Post by Anthony on May 24, 2015 13:22:40 GMT
Step 01 – Model the crunch cup
We will start the basic shape of the cup with a cylinder. From there we will add an editable poly and add little details to it by using Extrude, Chamfer, Shell and MeshSmooth. Remember to always use an Edit Poly Modifier every time you model, so that you don’t need to do it from the beginning again if anything goes wrong with your model. We then use Swift Loop to connect edges and produce smooth edges when applying a MeshSmooth modifier. Take a look at the video tutorial to learn how to export and import properly from 3ds Max to ZBrush.
Step 02 – Sculpt in ZBrush
We will start with masking the middle part with straight lines from the base on our model. Then Invert the mask by going to the Mask menu and clicking Invert. After that apply Inflate under the Deformation menu and once we get the bulge that we wanted we will then apply Polish, which is also inside of the Deformation menu, to smoothen all of the sharp edges. Next we will be using the Move and SnakeHook brush to achieve the crumple of the cup. Using those brushes, slowly move the middle side of the cup to make crumples based on our reference images.
Step 03 – UV Master and polypainting
After sculpting the model, we can apply the UV Master plugin. Before that, go back to our lowest subdivision, then we can apply UV Master under Zplugin. Click Unwrap all. Now when it’s done, we can activate polypaint under the Polypainting menu. For this model we can use masking to create nice, sharp colours. After polypainting, go to the UV Map menu, and choose 2,048 resolution. Then go to the Create Texture Map menu and click Create Texture Map From Polypaint. Once it’s created, clone it, go to the Texture menu, flip the texture map and export as a JPG.
Step 04 – Export and import the model
Usually when we export ZBrush objects, we use the lowest subdivision. But this time we will just use the third highest subdivision since it’s just going to be a still image. So in ZBrush we go to tools and click Export. Then go to 3ds Max, open File and choose Import.
Step 05 – Set up the scene
First we will use a Standard Camera then set the right angle for the shot. Add a box with a wood texture for the base of our cups Then we will check the gamma in 3ds Max via Customize>Preferences>Gamma>LUT, and set this to 2.2. Now let’s open the Render tab and select CoronaRenderer. For this scene the settings are pretty much all default since it works perfectly fine and optimises our render. If you hover your mouse to the values it will show the descriptions in it. We will be using a pt+pt under Corona’s main settings and some WireColor and Z-Depth pass under Elements. A plane with CoronaLight material (with a kitchen texture map) was used to make the walls surrounding the glass model, this was also used as our background and reflection.
Step 06 – Texture the crunch cup
For texturing the first cup, we will use the standard Corona material with Reflection set to 1.0, its Fresnel IOR set to 1.6, and its Glossiness set to 1.0. Then set Diffuse to the colour red. Next, make sure Refraction is set to 1.0 with a black colour, its IOR set to 1.5, and its Glossiness set to 1.0. With these materials we can now duplicate the cup on another slot and just change the Diffuse colour for the other different proxy cups. For the other cup with Unwrap UVs, we will load up the texture maps that we saved earlier on when we were in ZBrush. The settings now will be a little different from the first cups. So set Reflection to 1.0 with Corona Solid Tex as a white colour, then change its Fresnel to 2.0 and its Glossiness at 0.84. Move on to Refraction and set that to 1.0 with a black colour, with its IOR set to 1.6 and its Glossiness set to 1.0 After we set up the texture, we will then rotate it randomly to add variation in the shot.
There are different ways to light up a scene. But always keep in mind that you need to put your lights in the right position to reflect how a real interior light works. This is so that you don’t have any weird lighting results on your image. For this, we will be using two Corona plane lights to be our source for the main lights, one on the left side with an intensity of 50 and one on the front with an intensity of 10 – these lights will be our windows. Now we will put a CoronaLight material on two planes with the multiplier of 5, and this will give us the reflection from our cups. The other two planes at the back will be our background with just a standard Corona material.
Step 08 – Test renders
Every time you do a test render you should always practice rendering the elements, so that you can put the right amount of Z-Depth pass or Ambient Occlusion when you render the final high-res image. If you click the Render button, another window will show up showing the progress of the image. From here you can adjust the contrast of the render under ColorMap, play around with the settings, and also set the Exposure to 0.0, Highlight Compression to 50, Contrast to 1.0 and White balance to a number between 4,500 to 7,000. Once you’re satisfied with the render you can now click the Cancel button and click Steady on the Save icon and click ‘Save all’ to save the image and its elements.
Step 09 – Post-production in Photoshop and After Effects
Before we do some editing in Photoshop, we will take the raw image and the Z-Depth in After Effects to apply some depth of field using the plugin Lenscare. Go to File>Open project and select the raw image and Z-Depth pass, then drag the images onto the empty Composition window one by one. Then go to Layer>New>Adjustment Layer. Add an effect on the Adjustment Layer by going to Effect>Frischluft. Under the effect controls in the Adjustment Layer, apply the Z-Depth that is in the depth layer with a radius of 10 or any value that you think you like. Once we’re satisfied with the depth-of-field effect, we will go to Photoshop. For this image the colour correction is pretty much minimal, we will just add some adjustment layers with curves and a little contrast. Voila, we now have a photorealistic crunch cup!
We will start the basic shape of the cup with a cylinder. From there we will add an editable poly and add little details to it by using Extrude, Chamfer, Shell and MeshSmooth. Remember to always use an Edit Poly Modifier every time you model, so that you don’t need to do it from the beginning again if anything goes wrong with your model. We then use Swift Loop to connect edges and produce smooth edges when applying a MeshSmooth modifier. Take a look at the video tutorial to learn how to export and import properly from 3ds Max to ZBrush.
Step 02 – Sculpt in ZBrush
We will start with masking the middle part with straight lines from the base on our model. Then Invert the mask by going to the Mask menu and clicking Invert. After that apply Inflate under the Deformation menu and once we get the bulge that we wanted we will then apply Polish, which is also inside of the Deformation menu, to smoothen all of the sharp edges. Next we will be using the Move and SnakeHook brush to achieve the crumple of the cup. Using those brushes, slowly move the middle side of the cup to make crumples based on our reference images.
Step 03 – UV Master and polypainting
After sculpting the model, we can apply the UV Master plugin. Before that, go back to our lowest subdivision, then we can apply UV Master under Zplugin. Click Unwrap all. Now when it’s done, we can activate polypaint under the Polypainting menu. For this model we can use masking to create nice, sharp colours. After polypainting, go to the UV Map menu, and choose 2,048 resolution. Then go to the Create Texture Map menu and click Create Texture Map From Polypaint. Once it’s created, clone it, go to the Texture menu, flip the texture map and export as a JPG.
Step 04 – Export and import the model
Usually when we export ZBrush objects, we use the lowest subdivision. But this time we will just use the third highest subdivision since it’s just going to be a still image. So in ZBrush we go to tools and click Export. Then go to 3ds Max, open File and choose Import.
Step 05 – Set up the scene
First we will use a Standard Camera then set the right angle for the shot. Add a box with a wood texture for the base of our cups Then we will check the gamma in 3ds Max via Customize>Preferences>Gamma>LUT, and set this to 2.2. Now let’s open the Render tab and select CoronaRenderer. For this scene the settings are pretty much all default since it works perfectly fine and optimises our render. If you hover your mouse to the values it will show the descriptions in it. We will be using a pt+pt under Corona’s main settings and some WireColor and Z-Depth pass under Elements. A plane with CoronaLight material (with a kitchen texture map) was used to make the walls surrounding the glass model, this was also used as our background and reflection.
Step 06 – Texture the crunch cup
For texturing the first cup, we will use the standard Corona material with Reflection set to 1.0, its Fresnel IOR set to 1.6, and its Glossiness set to 1.0. Then set Diffuse to the colour red. Next, make sure Refraction is set to 1.0 with a black colour, its IOR set to 1.5, and its Glossiness set to 1.0. With these materials we can now duplicate the cup on another slot and just change the Diffuse colour for the other different proxy cups. For the other cup with Unwrap UVs, we will load up the texture maps that we saved earlier on when we were in ZBrush. The settings now will be a little different from the first cups. So set Reflection to 1.0 with Corona Solid Tex as a white colour, then change its Fresnel to 2.0 and its Glossiness at 0.84. Move on to Refraction and set that to 1.0 with a black colour, with its IOR set to 1.6 and its Glossiness set to 1.0 After we set up the texture, we will then rotate it randomly to add variation in the shot.
There are different ways to light up a scene. But always keep in mind that you need to put your lights in the right position to reflect how a real interior light works. This is so that you don’t have any weird lighting results on your image. For this, we will be using two Corona plane lights to be our source for the main lights, one on the left side with an intensity of 50 and one on the front with an intensity of 10 – these lights will be our windows. Now we will put a CoronaLight material on two planes with the multiplier of 5, and this will give us the reflection from our cups. The other two planes at the back will be our background with just a standard Corona material.
Step 08 – Test renders
Every time you do a test render you should always practice rendering the elements, so that you can put the right amount of Z-Depth pass or Ambient Occlusion when you render the final high-res image. If you click the Render button, another window will show up showing the progress of the image. From here you can adjust the contrast of the render under ColorMap, play around with the settings, and also set the Exposure to 0.0, Highlight Compression to 50, Contrast to 1.0 and White balance to a number between 4,500 to 7,000. Once you’re satisfied with the render you can now click the Cancel button and click Steady on the Save icon and click ‘Save all’ to save the image and its elements.
Step 09 – Post-production in Photoshop and After Effects
Before we do some editing in Photoshop, we will take the raw image and the Z-Depth in After Effects to apply some depth of field using the plugin Lenscare. Go to File>Open project and select the raw image and Z-Depth pass, then drag the images onto the empty Composition window one by one. Then go to Layer>New>Adjustment Layer. Add an effect on the Adjustment Layer by going to Effect>Frischluft. Under the effect controls in the Adjustment Layer, apply the Z-Depth that is in the depth layer with a radius of 10 or any value that you think you like. Once we’re satisfied with the depth-of-field effect, we will go to Photoshop. For this image the colour correction is pretty much minimal, we will just add some adjustment layers with curves and a little contrast. Voila, we now have a photorealistic crunch cup!
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