3d People + 3ds Max + V-Ray + Photoshop (CC) Subtitles

3d People + 3ds Max + V-Ray + Photoshop (CC) Subtitles


Hello there
I’m jamie Welcome to another session of viztech support
services In this session, I’ll be taking you through
the process of downloading , merging and inserting gobotree 3d people in your scenes, accurately Also, you’ll have a unique insight into the amazing process of adjusting 3d people in
post, realistically More often than not your clients will ask
you to add people in your renders or scenes to provide a sense of scale and to help
tell a story For instance, in this penthouse apartment,
the client wanted to have a person using one of their sofas, and another person interacting
with the space Either that or having someone using the kitchen
or the balcony area There are two ways of doing this
You can use 2d cut out people in post after the render is completed
Or you can insert the 3d people in your scene In this particular exercise we will be adding
realistic 3d people in the scene using realistic 3d models from gobotree website To access them, simply google gobotree and click on the their website link In gobotree website, you have the cut out people library and the 3d people As mentioned earlier, for this exercise we will be using the 3d people Click on the 3d people library In here you have a huge selection of 3d models
to choose from To narrow down your search, you can filter
the selections by ethnicity, gender, season age group, activity, level of detail, clothing or keywords Or simply scroll down the list to choose For the purpose of this exercise, we are going to choose this model here
To download it, simply click on that button Next, we are going to download this woman
here You can check the 3d model by clicking on
those arrows to see different camera angles Once you’ve downloaded your models, they
should appear as winzip or a winrar file in your folder
To extract the content, simply right click on one or all of the zipped files, and choose
the option to extract here Once extracted, your files will look similar
to these ones in different file formats You also have the Maps folder
The 3ds Max Falloff file, and the Standard For this exercise, we will be using the 3ds
Max Falloff file You can open the file by double clicking it Or by simply doing it in 3ds max Click on the Max button and choose to Open Select the 3ds Max Falloff file and click open
You should be prompted with the File Load:Gamma & LUT settings Mismatch dialog
Choose to Adopt the File’s Gamma and LUT Settings The 3d file should look similar to this one Expand the viewport by clicking on this button Next to measure the 3d model, click on the
Helpers button and select the Tape tool The current Units display is in centimeters You can change it to meters by clicking on the customize button and choosing the Units
Setup option The Metric display unit is just for display
purposes and will not affect the scale of the scene Instead of displaying the Units in centimeters we will choose the Meters option instead Next click and drag the Tape tool to measure the model As you can see, his height is around 1.8 meters About 6 foot tall or thereabouts The scale of the model seems to be correct Let’s delete the Tape tool by pressing delete
on your keyboard To ensure all textures are pointing in the
right folder, click on the max button Choose the References option from the list
and the Asset Tracking The Asset Tracking dialog should now be prompted All these location paths should have the OK status as opposed to Found Otherwise these textures will be missing once this 3d model is merged into another
3ds max file To correct this, simply click on the first
link path with the Found status and right click on it Choose the option to Browse In the Folder, right click and choose the
display option to be Details Once the texture thumbnail appears in this
preview, it’s an indication the texture was found in this folder Click open As you can see, the texture path now has the
status of OK, which is great Let’s repeat the same action with the next
texture path Right click on it and choose the Browse toggle
and click open Again as you can see, the texture path now
has the status of OK Let’s repeat the same action with last texture
path The status of the texture path hasn’t changed Let’s repeat the same action and select the actual texture in the folder Which is, GTT Metal Grey Composite 001 Bmp Click open to load it As you can see, the texture path status has now changed which is great Next, hold down the Ctrl key on your keyboard and select all four the texture paths Right click and choose the option to Resolve path UNC Location This should resolve any future missing texture paths Next, let’s save the file by clicking on the Max button Choose the option to Save As Name it as, _jamie or any other name you wish,
and click Save Close the dialog Next, go back to your Main 3ds Max file To merge the 3d person, click on the Max button Go to Import and choose to Merge Even for V-ray proxy objects inside another
Max file, the process would have been the same To learn how to proxy objects, simply check one of my 3d courses or free tutorials in
my youtube channel or blog Select the 3ds Max file we’ve just saved and
corrected the texture paths The Merge dialog should be prompted Select All the objects inside and click Ok to merge them All Here, you can see there are eight objects selected Next, we are going to group them To do so, click on the Group toolbar and choose
to group In the Group dialog, rename the group as,
Man on the phone and click OK to close the dialog Next, expand the viewport Click on the top left viewport, and press
T on your keyboard to convert the viewport into Top Change the viewport into wireframe by clicking on the text and choosing wireframe mode from
the list To move the group, right click and choose
the Move tool from the quad menu Move the man into the space and zoom in when necessary Move the bottom part of the guy so it touches
on the wooden floor To adjust the object’s gizmo, open the Hierarchy
button Click on the Affect Pivot Only button Move the Gizmo to the base of the object Next, click on the Rotate toolbar, and the
Scale button This is to ensure the gizmo doesn’t jump Every time you move the pivot point gizmo always click on those three buttons first So when you move, rotate or scale this object the gizmo will always be at the base Once satisfied, click on the create panel to exit There’s actually a script to automatically adjust the pivot point gizmo to the base of objects I’ll leave it in the links and descriptions To measure the merged object click on the isolation button first Click on the tape tool and measure it as previously done Exit the isolation by clicking on the button again Expand the viewport In the camera viewport, select the guy, right
click and choose the move tool Begin moving the object towards the camera
and between the two tables Right click and choose to rotate Rotate and move the guy so he is facing the other sofa on the far left side
Because of the number of edge faces being displayed in the viewport we can’t see the textures properly To correct this click on the shaded text and click on the Edge Faces option, and disable it
Next, let’s select the guy and the rug group with the Ctrl key and click to isolate Expand the viewport again In the Front viewport click Ctrl and R to rotate the viewport Turn the viewport to shaded and Zoom in Rotate again and zoom in Move the feet up slightly so it’s not too
sank into the carpet Press T on your keyboard to convert the view
to top Viewport Covert the viewport back to wireframe Select the camera viewport and expand it Reposition the guy a bit more Exit the Isolation The following step is to merge the woman sitting,
previously downloaded from the gobotree website She will be sitting on the sofa and looking
towards the guy on the phone To merge, we’ll follow the same steps as before Locate, select and merge the Falloff Max file Select All the content to merge and click
Ok As you can see here there are four objects selected Again, let’s group them as previously done Rename it as, woman sitting Expand the viewport and zoom out in the top
viewport Right click and choose the Move tool
Move the group into the camera view Select the camera viewport and expand it
As you can see, because we didn’t correct the texture paths as previously done,
The merged 3d model opened without the textures Delete the group first
Go back to previous max file Go to file and choose to open
Locate, choose and open the Max falloff file of the woman sitting
Select it As previously done, go to file, References
and choose the Asset Tracking option As you can see, the texture paths status reads
Found, as opposed to OK Only the top path has the status OK
Select the first texture path and right click on it
Choose the Browse option Locate the Maps folder and find the texture
As you can see, the status has now changed to OK
Repeat this action with all other links as previously done
Resolve Path to UNC Location, and save the file under a different name
There’s a script called Relink Bitmaps, which expedites this process automatically
I will leave the link and descriptions, and probably create a tutorial on how to use it,
at a later date If you want to proxy this 3d model, simply
check one of my other tutorials on my YouTube channel, or my other courses
To merge the 3d model, follow the previous steps and place her near the sofa
As you can see, the textures are no longer missing
Move the sitting woman closer to the sofa Isolate the 3d model
Expand the viewports Open the group by selecting the group button
and choosing to open Select the stool and press delete on your
keyboard Close the group, by clicking group and choosing
to close it Maximize the camera viewport and exit the
isolation As you can see, there’s a clear interaction
between the guy standing the girl sitting on the sofa
Reposition the guy a bit more so he’s looking directly at the girl sitting
It also helps tell a story while they are both utilizing the space
The following step is to add object IDs to both 3d people
To do so, select and isolate the guy Open the group as previously shown
Exit the isolation To enter an object ID number, right click
on the object and choose the Object Properties option
G-Buffer group is where you type in the ID number
Click Cancel to close the dialog Before entering a new ID number, we need to
ensure our ID number is not overlapping with any of the existing ID numbers already being
used on other objects in front and behind the guy
To check this, simply select the an object behind the guy
Right click and choose the object properties option
This one is object ID 3 Select the table behind and check the object
ID number The table has the object ID 8
Select the carpet group and open it Select the carpet and check its object ID
number The carpet object ID is number 3
Select the wooden floor and check the ID number The floor Id is number 1
Select and check the building outside It’s ID number 2
Select the guy and add the ID number 5 to it, as this number doesn’t overlap with any
of the other objects in front and behind it Click OK to close the dialog
Check again to see if the ID number is not overlaping with the other objects
For the girl sitting, we’ll do the same to check the ID numbers of other objects behind
and in front of her Open any groups and check them individually
Select the girl and add the ID 5 to her Also, check the skirting behind her, to ensure
there’s no other object ID number 5 behind her
Let’s also check other objects behind her Select the girl again and open the group
Select the coffee cup and add a different ID number to it
Add the ID number 6 There’s also coffee inside the cup
Let’s select it and add the ID number 7 to it
We can obviously change it to another ID number, for as long as it’s not the same as the objects
directly behind or in front of it To render this scene, we’ll be using the same
settings as previously shown in my other tutorials on my YouTube channel and courses on my blog
Again, simply check these detailed video courses about rendering settings and how to use and
add multimatte render elements Once the scene is rendered, the files should
look similar to these ones here This is the Multimatte element for the guy
Each multimatte element is broken down into true representations R, G and B colours
Which are easier to select in post Again, if you want to learn how to set them
up in detail, please check some of my other courses and tutorials on my blog and YouTube
channel For the woman sitting, this is her multimatte
render element As mentioned earlier, every multimatte render
element comes with the true representation of the R, G and B colours
The render itself ended up looking like this one here
We can close the Max file and open Adobe Photoshop This is what the final post-production file
looked like with simple curves and adjustments No specific adjustments have been made to
the 3d people At first glance, you may look at all these
folder groups and immediately assume the Photoshop file is quite complex
All these group folders listed are minor adjustments made to individual objects in the image The only folder group making a huge impact
to the render, is the adjustments folder group Turn the visibility on and off to see the
massive difference it’s making to the render As mentioned earlier, all these other folder
groups below are just minor tweaks made to individual objects in the image
Adjustments is the main folder group controlling the overall quality of the image
Open it to see the few adjustments used to control the overall quality of the image
You have the Curves adjustment layer here Turn off the visibility of all these adjustments
so we can start breaking them down, one by one
Turn on the visibility of the first Curve You can see the huge difference this one Curve
is making to the image Turn on the visibility of the Levels adjustment
layer Turn on the Hue/Saturation adjustment layer
Turn on the Curtains folder group and Levels outside
To find out the entire step-by-step process of rendering and putting together this interior
daylight scene in post-production, simply check the entire course on my blog or udemy.com
Alternatively, you can check my other FREE post-production tutorials created on my YouTube
channel and blog This particular one is twenty seven minutes
long, and gives you a detailed step-by-step process of building post-production files
in Photoshop Most people would probably look at this image
and the 3d people and consider it complete. However, there are few adjustments we can
add to the 3d people, to make even more realistic than they currently are
To do so, let’s start with the multimatte elements group
Open the multimatte elements group Turn on the layer visibility of the multimatte
with the guy standing Select it and open the Channels tab
Hold down the Ctrl key and select the Red channel thumbnail
The selection is now on Because we just want the guy selected, let’s
enable the Marquee tool Hold down the Alt key to see the minus sign
Click and drag around the areas you want deselected Only the guy is now selected
Go back to channels tab Select the Coffee group because we want to
create the next group on top of it, but below the Lightselect
group Next, click on group button to create a new
group folder While the selection is still on, click on
mask button to create a group mask This mask will ensure all changes made to
this group will be contained within group Rename the group as,=Man standing=
Turn off the visibility of the multimatte layer
Next, let’s create a Selective Color adjustment layer, by clicking on the adjustment layer
button Click Z on your keyboard and click to zoom
in As you can see, the shadows are a bit too
sharp and skin needs a bit more life to it to emulate subsurface scattering
His skin tone is slightly yellow In the Colors section, choose the Yellows
from the list To check if that’s the colour seen by Photoshop,
move the black slider to see if that’s the colour we want affected
Begin moving the Yellow, Magenta and Cyan sliders until a Reddish tone is achieved
As you can see, the skin is gradually coming to life with the red tones
Also, add the Color Balance adjustment layer on top
Move the top slider slightly towards the Red Zoom out to check the changes
Turn the Group on and off to see the massive impact the latest adjustment is making to
the guy standing Next, we are going to ensure the red tones
are only affecting the Skin, and Not other parts of his body
First, let’s clip the Color Balance layer against the Selective Color
To do so, hold down the Alt key from your keyboard, and hover down slightly
When you see the clipping sign, simply click to clip it
The Color Balance layer is now connected to the Selective Color layer
If you turn off the Selective Color layer, the Color Balance will also turn itself off
because they are both connected Next, select the mask thumbnail of the Selective
Color layer As you may have noticed, all adjustment layers
come with a mask thumbnail attached The mask thumbnails work best with black and
white colours When using the brush tool, black or dark colours
take pixels away, and white colours bring the pixels back up
You can switch the background colours by clicking on this button, or by pressing X on your keyboard
So we want to remove the color balance and selective color effect from the trousers,
t-shirt and so on Click on the brush tool or press B on your
keyboard The opacity value of the brush is currently
at 100% If you click on that button you have a list
brush sizes and options Begin brushing by clicking and dragging the
brush tool to take away the colour effects on the shirt and the trousers
As mentioned earlier, everything is happening inside the group with a mask
When using the brush. make sure the mask thumbnail is selected
Because these two are connected, whatever happens to this layer will also affect the
layer above Continue brushing away pixels
Zoom out to check the changes As you can see, the colour corrections to
the skin made the him way more realistic than he was
And gave it some subsurface scattering feel to it
This is the before and after the colour corrections The next step is to over emphasize some of
the lights affecting his body Open the Lightselect group
Again, to understand how these Lightselect layers were put together, please check my
other tutorials on my YouTube channel, blog and courses
These are all the pre-rendered passes Let’s start by turning on and off each of
these Lightselect layers to see which ones are directly affecting the guy
We will also try to smooth out some of these hard shadows
As you can see, this Lightselect pass is directly affecting the guy
Select the Lightselect pass and add a layer mask to it, by clicking on its button
Next, enable the brush tool by pressing B on your keyboard
Zoom in Turn the Lightselect pass on and off again
Enable the brush tool Decrease the brush size by pressing the bracket
key on your keyboard And begin brushing away pixels by clicking
and dragging the brush Also note the brush opacity is set to 12%
So the pixels are being taken away gradually, and not abruptly
Zoom out to check the results Zoom back and continue brushing away pixels
and checking the Lightselect passes Increase the brush opacity slightly to brush
away the pixels more abruptly Select the mask thumbnail again and continue
brushing away the pixels As you can see, the shadow edges caused by
this Lightselect pass are being soften, by gradually taking away its pixels
Click on the brush settings button to check its parameters
As you can see, the hardness is set to 0%, which makes the brush extremely soft around
the edges At 100% the brush edges would be extremely
hard Again let’s turn the Lightselect pass on and
off to check other areas of his body being affected by the hard shadows
And gradually brush the pixels away on the relevant areas, using the same techniques
covered earlier The guy standing is now looking much better
To overemphasize the lights directly affecting his body, we are going to select and copy
some of the Lightselect passes To do so, as previously done, hold down the
Alt key and move down Lightselect pass into the man standing group
Place it under the Selective Color adjustment layer
Turn the Lightselect pass on and off to see the huge impact it’s making
As you can see, it’s inside the man standing group
The name of the Lightselect pass is VRayIES013 Let’s also select the Lightselect pass VRayIES004
and copy it into the man standing group, as previously done
As mentioned earlier, we are overemphasizing the lights affecting this guy, to make the
3d person more appealing and the overall image more compelling
Also, add a Hue/Saturation adjustment layer on top, to desaturate the skin, if necessary
Select the Lightselect pass VRayIES003 and copy it into the man standing group, as previously
done Now we have three Lightselect passes inside
the man standing group By turning the layer on and off, you can clearly
see the huge impact it’s making to the 3d person
Especially when you compare him against the other one which hasn’t been tweaked yet
We can also desaturate further the skin color, by reducing the saturation values
Next, we are going to repeat the same actions with the woman sitting, to make her even more
realistic Let’s start by turning on the multimatte layer
visibility with the woman sitting Go to the channels tab
Hold down the Ctrl key and select the Green channel thumbnail
Go back to the Layers tab and zoom out to see the areas selected
As previously done, select the Rectangle Marquee tool and hold down the Alt key to see minus
sign Click and drag to deselect the other areas
Turn off the visibility of the multimatte layer
Zoom in closer Select the coffee group as a new group will
be created on top of it Click on the group button to create a new
group While the selection is still on, click on
the mask button to create a new mask attached to the group
As you can see, a mask was added to the group Any future adjustments and layers added inside
this group will be confined within the mask The black areas are the areas not affected,
and the white areas are the areas where changes will take effect
Rename the group as,=woman sitting=To emphasise the woman, we are going to start
with the ambient light Select and turn on and off the ambient Lightselect
pass Hold down the Ctrl key and select the two
layers Next, hold down the Alt key and move them
into the woman sitting group Both layers have now been copied into the
woman sitting group Turn the window Lightselect pass on and off
to check the difference it’s making to the 3d girl
Let’s emphasise the blue tones on her, by selecting the photo filter and increasing
its colour density Her window light blue tones are now closer
to the wall colour being affected by the same ambient light
Again, turn the window Lightselect pass on and off to check the difference it’s making
to the 3d girl Next, we are going to select and copy some
of the skin colour adjustments made to the 3d guy standing
Open the man standing group, and select the Selective Color and Color Balance layers
As previously done, hold down the Alt key and move the layers into the woman sitting
group Both adjustment layers are now copied into
the woman sitting group Place them below the window Lightselect layer,
as it looks better that way Turn the window Lightselect layer on and off,
to check its impact Select the Window Light photo filter and increase
its color density slightly Select the Selective color layer and turn
it on and off to check the difference it’s making
As you can see, she looks way more realistic with the latest adjustments
We can also reduce its opacity slightly And increase the window Lightselect layer
opacity slightly Let’s make few other adjustments to make it
perfect Zoom out to check the overall effect
Turn on and off the visibility of the woman sitting group
As you can see, it’s now looking way more realistic than before
Let’s close all the open groups Next, we are going to add a bit of glow around
the windows to make the overall image more interesting to look at
Let’s start by right clicking on the top edge of the document and choosing to Duplicate
Turn on the visibility of this multimatte layer and go to the Channels tab
Hold down the Ctrl key and select the green channel thumbnail
Select the rectangle marquee tool and hold down the Alt key to see the minus sign
Click and draw around the girl to deselect her selection
Next, save the selection, by clicking on the Select toolbar and choosing to Save Selection
In the Save Selection dialog, name it as, Outside.
Because it has been saved already, you can simply load it from the list and replace its
name Here is the selection mask just saved in the
channels tab Click on the RGB channel and go back to the
Layers tab Next, select any layer
Right click and choose to Flatten Image While the selection is still on, go to the
Edit toolbar and choose to copy and paste the layer
Move the document down to see the main document Select our main document
Close the open groups Open the Adjustments group and select the
Levels outside layer We are selecting this layer because we want
the next copied layer to land on top of it Select the previous document
Select the Layer 1 and right click on it Choose to duplicate Layer
In the Duplicate layer dialog, choose the Destination to be our main document
Rename it as, glow outside Select our main document
As you can see, the duplicated document landed here, as anticipated
Before applying the glow effect, let’s right click on the duplicated layer and choose to
Convert to Smart object Smart objects saves out most filters and actions
applied to a layer, so we can edit them later if/when necessary
Close the other duplicated document While the smart object layer is selected,
click on Filter toolbar Go to Blur and choose the Gaussian Blur filter
from the list In the Gaussian Blur dialog, increase the
radius by moving the slider to the right slightly Click OK to close the dialog
Next, change the layer blending to a Screen type
Turn the layer on and off This layer being a smart object, you can see
the Gaussian Blur filter recorded to it To edit the Gaussian blur, simply double click
on the Gaussian Blur text to bring up its dialog
You can adjust the Radius accordingly if or when necessary
As you can see, the radius is now spreading beyond the 3d guy’s shoulder, making the overall
image more appealing We can also reduce the layer intensity slightly
As you can see, the overall image is looking a lot more appealing as result
Turn the layer on and off We can adjust the glow settings a bit further
The next step is to add a bit of chromatic aberration
The chromatic aberration effect is often seen as an artifact in real photos
However, when applied to 3d renders, it makes them look more realistic
This effect is often visible around the edges of objects
To emulate this effect, let’s start by right clicking on the edge of the document and choosing
to Duplicate it Next, select a layer and choose the option
to Flatten Image The Flatten Image option is only available
on layers, Not groups, as you can see here Select a layer and choose the option to Flatten
Image Once Flattened, zoom into the document by
100%, by simply typing in 100% here Next, enable the Move tool by clicking on
its toolbar, or by pressing V on your keyboard Go to the Channels tab
Click on the Red channel and nudge the document up, by pressing on the Up arrow on your keyboard
once Click on the Green channel and nudge the document
down, by pressing the down arrow on your keyboard once
Click on the Blue channel and nudge the document to the right, by pressing the right arrow
on your keyboard once Click back on the RGB channel to display all
the colours again Now you can clearly see the chromatic aberration
effect with Red, Blue and Green colours around the edges of objects, which is consistent
in real photos Next, go back to the layers tab
Click on the main document Close the Adjustments group
The chromatic aberration layer often goes on top of the Adjustments group
Select the chromatic aberration document again Right click on the layer and choose to Duplicate
Choose the destination to be our main document Select our main document
That’s the duplicated chromatic aberration layer
Rename it as, chromatic aberration Next, change its layer blending mode type
to Darker Color The chromatic aberration layer is now blended
with the overall image We can also reduce its layer opacity slightly
Let’s close the other duplicated document Finally, we can make the image more interesting
by adding a bit of steam coming from the coffee cup
To do so, let’s go to file and open a png file named, smoke
Here is the PNG file Drag and drop the PNG file into our main document
Click yes to the message Again, as previously done, we are going to
convert this layer into a smart object Because we are going to scale down this layer,
being a smart layer, it will retain the original quality of the document if we decide to scale
back up Let’s rename the layer as, smoke
To scale down, press Ctrl+ T on your keyboard Next, hold down the Shift key to scale proportionately
Select the top right handle and click and drag down to scale down in proportion
Click Enter to exit the transform handles Press V on your keyboard to enable the move
tool, and move the smoke layer inside the coffee cup
Enable the transform tool again, by pressing Ctrl+T, and adjust the smoke layer accordingly
Next, add the mask layer by clicking on its button
While the mask thumbnail is still selected, enable the brush tool and begin brushing away
pixels around the top edges of the smoke Use the same techniques covered earlier
Also, reduce the layer opacity slightly To move the layer itself, select the layer
and move it with the move tool Use some of the previous steps to adjust the
smoke layer further Next, duplicate the document and flatten it,
as previously done Go to file and choose to Save as
Choose the TIFF file format from the list Rename it as tutorial
Disable the Alpha Channels option Keep the option to save As a Copy
Click Save And OK
Go to file and choose to Save as again Choose the JPEG file format from the list
Rename it again, and click Save Choose the Maximum quality at 12 and OK to
save the file Next, select the main PSD document and save
it as a PSD document, under the name of final As you see, in the PSD version we kept the
Layers and the Alpha Channels option This concludes our course on how to integrate
3d people in your scenes, realistically Don’t forget to like and share this tutorial
In the next course, I will take you through the amazing process of integrating 3d people
in live shots, using ground breaking techniques from top production companies
To download all courses with project files and technical support, please click the link
below I really hope you’ve found this course useful,
and hope to see you on my next one


4 thoughts on “3d People + 3ds Max + V-Ray + Photoshop (CC) Subtitles

  1. Hi All, I hope you find this tutorial useful, like and share it:
    To download All project files & Watch the second part, simply check this Link: https://jamiecardoso-mentalray.blogspot.com/2019/04/3d-people-3ds-max-vray-photoshop.html
    Ta
    J

  2. Where are a lot of studios finding their 2D cutouts? The 3D models still look quite fake with the skin textures and lack of detail. I've looked on Vishopper, MrCutout, Viz-People and Gobotree and a few others, but never found the quality of some of the 2D people I have seen in different renders. Are there any other resources you know of?

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