16 CRE­ATE GRASS WITH FOR­EST PACK

itoosoft train­ing man­ager Paul roberts walks us through cre­at­ing be­liev­able grass and ground cover

3D Artist - - 27 WAYS TO BUILD BETTER ARCH VIZ - Matt richard­son

01Add noise to sur­faces There’s no clearer sign that grass is CG than a per­fectly flat lawn, so al­ways add a noise mod­i­fier to your ter­rain to make sure there’s some gen­tle un­du­la­tion. Add a high qual­ity map to the ground too and don’t be afraid to let it show through the grass in places. A per­fectly even den­sity of grass is sel­dom seen in re­al­ity.

02Create clumps of grass In order to cover large ar­eas with grass, it’s in­ef­fi­cient to scat­ter hun­dreds of thou­sands of in­di­vid­ual blades. In­stead cre­ate 25-30cm ra­dius cir­cu­lar patches us­ing For­est Pack. You can get away with one patch, but sev­eral with dif­fer­ent grass lengths and den­si­ties cre­ates more re­al­is­tic re­sults.

03Scat­ter the patches Nest the patches in an­other For­est Pack ob­ject and scat­ter them. Use the full dis­tri­bu­tion map to cre­ate even cov­er­age, then hide vis­i­ble rep­e­ti­tion by ran­domis­ing the ro­ta­tion, scale and trans­la­tion. If you used patches with dif­fer­ent den­si­ties, you can edit the prob­a­bil­ity value to con­trol the look of the lawn.

04ran­domise the grass maps Cre­ate two or more maps, one green and healthy, an­other brown and parched. Add them to a For­est Colour map. Ran­domise the bit­maps for each in­di­vid­ual blade by en­abling Get ID by El­e­ment. To add colour vari­a­tion, wire a photo to the Colour Tint map slot and change the mode to As Tex­ture on Sur­face.

05Add more plants as sep­a­rate lay­ers Now that you have a a good base layer, add more For­est ob­jects to scat­ter weeds, flow­ers, leaves and other el­e­ments. By adding th­ese as a sep­a­rate layer you have com­plete con­trol of their dis­tri­bu­tion maps and den­sity. Con­trol­lable chaos is an oxy­moron, but it’s the key to be­liev­able ground cover!

17 SCAT­TER ON OB­JECTS TO CRE­ATE HEDGES

Use Sur­faces and UV mode to scat­ter on ver­ti­cal walls or nearly any ge­om­e­try. For ex­am­ple, you can cre­ate re­al­is­tic hedges and top­i­ary in any shape by dis­tribut­ing in­di­vid­ual branch mod­els onto a mesh. Paul roberts

18 FOR­EST PACK ISN’T JUST FOR TREES

De­spite its name, For­est Pack can be used for much more than trees and plants. Scat­ter on floor plates to quickly pop­u­late the in­sides of tall build­ings with peo­ple and fur­ni­ture, use spline modes for parked cars or traf­fic and use an­i­mated par­ti­cles to open up the plugin to a huge range of al­ter­na­tive uses. Paul roberts

19 OP­TI­MISE SCENES FOR REN­DER­ING

Don’t for­get to op­ti­mise your scenes! Use Limit By Vis­i­bil­ity to au­to­mat­i­cally re­move ob­jects that aren’t seen in the cur­rent ren­der, and thin out their den­sity based on dis­tance from the cam­era. For fur­ther re­fine­ment, use Forest­lod to swap in faster ren­der­ing ge­om­e­try and ma­te­ri­als fur­ther from the cam­era. Paul roberts

20 MO­TION BLUR FOR MOV­ING CAM­ERAS

Al­ways, al­ways, al­ways use mo­tion blur for shots with mov­ing cam­eras or an­i­mated ob­jects. Ideally, this is ren­dered ‘in cam­era’, but ap­ply­ing in post is also an op­tion. If ren­der­ing in cam­era and you are us­ing a phys­i­cally-based setup, make sure your shut­ter speed is set ap­pro­pri­ately. Matt richard­son

21 BE PLAY­FUL WITH YOUR CAM­ERA SET­TINGS

Don’t for­get to add a sense of mo­tion or shal­low depth to your work by us­ing mo­tion blur, depth of field or even a beau­ti­ful bokeh ef­fect in the back­ground of your image. Fredy Castel­lanos

22 PER­FECT­ING FO­CAL LENGTH

Dif­fer­ent fo­cal lengths can work well in dif­fer­ent sit­u­a­tions for ar­chi­tec­ture and in­te­rior de­sign. Wide val­ues such as 15-35 are great for ex­pan­sive com­mer­cial ar­chi­tec­ture as they ac­cen­tu­ate struc­tural lines, which can be used to an image’s com­po­si­tional ad­van­tage. Nar­rower fo­cal lengths such as 50-135 are great for in­te­rior de­tails when you may need to iso­late fur­ni­ture pieces, or to show how a set of fin­ishes of fab­rics work to­gether. Adam Wood­ward

23 CAM­ERA SET­TINGS FOR PHOTOREALISM

Use phys­i­cally-based cam­eras lenses such as a 24mm, a 28mm, a 35mm or a 50mm lens as well as a Dslr-type as­pect ra­tio such as 3:2, 4:3, 16:9 or their in­verse to get your image over the ini­tial hump of ‘is it real?’. Corey Beaulieu

24 LIGHT SET­TINGS FOR PHOTOREALISM

Ex­pose your cam­era to the en­vi­ron­ment light alone be­fore adding ar­ti­fi­cial lights (at least in most in­stances). Re­mem­ber that ar­ti­fi­cial lights will not be as strong as your en­vi­ron­ment and should not over­power the image bright­ness. Pho­to­shop can brighten a bal­anced image all at once while an im­bal­anced image will re­quire many masks that add to the over-pro­cessed look of ren­der­ings. Corey Beaulieu

25 DON’T BE AFRAID TO MAKE MAN­UAL AD­JUST­MENTS

Some­times, in the fi­nal ren­der a tree might not quite be in the right place, or be too big, or the wrong species. Use Item Ed­i­tor mode to re­fine your com­po­si­tion by adding, delet­ing and edit­ing in­di­vid­ual ob­jects with­out los­ing in­stanc­ing. Paul roberts

26 HAVE MORE CON­TROL DUR­ING POST-PROCESS WITH VRAYBUMPNORMALS

The main ben­e­fit of us­ing Vraybumpnormals over the typ­i­cal Vraynor­mals ren­der el­e­ment is the in­clu­sion of Bump map from your shaders. It’s worth it to in­clude this pass to ad­just, re­light, or en­hance di­rec­tion­al­ity of any ob­jects in post-pro­duc­tion. For ex­am­ple, those work­ing in 3D may in­te­grate bet­ter with a slight light­ing en­hance­ment based on your scene. Jerry Chen

27 SET THE BACK­GROUND TO BLACK

When ren­der­ing with an al­pha chan­nel, al­ways set the back­ground to black, other­wise you will get un­de­sired fring­ing when com­posit­ing. An ex­am­ple of this is ren­der­ing a sky in the en­vi­ron­ment slot. Un­less you ig­nore the al­pha chan­nel com­pletely, if you try to re­place the back­ground in post, you will no­tice fring­ing around the edges of ob­jects.

Trou­ble in par­adiso by Kilo­graph

May­fair ho­tel by SHH

Dei Fiori Camp­ing Vil­lage by State of Art Stu­dio

Cabin lodges by State of Art Stu­dio

Athlone House by SHH

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