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Victoria's Secret bikini

Victoria’s Secret bikini

Three Beauties Adriana Lima, Lindsay Ellingson, and Doutzen Kroes has very funny moments at the event to welcome Valentine’s underwear giant Victoria’s Secret.

Adriana Lima

Victoria’s-Secret

Victoria’s_Secret

Victoria’s Secret

Lindsay Ellingson

Doutzen Kroes

Bikini Victoria’s Secret

Scene Setup:
Open the image in photoshop, go to filter \ distort \ lens correction and use the vertical perspective to straighten the vertical lines.

Step 2

To create a camera match in Max, we are going to take some measurements with photoshop using the vanishing point tool.
Go to filters> vanishing Point. Create two planes for the house on the left (front and side), then you can start measuring.

Step 3

Note: We will need to use a virtual viewport in Max and to do that 3ds max needs to run in openGL . You can change the driver in the start menu> autodesk> 3ds Max> change graphics mode, or inside 3ds Max, Customize> preferences, and in the viewports Tab click in “choose driver”. Restart Max.
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In 3ds Max, press “8” to open the environment window. Click in the environment map slot, choose bitmap and browse for lens corrected image. With the perspective viewport selected press Alt+B to open the Viewport Background dialog box, activate “use environment background” checkbox . activate “display background” , Click OK.

Step 4

Press F10 to open the “Render Setup” dialog box, and change the width and height to match the image file properties.

Step 5

Creating the camera:

-With the measures taken in photoshop, we can create a box in max that will help us with the camera match process. Create a box with: length= 490cm width= 900cm height= 625 cm.
Using snap to vertex, create camera point helpers on the visible corners of the box : create>helpers>camera point. This six camera points will give us the camera angle and lens we will work with. To create that camera, go to the utilities panel and click in “camera match”, now assign a position in the image background corresponding to the selected camera point. When done, click “create camera”.
Apply a camera correction modifier to the camera if needed, to make small perspective corrections.

Step 6

Blocking the scene:

On the top viewport, create a ground plane and another box for the structure on the right (length=1000cm \ 3 segs; width= 270cm \ 2 segs; height 195cm \ 1 segs).

Step 7

Apply an Edit Poly modifier to the last box you have created, select the top> center polygons and extrude them.

Step 8

Select the top > center edges, and move them up to shape the roof.

Step 9

Select the roof polygons and extrude them using local normals.

Step 10

Create a few more extrusions to create the roof, there is no need to create too much detail. At this point, you may want to zoom the camera view to make some adjustments so your modeling matches the photo. To do that you need to use the virtual viewport (you can only access the virtual viewport by using OpenGL, doesn’t work with direct 3D or Nitrous). To use the virtual viewport, select the camera view and go to views> viewport configuration, in the regions Tab you can activate the virtual viewport and change zoom settings.

Step 11

Adjust the vertices to shape the left building.

Step 12

add some detail to the scene by adding more objects.
Create a box for the chimney (adjust by moving vertices)
Repeat the process to add the detail and depth to some objects in the scene.

Step 13

For the debris on the right of our scene, I used planes and shaped them by moving vertices.

Step 14

The terrain it’s not flat, make some adjustments to the ground plane and left building height to follow the terrain angle.

Step 15

Create a sphere (the use of hemisphere is not mandatory), for the remaining environment and apply a normal modifier.

Step 16

Material:
The material is quite simple. With standard material, turn self illumination to 100%, apply a “camera map per pixel” map to the diffuse slot. Choose the camera we created with camera match and the image we used as background.
Apply this material to all objects in the scene.

Step 17

Animation:
Select the camera, click with the right mouse button and clone (choose copy, not instance). Select the new camera, activate “auto key”, move the time slider to the 100th frame and move the camera to the final position. There are limitations to the camera movement due to the texture distortion. Make some test renders to check the distortion.

Step 18

Render the animation!

Final notes:
If you render by layers you can have more control over the final shot.
Don’t save your render to a movie file, save it as an image sequence. It’s better to edit and can save you lots of time if something goes wrong with the render.
Keep the original aspect ratio of the photo when rendering.

In the previous tutorial we have went through the process ofunwrapping organic models with 3ds max 2012. However in most cases, especially when dealing with simpler geometrical models there is a much easier way.

Part 1 – Unwrap with Flatten Mapping

Download and open this simple 3d model (max 2012 format).

Let’s start by applying an Unwrap uvw modifier to it.

In sub-object mode choose “face” and select all the polygons of the object.

Open the UV editor, go to the mapping drop-down menu and select Flatten Mapping and click “ok” (without changing any parameters).

With all the generated clusters still selected click on “rescale elements” under the “Arrange elements” menu. This will correctly re-scale each cluster in relation to the others.

The automatic unwrapping looks good but we still have to do some manual adjustments.

In order to paint the UVW layout in photoshop easier, we will have to stitch some clusters together.

 We will start by stitching the clusters of cylindrical part. Select the 2 vertices like in the screen capture bellow

As you can see, after having made the selection, 2 other vertices turned blue. That means that those 2 clusters should be stitched together. Move the 2 clusters outside the square area and position them so that the 2 vertices initially selected overlap the other 2 blue vertices (like in the picture bellow)

Now select all 4 vertices and go to “tools” drop-down menu and click weld selected.

At this point the green line between the 2 clusters should turn white, which means that they are now stitched in a single one.

At this point you could repeat the step above to stitch the rest of the clusters. However, there is an even easier way to do it.

Select the edge from the newly created cluster like in the screen capture bellow and look for a line that turned blue in one of the other clusters.

Detail: http://www.cgdigest.com/unwrap-simple-tutorial/

In the following tutorial we will go through the process of rendering an image in separate passes using render elements and compose them afterwards in photoshop.

Although I am a vray user, the same method can be used for any other renderer that supports render elements.

1)      Rendering the scene.

In the “render scene” menu, select the “render elements” tab and add the following passes: vraydiffusefilter, vrayGlobalIllumination, vrayRAWlighting, vrayRAWshadow, vrayReflection, vrayselfillumination, vraySpecular.

Note: if you have refracting objects in your scene, you need to add vrayRefraction as well. Also, if you don’t have self illuminating objects you can disregard the vray self illumination pass.

Render the scene and save all the passes (including the main image) in a new folder using descriptive names for each pass.

We still have to render the ambient occlusion pass. There are several ways to do this but I prefer to do it the old fashion way.

Before going forward with this make sure you save a copy of the file.

Select all the objects in the scene and assign them a vray light material. In the map slot choose vray dirt and set the subdivisions to about 30.

Before hitting render, disable the global illumination and de-activate disable all the lights (from the Vray global switches menu).

Save the rendered AO pass and open photoshop.

2)      Blending the layers in photoshop.

Open the main image, double click on it and change name of the layer to “original image”.

Open all the other passes and paste them in new layers in the original image file.

Make a copy of the vray diffuse filter layer and re-arrange the layer order as seen in the screen capture bellow:

Hide all the layers except the 2 diffuse layers, the raw lighting and the raw global illumination.

Create 2 layer groups and place one diffuse layer and the raw lighting in one group and the other 2 visible layers in the other group.

In each group, make sure that the diffuse layer is at the bottom.

Change the blending mode of both vray raw lighting and vray raw global illumination to “Multiply”.

Detail: http://www.cgdigest.com/vray-render-elements/

In the following tutorial we will create an advanced rusty metal shader. Although the tutorial makes use of vray renderer’s vray blend material, you can also use shellac material if you are not a vray user.

1. Create a vray blend material, and in the base material slot create basic blue metal material with the following settings:

-diffuse color 47, 50, 119

-reflect color 40, 40, 40

-refl. Glossiness .7

-subdivisions 15

-BRDF – ward

            -bump map – noise (adjust the tilling and the size according to your needs).

At this point, the material should look like the one in the rendering bellow.

2. Now, let’s create a rust material. In the first slot of the coat materials, create a vray material with the following specs.

-diffuse – a rusty metal texture

-reflection color – 10, 10, 10

-refl. Glossiness – .65

-subdivisions 15

-bump – a bump map similar to the one bellow.

If you do a test rendering at this point, you should end up with something similar to the one bellow.

3. The 2 materials now blend in a uniform manner. However this is not the look we are after. We need to control the way the rust appears on the object. Fortunately that can be done very easily with a mask map next to the coat material slot.

Detail: http://www.cgdigest.com/vrayblend-rusty-metal/

Hello everyone, this is a little making of character “Iron Asylum”. Work is based on Jerry Beck concept. His character was comic style and I wanted to make it more realistic but still keeping it a bit of stylized.

Modeling

I started in ZBrush with basic SuperAverageMan model and shaped it to something like this:

Most part of the work was done in ZBrush. Only cable grips, eyes and teeth with tongue were modeled in 3dsamx and then detailed in ZBrush. I already made a video time-lapse with modeling teeth and rendering them in 3dsmax and vray

Detail: http://www.cgarena.com/freestuff/tutorials/zbrush/iron-asylum/asylum.html