Should you heavily edit your renders in Photoshop or just stick to minor edits? But that’s another debate in its own right. There’s also the question of staying true to the medium and/or form. Post-processing comes into play while developing the renders and with it, you can decide what type of mood you want to portray. With this in mind, it’s important to remember the constraints of real cameras and the flexibility of 3D cameras and to balance between the two to try and capture the best elements of both. Immediately, someone will notice the unnatural angle of the light from the flashlight. It’s the same as if your face was lit from below by a flashlight as opposed to natural lighting from the sun. Keeping in mind the physical constraints will lead to better renders I believe. A 3D camera can go anywhere but a human can’t. When capturing something life-sized you have to think about which shots are even possible. For example, capturing architecture has its own standards. It’s important to remember that the differences between fashion or editorial photography still exist in both media. If you’ve done photography, you’ll notice a similarity between the two, not only in the technical aspects like focal length or depth-of-field but also the rules you have to keep in mind. In this step, everything will finally come together and become presentable.ģD rendering is a lot like photography. Rendering in Marmoset is my favorite part of any project. If I were to go with a smaller resolution, I’d increase the intensity of the leather. Because my final renders had 8K textures I kept the leather intensity low. The jacket is not pure black - it’s darkish grey.Ī subtle leather texture will add to the final touches. I added a light brown curvature color to bring a slightly worn look and a secondary color. Jackets are shiny and some roughness that you’ll see as the light hits them from different angles. It’s very easy for things to get visually overbearing and congested. You really just need to layer it initially, I added too much, it became bloated and I had to remove a lot of layers. The leather material is a combination of previous projects and other smart materials. Because ACES reacts closer to film, you can push saturation and light intensity further. It’s a wide gamut color space, more than sRGB. With ACES, I can keep a consistent look from SP to Marmoset. You can get the standard and UE4 profiles from Brian Leleux’s Gumroad. I started texturing with an ACES color profile. There are some fashion patternmaking technique books that are great resources. Since you are often trying to copy a garment from real life, having an accurate pattern reference is useful. Once you start creating in MD, you have to think about seam lines, how the shape of the pattern will affect the draping of the cloth, and so on and so forth. When working on the garments, not only do you simulate the clothes but you also stitch them together. I’ll leave the step-by-step creation aspects to the tutorials since there are a ton of them for ZBrush, Blender, etc. Since I use a pretty standard workflow and pipeline I’ll mainly comment on tips and things that have really helped me on the way. In this project, programs that I thought I knew pretty well were used in different ways than before and I also incorporated new tools like Marvelous Designer. I've wanted to do something with apparel for a long time.
#Marvelous designer vs clo3d pdf#
#Marvelous designer vs clo3d manual#
Sadly this won’t compile a full manual for us: If you need a PDF or Word version of the current page, click on the Tools option at the top right.
Where’s the User Manual?Īt the time of writing, the Marvelous Designer 4 manual is here: The avatar is always in the centre, no matter what is selected.
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