Hello everyone!
Welcome to the making of of Asteroids, my image created for the contest 3DVF "Natural Disaster" .
Following the victory of this image, a making of necessary.
I'll try to detail as best I could my image, or rather his creative process.
Unpretentious, I'll try to make you understand how I am taken from A to Z.
A is the basic idea and Z is the final retouching in Photoshop ...
And in the middle is what? That's what we'll see. Let's start!
Welcome to the making of of Asteroids, my image created for the contest 3DVF "Natural Disaster" .
Following the victory of this image, a making of necessary.
I'll try to detail as best I could my image, or rather his creative process.
Unpretentious, I'll try to make you understand how I am taken from A to Z.
A is the basic idea and Z is the final retouching in Photoshop ...
And in the middle is what? That's what we'll see. Let's start!
The Idea: The basis of any
You have to start by the beginning of the beginning of the beginning ... the beginning.
Natural Disaster mhhmm ... ... interesting, that promises pictures ambitious. After careful reflection on the subject, I had the idea of a catastrophe from asteroids ... and great buildings ... and then holds if the buildings themselves did not pierce the asteroids? Cool. It is not without recalling the famous scene of Armageddon.
Ok, so a meteor shower, buildings, but it's nice to be found right after the composition is everything. And that's where Teresa comes in (we'll call Teresa, who is also a very nice name, because that person wishes to remain anonymous. So we will respect your choice). Theresa I therefore suggested framing a little more unusual, to innovate, give a different point of view, and create a dynamic composition. So after much discussion (what I speak) on this subject, we came to this idea:
A total cons diving in a huge fissure that divides the street, with debris falling towards the viewer. We would then see the buildings in a strong perspective, making himself by crossing asteroids.
This composition is packed with benefits:
- Momentum
- The subjectification (You can say that?) Action by the viewer, allowing it to be immersed in the heart of the image, it feels really action
- A sort of oppression of the beholder, but powerless witness to disaster
- A view out of the ordinary
- Lines of forces converging on the main action (ie the buildings are demolished for those who do not follow)
- A contrast between the "inside" and "outside".
- A large depth of field
You have to start by the beginning of the beginning of the beginning ... the beginning.
Natural Disaster mhhmm ... ... interesting, that promises pictures ambitious. After careful reflection on the subject, I had the idea of a catastrophe from asteroids ... and great buildings ... and then holds if the buildings themselves did not pierce the asteroids? Cool. It is not without recalling the famous scene of Armageddon.
Ok, so a meteor shower, buildings, but it's nice to be found right after the composition is everything. And that's where Teresa comes in (we'll call Teresa, who is also a very nice name, because that person wishes to remain anonymous. So we will respect your choice). Theresa I therefore suggested framing a little more unusual, to innovate, give a different point of view, and create a dynamic composition. So after much discussion (what I speak) on this subject, we came to this idea:
A total cons diving in a huge fissure that divides the street, with debris falling towards the viewer. We would then see the buildings in a strong perspective, making himself by crossing asteroids.
This composition is packed with benefits:
- Momentum
- The subjectification (You can say that?) Action by the viewer, allowing it to be immersed in the heart of the image, it feels really action
- A sort of oppression of the beholder, but powerless witness to disaster
- A view out of the ordinary
- Lines of forces converging on the main action (ie the buildings are demolished for those who do not follow)
- A contrast between the "inside" and "outside".
- A large depth of field
Only downside, the view is unusual, the viewer may be confused. But go, the idea is there, just go.
Preview: see where we go
To see if the component is operating correctly, I made a quick preview.
Needless to detail at this stage, everything is represented basic way: boxes for buildings, segmented box for the crack with vertex drawn randomly to create the basic roughness.
Render with the light direction desired to put it all in shape, stir slowly for a minute, serve hot, and is the result.
To see if the component is operating correctly, I made a quick preview.
Needless to detail at this stage, everything is represented basic way: boxes for buildings, segmented box for the crack with vertex drawn randomly to create the basic roughness.
Render with the light direction desired to put it all in shape, stir slowly for a minute, serve hot, and is the result.
Modeling: Create forms
Now that I have my components in place, it will have to fill it.
Well yes, but here I am stuck, because with my PC that is not worth a pin, I will not go very far ... So I thank Philip (my boss) for letting me work on a machine at work.
The crack is made as mentioned earlier, neither more nor less, except an extruded polygons on top to give the illusion of the tar road at the top to a ledge a little more plausible.
Now that I have my components in place, it will have to fill it.
Well yes, but here I am stuck, because with my PC that is not worth a pin, I will not go very far ... So I thank Philip (my boss) for letting me work on a machine at work.
The crack is made as mentioned earlier, neither more nor less, except an extruded polygons on top to give the illusion of the tar road at the top to a ledge a little more plausible.
This ball that you see on the left (and you may be wondering what it is), stuck in the crack is simple, a sphere with many eter, edit converted into poly (oh yes I work 3ds max on I forgot to say), then shaped and soft selection to give a more tailored.
The falling pieces of asphalt in the crack are modeled from boxes, very divided on the slices and arranged by the same method as for the crack. A noise made the case for the broken appearance.
Pipes spewing water are made from a primitive max hose with a bend modifier.
The steel frames are simple renderable splines, and pieces of rock that are hung are spheres plus a modifier optimize it, to "destroy" the mesh and give this form rock. The outputs of the modeled sewer from a tube. Stones falling from several emiters Particle Flow. The sorts of little nuggets of magma in the rock are also made with particles with Particle Flow, made so they stick to the rock through Position Objects. Instances of the particles are not displayed in the viewport to avoid over rowing.
The hydrant, the rear of the car, the traffic lights, sewers plate ... All these objects have been modeled using the same process, in edit poly.
The buildings were not modeled in full, their only visible part, for the sake of optimization (yes, because the PC starts to turn the eye away).
The model is rather simplistic here (it's architecture), a plan, extruded of different values, then we duplicate at 90 °, and a building corner. Then the floors are duplicated by the building height desired. All buildings are different but the same concept based on modeling.
The model is rather simplistic here (it's architecture), a plan, extruded of different values, then we duplicate at 90 °, and a building corner. Then the floors are duplicated by the building height desired. All buildings are different but the same concept based on modeling.
Asteroids are also created with Particle Flow, as debris brilliant buildings at the time of impact. These debris are Shape Forum of simple geometry simulating a burst of glass or concrete, several emiters particles are mixed. The particles are not complicated in terms of development but are large and heavy in the scene.
For water flowing pipes, I used Realflow.
To do this, I exported my model of the pipe. Obj from Max to import it into Realflow. This object is therefore to baffle me, he will guide the particles to create the splash of water.
After many trials and settings (and computation time of simulation), here are the results widely applicable because of my angle of view and visibility of the final water.
To do this, I exported my model of the pipe. Obj from Max to import it into Realflow. This object is therefore to baffle me, he will guide the particles to create the splash of water.
After many trials and settings (and computation time of simulation), here are the results widely applicable because of my angle of view and visibility of the final water.
So I export my water after mesh. Bin (we do not re-exporting the pipe, it just served as references in the software simulation). I open the animated sequence of water under my max and integrated carefully in my composition (Needless to say, is the feast of the polygon in my scene).
Lighting: showcase
This scene is not very complex at the light at the same time it is a sunny outdoor lighting.
My lighting consists therefore of global illumination (GI for short), a directional spot slightly yellow for the sun .... That's all!
I just added some omnis to different places to lead the shadows particularly in the crack, given a hue red / orange around the ball of magma to give the illusion of heat (the effect is very noticeable in the end I admit), but also to "illuminate" the red light of traffic lights and the taillights of the car halfway into the abyss. These omnis were used sparingly and with the attenuation near and far, to locate their effect on a desired area.
This scene is not very complex at the light at the same time it is a sunny outdoor lighting.
My lighting consists therefore of global illumination (GI for short), a directional spot slightly yellow for the sun .... That's all!
I just added some omnis to different places to lead the shadows particularly in the crack, given a hue red / orange around the ball of magma to give the illusion of heat (the effect is very noticeable in the end I admit), but also to "illuminate" the red light of traffic lights and the taillights of the car halfway into the abyss. These omnis were used sparingly and with the attenuation near and far, to locate their effect on a desired area.
Materials / Textures: give a look to the objects
On the stone, stones, bitumen, displacement was used. Indeed, a simple bump was not enough, given that IM crushes bump, it was almost invisible.And displace the same was used on the pipes to make them look very damaged by the cracking of the earth and corrosion.
On the stone, stones, bitumen, displacement was used. Indeed, a simple bump was not enough, given that IM crushes bump, it was almost invisible.And displace the same was used on the pipes to make them look very damaged by the cracking of the earth and corrosion.
The materials of rock, magma, are mixtures of procedural (usually noise) and bitmap.
Very textured metal reached by corrosion / rust has been used for pipelines, while a shader including reflection and refraction (dyed brown / green) was used to make water.
The textures of the fire hydrants, manholes, traffic lights, metal bars, bumper cars, lights, textures are found on the Internet. For buildings, textured exterior wall of polished stone was used, available in several shades in a range of color turning gray / beige. The windows are simple materials with reflection, with a texture of adequate reflection.
Record: leave his job properly
The rendering engine used for this image was Vray. Why Vray rather than another engine? Bah because you have to decide one day between all the engines if it is ever made!
Not the real reason is that until then, I almost always worked with the scanline, and that I had to work under production Vray. I was able to identify its strengths and tried to take advantage of this picture. Moreover, it allowed my to increase my knowledge on this engine. Vray is a plugin, I would not do here unpacking my render settings, which would be useless.
I have not ridden the samplings and render settings to max, on the contrary, my example map irradiance is low, which was good enough. As mentioned earlier, IM has been activated. There is no HDRI in this scene.
The rendering was done in several passes, the top three were:
- While the foreground (crack and all its contents, car, traffic lights ...)
- The background is all buildings
- Asteroids
The rendering engine used for this image was Vray. Why Vray rather than another engine? Bah because you have to decide one day between all the engines if it is ever made!
Not the real reason is that until then, I almost always worked with the scanline, and that I had to work under production Vray. I was able to identify its strengths and tried to take advantage of this picture. Moreover, it allowed my to increase my knowledge on this engine. Vray is a plugin, I would not do here unpacking my render settings, which would be useless.
I have not ridden the samplings and render settings to max, on the contrary, my example map irradiance is low, which was good enough. As mentioned earlier, IM has been activated. There is no HDRI in this scene.
The rendering was done in several passes, the top three were:
- While the foreground (crack and all its contents, car, traffic lights ...)
- The background is all buildings
- Asteroids
Other assists were used to remove the shrapnel from the buildings separately, etc. ...
The asteroids were made with the scanline with the Afterburn plugin.
The asteroids were made with the scanline with the Afterburn plugin.
Compositing: the final harmony, THE milestone!
This stage can make all the difference, do not neglect it!
Compositing happens in Photoshop. I import all my passes and stacked. At this stage, the image is assembled, it is now necessary to harmonize everything in terms of contrast, saturation, color ...
Above all, the overall image lacks contrast, and I therefore increases slightly desaturated my image. I browned slightly picture to warm up a bit. In the real world, the more distant an object is, the more desaturated, slightly bluish and slightly less contrast. So I put those principles into the world around us to enhance credibility and depth of my image. In compositing, I can choose to emphasize a fact or an image area, giving it more punch or not. That's what I did for the sprays of water, so they do not see too much not too interfere with the readability of the composition, but they are still seen by checking the details image. So I emphasized different elements of the image, to highlight interesting features and useful reading of the image. I increased the brightness of incandescent side of the asteroids so they do not appear too flat in the end. A light grain was added to degrade the image slightly to make it less sterile, less fit (indeed very experienced in 3D). Because the image is already of the disturbance, the effect lent itself particularly well.
Compositing can also add small details, like the break on the taillight of the car, slight dirt on buildings and rock etc. ...
The image compositing lasted three days. It is true that three days is long, but it must be said that the final appearance of the image depends greatly on this milestone. In addition, to drag a bit this step allows you to return each time with a look "new" and able to realize that the image is too desaturated for example, something that you do not necessarily after 8h of work non-stop on your image.
This stage can make all the difference, do not neglect it!
Compositing happens in Photoshop. I import all my passes and stacked. At this stage, the image is assembled, it is now necessary to harmonize everything in terms of contrast, saturation, color ...
Above all, the overall image lacks contrast, and I therefore increases slightly desaturated my image. I browned slightly picture to warm up a bit. In the real world, the more distant an object is, the more desaturated, slightly bluish and slightly less contrast. So I put those principles into the world around us to enhance credibility and depth of my image. In compositing, I can choose to emphasize a fact or an image area, giving it more punch or not. That's what I did for the sprays of water, so they do not see too much not too interfere with the readability of the composition, but they are still seen by checking the details image. So I emphasized different elements of the image, to highlight interesting features and useful reading of the image. I increased the brightness of incandescent side of the asteroids so they do not appear too flat in the end. A light grain was added to degrade the image slightly to make it less sterile, less fit (indeed very experienced in 3D). Because the image is already of the disturbance, the effect lent itself particularly well.
Compositing can also add small details, like the break on the taillight of the car, slight dirt on buildings and rock etc. ...
The image compositing lasted three days. It is true that three days is long, but it must be said that the final appearance of the image depends greatly on this milestone. In addition, to drag a bit this step allows you to return each time with a look "new" and able to realize that the image is too desaturated for example, something that you do not necessarily after 8h of work non-stop on your image.
After about two weeks working on this component, the result:
Acknowledgements:
I would like to thank "Therese, Philippe Gamer 3DVF team and partners of the competition.
I would like to thank "Therese, Philippe Gamer 3DVF team and partners of the competition.
About me:
Passionate about graphic arts since his childhood, Ludovic Vignaud is a passion for drawing and magic at the age of 8 years. He puts aside the drawing for the benefit of the audiovisual passion he discovered at the age of 14 years with his best friend. He then begins in the short time that filmmaker and actor, course some festivals and won prizes. At 16 he discovered 3D wanting to create special effects for his short films. After obtaining his degree, he was directly hired an ad agency: Publicis. He works now in a post box: Space Patrol.
Passionate about graphic arts since his childhood, Ludovic Vignaud is a passion for drawing and magic at the age of 8 years. He puts aside the drawing for the benefit of the audiovisual passion he discovered at the age of 14 years with his best friend. He then begins in the short time that filmmaker and actor, course some festivals and won prizes. At 16 he discovered 3D wanting to create special effects for his short films. After obtaining his degree, he was directly hired an ad agency: Publicis. He works now in a post box: Space Patrol.
Ludovic Vignaud
http://ludovic.vignaud.free.fr
ludocorp@hotmail.com
http://ludovic.vignaud.free.fr
ludocorp@hotmail.com
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