Buku: TUTORIAL 5 HARI MEMBUAT 3D MODELLING DENGAN 3DS MAX 2010

Judul:        TUTORIAL 5 HARI MEMBUAT 3D MODELLING DENGAN 3DS MAX 2010

No. ISBN: 978-979-29-1239-5

Penulis:      Wahana Komputer

Penerbit:    Andi Publisher

Tanggal

terbit:         Desember - 2009

Sinopsis:

3D Studio Max merupakan aplikasi untuk modeling, rendering, dan animasi yang memungkinkan Anda mempresentasikan desain, seperti desain interior, arsitektur, dan iklan secara realistis. Kelengkapan fitur, sistem parametrik pada objek serta sistem keyframe pada animasi, menempatkan 3ds Max menjadi program animasi populer dibandingkan aplikasi sejenis. Kemampuan yang mendekati sempurna akan sangat membantu para pengguna komunikasi visual dalam menggambarkan suatu ide atau gagasan desain menjadi sebuah karya visual menarik. Buku Tutorial 5 Hari: Menggunakan 3D Studio MAX 2010 ini akan mengajarkan pada Anda teknik dalam memanfaatkan aplikasi 3ds untuk membuat objek animasi 3 dimensi hanya dalam waktu lima hari. Materi yang diberikan mulai dari teknik dasar 3D Studio Max 2010, mempelajari objek 2D shape, seleksi objek, hingga teknik pembuatan animasi. Buku ini akan membahas : * Hari Pertama : Teknik Dasar 3D Studio Max 2010 * Hari Kedua : Modeling dan Transformasi * Hari Ketiga : Compund Objects dan Object Modifier * Hari Keempat : Cahaya, Kamera, dan Menambahkan Material * Hari Kelima : Rendering dan Teknik Pembuatan Animasi

TIPS MERENDER ANIMASI 3Ds MAX

Tips merender animasi 3ds Max

Animasi adalah kumpulan beberapa scene yang di render secara berkesinambungan dan terus menerus. Jadi bisa anda bayangkan jika satu gambar memakan waktu render 5 menit, berapa lama waktu yang di butuhkan untuk merender animasi berdurasi 30 detik yang terdiri dari 1200 frame. Maka dari itu kita perlu mensiasati settingan kita hingga kita dapat mengurangi waktu render yang memakan waktu.

Beberapa hal yang perlu di perhatikan :

• System Render

Seperti yang telah saya jelaskan pada artiel sebelumnya, v-ray merupakan system render yang menhasilkan kualitas renderan paling bagus, tetapi sangat memakan waktu. V-ray tidak cocok untuk di gunakan pada animasi. Maka kita akan menggunakan mental ray sebagai system render yang menghemat waktu.

• Material

Material yang di gunakan dalam scene sebisa mungkin di rendahkan reflectionnya, karena hal ini mepengaruhi waktu render. Kita bisa menggunakan Arch design material yang telah di sediakan oleh 3ds max.

• Kualitas render

Di settingan render, final gather kita bisa menaikkan kualitas render hingga very high, tapi itu akan memakan waktu render yang cukup lama, kita cukup menggunakan low setting. Jangan lupa untuk mencheck list final gather, dan global illumination. Karena dalam scene animasi kamera terus bergerak sehingga detail setiap scene tidak akan terlalu terlihat. Dengan menggunakan low setting anda dapat menghemat banyak waktu.

• Pembagian frame render

Merender scene animasi dari frame 0 sampai 1200 bisa memakan waktu lebih dari 6 jam. Bagaimana jika dalam proses render terjadi sesuatu yang tidak di inginkan seperti mati lampu, atau komputernya error. Sangat di sayangkan, karena proses render tidak dapat di save, jika computer mati di tengah jalan, kita harus mengulanginya dari frame 0 kembali. Tentu kita tidak mau mengambil resiko tersebut. Solusinya adalah membagi frame render. Pembagian frame render tergantung kepada kualitas computer masing-masing. Saya pribadi membagi per 200 frame yang memakan waktu 1 jam setiap bagiannya. Jadi kita bisa menguranggi resiko seperti di sebutkan di atas. Setelah selesai semuanya kita bisa menggabungkannya di program video editor apa saja. Yang paling gampang kita bisa memakai windows movie maker, karena merupakan program bawaan windows.

SCENE BY SCENE FOR SALE

Menjual suatu produk bukan perkara mudah, menjajakan scara langsung, beriklan melalui media, baik itu media elektronik maupun media cetak adalah cara yang umum dilakukan oleh para marketer untuk memasarkan produk mereka. Jika Anda berhadapan secara langsung dengan pelanggan anda tentunya harus mempunyai senjata andalan, sesuatu yang dapat menarik perhatian konsumen sehingga konsumen menaruh perhatian pada apa yang sedang anda tawarkan.
Menjual kacang goreng saja tidak mudah dilakukan apalagi menjual rumah. Ya topic yang akan saya angkat kali ini adalah bagaimana saya menampilkan sebuah iklan perumahan yang saya di kerjakan dengan 3ds Max, berdurasi 30 detik untuk mendukung pemasaran developer. Tidak dipungkiri bahwa kualitas kreativitas 3D menentukan suatu penjualan terutama perumahan.
Tidak mudah memang untuk menampilkan satu cluster perumahan lengkap dengan taman, gerbang depan, mobil yang berlalu lalang, orang yang sedang beraktifitas serta pos satpam. Dengan waktu yang terbatas saya harus menyelesaikan sebuah animasi berdurasi 30 detik, 1200 frame.

Banyak hal yang harus di perhatikan, dari sudut pengambilan gambar, pergerakan kamera, item apa saja yang ada di dalam scene, sampai storyboard yang terencana. Semua itu harus di perhatikan guna menampilkan sebuah animasi yang dapat membuat konsumen tertarik. Baiklah sekarang akan saya kupas lebih dalam lagi mengenai point-point di atas.

Sudut pengambilan gambar

Dalam pengambilan suatu gambar, baik yang bergerak maupun yang diam, sudut yang tepat harus di perhatikan. Mengambil gambar suatu cluster perumahan tidak cukup hanya tepat dari depannya saja. Pengambilan gambar yang cenderung serong, dan kamera di tempatkan di ketinggian yang lebih tinggi dari rumah sehingga terlihat keseluruhan perumahan tapi tidak secara detail, dapat memberikan tampilan pembuka yang membuat penasaran. Konsumen melihat secara keseluruhan perumahan tetapi tidak secara jelas, mereka terpukau dan ingin melihat lebih dalam. Begitu pula dengan sudut pengambilan gambar berikutnya setiap pemberhentian kamera selalu tidak simetris dengan halaman depan rumah, kamera di tempatkan di setiap sudut yang memperlihatkan rumah dari sudut pandang yang berbeda.

Pergerakan kamera

Pergerakan kamera merupakan satu elemen penting dimana hal ini berperan terhadap kenyaman visual bagi penonton. Pergerakan kamera yang terlalu cepat membuat animasi seakan terburu-buru dan tidak elegan. Sebaliknya pergerakan kamera yang terlalu lambat akan membuat konsumen cepat merasa bosan. Pergerakan kamera di setting sedimikian rupa agar konsumen seakan-akan melihat animasi di kehidupan nyata, dengan pergerakan yang normal dan elegan.

Item di dalam scene

Di kehidupan nyata jika kita masuk ke suatu perumahan kita akan menemui mobil, baik yang diam, ataupun yang sedang di kendarai, orang berlalu lalang. Hal seperti itu juga yang di tampilkan ke scene animasi. Menampilkan sesuatu yang bergerak baik itu mobil ataupun orang akan membuat iklan perumahaan anda terlihat berkelas, mereka sadar sedang melihat animasi, tetapi mereka seakan melihat video yang di buat dengan budget yang besar. Hal tersebut juga pastinya berpengaruh kepada image perumahan anda terhadap konsumen tersebut.

Story Board

Apa jadinya sebuah animasi tanpa story board, konsumen seakan-akan melihat sesuatu yang terputus-putus, tidak teratur, dan yang terpenting perasaan yang ditinggalkan setelah menyaksikan animasi tersebut. Bagian pembukaan memperlihatkan perumahan secara keseluruhan tetapi tidak detail, membuat konsumen penasaran dan terus menonton. Di teruskan dengan adegan datangnya mobil, gerbang perumahan terbuka kamera bergerak masuk sambil memperlihatkan rumah dari dekat dan mobil berlalu lalang, membuat konsumen mulai terpana. Kamera kemudian berpindah ke depan rumah bergerak perlahan sambil memperlihatkan fasilitas apa yang ada di perumahan di sertai dengan orang yang sedang berjalan, mengobrol di taman, dan di ahiri dengan efek fade out elegan di penghujung taman, membuat konsumen mulai berpikir bahwa mereka sedang melihat sebuah perumahan yang tidak sembarangan. Menanamkan pemikiran tersebut merupakan langkah awal agar konsumen memilih perumahan anda sebagai perumahan idaman.
Pembukaan merupakan elemen penting agar konsumen tertarik untuk melihat iklan anda,sedangkan penutupan merupakan elemen penting agar konsumen tertarik untuk membeli perumahan anda.

How James Cameron's Innovative New 3D Tech Created Avatar

Di bawah ini artikel yang di ambil dari http://www.popularmechanics.com dengan link artikel How James Cameron's Innovative New 3D Tech Created <i>Avatar</i> -- mengenai inovasi James Cameron's terhadap membangun animasi yang meledak di pasaran perfilman dunia, AVATAR

Check this out..and enjoy Folks!

The 280,000-square-foot studio in Playa Vista, Calif., has a curious history as a launching pad for big, risky ideas. In the 1940s, Howard Hughes used the huge wooden airplane hangar to construct the massive plywood H-4 Hercules seaplane—famously known as the Spruce Goose. Two years ago, movie director James Cameron was in the Playa Vista studio at a crucial stage in his own big, risky project. He was viewing early footage from Avatar, the sci-fi epic he had been dreaming about since his early 20s. Cameron's studio partner, Twentieth Century Fox, had already committed to a budget of $200 million (the final cost is reportedly closer to $300 million) on what promised to be the most technologically advanced work of cinema ever undertaken. But as Cameron looked into his computer monitor, he knew something had gone terribly wrong.

The film—although "film" seems to be an anachronistic term for such a digitally intense production—takes place on a moon called Pandora, which circles a distant planet. Jake Sully, a former Marine paralyzed from the waist down during battle on Earth, has traveled to this lush, green world teeming with exotic, bioluminescent life to take part in the military'sAvatar program. The human settlers are interested in mining Pandora's resources but can't breathe its toxic atmosphere, so to help explore the moon and meet with the native Na'vi who live there, Sully has his consciousness linked with a genetically engineered 9-foot-tall human–alien hybrid.

Cameron wrote his first treatment for the movie in 1995 with the intention of pushing the boundaries of what was possible with cinematic digital effects. In his view, making Avatar would require blending live-action sequences and digitally captured performances in a three-dimensional, computer-generated world. Part action–adventure, part interstellar love story, the project was so ambitious that it took 10 more years before Cameron felt cinema technology had advanced to the point where Avatarwas even possible.

The scene on Cameron's screen at Playa Vista—an important turning point in the movie's plot—showed Na'vi princess Neytiri, played by Zoë Saldana, as she first encounters Sully's Avatar in the jungles of Pandora. Everything in the forest is luminous. Glowing sprites float through Pandora's atmosphere, landing on Sully as Neytiri determines if he can be trusted. Playing Sully is Sam Worthington, an Australian actor whom Cameron had plucked from obscurity to play the movie's hero. Cameron was staring directly into Worthington's face—or, rather, he was looking into the face of a digitally rendered Worthington as a creature with blue skin and large yellow eyes—but he might as well have been staring into a Kabuki mask.

The onscreen rendering of Worthington was supposed to be a sort of digital sleight of hand—a human character inhabiting an alien body so that he could blend into an alien world, played by a human actor inhabiting a digital body in a digital world. To make the whole thing work, Worthington's performance, those subtle expressions that sell a character to the audience, had to come through the face of his Avatar. But after millions of dollars of research and development, the Avatar's face was not only lifeless, it was downright creepy. It "scared the crap out of me," Cameron recalls. "Horrible! It was dead, it was awful, it wasn't Sam. God, I thought. We've done everything right and this is what it looks like?"

The reaction Cameron was feeling has a name. It's called the uncanny valley, and it's a problem for roboticists and animators alike. Audiences are especially sensitive to renderings of the human face, and the closer a digital creation gets to a photorealistic human, the higher expectations get. If you map human movements and expression to cute furry creatures that dance and sing like people, then audiences willingly suspend disbelief and go along with it. (Think of the penguins in Happy Feet.) But if you try to give a digital character a humanoid face, anything short of perfection can be uncanny—thus the term. Sometimes audience unease is to a character's advantage; in The Lord of the Ringsthe creature Gollum was supposed to be unsettling. But Cameron was looking for empathy, and in the first footage, that's not what he got.

Why is the computer-generated face of a blue, cat-eyed human–alien hybrid so important? Well, for one thing, lots of money is riding on it. But so, to an extent, is James Cameron's stature as an unstoppable force in Hollywood. Cameron has built up enormous fame and power based on his reputation as a technical innovator—pushing the science and technology of modelmaking, digital animation and camera engineering. But Cameron is perhaps even more famous as the industry's biggest risk-taker, which might have made him a lot of enemies if his risks hadn't been so spectacularly rewarded in the past. In 1997, the film Titanic taught Hollywood a powerful lesson in Cameronomics: The director's unquenchable thirst for authenticity and technological perfection required deep-sea exploratory filming, expensive scale models and pioneering computer graphics that ballooned the film's budget to $200 million. This upped the ante for everyone involved and frightened the heck out of the studio bean counters, but the bet paid off—Titanic went on to make $1.8 billion and win 11 Academy Awards.

A unique hybrid of scientist, explorer, inventor and artist, Cameron has made testing the limits of what is possible part of his standard operating procedure. He dreams almost impossibly big, and then invents ways to bring those dreams into reality. The technology of moviemaking is a personal mission to him, inextricably linked with the art. Each new film is an opportunity to advance the science of cinema, and if Avatar succeeds, it will change the way movies are captured, edited and even acted.

Filmmakers, especially those with a technical bent, admire Cameron for "his willingness to incorporate new technologies in his films without waiting for them to be perfected," says Bruce Davis, the executive director of the Academy of Motion Picture Arts and Sciences. It adds to the risky nature of Cameron's projects, but his storytelling has reaped enormous benefits. There's a term in Hollywood for Cameron's style of directing, Davis says: "They call this ‘building the parachute on the way down.'"

But repeatedly pulling off these feats of derring-do requires both the drive of an ambitious egomaniac and an engineer's plodding patience. "You have to eat pressure for breakfast if you are going to do this job," Cameron says. "On the one hand, pressure is a good thing. It makes you think about what you're doing, your audience. You're not making a personal statement, like a novel. But you can't make a movie for everybody—that's the kiss of death. You have to make it for yourself."

Gonzo Effects

Cameron's dual-sided personality has roots in his upbringing—the brainy sci-fi geek from Chippewa, Ontario, was raised by a painter mother and an engineer father. "It was always a parallel push between art and technology," he says. "My approach to filmmaking was always very technical. I started off imagining not that I would be a director, but a special-effects practitioner."

Unable to afford to go to film school in Los Angeles, Cameron supported himself as a truck driver and studied visual effects on weekends at the University of Southern California library, photocopying dissertations on optical printing and the sensitometry of film stocks. "This is not bull," he says. "I gave myself a great course on film FX for the cost of the copying."

Cameron eventually landed a job on the effects crew of Roger Corman's low-budget 1980 film Battle Beyond the Stars, but he didn't tell anyone that he was an autodidact with no practical experience. When he was exposed to the reality of film production, it was very different from what he had imagined, he recalls: "It was totally gonzo problem solving. What do you do when Plans A, B and C have all crashed and burned by 9 am? That was my start. It wasn't as a creative filmmaker—it was as a tech dude."

Over the years, Cameron's budgets have increased to become the biggest in the business, and digital technology has changed the realm of the possible in Hollywood, but Cameron is still very much the gonzo engineer. He helped found the special-effects company Digital Domain in the early 1990s, and he surrounds himself with Hollywood inventors such as Vince Pace, who developed special underwater lighting for Cameron's 1989 undersea sci-fi thriller, The Abyss. Pace also worked with Cameron on Ghosts of the Abyss, a 2003 undersea 3D documentary that explored the wreck of theTitanic. For that movie, Pace and Cameron designed a unique hi-def 3D camera system that fused two Sony HDC-F950 HD cameras 2½ inches apart to mimic the stereoscopic separation of human eyes. The Fusion Camera System has since been used for 3D movies such as Journey to the Center of the Earth and the upcoming Tron Legacy, and at sporting events such as the 2007 NBA finals.

The 3D experience is at the heart of Avatar. (In fact, some suspect that Cameron cannily delayed the movie's release to wait for more theaters to install 3D screens—there will be more than 3000 for the launch.) Stereoscopic moviemaking has historically been the novelty act of cinema. But Cameron sees 3D as a subtler experience. To film the live-action sequences of Avatar, he used a modified version of the Fusion camera. The new 3D camera creates an augmented-reality view for Cameron as he shoots, sensing its position on a motion-capture stage, then integrating the live actors into CG environments on the viewfinder. "It's a unique way of shooting stereo movies," says visual-effects supervisor Stephen Rosenbaum. "Cameron uses it to look into the environment; it's not about beating people over the head with visual spectacle." This immersive 3D brings a heightened believability toAvatar's live-action sequences—gradually bringing viewers deeper into the exotic world of Pandora. In an early scene, Sully looks out the window as he flies over the giant trees and waterfalls of the jungle moon, and the depth afforded by the 3D perspective gives the planet mass and scale, making it as dizzyingly real for viewers as it is for him.

Shooting the Virtual World

Yet live-action 3D was hardly the biggest technical challenge. Only about 25 percent of the movie was created using traditional live performances on sets. The rest takes place in an entirely computer-generated world—combining performance capture with virtual environments that have never before been realized on film. Conjuring up this exotic world allowed Cameron to engage in "big-time design," he says, with six-legged hammerhead thanators, armored direhorses, pterodactyl-like banshees, hundreds of trees and plants, floating mountains and incredible landscapes, all created from scratch. He drew upon his experience with deep-sea biology and plant life for inspiration. Sigourney Weaver, who plays botanist Grace Augustine, calls it "the most ambitious movie I've ever been in. Every single plant and creature has come out of this crazy person's head. This is what Cameron's inner 14-year-old wanted to see."

To bring his actors into this world, Cameron collaborated with Weta Digital, an effects house founded by The Lord of the Rings director Peter Jackson. Weta has created some of the most groundbreaking characters in recent years, using human performances to animate digital creatures such as Gollum in the Rings series and the great ape in Jackson's 2005 version of King Kong. By now, the process of basic motion capture is well-established. Actors are dressed in "mocap" suits studded with reflective reference markers and stripes, then cameras capture the basic movements of a performance, which are later mapped to digital characters in a computer.

For actors, the process of performing within an imaginary world, squeezed into a leotard while pretending to inhabit an alien body, is a challenge. Motion-capture technology is capable of recording a 360-degree view of performances, so actors must play scenes with no idea where the "camera" will eventually be. Weaver found the experience liberating. "It's simpler," she says. "You just act. There's no hair or makeup, nothing. It's just you and the material. You forget everything but the story you're telling." Directing within a virtual set is more difficult. Most directors choose their angles and shots on a computer screen in postproduction. But by then, most of the immediacy of the performance is lost. Cameron wanted to be able to see his actors moving within the virtual environments while still on the motion-capture stage (called the volume). So he challenged his virtual-production supervisor Glenn Derry to come up with a virtual camera that could show him a low-resolution view of Pandora as he shot the performances.

The resulting swing camera (so called because its screen could swing to any angle to give Cameron greater freedom of movement) is another of Avatar's breakthrough technologies. The swing camera has no lens at all, only an LCD screen and markers that record its position and orientation within the volume relative to the actors. That position information is then run through an effects switcher, which feeds back low-resolution CG versions of both the actors and the environment of Pandora to the swing cam's screen in real time.

This virtual camera allowed Cameron to shoot a scene simply by moving through the volume. Cameron could pick up the camera and shoot his actors photographically, as the performance occurred, or he could reshoot any scene by walking through the empty soundstage with the device after the actors were gone, capturing different camera angles as the scene replayed.

But all of this technology can lead right back into the uncanny valley, because capturing an actor's movements is only a small step toward creating a believable digital character. Without the subtle expressions of the face, Cameron might as well be playing with marionettes. Getting this crucial element right required him to push Weta's technology far beyond anything the company had done before.

In fact, Cameron doesn't even like the term "motion capture" for the process used on Avatar. He prefers to call it "performance capture." This may seem like semantics, but to Cameron, the subtle facial expressions that define an actor's performance had been lost for many of the digital characters that have come before. In those films, the process of motion capture served only as a starting point for animators, who would finish the job with digital brush strokes. "Gollum's face was entirely animated by hand," says Weta Digital effects master Joe Letteri. "King Kong was a third or so straight performance capture. It was never automatic." This time, Cameron wanted to keep the embellishment by animators to a minimum and let the actors drive their own performances.

In order to pull more data from the actors' faces, Cameron reworked an old idea he had sketched on a napkin back in 1995: fasten a tiny camera to the front of a helmet to track every facial movement, from darting eyes and twitching noses to furrowing eyebrows and the tricky interaction of jaw, lips, teeth and tongue. "I knew I could not fail if I had a 100 percent closeup of the actor 100 percent of the time that traveled with them wherever they went," he says. "That really makes a closeup come alive."

The information from the cameras produced a digital framework, or rig, of an actor's face. The rig was then given a set of rules that applied the muscle movements of each actor's face to that of the Avataror the Na'vi that he or she was playing. To make a CG character express the same emotion as a human actor, the rig had to translate every arch of a human eyebrow directly to the digital character's face.

But it turns out there is no magic formula that can supplant hard work and lots of trial and error. After Cameron complained about the uncanny-valley effect, Weta spent another year perfecting the rig on Worthington's Avatar by tweaking the algorithms that guided its movements and expressions until he came alive enough to meet Cameron's sky-high standards. "It was torturous," Letteri admits. But when Weta was finished, you could pour the motion-capture data into the rig and it would come out the other side right.

With all the attention focused on Avatar, anything short of perfection may not be good enough. Cameron is asking moviegoers to believe in a deep new universe of his own design and to buy the concept that 9-foot-tall blue aliens can communicate human emotions. If Cameron is wrong, thenAvatar may be remembered as the moment when the battle for the uncanny valley was lost. If he is right, the technology will disappear behind the story line, and audiences will lose themselves inAvatar's world.

Tips&Tricks 1: Render Hemat Hasil Mantab

Render merupakan sebuah proses akhir dalam sebuah desain 3d. Kecepatan merender merupakan faktor penting untuk ketepatan waktu dalam memperoleh hasil sehingga hubungan dengan klien tetap terjaga.

Dari settingan render sangat mempengaruhi hasil dan kualitas gambar yang kita kerjakan. Beberapa plugins untuk proses merender bisa di download di beberapa situs internet. Salah satu plugins render yang paling sering di gunakan adalah V-ray. Dengan menggunakan V-ray kita dapat menghasilkan kualitas gambar 3d yang menyerupai hasilnya. Tapi plugins ini juga mempunyai kelemahan yang cukup signifikan, yaitu lamanya proses render. Untuk komputer yang mempunyai spesifkasi di atas rata-rata mungkin masalah ini tidak cukup berarti, tetapi untuk komputer yang spesifikasinya biasa-biasa saja hal ini cukup merepotkan. Tapi tenang, ada cara untuk merender hasil yang mempunyai kualitas mantab tapi memakan waktu relative lebih cepat. System render yang akan kita bahas adalah Mental Ray. Mental Ray merupakan system render bawaan dari 3ds Max, sehingga mental ray dapat kita gunakan langsung tanpa menginstal plug in terlebih dahulu. Berikut ini adalah tips-tips untuk mendapatkan kualitas yang menakjubkan menggunakan mental ray.

Material

Buka jendela material cukup dengan menekan M di keybord, setelah muncul jendela material klik standar pilih Architectural dari menu pulldown. Architectural merupakan material bawaan yang cukup simple untuk di gunakan. Di dalam material architectural terdapat beberapa plihan menu, dari menu tersebut kita dapat memilih beberapa template marerial yang telah di sediakan.

Seperti misalnya kita ingin membuat lantai dalam ruangan dengan material kayu. Cukup klik menu pulldown pilih wood varnished, klik none pada difuse map (untuk memasukkan material kayu) cari material kayu yang kita inginkan klik ok. Dan jangan lupa untuk memasukkan material ke model. Sekarang anda telah mendapatkan lantai kayu anda lengkap dengan reflection dan glossines.

Lighting

Di sini kita tidak akan menggunakan pencahayaan yang berasal dari omni ataupun dari pencahayaan lain, kita cukup menggunakan pencahayaan yang berasal dari daylight, klik tombol systems.

Pilih daylight, klik dan drag di viewport top akan muncul bintang lepas dan tarik ke atas, maka kita akan mendapatkan pencahayaan matahari untuk scene kita. Di daylight

parameter klik manual sehingga kita bisa memindahkan matahari sesuai keinginan kita. Lalu klikstandard di sunlight dan ganti menjadi mr Sun begitu pula dengan skylight di skylight ganti denganmr Sky. Untuk mengatur pencahayaan di scene anda buka render di toolbar klik environment scroll ke bawah anda akan menemukan exposure control, untuk menambah pencahayaan di scene anda naikkan amountbrightness.

parameter klik manual sehingga kita bisa memindahkan matahari sesuai keinginan kita. Lalu klik standard di sunlight dan ganti menjadi mr Sun begitu pula dengan skylight di skylight ganti dengan mr Sky. Untuk mengatur pencahayaan di scene anda buka render di toolbar klik environment scroll ke bawah anda akan menemukan exposure control, untuk menambah pencahayaan di scene anda naikkan amount brightness.

Mengapa hasilnya terlalu gelap? Tenang saja pekerjaan kita belum selesai.

Render Setup

Baiklah sekarang kita sampai di tahap akhir, yaitu tahap penyetingan render dengan menggunakan mental ray. Buka toolbar rendering klik render, di tab common scroll ke bawah klik assign render di tab production ganti menjadi mental ray. Pindah ke tab indirect Illumination, checklist di enable final gather, di preset dapat di naikkan kualitas gambarnya dari yang paling rendah (draft) ke yang paling tinggi (very high), kemudian scroll ke bawah dan checklist di enable global illumination

Sekarang coba kita render hasilnya..

Hasil render di atas merupakan hasil render mental ray dengan menggunakan setingan yang telah di jabarkan. Anda dapat mencoba mengutak atik setingannya sendiri. Berikut hasil render yang telah saya ubah setingannya dan menambah beberapa item di dalam ruangan sehingga lebih menarik.