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Making of Gipsy room - by Danilo Lombardo
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Making of Gipsy room - by Danilo Lombardo 4 Anni, 7 Mesi fa Karma: 11
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Hi, my name is Danilo Lombardo and i'm a 23 years old 3d artist from Italy.
Today i will show you the making of my piece called "I woke up in a 70's gipsy room".
I want to thank my family,my friends and the girl i love for supporting me everyday, and 3dagain.com for this opportunity.

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The inspiration for this piece came while i was surfing the web searching
random interior images,cause i had this idea of working on an interior rendering.

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I was totally kidnapped by some of these images (img 1,2,3), so the idea to realize
a "hippie culture" inspired piece came out.
My idea, from the beginning, was to give this illustration a more cinematic look,
cause i wanted to do something different compared to the polished interior render i have done for work purpose.

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MODELLING


I've tried to keep the modelling process as simple as i could, but in an organised way.
I've started out doing my layout (img4) focusing on dimension and proportion.
( units setup was in cm, so i've worked in real life scale and it help a lot in the lighting phase).

This image is hidden for guests. Please login or register to see it.FIG.4
Then, when i was happy with this, the rest was all about filling
this room with props to make it alive (img5).

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All the modelling was very very basic and simple so i've used common
techniques like editable poly,lattice deformation and some spline modelling.

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Most of the objects came out from a box or a cylinder primitive.

This image is hidden for guests. Please login or register to see it.FIG.7
Obviously there are some really useful modifier like "lathe" (img6) or "bend" that were involved,
as well as some boolean operations that allows me to reach some good effects in my models.(img7)

What i believe is really important, is to chamfer all your models edges...cause there are no objects in reality with sharpen and perfect edges!
This little detail will give you good result in the lighting phase, when your light will hit that surface, you'll be able to figure out your model better and it will simply be more realistic (img8).

This image is hidden for guests. Please login or register to see it.FIG.8
I've also used some downloaded models
(this can help you a lot and make your worklow faster, but is not a bad idea to modify those meshes for your own needs).

For the cloth simulation i've used the powerful software "marvelous designer" which is great to simulate this kind of objects.
I've had some really basic circular or rectangular pattern that where converted in to 3D cloth.
I've used a value of 16 for "particle distance" option for all the cloths and the useful "pressure" option to simulate the volume inside the pillows.

LIGHTING
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The lighting process is,for me,the most beautiful,fascinating and interesting part of the entire work.
You can have the most perfect and beautiful model of all time, but if your light will not be that good,
your model will have no justice ( as well as your surfacing).

Often people think to lighting artist in the same way they see a bass player.
Something not so important, that have to stay in the background,
but you really have to try to listen to a song without that good bass line...it will feel empty!

Another thing that you have to consider about light is the fact that,since this is three-dimensional graphic,
the use of light will add or remove depth to your scene.

So,for the lighting,i've used a combination of Vraylight and Vraysun and sky + Portals.
Nothing special or too complicated...no hdri maps or something.
When i've started to light up my scene i already knew that i wanted to boost my light and atmosphere in post.
You can see my light rig in the img9

This image is hidden for guests. Please login or register to see it.FIG.9
(i've mapped an alpha tree texture on a plane positioned in front of the sun,
to have a more filtered and interesting light coming from outside).

This image is hidden for guests. Please login or register to see it.FIG.10
As you can see in the img10, one is rendered out using only Vraysun and sky + windows portal lights,
and the second one is rendered with the add of my fill light.
The use of this,gave me a good light balance,a more interesting and beautiful overall lighting and a "more three-dimensional" scene.

TEXTURING and SHADING


Texturing and shading took some time to be done, but i love doing surfacing,because it means that i'm close to the finish.
Material in this scene are pretty simple, i will show just some little more complicated examples.
All the objects we're mapped using uvw mapping technique,i unwrapped only the walls, cause i wanted some precise detail there.

-The plaster shader is a Vrayblendmtl with a Vraymtl base and coat.
The two shader are similar, but one have a more bluish texture, and it give me some cool stain effect.(img11)

This image is hidden for guests. Please login or register to see it.FIG.11
-The floor is a Vrayblendmtl with a base and two coat (img12)

This image is hidden for guests. Please login or register to see it.FIG.12
Base and second coat are non reflective,dirt materials, and the first coat is the one that has reflection.
My first coat as you can see in the img12,have the cool Vraydirt map in the diffuse slot.
The blending between these materials is driven by a scratched texture i had in my HD.

-To simulate the light passing trough the leaves i used Vray2sided material with the setting you can see on img13.

This image is hidden for guests. Please login or register to see it.FIG.13
-In the img14 you can see how i usually do my simple shaders...with the purple leather example.

This image is hidden for guests. Please login or register to see it.FIG.14
-I found out that a good way to simulate cloth materials is to put a falloff map on the diffuse slot and play with it.
Also,Color correction map is an useful map that allows the user to control texture directly in 3dsmax, and this help!
You can see bump map and the effect on the shader in img15.
You can also notice the effect of the falloff.
If you want to achieve better result and variety you have to deal with your bdrf curves as well.

This image is hidden for guests. Please login or register to see it.FIG.15
All the normal and cavity map are created using crazybump (an incredible software in my opinion).
Diffuse and glossy/spec maps are mostly handpainted.

RENDERING

All the images were rendered out at a resolution of 1000 x 1180 pixels.
I would have render it in a bigger size...but my pc goes too slow!
I used linear workflow
( you can find info here http://greyscalegorilla.com/blog/tutorials/what-is-linear-workflow-and-how-can-it-help-your-renders-look-better/)

My render setting are quite simple:

-Image sampler: Adaptive DMC-min4 max6
-Antialiasing: Catmull-Rom
-Color mapping: linear multiply
-Indirect illumination: irradiance map + lightcache
-irradiance map: low,hsp 60 interp. 40
-lightcache:subdivision 2000 interp. samples 4
-DMC sampler: adaptive amount 0,85/min. samples 08/noise 0,07.
-Vray framebuffer: on ( what a great invention!)
-Global switches: no displace
-Render elements: Global illumination,lighting,reflection,refraction,bloom.

I used Vraylenseffect to have the bloom in a separate pass.
Zdepth pass and Ao pass was rendered in mental ray.

This image is hidden for guests. Please login or register to see it.FIG.16
All materials have a min reflection subdvision of 16.
All Vray lights have subdivision value of 40.

COMPOSITING and POST


This is the most artistic part...we are in a 2d space now,
so i have the freedom of working in a more artistic way on my image.
So, i've rendered out my raw render and my render elements and i'm ready to compositing.
In the img16 you can see a breakdown of my passes.

When i'm in photoshop, i start putting my "beauty" or "raw render" in the bottom layer.
Your 3D render can always be better than how it came out from your 3d software.
I start dealing with brightness and contrast
( i do this things like curves,grading etc. using level adjustment layer,because it give more control)
Then i start adding my elements upon the render.
You can see a scheme of how they are composed looking at img17.

This image is hidden for guests. Please login or register to see it.FIG.17
The bright grey note refers to blending mode and opacity.
Bloom was added in soft light mode with low opacity value,and only in certain areas.

Using (example) the level tool on my global illumination pass
i can control the quality and the effect of my indirect illumination in a real-time and comfortable way.

If you look img18 you can clearly see how my raw render change after the adding of the render elements.

This image is hidden for guests. Please login or register to see it.FIG.18
When i'm happy with this part, i use the fantastic CameraRaw plugin on my enhanced render
to refine general grading and balance and to add lens distortion.

The last part is to open my render again in photoshop and paint more light effect on it
using my graphics tablet.
You can add a good amount of drama and the render will improve a lot.

A great pass is to add chromatic aberration using the lens correction filter.
It's a minimum change but it improve realism, and helps to fake the human eye.

Finally, i put on the render my grain texture and my dust lens texture (img19).

This image is hidden for guests. Please login or register to see it.FIG.19
The first one (soft light with opacity around 10-14) gave me a nice grain,and it helps me reach that retrò cinematic look,
and the second one (screen 60% opacity) add the effect of the dust upon the lens and a good atmosphere.

In the img 18 you can also see the passage from my enhanced render
to the final graded version with all the effects and stuff!

All my depth of field effects are done using zdepth pass in combination with lens blur filter.


This was the very first time for me with Vray and i've really enjoyed using it in this project.
I hope you will find it helpful and will learn some tips and trick from this.

If you want you can check out my portfolio here https://danilolombardo.allyou.net/2194715/portfolio

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