Making of Relaxing Spa

8/12/2019 Making of Relaxing Spa

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ModelingFloor: When I had the design clear I started to model the room. I started out by modelingthe floor with splines (Fig1) and then extruded it for the thickness. I also added an edit

poly modifier to chamfer the edges around the pool and delete faces I didn’t need. I

created the stairs by extruding edges from a plane primitive.

Walls: I used a copy of the floor spline to extrude the walls (Fig3). I added an edit polymodifier to make holes for the windows and the door. The reason I made the pool andwalls become narrower and the ceiling tilting down is because it will add some extradepth to my scene from my camera angle.



Camera: At this stage (or earlier) it’s a good thing to decide the camera angle. This helpsme a lot when it comes down to model all different parts in the scene. If the object is faraway from the camera it don’t need a high detail, or if half of the object isn’t visiblethere’s no need to model that part. This way you will get a much faster workflow.

Ceiling: I started out with a plane and then added a wave modifier to get the wavy form.The second part of the ceiling was just made with the same spline as the floor and then Iextruded and edited it with an edit poly.

Furniture: I don’t really need to talk much about these. They are all more or less built upwith splineshapes and extruded splines for the seats. They are also quite low on detailsince they aren’t that close to the camera.

Plants: Some of the plants are modeled and some are a texture with an alpha map onto a plane. I will explain how I made the plants around the pillars because I use both methodsthere.

I started with making a couple of leafs. I used a quadpatch as mesh. I found a good leafimage on internet and made an alpha mask for it in Photoshop (put into the materialsopacity slot), you can see the result in Fig5.



Now it was time to start building the branch. To build a reference of how I wanted the plant on the pillar I used the script Advance Painter (free on scriptspot.com). I used oneof the many features of this script to paint a spline onto my pillars surface. When I got thewanted shape I started to build the branch out of a cylinder. I only model the parts visiblefrom the camera.

To place leafs onto this branch I used particle flow (hotkey 6).



TexturingA clean indoor like this without any worn out materials is easy to texture. The mapping isdone with a simple box or planar mapping. I only involved UVW unwrap in one case andthat was for the pool floor where I needed the texture follow the walls to not get a nastyunwanted seam.

I used 3dtotal textures which are really great because you can use them for anything and

you also get a bumpmap for almost every texture. Here are some of the 3dtotal textures Iused:



And here is the Pool material, the IoR is set to a lower value than real water because Iwanted less bending of the light to make the pool look deeper.

LightningIn this project I did most of my lightning setup before modeling plants and furniture’s.It’s good to have a lightning setup this early to see how well your room works with thelight. It is also a benefit when texturing because you can see how your materials looks inyour lightning. I rendered using Mentalray and used Global Illumination and Final Gather(see under rendering for settings).

Most people like to start their lightning process with every object grey so they only needto concentrate on the light. I often start that way too but later when I have setup my basiclightning I tend having the big areas like walls, floors etc in the scene textured at leastwith the color I intend to have, because they will have a big impact on how much thelight will bounce in your scene when doing GI. A bright texture reflects more light than adark one. In Fig6 you can see how I did my lightning setup.



A: 13 target spots. Multiplier: 0.4, Color: yellow/orange tint. These are the indoorlightning.

B: 2 mr Area omnis. Multiplier: 1.0, Color: blue tint. Inverse decay starting at 900cm.These lights represent the skylight.

C: 1 mr Area spot. Multiplier: 1.0, Color: yellow/orange tint. This light simulates the sun.



RenderingIn this section I will show you my final render settings and give you a few tips and tricksto speed up rendering time in mentalray.

There are a few tricks with mentalray to lower your render time. One setting you can playwith is the FG radius. Preferable is a high max and a low min value. This can make yourFG calculation faster.

While tweaking your lightning or materials you will find the FG calculation a big timeeater. There are two ways to “get rid of it”. One way is to check “Preview (No

precalculations)”. What happens now is that you don’t have the computing FG points andthis causes square artifacts in your render. This will not really get rid of the calculationtime, just spread it out in each bucket. It can be useful if you just want to render a few

buckets to for example see your lightning intensity.



The second way is to save a Final Gather Map. You do this by pressing the “…” buttonunder “Final Gather Map” rollout and choose a filename. What this does is to save yourFG calculation into a file next time you hit the render button. This is a huge timesaver

because now next time when you render the image FG will use the FG-map instead ofdoing a new calculation, so no more FG calculation time, hurray :D. But if youadd/move/delete objects you will have to calculate a new FG map.

Photon maps (under GI settings) work exactly the same way as FG-maps, but with the photon emission. When dealing with GI you should always think about where your photons go. If a lot of photons travel out in the eternity (not hitting an object) the photonemission will take longer time, much much longer if it’s really bad. This is because thenumber of photons you have set the lights to emit is actually the number of photonshitting a surface (that can receive photons). To solve this you can simply make a spherethat surrounds your scene and with its normals flipped inwards, this way you make sure



none of your photons escape out in the ethern. I prefer having the sphere in whitematerial so the photons bounce back at full strength and not bleed any color. If you havean environment map that objects are reflecting (like an hdri) you can select the sphereand uncheck “visible to reflection/refraction” and if you want to see the environmentinstead of the sphere uncheck “visible to camera”. The sphere will still bounce your

photons back even when you can’t see it.

Postwork Now time for some final touchups in Photoshop. I corrected the standard stuff likelevels/contrast/brightness. The new tool “Shadow/Highlight” is a great addition and iswell suited to change the illumination of your scene. I also sharpened my image since itwas slightly blurred.

I thought some of my plants that weren’t modeled lacked depth so I used the burn anddodge tools to correct the lightning of the plants and give them some depth. I also added a

slight glow to my lamps by filling a selection with a color and then Gaussian-blur it.







I hope you find this making of Relaxing spa useful, if you have any questions just sendme a mail at [email protected] or visit my webpage www.omegan.se where you alsowill find a higher resolution picture of Relaxing spa.

Thanks for reading!

Best regards, Magnus Pettersson.

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Making of Relaxing Spa