juan

1) Explain the project(s) shown in the blog post.

This month we explored photo realistic render. First we match the lights from our source image, using one area light (rectangular) for the key light on the left side, then we added an area light (sphere) with less intensity and a warmer tone. The IBL gave the fill in the scene. 

After light and geometry matched the reference image, we start creating the UV maps for the objects. these are the examples for the pulley and scraper. 

Then we start retouching and painting the texture map with real photos as references, we had to pay attention to detail. Where the rust starts, lens deformation from the photo, noise, shapes, were some of the properties we have to be careful to avoid seems or unrealistic placement. 

We moved to the reflections and refraction, mostly focused on the bottle, we created from scratch the glass material and personally I comped the bump maps, texture maps, of the label, stamp, tax label, and wax seal. Once done we rendered all passes to get the final image. 

2) What useful tools and techniques did you learn this month?

the two most important tools for this month in my opinion were the UV editor and mental ray materials in general. 3d/2d placement, textured layers, and material properties were studied in detail. I feel I can now UV anything without asking myself were to start. 

Also knowing exactly how mental ray handles different material has expanded my reach in creating new and accurate materials. 

Also render settings in mental ray, these can make the difference in the overall quality and crispiness of your image. 

3) Are there any tools you explored on your own?

Yes, even though it wasn't required, I added dust on the table and books surfaces, as I painted the pulley with dust layers, it used to stand out of the other objects. 

I started by creating a simple plane, and created a texture map for the dust in Photoshop. I use several dust, fingerprints, and splatter brushes to achieve a really dusty look. I then use that map over a ramp (to control the B/W levels), connected to the cutout opacity property to create a mask over the material. 

I then use the same map with different Photoshop filters to create the color attribute of the material. 

This is a little breakdown video of different stages of the render.