I used the default settings, and only adjusted few parameters to better suit my workflow. This was the moment when V-Ray for 3ds Max really made a difference, especially version 3.5, which comes heavily optimized and ready to render. Now, all the assets are in the scene, ready to be shaded and rendered With three lights around the character and very few adjustments, I could simply move my camera around the scene to understand what would work best with my shape, instead of locking the camera angle to a composition that could have required a more complex light set up. This was another key factor in keeping the feedback from the software active. With a single subject in the scene, a three light set up is a robust solution that I can quickly adjust to create different moods. A dome light with an HDRI texture is usually enough to light a scene, but in this case I wanted more control over the shadows. This is a simple extruded spline, three V-Ray target lights, and a dome light.
To render my scene I created a background plane. This is really helpful, because you can quickly test different materials without too many tiling adjustments. To do this I have use a script called "advanced_uv_normalizer", which copies and pastes the UV map scale from one object to another. When I have all my assets in the scene I make sure the texture scale is consistent across all objects. I'd previously created a suit model, and used Marvelous Designer and ZBrush to create the fabric geometry. I'll show you how you can significantly reduce the amount of time spent shading with the right tools and software, and how I rendered within 3ds Max with the power of V-Ray and the VRscans material library. With this tutorial I will try to guide you through my workflow and show you how to render fabrics in a few simple steps. My idea was to simulate a piece of fabric falling on top of character, creating a shape with lots of folds, similar to sculptures you might find in a museum. This was the perfect opportunity for me to learn Marvelous Designer, which I'd always wanted to try. Soon after I started using VRscans materials, and saw how incredibly accurate and detailed the shaders are, it became clear to me that I needed a realistic looking geometry to match such high quality.
I've had to render 3D geometry very rarely in the past two years, but I've used personal projects to learn and implement many different workflows.
We specialize in 3D scanning and pointcloud data visualization for exhibitions and Broadcasts. My name is Luca Veronese, and I'm Lead 3D Artist at ScanLAB Projects, a small studio based in London.
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