本帖最后由 fengming163 于 2013-3-7 12:51 编辑
FM分享教材系列之—— The Making Of Ms. Anne's Dining Room 分享给爱好效果图的朋友！！！！
介绍嗨，大家好，首先，我想，说声谢谢杰夫斑驳这一有利时机，一个很好的朋友，：雷纳尔多Handaya（2GS工作室的CEO）在我的作品，所有这些方面提供了宝贵的反馈。 我叫卢卡斯阿迪亚Djunaedy。 我的印尼，但我目前居住在新加坡。 我目前的工作作为一个高级室内设计师，作为一个自由职业者的3D艺术家。
下面是这个项目实际上是一个概念上的工作，我做了前一段时间在我的空闲时间。 由于我在办公室的工作量，我很少有空闲时间做一个概念的可视化。 当我看到一个朋友的的矿山，Gunadi Winarto，一个概念上的场景（墙壁，窗户，和一些家具），我马上有了主意，我自己的场景。 我要求他和他还跟与我共享的文件的文件。 之后，我修改了现场一点点，然后我开始做我自己。
我有一个想法，使这个空间不那么“干净”，让我们说，半清洁。 我想有一个内部的空间，那里有清新的早晨的太阳升起的空间，有点凌乱，而且质地粗糙。 所以，我决定让现场仿佛“这个人”最近刚刚搬进她的新地方，那里有解压的项目，去皮木地板，木桌，一点点灰尘的，等我刚刚命名的这现场女士安妮的餐厅。
我使用3ds Max的2010年（64位）的V-Ray 1.5 SP5和Photoshop CS3
IntroductionHi guys, first, I would like to say thank you to Jeff Mottle for this favourable opportunity and a good friend of mine, Reinaldo Handaya (CEO of 2gs studio) for his valuable feedback in regards to my works all these times. My name is Lucas Aditya Djunaedy. I am an Indonesian but I am currently residing in Singapore. I am currently working as a Senior Interior Designer and as a freelance 3d artist.
This project below is actually a conceptual work that I had done some time ago in my free time. Due to my workload in the office I rarely have free time to do a conceptual visualization. When I saw a friend of mine, Gunadi Winarto, making a conceptual scene (walls, windows, and some furniture) I immediately had an idea for my own scene. I requested the file from him and he was kind enough to share the file with me. After that I modified the scene a little bit and then I started to make it my own.
I had an idea of making this space not so “clean”, let’s say semi-clean. I wanted to have an interior space where there was fresh morning sun coming in to the space, a little bit messy, and rough texture. So, I decided to make the scene as if “this person” had just recently moved in to her new place, where there were unpacked items, peeled wooden-floor, wooden tables, a little bit dusty, etc. Then I just named this scene as Ms. Anne’s Dining Room.
I used 3ds Max 2010 (64bit), V-Ray 1.5 sp5, and Photoshop CS3
过程工作流程
绝对不是我的工作流程是独特的，我可以 说，这是其他人一样。 我用LWF（线性工作流程）与伽玛2.2输入和输出。 你可以看到下面的设置。 ProcessWorkflow
My workflow is definitely not something unique; I could say it is the same as everybody else. I used LWF (Linear Workflow) with gamma 2.2 both input and output. You can see the settings below.
下面的图片显示了如何设置用户界面布局，同时在现场工作，我用的第三个网格组成视图的规则。
The image below shows how I set up the user interface layout while working on the scene and I used the third-grids rules to compose the view.
这里是我的渲染参数。
And here are my render parameters. 
模型正如我上面提到的，一般的室内结构造型我却没有这样做。 下面是我修改了原始建模和1之间的比较。
ModellingAs I have mentioned above, the general interior structure modelling was not done by me. Below is the comparison between the original modelling and the one I had modified.
这里是另外一个项目，我模仿我无以复加的场景。
Here is another item that I modelled myself to be added in to the scene.
其他家具项目抓起，从我的图书馆，他们已经准备好使用的模型从Evermotion（Archinteriors Archmodels）和其他人的从BBB3viz和designconnected。 TThey只是很高兴在这个场景中使用。 下面是场景中的模型。
The other furniture items were grabbed from my library, they were ready-to-use models from Evermotion (Archinteriors & Archmodels) and others are from BBB3viz and designconnected. TThey were just nice to be used in this scene. Below are the models in the scene.
下面是完整的场景，在灯光被添加。
Here is the view of the complete scene, before lighting being added.
材质的材料cgtextures.com。 我修改了一点点，以避免平铺。 我用非常基本的材料设置。
铜梁结构，倾斜天花板的木质感
MaterialsThe materials were from cgtextures.com. I modified them a little bit to avoid tiling. I used very basic material settings.
Copper beam structure & slanted ceiling wood texture
蓝木墙板及一般的白色的墙壁纹理
Blue wooden wall panels & general white wall texture 
一般的地板，窗框和餐桌
General flooring, window frames & dining table
材质设置
Materials settings
正如你可以看到上面的设置是非常基本的，没有什么特别的确实。 其他材料只是标准的材料，如层压板，透明玻璃，钢铁，皮革。
As you all can see above, the settings are very basic, nothing special indeed. The other materials are just standard materials such as laminate, clear glass, steel, and leather.
灯光主照明使用的是Vray的圆顶，我连着的HDRI从openfootage.net，其实我并没有将其链接到的环境（快捷键8），也不GI（VRay的环境“选项卡，F10），和Vraysun的阳光（问链接到vraysky，我选择了没有）。 （你可以参考我的渲染参数设定点2.1以上）
下图显示了我是如何布局的照明。
Lighting SetupThe main lighting used was Vray Dome which I attached with an HDRI from openfootage.net and actually I did not link it to either the environment (shortcut 8) nor GI (vray environment tab, F10), and Vraysun for the sunlight (when it asked to link to vraysky, I chose no). (You can refer to my render parameter setting above on point 2.1)
Image below shows how I laid out the lighting.
Vraysun和Vraydome + HDRI设置的。
Vraysun and Vraydome+HDRI settings.
我添加了一个Vray的光平面从窗口和弯曲的平面为背景的这一幕。 这两个东西实际上是帮助实现的心情，我本来想摆在首位。
下图显示了Vray的轻型飞机从窗口的设置。 我用这个增强的心情和更好的照明计算。
I added a Vray light plane from the window and a bent plane which was the background of this scene. These two things were actually helpful in achieving the mood that I initially wanted in the first place.
The image below shows the setting for the vray light plane from the window. I used this to enhance the mood and for better lighting calculation.
背景图片（原编辑）我如何设置它。 我得到的图像从cgtextures.com背景为好。
The background image (original & edited) and how I set it. I got the image background from cgtextures.com as well.
在视口中，它实际上看起来模糊，但不用担心，实际的文件被认为是高清晰度，它是超过3000倍像素大小。 因此，在呈现时，不看模糊，在所有。
我的许多朋友问我：“为什么你不把背景在Photoshop？ 是不是更容易吗？ “。 那么，有什么不对的。 然而，颜色的背景本身有权力的空间，这就是为什么在我看来，这是在渲染过程中，包括背景以及整体情绪影响。
以外的相机设置。 我用Vray的相机。 下面的图片显示了Vray的相机设置和自由的光，我用的落地灯。
In the viewport it actually looks blurred but not to worry, the actual file is considered as high-resolution, it is more than 3000x pixels by size. So when it is rendered, it does not look blurred at all.
Many of my friends asked me: “hey why don’t you put the background in Photoshop? Isn’t it easier? “. Well, there is nothing wrong with that. However, the colour of the background itself does have the power to affect the overall mood of the space, that is why in my opinion it is better to include the background in the rendering process as well.
Other than that is the camera setting. I used Vray camera. The image below shows the Vray camera settings and a the free light that I used for the floor lamp.
后期制作下面的图片展示了“新鲜的炉”渲染结果和整个渲染元素。 我救了它在JPEG
原始的渲染图像
Post ProductionThe images below show the "fresh-from-the-oven" render results and the entire render elements. I saved it all in JPEG
Original rendered image
渲染元素（VRAY extratex - 越野）
Render element (Vray extratex – Dirt)
渲染元素（VRAY Zdepth）
Render element (Vray Zdepth)
渲染元件（VRAY反射）
Render element (Vray Reflection)
老实说，结果出来的很漂亮比我想要的东西，所以，只有少量编辑参与了这一幕。 下面是编辑过程：
第1步 - 所有的渲染元素结合原始图像。
Honestly speaking, the results came about pretty nicely compared to what I wanted so there was only minor editing involved in this scene. Here are the editing processes:
Step 1 – Combining original images with all the render elements.
第2步 - 修饰（颜色，对比度，照明弹等）。 下面你会看到，这实际上是很简单的编辑。 没有复杂。
Step 2 – Touch up (colour, contrast, flares, etc). You will see below, that actually the editing is very simple. Nothing complicated at all.
你会看到我在某些领域应用的的弥漫辉光和变暗的阴影。 我怎么办呢？ 这是很容易。 我用多边形套索工具选择区域，然后我用羽毛的选择（CTRL + ALT + D）之后，我将其复制到不同的层。
You will see that I applied diffuse glow and darken the shadow in certain areas. How did I do it? It is easy. I used polygonal lasso tool to select the area and then I used feather selection (ctrl+alt+d) and after that I copied them into different layers.
几乎已经完成。 下面是最后几个步骤。
Almost finished. Here are the last few steps.
正如你可以看到下面，我选择了前下部分的图像，然后我模糊的只是一点点，因为我想更专注于后面的部分（滤镜>模糊>模糊）。
As you can see below, I selected the front-lower part of the image then I blurred it just a little bit (Filter>Blur>Blur), because I wanted to focus more on the back part.
然后，我用色差，一点点的图像平滑过滤器 - >扭曲>镜头校正 - >色差。 你可以看到它下面。
Then I used Chromatic Aberration to smoothen the image a little bit (Filter->Distort->Lens Correction->Chromatic Aberration). You can see it below.
最后，下面的图片显示了水印组成。
Lastly, the image below shows the watermark composition.
最终图像下面的图片显示了最终图像与我的水印。
Final ImageThe image below shows the final image with my watermark.
嗯，这是所有有给它。 我希望你们从这个简单的文章，学到了一些东西，享受阅读的乐趣。 雷纳尔多Handaya，我的朋友，总是对我说：“每一个场景的细节是那些要进行它的价值和更真实的”。 以热爱你所做的一切，和它背后的，你总能找到一种极大的满足。 谢谢你这么多的家伙！ 的欢呼声。
Well, that is all there is to it. I hope you guys learned something from this simple article and enjoy reading it. My friend, Reinaldo Handaya, always said to me “The details of every scene are the ones that are going to make it valuable and more realistic”. Take passion in everything you do, and you will always find a great satisfaction behind it. Thank you so much guys! Cheers.
Regards
Lucas Aditya Djunaedy
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发表于 2013-3-7 12:34:13
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