Making-of Bathroom renders

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Leonardo Giomarelli (ilgioma on the Maxwell official forums), who is the creator of some great materials on MZ (CopperBrassPlastic) has been kind enough to give us a glimpse of his workflow in creating these beautiful interior renders of a modern bathroom. 

I started working with MaxwellZone for about 1 year producing sets of materials based on photographic references found in the shop of this site. Lately trying to test Maxwell Render on interior projects I have produced a small setting and, talking with Mihai, we decided to share on the blog the main steps on which I based my work.

Choosing a project

Personally I find most of the inspirations for my projects on Pinterest, I think this social media is structured in an exceptional way for those who need to check trends, color palettes, compositions etc. But we must be careful not to remain too faithful to a single image to avoid the replication effect that I do not like. If the project I want to do represents a bathroom, I’m also looking for references to bedrooms, kitchens or anything else from the images of the guidelines for the creation of my work. In any case, for my inspirations I always try to prefer photographic shots to other projects realized in CGI, it is always good to have something real as the first reference.

From idea to 3D

Here there is very little to say… knowing how to model well reproducing details will bring the project to a higher level right away. Obviously for the fabrics you can not do without Marvelous Designer.

Creating good lighting

Choosing the type of lighting is essential for creating engaging images. Of all the known techniques I have always preferred the Sky Dome because it offers me a neutral and very soft light to be used as primary light. Depending on the design and the type of product to be represented I always go to add support lights to enhance certain areas or to have a light complementary to the primary perhaps warmer so as to give dynamism to the shot. The following pictures show the Sky Dome settings and the layout of the lights used in this job. 

A little trick: Generally as a basis of the architectonic I always put a disk or a floor to simulate a pavement outside the building that obviously contributes to bring into the room the light reflected by the Sky Dome. On this disc or plane (it makes no difference) I always apply a very simple material with a medium gray color RGB 180, never white. This is to avoid burning too much the areas near the openings.

The materials

Up to this point everything is relatively simple but, believe me, using approximate and “perfect” materials will cancel every effort. Metal materials in particular, can push the image towards photorealism if well calibrated. For my project I made extensive use of the materials available on MaxwellZone, so in addition to steel I also used the Ceramic Zirconia as a starting point for the tub and the elements of the radiators. 

When I have to make simple glasses like the vase I rely on the Maxwell Render presets, I find it very easy to use and at the same time effective. For other materials concerning textiles and walls, I used textures on some models purchased on Bentanji. I think this is also a very useful resource for us Maxwell users.

The finishing touches

There is no rendering without post production but it is necessary to prepare well all the render passes. In the image I show which passes I always render out.

As for the Alpha Custom channels, I usually use them only if I have objects that are difficult to select with just MaterialID or ObjectID, in this case, branches and flowers. Below I will show the images that make up the project before and after the adjustments in Photoshop. As you will see, there are images that need very slight adjustments, while others need more work to show their full potential…

This image has been worked on very little, I only wanted to give a warm tone that in my opinion improves the look.

Here, however, the adjustments were more massive, I wanted it to come out an emotional shot and then I pushed on a bloom effect typical of backlighting. To obtain it, simply select the opening area, fill the selection with a white color and then use a blur filter to increase the value until a credible effect is obtained. The original shot was also underexposed, in this case I remedied directly on Photoshop, but I could do it with the Multilight.

Still little adjustments to even out the tonality of previous shots.

In the presence of metal details, I like to include some chromatic aberration in the renderings. It is an artifact present on the photos. Here’s a link where it’s explained how it is generated in photography and how to do it in Photoshop.

I hope you enjoyed this short making-of, maybe in the future we can deal with more specific aspects related to some processing phase.

See you soon
ilgioma

Follow Leonardo Giomarelli on Twitter or Facebook

Thinking out of the box with Cinema 4D by Tim Clapham

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Thinking out of the box with Cinema 4D by Tim Clapham

Every year Sydney hosts the Vivid Festival of Light, Music and Ideas that includes outdoor immersive light installations and projections.
Like the one shown here on the Sydney Opera House sails, done with Cinema 4D by Tim Clapham and his team. It also includes performances by local and international musicians, and an ideas exchange forum featuring public talks and debates with leading creative thinkers.

You too can create wonderful 3D creative designs and interactive displays with Cinema 4D for more details.

Cineware for Illustrator Version 1.2 and R20

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Cineware for Illustrator Version 1.2 and R20 available

The update features a number of workflow optimizations, updates and fixes for several bugs and issues under macOS and Windows

Today we’re happy to announce the next major update for Cineware for Illustrator. Thanks to the support of numerous users from the 2D and 3D communities we were able to integrate a number of great new features into the plug-in.

  • Highlights in Version 1.2:
    Support for the new R20 render engines, including support for Sketch & Toon
  • Users can define new camera positions from within Illustrator
  • Materials can be duplicated and named from within Illustrator
  • Improved installation process, including a Welcome screen and helpful tips to get started
  • Polished the overall user interface and fixed a long list of bugs

Cineware is just one year old and we are continually improving it to make users’ lives easier. Your feedback and input really help us make it even better. So let us know what you think! Please tell us everything, the good, the bad and even the ‘I don’t get it?’.
You can contact us at : rkeeping@smarttec.com.au

Your feedback helps us to improve and develop Cineware for Illustrator continuously!
Download Cineware for Illustrator 1.2 above by clicking image

Vray Documentation for formz

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All the V-Ray for formZ documentation

A list of all the current V-Ray | form•Z for both Mac & Windows. The current release version of V-Ray is 3.6.3 and uses the latest v5 V-Ray server and as such much of the special rendering capabilities may be also described in V-Ray for 3DStudio Max and V-Ray for Sketchup discussions.

Introducing V-Ray for for•Z

 

V-Ray for form•Z Overview

 

V-Ray for form•Z frame buffer

 

V-Ray for form•Z Interior Lightning

 

V-Ray for form•Z Materials

 

V-Ray Interactive Render for form•Z

 

V-Ray for Exterior Lighting

CGArchitect Architectural 3D Award

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V-Ray for form•Z image nominated for CGArchitect Architectural 3D Award

Ray for formZ

Congratulations to TILTPIXEL on their nomination for a prestigious CGArchitect Architectural 3D Award. Their stunning image of the Harbin Opera House by M.A.D. Architects was modelled in form•Z and rendered with V-Ray for form•Z.

V-Ray for form•Z brings unprecedented rendering capabilities to form•Z with superior re-sults in less time. V-Ray for form•Z is integrated naturally into the form•Z interface allowing rendering to be a part of the creative process.

V-Ray for form•Z features GPU and CPU based rendering, a vast material library, stunning lighting effects, stereo and VR headset support, multiple rendering channels, powerful de-noising and so much more.

Render free for 30 days!
Click here to sign up for a V-Ray for form•Z 30 day Evaluation

Click here for more information on V-Ray for form•Z

Maxwell Render vs Photograph

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Maxwell Render vs Photograph

Which is the Photo and which is the Maxwell Render?

This is the Maxwell Render – which is still a work in progress

This is the Real Photograph

 

Work by By Dmitriy Berdnichenko – an excellent result.

 

 

Maxwell Materials are the key to great renders

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Maxwell Materials are the key to great renders with Maxwell Render 4

Mihai Iliuta at maxwellzone.com has just released some great results using the advantages of having great materials

 

Hi Maxwellians,

Just wanted to quickly show you some renders of a new set of brass materials created by Leonardo Giomarelli (ilgioma), which I think really demonstrate one of the most important things to understand about Maxwell – if you take the time to create realistic materials, the rest just becomes so much easier. And conversely, if your materials are crap, then your render will most certainly also be…crap.

Also, *DO* use the Maxwell material assistants to quickly give you realistic materials.

In these renders I just used one my HDRs and the “Advantix 100” tonemapping preset.

Image
Image

 

he offers great online training here: 

 

MAXON ANNOUNCES CINEMA 4D RELEASE 20

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MAXON ANNOUNCES CINEMA 4D RELEASE 20

Groundbreaking Update of the 3D Application Delivers Advanced Features and Streamlined Workflows to Creative Professionals

FRIEDRICHSDORF, Germany — August 1, 2018 — MAXON today unveiled Cinema 4D Release 20 (R20), a break-through version of its iconic 3D design and animation software. Release 20 introduces high-end features for VFX and motion graphics artists including node-based materials, volume modeling, robust CAD import and a dramatic evolution of the MoGraph toolset. MAXON will debut Cinema 4D R20 live and online (C4DLive.com) at the upcoming SIGGRAPH 2018 convention August 14-16, in Vancouver, BC.

“We are excited to be delivering high-end tools and features that will streamline workflow and push the industry in new and exciting directions,” says David McGavran, CEO at MAXON Computer GmbH. “Over the last decade, our MoGraph toolset has revolutionized the broadcast graphics industry. The new Fields system in R20 offers the next evolution in Cinema 4D’s signature workflow.”

Key highlights in Release 20 include:

Node-Based Materials

Provide new possibilities for creating materials from simple references to complex shaders in a node-based editor. With more than 150 nodes to choose from that perform different functions, artists can combine nodes to easily build complex shading effects for greater creative flexibility. For an easy start, users new to a node-based material workflow still can rely on the user interface of Cinema 4D’s standard Material Editor, creating the corresponding node material in the background automatically. Node-based materials can be packaged into assets with user-defined parameters exposed in a similar interface to Cinema 4D’s classic Material Editor.

MoGraph Fields – New capabilities in this industry-leading procedural animation toolset offer an entirely new way to define the strength of effects by combining falloffs – from simple shapes to shaders or sounds and objects and formulas. Artists can layer Fields with standard mixing modes and remap their effects. Group multiple Fields and use them to control effectors, deformers, weights, and more.

CAD Data Import – Popular CAD formats can be directly and seamlessly imported into Cinema 4D R20 with a simple drag and drop. A unique scale-based tessellation interface allows for adjustment of detail to build amazing visualizations. STEP, Solidworks, JT, Catia V5 and IGES formats are supported.

Volume Modeling – Create complex models by adding or subtracting basic shapes in Boolean-type operations using Cinema 4D R20’s OpenVDB–based Volume Builder and Mesher. Procedurally build organic or hard-surface volumes using any Cinema 4D object including new Field objects. Volumes can be exported in sequenced .vdb format for use in any application or render engine that supports OpenVDB.

ProRender Enhancements – ProRender in Cinema 4D R20 extends the GPU-rendering toolset with key features including sub-surface scattering, motion blur and multi-passes. Also included are an updated ProRender core, support for Apple’s Metal 2 technology, out-of-core textures and other enhancements.

Core Technology Modernization – As part of the transition to a more modern core in Cinema 4D, R20 comes with substantial API enhancements, the new node framework, further development on the new modeling framework, and a new UI framework.

Pricing, Availability / Upgrade Path

All current MSA users that have active agreements through September 2018 will get the R20 update automatically Cinema 4D Release 20 is scheduled for availability in September 2018. Available for both macOS and Windows.

All existing Cinema 4D users with expiring MSA in August can add their MSA extension  before August 31 and will receive the upgrade at a significant discount than if delayed.

ALL other users with versions older than the current R19 can upgrade their existing package to R19 and receive a free MSA ( 12 month support agreement ) – This ensures they too will receive the R20 on release.

Cinema 4D Release 20 Press Material

About MAXON
Headquartered in Friedrichsdorf, Germany, MAXON Computer is a developer of professional 3D modeling, painting, animation and rendering solutions. Its award-winning Cinema 4D and BodyPaint 3D software products have been used extensively to help create everything from stunning visual effects in top feature films, TV shows and commercials, cutting-edge game cinematics for AAA games, as well as for medical illustration, architectural and industrial design applications. MAXON has offices in Germany, USA, United Kingdom, Canada, France, Japan and Singapore. MAXON products are available directly from their Website and its worldwide distribution network. MAXON is part of the Nemetschek Group.

GET THINGS ROLLING WITH REALFLOW | CINEMA 4D 2.5

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GET THINGS ROLLING WITH
REALFLOW | CINEMA 4D 2.5

We’re back with an update for RealFlow | Cinema 4D! We didn’t just fix bugs, but added lots of nice features as well.

These functions give you more possibilities, flexibility, and control for special offers see Smarttec site. 

A NEW VERTEX MAP APPROACH

Have you ever made use of the mesh engine’s → vertex maps to enhance your fluid renders? If the answer is yes then you certainly know that vertex maps were limited to speed so far. But RealFlow’s → fluid and material solvers offer much more channels. With this update you now have a wider choice and we’ve added vorticity, age, and weight maps.

Furthermore we’ve introduced a new, much more intuitive and artist-friendly workflow. In previous versions you had to deal with an abstract “Scale” parameter. Instead of guessing a value it’s now possible to adjust speed, age, and vorticity precisely through → ranges – or let RealFlow | Cinema 4D do the work with the new “Auto” mode.

The icing on the cake is that you can now evaluate the changes in Cinema 4D’s viewport as you’re used to do with native Cinema 4D vertex maps. This means that you no longer have to create preview renders to see the result of your settings. Truly a huge time saver.

And to give you an impression of how these vertex maps affect your fluids we’ve created some videos for you. This clip is a side-by-side comparison of the speed, vorticity, and age channels:

In this video you can see four differently coloured fluids. Weight maps are used to create the colour mixing effects in areas where the fluids touch and interact. To create softer colour transition we have applied the new → “Smoothing Length Scale” parameter to the mesh:

Updates on the maps’ ranges will be applied automatically and displayed in the viewport, but changes on “Smoothing Length Scale” require that the meshes to be recreated.

THE VISUALIZER

This neat helper has been added to ease the process of adjusting daemons. RealFlow | Cinema 4D’s new → “Visualizer” is able to make forces visible and even show how they evolve and change over time. Now you have full control over daemons and instant visual feedback.

You can choose between arrows, lines, and points – and you can also display these modes as streamlets. Streamlets trace the forces over a short timespan and this results in a curved view of the force, giving you a sense of direction. One of the most interesting feature is that the “Visualizer” also shows the combined result from multiple daemons. You can decide which daemons should be visualized together with simple drag and drop. Here we have a bounded → “Noise Field”, → “Vortex”, and an animated → “Attractor”:

The “Visualizer” works with the following force-based daemons: “Attractor”, “Gravity”, “DSpline”, “Noise Field”, “Vortex”, and “Wind”. For obvious reasons you can’t visualize k daemons or the “Filter”.

TIME OFFSETS

Another, very important, novelty is the introduction of time offsets for cached fluids. So far you haven’t been able to shift the start and end frames of your particle and mesh sequences, for example if you wanted to synchronize them with other animated assets in your scene. In many cases it was necessary to batch rename the files or do other fancy things. But those days are over now.

  • Every → fluid, → rigid, → elastic, and → mesh container has its own node-specific “Offset”.
  • Furthermore, there’s a → global → “Frame Offset” located in the “Scene” object.
  • Both offsets influence each other: total offset = nodespecific offset + global frame offset

This way you’ll be able to shift simulation nodes freely and independently from each other, and define custom time offsets in both positive and negative directions.

(MANY) MORE IMPROVEMENTS

All in all we’ve improved the plugin’s overall robustness. Especially → GPU simulations with a → “Filter” have been unstable under certain conditions – a thing that has been fixed.

Another important fix is that initial states will be kept from now on when you remove a simulation’s cache files. This may sound like a side note, but in fact it saves you lots of time!

And since we’ve been jumping on the “visualization train” there’s another new function: the → “Image” emitter is now capable of showing the attached image/pattern in the viewport. This will help you to identify the areas of emission. Furthermore, this emitter now supports animated textures, for example Cinema 4D’s noise types.

Not to forget the → “Fill” emitter. Now this neat little helper makes it easier to fill your objects with particles, but they can also be covered with a layer of particles.

The connection to Cinema 4D’s Thinking Particles module became much more robust, less RAM-intense, and got a new → workflow, making it easier to keep track of multiple particles/TP sources.

Our friends at → Jawset Visual Computing, the makers of TurbulenceFD, also surprised us with a neat feature: it’s no longer necessary to create Thinking Particles from RealFlow fluids in conjunction with TurbulenceFD. Aall you have to do is to apply a “TurbulenceFD” emitter to a RealFlow emitter, fluid, rigid, or elastic container directly. This improvement requires at least version v1.0 Rev 1435.

Many emitters (“Circle”, “Image”, “Square”, and “Triangle”) provide a → “Volume” parameter. This option allows you to create a defined initial volume of particles. A new handle in the emitters’ viewport gizmo lets you define this volume simply by dragging the handle, but of course you can still use numerical values as well.

Finally, we’ve added a falloff to the → “DSpline” daemon.

Of course, we’ve also improved the plugin’s overall stability, and updated to the latest Dyverso library. Experienced users will be happy to hear that the new 2.5 functions can be highlighted in Cinema 4D’s user interface.

Happy Simulating!

formZ Vray

Ray for formZ

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formZ Vray

Ray for formZ

AutoDesSys is excited to announce that the award winning V-Ray renderer now available for form•Z offers versatile and intuitive modeling capabilities and V-Ray’s powerful rendering capabilities to create quick and solid designs with astonishing, cutting-edge visualizations in a single solution. The unprecedented integration with V-Ray allows for rendering and lighting to be an integral part of the design process, not just a final step.

V-Ray for formfeature highlights:

  • Powerful hybrid rendering – You can render on NVIDIA CUDA GPUs, CPUs — or a combination of both.
  • Material library – over 550 realistic, physical based materials, such as glass, coated plastics or metals, wood, stone and etc.
  • V-Ray grass and fur – Realistic grass, fabrics and carpet now possible with V-Ray fur.
  • Denoiser – With V-Ray’s denoising technology, you can automatically eliminate noise and cut render times by up to 50%!
  • Aerial perspective – Add realistic atmosphere and depth to your renders with V-Ray’s new Aerial perspective controls.
  • Virtual Reality – Verify designs at 1:1 scale in popular VR headsets like Google Cardboard and Samsung Gear VR.
  • Cutaways with Clipper – Render sections and cutaways with ease using the V-Ray Clipper.
  • Powerful light calculations – the V-Ray Adaptive Lights algorithm will speed renders up to seven times faster on some scenes.
  • V-Ray Frame Buffer – Fine-tune your render’s color, exposure, and more directly in V-Ray’s frame buffer.

Additional product information and sample images created with V-Ray for formZ are available at:

V-Ray for formZ retails for $1,095 inc gst

form•Z pro and form•Z jr. An evaluation version is available allowing users to experience all of the V-Ray for formZ features for 30 Days for free.

About form•Z

form•Z is a potent 3D modeling and design application featuring a variety of modeling personalities and tools with a distinctively easy to use interface. It is a most intuitive and versatile professional-grade 3D modeler that is based on advanced 3D solid and surface modeling methods. They maintain accurate representations that allow you to progress from conceptual sketching to detailed design, photorealistic visualization, construction drawings, animation, and fabrication. The current version of form•Z is available in three varieties: form•Z freeform•Z jr, and form•Z pro.

formZ PRO has in the past used a third party renderer called RenderZone that has had development cease due to limitations in support of new technology. It is now being replaced by V-Ray internally that offers more capabilities, much higher speed rendering straight out of the box and the ability for significant improved results with subtle ‘tweaking’ for amazing results that can be further accelerated with support new nVidia based GPU cards.

Older users of formZ can upgrade their pre- v 8.5 versions to the latest versions  by order online.< discount on Add to Bag >