This is Sector 20, Way-point 20. It is a control station for an underground “Hover Train”. It’s a concept for a scientific set with very plain and almost dull setup. The inspiration for this set came from the video games Mirrors Edge and Portal. The scene is a high polygon set, with 11 light sources. […]
Lighting and Texturing
Lighting and texturing a scene proves to be the most time consuming processes in 3D. Because of this, most 3D artists struggle to either find time or have the patience to fully light and texture a scene. Understanding how light works is also a different ball game.
Personally, I find lighting and texturing the best part of the whole process. I can’t even complete the scene, and I already start the lighting process. It’s what brings the scene to life!
Every model or scene starts of with a cube, but what you do with the cube and the amount of time you spend on the cube would define the quality of your model. There’s a wide variety of applications available to help anyone to build absolutely anything.
This is an ever-growing field where there’s a demand for more realistic and higher polygon scenes. With 3D becoming more real, would we be able to tell the difference between Real and 3D in the future?
Dynamics is a very broad topic, and it includes a lot more than just fluids. Cloth and hair is good examples of this. I haven’t done much in dynamics, but I have used cloth simulations, cloud simulations and fur for grass.
I recently got my hands onto a version of Nextlimit’s Realflow with sufficient training, and I have found that you need a really good PC in order to simulate large scenes. If you do not have one, you need to simulate the scene during the night or at a time where you are not using your PC. And the biggest problem is, if you do not like the simulations, you need to re-simulate.
3D Visualisation Portfolio
This Living room was modeled in Autodesk’s Maya, and rendered with Mental Ray 3.8. There’s only one light source – Mental Ray Sun & Sky. The rest of the light was generated with Global Illumination, Final Gather and Ambient Occlusion. I setup the scene with average settings, and the scene took 3min to render at […]
This room was supplied by Evermotion, it was modeled in Autodesk’s 3DsMax. The model is a low poly model. I prepared the model for Autodesk’s Maya. After I imported the model, I mapped the UVW’s and textured the room. I used V-Ray 1.50 for this render. The room contains 3 light sources – V-Ray Sun and […]
This Kitchen was modeled in Autodesk’s Maya, and rendered with Vray 2.0. This is a high poly scene with high amounts of ray tracing and reflections. The room was lit with 3 lights sources – Vray Dome Light with a HDR image linked to the colour output, Vray Sun and Vray Rectangular light. The room […]
With the flexibility that Maya provides with their modelling tools, it’s easy to see why modellers switch to Maya. But this is not the only reason why I choose to work with Maya.
I often use the feature rich dynamics of nCloth and UVW mapping tools to make a scene as realistic as possible.
V-Ray & Mental Ray
Choosing the right rendering engine for the job is a crucial part in the design process of the scene. Variables like speed, quality and scene type all influences the choice between Mental Ray and V-Ray.
Each engine also comes with their own limitations, for example – V-Ray (in Maya) cannot render Maya fur, it can only render V-Ray Fur, this prevents the artist not to have complete control over the fur’s dynamics. But Mental Ray on the other hand, cannot render maps with transparency.
But knowing both, is a HUGE advantage!