If you are using VRAY, then you only need to play a parallel light, and then turn on the sky light in the ambient light in the VRAY rendering panel. Outdoor architectural rendering of the light is actually sunlight + sky light, parallel light is used to simulate sunlight, and ambient light is used to simulate sky light. If you are using the MAX default scanline renderer, then the parallel light is still used to simulate sunlight, and then use the standard lighting in the sky (SKYLIGHT) can also be. When lighting, there is an option to turn on shadows or not in the lighting parameters, just turn it on.
The general process of making outdoor rendering
I. Modeling Stage:
In this stage, according to the floor plan and elevation drawings of the building, the three-dimensional model of the building should be made in 3DS MAX, which is the basic stage of the production of rendering, the production of the material, the camera and the lighting setup are all carried out on the basis of this foundation. If there is a problem with the modeling, then the next steps will not be possible.
The basic idea of using 3D to create an architectural model is to go from the whole to the local, and gradually refine it. The maker needs to have a good idea of what he is doing before he starts, and be able to divide a building into a number of relatively independent parts. Then analyze each part, off gradually refined. Eventually, this can be reduced to a basic geometry that can be created directly in 3D or further modified to complete the desired shape. Of course, while the first details are carved out, the overall composition has to be taken into account. The perfect localization, combined with a coherent overall effect, will result in a satisfying final result.
There are two main principles at this stage of the work, the first being "precision". The production of rendering is to be able to real, vivid display of the structure and texture of the building, a comprehensive expression of the architectural designer's design concepts and intentions, and accurate modeling is the basis for everything; the second is "far from coarse and near fine, do not see not build", the so-called far from coarse and near fine, refers to the distance from the point of observation far from the modeling can be made a little rougher, the distance from the near modeling to be made a little finer. The so-called far rough near fine, means that the distance from the observation point far modeling can make some rough, distance near the modeling to make some fine. This can not only meet the needs of precision, but also minimize the number of modeling surfaces; "do not see not build" refers to the invisible parts, such as building back elevation, side elevation and other models, can be omitted, do not produce models.
Second, the production of material stage
The main task of this stage is to produce suitable materials and assign them to different components of the building according to the needs of the project. The production of real materials is a more complex thing, it is not like the production of models, according to the data of the architectural drawings can be "accurate" modeling, but only according to the understanding of the texture of different materials and personal experience, and combined with the lighting setup, comprehensive consideration, repeated debugging.
Third, the camera and light setup
Through the setup of the camera, you can make a one-point perspective elevation effect, two-point perspective monomer effect, or bird's-eye view effect from the air downwards for the building.
The camera in 3D is very close to the camera used in real life, in that the lens size and field of view of a high-speed camera are used to determine the perspective of the observation. If you want to exaggerate the depth of field of the scene, you can start with a smaller lens size; if you want a close-up of an object in the scene, you may choose a larger lens size. According to the relationship between the camera and the position of the main body of the building, you can produce three different types of perspective: one is a one-point perspective, meaning that the camera is parallel to the ground and perpendicular to the main body of the building, this perspective is often used to show the solemn, solemn buildings, such as monuments, halls. The second is two-point perspective, meaning that the camera is parallel to the ground but perpendicular to the fa?ade of the building, while observing the main fa?ade of the building and a side fa?ade. This way can be more complete, detailed expression of the building structure, but also to ensure that the vertical line of the building will not be tilted, often used to express the general monolithic buildings, such as villas, residential buildings and so on. Third, three-point perspective, refers to the two-point perspective on the basis of the camera's target point upward or downward movement, so as to produce the effect of elevation or top view. Using three-point perspective to produce the effect of the vertical wall line will be skewed, but by increasing the distance between the camera and the target point, while growing the focal length of the camera lens, the equivalent of standing at a distance using a long focal length lens, you can moderately reduce the inclination of the vertical wall, so that it is more in line with people's general visual perception. Usually use this perspective relationship to show high-rise buildings or groups of buildings in the bird's-eye view.
Lighting and shadows play a vital role in architectural effects. Texture through the lighting can be reflected, the shape and level of the building needs to be determined by the shadow. The realism of the architectural rendering depends largely on the portrayal of details, and the details of the building need to be portrayed through the relationship between lighting and shadows, the same can be seen in the importance of lighting. But the effect of the building does not depend on the lighting, the material also plays a big role. Therefore, in the high-speed lighting should pay attention to the same time constantly high-speed material color, so that the two are coordinated with each other. In the outdoor architectural rendering production, generally use the target parallel light or target spotlight as the main light source to simulate the sun's light. Then use several floodlights as auxiliary light source, to form a reasonable lighting system. To summarize, a good architectural rendering is an accurate model, real materials, appropriate camera settings, and reasonable lighting system **** with the creation. They are mutual constraints, mutual influence, so we need to think more about the work of these aspects of the relationship between some of them and some of their interactions, to constantly improve the level of creativity.
Four, post-processing
Post-processing mainly includes the following aspects:
1. Modification of defects, which is the first part of the post-processing of the rendering of the first part of the main modification of the model of the defects or due to the formation of lighting setup errors.
2. Adjust the quality of the image, usually using the "brightness/contrast" "hue/saturation" and other adjustments to get a clearer, more layered image.
3. Add the background. Make the architectural rendering more realistic and vivid.
4. Make special effects, such as the production of halos, light bands, drawing water drops, fountains and so on. In the process of making special effects, always pay attention to the overall composition of the effect. The so-called composition, that is, the picture of the various elements of the arrangement, so that it becomes a harmonious and perfect whole. As far as the architectural effect is concerned, it is necessary to unify the main body of the form of the people and the elements of the scenery into a whole. First of all, the main building should be prominent and eye-catching, can play the role of the overall situation; Secondly, the main body and the landscape should form a contrasting relationship between the landscape in the composition, color to be played a supporting role. It should also be noted that in the post-processing of the added scenery, whether it is a character or a car, must ensure that its perspective angle and the perspective of the building to maintain the same angle, the light and shadow effect and the building's light and shadow effect is consistent.