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!

SALE of Nextlimit Product up to 30% OFF

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SALE of Nextlimit Product up to 30% OFF

 

 

 

 

From now we are offering a SALE of Nextlimit Product up to 30% OFF
with 30% off RealFlow for Cinema 4D and RealFlow for Maya till June 30th,  but everything else is 20% discounted till July 15 as part of the ‘World Cup Sale Promotion’

 

*This is a limited offer and all price discounts currently offered online by direct link by clicking the image expire on July 15 2018

Free 3D Printer

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Free 3D Printer

Guess what’s back, back again and from now till June 30 ? 

It’s the Free 3D Printer offer buy an “UP BOX+  and get a Free UP Mini 2″  

 

Yes a Free UP Mini 2 valued at RRP AU$989.90 when you purchase the

UP BOX+ AT ONLY RRP AU$3,245 

  • Build platform: 255mm width, 205mm depth, 205mm height.
  • Prints 30% faster than UP Series II
  • 0.1 mm (100 micron), 0.15 mm 0.2 mm, 0.25 mm, 0.3 mm, 0.4 mm – That’s a ultra fine HD detail of 100 microns!
  • Raftless printing: Yes
  • Support Material: Smart Supports. Intelligent snap off support material, printed in the same material, printed at a lower density and built automatically by the included 3D print software.
  • Dimension: 485 mm width, 520 mm depth, 495 mm height
  • Weight: 20kg
  • Shipping Weight: TBA kg
  • Power input: 110-220VAC, 50-60Hz, 220W
  • Power output: 20 VDC 11amp
  • Connectivity: Wireless / USB (Print job stored and spooled to Printer, ability to turn off computer during printing.)
  • Consumables: 1.75mm ABS Plastic Filament and PLA which is ideal for lost wax or investment casting
  • Warranty: 12 month return to base.
  • Software: STL 3D layout and printing software included free for Windows and MAC 10.7 Beta
  • Operating System: Windows XP, Vista, Windows 7, OSX 10.7+
  • Unboxing time to print: 15 minutes

Unbox Mini 2

Up Mini 2

  • Build platform: 120mm width, 120mm depth, 120mm height.
  • Selectable Z resolution: 0.20mm (200 micron), 0.2mm, 0.25mm, 0.3mm, 0.4mm
  • Raftless printing: Yes
  • Print speed: 9mins per cm3.
  • Support Material: Smart Supports. Intelligent snap off support material, printed in the same material, printed at a lower density and built automatically by the included 3D print software.
  • Weight: 5kg
  • Shipping Weight: 10kg
  • Power input: 110-220VAC, 50-60Hz, 220W
  • Power output: 20 VDC 11amp
  • Connectivity: USB (Print job stored and spooled to Printer, ability to turn off computer during printing.)
  • Consumables: 1.75mm ABS Plastic Filament or PLA (corn starch) Filament
  • Warranty: 12 month return to base.
  • Software: STL 3D layout and printing software included free for Windows and MAC 10.7 Beta
  • Operating System: Windows XP, Vista, Windows 7, OSX 10.7 beta
  • Unboxing time to print: 15 minutes

Offer valid till June 30 – 2018

Purchase the new UP BOX+ and you’ll receive a free UP mini 2 on the house for Zip. Zero. Nada.

This offer expires on June 30th 2018  UPBox+ with Free  UP Mini 2

Price includes delivery

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 >

Huge Material Library for Maxwell 4

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Huge Material Library for Maxwell 4

With the release of Maxwell 4 and the significant improvements in performance afforded by the Denoiser after (Maxwell 4.2 release) we now have over 5,800 materials available for use in Maxwell 4

See the extensive library here

Huge Material Library for Maxwell 4

MAXWELL RENDER FOR PHOTOREALISTIC BACKGROUND PLATES

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MAXWELL RENDER FOR PHOTOREALISTIC BACKGROUND PLATES

February 22, 2018 Customer stories 0 Comments

Hi guys,

This week on the blog we have a different case study – one that shows how Maxwell Render for photorealistic background plates is part of a solution for combining photography and CGI.

For more demonstrations on how it is done see the Maxwell TV Episode 4 given by Matthew Cherry

Talented photographer and CG artist Matthew Cherry is a skilled Maxwell user who has brought to our attention a number of gorgeous projects over the years. Now he has agreed to take us behind the scenes of one of them. Let’s enjoy the cinematic feeling and learn more about his workflow!

A photographer and cinematographer, Matthew Cherry‘s visual storytelling ability, resonates in both his portraiture and conceptual imagery. His work has the ability to intrigue, delight, and inspire the viewer while merging art, theater, and photography. His dramatic use of lighting builds depth and a rich palate that creates a cinematic tone within his work, while detailed sets and polished styling exude glamour and sophistication.

By working with extraordinary stylists, makeup artists and prop masters, Matthew and his team continue to create amazing visionary scenes both realistic and fictional. Matthew draws his inspiration from a wide range of sources, most notably Italian and French cinema, American Film Noir and American Jazz artists of the 40s and 50s. In addition to his creative work behind the lens, Matthew has been involved in business marketing for the past fifteen years and has designed and run numerous local, national and international marketing campaigns. You can check out Matthew’s web, and follow him on Facebook, Twitter or Vimeo.

THE CHALLENGE

Midas was conceived of as a personal/promotional project designed to showcase our studio’s ability to create photorealistic environments that can serve as background plates for talent that is shot in-studio. As advertising and editorial budgets continue to shrink, it is often too costly to produce the kind of iconic shots many envision. This is especially true of smaller agencies looking to “make their mark” by producing innovative work with high production values. While many agencies do use CGI in their workflow, they tend to think of it more as a special effect.

By integrating CGI in a cinematic manner, we believe that more compelling artwork can be created in which costs are dramatically reduced and production values remain high.

THE PROCESS

As a freelance studio working on a promotional project, all of the input was ours. I concepted the shot and did the art direction and casting.

The objective of this shot was to create a polished example of a celebrity portrait of the type used in film and television advertising.

This type of shot meant that casting and wardrobe were both critical to achieving the final look. To that end, my wardrobe stylist, Tanya Seeman, created the look for the talent, which included creating a handmade, couture outfit for the woman and custom accents for the man.

Given current trends in high-end television programming, we wanted to produce a modern photograph that paid homage to the music scene of the 70s. The concept was a producer who had “the touch” for producing gold records. Touch of Gold records became the back story and “Midas” was born.

Creating an entire “gold” room and making it appear to be real was a much harder challenge than first anticipated.With Maxwell it is easy to create a convincing gold material.However, if all the objects had been made of actual gold, even with the use of dirt and dust maps, it would be obviously fake.

The challenge was to create objects that could plausibly exist within the real world, with authentic materials that still gave the impression of a gold room.

This meant creating not only a variety of gold metal materials but marble, leather, lacquer paint, plastic and even paper. To overcome this challenge we first produced the shot as if we had to source all the props in the real world and build a physical set. This provided real-world analogs to what we wanted in the scene, and we were able to see what was really possible. These references were invaluable in creating believable materials. Additionally, we made sure that any variable that was used, was mapped. Because Maxwell does not allow for the use of procedural nodes, this meant first creating the maps in either Substance or Photoshop. In addition to mapping all variables, most materials have some level of dust, scratches and fingerprints applied to them as well. While not always readily apparent, I think it still registers with the viewer and contributes to the authenticity of the material

THE ROLE OF MAXWELL

My training is as a photographer and cinematographer, so for me, Maxwell is a natural rendering solution as it allows me to use the skill set I already have to produce beautiful renders. Also, as a photographer, I take light very seriously. If the light in a scene does not behave properly and does not interact with the materials in just the right way, the effect is ruined for me. My goal is to create the most photorealistic images possible, and to my eye, Maxwell does very well in this regard.

Everything in the frame, other than the two actors, is a render. Even the chair the male actor is sitting in is a render.

I created all the materials that are found in the scene. Sometimes I would create them from scratch and other times I would use the Material Gallery or the Material Assistants as a starting point. My workflow is to begin a model or project in Maya, whether I use a purchased model as a starting point or model an item from scratch. Since I often use purchased models my first task is to clean up the geometry and re-uv the model since the existing geometry and UVs are often problematic. After I clean up the model in Maya, I then bring it into Z-Brush to sculpt in a bit more realism. Once I have a finished, working model, I then decide if I can use a repeating texture or if I need to paint a texture in Z-Brush, Mari or Substance Painter. To create base textures, I also use Substance designer. Once I’ve put together all the maps, then I create the MXM material using the Maya Plugin. The rule is any variable worth having is worth mapping, so ever slot gets a map. Once the texture is created, then I add additional layers for dust, scratches, fingerprints, etc. Then I test render the prop in a virtual studio with HDRI lighting to see how it reacts.

I use Multilight all the time and it has become a pretty indispensable part of my workflow. The ability to adjust lighting post render is fantastic.

While I have tried out the new Multilight | Standalone app, if I need to relight I do it either in Photoshop or After Effects. Extra sampling also plays an important role in my workflow.

Because I tend to render to a pretty high resolution (6K to 8K) extra sampling helps to keep render times down.

In this case, because there were so many surfaces that needed to get clean, I just let the whole scene render to sample level 20.

POSTPRO

I try to do as much in the render as possible and the Multilight feature makes that much easier. However, I still do a fair bit of post-production within either After Effects or, in this case, Photoshop. Most of this has to do with comping in the talent which we shoot in studio. In order to make this a seamless process, we take our custom camera setup from Maya and duplicate it exactly in the real world, including height, rotation and tilt as well as ISO, Shutter Speed and F-Stop. Additionally, we use the lighting information from Maxwell along with the light positions in Maya to create the lighting plan that we use when photographing the talent in studio. By duplicating what appears in the scene, we are able to create a seamless effect. When doing this it is important to remember to place the same lights in the scene that you will be using to light the talent. So, for this shot, there is a large (virtual) scrim positioned just in front of the chair, above the talent and angled down at a 45-degree angle. This matched the studio lighting setup for the talent. Without this step, the lighting in the scene won’t match the light on the talent and they will look comped in.

THE FINAL PIECE

I am beyond pleased with the final result.

I have since shown this image to numerous art directors who have been blown away by the amount of realism in the set.

NONE of them thought this was a render until they saw the behind the scenes video (see below) that we created to showcase the construction of the scene. Based on that, I consider this a huge success.

 

Project credits:

  • Matthew Cherry – Art Direction & CGI, Photographer
  • Dan Galli – Assistant
  • Tanya Seeman – Props and Wardrobe
  • Delina Medhin – Hair & Makeup
  • Shermon Solo Braithwaite – Male Talent
  • Melinda Berry – Female Talent

Software used:

Hardware used:

  • Mac Pro
  • Wacom Tablet
  • X-Right Color Management System
  • Mamiya RZ67 ProIID with a Leaf Credo 80 Digital Back
  • Hensel Lighting

Maxwell Render 4.2.02 released

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Maxwell Render 4.2.02 released and we have just uploaded a new version in the Portal.

 

We updated Maxwell Render, Maxwell Studio, all 3D integration plugins, postproduction plugins and Multilight app.

We hope you enjoy it.

You can get it from the Customer Portal in “My Downloads” area: https://portal.nextlimit.com

It is mainly a bug fix release. You’ll find both Maxwell and Studio much more stable.

These are the releases notes:

4.2.0.2
Publish date: Fri, 09 Feb 2018

MAXWELL RENDER
-Feature: New triangle ID channel.
-Feature: UV render channel is now multiple, with a maximum of 16 UV channels.
-Feature: You can cycle the images on channels that are multiple (custom alpha and UV) with arrows at the sides of its selector.
-Feature: Display channel name below channel selector.
-Feature: New override flag on references to select Object ID behaviour from 3 modes.
-Change: Instances of hidden objects / references are shown now.
-Change: Type, units and default values for some Stereo and Fish lenses parameters.
-Fixed: Paths or dependencies with special characters cause Maxwell to fail the render.
-Fixed: Lens extension: Stereo and fish rendered always as center.
-Fixed: Reflectance channel may be wrong on textured instances.
-Fixed: Flip x and Flip y projection is not correct on Lat-Long and fish lenses.
-Fixed: Neck on Lat-Long lenses.
-Fixed: Fast multilight with simulens crashes on any change.
-Fixed: An instance pointing to a hidden object crashes on production.
-Fixed: Hiding all instances, makes the original object to hide too.
-Fixed: Custom alpha channel ignores instances of mxs references.
-Fixed: Resuming deep alpha channel crashes on some scenes.
-Fixed: Grass extension: Instances of objects with grass inside a group have wrong grass transform.
-Fixed: Grass extension: Instances of references of objects with grass have no grass.
-Fixed: Render via Network button in OSX
-Fixed: Referenced emitter materials crash Maxwell.

MAXWELL GPU
-Feature: New triangle ID channel.
-Feature: UV channel is now multiple, with a maximum of 4 UV channels.
-Fixed: If you have non-continuous UVs channels on an object (i.e. 0, 2, 5), crashed at render.
-Fixed: Emitter map was sampled always on channel 0.
-Fixed: Alpha channel was a few pixels wider than it should.
-Fixed: Texture properties (brightness, contrast, saturation) are not applied correctly.
-Fixed: wrong UV’s index assignment to instances.

MAXWELL STUDIO
-Fixed: If you had non-continuous UVs channels on an object (i.e. 0, 2, 5), index was changed at saving (0, 1, 2) and it crashed at render.
-Fixed: Quick double-click on fire button could make studio crash.
-Fixed: Key shortcuts shouldn’t work on blocked cameras.
-Fixed: Issues on hide / unhide multiple selected objects with groups.
-Fixed: Xref objects didn’t hide using isolate selected option on fire.
-Fixed: Deleting an emitter component on material with Fire running crashed Studio.
-Fixed: Newly created instances could disappear on the viewport.
-Fixed: Material Id was randomized on a material clone.
-Fixed: If a reference visibility override flag is marked on a scene, when loading all flags are marked on UI.
-Improvement: Int and double fields don’t accept letters and “Esc” key cancels edition.
-Improvement: Randomize Id option on materials and objects.
-Fixed: Render via Network button in OSX
-Fixed: Faculty licenses showed as unregistered when using render in viewport.
-Improvement: Return error when the user tries to save a scene with an object with two or more UV channels with the same ID.
-Fixed: pesky bug related to wrong dealing with UV projectors’ ChannelID’s.

MATERIAL EDITOR
-Fixed: If gallery path didn’t end with a slash, it created a folder for each material.
-Fixed: Texture picker with floating preview had no size after app restart.
-Fixed: Unload texture didn’t clean procedural textures.
-Fixed: It asked for missing textures twice.

MAXWELL NETWORK
-Fixed: Connection failed if Monitor was launched before Manager on a IPv6 network.
-Fixed: Batch renders were sent with Denoiser always activated.
-Fixed: Error shown if the node-locked license was not named “maxwell_license.lic”

PYMAXWELL EDITOR
-Fixed: PyMaxwell module renamed from “pymaxwell” to “pymaxwell4”.

MAXWELL SDK
-Removed exclusive functions to access custom alpha channels: getAlphaCustomBuffers, getAlphaCustomBuffer, getNumberOfAlphaCustomBuffers.
-Removed exclusive functions to access shadow channels: getShadowBuffers, getShadowBuffer, getShadowBuffer, getNumberOfShadowBuffers
-New methods to access all channels like they are multiple: getNumSubChannels, getExtraBuffer (with subChannel index) and getExtraBuffers.
-New methods to Know UV array idx from Id and viceversa: getUVIdxFromId, getUVIdFromIdx.

TIPS FOR MAXWELL RENDER

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Recent Maxwell Forum Post; ( Good idea to join )

 

Hello everyone,

 

 

 

 

 

 

 

I need some advice on how to improve this work.
These images you see is only part of the work.
The client tells me that the images are “flat”.
Can I use some color-contrast lights (warm / cold tones)?
I await your instructions. Thank you

Re: tips for improving images

Hello Andrea,

i would suggest this:
1. Use less uniform lighting. Try to make basic contrast with shadow/illuminated areas.
2. Use little more complex materials (different roughness/mapped roughness). Most of Your materials look as a uniform textures. Use shaders more “material” oriented than texture oriented. Use textures to map more material chanels (especially roughness). Use more reflections.
3. Be sure not exceed 225 value for any of RGB chanel of the material colour (golden rule). Using 255,255,255 for white colour will lower contrast of the image dramaticaly.

And You always can play with gama, burn, “S”-curve … in postproduction.

Probably You already know all of this. Maybe Mihai will send You some more advanced tips :) .

Pa3k

Pomrose

Find a new client , these images look good enough to me ! :)

good luck

Max

Which 3D software do you use with Maxwell?:XSI
Contact:

only thing i could see in these images as was suggested before already, is that the light sources eat each other, producing a very even illuminated image, there is very few contrast areas, where the surfaces might look more interesting.

I’d tone down some lights, especially neon ones, or just lower them to 0 and start rising them one by one to look for more interesting lighting.

some materials could use a bit more interesting shading, most of them are quite lambertian (so to speak).

User avatar

Mihai

Which 3D software do you use with Maxwell?:Cinema4D

Post by Mihai » Wed Feb 14, 2018 6:43 am

What has been said about the lighting – I’d add to try and have a bit more influence from the outside lighting, with a dusk/dawn HDR.
Maxwellzone.com – tutorials, training and other goodies related to Maxwell Render

Sub-surface division tutorial chair

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Sub-surface division tutorial chair –

We have many resources for leaning how to better use the 3D modular – formZ, one of which is the tutorial loaded here:

Creating a Padded Chair in formZ

 

CREATING A PADDED CHAIR IN FORMZ

 

 

CREATING A PADDED CHAIR IN FORMZ

Well, you set me quite a task as I had never used most of the tools required for that exercise – never even looked at some of those pallets in fact.

But, I was determined as I could see value in the shapes being created so I pushed on and produced a reasonable facsimile of the blue chair.

Mine is in tan leather but the details are quite similar.

My beading on the two front panels needs a little more work to be perfect but I think I’ll leave it as it is.

What do you think?

I certainly learned a lot and will put these new (new to me that is) tools to good use in the future.

Thank you for giving me a push in the right direction.

You got me out of my comfort zone and I learned something new and useful. Very much appreciated.

Regards,

RICHARD JOHNSWOOD
Director

JOHNSWOOD CONTRACT FURNITURE PTY LTD 12 HURMAN STREET ADELAIDE SA 5000
web: http://www.johnswood.com.au/ email: richard@johnswood.com.au
Tel 0410 482 672 Builders Lic. BLD178184 ABN 33 008 077 601