Luxury Condo Interiors

[jujubee]

that rocks - nice chair model btw - leather looks great.

[tom182]

Very Nice, can I suggest that as part of Keith's initiation into the forum he MUST not only post the images but the complete scenes, textures and all his secrets, just tell him its part of the deal,

Great work

Tom

[corey]

Awesome images!

[TutanMark]

Really GREAT!! img!

Marco

[kedojo]

Keith here

Thanks for all the encouraging comments! It took awhile for me to get authorized to post in the forums...but everything's good now.

I'll post some render settings and comments on my setup when I get a free second.

And Percy - thanks again for posting these.

[Candelero]

CONGRATS, Mate...!

Would be happy if we see some WIREZ and Lighting STUFF... !
RENDER TIMES ?

[Trapezium]

Wow, really nice Percy

--Jon

[percydaman]

hehe did you read my post? I didn't make em, kedojo did.

[Trapezium]

Doh, sometimes that comes second and I was walking out the door so I wanted to read it when I got home.

Hehe... Errr,

Nice job Keith

--Jon

[kedojo]

Again guys - thanks for the great comments...here's some deeper info:

First, some wireframes as requested. There's not really anything special here, just lots of chamfering to get accurate edge highlights. The chair is a combination of nurbs for the wood and SubD's for the seat. I then painted a displacement map (as shown) for the folds.




General comments on workflow:

Texturing - it's pretty easy to get good diffuse maps, but I think the most important element to a good rendering is a really deep knowledge and use of reflection and specular highlights. Almost all objects exhibit some degree of reflection in the real world - as a result, I've got reflection (sometimes fake) on just about every object. The key is a great Falloff map and a bitmap image that controls reflection value (that is, a bitmap nested inside a Falloff map). For instance...wood may have a nice glossy reflection, but the wood grain should not reflect anything - so use a corresponding bitmap to control that. I did the same thing for concrete in order to keep the pits, ridges, and dirt from reflecting. Every material in the scene is a Vray material...and for certain textures (such as the concrete) I was able to get by with fake highlights alone. I believe someone asked about the brushed metal texture - I've posted the settings for the range hood below...

Lighting setup - basically one default Vray light is just outside every window (all instanced together and set to store with IR map) plus the environment GI and a few spots in the kitchen - nothing really special here...



...All of those spinners can really F*@$ up the image, so a solid workflow can save hours if not days. - Here's my approach, beware, this may get lengthy:

I tend to light in passes that reflect real world light situations...this way I rarely have to go back and tweak a setting once I've moved on...For example, if someone walks into a room during the daytime with sun streaming through the window, and turns on the light switch..the process of flipping the switch in no way affects the sun streaming through the window - the light is entirely additive. So applying this concept to rendering? First thing I do is make sure I have a pitch black frame - yes I actually hit render to make sure there's NO light in the scene. Then I imagine the client asks for a scene lit by a morning overcast sky (created exclusively by the environment override). Once this looks perfect, I imagine the sun has come out, so I add the Vray window lights and a direct light for sun rays - not touching the environment lighting that came previously. Once the daylight is done and looks perfect, I don't touch it...I imagine someone just walked in and flipped on the lights - so I add instanced spots where necessary...when this is perfect, as a last phase, I add accent lighting like desklamps and such. So in this manner, every phase of lighting is logically additive - and no phase should require that you adjust the previous phase - for me this makes it very easy to light, and I rarely have to go back and re-tweak an old setting. I pretty much had the lighting finished for this project in 3 hours. Also abusing the QMC settings is key in speeding up light setup. I use a similar workflow for texturing so I rarely have to go back and say, edit the glossy reflections once I begin lighting.

This project took about a week and a half from start to finish. The final images at 3k took about 5 hours to render on a Dual Xeon 3.0 (that is when there weren't any bugs with 1.4614). Half of them required the use of DR, due to a end-of-the-wire client deadline...and after a little frustration, DR pulled through ...roughly 30 min using 10 dual Xeons.

Hope that all helps...even if this stuff is obvious to those of you who are already doing kickass work!



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[DaForce]

very very nice.

Looking forward to seeing more from you