)簡單，不使用任何不同于我通常使用的東西。

重要的事情是渲染時間和質(zhì)量。 沒有可以在所有內(nèi)部場景中使用的渲染設(shè)置; 每個場景取決于光的類型，并且質(zhì)量有特定的渲染設(shè)置。 我說這是因?yàn)橛行┤酥皇菑?fù)制參數(shù)中使用的教程中發(fā)現(xiàn)雜志或在線，相信它會解決他們的問題。 不完全的！ 每個場景有不同的設(shè)置和細(xì)節(jié)，重要的是有一個起點(diǎn)參考。

Step 8: Post-production

I don't like to spend a lot of time on post-production, to tell you the truth. Usually I take anywhere from 5 to 10 minutes, using Photoshop's Curves, Brightness and Contrast, and Color Correction, but nothing more than that. I like to leave my images as close as possible to the final result I achieved with 3ds Max.

Finally, I would like to thank God for all the blessings I receive in my life, and my family (my beloved wife Jacqueline and daughter Laura, my parents, brothers and nephews) because my family is my base. They motivate me every day to work and learn more.

步驟8：后期制作

我不喜歡花很多時間在后期制作，告訴你真相。 通常我需要5到10分鐘，使用Photoshop的曲線，亮度和對比度和顏色校正，但沒有什么比這更多。 我喜歡我的圖像盡可能接近我用3ds Max實(shí)現(xiàn)的最終結(jié)果。

最后，我要感謝上帝為我生命中所有的祝福，以及我的家人（我所愛的妻子杰奎琳和女兒勞拉，我的父母，兄弟和侄子），因?yàn)槲业募胰耸俏业幕�地�?他們激勵我每天工作和學(xué)習(xí)更多。