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合成全景【国外经典教程】Making Of the Bergman Werntoft House by Reinaldo Handaya
Hello everyone, it's very nice to see you all here in CGarchitect. First i want to thank Jeff Mottle for giving me the opportunity to share my tutorial. Today I will try to explain my interior renderings for "dinning room and pantry". The idea is based on the Werntoft House. Actually this is a very simple house but I felt very comfortable when I saw the photo. Here are the reference images: 嗨！大家好，很高兴在CGarchitect见到大家。首先我要谢谢Jeff Mottle给我这个机会来分享我的教程。今天我将解释一下我的室内作品“餐厅和厨房”。这个想法来自于Werntoft House。实际上这是一个非常简单的房子,当我看到这张照片时，但我感到很舒服。下面这些是参考图： 参考图1：参考图2
参考图3：
参考图4
Please look carefully at the 2nd and 4th images. All of those images are in the evening when the sun is about 40 - 45 degree from horizon. In my country this will happens around 16.00 WIB. Now do you know what the biggest challenge is with these images? If you guessed making the interior bright, you are correct. As you can see, the floor in the dining and the pantry area has a dark floor. That is why you can see the ceiling is not as bright, it looks dark. This is happening because the dark color of the floor will absorb lots of light and this will make the bouncing of the light decrease. 请仔细看看第二张和第四张图像，拍这些照片的时间大部分都是在太阳与地平线大约40-45度角度的时候。在我的国家，这应该是在16时左右。 现在你知道这些图片最大的挑战是什么发吗？如果你想让室内更明亮一些，那么你是对的。正如你所看到的，餐厅和厨房有一个深色的地板。这就是为什么你能看到天花板不是很明亮，看起来有点暗。这都是因为地板会吸收大量的光，使得光能传递减少。 Here is the program list I use:（这儿是我用到的软件） 1. 3ds Max 2011 2. V-Ray 2.0 SP1 3. Adobe Photoshop Ok, now lets move to the next section. 好,现在让我们移步到下一节。 1. Workflow
My workflow may be the same as other 3d artists. Here are the workflow breakdowns and explanation:
一：工作流程 我的工作流程可能和别的3D艺术家一样，下面就是工作流程说明： 1. Preparation（准备）1.1. Gamma
In this part I must select the gamma I will use for this scene. For me there are two ways: First we can use gamma 1.0 which means we use the default 3ds Max gamma settings, and the second, we can use Linear Workflow gamma 2.2. I always use Linear Workflow gamma 2.2. This scene will be very easy to get correct brightness if we use Linear Workflow gamma 2.2. but this time I choose gamma 1.0.
1.1.伽马 在这部分使用这个场景我必须调节伽马，对我来说有两种方法：第一，我可以使用伽马为1.0，意味着我使用默认的3ds Max伽马设置。第二，我可以使用线性工作流程伽马2.2.我总是喜欢使用线性工作流程伽马2.2，这个场景如果我使用工作流程伽马2.2将很容易的得到一个正确的明亮度。但是这次我选择伽马1.0。1.2. Modeling
For all of the modeling I use 3ds Max 2011. There are no difficult objects in this scene. I only modeled the house and the furniture, the rest I use Archmodels. But still there are some details we need to preserve in the image below:
1.2.模型 我使用3ds Max 2011制作所有的模型，在这个场景里没有特别困难的复杂的模型。我只创建了房子和家具。其余的我使用Archmodels（模型库），但是有一些细节我们需要保留如下图。Point A: Give a chamfer to the edge of your objects, don't leave them sharp or it will make your final image look fake. Point B: Give a proper distance between doors, usually 3mm. A点：给你物体的边缘加上一个导边（注：MAX中的chamfer），不要给读者留下锋利的感觉，那样将会使你的图片失真。 B点：在门与门之间给一个适当的距离，通常是3毫米。 These two points are only an example. In interior rendering you must do modeling as close to the way objects are in real-life. We will need to do this because in interior rendering the camera position is not that far away from the objects. You need to make all of your object detailed as it looks in real-life. 这两点仅仅只是一个例子。室内表现中，你尽可能的让你的模型细节去接近现实，我这样做是因为室内表现中相机一般不会离物体很远，你需要让你所有的物体有更多的细节让他们看起来和现实中的一样。 Below you can see the wireframe of my interior scene without accessories. Only the room and the furniture. 在下面你能看到这个场景线框图没有配件（注：配件是指作者调入的模型）只有这个房间和家具。
1.3. Material basic（基础材质）
I always use the VRay material, I never use another material (ex: standard material). And now perhaps you are asking what I mean by a basic material. A basic material in my workflow only uses a bitmap and standard reflection (only use RGB, without bitmap in reflection bitmap slot). If I already have the library I will use my material library, but here, the floor and the wood are a new material so I use only standard settings just to speed up my process when it comes to the lighting setting. After I finalize my lighting settings I'll go back to the material I need to further tweak. The more detailed material settings will be shared it in next section.
我总是使用VRay材质。我从来不用其他材质（如：标准材质），可能你会问我说的基础材质到底是什么。一个基础材质在我的工作流程中仅仅是使用了一张贴图和标准和反射（仅使用RGB颜色调节，没有贴图在反射通道上）。如果我有自己的材质库，我将会使用我的材质库。但是这里，这个地板和木头是一个新的材质，所以我使用标准设置加快我的流程当我在设置灯光的时候。在我完成我的灯光设置后我会回到材质并且继续调整。更多的材质设置细节我会在下面的章节中讲到。 1.4. Preset Settings（预设）
These are the preset settings I use in most of my renderings, but for irradiance map, this time I try to use high, but in daily work I only use medium.
这里就是大部分我渲染时的一些渲染预设。但是对于发光贴图，我将使用高级别，在平常工作中我仅使用中等级别。
2. Camera & Lighting Setup（相机及灯光设置）For me the lighting setup is the fun part, but also the hard part. For interior rendering, I always avoid using the VRay light plane on windows. By using the standard VRay light plane it will drastically increase your render time, and if I use a skylight portal the result will not turn out the way I want. I only use VRay Sky for GI. For spotlights I use VRay IES and for hanging lamps I use the VRay light sphere.
对我来说,照明设置是有很有趣的一部分，但也是非常困难的一部分。在室内表现中，我尽量避免使用VRay片灯放在窗户那，如果我使用天空入口将得不到我想要的结果，我仅仅用VRay Sky作为全局光照。对于聚光灯我使用VRay光域网，对于挂灯我使用了VRay球灯。
To create GI in your scene using only the VRay sky has never been easy, but for me it is the best way to achieve real GI. I always remember what my teacher Nelson Liauw said: "V-Ray is just numbers, the important thing that you need to know is how the sun, the sky, and camera settings work in the real world". That is why in my conceptual work I never have a fixed setting for the VRay Sun, VRay sky and VRay physical camera. I always explore with every scene I make. Based on his instruction, I always set the type of mood I want in my rendering.
在场景中得到一个好的全局光照仅只使用VRay sky是一个不太容易的事，但是对于我来说，它是最好的方法来达到真实的全局光照。我总是刻记得我老师Nelson Liauw说过：“VRay只是一些数字，重要的事是你要知道太阳，天空以及相机原理在真实的世界里”。这就是为什么在我的思维活动中我从来没有一个固定的设置对于VRay太阳、VRay天空、VRay物理相机。我总是会去研究我做的每一个场景。根据他的介绍，我总是在我的作品中表现这个我想要的氛围。
For example, in this interior scene, I want to make an evening visualization with all the lights on, and to create a cozy and cool atmosphere in the room. Another important thing is I don't want the VRay sun beam to go into room, so in this this case I only use GI and I turn off the VRay sun. Based on this mood I try to create the lighting. From the beginning I create the VRay physical camera with an angle that can show the entire room, just like the wireframe.
例如，在这个室内场景，我想展现一个开着所有灯的夜景形象，创建一个舒适和凉爽的房间里的气氛。另外一个重要的事是我不想要VRay太阳射入房间，所以在这种情况下，我只用全局光照并且关掉了VRay太阳。基于这个气氛我尝试建立这个照明。从一开始，我创建一个能够展示整个房间的视角的VRay物理相机，如线框图那样。
From there I start creating the GI. I use the VRay Sky and I manually connect it with the VRay sun, because I want the glare of the sun in the VRay Sky exactly the same as the VRay Sun position. After a lot of trial and error I found the settings you can see the image below.
从这里开始，我开始创建全局光照。我使用VRay天空手动连接到VRay太阳。因为我想要耀眼的阳光匹配到VRay天空。通过多次尝试我得到如下设置。
As you can see there is nothing special with my GI settings. Almost all standard settings. I also add a landscape texture using the V-Ray material as the background of the room. You can see this in the image below.
如你所看到的在我的全局光照中没有什么特别的。大部分是标准的设置，我加入一张景观纹理在VRay材质做为房间的背景图，你可以从下图中看到。
After I set the GI, the next step is to set the artificial light. Here I've selected a VRay IES light instead of a regular photometric IES because it's faster. I adjust the color and the intensity until it's bright enough. You can also see my artificial light, VRay IES and VRay light sphere positions.
设置完全局光照后，下一个步骤是设置人造灯。这里，我选择一个VRay光域网灯代替一个常规的光度学光域网，因为它的速度更快。我调整颜色和灯光强度直到足够亮，你也可以看到我的人造灯，VRay光域网和VRay球灯的位置。
Now it's time to render a preview. Here is the result:
现在是时候渲染一张预览，如下：
OK, now the brightness of the VRay IES lights and the GI are good enough and also the color of the GI is just how I want it. But it still needs more work for overall lighting. I will show you more in the next section.
好了，现在VRay光域网和全局光照的亮度是很好的，全局光照的颜色也是我想要的。但是它对于整体照明来说仍然需要更多的工作。我将会展示更多在接下的章节里。
3. Advanced Materials（高级材质） In the image above look at the wood and the floor material. The material is too standard and it needs more work to make it look more realistic and dramatic. In any rendering, exterior or interior, material settings have their own settings. We must make the materials look like in the real-world and to do that we need to use a bitmap in the reflection slot and reflection glossiness slot. We also need to use Fresnel to make the reflections physically correct.
从上面的的预览图中可以看到木头和地板的材质。这个材质太普通了并且这需要更多的调节使它看起来更加真实和有效果。在任何渲染中，室内外表现，材质都有它们各自的设置。我必须使得这个材质看起来像是在真实的世界里并且我们需要在反射和折射通道中使用一张位图。我也需要用菲涅尔使物理反射更自然。 Here are the settings for the wood and the floor material. 这里就是木头和地板材质的设置。
These are two materials which I think have a very crucial role in my interior scene. Lets go to the next section.
我认为这两个材质在这个室内场景中有着非常主导的作用，让我们看下一章节。
4. Adding More Objects（加入更多的配件） After all the lighting and the material settings are done, its time to add more objects like fruit, microwave, oven, refrigerator, hood fan, spoons, forks, plates, plants. Here are the wireframes after I placed all of the support objects.
设置完所有的灯光和材质后，是时候加入更多配件了如水果、微波炉、烤炉、冰箱、罩风扇、勺子、刀叉、盘子、植物。下面就是我放置完所有配件的线框图（注：应该是实体图，作者好像搞错了）。
OK I think all the detail I need is set. Now it's time to go to the next section.
好了，我认为所有细节都需要设置，现是是时候去设置这些事了。
5. Composition（合成） Many great 3d artists use composition for their image. In photography there are a lot of rules about the composition, such as rule of third, diagonal rules, golden section, and many more. Here I'm using the rule of thirds, because I think it's very easy to use, and more importantly we can show the grid in the 3ds Max viewport. How do you do that? Go to Views and then choose viewport configuration and see the image below.
大部分3D艺术家在他们的图里都会有合成，关于合成在摄影中有很多规则，比如三分法,对角规则,黄金分割和更多，在这里，我使用三分法，因为我认为它很容易掌握，并且更重要的是我能够让它在3ds max视图中显示网格。怎么做的呢？选择视图并且选择配置视图，将会看到如下图所示。
Here I will provide an example of one of my camera compositions：
这里，我将提供一个我合成角度的例子。
Look at the vertical cyan colored line and the horizontal yellow color line. That's the guide line for the rule of thirds. To keep the explanation simple lets just say about 1/3 and 2/3 of your image. You will see with my dining table, the width of the table is about 2/3 of the width of the image. If you look at the island table and the refrigerator area, it fills 1/3 of the image composition. Using this composition technique you can direct the focus to the dining table and the island table looks further away and will create depth in your image. I think its OK for now, so just press the holy magic button, F9, RENDER!!!. The best part! hahaha.
看看垂直青色线和横向黄颜色的线，那就是三分法的引导线。很简单的展现出来图片的1/3和2/3位置。您将看到我的餐桌的宽度约图片的三分之二的宽度。如果你孤立的看这个桌子和冰箱区域，它占了图片的1/3的宽度。使用这个构图方式，你可以聚焦在餐桌是且使得场景更有空间层次感。这样构图就好了，按下魔法按扭“F9”渲染！！！最爽的一步啦！哈哈哈。
6. Render result and V-Ray frame buffer image processing（渲染结果和用VFB图像处理）
Now, we can see the result in the V-Ray frame buffer.
现在，我可以看VFB的图像结果。
feel I still need to add more dark areas so I tweak it using V-Ray frame buffer by activating the curve option to adjust the dark areas.
我觉得仍然需要压暗一些，所以我用VFB的曲线来调节暗部。
And here is the final result:
这是最终结果。
OK its good enough I think. Lets go to the last section. Post production.
好了，很好啦，我们接下来进行后期处理。
7. Post Production（后期处理） In this post production process, I want to change the mood to a greenish tint. I was bored of the original mood. To change the mood I use color balance to do it. Here is the step by step process：
在这个后期过程中，我想将它改成绿色色调。我厌倦了原来设定好的氛围，使用色彩平衡去调节，下面就是我调节的过程。 7.1. Mood changing 1. Copy your original render 2. Go to image, adjustment, color balance 3. Adjust the midtones, shadow and highlights 7.1，修改氛围 1.复制你的初始图像 2.执行图像>调整>色彩平衡 3.调整中间，阴影和高光部分
4. Reduce the opacity as needed
5. After that I merge it to be one layer
4. 降低调节后图层的不透明
5. 然后合并成一个图层
6. I want the result to have more contrast, so I adjusted it below.
6. 我想图像有更强的对比度，所以我调节了如下
7.2. DOF Effect（景深效果）
After changing the mood I add a depth of field effect using Z-Depth Here is the Z-Depth map I've already tweaked:
改变氛围后，我加入了一个景深效果使用Z-Depth,下面就是Z-Depth图，我已经调整完了。
I only want to blur the chair. Here are the steps to create a DOF effect using Photoshop:
我只想模糊这把椅子，下面就是使用PS做景深的步骤：
1. Copy your layer and give it a mask
2. Copy your Z-Depth image then go back to your render image layer and go to channel
1. 复制一个图层并且给一个蒙版
2. 复制你的Z-Depth图像然后回到你的渲染图像层和通道面板
3. Select the last channel and paste your Z-Depth (control +V)
3. 选择最后一个通道然后粘贴你刚才复制的Z-Depth（ctrl+v）
4. Back to the layer and select the image. Don't select the mask.
4. 回到图层面板并且选择这个图像，而不是选择蒙版。
5. Select filter, blur, lens blur, change the parameter as you like.
5. 执行>滤镜>模糊>镜头模糊，修改参数按你自己的喜好
6. Select the mask and right click on your mouse and delete the mask. As you can see the dinning table also gets blurred. Next I want to erase the blurred dining table.
6. 选择蒙版并且右键单击删除蒙版，你将看到这个餐桌也被模糊了，接下来，我想用橡皮擦掉模糊的餐桌
7. Select eraser and erase everything except the chair near the camera.
7. 选择橡皮擦并且擦掉除相机附近椅子以外的所有的东西。
8. Flatten the image to see the result.
8. 拼合图层看到结果。
7.3. Chromatic Aberration（色差）
The last effect I want to add is Chromatic Aberration. Usually CA occurs because of imperfections in the camera lens. It usually happens if you use old lens. This time I used Photoshop CS2 to do it, because I cannot get a good result if I use Photoshop CS5. Here are the steps:
最后一个效果是我相添加色差。通常它的发生是因为相机镜头有缺陷。它一般发生在使用老镜头的时候，在这里，我使用PS CS2来做。因为我用PS CS5不能得到我想要的好的结果。下面就是步骤。
1. Go to filter, distort, lens correction
2. Change the parameter like the image below
1. 执行滤镜>扭曲>镜头校正
2. 修改参数如下图
Here are all the final render results:
下面就是所有的最终渲染的图像。
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