Making of Kumu, Art Museum of Estonia
Introduction
First of all thank you for reading this! Since this particular project is consisted of 10 completely different scenes I chose to explain the crucial parts instead of walking you through with only one scene.
I had the chance to visit this building personally 2 years ago. As a matter of fact I found it out of pure luck just by wandering in the forest in Tallinn. It was 2 years ago as I said and I knew it immediately that I will do my 3d version of this at some point. And when it came I started with gathering all the information I could find on the internet. I downloaded literally all the photos I could get my hands on.
Modeling
A big help was that I found a digital model of the building on the net. And even though I eventually had to remodel each and every element I still owe Ankit Surti and Samuel Gwynn a huge thank. Their model was mandatory!
I didn't want to model the environment since there's a vast amount of renders out there on the subject and I already had my share of that in the Normafa House project. In fact I wanted to avoid that as much as I could. All the trees in the background and foreground are 2d elements put there in Photoshop.
There is an article coming out in 3d Artist magazine issue 17 about the modelling of the scene. If you are interested in this part you can read it there.
The snow
The snow and the terrain is actually rendered. It is a simple plane nothing special. As a matter of fact it is more than just one plane. It's at least 4 or 5 planes I put down so from the camera it looks like one whole thing but it's actually more small parts. You couldn't just fly up and take a look around cause then you would notice that it's falling apart and only comes together from that particular view.
I formed the planes to follow the slopes using primitive tools such as FFD box. I used edit mesh smooth selection to lift the terrain a bit next to walls like the snow is kinda climbing up there a bit. I always apply a noise modifier too and a turbosmooth or at least a tesselate modifier to make the ground uneven but smooth.
The tracks and such marks in the snow was done by a simple displacement modifier. I took a snapshot from a top view and then drew a map in Photoshop from the bitmaps I found on the net. Pretty simple again and worked just fine!
It has a translucent hard wax type refractive material with a bluish back color.
The grass
The grass was partially modelled and partially done by displacement. Obviously only used model when it was close to the camera (only in the fall render). It was done by that old trick: I modelled a few single grass straws and scattered them on a patch then converted them into a vray proxy and about done!
I did two kinda patches. One with a shorter grass and one with longer. The longer was used at the bottom of the wall in the foreground.
For the rest I used the same method Red Vertex taught. There are two terrains. The first has a translucent material and a displacement modifier and the other has the same material except with no refraction at all and no displacement. For the diffuse I used a bitmap with a meadow with flowers to make the landscape more colorful.
The materials
There are 2 particular materials that caused me a lot of trouble. One is the greenish metal housing on the walls the other is the stone wall in the other side of the interior. Biggest problem for them both were the fact that they appear on such huge surfaces the bitmaps had to be really large to avoid making them look too repetative. The maps were put together by me in Photoshop. Their size were 10 000 x 10 000. I only showing a 100 percent zoom in detail of the maps.
I also made other bitmaps for other details.
Lighting
I used a vray dome light for the diffuse light in the exterior scenes as well as for the interiors. I couldn't have done it using vray planes in the windows as usual because this particular round interior has different openings from a lot of directions.
For the texture slot I used an HDRI and sometimes only a bitmap.
If there were any sunlight in the sun that was provided by a vray sun.
Rendering
Nothing much to mention here. I'll just show my settings. If there's anything you don't see here it most probably means I left it on the default setting. The light sources samles are mostly on 32. Somewhere I took back from that and some times I raised it to 50. The samples of reflection/refraction is the same.
The irradiance map Hsph subdivs had to be high at the night shots and could be recreased with a lot at the daylight shots.
As always I used 1.0 gamma. I'm not a fan of LWF. I read about it and I know how much better it is but I just don't see that. In fact I don't see no differece in the end result at all...
Post process
I try to show you these with images rather than describing with words.
I know that most of you who read this are interested in the scene with all the snow. So I have to appologize that the final PSD file was damaged I could not open it. Therefor the one I'm presenting here shows an earlier stage of the process althou the analogy is literally the same.
comments
2011.11.11
thats a lot of hard work and has come out really beautiful.. Thanks a ton for sharing ur settings and making with every1.
2011.10.31
great... very nice work. i like your work an you.
plese send your 3dmax file in my mail
Mojtaba.Farbodnia@yahoo.com
2011.06.28
great...
very nice...
very good...
i like your work an you...
is posible send this max file for me?????????????????
plz...
i need it...
2011.03.21
HELLO, I NEED YOUR HELP, FIRST WORK IS BEAUTIFUL IN THIS MUSEUM IS TO ADMIRE,,
AND WANTED TO KNOW IF I COULD GIVE A COPY OF THE MODEL IN 3D FOR THE ATTEMPT TO RENDER, is a task of my universe, And I would greatly appreciate,, would be helpful,, my email is JOSERAMON_SUAREZ@HOTMAIL.ES
THANKS .. MUCH HELP ME IF I PROVIDED THE MODEL, THANK YOU ..
ATT: JOSE SUAREZ
ARCHITECTURE STUDENT
2010.08.31
Wow... The whole scene looks awesome, but that VRay GI setting looks very weird. The Irradiance Map part is the thing, that I can't understand...
There are 4 important parameters, that are very interesting. The Hsph Subdivision is the number of a sample accuracy. The higher value gives you more accurate result. The Interpolation Sample blur's there semples together. The higher value the more the samples are blurred. Mostly 10-20 is perfectly enough. Higher gives you very blurred GI, so it kills the picture GI accuracy. (Use LOW values: 10-20) For Hsph 100 or 150 is enough... If you use low Hsph, use higher Interp. If you use high Hsph, then use Low Interp. The min and max rate is the GI accuracy (not the samples accuracy) Higher min/max rate are the multiplier of the GI resolution. Use -3 to 0 to get good result for your Indirect Illumination... (-3 is the 1/3rd of the resolution of your main image. 0 is the main image resolution. 1 is twice greater than your image.)
But anyway:
http://www.spot3d.com/vray/help/150SP1/render_examples_advancedimap.htm
That's all. I hope I could help you... If you van render much faster, why don't you learn it... =)
But anyway no other notices. Beautiful picture...
2010.08.18
Nice Work...Great explanation about the render passes..Thanks a lot!
2010.06.30
wwooo..amazing work..luarr biasa sekali..takjub aku melihatnya..sebuah karya yg hebat..selamat..congratulation..
2010.06.09
Beautiful ... just beautiful. Especially the one with the snow.
One question though: I don't get what you mean by "For the rest I used the same method Red Vertex taught. There are two terrains. The first has a translucent material and a displacement modifier and the other has the same material except with no refraction at all and no displacement."
Could you elaborate a bit, please?!
2010.06.05
Many thanks to post this making of Viktor...i think your last work it's simply amazing and i really want to improve my ability to reach that result eheh
2010.06.04
by blending the layers i only meant putting them on top of each other and adjusting the oppacity! they are all on normal blending mode of course!!!
near the lights i erase the cold tones a bit.
the dirt layer is pretty easy. you just load in the desired dirt bitmap to photoshop and copy paste it as a new layer on top of your render. switch it to overlay layer and strech it to the part where u would like to see it!
2010.06.02
thanks a lot for this great making of and compliment for your work!
I only have two doubt: how is made the dirt pass you use in your renders? it's similar to ambient occlusion? and what's the blending mode you use to blend the warmtone layer and the coldtone layer with the original image? thanks a lot again!!
2010.06.02
dear jhoptract: simply put them on top of each other and change the oppacity to the perfect ammount. and if at some places youd want the image to be warmer (for example around lights) you erase the cold layer a bit.
jhoptract
2010.06.02
report
Amazing! Thanks Viktor. But how exactly to you "blend" your cool and warm layers together?! just by changing layer to livid layer or something, or do you paint it in with clipping masks? would love to know how you do that. Cheers
©Evermotion 2009 - all rights reserved - copying and publishing without permission is forbidden.
EVERMOTION s.c., ul. Przedzalniana 8, 15-688 Bialystok, NIP: 542-291-02-99, ph.: +48 85 674 50 05, fax: +48 85 653 3620 POLAND. Our office is open from 8am to 4pm (+1.00 GMT)
