|| Sihina | සිහින || 3D Animation Tips Store.............

[sihina_lahiru]

|| Sihina | සිහින ||

3D Animation Tips Store.............


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Basic walata wada advance side ekata bara widiyata tamai meka update karanne mama.......

[sihina_lahiru]

Comments...............

[789]

nice keep it up :D

[sihina_lahiru]

nice keep it up :D
aniwa kollo thx.......

[sihina_lahiru]

01............

3D Water – The Ocean


In this 3ds Max tutorial we’re going to create a 3d water surface that could be a lake, a sea, or an ocean. The 3d water is illuminated with the Daylight system. It might sound complicated but it’s actually pretty simple (at least in 3ds max 2010) since the default settings work so well.


Step 1 Mental Ray Renderer

We’re going to render the 3d ocean with the Mental Ray. By default 3ds Max uses the Scanline renderer so we have to change that. Change the renderer to the Mental Ray ( Rendering > Render Setup… > Common tab > Assign Renderer > Production ).
Step 2 The Basic Geometry for the 3D Water

Create a Plane ( Create panel > Geometry > Standard Primitives > Plane ) in the top viewport . Modify the Plane ( Make a selection > Modify panel ) according to the following parameters :


Length: 500
Width: 500

http://www.polygonblog.com/wp-content/uploads/2010/04/plane-dimensions.png
Step 3 Camera Above the Water

Create a Target Camera ( Create panel > Cameras > Target ) in the top viewport to the center of the plane. Go to the right viewport and place the camera and the camera target according to picture below.
http://www.polygonblog.com/wp-content/uploads/2010/04/camera-placement-in-the-left-viewport.png

Activate the Perspective view and press C in the keyboard to activate the Camera view.
Step 4 Material to the 3D Water Surface

Open Material Editor ( Rendering > Material Editor… ) and create an ocean material:


Click “Get Material” button and select ( doubleclick ) ‘Arch & Design (mi)’ from the list.
Select the ocean plane and assign the material to it.
Select template from the drop-down list: Water, Reflective Surface

http://www.polygonblog.com/wp-content/uploads/2010/04/water-material-settings.png
Step 5 3ds Max Daylight System

We’re going to illuminate our 3d ocean scene with the Daylight system. Daylight is a system that mimics real world sun. Create the Daylight system ( Create panel > Systems > Daylight ) in the top viewport. A new dialog appears. 3ds Max suggests that you use mr Photographic Exposure Control with EV=15. Just click YES. ( If the dialog doesn’t appear, apply the setting manually (Rendering > Environment… > Exposure Control )). Modify the following parameters of the Daylight:


Daylight Parameters

Sunlight: mr Sun
Skylight: mr Sky(A new dialog appears. 3ds Max suggests that you use mr Physical Sky. Just click YES. If the dialog doesn’t appear, apply the setting manually ( Rendering > Environment… > Common Parameters > Background > Environment Map ))
Position: Manual ( this setting allows us to place the sun manually, instead of using real world location and time )


Place the daylight so that it shines straight from the top like in picture below.

http://www.polygonblog.com/wp-content/uploads/2010/04/daylight-system-placement.png
Step 6 First Render of the 3D Ocean

We have the ocean and the daylight system so it’s a good idea to check how the rendered image looks like. Your image should look similar to picture below. In the background you see the mr Physical Sky environment map which was added automatically in the previous step. The brown line represents the ground in the background map. Thanks to Metal Ray’s lume shader the plane looks like and 3d ocean already. However, there are some things I’d like to change:


Horizon should be lowered to hide the ground
Smaller Waves
More blue and saturated colors to both ocean and the sky
Little brighter image

http://www.polygonblog.com/wp-content/uploads/2010/04/sea-with-the-default-settings.jpg
Step 7 The Horizon

The horizon can be lowered in the parameters of the Daylight ( Make a selection > Modify panel ):


mr Sky Advanced Parameters

Horizon

Height: -0,1 ( you might need higher value. It depends on your camera angle. )





-http://www.polygonblog.com/wp-content/uploads/2010/04/calm-sea.jpg

[sihina_lahiru]

Step 8 Smaller and Bluer Ocean Waves

Open Material Editor ( Rendering > Material Editor… ) and make the following changes to the ocean material:


Main Material Parameters

Change the color to blue ( for example hue: 0,62 )


Special Purpose Maps

Click on the (Ocean (lume)) shader and make the following changes:

Largest: 2,5
Smallest: 0,12( These values change the size of the sea waves )





http://www.polygonblog.com/wp-content/uploads/2010/04/calm-ocean.jpg
Step 9 Color, Saturation, & Brightness

Color, saturation, and brightness of the image can be adjusted in the parameters of the Daylight:


mr Sky Parameters

Multiplier: 1,1 ( increases the intensity of the sun )


mr Sky Advanced Parameters

Red/Blue Tint: -0,1 ( changes the hue of the light and sky )
Saturation: 1,3 ( changes the saturation of the light and sky )



( Notice that the default colors were more realistic, these color changes are purely for artistic reasons ; )
http://www.polygonblog.com/wp-content/uploads/2010/04/3d-sea.jpg
Step 10 Antialiasing of the Ocean Waves

If you look closely you might see minor aliasing problems in the distant waves. To fix this, just increase antialiasing quality by increasing Mental Ray’s sampling values ( Rendering > Render setup… > Renderer > Sampling Quality ):


Samples per pixel:

Minimum: 4
Maximum: 64



Create a Torus Knot ( Create panel > Geometry > Extended Primitives > Torus Knot ) to see how standard objects look in the water. Go to the Modify panel and apply the following parameters:


Base Curve

Radius: 23
Segments: 300


Cross Section

Radius: 2,5



http://www.polygonblog.com/wp-content/uploads/2010/04/3d-ocean.jpg
And if you feel like it, do some color correction in Photoshop:


Brightness: 35
Contrast: 25

http://www.polygonblog.com/wp-content/uploads/2010/04/3d-water.jpg
Now our 3d water is complete. Next we’re going to see what else we can get out of the daylight system.
Step 11 Sunset Render

Let’s explore further the power of the Daylight system. Let’s simulate sunset by placing the sun near the horizon. Now we can actually see the sun and notice how the daylight system changes color and intensity based on the angle of the sun. ( you might want to decrease the sampling values ( Minimum: 1/4 and Maximum: 4 ) temporarily to speed up the rendering ).
Tip: you can see the sun and illumination before rendering the image if you do the following:


Activate the camera view and press SHIFT+F3 in keyboard
Go to viewport background settings ( Views > Viewport Background > Viewport Background… ) and apply the following settings:

Use Environment Background: ON
Show Background: ON



http://www.polygonblog.com/wp-content/uploads/2010/04/sunset-render.jpg
Step 12 Colors of the Sunset

Let’s make the rendering more interesting by changing the colors to more orange. Select the Daylight. go to the Modify panel, and apply the following parameters:


mr Sky Advanced Parameters

Red/Blue Tint: 1,0 ( changes the hue of the light and sky )
Saturation: 2,0 ( changes the saturation of the light and sky )



http://www.polygonblog.com/wp-content/uploads/2010/04/3d-sunset.jpg

Step 13 Sun Glare

Next we’re going to add some glare to the sun to make it more interesting. Apply Glare Camera Shader ( Rendering > Render Setup > Renderer > Camera Effects > Camera Shaders > Output > Glare ) Just turn the output shader on, the glare shader should be selected by default.
http://www.polygonblog.com/wp-content/uploads/2010/04/3ds-max-water.jpg
Tip: If you’d like to adjust the Glare shader you can just drag and drop it into a material slot in Material Editor ( make sure to select “instance” when asked ) and adjust it there. Make sure to select ‘Instance’ when asked.
Tip: Another way to adjust the sun glare is to drag and drop ‘mr Physical Sky’ ( Rendering > Environment… > Common Parameters > Background > Environment map ) into a material slot in Material Editor and adjust it there. ( Make sure to select ‘Instance’ when asked. )

[RuZZa]

good work lahiru ayya...go ahead

[sihina_lahiru]

Step 14 Fog / Haze in the Sea

Let’s add some Fog/Haze to the scene to blend the horizon with the background. Select the Daylight, go to the Modify panel, and apply the following settings:


mr Sky: Haze Driven (mr Sky)

Haze: 2,0 ( adds haze/fog to the scene )


mr Sky Advanced Parameters

Aerial Perspective

Visibility Distance: 50 ( makes the haze appear close )




mr Sky Parameters

Multiplier: 3,0 ( increases the intensity of the sun to shine stronger behind the haze. You might need to use different value depending on the angle of the sun )



http://www.polygonblog.com/wp-content/uploads/2010/04/foggy-sunset-with-daylight-haze.jpg
Step 15 Color Correction in Photoshop

I’ll do some color correction in Photoshop to make the image more dramatic:


Brightness: -10
Contrast: 70

http://www.polygonblog.com/wp-content/uploads/2010/04/sea-in-3d-max.jpg
Step 12 Moonlit 3D Water

The final thing we’re going to try with the 3ds Max Daylight system is a moonlit night scene. We can’t get perfect blue color out of the Daylight system so let’s remove the color from it. Select the Daylight, go to the Modify panel, and apply the following parameters:


mr Sky Advanced Parameters

Red/Blue Tint: 0 ( changes the hue of the light and sky )
Saturation: 0 ( changes the saturation of the light and sky )



Those values are well suited for subtle changes but now we need a radical change so we’re going to change the mr Photographic Exposure Control settings ( Rendering > Exposure Control… > mr Photographic Exposure Control ):


Image Control

Color Saturation: 1 ( saturation of the colors of the whole image )
Whitepoint: 3000 ( color temperature of the light source )
Vignetting: 7 ( adds vignetting effect to the image )



http://www.polygonblog.com/wp-content/uploads/2010/04/water-render-in-3ds-max.jpg
Step 13 Some Magic Over 3D Sea

Now I’m tempted to add fireworks over the 3d ocean to create some magic to the image but for the sake of the length of this tutorial we’ll settle with some floating light sources. Create a sphere ( Create panel > Standard Primitives > Sphere ), go to the Modify panel, and apply the following parameters to it:


Radius: 0,3

Open Material Editor ( Rendering > Material Editor… ) and create a new material for the sphere:


Click ‘Get Material’ button and select (doubleclick) ‘Arch & Design (mi)’ from the list.
Select the sphere and assign the material to it.
Main Material Parameters

Diffuse

Color: pure white




Self Illumination (Glow)

Self Illumination (Glow): ON
Luminance: 1000



We’ll create standard lights so we should change the mr Photographic Exposure Control settings ( Rendering > Environment… > mr Photographic Exposure Control ):


Physical Scale: Unitless: 1500

Create a standard Omni light ( Create panel > Lights > Standard > Omni ), go to the Modify panel, and apply the following parameters to it:


Multiplier: 20
Decay

Type: Inverse Square
Start: 10



Place the Omni to the middle of the sphere. Now one light source is ready. Make several copies of it and move them around.
Finally we’re going to create a stronger glare to the moon and the spheres by modifying the glare shader:


Drag and drop the Glare shader ( Rendering > Render Setup > Renderer > Camera Effects > Camera Shaders > Output > Glare ) to an empty material slot in the Material Editor ( make sure to select “instance” when asked )
In Material Editor, change the Spread value to 4. ( this makes the glare stronger )

Darken the moon to create a little more convincing image. Select the Daylight, go to the Modify panel, and decrease the multiplier value of the Daylight system:


mr Sky Parameters

Multiplier: 1,5



Render the image and you should get something like picture below.
http://www.polygonblog.com/wp-content/uploads/2010/04/ocean-in-3d-max.jpg
Step 13 Color Correction in Photoshop

You probably guessed it. I’ll do some color correction in Photoshop to make the image pop:


Brightness: 15
Contrast: 80
Hue: -8

http://www.polygonblog.com/wp-content/uploads/2010/04/water-in-3d-max.jpg
And that’s it for today. I hope it helps and you’re able to create something beautiful. Let’s continue in the comments!

[sihina_lahiru]

2............http://vray.info/tutorials/vrayrocks/header1.jpg

Part 1 of this tutorial shows a way to create very realistic looking rocks that can be rendered far away or for very detailed work. After failing to find a decent tutorial online I decided to start experimenting and I came up with this. I already knew how to make decent looking rock but I needed a way of generating loads quickly for a very rocky landscape. In Part 2 (http://vray.info/tutorials/vrayrocks/part2.asp) we are going to distribute those Rocks on a large scale using Vray Mesh Export and the Advanced Painter Plugin.
You need. 3ds Max, V-Ray, and Francois Mourlevat’s Asteroids Generator Script (http://www.scriptspot.com/3ds-max/scripts/asteroid-generator) and the texture inluded in the scene file (http://vray.info/tutorials/vrayrocks/assets/vrayrocks_part1.zip) which is a modifies version of a texture I got from CG Textures (http://cgtextures.com/).
There is a video that shows the process at the end of the tutorial.
http://vray.info/tutorials/vrayrocks/assets/rock_part1_01.jpg 1
Create a Rock using Asteroids Generator Script using the settings below. You can have a mess around with these parameters. It’s ok to delete the rock that appears when you open the script. The settings I have used are good for the jagged rocks I need. Hit the Creation Button.
http://vray.info/tutorials/vrayrocks/assets/rock_part1_02.jpg 2
Apply a Displacement Modifier to the rock. (Note that this is not Vray Displacement Modifier.) I used a strenght of 180mm. Select Shrink Wrap. Make sure you Load the Rock bitmap into the Map box as shown in the expanded view. http://vray.info/tutorials/vrayrocks/assets/rock_part1_03.jpg (http://vray.info/tutorials/vrayrocks/assets/rock_part1_03_large.jpg) 3
Apply a Turbosmooth Modifier to the stack. An Iteration of 2 is fine. I would leave it at this if you are going to be using a lot of rocks http://vray.info/tutorials/vrayrocks/assets/rock_part1_04.jpg (http://vray.info/tutorials/vrayrocks/assets/rock_part1_04_large.jpg) 4
Open the material editor and create a VrayMtl. Load the same bitmap we used for the Displacement Modifier into the Diffuse Slot. We are using the same bitmap for everything. You will see in the expanded view that I have dragged it down and ‘copied’ it into the Bump Map slot as well. I also added a Falloff Reflection as shown. This creates a realistic look to the rocks by adding a nice reflection to the perpendicular and parallel angles. Remember, Everything reflects! You can take the Reflect amount down to 40 or lower and turn Refl. glossiness down to 0.5. You can mess around with these levels.
http://vray.info/tutorials/vrayrocks/assets/rock_part1_05.jpg (http://vray.info/tutorials/vrayrocks/assets/rock_part1_05_large.jpg) 5
Apply the material to the rock and add a uvwmap modifier to the rocks modifier stack. Choose Box as the mapping method. http://vray.info/tutorials/vrayrocks/assets/rock_part1_06.jpg http://vray.info/tutorials/vrayrocks/assets/rock_part1_07.jpg (http://vray.info/tutorials/vrayrocks/assets/rock_part1_07_large.jpg) 6
I decided at this stage to add a Vray Displacement Modifier below UVW Mapping using the settings below. Copy the Material in the Bump Slot over to the Texmap box. Amount 5.0mm, Resolution 300 and Precision 5. Nice and low for rendering. Note: to speed up the rendering you can use 3D mapping, instead of 2D mapping, for a slightly different, but faster result.
http://vray.info/tutorials/vrayrocks/assets/rock_part1_08.jpg (http://vray.info/tutorials/vrayrocks/assets/rock_part1_08_large.jpg) At this stage hit render to see what your rock looks like. Note: To get some light in the scene, change the Environment slot to white if it’s not already.
7
Using another script called pivot placer which is part of Blur Scripts I placed the pivot to the bottom centre of the rock. Hit right mouse button on the Z: Position spinner arrows to get the rock on the floor. blur scripts link http://www.neilblevins.com/blurscripts/blurscripts.htm
http://vray.info/tutorials/vrayrocks/assets/rock_part1_09.jpg 8
Using the Asteroids Generator hit Creation to create more rocks. Each one is a different seed. Again, place the pivots of each one to the bottom center Hit right mouse button on the Z: Position spinner arrows to get the rock on the floor. http://vray.info/tutorials/vrayrocks/assets/rock_part1_10.jpg 9
Copy the original Rock’s Modifier Stack to each new Rock as an Instance, and Apply the Rock Material to each of them as well. http://vray.info/tutorials/vrayrocks/assets/rock_part1_11.jpg You now have new rocks with exactly the same modifiers and materials applied. Make as many as you need.
If you are finding things are starting to get heavy for your PC then turn Iterations in the Turbosmooth Modifier down to 1. Essentially we want to create these rocks for distribution using Vray Mesh Export at a later stage so a higher Iteration will be fine. But for this exercise you can turn it down.
10
So we have a number of Rocks, all different, with copied instances of the modifier stack, and the same material applied also. http://vray.info/tutorials/vrayrocks/assets/rock_part1_12.jpg 11
Create a Vray Plane and apply a basic VrayMtl to it. http://vray.info/tutorials/vrayrocks/assets/rock_part1_13.jpg 12
Create a VraySun and click yes to add the Vray Sky to environment. http://vray.info/tutorials/vrayrocks/assets/rock_part1_14.jpg 13
Create a VrayPhysicalCamera and position it as shown. Click image for Camera settings. http://vray.info/tutorials/vrayrocks/assets/rock_part1_15.jpg (http://vray.info/tutorials/vrayrocks/assets/rock_part1_15_large.jpg) 14
Render Settings. Note: Just decrease or increase the Noise Threshold Amount in V-Ray DMC Sampler to change render quality. Note: The settings in the incuded scene file have Brute Force GI and camera Depth of Field (DOF) enabled, and this can take a while to render. To speed up the rendering you may want to try using the Irradiance Map GI method instead, and turn off the DOF in the V-Ray camera.
http://vray.info/tutorials/vrayrocks/assets/rock_part1_16.jpg (http://vray.info/tutorials/vrayrocks/assets/rock_part1_16_large.jpg) http://vray.info/tutorials/vrayrocks/assets/rock_part1_17.jpg Video

[kudos_utopia]

maru aiya!!
elaz...keep it up...:yes::yes::):);)

[sihina_lahiru]

There is a video that shows the process at the end of the tutorial.
http://vray.info/tutorials/vrayrocks/assets/rock_part2_01.jpg (http://vray.info/tutorials/vrayrocks/assets/rock_part2_01_large.jpg) 1
I have created 12 different instances (included in the scene file (http://vray.info/tutorials/vrayrocks/assets/vrayrocks_part2.zip)) of the Rocks we created in Part 1 of this tutorial. I have named them rock_01 - 12 http://vray.info/tutorials/vrayrocks/assets/rock_part2_02.jpg 2
Select all the Rocks and right click to open the quad menu, select V-Ray mesh export. Choose 'Export each selected object in a seperate file'. This will keep the rocks individual and not as one collapsed vray mesh. Use 50 faces in preview, or even less to keep things zipping along. Save them into a folder.
I created a new folder called 'vray_mesh_exports'. This is where Vray will save our Mesh Export Versions of our Rocks.
Note: Vray Mesh Export is normally applied after you have merged an object to your scene. To be on the safe side make sure you save your models as a max file, as you normally would with any model you create.
Note: If you have used any unusual characters such as : / @ '' in the naming of your object then V-Ray Mesh export will fail as windows cant use characters in file names.
http://vray.info/tutorials/vrayrocks/assets/rock_part2_03.jpg http://vray.info/tutorials/vrayrocks/assets/rock_part2_04.jpg 3
You will now see that the Rocks names are now 'VrayProxy_rock##' http://vray.info/tutorials/vrayrocks/assets/rock_part2_05.jpg 4
Create a plane. 30x30metres. Create a basic Landscape by converting the plane to an editable poly and then using the Paint Deformation tool to push and pull the plane. You can also import or merge the landscaping you wish to use as well. http://vray.info/tutorials/vrayrocks/assets/rock_part2_06.jpg (http://vray.info/tutorials/vrayrocks/assets/rock_part2_06_large.jpg) 5
Once you have finished creating your landscape open the Advanced Painter plugin. Choose Randomizer from the drop down menu and add the rocks. Click on your Landscape and the click paint. You can now start painting the VrayProxy Rocks on to the landscape. You can have a play around with the Advanced Painter settings to tweek the way they rocks are painted, such as, scale variation, rotation and how close to the landscape you want the rocks. I find smaller rocks acheive a more realistic look so a setting between 0.2 - .35 is a good. (This is in relation to the original size of the model used) http://vray.info/tutorials/vrayrocks/assets/rock_part2_07.jpg (http://vray.info/tutorials/vrayrocks/assets/rock_part2_07_large.jpg) IMPORTANT: Navigate away from Modifier Tab to the Create Tab otherwise you will suffer a lot of refresh slowdown when you are painting. This is a natural problem in Studio Max not the plugin itself.
http://vray.info/tutorials/vrayrocks/assets/rock_part2_08.jpg I find it useful to create Rocks in a new Layers in the Layer manager. This allows you to turn off the layers if your scene if it the poly count is starting to become heavy.
http://vray.info/tutorials/vrayrocks/assets/rock_part2_09.jpg Take some time to paint them. I find rushing this process has a bearing on the final result.
6
Once you have finished hide all the rocks you have created. Click on your landscape and add the Rock Material. Add a Displace Modifier (not vray displacement) in the stack and copy over the Rock Bump Map to Map image method as an instance. Choose Shrink wrap method and make sure the Displacement Modifier gizmo centre is lined up to the bottom of your landscape. (This just helps to stop the mapping warping). This is a really nice way of getting the Landscape to blend with our rocks.
http://vray.info/tutorials/vrayrocks/assets/rock_part2_10.jpg (http://vray.info/tutorials/vrayrocks/assets/rock_part2_10_large.jpg) 7
Add a turbosmooth modifier to the stack. You can see we are basically repeating the method we used in Part 1 to create the rocks in the first place. Now we are using it on the Landscape. http://vray.info/tutorials/vrayrocks/assets/rock_part2_11.jpg 8
Add a Vray Displacement modifier to the Stack as shown. Add the bitmap in the bump map slot to Texmap. http://vray.info/tutorials/vrayrocks/assets/rock_part2_12.jpg (http://vray.info/tutorials/vrayrocks/assets/rock_part2_12_large.jpg) 9
Unhide the Rocks in the Layer Manager and render. The image below shows what you can achieve using this tutorial. I have added a wooden walkway with Vray Lights underneath. Post work in Photoshop includes Vignetting Effect and Clouds.
http://vray.info/tutorials/vrayrocks/assets/rock_part2_01.jpg (http://vray.info/tutorials/vrayrocks/assets/rock_part2_01_large.jpg)

[sihina_lahiru]

maru aiya!!
elaz...keep it up...:yes::yes::):);)
thx kolla

[sihina_lahiru]

good work lahiru ayya...go ahead


aniwa elazzz malli.....................

[sihina_lahiru]

3.................

http://vray.info/tutorials/grass/header.jpg
This tutorial will show you how to create a field of grass using VRayProxy objects and the VRayScatter plugin. Software used: 3ds Max, V-Ray, VRayScatter (for other alternatives see below), Advanced Painter (http://www.scriptspot.com/3ds-max/scripts/advanced-painter-0) (free script)
http://vray.info/tutorials/grass/assets/valley.jpg (http://vray.info/tutorials/grass/assets/valley_large.jpg) 1 The first stage is to create some individual blades of grass and then make a small area of grass that can later be distributed thousands of times onto your terrain.
The 3 individual blades of grass were modeled as a plane object with 8×1 segments, collapsed to an editable poly and then I moved the vertices into position in the left and front viewports. You could use a bend modifier as well, just make sure the final object has as few polygons as you can get away with.
http://vray.info/tutorials/grass/assets/blades.jpg 2 I then used a very handy script called Advanced Painter to 'paint' about 100 blades of grass over a 1m×1m plane object. Set Advanced Painter to randomize mode, tell it to scatter as copies (not instances), pick the 3 blades of grass as the objects to be scattered and set the min and max scale and z rotation values to something like 0.75 - 1.25 and -45deg +45deg. Then select the plane object, click paint and paint the grass on until it looks like a natural clump of grass. I usually scatter some smaller blades round the circumference of the circle to the clumps blend together better when rendered. Instead of adv. painter, you could also use the 3ds Max compound scatter object, scatter (http://www.max3dstuff.com/max4/scatter/help.html) by Peter Watjes, or just do it by hand!
3 The final stage here, before exporting as a VRayProxy, is to make sure your blades of grass aren't instances, otherwise you will run into problems later on. I normally collapse all the blades into one object (make one blade unique then attach all other blades to it when in editable poly mode). You could do a reset xform too, for good measure. Another thing I did was to apply a box UVW map to it before I collapsed it, as I wanted to make the tips of the grass lighter. Right click on the mesh and choose the export to VRayProxy option to save it as a vrmesh file.
http://vray.info/tutorials/grass/assets/painter.jpg (http://vray.info/tutorials/grass/assets/painter_large.jpg) 4 Now comes the fun part! Choose VRayScatter from create/vray and place it somewhere in your scene. Switch to the edit panel and load up the vrmesh you made in the earlier steps. Then you need to choose your terrain object and at that point you should see lots of boxes being scattered over your terrain.
There are alternatives to VRayScatter as well:


The makers of VRayScatter are currently working on a new product called multiscatter which will supersede VRayScatter.
Forest (http://www.itoosoft.com/english/menu.php) by Itoosoft is apparently very capable, and there is a free version so well worth trying out.
Groundwiz Planter (http://www.gugila.com/groundwiz_planter.html) can use VRayProxies.
you can just as easily use the free Advanced Painter (http://www.scriptspot.com/3ds-max/scripts/advanced-painter-0) script to distribute the proxies once you have made them. It might take a while though, and your viewport will probably slow down after a while.
you could distribute the proxies using 3dsmax particles

http://vray.info/tutorials/grass/assets/hill.jpg (http://vray.info/tutorials/grass/assets/hill_large.jpg) Continue to part two (http://vray.info/tutorials/grass/part2.asp) of this tutorial where I use similar techniques to make shorter grass and go over the material set up for the grass blades.

[sihina_lahiru]

4...........'Making Of 'Alfa Romeo Competizione C8 Spyder Studio'



http://www.3dtotal.com/tutorial/3d_studio_max/car_modeling_alfa_romeo_competizione_c8/images/fig21_final_render_02.jpg

Software Used: 3ds Max
Introduction:

The project, Alfa Romeo C8 Spyder, started as a personal challenge in order to improve my modelling techniques and final renders. The modelling of cars has always attracted and fascinated me, and this is what I specialise in. I have created some car models and the treatment of each finished model is better than the previous one.
I choose this model for this personal project because, from the very first time I saw it in a car magazine, my attention was simply drawn to its form. It decided it was time to bring it into the world of 3D!

Research:

I started by searching for all possible references of this model, which didn’t really take me too long as there are lots of very good images on the Internet. Despite this, I couldn’t find any pictures of the Spyder model itself and so I had to use pictures of the model with a hard roof instead. From all the reference material I had gathered, I selected three images in order to create the “blueprints” from which I could begin the modelling phase.

Modelling:

I began by putting the blueprints into the viewport: front view, side view and rear view. I did not have an image of the top of the model of my choice, so I had to model this section of the car without using any references (Fig.01).

http://www.3dtotal.com/tutorial/3d_studio_max/car_modeling_alfa_romeo_competizione_c8/images/fig01_template_refrence.jpg
Fig.01

All parts of the car were created using the polygonal modelling technique, starting from the front bumper (Fig.02). I began with a plane of a single face, converted to Editable Poly (Fig.03). The plane was placed in front view and, selecting the edge side, I started to extrude along the lines of the car, following the blueprint in front view. With the upper edge, I took this upwards toward the hood of the car, so I was shaping the body of the model (Fig.04).

http://www.3dtotal.com/tutorial/3d_studio_max/car_modeling_alfa_romeo_competizione_c8/images/fig02_front_view.jpg
Fig.02

http://www.3dtotal.com/tutorial/3d_studio_max/car_modeling_alfa_romeo_competizione_c8/images/fig03_editable_poly.jpg
Fig.03

http://www.3dtotal.com/tutorial/3d_studio_max/car_modeling_alfa_romeo_competizione_c8/images/fig04_modeling_start.jpg
Fig.04





All parts, such as the bumper, doors, and windows and so on, were exactly the same shape: a one-sided plane that, once turned into an Editable Poly, allowed me to extrude the edges and shape the basic form of the objects, and then add the details (Fig.05).

http://www.3dtotal.com/tutorial/3d_studio_max/car_modeling_alfa_romeo_competizione_c8/images/fig05_low_poly_mesh.jpg
Fig.05

For the modelling of the tyres, I tried to spell them out as much as possible by giving more attention to the small details, such as the brake disc and bolts. As a personal touch, I always exaggerate the size of the wheels slightly, with the purpose of further accentuating the look of a sports car (Fig.06, Fig.07 and Fig.08).

http://www.3dtotal.com/tutorial/3d_studio_max/car_modeling_alfa_romeo_competizione_c8/images/fig06_modeling_alloy_wheels.jpg
http://www.3dtotal.com/tutorial/3d_studio_max/car_modeling_alfa_romeo_competizione_c8/images/fig07_modeling_brake_discs.jpg
Fig.06
Fig.07

http://www.3dtotal.com/tutorial/3d_studio_max/car_modeling_alfa_romeo_competizione_c8/images/fig08_wheel_smoothed.jpg
Fig.08

[sihina_lahiru]

For the lights, I used the same procedure and level of details in order to achieve a good-looking appearance (Fig.09 and Fig.10).

http://www.3dtotal.com/tutorial/3d_studio_max/car_modeling_alfa_romeo_competizione_c8/images/fig09_light_assemberly.jpg
Fig.09

http://www.3dtotal.com/tutorial/3d_studio_max/car_modeling_alfa_romeo_competizione_c8/images/fig10_lights_smoothed.jpg
Fig.10





And so, I proceeded in the same manner until the end of the modelling process (Fig.11 and Fig.12).

http://www.3dtotal.com/tutorial/3d_studio_max/car_modeling_alfa_romeo_competizione_c8/images/fig11_low_poly_finished.jpg
Fig.11

http://www.3dtotal.com/tutorial/3d_studio_max/car_modeling_alfa_romeo_competizione_c8/images/fig12_high_poly_model_smoothed.jpg
Fig.12

Texturing:

Once I’d completed the whole modelling process and was satisfied that I had achieved my main goal (which was the detailed modelling of the car), I proceeded to apply the materials in V-Ray – all of which are very simple, with little “science” in the preparation of them. I began with the car paint - the values that I used can be seen in Fig.13. For the rims, the values are shown here: Fig.14. The brake calipers have an image on the diffuse as well, as shown in Fig.15. For the sidewall, I generated a map drawing in the bump (Fig.16).

http://www.3dtotal.com/tutorial/3d_studio_max/car_modeling_alfa_romeo_competizione_c8/images/fig13_car_texturing.jpg
Fig.13

http://www.3dtotal.com/tutorial/3d_studio_max/car_modeling_alfa_romeo_competizione_c8/images/fig14_wheel_brake_texture.jpg
Fig.14

http://www.3dtotal.com/tutorial/3d_studio_max/car_modeling_alfa_romeo_competizione_c8/images/fig15_brake_disc_texture.jpg
Fig.15

http://www.3dtotal.com/tutorial/3d_studio_max/car_modeling_alfa_romeo_competizione_c8/images/fig16_Bump_texturing.jpg
Fig.16

[sihina_lahiru]

For the lights, I used the same procedure and level of details in order to achieve a good-looking appearance (Fig.09 and Fig.10).

http://www.3dtotal.com/tutorial/3d_studio_max/car_modeling_alfa_romeo_competizione_c8/images/fig09_light_assemberly.jpg
Fig.09

http://www.3dtotal.com/tutorial/3d_studio_max/car_modeling_alfa_romeo_competizione_c8/images/fig10_lights_smoothed.jpg
Fig.10





And so, I proceeded in the same manner until the end of the modelling process (Fig.11 and Fig.12).

http://www.3dtotal.com/tutorial/3d_studio_max/car_modeling_alfa_romeo_competizione_c8/images/fig11_low_poly_finished.jpg
Fig.11

http://www.3dtotal.com/tutorial/3d_studio_max/car_modeling_alfa_romeo_competizione_c8/images/fig12_high_poly_model_smoothed.jpg
Fig.12

Texturing:

Once I’d completed the whole modelling process and was satisfied that I had achieved my main goal (which was the detailed modelling of the car), I proceeded to apply the materials in V-Ray – all of which are very simple, with little “science” in the preparation of them. I began with the car paint - the values that I used can be seen in Fig.13. For the rims, the values are shown here: Fig.14. The brake calipers have an image on the diffuse as well, as shown in Fig.15. For the sidewall, I generated a map drawing in the bump (Fig.16).

http://www.3dtotal.com/tutorial/3d_studio_max/car_modeling_alfa_romeo_competizione_c8/images/fig13_car_texturing.jpg
Fig.13

http://www.3dtotal.com/tutorial/3d_studio_max/car_modeling_alfa_romeo_competizione_c8/images/fig14_wheel_brake_texture.jpg
Fig.14

http://www.3dtotal.com/tutorial/3d_studio_max/car_modeling_alfa_romeo_competizione_c8/images/fig15_brake_disc_texture.jpg
Fig.15

http://www.3dtotal.com/tutorial/3d_studio_max/car_modeling_alfa_romeo_competizione_c8/images/fig16_Bump_texturing.jpg
Fig.16