Статьи: Эксклюзив

Making of "There Is Hope" - Warehouse

With any art piece there is inspiration. My inspiration for this work came from many directions. I woke up early one morning and couldn't sleep, so I was looking at artwork. I found a piece by Marek Denko that I fell in love with. The scene itself was simple, but beautifully done and life like.

I began with a similar structure setup, although the room was way too empty. The project then went into hiatus for a few months. Eventually, filling it up with plants turned me on and the interior grow room idea was born.

As time went on, I also moved on from "Photorealism" and liked more of a stylized approach. Often I prefer style to photo-real. It allows me the opportunity to be more artistic in my opinion.

In this article I will go through some of the general process of creation and ideation within 3dsmax and Photoshop.

Applications Used: Pixologic ZBrush 4, Autodesk 3ds max 2010, Adobe Photoshop CS4.
Render Processing Time: 12 Hours
Machine Used: Intel Core I7 X980 overclocked to 3.95 ghz with 6 cores, 12 GB of Ram.


Base Scene 

The base scene was built mostly out of basic objects in 3ds max. The materials included a bit more detail, utilizing Diffuse, Bump, Displacement and some other options within Arch & Design Materials. Box UVW mapping was used, as nothing really needed to be unwrapped.

Lighting at this point was done with using MR Sun / Sky and Final Gather with Global Illumination.

Once I had the shape of the room solidified I began sketching out its contents, which I later threw away and do not have to show you here. 

 

The Upper Detailing Process

The first element I started to add was the upper light fixtures. They were created by using primitives and renderable splines.

In this rendering I wanted a lower hanging ceiling element along with a more standard warehouse structure up top. By creating the lower piping and lighting first, it gave me an idea of how much room I had for the water hoses and how much of the upper area would be seen.

At this point the lighting also got a face lift, because the "Self-Illuminating" materials were calculated into Final Gather and helped light the scene quite a bit.


The Lower Detailing Process

The lower detailing began much like the upper. I started with very simple "Growing Runners" and basic supports, which grew to be a bit more detailed as the vision progressed. The vision was ever evolving and because this was a personal project, I let it do so.

I knew early on that I planned to add a ton of plants and dirt, which are usually pretty dense in polys, so I needed to keep as much of the other models in check as possible.

ZBrush was a very useful tool in creating the dirt mounds throughout the rendering. "Grass-O-Matic" was also extremely useful in quickly populating grassy areas.

The creation was kept to simple concepts. If I had more time to work on the image I would have added more advanced things such as "Sub-Surface Scattering" to the leaves and brought in more detail oriented materials.
Tools, Runners And Other Items

The lower detailing began much like the upper. I started with very simple "Growing Runners" and basic supports, which grew to be a bit more detailed as the vision progressed.

I knew early on that I planned to add a ton of plants and dirt, which are usually pretty dense in polys, so I needed to keep as much of the other models in check as possible.

Many of the tools were added from another scene that I created a year or 2 back. The sign I created for a question and answer article for my column in 3D Artist Magazine. I tried to utilize as many items that I had created before as possible, because my time was running out in creating this rendering.
Lighting and Rendering

When it came down to lighting I used only 2 types of light, "MR Sun / Sky" and "Self Illuminated" materials. The bulk of the light came from the self illuminated overhead light fixtures.

When I added the MR Sun / Sky I tested different angles / times. I settled on 8am. Then I set the Exposure Control to "MR Photographic" and "Outdoor Daylight / Clear Sky". The rendering was a tad dark so I lowered the "Exposure Value (EV) until I reached the desired brightness.

The "Self Illuminating" material had a "Unitless Luminance" of 1000.0 with "Visible In Reflections" and "Illuminates The Scene (With FG)" both turned on. This allows the material to be calculated with Finalgather.

When it came down to rendering, I kept mainly simple options. I did not use "Global Illumination", just "Finalgather". I used a sampling quality of Minimum: 4 and Maximum: 16. "BSP2" was used as the "Raytrace Acceleration Method" because of the amount of polygons and objects in the scene.

GI was just taking way too long to process and would crash 3ds max half of the time.

For the void of soft shadows I rendered an "Ambient Occlusion" pass. This always aids a ton in the definition of shadows. Often I decide not to use GI because of the spike in render times. In my opinion utilizing Ambient Occlusion is usually faster and works better, decreasing the need for the calculation of GI.

It is time to start working in Photoshop once the color and ambient occlusion passes are rendered. The color layer is kept as a normal blending mode while the ambient occlusion layer is set to "Multiply". This brings out the darkened areas while removing the white of the ambient occlusion.
Post - Production

Post production is where the real fun began. I love it once the "Testing and Waiting" is complete, because then I get to move onto "What you see is what you get". This also means fast detailing at a high pace.

I made a "Highlight" selection on the entire image and feathered it by 30 pixels (This is a 5000 px wide image). Then I added a layer and made a white fill and decreased the layer opacity to about 40%. This added the desired haze.

Major tonal changes were made on a new layer with a blending mode of "Color". With this I painted at various opacity levels and colors depending on the location and objects.

The fruits needed more intensity, so I painted on those as well. I also decided that I wanted labels on the glass jars. This was also done within Photoshop, hand painting them.

You can see some of the other various items and explanations that I worked on in the image associated to this section. 
By keeping things simple and letting them progress in an organic thought process, I kept the creation fun and stress free. Keep in mind that letting your brain wander can produce fantastic results, especially if you are inspired at the time. Have fun and good luck creating your dreams!


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