附件是高清大图及作者其它效果图，希望爱好效果图的朋友喜欢！

该项目是我最新的作品之一，为的希腊设计师Anastassis的Vamvakas的酒店房间。

This project is about one of my latest work, a hotel room for the Greek designer Anastassis Vamvakas.6

图像是三部分组成的系列的一部分。 我将专注于浴室场景，建立定期的方式，我创建了我的场景，除了一件事：我通常在3ds Max中的模型架构，但是这个时候，我几乎只用一个客户端的模式，在SketchUp。 我增加了更多的细节要求，它是有用的定义。 我用V-ray的材料和灯光，然后调整原用Photoshop渲染。

第一件事，我将重点放在由客户端提供的参考。 明确客户想在设备、纹理和颜色方面的想法是什么，但要以开放的心情，我可以建议。 我决定创建照明类似于早期的图像与全球和漫射光，我做了。 我稍微冲洗的深浅不同，给人一种空气的和平与安宁，是理想的酒店房间。 顾客作为参考来形容他一直在寻找一些我自己以前的工作。

The image is part of three part series. I will focus on the bathroom scene which was created the way I regularly create my scenes, except for one thing: I usually model architecture in 3ds Max however this time I used almost exclusively a client's model made in SketchUp. I added more details where requested or where it was useful for definition. I used V-Ray for materials and lights, and then adjusted the raw render with Photoshop.

The first thing I'll focus on are the references provided by the client. The client had a clear idea of what he wanted in terms of equipment, textures and color, but want to be open about the mood that I could suggest.  I decided to create lighting similar to that of earlier images I made, with a very global and diffuse light. I created different shades slightly washed-out, giving an air of peace and tranquility which is ideal for a hotel room. The customer used as reference some of my own previous work to describe what he was looking for.

我最初的设置是高度可变的，取决于什么，我试图完成的任务。 在这种特殊情况下，我一直在寻求一个褪色的外观。 我开始与参数“Gamma和LUT”如下：

My initial settings are highly variable depending on what I am trying to accomplish. In this particular case I was seeking a washed-out look. I started with the parameters "Gamma and LUT" as follows:

模型

我不会过于注重造型，因为我不认为自己是一个很好的建模工具。 我在SketchUp模型的体系结构，由客户端，只需添加细节，坡口边缘等很多项目，我使用的模型我的3D模型库。 对于硬木地板，我用的是大的“楼发生器”。 我认为做同样的瓷砖地板，但在最后，我决定做它用一个简单的平面纹理。 我模仿一些简单的物品，如木制家具和镜像（不被视为）根据由客户提供优良的引用。

Modeling

I will not focus too much on the modeling since I do not consider myself a good modeler. I took the architecture modeled in SketchUp by the client, just adding details, beveling edges etc. Many items I use models my library of 3D models. For the hardwood floor I used the big "Floor generator". I thought to do the same for the ceramic floor but in the end I decided to do it with a simple plane texture. I modeled some of the simpler items like the wooden furniture and the mirror (which ended up not being seen) based on excellent references provided by the client.

角度

经过现场为蓝本，我把相机的一个很好的组合。 三个图像的酒店房间，这种特殊的组成由客户提供。 我爱的前置摄像头，小角度，特别是当它涉及到的和平与安宁。 另一件事，我很喜欢这台相机的位置，我可以发挥不同的照明水平，不同的光线从窗口背景和人工照明的浴室。

Point of View

After the scene was modeled I placed cameras with a nice composition. Of the three images made for the hotel room, this particular composition was provided by the customer. I love the front camera with little perspective, especially when it comes to conveying peace and tranquility. Another thing I liked about this camera position was that I could play with different lighting levels, differentiating the light coming from the window background and artificial lighting of the bathroom itself.

灯光

有了完整的模型和摄像头的位置，我开始了下一步的照明。 这是很好的人工照明来看看，因为它经常说的客户端如何想象照明。
正如我刚才所说，我已经给出了一些思考，我想怎么处理这个问题：漫反射光从窗口背景，对比的金色人工照明的，我打算用在浴室。 我采用的方法我用了过去。 一大截球，我申请了一个VRay光材料与HDRI所发出的漫射照明。

Lightning

With the full model and the camera positioned I began the next step: the lighting. It's good to take a look at the artificial lighting because it speaks often to how the client imagines lighting.
As I mentioned earlier I had already given some thought to how I wanted to handle this issue: diffuse lighting coming from the window background, contrasting with the golden hue artificial lighting that I planned to use in the bathroom. I applied a method I've used in the past. Diffuse illumination is emitted by a large cut sphere to which I applied a VRay light material with an HDRI.

这些设置VRay的轻型材料。 在这种情况下，这是非常重要的背面侧上选择“发光”。

These are the SETTINGS of VRay light material. In this case it is very important to select the "emit light on back side".

这是使用HDRI我。 这是从集合“即人”使用以下设置。

This is the HDRI I used. It is from the collection of "Viz people" with the following settings.

其他来源的照明是VRay的飞机，在每一个地方有一个光在浴室实例。 灯都在下面的截图与温暖的灯光和略带金色的基调。

The other sources of illumination are VRay planes, instanced in every place where there's a light in the bathroom.  The lights are as in the following screenshot with warm lighting and a slightly golden tone.*

这种黏土渲染显示我前面提到的照明水平的差异。 应该是微妙的，所以它可以调整后的效果。 的光的强度，显然必须进行回火的材料，但此为我们提供了一个近似。

This clay render shows the differences in lighting levels I mentioned. The effect should be subtle so it can be adjusted in post. Obviously the intensity of the light must be tempered with the materials, but this gives us an approximation.

材质

让我们继续前进的材料。 当时的想法是创建一种温暖的感觉，也不是那么容易的，在一间浴室。 在房间木盛行，加上由客户提出的陶瓷米色的色调。 我们开始看到浴室家具的木材。

Materials

Let's move on to the materials. The idea was to create a warm feeling, which is not so easy in a bathroom. In the room wood prevails, combined with ceramic beige tones proposed by the customer. We begin to see the wood for bathroom furniture.

这是我创建的地图。 我用了一个浅色橡木木材作为漫反射贴图，然后在相同的位图“色彩校正”，使用反射和凹凸。 我做了一个反转的最后一个使用光泽度。

These are the maps I created. I used a light oak wood as the diffuse map and then the same bitmap with "color correction" to use as reflection and bump. I made an inversion on the last one to use as glossiness.

这种玻璃被设置为标准的所有。 请注意，无论是反射或白色的反射率都必须是绝对的。

This glass is set as standard for all. Please note that neither the reflection or white reflectance must be absolute.

这是在底部的玻璃砖。 它具有施加在地图上，以更好地控制，而不是只是检查框中的菲涅耳反射。

This is the glass brick at the bottom. It has a map applied to reflection to better control the Fresnel instead of just checking the box.

以下是漫（我装了50个不同的灰地图）及其变体，使用多重纹理与色彩校正反射，有光泽，凹凸，在前面的木质材料的木地板材料。

The following is the wood flooring material using the multitexture as diffuse (I loaded 50 different ash maps) and variants thereof, with color correction for reflection, glossy and bump, as in the previous wood material

所以，纹理好看，我建议降低模糊的地图，这取决于你是如何接近的摄像头和定义，您是怎么想的材料显示。 我几乎所有的材料有菲涅尔反射，调节强度，使尽可能真实的材料看。 在木材的情况下，你可以看到，是接近4，我用的值。

这一幕的一个非常重要的材料是瓷砖。 在这里，我们必须非常小心与思考。 如果它反映了过于强烈的场景将是混乱和难以阅读。 如果反射太薄弱了现场不看现实和有趣的。

So that the textures look good, I recommend lowering the blur of maps depending on how close you are to the camera and how defined you want the material to display. Almost all my materials have a Fresnel reflection, with regulated intensity to make the material look as real as possible. In the case of wood, as you can see, are values close to 4 which I use.

A very important material for this scene is the ceramic tiles. Here we must be very careful with reflections. If it reflects too strongly the scene will be confusing and difficult to read. If the reflections are too weak the scene will not look realistic and interesting.

这是基本的地图我从CGTEXTURES.COM，有免费的纹理的最佳来源之一。 从这张图中，我产生了变化规律，努力确保没有重复，使用地图“砖”和“混合”。

This is the base map I got from CGTEXTURES.COM, one of the best sources of free textures out there. From this map I generated a changing pattern trying to ensure there is no repetition, using maps "tiles" and "mix

我开始为弥漫性混合使用和加载位图，我们之前看到的两种颜色。 每个地图会给你一个稍微不同的治疗。 一会给你2平铺在水平和垂直方向。 第二会给你一个2.3平铺两种方式。 在这两种情况下的模糊就下降到0.1，以得到一个清晰的图像。 然后，“混合量”将使用一个20×20瓦白色，用最少的水泥浆。 然后，我们增加足够的颜色变化产生不同的镶嵌黑色和白色，混合两种地图，生成的地图大小适中，没有重复。 然后，我申请到地板上，然后在墙上。 这种“混合地图”是一个新的瓦片的漫反射颜色。

I began by using a mix as diffuse and loading the bitmap we saw before in both colors. Each map will give you a slightly different treatment. One will give you a 2-tiling both vertically and horizontally. The second will give you a 2.3-tiling both ways. In both cases the blur went down to 0.1 to get a sharp image. Then, as "mix amount" will use a 20x20 tiles white, with a minimum grout. Then we increase enough color variance to generate a black and white varied mosaic, mixing both maps to generate a map of good size and without repetitions. I then applied this to the floor and then to walls. This "mix map" is the diffuse color of a new tiles.

另一张地图的瓷砖，简单，适用于反射和凹凸这个时候，我们结束这种材料，是多了还是少这样的：

    With another map tiles, this time simple, applied to reflection and bump, we end this material, which is more or less like this:3 G1 I) c4 ?. V3 G3 K

相机和渲染设置

在这一点上，我认为我们正处在一个位置，以获得原始的渲染，所以，我们可以得到的最重要的部分 - 后期制作。 我认为每一步都必须精心策划，以达到良好的渲染。 这不只是在Photoshop中试图解决一切的问题。 造型应该是认真细致的，你应该只能提供优质的模型。 材料应仔细研究的基础上尽可能的现实。 照明应被认为是在你想要发送的心情。 下面我将分享相机参数和设置，以获得最终的渲染。

Camera and Render Settings

At this point I think we're in a position to get the raw render so we can get to the the most important part for me - post production. I think that every step must be carefully crafted to achieve a good render. It's not just a matter of trying to fix everything in Photoshop. The modeling should be careful and detailed, and you should work only with quality models. Materials should be studied carefully, based on reality as possible. Lighting should be thought of in terms of what you want to show and the mood to be transmitted. Below I will share the camera parameters and settings to get the final render.

随着原料也使我输出一对夫妇，我会在后期制作中需要的元素：zdepth，wirecolor，原 ​​始反射和环境闭塞通过一个脚本，你可以从以下网站免费下载： http://www .creativecrash.com/3dsmax/downloads/scriptsplugins
渲染/其他渲染/ C / VRay的环境闭塞。
有了这个，我们已经准备好开始在Photoshop中。

Along with the raw render I also output a couple of elements that I will need in post production: zdepth, wirecolor, raw reflection and an ambient occlusion pass through a script that you can download for free from the following website: http://www.creativecrash.com/3dsmax/downloads/scriptsplugins/)
rendering / other-renderers / c / vray-ambient-occlusion.
With this we are ready to begin in Photoshop.

后期制作

在我们开始之前，我想澄清一个重要的观点。 准备在最后的渲染时，我们必须预见到的图像将通过后续工序。 我的意思是，它希望得到的图像进行清洗，并没有太多的对比，让我们可以更好地调整它在Photoshop中。 我们从三个基本步骤：曲线校正，亮度，对比度和色相饱和度。 对于曲线，我总是试图实现这样的结果在下面的第一个图像，而无需实际得到曝光过度的区域，或过暗。 在接下来的调整，增加对比度，减少了一点光彩。 显然，结果是饱和的图像。 出于这个原因，在第三步是，以减少这种饱和，而略有增加的亮度。

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Post Production

Before we begin I would like to clarify an important point. When preparing the final render we must anticipate that the image will go through a post process. By this I mean that it is desirable that the image obtained is washed and without too much contrast, so we can adjust it better in Photoshop. We start with the three basic steps: curve correction, brightness and contrast and hue saturation. For curves, I always try to achieve a result like in the first image below, without actually getting over exposed areas, or too dark. In the next adjustment, increase contrast, and reduced a little brightness. Obviously the result is a saturated image. For that reason, the third step is to reduce this saturation, while increasing slightly the brightness.

虽然图像看起来还是洗出的这些步骤开始给深度。 这些通用的调整后，修正在图像的不同部分在不同的平面上实现结果。 我想生成一个显着的输入光从窗口后面，所以调整层曝光，口罩与zdepth我设置为以下设置：

While the image still looks washed-out these steps began to give depth. After these generic adjustments, corrections are made in different parts of the image to achieve results in different planes. I want to generate a significant input light from the window behind, so with an adjustment layer exposure, and a mask made with zdepth I set to the following setting:

在同一平面上工作，我尝试使用色相/饱和度调整层，应用相同的面具和下面的参数平滑的结果：

Working in the same plane I tried to smooth the result using an adjustment layer Hue / Saturation with the same mask applied and the following parameters:

下一步是至关重要的：颜色校正。 我总是尝试不同的区域做色彩校正，使图像是不平坦的。 对于这个问题，我用的是zdepth调整层的面具。 我有两个不同的色彩校正，水平接近的浴室，在那里我会尽量采取一点点的黄色调，整体和远平面的窗口之一。 对于这一点，我将使用逆zdepth的面具。 这最后将它到稍凉音。

The next step is also vital: Color correction. I always try to do color correction differentiated by zones so that the image is not flat. For this again I use the zdepth as mask for the adjustment layer. I have two different color corrections, a level close to the bathroom, where I will try to take a little yellow tone overall; and one for the far plane of the window. For this I will use the inverse of zdepth as the mask. This last will take it to a slightly cooler tone.

现在，我们将图像添加一个新的与原反射层的叠加模式，不透明度为50％多一点，而在乘法模式，此时100％的环境光遮挡通。

Now we will give the image a little more power by adding a new layer with raw reflection in overlay mode with an opacity of 50%, and also the ambient Occlusion pass in multiply mode, this time to 100%.

该图像是准备得差不多了。 使用彩色的线，我选择的某些元素，我将复制从原来的渲染分别调整因各种原因。 对于木地板的，我给了一点点更多的力量，在水槽下的篮子是非常黑暗的，在浴室里的木制家具都有点不行了。

The image is almost ready. Using the colored wire, I select certain elements that I will copy from the original render to adjust separately for various reasons. For the wood floor I gave a little more strength, the basket under the sink was very dark, and the wooden furniture in the bathroom were a bit washed-out.

为了区分的颜色越深的地方，我创建一个新层，并给了它一个渐变颜色从紫色到橙色调，然后把该层在柔和的灯光模式，不透明度20％。

To differentiate a few more color areas, I created a new layer and gave it a gradient color from purple to an orange tone and then put that layer in to soft light mode opacity 20%.

为了完成添加的边缘，小插件诺尔灯饰厂点，和照片的一些洗过的背景下完成的图片，并得到以下结果闪烁的渐晕效应。

To finish add a vignetting effect at the edges, small flashes with the plugin Knoll Light Factory in spots, and a photo of some washed background to complete the picture and get the following result.

我希望本教程将是有益的。

好棒的教程