Techniques For Achieving Hyper Realistic Rendering In Photoshop

Techniques For Achieving Hyper Realistic Rendering In Photoshop – Creating photorealistic renderings has been of interest to visual artists for as long as we can remember. Although photorealistic rendering has been around for many years, recent advances in processing technology and rendering software have made photorealism an easy goal for any 3D artist.

Here are 11 tips to help you achieve the highest level of photorealism in your next 3D creations.

Techniques For Achieving Hyper Realistic Rendering In Photoshop

It’s easy to start – round the edges. It amazes me how often I see this law being broken. There are many attractive design variations that still use sharp-edged geometry. Perfectly sharp edges don’t exist in real life and shouldn’t exist in 3D. The rounded edges improve the effect of light and reflection on the object and give a simple natural line.

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There are different ways to achieve this. In 3ds Max, the most common way to break edges is to use the Chamfer modifier. If you use this technique, be sure to:

Another technique is to add support edges and a turbocharged modifier. This will create rounded edges and, in some cases, realistic results. We rarely use this technique because it takes more time, creates extra geometry, and in most cases the differences are negligible.

If you use this method, consider adding a deflection modifier of 1.0 pressure. This is much faster than creating manual edges.

A final technique is to surround the edges using material instead of geometry. It works by adding an edge texture (CoronaRoundEdges or VrayEdgesTex) to the bushing material. This is an interesting and very fast method. But because they don’t create additional geometry, edges can still present sharp problems in intersections.

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Explore any real-world environment around you. You will notice dust, stains, scratches, dirt and other various imperfections. However in 3D, most artists create their own devices without trying to replicate these effects. By using thoughtful imperfections in your site’s content, you can add another level of authenticity to your presentation. For example, variations in the quality of wood caused by years of use and cleaning, or the texture of a finger measuring the greasy residue left on a smartphone.

The most common way to introduce these defects is to use a bright stream of material. This technique closely mimics reality because it changes the intensity of the reflection on everything. In most cases, it’s a subtle effect, but that’s what we’re aiming for. Buyers generally won’t appreciate adding slatted feet to all the beautiful wood floors in your newly built apartments. Tact is key.

Another good way to learn about material imperfections is to measure edge wear. Edge wear is when an object has a greater amount of wear on its edges than on flat surfaces, causing a difference in appearance. This change in appearance is often caused by scratches on painted, polished or varnished materials, causing additional coatings to be lost and the underlying raw material to be exposed.

Edge wear can be measured in 3D using a layer loaded with a combination of imperfections and edge textures (CoronaRoundEdges or VrayEdgesTex) as a mask. This technique gives you control over different elements and where they are used.

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Similar to the previous tip, the downside of most 3D renderings is that they look too perfect. That’s why we recommend adding chaos and randomness to your space.

Think how strange it would be to see the cushions on the sofa, all perfectly placed, with the same texture and the same fold. This is easy to do in 3D, but impossible in the real world. Make sure you add some changes to the object when you duplicate it, rotate it and scale it up or down. The best way to randomize things is Neil Blevins’ SoulburnScript script aptly named transformRandomizer. This tool allows you to change the position, rotation and scale of any number of objects by a random number.

Adding variety to the geometry of 3D models can be more difficult. But it is very important, especially in natural and organic models, where everything is unique. A quick and easy way to do this is to simply add a noise or FFD modifier. This method can sometimes look natural by using a large soft selection and changing only part of the geometry.

But why stop there? Let’s introduce diversity in the material. Subtle variations are very common among similar species, especially in nature. When was the last time you saw grass where all the blades were the same green? never, right? So be sure to use CoronaMultiMap (or similar) to randomly adjust the hue and gamma of your texture, or introduce a new texture.

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The dead giveaway that most of the CGI isn’t real is the lighting. If you want to achieve a photorealistic rendering, it is better to simulate the light in the real world. Now you have a creative license here. After all, one of the biggest advantages of 3D rendering is the freedom of not having to physically create a scene. But setting the lights realistically allows the viewer to interpret the CGI more convincingly.

The best way to set up physically accurate lighting in 3D is to identify all your light sources. Consider their locations, shapes, color temperature and size. Once you understand them, you can recreate them in 3D, trying to simulate reality. Active rendering and light mixing (in Corona and Vray) are both very useful at the moment, with instant feedback that allows you to experiment with different values ​​and finalize your lighting quickly.

Sometimes it is difficult to identify the signs of lighting. This is because our eyes adapt to different situations, changing the way they see. Imagine you are outside a building where the sun is shining. The interior lights are on, but they cannot be seen because the sun is so hot. However, fast to night and those interior lights look more powerful, emitting a warm tungsten color in contrast to the dark night sky. Once inside the building, these same lights lose their orange color and appear more white. The characteristics of the inner light have not changed, only our understanding of them.

A few final notes about lighting – don’t be afraid of shadows. They are a great way to add contrast and can be used as a composition to give the viewer your focal point. Many beginning artists use large area lights or ambient lights, avoid these as they destroy shadows and do not act as real sources of light.

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Along with physically based lighting, use the camera angle that is physically possible. There are situations when it makes sense to break this rule. But in general, try to have your camera 50-170cm off the ground, or high enough to shoot from a plane or helicopter. As humans, we are not used to seeing the world more than 2 meters above the ground, so the view from this height can make the viewer feel uncomfortable.

In terms of focal length, try to keep it 16-50mm indoors and 30-100mm outdoors. The next time you set up your camera instead of just placing it in the corner of the room with a wide lens. Experiment with different songs and focus on the details.

Not only does the subtle atmospheric fog make many exteriors look more realistic, but it also helps with composition. Lowering the background contrast creates greater depth. But like many other tips here, subtlety is key. Adding a thick layer of fog outside on a sunny afternoon will have the exact opposite effect.

There are two different ways to create atmospheric fog, depending on the situation. The first is to use a volume material like CoronaVolumeMtl and put it in the global volume tool under the spider tab in the rendering settings. Experiment with the suction distance to change the intensity of the effect. If you’re using multi-mode blending, turn on the volume rendering element to give you control over this effect in post-production.

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Another way is to use the z-depth render element. This is simple, but, in our opinion, it does not give practical results. Z depth is a black-and-white rendering pass that gets progressively darker as you move away from the camera. Flip, tint and blend it over the fleeting beauty using the fast rotating fog plug blend mode.

Photographers try to remove lens effects such as depression and depression as much as possible, but in 3D, when used skillfully, they can increase the realism of the presentation. Be careful, using too much can be a quick sacrifice