Meet Emma’s Place, a not-too-subtle homage to Swedish blogger extraordinaire Emma Fexeus.
This one was long in the making. The goal was to replicate not just a typical Scandinavian interior, but also the way these are often photographed. I’ll get back to that last point in a moment.
The inspiration came from a variety of sources, but the beautifully styled interiors of Swedish real-estate agent Fantastic Frank and the photography of Jonas Berg played a big role, as well as the ton of images ripped and saved to my gigabyte inspiration folders.
Part of the deal here was to replicate the subtle, painted-over imperfections of old buildings, from the heater pipes to the electric cables and the faint wear-and-tear marks on the walls and skirting boards. A lot of it is barely visible, as is the fact that there aren’t that many straight lines here, if you look closely.
One of the reasons it took so long to do was that pretty much everything was unwrapped and manually painted, in the diffuse and, occasionally, the normal and glossy channels. There was a fair bit of ZBrush sculpting too, some GrowFX for the plants, and Marvelous Designer for the fabric. Quixel Suite was used to texture some of the assets. The carpet is a VrayFur Modifier and the Corona version uses a standard 3ds Max Hair&Fur modifier.
The brick wall is a custom tileable texture derived from a photoscanned piece of wall, which means accurate displacement. A few of the assets (the wood stools, the planters, the basil leaves…) were also scanned.
Another area that got special attention was the exterior, which is all 3D and polymodeled in order to maintain plausibility under any angle.
This is the V-Ray version of the scene. But I also did a Corona version. You can see both sets of images at full res here.
The scene (with the V-Ray and the Corona versions) is available in The Warehouse as of today, and you can find it here.
For the first time, the archive includes two post-production .psd files showing a detailed break-down of my process. That process is pretty simple, and I will get back to it in a dedicated tutorial which I’ll post in the next few days, maybe earlier.
In the meantime, enjoy a few more images below and check out the full set.
there is only one amount for the field of view In the vray physical camera,
How can we set the horizontal field of view to 100 degrees and the vertical field of view on 85 degrees?
Horizontal FOV / aspect ratio = vertical FOV
above formula is correct?
for example if we put field of view 100 in vray camera setting by aspect ratio Equivalent to 1.3 in out put size of render setup ( aspect ratio=tan( horizontal field of view/2)/tan (vertical field of view/2)) can we say that horizontal field of view is 85 degree?
Thanks for the advice
@pooria not sure what you mean but this sounds to me like a question for the Chaosgroup forums
Hi
How can we set the horizontal field of view to 100 degrees and the vertical field of view on 85 degrees
In the vray physical camera setting, there is only one option for the field of view and one can enter
Thanks for the advice
Hi Bertrand,
I’m a great admirer of your fantastic work – please can you tell me, if I buy this scene, are all the modifer stacks collapsed for the 3d assets ? (I would want them not to be, so of course I can learn).
Many thanks.
@Giorgio: I only have Quixel, but I’m told Substance is amazing and I’ve been meaning to try out as soon as I find the time.
Hi Bertrand!
Would you still suggest the quixel suite or the substances tools to someone that has to start with this type of work?
Thanks,
Giorgio
@ulvi: Yes.
lightning only hdri ?
It’s just normal poly modeling with a TSmooth on top.
Sorry bertrand I’m just digging out your photos so as I saw the wireframe I noticed that the Arch windows are all quads so did you use shape merge for that or did you use turbosmooth for walls generally?! As always I’m truly grateful for answering to all of my questions!!!
The brick wall was first scanned using Agisoft. I then brought the scanned wall into Max and baked diffuse, normal and height maps onto a flat plane directly in Max. I made these maps tileable in Affinity. That’s pretty much it.
Thank you for answering BB ! just one more question about the brick wall_ did you use displacement map in v_ray or import the brick wall in zbrush and sculpt it?
I use cm. You will get scene bounding box issues when working in mm on large scenes.
HI Bertrand, amazing work as usual. What units you use for your max system unit setup… mm, cm or m? And for display unit scale? Just wondering if you choose one or the other due to viewport performance or whether its just a personal choice. Obviously architects usually work in mm but I have noticed that most archviz artists seem to work in cm.
Absolutely. I always start from references, even if I’m modeling something that doesn’t exist. In this case, I gathered several GB of photos of Scandinavian spaces, both for the architecture and for the furnishing, and also for the photographic feel when doing post-production. It’s probably the best way to anchor a scene in the real world.
So to be clear is this a photo reference project?! I really want to know how you start a project! I mean do you draw your plans first or it’s straight to 3DsMax?!
Hi Bertrandt masterwork!The sofa is made covering mesh with MD?And the painted wood of the windows ?Seems a wood bump map with a color diffuse withe with another kind of gloss/ref map it’s correct?
Yes, a lot of people have been asking for it. This time, the scene includes two .psd files with the post-pro steps. But they are very simple so I’m happy to just share them here. I’ll do this in the next few days, if not earlier.
just mean what is the point of buying the scene and we can’t get the same result?
a post-processing step by step tutorial even for sale would be great