Making of House in Giannitsa

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May 13, 2013 |  by  |  Making-Of, Native, Tutorials
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Vasilis Koutlis from studio xDream3D, recently shared on the forums their work on the Giannitsa House Interiors which I really liked – specifically, the one shown up above for the composition, material work and lighting. I asked Vasilis to share with us some insight about the process of making this scene and this making of was born. Enjoy!

Vasilis Koutlis Making of House in Giannitsa

Author: Vasilis Koutlis

xDream3D is a team of experienced designers with a high level of knowledge in 3d Visualization & Graphic design. The team’s philosophy is detailed design and all projects are approached by an artistic perspective. Vasilis Koutlis was born in Athens in 1979. He studied furniture design. He began his occupation with 3d art in 2002, but then it was simply a hobby. In 2007 the idea of xDream3D was born and he started collaborating with local and foreign clients.

Hi guys!

First of all, I would like to thank Ronen for having us in his website and for paying attention to our work. I have to admit that after our last year’s distinction and the awards I was given by the blog for my personal project The Cube House, many new clients approached us and thus we gladly stepped up to the plate when asked to write about the making of our last project.

Here are the images we made for it…

In the project – House in Giannitsa, we were asked to work on a design style which does not suit us, the neoclassical. Our proposition was to combine a few modern lines with clean-cut ones mostly in constructions and furniture so that the final result would be more appealing to the young couple.

Therefore, having the floor and the ceiling as our basis, since they were the two things the client liked, we made an effort to create a space that was basically functional and intertemporal. These are the pictures and the floor plans we received from the client in order to study his space.

HouseInGiannitsa 01 1 728x514 Making of House in Giannitsa

Modeling & Decoration Style

Apart from the masonry of the house and some other constructions such as false ceilings, fireplace, TV cabinet and radiator covers all the other models I used for furnishings and decorations are ready-made 3D models by Designconnected and Evermotion so I will not mention these simple modeling techniques. I prefer to show you the study process we follow when we deal with this part and how it relates to the project photorealism.

In the beginning, the furniture was arranged to see the functionality of the space.

HouseInGiannitsa 02 1 728x528 Making of House in Giannitsa

After quickly placing a camera and lighting I did some render tests in order to have something to talk about with the client.

HouseInGiannitsa 03 1 728x528 Making of House in Giannitsa

The client didn’t like the result so much… To be honest, I didn’t like it either. So I began to rearrange the furniture and tried to fix the whole lighting issue that we will discuss later. The result after a few tries.

HouseInGiannitsa 04 1 728x528 Making of House in Giannitsa

Software Used

The most common computer software we use are 3ds Max, V-Ray and Photoshop.

The basic scene setup I use since 2010 is LWF Gamma 2.2 and I’m very pleased with it… especially with the shaded parts of my project. In order to work properly with LWF you need to use professional monitors and calibrator to see everything in gamma 2.2 and to have a really smooth gradation of the medium hues. Personally, in my main PC I use 2 Lacie 324 monitors.

HouseInGiannitsa 05 728x242 Making of House in Giannitsa

Camera Setting

The choice of the photograph perspectives is something we adjust depending on the space. I can say that my favorite style generally is the low height. Usually, the height I choose to place my camera is not over 120cm.

HouseInGiannitsa 06 728x576 Making of House in Giannitsa

With V-Ray camera I usually use the rule of thirds. Below you can see how we adjust it in the Viewport Configuration.

HouseInGiannitsa 07 728x315 Making of House in Giannitsa

The most important thing in adjusting the camera is white balance. The choice of the right color gives us a result where white color appears clear on our monitor. Here you can see an easy tutorial for choosing the proper white balance – White Balance setup with V-Ray Physical Camera and 3ds Max.

HouseInGiannitsa 08 728x424 Making of House in Giannitsa

As for the other camera adjustments, the only thing I find worth mentioning is the choice of shutter speed which may need totally different numbers depending on the HDRi we’ll use.

Lighting

In my opinion, lighting is the most important element in 3d visualization and especially if doing it photo-realistic. When we lighten the scene properly, we have the following advantages.

  • Quick test and final rendering.
  • Beautiful and realistic material rendering.
  • Will to finish our render in the best possible way!

In this project I paid great attention to the lighting since I wanted a result combining day light and artificial lighting. As a main source of light I placed a V-Ray Light Dome with an HDR map from CGSource.

HouseInGiannitsa 09 728x474 Making of House in Giannitsa

I did these tests for all materials just with this lighting. When I finished most of them I added some IES photo-metric files and not V-Ray IES even if they are faster. I have noticed that the quality of the shadows with photometric IES is way better. I specifically chose IES files from the model+model Vol. 04 – Architectural Lights due to there excellent quality. Apart from the IES, I also used a V-Ray Sphere Lights for every spot to give a low-key light to its interior.

HouseInGiannitsa 010 728x316 Making of House in Giannitsa

Then, for the hidden lighting I used V-Ray mesh lights. It’s the quickest and most practical way to create hidden lighting, especially in complicated false ceilings. The only “secret” here is that the modeling of the recess should be realistic so that the light can be realistically diffused inside the space.

Additionally, I used two V-Ray Plane Lights for the openings but not with a skylight portal. I gave a slight intensity Multiplier of 2 so that the space can be brighter and the noise can go away without any high number of subdivis for the materials. An extra tip I used is that I excluded the windows from the two V-Ray Plane Lights, but not from the curtains because I wouldn’t have a realistic result. This improved the render speed a lot!

HouseInGiannitsa 12 728x314 Making of House in Giannitsa

I have been studying lighting for quite a while now. I’m still not totally pleased with the result…

Hopefully, I will be! Lighting an indoor space seems like a solution to an equation which, in order to find, we really need to know math (here, math is light). I would like to cite an article of mine in Vray World hoping that it will help new 3d artists as far as some general light principles and photography are concerned – Light in 3d Photography.

Materials

The materials I used were simple. In furniture, apart from a few minor changes, I didn’t change many things since the materials by Designconnected are of high quality. I will only show you the ones I created myself.

The Floor

The only thing worth mentioning here is that when we have a dark floor I use V-Ray Override Mtl to control the dark bounce of photons that will hit the wall and change the colors in the scene.

HouseInGiannitsa 13 728x364 Making of House in Giannitsa

The Wall

The wall’s material is important and together with the window glass they help light to propagate better in the room.

HouseInGiannitsa 14 728x459 Making of House in Giannitsa

The Wood

It is really nothing special; just a lot of subdivis for smoother results without noise.

HouseInGiannitsa 15 728x796 Making of House in Giannitsa

Render Settings

I generally try not to make extremely high adjustments in the final renders. Just as much as needed to have a clean result as soon as possible. For example, in this project every render had a render time of about 1 hour at 2500px resolution and with a 20 core distributed render.

HouseInGiannitsa 16a 728x458 Making of House in Giannitsa

HouseInGiannitsa 16b 728x460 Making of House in Giannitsa

Post Production

For the color correction I would like to show a design from this project. I think that the most useful tip is color correction in the frame buffer during test renders. I like to play with levels and curves. I never touch exposure.

HouseInGiannitsa 17 728x453 Making of House in Giannitsa

I save all render layers in .png format. Then I open Photoshop, File-Scripts-Load Files into Stack to quickly put all layers in the same .PSD file. This is the difference between original render and Post Production.

HouseInGiannitsa 18a 728x439 Making of House in Giannitsa

HouseInGiannitsa 18b 728x441 Making of House in Giannitsa

As you will find out there isn’t a huge difference because the first color correction has already been made in the Frame buffer. The first step concerns raw layers with which I slightly change GI and reinforce reflections. I sometimes use raw but also simple reflection as I did here with blending mode soft light. Below you can see all the adjustments of the raw layers one by one.

HouseInGiannitsa 19a 728x358 Making of House in Giannitsa

HouseInGiannitsa 19b 728x360 Making of House in Giannitsa

Then I continued with CC (Color Correction) adding a color balance and a curve for more contrast.

HouseInGiannitsa 20 728x393 Making of House in Giannitsa

Then, with the help of selective color and render layers Wire Color and Render ID I chose specific parts of my render (Carpet, bag, walls, lacquer, marble, table, and sofa) creating masks and correcting their colors so as to look more vivid and normal. This is a process where the numbers we change are not standard. It takes a lot of practice and experience… Just do not be afraid to experiment and work with reference images trying to achieve the true colors you want.

HouseInGiannitsa 21 728x514 Making of House in Giannitsa

Finally, I used Lens Correction creating a little distortion to the lens and chromatic aberration. Due to the fact that this creates a blur to the pixels I used a simple sharpen filter to finish it.

HouseInGiannitsa 22a 728x494 Making of House in Giannitsa

HouseInGiannitsa 22b 728x465 Making of House in Giannitsa

HouseInGiannitsa 23 728x514 Making of House in Giannitsa

This is it! I hope you liked it and found a few useful tips in this article. Thank you for reading it and

if you have any questions, I’m at your disposal.

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33 comments
semagokalp
semagokalp

Hi Vassilis,

Amazing work by all means. Great tutorial and professional explanation of workflow. 

It would be greatly appreciated if you could perhaps provide information/specs about your computer's characteristics.

Thank you once more. Keep up the great work.


drian22
drian22

Hi!

I'm quite knew in this rendering world and I found this site by chance and it's amazing! :)

I have a question, does anybody could explain to me how to give this soft and natural appearence to the cushions on the sofá? I downloaded an specific model from a brand' site and I already have the sofa and the cushions, however, the cushions are completely straight and I would love to know how to change this.

Thanks a lot! :)

nicholas_papageorgiou
nicholas_papageorgiou

Hi Vasili

How do you manage to get such sharp and dark shadow lines in your test renders? and also in the finals? is it to do with the hdri lighting? 

Mardud
Mardud

looks great, but what is number of multiply in VrayHDRI material ?

anzyu
anzyu

If you can provide model + model Vol. 04 - Architectural Lights download address even more perfect.haha~~~~Thanks  a lot.

ana65
ana65

Thank you very much.I liked it a lot-great tips.

FredDelannoy
FredDelannoy

amazing work & great tips. thanks so much!!

lasse1309
lasse1309

this is great! 

i really like the part where you find your perspectives - it's really interesting to hear you like the low-prespecitve a lot.

i also like them as well. On the other hand  "we" - at least we a xoio - come into the situation where we have to tackle all the room within one shot. means - see as much as possible and make it look "vast". which doesn't make an image certainly better.


So how do you convince your clients to go for more POVs with showing less "room" per image but get this intimate, detailed feel?


regards

L

kenniegikandi
kenniegikandi

Hi,how can i get the video tutorial if you dont mind?

LexxDaniloff
LexxDaniloff

how your end result was long rendered? and with what characteristics?

Bala Mani
Bala Mani

wonderful work...................

Matt Borowy
Matt Borowy

Nice! It has a soft look to it almost like an oil painting.

dj_buckley
dj_buckley

What is that colour selection plugin with the nice chroma wheel?

JoaoPedroMartins
JoaoPedroMartins

Great Tutorial Vasilis!

One question, when following a similar workflow, sometimes I get some white splotches on the walls! Did you ever got this? did you found a workable way to avoid this issue?  thankx.

ifthi
ifthi

Nice workflow Vasilis!
Why did you put 32passes in light cache roll-out? Is your system 32 core?

VasilisKoutlis
VasilisKoutlis

@semagokalp  Thanks a lot for your kind comments. I used a net-render of two 8cores workstations. My main pc has NVidia K4000 graphic card, 24GB of Ram & dual intel xeon processors.

VasilisKoutlis
VasilisKoutlis

@lasse1309  Glad to hear your kind comments Lasse. Thank you, 
So I will tell you the truth and this is not a joke :) All the clients, when I say all I mean all, do the same. After 10 years experience with 3d visualization I don't hear anything more. What I answer to my clients...

"I am the photographer and not you. I.e When you got married, during the ceremony did you tell to your photographer something like " Please a bit right or a bit left", No way! He could have threw his camera on your head. So, let me shoot in my way. You just have to tell me how many shots you will pay... If you disagree take your money back." 

I really answer like this, last 2 years. Except 1 client no one else told me you have wrong so give me my money back :)

VasilisKoutlis
VasilisKoutlis

@JoaoPedroMartins Thank you.White dots usually avoided by turning on sub-pixel mapping in color mapping settings. Cause is the mixed different lights and light cache of course. In interior shots Vray lights have to be with Store with irradiance map turned off. 

VasilisKoutlis
VasilisKoutlis

@ifthi Thanks  a lot. I put 32 because at this render I used a16 cores system. I had read somewhere, probably in Vray Guide book but I'm not sure, a few years ago that we have to put a double value of our cores. I'm not sure that this is correct. It's just a habit :)

nicholas_papageorgiou
nicholas_papageorgiou

thanks vasili

this is very exciting.. will have a play, ive struggled with this for a while but the frame buffer controls look like the answer

lasse1309
lasse1309

@VasilisKoutlis @lasse1309 that's awesome! i've heard some people say that - something like "I am the artist, i know what is good - that's why you hired me". 

This might work in certain setups. In others it wont - especially when there's an agency in between with an art-director etc. etc. and a lot of people looking at your image. there are projects where let say 15 people look at your render and decide if it is good or not :) 

lots of discussion going on - and you have to be on top of it to stay on your point as the "one who knows what's good" - you write in your article the client was not so happy about your first tests.. in my experience such situations where "the client is not so happy" it is really hard to sell yourself as the all-knowing-artist, no?

(depends on your relationship with him of course - and if he's fine with your work in general).

well - especially the agency-setup bothers me a lot working with large teams. doesn't make things easy. does team-work suck? no not at all - you maybe just have to take care of not making to many compromises. compromises are always foul. :D



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