Bunkspeed Pro Suite – First Impressions

Bunkspeed Pro Suite – First Impressions

I recently received my nVidia Quadro 4000, so having installed it, I was supplied with a licensed seat of Bunkspeed Pro Suite. I decided to work with a model I have been working on for a while on and off.

I exported an OBJ via Deep Exploration, and set about importing it in to Pro. Needless to say there were no major issues with that. All the surfaces assigned in Lightwave come through intact, which is essential for assigning shaders in Pro.

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Shaders initially at least is a very simple drag and drop affair from the library directly on to the model in the main view-port. Pro has both an off-line and on-line library for materials, which is an excellent idea. The library covers a vast number of categories, and should be sufficient for a competent start on any subject matter.



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With some nice shaders set-up (by no means perfect, they will need tweaking and adjusting), the camera can be tackled. As you’d expect, you can set your focal length, distance to subject, and where to look at. You can also enable Depth of Field, and set a corresponding f-stop number. The image below shows some settings to replicate a 90mm macro lens.



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While working in Pro, the interactive rendering can be tailored to your workstation spec. Mine is a model Q6600 quad-core with a Quadro4000. This is a set-up that is not geared up to using full-time raytracing only for the interactive view. It’s set to automatically switch to a fast preview showing basic reflections and such, and when the view port is left undisturbed for a second or two, blending in to an iterating raytrace render. It’s a fast and efficient way to work. If you have much higher end CPU and GPU hardware, full-time raytracing would be the way to go.


Final Renders

I proceeded to render this shot of the turntable, which took about 32minutes to render (set to render 2000 passes). I’ve shown the raw render from Pro Suite, and my graded final version.

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First impression is therefore very favourable. The software is intuitive, and the render produces great results. The interactive feedback is excellent. I’ve barely scratched the surface yet, so expect many more updates!

Post Processing / Grading

I recently saw a render posted on the Foundation 3D Forum by Andrew March of my Bugatti Veyron model. It’s by far and away the best render I have seen anyone post who purchased the model. The render was posted in it’s raw form, so straight out of Lightwave. Below you can see the render as posted:

[image_frame style=”framed” align=”left” alt=”Andrew March’s Original Render” title=”Andrew March’s Original Render” height=”200″ width=”620″]http://www.scorpiocgi.co.uk/_old/wp-content/uploads/2011/08/vey_seaside_am.jpg[/image_frame]

I figured this would be a great example for post processing or grading. When I render cars especially, it’s very rare that I keep the render as it came out the oven. I usually grade it in Photoshop. This is a pretty simple process, which I outlined in a tutorial HERE. Below you can see the resulting output. To my eyes realism is enhanced with subtle lens affects, as well as more intense shading and blooming in areas of sunlight on pale surfaces. The general colour cast also helps, though you can use any colour you like depending what atmosphere you wish to create.

[image_frame style=”framed” align=”left” alt=”Render by Andrew March : Graded by Craig A Clark” title=”Render by Andrew March : Graded by Craig A Clark” height=”200″ width=”620″]http://www.scorpiocgi.co.uk/_old/wp-content/uploads/2011/08/vey_seaside.jpg[/image_frame]


The Making of : Embraer Legacy 600


This model was originally created for HooperCGI for a Landor Dubai re-branding project. My brief was to take a very low resolution / low detail model obtained from Turbosquid, and rebuild it to better resemble the real Embraer Legacy 600 aircraft. Therefore the environment which this is rendered in was inspired by the details I knew of their final sequence. My environment was modelled as an extra for my own use. Only the aircraft model was for the specific project. Additionally the livery I have is not the livery that was to be used for the final output.

This ‘making of’ is not intended to be a step by step walk through of how to do it, but more a breakdown of the process and work flow behind the finished renders.


Modelling the Embraer Legacy 600

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First up then we have the model obtained by HooperCGI from Turbosquid which would serve as a template. It’s general proportions were OK, but for the most part it’s just a rubbish model, and clearly needed to be fully rebuilt.




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The rebuild starts by fleshing out the main shape of the fuselage to match the original proportions, which also cross referencing images of the real aircraft. Because the original model was so low detail, it was very vague and inaccurate in some places.




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With the main fuselage shape done, the wings were next, followed by the tail plane. Control surfaces are being modelled in, as at this stage I didn’t know whether they were required for any animation purpose. It later became clear that this wasn’t the case, meaning the degree to which they were modelled could be kept simple.



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With the bulk of the plane filled out, the only large area still missing is obviously the engines.  I would also need to decide whether the windows would be modelled in with a view to being a SubD model, or switched to straight polygons.




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The Engines are now added to the rear of the plane, along with the small foils on the bottom of the fuselage at the rear. The rear of the plane is also given the exhaust type port. The biggest part at this stage however has been to blend the wings, engine pylons, and the tail plane to be joined with the fuselage.



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The original model had the cockpit windows stencilled in, but no passenger windows. Following my usual rule, I opted not to make things more complicated and torturous than need be, so I chose to freeze the SubD model at a level that was appropriate to the project requirement, and then stencil in the windows. You can see I modelled boxes to the relevant sizes for use with the stencil tool.



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After the stencil operation, some tidying up is required, along with tripling of polygons around the windows. Then Vertibevel is used to give some depth of recess to the windows, though not too much. I can’t emphasise enough at this point how useful Vertibevel is, and I recommend any Lightwave user with a genuine license to purchase it.



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The same basic process is followed for the cockpit windows, using a background layer shape to stencil the fuselage. The only difference being that the front facing two windows of the cockpit have a secondary surround which also needed stencilling in.




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A minor amount of stencilling was required on the engines to add the reverse thrust flaps )I think that’s’ what they are for. The fact there was no animation need for control surfaces certainly saved some time!




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A large chunk of the remainder involved adding external details to the aircraft, all of which would help sell the models realism. First up were the beacons built in to the front corner of the wings. This again used the stencil tool to cut in the glass window shape, and then building simple internal geometry (it would never be seen up close).



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Obviously with the aircraft in a hangar, there was a requirement for wheels, so I modelled some reasonably low detail landing gear that would suffice at medium distance rendering, based on the photographs I had.




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One thing aircraft tend to have is a lot of little external details. These come in the form of little tiny fins, foils, aerials, and so on. I picked out as many as I could from the reference photographs I had collected.





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The top of the fuselage has it’s fair share of protrusions, all of which add a little more eye candy to the over all look of the plane.






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I also elected to model a rough interior that would provide a visual cue from a distance, as dark or mirrored windows really didn’t provide a good look. It’s pretty quick and basic, but adequate for the task at hand.




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The livery is the last step of the plane itself, and in this case is a pretty simple two tone colour scheme. The actual HooperCGI project was for Landor Dubai, and their Livery was a very plain and and simple white/ivory and blue, with white being the predominant colour, so I chose to make it a more distinct scheme.


Modelling the Hangar

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The hangar is a purposely simple environment for an aircraft, while still be in context. It is essentially of curse a tube. Which is more, there is no real variation meaning only a small section is required to be modelled. It can then be instanced in layout to make the hangar as long or short as needed.


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There will be lights suspended in the hangar, so box rails are added to the wall sections from which three rows of overhead lights will be mounted.




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Using the same edge profile as was used to lathe the Hangar walls, I made end walls to shut the ends of the hangar. This can then be trimmed down with a boolean operation (more a vanity exercise truth be told, because for the sake of rendering it could be left square!)



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A hole is then cut out, and a very simple frame and door runner assembly made. It has no detail to it at all, because it is merely a background item that only has to imply what it is.




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Again using the same edge profile as the walls, but slightly smaller scale, the sliding door are made as simple rectangular panels. Again there is no actual detail to added beyond their basic shape.




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The last items to be modelled beside a ground plane are the overhead lights. Because they are quite high up and likely to be obscured by blooming effects, they are very simple models indeed, with no significant modelling involved beyond simple representation of fluorescent tubes.



Setting up the Scene in Layout

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The various elements of the hangar are instanced in layout as shown here. It means that the load in layout for the environment is very low, even though for this scene the environment is very low poly anyway.




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The Legacy is now added in to the scene, and as you’ll notice in the scene editor, I have tidied up the scene in terms of parenting main elemental groups to their own nulls. While not essential (and certainly not in a scene this simple), it does make things much easier to navigate and work with. I have also added three large area lights, each one spanning the entire length of the hangar. This gives nice even lighting and smoother results than having individual lights for each suspended ceiling light. With that, our scene is done, shading aside for the hanger. This really consists of very basic white surfaces with minimal reflections. Reflection values for the floor are slightly higher than the walls, and have a reflection shading node to blur reflections by 20%. The uniformity of the floor is also broken up by a slight procedural bump.


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As is the case 99% of the time, my render choice is F-Prime, as it still generally renders better results faster than Lightwave itself, and with no radiosity settings to worry about. This fact alone can save me a lot of time, as there is little help in Newtek’s documentation to fully explain all the parameters and what they do!


[note_box]NOTE : One word of caution though is that I find in Lightwave 10, for memory intensive rendering, often times F-Prime will start to render the interactive preview, but if you stop it or change settings, it becomes unresponsive an ultimately requires Layout being killed. This problem does not exist in Lightwave 9.6 however, so all is not lost.[/note_box]


The Final Renders

Final renders, graded in the same manner as detailed in my Grading your Renders tutorial.

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Grading your Renders


The holy grail of pretty well any CGI endeavour is realism. We all want those who view our work to believe on some level that it is real. CGI is notoriously perfect, and great effort is made to try and minimise the perfection that CGI brings. Much can be attained in terms of texturing and taking away the geometric perfection. One area however that sits uncomfortably in the middle is automotive rendering. Now of course you could create an old and battered vehicle, and texture it accordingly. Usually however, cars are rendered to be uncompromisingly beautiful. It is after all where the term ‘Car Porn’ comes from.

This then leaves the post processing or grading to attempt to add realism. This realism is added closer to the viewer. It is not the subject or it’s geometry, but the CAMERA.


Step 1 : Starting Point

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For this tutorial I am using my Lotus Exige model, created with Lightwave 3D, and rendered in this instance with Hypershot HD (now known as Keyshot). It’s a pretty nice render over all, but it does seem to clinical and dead.




Step 2 : Optical Imperfection

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The first step is one of the most important. Camera lenses will generally suffer from Chromatic Aberrations. This is where the light colours separate slightly quite distinctly, as it does when passed through a glass prism. Photoshop includes a filter called Lens Correction, which amongst other things includes sliders to remove colour fringing caused by Chromatic Aberration. We are doing the opposite, and we use the sliders to fake the effect. To some degree it will be trial and error to get the level and look of effect you want.


[note_box]TIP : You can record actions to make the process automated (see the action for download at the end of this tutorial).[/note_box]


Step 3 : Boost your Highlights

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Duplicate the background layer, and apply a Gaussian Blur to it. I find that 5-10px works best, but as with most things, you need to experiment to find your desired look. Typically you need to stay in the mid ground between the finished effect for this layer looking harsh, or to dreamy and ethereal.



Step 4 : Colour Dodge

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Now set the layer mode to Colour Dodge, and the opacity to 35%. This will have the effect of brightening the render, but more importantly, slightly burning out the really bright highlights. The blur we added previously help soften and bloom the effect just a little.



Step 5 : Bring the Noise

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Now add a new layer via the Layer menu, and set the layer mode to Multiply. Also make sure yo tick the box to specify that the layer will be filled with a multiply neutral colour. We need this ticked because noise cannot be applied to an empty layer, and the neutral colour will be invisible (neutral white in this case).



Step 6 : Add and Adjust

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Apply the Noise Filter with a value of 4% Gaussian Monochromatic. This is my preferred setting, but you can experiment with different values. These settings for me seem quite subtle, but some people seem far less keen on noise being added. The advantage of adding it in a separate layer is that you can use the layer opacity to fine tune the visibility of the noise.



Step 7 : Colour Tint

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Now add a Solid Colour adjustment layer, selecting your tint colour, and setting the layer mode to Colour. An opacity of around 30% avoids overpowering the colours, but each render can vary of course.

Adding a tint to the render really transforms it. As with aberrations, it removes the perfect colours which our eye might not expect to see through a camera. It also affords you a chance to change the mood of your render by cooling it down or warming it up. I typically favour a slight green tint, almost as you’d get from some fluorescent lighting, however a warmer orange can enhance the lighting of the sun. My example with the Exige can be greatly varied in this way.



Step 8 : Vignette

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Now add a new layer via the layers menu, and select the mode as Overlay, and as we did with the noise layer, tick the box to have the layer filled with an overlay neutral colour. This will allow us to fine tune the strength of our vignette.




Step 9 : Lens Correction Again

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Apply the Lens Correction filter, ignoring all settings other than setting the Vignette Amount to -100% and leaving the Centre value alone, as we don’t want the vignette to be off centre.





Step 10 : Almost Done!

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I like to do wide screen renders, and you can create a much more cinematic effect by making your canvas standard HDTV resolution, in this case 1920×1080. This has the effect of giving us the familiar letterbox black bars, emphasising the wide aspect ratio of the render.




The Finished & Graded Render

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The completed render, looking just that little bit more convincing than the straight render. Of course what we are doing is exaggerating somewhat the optical deficiencies of our camera so as to make them a little more obvious, in much the same way that often small details such as panel shut lines on large ships need to be slight bigger than they would be in reality, to make sure the viewer sees them.

[download_box]Grab the Photoshop Action HERE[/download_box]


Car Set-up & Rendering Tutorial


I have covered topics of modelling wheels and tyres for cars, as well as grading renders. it seemed fitting therefore to also cover a quick mini-tutorial for setting up rendering of cars. The setting for car renders is highly subjective, and many people favour outdoor locations using HDRI maps for the lighting and environment. They certainly have their place, there is no denying, however I find the simplicity of a completely neutral environment hard to beat. It offers no distraction from the main subject, and shows the lines and beauty of the car like few other environments can.

So this then is how I do mine, producing clean renders in colour neutral settings. Of course the effective environment colour is yours to choose, white is just my preference.

Some Super Simple Modelling

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First things first is the unseen environment. In modelling terms, it doesn’t get much simpler. I made a large box structure, which truth be told needn’t be more than an actual box. I modelled mine curved, but for this rendering set-up, it actually doesn’t need to be. This initial outer box is the black void seen in reflections, and as such it’s surface attributes should be set as R:0 G:0 B:0 for colour and 0% for diffuse. Within this outer black box, I have added three rectangular panels, all the same lengths, but slightly varied widths. Their normals are pointing toward the 0,0,0 world centre. These panels will provide the white areas for reflections in the paint and on glass, but will also provide light. Surface attributes as a good starting point are colour R:255 G:255 G:255, diffuse 0%, and luminosity of 275%.


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The last modelling task is the ground. For this I create a plane which gently curves up in the background. This is a good generic ground that can be used outside of this type of scene set-up, as the ground also provides a backdrop. For this render the ground has colour set to R:140 G:140 B:140, diffuse of 100% and no specular or reflections.


Into Layout

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In order to give a little flexibility for tweaking post render, set the light panels and ground objects to be excluded from the alpha channel. Under object properties, make sure it says that the alpha channel in Unaffected by Object. This will ensure the alpha channel will only have the car in it. The other options can all remain as default.



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For the outer black box, untick the Cast Shadow, Self Shadow, and Receive Shadow. Make sure you tick Unseen by Camera and Unaffected by Fog. This means that the black box never directly shows up in view of the camera, and unaffected by fog means it will always be fully visible to reflections (otherwise all reflections would be white).



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With your car loaded in, we need to set fog as enabled. I always use the realistic mode, but for this purpose it really doesn’t make a vast difference. The fog is simply serving the purpose of blending the background and ground in to a unified background. To this end, ensure you have Use Background Colour ticked, and set the background colour in the scene to R:239 G:239 B:239.



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So what we now need to do is get or fog set right. You need to adjust the fog to kick in just beyond the boundary of the farthest most visible scene element. If you have the OpenGL set to show fog, you can see the fog clipping the car in the viewport. F-Prime or VPR will of course show the same thing rendered.



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Here the fog is now just beyond the far corner of the car. With the minimum and maximum distances almost the same, the fog creates a very distinct curtain, but you can expand the gap between them to create a more gradual blend should you wish some visible ground evidence behind the car.



The Finished Render

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The finished render which has also been graded. Read HERE to find out how.

Using Sliders in Lightwave


Sliders are a great tool in Lightwave for simple rigging tasks. They can be used for many applications, though for me, it usually involves simple rigs for vehicles. By using them in conjunction with Cyclist to control physical components of the car including steering, doors, wings, and also simple suspension moves, it enables you to quickly pose a car for a rendered still (or animation). They are fully key-framed, making them very powerful.

This mini-tutorial shows you the basics of how to set-up sliders for a vehicle, in this case the Bugatti Veyron.


[image_frame style=”framed” align=”left” height=”182″ width=”300″]http://www.scorpiocgi.co.uk/_old/wp-content/uploads/2011/06/sliders_01.jpg[/image_frame]
First quick task is to add a null for each element that we intend to animate and rig with sliders. Typically you would have steering and doors at the very least. The Veyron has some extras for it’s articulated wings. I am also going to add some nulls to control suspension in terms of the tail squat and nose diving, along with basic body roll. As I say, for full blown animation, you’d have proper automatic rigs, but for rendered stills these work great. All of these nulls can be left at world zero, as they are controlled via sliders once we are done, and are fine to be kept out of the way. Don’t worry if you miss one, you can add them at any time.


[image_frame style=”framed” align=”left” height=”182″ width=”300″]http://www.scorpiocgi.co.uk/_old/wp-content/uploads/2011/06/sliders_02.jpg[/image_frame]
The steering wheel generally required special consideration. It doesn’t sit flat on any one axis usually (unless you orientate it as such in modeller), so we need to add a null rotated to effectively sit flat on top of the steering column, and then parent the steering wheel to it. this will allow the steering wheel to rotate correctly.



[image_frame style=”framed” align=”left” height=”182″ width=”300″]http://www.scorpiocgi.co.uk/_old/wp-content/uploads/2011/06/sliders_03.jpg[/image_frame]
As mantioned in the introduction, we use Cyclist with Sliders. This means that for the main rear wing lift, we first keyframe the animation from the down position at frame 0, to lifted at frame 60 (you can use whatever end frame number you want).




[image_frame style=”framed” align=”left” height=”182″ width=”300″]http://www.scorpiocgi.co.uk/_old/wp-content/uploads/2011/06/sliders_04.jpg[/image_frame]
We now have the motion of the rear wing lift animated. Cyclist works by effectively playing back animation based on input from a control null. Open the Motion Modifier settings for the component, and apply Cyclist.




[image_frame style=”framed” align=”left” height=”182″ width=”300″]http://www.scorpiocgi.co.uk/_old/wp-content/uploads/2011/06/sliders_04b.jpg[/image_frame]
In the Cyclist settings we specify which of our nulls will provide the input, as well as the start and end frame numbers for the animation range we want to use. You also specify the range of the control input, so 0 – 90° for example makes fine control easier than 0 – 30°. You will find the animation no longer works in layout when you scrub the time-line.



[image_frame style=”framed” align=”left” height=”182″ width=”300″]http://www.scorpiocgi.co.uk/_old/wp-content/uploads/2011/06/sliders_06.jpg[/image_frame]
For the doors also create an end key-frame with the door fully open. I haven’t any idea what angle car doors open to, I just use an angle that looks good. Do the same for the other door as well.





[image_frame style=”framed” align=”left” height=”182″ width=”300″]http://www.scorpiocgi.co.uk/_old/wp-content/uploads/2011/06/sliders_07.jpg[/image_frame]
Once again, we add Cyclist, using frame 0 through to 30, and control range 0 through to 90° of Heading on the Door Left control null we added earlier. Door movement is no tied to the Door Left control null and it’s heading rotation.




[image_frame style=”framed” align=”left” height=”182″ width=”300″]http://www.scorpiocgi.co.uk/_old/wp-content/uploads/2011/06/sliders_09a.jpg[/image_frame]
I have set o to 90° as the rotational limits in the motion options for the null, and now when we rotate the null through that range, the door opens!





[image_frame style=”framed” align=”left” height=”182″ width=”300″]http://www.scorpiocgi.co.uk/_old/wp-content/uploads/2011/06/sliders_11.jpg[/image_frame]
Steering wheel is next. The wheel is parented to it’s null, and I animated this null to be banked at -170° at frame 0, 0° at frame 30, and 170° at frame 60. This gives the full left to right steering wheel rotation lock to lock. It is then linked to the steering control null with Cyclist using a control range of -90° to 90°. Frame range is the 60 frames that our lock to lock animation uses.


[image_frame style=”framed” align=”left” height=”182″ width=”300″]http://www.scorpiocgi.co.uk/_old/wp-content/uploads/2011/06/sliders_12.jpg[/image_frame]
Next we have the nulls that control the car nose diving and tail squatting. The nose diving null is located centrally between the rear wheels, and parented to it is the tail squat null. This null is located centrally between the front wheels. Started with the nose dive null at the rear, add a slight pitch of around -1° or -2°.



[image_frame style=”framed” align=”left” height=”182″ width=”300″]http://www.scorpiocgi.co.uk/_old/wp-content/uploads/2011/06/sliders_13.jpg[/image_frame]
Once again we link this to it’s control null with Cyclist, matching the frame range to that in the previous step, and specifying the range of movement for the control null (you’ll notice it’s normally based around a 90° range).




[image_frame style=”framed” align=”left” height=”182″ width=”300″]http://www.scorpiocgi.co.uk/_old/wp-content/uploads/2011/06/sliders_14.jpg[/image_frame]
Finally we have a null for body roll, which your nose dive null should be parented too (look at the scene editor in the example). As long as you make sure you have Parent in Place enabled in Layout, you can shuffle things around in your scene hierarchy without too much bother. As you see, I have animated body roll bank from -2° through to 2° and key-framed 0° midway.


[image_frame style=”framed” align=”left” height=”182″ width=”300″]http://www.scorpiocgi.co.uk/_old/wp-content/uploads/2011/06/sliders_15.jpg[/image_frame]
Cyclist is added in just the same way to the body roll null. We now have the ability to dip the front and rear of the car (indeed we can lower the car by adjusting both simultaneously). In addition we can roll the car body slightly either direction.




Add the Sliders

[image_frame style=”framed” align=”left” height=”182″ width=”300″]http://www.scorpiocgi.co.uk/_old/wp-content/uploads/2011/06/sliders_16.jpg[/image_frame]
Selecting your master car null (to which ALL vehicle related items are parented), open the properties palette, and choose Sliders from the Custom Object drop down menu. Then double click Sliders in the Custom Object List. You’ll be presented with the Sliders configuration, with a list of all scene items in the left side. Each item can be expended to show available channels such as X, Y, Z, H, P, and B etc..


[image_frame style=”framed” align=”left” height=”182″ width=”300″]http://www.scorpiocgi.co.uk/_old/wp-content/uploads/2011/06/sliders_17.jpg[/image_frame]
Find each of your control nulls, expand the channel for each and double click the channel you used for the Cyclist Control. Make sure the start and finish angle matches your Cyclist setting, and give it a custom label if you wish. Each slider will be assigned a different colour automatically, and you can override this if you want. You’ll see your floating list of Sliders grow as you add each one.


Using the Sliders

Using sliders is a breeze. When you want to make an adjustment, either hit your sliders hotkey, or go to the modify menu and select Sliders. You’ll notice that the Slider changes from a dotted line to a solid line. This shows you they are active. Then simply slide them and see your car components move.

A key-frame will be automatically created on any slider you move. If you hit the E envelope button, you’ll bring up a graph editor where you can adjust key-frames for any slider, and all the usual graph editor functions.

The four way arrow icon will let you drag the slider around the viewport (only when sliders are active), and the left/right arrow button allows you to stretch the width of the sliders on screen which can aid fine tuning (again only when sliders are active). You also have a single down arrow head which collapses and expands the sliders to de-clutter the screen.

[image_frame style=”framed” align=”left” height=”182″ width=”300″]http://www.scorpiocgi.co.uk/_old/wp-content/uploads/2011/06/sliders_20.jpg[/image_frame]
So this is the car with all the sliders added, and all left at zero with the exception of the rear wings which are in the deployed position.





[image_frame style=”framed” align=”left” height=”182″ width=”300″]http://www.scorpiocgi.co.uk/_old/wp-content/uploads/2011/06/sliders_21.jpg[/image_frame]
Now we have turned the steering hard right, dipped the nose of the car down slightly, and added some body roll. You can see the sliders that have been adjusted for this, and how simple it is.


Ray Depth / Ray Bounce / Ray Recursion Limit


It’s a common parameter in most if not all software that is capable of raytracing, and a common consideration in minimising the rendering time of scenes. When you raytrace a scene, the software fires a set number of rays for calculating the light per pixel of your rendered scene. When a ray reaches the surface of an object, the natural behavour is for that light to bounce on to the next surface, and the next, and so on. In the natural world this happens all around us, and of course nothing is needing to be calculated to achieve it. It just happens. When 3D software simulates this, it is desirable to do this the least number of times possible while achieving the result you are aiming for. This is your Ray Depth or Ray recursion Limit. We can tell the software how many consecutive bounces to calculate for each ray before stopping.


For scenes containing little or no reflective and/or refractive materials, the limit can be kept quite low, 4 would suffice, maybe even lower. If you have glass or gem stones, metals such as chrome or gold, then the Ray Depth becomes much more critical.

[fancy_images width=”95″ height=”95″]
[image title=”0 Ray Bounces” alt=”0 Ray Bounces”]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Demo_01.jpg[/image]
[image title=”1 Ray Bounces” alt=”1 Ray Bounces]”http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Demo_02.jpg[/image]
[image title=”2 Ray Bounces” alt=”2 Ray Bounces”]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Demo_03.jpg[/image]
[image title=”3 Ray Bounces” alt=”3 Ray Bounces”]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Demo_04.jpg[/image]
[image title=”4 Ray Bounces” alt=”4 Ray Bounces”]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Demo_05.jpg[/image]
[image title=”5 Ray Bounces” alt=”5 Ray Bounces”]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Demo_06.jpg[/image]
[image title=”6 Ray Bounces” alt=”6 Ray Bounces”]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Demo_07.jpg[/image]
[image title=”8 Ray Bounces” alt=”8 Ray Bounces”]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Demo_08.jpg[/image]
[image title=”16 Ray Bounces” alt=”16 Ray Bounces”]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Demo_09.jpg[/image]
[image title=”16 Ray Bounces + Indirect Ground Illumination” alt=”16 Ray Bounces + Indirect Ground Illumination”]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Demo_10.jpg[/image]

Looking at each image in turn, not surprisingly, calculating zero bounces means the objects in the scene effectively receive no light, and therefore render as black silhouettes. The first seven images have an extra ray bounce each time, so more detail is revealed in the reflections and refractions as each calculated ray can travel further through the scene. Images eight and nine have eight and sixteen bounces respectively, which even in this scene yields some gains, but not very much. Compared to six bounces eight does give a good benefit, but beyond eight the gains are minimal.

The final render just highlights the worth of Indirect Ground Illumination (also termed commonly as Caustics) when using reflective or refractive materials.

Although these examples are rendered with Keyshot the same principles apply with any software.

Importing models into Luxion Keyshot 3.0


In this article, I’m going to look at the process of taking a model in to Keyshot 3.0 (though the same process applies to previous version of Keyshot and Hypershot). They key stages involved are:

  • Preparing the model in your modelling software
  • Importing in to Keyshot
  • Composing your model/components within Keyshot
  • Applying materials to your model
  • Selecting the environment for your scene
  • Setting up the camera(s) for your scene
  • Rendering your scene

This is not to say that what I do is the definitive ‘how to’. Other folks may have a slightly or totally different approach, but how I do it works, and will give you an idea of what’s involved, and how to get started. As you progress with Keyshot, you may find you do things differently. If you think its worth other people knowing, do drop me a line and let me know.

Exporting your model

The first step is to look at exporting your model to bring in to Keyshot. I personally use Newtek Lightwave 3D for my modelling work, and so for exporting, OBJ is the best option. It will preserve my assigned surface names, as well as UV sets and texture map references. Although Lightwave exports OBJ files, I have for a long time preferred to use Deep Exploration from Right Hemisphere for that job.

To prepare model for export, a couple of primary factors will decide how you approach it;

How much ram does your workstation have?

How close do I anticipate getting to the model?

One prudent approach (and really should apply regardless of the above points) is to export your model as pieces or groups of the model that are close in proximity and/or visibility. This will allow you to easily export at a lower geometry density for those parts seen less readily in you render, and even to exclude them from the scene completely. Which is more; you could have high and low density versions which could allow for an unexpected close quarters render further down the line.

In Lightwave I freeze the subdivided geometry, and then look at key areas where there are lots of polygons that will be unseen, and band glue these to single rows. It shows how much geometry is processed in Lightwave when rendering subdivision geometry that is unnecessary.

The model I am using is a version of my trusty Bugatti Veyron, and it serves well to illustrate the geometry density points. With that in mind the model is separated up thus;

  1. Main vehicle including all body panels, belly pan, spoilers & diffusers, headlights, taillights, mirrors, and windows.
  2. Upper visible area of engine
  3. Interior including seats, steering wheel, roll cage, and other miscellaneous details.
  4. Wheels including brake callipers and discs.

The exterior I will generally export pretty high density, so I know there should be no major issues for 90% of likely renders. The engine can be removed for a significant number of renders, or a switch made for low and high density versions. The interior medium level, as I never had the intention of showing big close-ups of the interior, but it’s sufficient for an open door or window. The wheels are exported in line with the exterior of the car, but the brake components are lower density as they are only seen through the spokes of the wheels. By keeping them separated, I can relatively easily exchange them for entirely different models.

[image_frame style=”framed” align=”left” title=”Model in normal Lightwave Subdivision mode” height=”125″ width=”120″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_1.jpg[/image_frame]
[image_frame style=”framed” align=”left” title=”Model in Frozen at Subdivision Level 4″ height=”125″ width=”120″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_2.jpg[/image_frame]
[image_frame style=”framed” align=”left” title=”Bandglueing rows of polygons that are not required” height=”125″ width=”120″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_4.jpg[/image_frame]
[image_frame style=”framed” align=”left” title=”Interior frozen at a lower level than exterior” height=”125″ width=”120″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_5.jpg[/image_frame]

One final consideration and one that I fall foul of more often than I’d like; is the model FINISHED?! Sounds daft, but Keyshot is a one way journey. If you get your model in to Keyshot, get all your shaders applied, and then find you want to change or add things, the model can’t be pulled back in to your software. It means exporting the model again and re-importing, or at best importing a new model with additional geometry. Tweaking the model itself isn’t possible, so you need to be as certain as you can be that the geometry is finalised.

Importing your model

[image_frame style=”framed” align=”left” title=”Import Options” height=”125″ width=”125″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_6.jpg[/image_frame]

When you import, you’ll be asked to set a few parameters for the process, starting with ‘centre geometry’ and ‘snap to ground’. The former will position the imported geometry in the centre of your scene space, which for a multipart model is not desirable. We require the parts to import and keep the relative positions. The latter is optional, and will simply rest the geometry on the ground, however we can do this is a single click operation at any stage.

More important is specifying which axis represents up. Lightwave uses the Y axis as up, but this could vary depending on your software and OBJ export settings. If your model comes in to Keyshot tipped over on any axis, you can correct this afterward, but this could save you a little work.

[image_frame style=”framed” align=”left” title=”Normal Render Mode” height=”125″ width=”125″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_7.jpg[/image_frame]
[image_frame style=”framed” align=”left” title=”Performance Render Mode” height=”125″ width=”125″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_8.jpg[/image_frame]

At this point I typically switch to performance mode by pressing ALT+P, which switches off raytracing shadows, full reflections, and refractions. If your work station is powerful enough, you’ll never need to do this, but my Quad Core machine is pretty modest, and so it helps me out.

[image_frame style=”framed” align=”left” title=”Second model imported” height=”125″ width=”125″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_9.jpg[/image_frame]
As you import your second item, you’ll get similar options to the first time, but make sure this time that ‘add to scene’ is checked, and that coordinates is set to ‘from previous import’. Nothing else needs to be checked. We should then find everything imports in the correct position relative to everything else.


Useful Information before Proceeding

Before doing too much else let’s take a quick look at the main interface elements we will be using. The main two area of interaction are the Project and Library windows. Expand each section below for an overview.

[toggle_framed title=”Project Window” variation=”orange”]

Project Window

[image_frame style=”framed” align=”left” title=”Project Scene Tab” height=”125″ width=”125″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_17.jpg[/image_frame]
The scene tab is the first element here, and gives you a scene tree of all your imported models and components, along with the material that has been applied to each component.  The default section at the bottom shows translation, rotation, and scale information is also shown for the current model. Three buttons are also present; the first for snapping to ground, meaning the model will be rested exactly at ground level. Centre will move the object to a central position in the horizontal axis, while reset moves the object centrally back to world zero. The materials section displays all the materials in use for the model, and the animation section we will look at a later time.


[image_frame style=”framed” align=”left” title=”Project Material Tab” height=”125″ width=”125″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_18.jpg[/image_frame]
The material tab is where the settings for specific materials are available. This includes type specific adjustments under properties; texture mapping details under textures, and labels is where individual decals/labels can be placed on your models. This will be looked at more closely at a later time.


[image_frame style=”framed” align=”left” title=”Project Environment Tab” height=”125″ width=”125″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_19.jpg[/image_frame]
The fastest way to set up a scene will often be using one of the included HDRI environment maps, and the environment tab contains all the controls for adjusting the values and visibility of your environment map. Additionally you can choose to show ground reflections here too.


[image_frame style=”framed” align=”left” title=”Project Camera Tab” height=”125″ width=”125″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_20.jpg[/image_frame]
The camera tab contains all the settings for the camera(s) in your scene. This includes numerous settings that will be familiar to anyone with an understanding of photography. You can also safeguard your camera set-up details by locking the camera from being moved or completely locked including settings.


[image_frame style=”framed” align=”left” title=”Project Settings Tab” height=”125″ width=”125″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_21.jpg[/image_frame]
The last tab is settings. This controls the overall settings for the real-time renderer. The first settings are for resolution, brightness, and gamma. Underneath these are the quality settings. The performance / quality selector is the same setting toggled by ALT+P. The advanced section allows you to set Ray Bounces, which controls how deep reflections and refractions are traced In the case of glass objects, this can greatly affect realism, but also render times. More bounces take more time. Same applies with shadow quality, only increase it where needed in order to keep rendering more streamlined. The off-line render mode uses its own settings; this is just for the real-time render window.
Detailed Shadows enables more refined shadows in small detail areas of your model, which may or may not add to the final product. If not, this could save some time, particularly rendering animations.
[image_frame style=”framed” align=”left” title=”Indirect Illumination turned off” height=”125″ width=”125″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_22.jpg[/image_frame]
[image_frame style=”framed” align=”left” title=”Indirect Illumination turned on” height=”125″ width=”125″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_23.jpg[/image_frame]
Detailed Indirect Illumination and Ground Indirect Illumination enable light to be bounced from one surface on to another (and hence colour) within the geometry of your object, and on to the ground.


Effects allow you to bloom highlights and add a vignette. Personally I prefer to do this afterwards, but the option is there to make it a one hot process with the rendering.


[toggle_framed title=”Library Window” variation=”orange”]

Library Window

[image_frame style=”framed” align=”left” title=”Library Materials Tab” height=”125″ width=”125″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_24.jpg[/image_frame]
First tab here is the all-important materials library. The upper area is a folder tree categorising your materials for easy reference. The lower shows the familiar ball render preview of each material.



[image_frame style=”framed” align=”left” title=”Library Environments Tab” height=”125″ width=”125″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_25.jpg[/image_frame]
The Environments tab contains an organised library of HDRI images for quick and easy scene lighting.




[image_frame style=”framed” align=”left” title=”Library Backplates Tab” height=”125″ width=”125″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_26.jpg[/image_frame]
Backplates shows you all the photograph backplates in the library, organised in folders so you can easy associate them to their companion HDRI’s.



[image_frame style=”framed” align=”left” title=”Library Textures Tab” height=”125″ width=”125″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_27.jpg[/image_frame]
The textures tab show your library of maps used in the various material presets, and available to add to your own.




[image_frame style=”framed” align=”left” title=”Library Renders Tab” height=”125″ width=”125″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_28.jpg[/image_frame]
Rendering is the content of the folder specified for Keyshot renders. Any screenshots you save will be in here, along with final renders when completed.


Composing your model / components in Keyshot

[image_frame style=”framed” align=”left” title=”Some key colours changed to assist aligning elements.” height=”125″ width=”125″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_11.jpg[/image_frame]
The way my models are created in Lightwave means two things. One is that the wheels import into Keyshot located at 0,0,0 and that much of the model is totally black (due to the surface attributes being carried through in the OBJ). The colour issue not serious but makes positioning things tricky unless you assign a new colour first. Worth remembering! In this screen shot you can see the wheels being aligned. This achieved by simply selecting the root scene node for the model.

[image_frame style=”framed” align=”left” title=”Using the Top view camera as orthographic to position wheels” height=”125″ width=”125″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_12.jpg[/image_frame]
[image_frame style=”framed” align=”left” title=”Back wheel in place, on to the next” height=”125″ width=”125″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_13.jpg[/image_frame]
Using the numeric translation fields, the wheels are easy to shuffle in to position one by one. You can set the cameras to be preset left, right, top, bottom, front, and rear for this, making sure you set the camera to be orthographic rather than perspective.


[image_frame style=”framed” align=”left” title=”Everything imported, in position, and ready for materials to be added.” height=”125″ width=”125″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_14.jpg[/image_frame]
The model then is imported, looking good, and is just gagging for some cool materials. At this stage I tend to keep it in performance mode for speedier response, as once the materials are applied, it’ll be a little heavier going.



[image_frame style=”framed” align=”left” title=”Materials are simply dragged and dropped to the model” height=”125″ width=”125″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_15.jpg[/image_frame]
Adding materials is a simple drag and drop affair. Open the library window, browse your materials, and drag them on the model. They appear straight away and begin rendering. In this shot I have hidden the models I am not shading by un-checking them in the Scene Tree in the Project window.



[image_frame style=”framed” align=”left” title=”Lots of materials in place” height=”125″ width=”125″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_16.jpg[/image_frame]
We can see lots of materials in place. Use the scene tree to hide parts to give you access to the ones behind (or right click on the model and hide the part). Some textures like the chrome grill mesh default to using UV coordinates, but if you don’t have UVs you can switch to planar, box, cylindrical, and spherical mapping. Then just scale the textures to match. If you make sure that the textures for specularity, bump etc.. have sync checked, they will scale to match the colour map.


[image_frame style=”framed” title=”All the materials are set, just positioning the camera. Performance made makes it a bit quicker on modest workstations!” height=”125″ width=”125″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_291.jpg[/image_frame][image_frame style=”framed” title=”Materials? Check. Camera? Check. ENvironment? Check. Back to Quality mode to see how it looks. Shweet!” height=”125″ width=”125″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_30.jpg[/image_frame]
With our model fully kitted out in materials, all we need to do is compose our render by configuring and positioning our camera, and drag the environment of our choice in to the render window to set our HDRI map (or change it). Backplates can be added the same way, it’s drag and drop pretty much all the way.

Final Rendering

For many applications such as email and web use, the resolution available through the on-screen real-time renderer is sufficient, however for print and so on much higher resolutions are required. This is where the off line renderer comes in. With the off-line renderer you have a set of paramters that you can set before you hit the go button!

[image_frame style=”framed” align=”left” title=”Render Output Settings” height=”125″ width=”125″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_31.jpg[/image_frame]
Settings cover the output directory and output format, along with resolution and DPI. You can also specifiy rendering to take place in the background, potentially making the workstation more usable.



[image_frame style=”framed” align=”left” title=”Render Quality Settings” height=”125″ width=”125″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_32.jpg[/image_frame]
[image_frame style=”framed” align=”left” title=”Render Quality Settings” height=”125″ width=”125″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_33.jpg[/image_frame]
[image_frame style=”framed” align=”left” title=”Render Quality Settings” height=”125″ width=”125″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_34.jpg[/image_frame]
You next have three subsets for configuring the quality of the rendering. You can firstly specify a defined render duration. Secondly you can specify the sampling level controlling the number of rays per pixel used to evaluate the scene. Thirdly you can control the quality levels of anti-aliasing, shadows, global illumination, depth of field, as well as ray depth levels. Pixel Filter size controls the over all edge sharpness for seating rendered content in to specific backplates.

[image_frame style=”framed” align=”left” title=”Render Queue ” height=”125″ width=”125″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_35.jpg[/image_frame]
Rendering multiple jobs is no problem. You can configure your final render settings and then simply add it to your queue, and then later set off your jobs. Great for maximising the use of rendering time.



[image_frame style=”framed” align=”left” title=”Render Region” height=”125″ width=”125″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/Clip_36.jpg[/image_frame]
Our last option is to render a specific region of our frame. We may have made a slight tweak, and rather than wait for the entire frame, we can isolate the area where our changes will be seen.



All systems GO!

With all the preceding steps completed, we’re ready to go, and sit back and wait for our render to complete!

[image_frame style=”framed” align=”center” title=”Awesome!” height=”349″ width=”620″]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/VeyronGT1.jpg[/image_frame]



Bunkspeed Pro Suite and the Veyron GT

I have had some time to get back to Bunkspeed’s Pro Suite, and thought I would write up a little about it. I recently showed some examples of materials in Luxion’s Keyshot, so here is a similar example for some of the materials included in the Pro library. One key difference to point out is that Bunkspeed Pro has a two system library. It uses an on-line library which Bunkspeed will update with new materials, and a local library (you can switch between on-line and local, or just local). If you select a material from the on-line library, it is downloaded and saved to the local library, so things are quicker as time goes by owing to your local library being stocked from on-line. Here are a few examples:

[fancy_images width=”175″ height=”175″]

Getting the Veyron in to Pro Suite has been more of a challenge than I expected. My system really creaked with the same OBJs I used for Keyshot. I had to export at a lower subdivision level for Bunkspeed Pro, because in using the GPU it has less ram than the main system Ram I believe. The end result is very similar with the exception of having to keep the camera a little more distant to make sure segmentation isn’t easily visible.

I have an nVidia Quadro 400 which is around the £800 level for cost just for the display card, and it is really entry level for what Bunkspeed Pro really needs to work well.

[fancy_images width=”285″ height=”200″]
[image title=”Veyron GT in Bunkspeed Pro Suite”]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/bunkspeed_pro_veyron.jpg[/image]
[image title=”Veyron GT in Bunkspeed Pro Suite”]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/bunkspeed_pro_veyron_0021.jpg[/image]

The first screen shot above shows the initial import in preview mode, simply to make it usable. Even in preview mode you get a good preview of basic shaders and reflection. You don’t get any AA, shadows, or refractions. For heavy scenes it’s great though. The second screen shot shows the real-time preview render working easily with a much reduced model (notice the polygon count has dropped from just under 7 million triangles to under 2.5 million).

The render below was funny, because before heading out for the evening, I set-up this render using the sun & sky environment (created real world sunlight environment based on a specified location, date, and time) intending it to render for 3 hours, but in my haste it was set for 3 minutes. For 3 minutes at what was 1080HD it’s pretty good!

[fancy_images width=”600″ height=”250″]
[image title=”Veyron GT in Bunkspeed Pro Suite”]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/BugattuVeyronGT2-1.jpg[/image]

Keyshot Material Goodness

Having put up a little render of my Veyron in Keyshot, I thought I might just put up a few examples of the materials that are included as standard, so you can see just how powerful and FAST the software is. Sure the rendering is blindingly fast, but that’s only half the story. It’s the work-flow that gets you to the point of rendering that combines to make it as impressive as it is.

[fancy_images width=”175″ height=”175″]
[image title=”Flat Ambient Occlusion Style”]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/keyshot_bal_01.jpg[/image]
[image title=”Lightly Frosted Glass and 24 Carrat Gold”]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/keyshot_bal_02.jpg[/image]
[image title=”Cubbed Red Glass and Light Satin Nickel”]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/keyshot_bal_03.jpg[/image]
[image title=”Crystal and Grey Marble”]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/keyshot_bal_04.jpg[/image]
[image title=”Light Oak and Polished Oak”]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/keyshot_bal_05.jpg[/image]
[image title=”Perferated Grey Leather and Tyre Rubber”]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/keyshot_bal_06.jpg[/image]
[image title=”Potato Sack and Translucent Plastic”]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/keyshot_bal_07.jpg[/image]
[image title=”Carbon Fibre and Soft Touch Blue Plastic”]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/keyshot_bal_08.jpg[/image]
[image title=”Thin Film Soap Bubble”]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/keyshot_bal_09.jpg[/image]
[image title=”Metallic Black Paint and Metallic Red Paint”]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/keyshot_ball.13.jpg[/image]
[image title=”Chardonnay and Cobble Stones”]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/keyshot_ball.14.jpg[/image]
[image title=”Aquamarine and Brass”]http://www.scorpiocgi.co.uk/wp-content/uploads/2012/01/keyshot_ball.17.jpg[/image]

Materials are a simple drag and drop from the library to the model in the main window, and all the materials are editable and can be re saved to the library with your own tweaks made.