3D gold dollar sign on white background, three different angles. Strong and shiny metal finish. Perfect for adding a highlight to your business related presentations or print design
Download here
Saturday, January 28, 2012
3d dollar sign
3D gold dollar sign on white background, three different angles. Strong and shiny metal finish. Perfect for adding a highlight to your business related presentations or print design
Download here
Crystal Rubixs cube
Two simple backgrounds. The first one is the solved crystal cube on a white background, and the second one is the cube with a missing part on a dark blue background.
Globe background
Set of globe backgrounds, includes all continents – Europe, North and South America, Australia, Asia, Africa and Antarctica. The earth planet in 9 different angles, revolving in different stages. Used a blue gradient colors for the oceans, and a light grey and white for the continents.
All globes are isolated on a white background. High detailed JPGs included.
Download Here
Navigation menu Web Elements
Guarantee seal Photoshop
PSD file contains two color themes, red and blue seals.
Download here
Three-point lighting(Photography)
Three-point lighting
Three-point lighting is a standard method used in visual media such as video, film, still photography and computer-generated imagery. By using three separate positions, the photographer can illuminate the shot's subject (such as a person) however desired, while also controlling (or eliminating entirely) the shading and shadows produced by direct lighting.
The key light, as the name suggests, shines directly upon the subject and serves as its principal illuminator; more than anything else, the strength, color and angle of the key determines the shot's overall lighting design.
In indoor shots, the key is commonly a specialized lamp, or a camera's flash. In outdoor daytime shots, the Sun often serves as the key light. In this case, of course, the photographer cannot set the light in the exact position he or she wants, so instead arranges it to best capture the sunlight, perhaps after waiting for the sun to position itself just right.
The fill light also shines on the subject, but from a side angle relative to the key and is often placed at a lower position than the key (about at the level of the subject's face). It balances the key by illuminating shaded surfaces, and lessening or eliminating chiaroscuro effects, such as the shadow cast by a person's nose upon the rest of the face. It is usually softer and less bright than the key light (up to half), and more to a flood. Not using a fill at all can result in stark contrasts (due to shadows) across the subject's surface, depending upon the key light's harshness. Sometimes, as in low-key lighting, this is a deliberate effect, but shots intended to look more natural and less stylistic require a fill.
In some situations a photographer can use a reflector (such as a piece of white cardstock mounted off-camera, or even a white-painted wall) as a fill light instead of an actual lamp. Reflecting and redirecting the key light's rays back upon the subject from a different angle can cause a softer, subtler effect than using another lamp.
The back light (a.k.a. the rim, hair, or shoulder light) shines on the subject from behind, often (but not necessarily) to one side or the other. It gives the subject a rim of light, serving to separate the subject from the background and highlighting contours. Back light or rim light is different from a kick in that a kick (or kicker) contributes to a portion of the shading on the visible surface of the subject, while a rim light only creates a thin outline around the subject without necessarily hitting the front (visible) surface of the subject at all
In photography and videography, a filter is a camera accessory consisting of an optical filter that can be inserted in the optical path. The filter can be a square or oblong shape mounted in a holder accessory, or, more commonly, a glass or plastic disk with a metal or plastic ring frame, which can be screwed in front of or clipped onto the lens. Filters modify the images recorded. Sometimes they are used to make only subtle changes to images; other times the image would simply not be possible without them.
In monochrome photography coloured filters affect the relative brightness of different colours; red lipstick may be rendered as anything from almost white to almost black with different filters. Others change the colour balance of images, so that photographs under incandescent lighting show colours as they are perceived, rather than with a reddish tinge.
There are filters that distort the image in a desired way, diffusing an otherwise sharp image, adding a starry effect, etc. Supplementary close-up lenses may be classified as filters. Linear and circular polarising filters reduce oblique reflections from non-metallic surfaces.
The key light, as the name suggests, shines directly upon the subject and serves as its principal illuminator; more than anything else, the strength, color and angle of the key determines the shot's overall lighting design.
In indoor shots, the key is commonly a specialized lamp, or a camera's flash. In outdoor daytime shots, the Sun often serves as the key light. In this case, of course, the photographer cannot set the light in the exact position he or she wants, so instead arranges it to best capture the sunlight, perhaps after waiting for the sun to position itself just right.
The fill light also shines on the subject, but from a side angle relative to the key and is often placed at a lower position than the key (about at the level of the subject's face). It balances the key by illuminating shaded surfaces, and lessening or eliminating chiaroscuro effects, such as the shadow cast by a person's nose upon the rest of the face. It is usually softer and less bright than the key light (up to half), and more to a flood. Not using a fill at all can result in stark contrasts (due to shadows) across the subject's surface, depending upon the key light's harshness. Sometimes, as in low-key lighting, this is a deliberate effect, but shots intended to look more natural and less stylistic require a fill.
In some situations a photographer can use a reflector (such as a piece of white cardstock mounted off-camera, or even a white-painted wall) as a fill light instead of an actual lamp. Reflecting and redirecting the key light's rays back upon the subject from a different angle can cause a softer, subtler effect than using another lamp.
The back light (a.k.a. the rim, hair, or shoulder light) shines on the subject from behind, often (but not necessarily) to one side or the other. It gives the subject a rim of light, serving to separate the subject from the background and highlighting contours. Back light or rim light is different from a kick in that a kick (or kicker) contributes to a portion of the shading on the visible surface of the subject, while a rim light only creates a thin outline around the subject without necessarily hitting the front (visible) surface of the subject at all
In photography and videography, a filter is a camera accessory consisting of an optical filter that can be inserted in the optical path. The filter can be a square or oblong shape mounted in a holder accessory, or, more commonly, a glass or plastic disk with a metal or plastic ring frame, which can be screwed in front of or clipped onto the lens. Filters modify the images recorded. Sometimes they are used to make only subtle changes to images; other times the image would simply not be possible without them.
In monochrome photography coloured filters affect the relative brightness of different colours; red lipstick may be rendered as anything from almost white to almost black with different filters. Others change the colour balance of images, so that photographs under incandescent lighting show colours as they are perceived, rather than with a reddish tinge.
There are filters that distort the image in a desired way, diffusing an otherwise sharp image, adding a starry effect, etc. Supplementary close-up lenses may be classified as filters. Linear and circular polarising filters reduce oblique reflections from non-metallic surfaces.
V-Ray - Studio Lighting (3ds Max)
V-Ray - Studio Lighting (3ds Max)
The method of studio lighting.
For the rendering used Vray 1.5rc3, the latest version of the program.
This famous chair called "Corbusier" was modeled in 3ds max 9.
With the knowledge of this tutorial you will be able to present your models in a more ambitious way than before.. and especially helpful for guys into 3d architectural modeling...... ;)
The main parts of the tutorial are :
-Making the environment
-Placing the lights
-Setting up Vray for tests
-Shaders
-Setting up Vray for final rendering
-Postwork in Photoshop
MAKING THE ENVIRONMENT
The environment is pretty much simple.
Place a plane under the model and set 3 for the Length segsments and set 2 for the Width segments.
Convert it to editable poly with right click on the plane and choosing "convert to:".
The next step is selecting the two edges behind the chair and pull them up while pressing the shift button...
With this way create a shape around the model like in the third picture.
We will use a Turbosmooth modofier on the plane, but to controll the way of smoothing
we have to chamfer a few edges before.
Now we are able to use the turbosmooth with 2 Iterations.
PLACING THE LIGHTS - This topic is the heart of the studio lighting. We will use 3 vraylights with different strength, postion and color. This three attribute will determine the mood and the individuality of your render. So place a vraylight from left view, with the given settings.
Now change to top view ,copy the light and mirror it to the X axle.
Place it to the right side of the plane and use the given settings.
The third light will be placed later, after the test renderings.
Create a Target Camera from top view with 35mm lens, and set it up as you see.
All right,choose vray as your primary renderer.
Make a vray material with a light grey diffuse color, R:170/G:170/B:170.
Put this material to the "override mtl" slot in the Global Switches tab.
Now all the objects in the scene will have this material, so this function is great to test lighting with a clay render.
Later we will turn this function off.
Hit F9 and lets see what we got here.
So this is what we have without any settings.
No illumination,or any kind of sampling except the standard one.
Now we need to set up vray for test renderings.
It is time to move to the next topic.
SETTING UP VRAY FOR TESTS
To test the illumination in the scene we need to set up vray with low values. These are only tests ,so we only want a quick feedback from the lighting. First of all change the image aspect ratio to 1.8 in the Common tab. Go to camera view and turn on the"Safe Frame" option.
Safe Frame will help you to place youre camera to the right position and it is also helps to notice unwanted parts in the view.
Now here comes the capital part of the Renderer tab settings.
Here is a short explanation of the settings above:
Default lights: turn it off ,we do not want any light, except the vray ones.
Adaptive QMC: A faster image sampling method than Adaptive subdivision.
Mitchell-Netravali: With this antialiasing filter edges will be sharp but not crisp.
Irradiance map + Light cache: the mostly used GI combination.
HSph subdiv: (GI samples) lower it to speed up the rendering process.
Show calc phase: The rendering process will be visualized, so if are not happy with the effect you don't have to wait until the effective rendering.
Subdivision: The subdiv. of lightcache controls the number of traced paths... The actual number of the traced paths is the square of the adjusted number. So with 500subdiv. 250.000 paths will be traced.
Exponential: With this type of colormapping ,colors will be saturated so you can avoid burnouts on the surfaces.
Dark multiplier: This controls the "Sternth" or the multiplier of dark colors.
Render region division: set it to 32x32 ,smaller bucket size less ram will needed.
with samller bucket size a faster feedback can be achieved.
All right, lets see the render with the mentioned settings.
It is much better than the first one.
The scene is much more brighter, light is smoother and there are no burnouts.
Because of the low quality settings there are GI artifacts ,noise and blurry lines.
However ,these settings provide us a very efficent way of testing.
Lets play with the colors to break the dull feeling of the render.
Change the color of the vray light on the right to R:255/G:180/B:80.
This warm orange color will take care of the monotonic lighting.
At this point if you are satisfied with the result you can go to the next step.
Creating and understanding shaders is the following topic.
SHADERS
In this scene i used four or five shaders.
Plasctic,Chrome,Leather,White fabric, and the white background of course.
Turn off the "override mtl" function in the Global Switches tab.
Lets take a quick look at the settings.
Diffuse: This controls the color of the material.
Reflect: Pure white means 100%reflections ,black means 0% reflections.
Refl. Glossiness: Controls the blurryness of reflection 1 means perfect mirror-like reflections, lower values produce blurry reflections.
Subdivision: This controls the quality of glossy reflections, higher values increase rendertime lower values produce noisy effect. For testing /5-8/ final rendering /15-35 or higher if necesarry.
Freshnel reflections: If you check it that means the strength of the reflection will depend on the viewing angle of the surface. In nature water and glass is reflecting in this manner. The strength of the reflection depends on the Freshnel IOR too.
All right lets see the shaders in action...:)
need a little more light from above the chair, so lets put that third vraylight to its place.
It is important to uncheck the "Affect Specular" slot, we don't want any specular reflection from that light, only diffuse light.
As we can see the bounced light reaches to the bottom of the chair too.
Now the lighting and the shaders are finished so lets move on to the next topic.
I will discuss the settings of the final rendering.
SETTING UP VRAY FOR FINAL RENDERING
At this ponit of the workflow it is very important to find the balance between speed and quality.
I will talk about the settings globaly, because some problems can't be solved with only changing the value of an option.
So lets see the Renderer tab in this light :)
-Change the resoultion to 900x500
-Set the Adaptive rQMC image samplers min dubdiv to 2. Now thinner lines can be rendered correctly.
-Change the preset of the Irradiance map to Medium from Low.
Set 50 to the HSph subdiv to achive higher quality GI. -Use value 1200 for the Light cache subdiv.
Change the Sample size to 0,006 ,now small details will be more visible.
Use value 1000 to the Pre-filter option to reduce noise.
We have a lot of glossi rays so check the "Use light cache for glossi rays" option./it will speed up rendering/
For the Filter use the "None" possibility.
-At the rQMC sampler use value 0,005 for noise treshold.
Set the Global subdivs multiplier to 4 ,it will increase samling quality everywhere in the scene.
-You can find the Light properties in System>Lights settings.
Changing the diffuse subdivision of the lights wil effect the number of the traced photons.
-Change all the vraylights subdivison to 15 or 20 to avoid noisy parts.
-Change all the materials subdivs to 20 in the Reflection section.
With these settings the rendertime will increase a lot according to test render settings.
Now hit F9 and wait until the calculation finishes.
This is the final rendering, no noise ,artifacts or any nerve-racking rendering trouble.
A picture would not be complete without the postwork so lets move on.
POSTWORK (in Photoshop)
Launch photoshop, and load in the image. Because of the saturated colors of the exponential colormapping type.
We need to add more character to the colors and play with the levels to achieve better contrast.
Go to Image>Adjustments>Color balance
Than Image>Adjustments>Levels
And here comes the finished picture.
3DS Max Tutorial - The UserInterface
3DS Max Tutorial - The UserInterface
3DS Max interface can be classified into five elements. These elements can be grouped under various sub-elements. The following are the main five elements of the max interface.Menus
Menus hold most of the 3ds Max commands. These menus are found along the top edge of the Max window.
Toolbars
There are a number of toolbars containing icon buttons that provide single-click access to features. These toolbars can float independently or can be docked to an interface edge. By default, the main toolbar and the reactor toolbar are visible.
Viewports
There are four separate views into the scene show. They are- Top, Front, Left, and Perspective.
Command Panel
The command panel is located to the right of the four viewports. It contains six tabbed icons at its top that can be clicked to open the various panels. Each panel includes rollouts containing parameters and settings. These rollouts change depending on the object and tab that is selected.
Lower Interface Bar
Along the bottom edge of the interface window is a collection of miscellaneous controls.
Figure1-1: Max Interface
In the following section, the usage and functionality of each element will be given in detail.
Menus
The menus at the top of the Max interface contain most of the max commands. There are toolbar buttons and keyboard shortcuts corresponding to many of the menu commands. A menu command can be executed by selecting it with the mouse cursor. The same command can also be executed by clicking its corresponding toolbar button if there is one, otherwise its keyboard shortcut has to be pressed.
Figure 1-2: File Menu
The main menu includes the following options:
File, Edit, Tools, Group, Views, Create, Modifiers, Character, Reactor, Animation, Graph Editors, Rendering, Customize, MAXScript, and Help.
You can also access the Menu by pressing the Alt key on the keyboard. This selects the File menu. Arrow keys can be used to move between the other menus. With a menu selected, you can press the keyboard letter that is underlined to select and execute a menu command.
Toolbars
The main toolbar is by default placed at the top of the max interface under the menus. The reactor toolbar is placed along the left edge of the interface. Toolbars can be used conveniently to execute commands with just a single click of the mouse.
A docked toolbar can be converted into a floating toolbar by clicking and dragging from the two vertical lines on the left or top of the toolbar. After separating it from the interface edges, the floating toolbar can be re-sized by dragging it from the edges or the corners. A floating toolbar can be docked by double clicking on the title or taking it to the closest edge by dragging it from the title.
Figure 1-3: Main toolbar in Floating mode
When in the by default docked position, the main toolbar is too long to be completely visible. Your monitor’s resolution should be atleast 1280 pixels wide to accommodate the whole toolbar. You can scroll the toolbar on a lower resolution screen by positioning the cursor on the toolbar away from the buttons, such as, below one of the drop-down lists (the cursor changes to a hand), and then clicking and dragging the toolbar in either direction. You can easily scroll the main toolbar by dragging with the middle mouse button.
Viewports
The viewports cover over the largest area of the user. They are used to view the objects within the scene and can be configured to view the scene in different modes.
Front, Back, Top, Bottom, Left, and Right are the orthographic viewports available in Max. By default, the three of the four viewports show Top, Front, and Left orthographic views and the fourth viewport shows the perspective view. The top-left corner of the viewport displays the viewport name.
Orthographic views are displayed from the perspective of looking straight down an axis at an object. This reveals a view in only one plane. Because orthographic viewports are restricted to one plane, they show the actual height and width of the object.
Isometric views are not restricted to a single axis and the scene can be viewed from any location, but all dimensions are still maintained.
Figure 1-4: View Port
The standard viewports show you several different views of your current project, but within each viewport you can zoom in on certain objects, pan the view, or rotate about the center of the viewport. To zoom, pan, and rotate the default views, you need to use the Viewport Navigation Control buttons. These eight buttons are located at the bottom-right corner of the window.
Figure 1-5: Navigation Control Buttons
Command Panel
The Command Panel is located to the right of the viewports along the right edge of the interface. This is one of the most frequently used sections of the max interface. This is where the object parameters, settings, and controls are located.
The Command Panel is split into six panels, each accessed via a tab icon located at its top. These six tabs are- Create, Modify, Hierarchy, Motion, Display, and Utilities.
Figure 1-6: Command Panel
The Create panel
It contains controls for creating objects; such as, geometry, cameras, lights, and so on.
The Modify Panel
It contains controls for applying modifiers to objects and editing editable objects such as meshes and patches.
The Hierarchy Panel
It contains controls for managing links in a hierarchy, in joints, and in inverse kinematics.
The Motion Panel
It contains controls for animation controllers and trajectories.
The Display Panel
It contains controls that let you hide and unhide objects, along with other display options.
The Utilities Panel
It contains miscellaneous utility programs, most of which are plug-ins to 3ds max.
Rollouts
Rollouts contain most of the controls, buttons, and parameters in the Command Panel. Each rollout title bar includes a plus or minus sign (a minus sign indicates that the rollout is open; a plus sign shows closed rollouts). Clicking the rollout title opens or closes the rollout. You can also reposition the order of the rollouts by dragging the rollout title and dropping it above or below the other rollouts. But you cannot reposition some of the rollouts, such as the Object Type and the Name and Color rollouts found in the Create panel.
Figure 1-7: Rollouts
Right-clicking away from the buttons in a rollout presents a pop-up menu which you can select to close the rollout you’ve clicked in- whether it is a Close All, Open All, or Reset Rollout Order. The pop-up menu also lists all available rollouts within the current panel, with a check mark next to the ones that are open. Expanding all the rollouts often exceeds the screen space allotted to the Command Panel. If the rollouts exceed the given space, then a small vertical scroll bar appears at the right edge of the Command Panel. This scroll bar can be dragged to access the rollouts at the bottom of the Command Panel, or can be clicked away from the controls when a hand cursor appears. With the hand cursor, you can click and drag in either direction to scroll the Command Panel. The Command Panel can be also be scrolled with the wheel on the mouse.
Using the Lower Interface Bar Controls
Lower Interface bar is a collection of several sets of controls located along the bottom edge of the interface window. These controls cannot be pulled away from the interface like the main toolbar, but they can be hidden using the Expert Mode (Ctrl+X). These controls, include the following from left to right:
Time Slider
The Time Slider, located under the viewports, enables you to quickly locate a specific frame. It spans the number of frames included in the current animation. Dragging the Time Slider can move you quickly between frames.
Track Bar
The Track Bar displays animation keys as color-coded rectangles with red for positional keys, green for rotational keys, and blue for scale keys. Parameter change keys are denoted by gray rectangles. Using the Track Bar, you can select, move, and delete keys.
Status Bar
The Status Bar is below the Track Bar. It provides valuable information, such as the number and type of objects selected, transformation values, and grid size. It also includes the Transform Type-In fields.
Prompt Line
The Prompt Line is text located at the bottom of the window. If you’re stuck as to what to do next, look at the Prompt Line for information on what Max expects.
Key Controls
These controls are for creating animation keys and include two different modes- Auto Key (keyboard shortcut, N) or Set Key (keyboard shortcut, ' ).
Auto Key mode sets keys for any change made to the scene objects. Set Key mode gives you more precise control and sets keys for the selected filters only when you click the Set Keys button (keyboard shortcut, K).
Time Controls
Resembling the controls on an audio or video device, the Time Controls offer an easy way to move through the various animation frames and keys. Based on the selected mode (keys or frames), the Time Controls can move between the first, previous, next, and last frames or keys.
Viewport Navigation Controls
In the lower-right corner of the interface are the controls for manipulating the viewports. They enable you to zoom, pan, and rotate the active viewport’s view.
Figure 1-8: Lower Interface Bar
Low poly in 3D Max Part IV
Low poly in 3D Max Part IV
Set ID 4 for glass.
Set ID 6 for wooden part of window.
Now select bottom of house.
Extrude selected polygons (in Extrude window choose Local Normal).
Set ID 7 for those polygons.
Select walls and set ID 5.
Open material editor, just pres M on keyboard. Click on Standard type of material and in list choose Multi/Sub-Object.
Check first 7 materials in list and just change them color. Assign multi/sub-object material to house.
Now go to Editable poly/ polygon properties and in Select ID type 2 and click on Select ID button.
In Edit geometry menu click on Detach button and detach as ‘door’. Do same for all IDs, and give them names: walls, garage, windows, glass, and roof.
Open material editor. In material editor click on already created Sub/material, and choose first sub material (material for roof). For diffuse map use roof_shingles.jpg
Now click on map roof_shingles.jpg and tile them (32/32).
Now select roof and use modify UVW mapping. Apply planar mapping.
For other materials use these settings:
Sub-Material 2 (for door) use fit-door.gif map for diffuse
Sub-Material 3 (garage) use garage_door.jpg
Sub-Material 4 (glass)
Sub-Material 5 (walls): use Concrete_Blue_Stucco material (tilling: 5/1)
Sub-Material 6: just put brown color
Sub-Material 7: use Concrete_Brown_Stucco (tilling: 5/1)
Put Omni light in scene and drag it up, use these settings (see picture)
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