시네마 4D용 퀵셀 브리지 설치 및 사용법

데릭 커크는 놀라운 환경 렌더링을 위해 퀵셀과 Cinema 4D의 통합을 간소화했습니다.

### 시네마 4D용 퀵셀 설치 및 사용: 종합 가이드
* 👋 Affron의 데릭 커크가 Quickle 설치 및 사용 튜토리얼을 소개하며, 특히 소프트웨어의 멋진 에셋을 활용하는 **"정말 멋진 렌더링 경품" 장면**에 대해 설명합니다.
* 🛠 설치 과정은 간단하지 않습니다. 사용자는 **Cinema 4D용 Bridge 플러그인**을 다운로드하고 **무료 에픽게임즈 계정을 생성**하여 액세스해야 합니다.
* 💵 구독 요금제가 있지만 개인용 Quixel은 무료이지만 상업용으로 사용하려면 **월 20달러의 요금**이 필요하므로 고객에게는 그만한 가치가 있을 수 있습니다.
* 📥 필요한 플러그인을 다운로드한 후 사용자는 **Cinema 4D 내에서 메가 스캔 플러그인을 확인**하고 올바르게 설치되었는지 확인해야 합니다.
* ⚙ 텍스처 포맷 및 모델 디테일 등 **Cinema 4D와의 호환성을 위해 퀵셀 브리지에서 설정을 구성**해야 고품질 에셋을 임포트할 수 있습니다.
* 📊 이 튜토리얼에서는 다운로드 설정과 일치하도록 내보내기 설정을 조정하여 **에셋을 Cinema 4D로 올바르게 임포트**하는 것이 중요하다는 점을 강조합니다.
* 🌳 이 가이드에서는 식물과 풍경 모델을 사용하여 **사실적인 렌더링을 위한 변위 및 머티리얼 설정**을 처리하는 방법도 설명합니다.
* 💡 궁극적으로 이 튜토리얼은 사용자가 퀵셀의 복잡성을 탐색하여 일반적인 함정을 피하면서 **인상적인 환경**을 만들 수 있도록 돕는 것을 목표로 합니다.

hey, what's up? I'm Derek Kirk of Affron, and uh, I wanted to show you how to install and download Quickle and get it working. CU, it's not really that simple, uh, and clear-cut, and we're going to be using it a lot in the really rad renders sweepstakes scene that we're going to create. And I used it several times because it does have some really cool assets. Um, so if you don't know what I'm talking about with really rad render sweepstakes, it's your chance to create something, have fun, and enter to win real prizes. Check out the video below about that, download the scene, and follow along, right? So we're going to have tutorials over the next month and a half that's going to be, um, basically in-depth environment creating things because when I did a poll of my YouTube community, a lot of you really, uh, said you wanted, the majority wanted more in-depth environmental training, so that's what we're going to do, uh, because I really enjoy making it, and so let's go ahead.

and use Quixel because it's kind of really easy um to elevate your scenes a little bit but it's not really that easy to get it to work with C40 and Redshift. So, it says one-click integration. That's true with Unreal Engine, not so much the case with S48 Redshift. Okay, so quick.com plugins, and you're going to go ahead and get the Bridge plugin for Cinema 40 plugin version 2.2. Now, it gets a little confusing here because you need to sign in. You need to have an Epic Games account. Totally free to use, okay? Free to make, free to use. Then, when you go to subscribe, you see you have these plans, and you don't see Cinema 4D listed anywhere, and you think you need to pay for it. You don't need to pay for it if you're only using it for personal work and for stuff and like for fun, which is what I do. But you cannot give it away or for anything like that or give it to a client or anything like that if you're

getting basically if you're making stuff for money. Um, you can't. You need to pay for the personal use. $20 a month for the amount of assets it has. It's probably worth it. If, I mean, if you're doing something for a client, obviously that would probably pay for itself instantly. U. So, there you go. But you need to just get the unlimited access one, and you'll still be able to use it with Redshift and C4D, no problem. Now, on top of that, there's also, go back to Quixel. There's also Mega scans, right? So then, same thing here, which it's all kind of the same. So you go to choose plan, and it's the exact same page. So you're like, What's Bridge? What's Mega scan? Like, it's all wrapped up in one com-oted thing, right? So download that plugin, that Bridge down thing, that Bridge version 2.2 that we did. Open that up, install that, sign in your Epic Games account, blah blah blah. Okay, okay. So after you've created your Epic account, you've downloaded Bridge.

you've downloaded the plugin. You also need to download Bridge, which you need to go to Quixel and choose Bridge and actually download Bridge as well. So, okay, yeah, so now you've downloaded the Bridge plug-in. You also need to download Bridge by itself. There we go. That way, you can actually have the tool. Bridge is just the basically the plug-in user interface that has all the assets in there for us to use. Pretty cool. Okay, so now you've got that. Open that up, install that, do all that stuff, sign in with your Epic Game account, and you should be good to go. Now, a couple of things you need to check inside of Cinema 4D. You need to go to Extensions, and you should see the Mega scans plugin. I know, again, it's confusing because we just downloaded Bridge, but that should be there because when you click that, you'll see it's plug-in version 2.2. It's just called Mega scans and not Bridge. Totally fine. If you don't see that, do a quick Google search for

that for C40 and see if it's somewhere else because that should be there. Okay, next thing you need to do, you have to go to open up. We'll open up Quixel Bridge, and you're going to need to sign in with your Epic Games account. No problem. And then we should be good to go, right? Okay, so now let's talk about settings inside a bridge to actually work with C4D, and then another thing we have to do in C4D to get things to actually come in properly. So we can come in here, we have all these assets and stuff, so let's go ahead and just grab something like, uh, we'll do surfaces, which is what's going to be materials, and we'll grab something like a Mossy ground, and we'll do, uh, Nordic Forest ground, M. Sure, why not? Click, and when you click it, you see you have the, you know, just related assets. You've got the ability to choose the resolution you want, stuff like that. Uh, we're going to do 4K for now. You can do AK if you're

going to get really close to something. AK is really good. Uh, now the thing we need to make sure that we do is you need to click this little filter down here in the bottom right, go to download settings. Instead of download settings, you can choose what you want. I do jpegs. Um, you can do exrs if you have space that on your computer. It's going to be a higher dynamic range, but the file size is going to be astronomically bigger. Okay. And underneath the textures, we are going to just make sure that our uh displacement map is set to just jpeg for now. Uh, you can do an exr if you want, but uh, basically if you see a bunch of stuff on here that you think doesn't need to be clicked, just hit reset to default and it should be good. Uh, albo and diffuse are the same basically, so it should be fine. So we've got textures. Now we also have models here, so this is where we need to make sure that we're said setting everything as an fpx and

this part here is very important. We want to make sure that we're not using a level of detail for things we're going to look at closely for models. Because C4D does handle high poly counts now really well, I choose the high poly source model, which is going to give you the highest quality object that you can get. Now, besides that, if you just are going to have a bunch of stuff in the background, you can do different levels of detail here by selecting these. Okay, so that's going to be what downloads. Now, on top of that, we need to go back into this filter and go to export settings. Inside of here, you want to make sure the target is set to C4D. And then again, you have textures and models here. So, textures again gives you the option to choose the format. You just want to make sure you match what you're downloading. So, there you go. And then you have surfaces, all that stuff. So, surfaces inside of here again, these should match. If they don't, just reset to default.

the weird thing is that these come in with diffuse and albedo both selected, whereas when we went into our object here, the download settings diffuse is not on by default. So let's go ahead and click that on just in case, okay? And then we go back to export settings and textures, and you have to do this for each thing. So if you have assets in here, you want to make sure this placement is on. It's going to be JPEG gray map, perfect, okay? So you have all these attributes in here, RGB, okay, good, everything's looking good. And then again, we have models. Now once again, we want to make sure that we have high poly source selected because that's what we're downloading, and again FBX, right? Okay, so now that our export settings match our download settings, we can grab this, just click download, and then click export. So let's open up C4D. We've got a fresh blank scene, and let's go ahead and go to Quixel Bridge and hit export. Now here's what's going to happen.

for you right. It's going to say exported successfully, but you're going to get an error that says that it failed to create the res material. Very easy fix and very common thing that I get asked a lot. How do I fix that? You simply go over to edit preferences, and underneath the render for red shift, you have to make sure that no materials for presets is off. Okay, that's it. So now when we delete this, we can come back into bridge, and this is true for anything with materials, plants, whatever. Okay, now it says export successfully, and you can see it actually did in fact bring in our things. So let's go ahead and just make a tiny little landscape here. Cool, just default settings, less furrows. We'll just make it a nice smooth little landscape, even make it smaller. It's very small, but that's fine because we're just doing kind of a model. So it looks really bad right here, right? So let's go ahead and go to render view and just take a look at what this actually looks like, and uh, you can see

it's pretty bad, but the stuff to make it look good seems to be there. It seems to be an okay scale and stuff. If you ever need to, you can tile it up even more. If you have it on a big landscape, you'll probably need to tile it more, so we'll tile it twice. For our landscape, we want to make sure we have lots of segments because we're going to need to add displacement on this. So, we're going to go ahead and right-click this, go to Render Tags, Redshift Object Tag, and then inside of our Nordic Forest, you can see it's the old Shader graph. I don't like that. If you want, you can just, with this selected, go to Material Tools, Convert, and Replace with Nodes, and that's going to update that in the new Shader graph for you. So, we've added a backlight, we've got our backlight back here, and we've got our thing, our landscape here with some decent amount of segments and stuff, and we want to really mess with the displacement because that's going to make the little

pine cones and stuff like that actually pop. Now, before we get any further, the things you have to do with Quickel is all of the assets. They all come in set to Auto, and half of them need to be raw, half of them need to be sRGB. So, when you add in a bunch of random either models, assets, whatever, if you have a bunch of them in there at once, you can just come over here to the Redshift tab, go to the Redshift Asset Manager, and then literally select everything. It's the easiest thing to do. And then we'll go over here to Color Space, left-click, choose Raw. And then what you're going to do is you're going to click this little search icon, and you can search for all the Albo or Basse colors, and you'll get all of them, and just change them back to sRGB. And that way, you can batch convert all these things without having to go into each material, find the node, change it there, then do that, right? So now you can just

batch update them all. So now that we have that actually set up, let's go ahead and right-click this, add our render tags, Redshift object tag, geometry tessellation, and displacement. And then we need to go into our object, sorry, our material, and for displacement, I like to use 5 and 05 for the new range. It's going to be default at zero and one, but this way it's going to keep that ratio, but actually suck in the ground and then push out. So it's going to keep your landscape kind of where it is versus raising it all up. Just kind of makes things easier when placing stuff. So let's take a look at that and see what that looks like because it may or may not be good enough, and we may need to fix it. Yeah, so that's what that looks like. Doesn't look that good, right? So let's go ahead and crank it up to like 20 and 20. And it is going to take a little bit to cook. There we go. Now we're looking a

little better, but we're still kind of looking kind of crummy and low res, right? And also, it's just dark. Why is my dome light so dark? Let's crank it up to like three. All right, we're getting a little. That's like okay, but we're still getting it just kind of looks weird, right? It doesn't look very good. So what I want to do is I want to come in here, and rather than crank this all the way up to 10 and 20 and 20, we're going to do 10 and 10. I think that's a very common one, but we're going to go ahead and go to the minimum Edge length, turn that down to two, and the subdivisions up to eight. Basically, that's going to say subdivide it more so we actually get it to look right, okay? It's going to take longer to render, but once we get it, we can lock it in so it doesn't take any longer to render. And again, we did the 4K, not the 8K.

so okay that looks pretty good now again uh if you wanted to do like a tight shot of this or anything you wanted to get the AK texture but we're just doing it for the base ground level so once we have this set we're going to click this snowflake which is going to do that tessellation one more time but then it's going to allow us to actually uh spin around without having to wait for it to tesate so there we go so now we actually have like live feedback again so if you look at this from a distance it's going to look really nice because you are getting a little bit of that tessellation and displacement and and again totally up to you on how you want to do it but this is probably a pretty good amount 10 and 10 is probably a good rule honestly we could probably tile this in smaller it all just depends on what you're going for right because we have a a human in here let's throw him in there and then everything seems to be about the right

size right now honestly, so not too worried about that. Okay, cool. So there's that. That's one thing. Okay, now let's address another issue. Issue for now. We're going to turn off this tessellation because we don't need it, and we're going to bring in a plant. Because this is another common issue that a lot of people have, and we're going to be using a lot of plants because, I mean, that's honestly what that's the best part about Quick is the plants. So let's go ahead and grab a common fern, and again, 4K is probably fine. Download that. All the settings should carry over, and then we're going to export that. Exporting. We'll turn off the IPR again. It comes in as gibberish. We can select all those and use our placement tool if we want. And you may notice that it all came in gray, which is annoying. So we're going to again go to material with this selected, tools, and convert and replace with nodes. So a common issue that happens right now with Quickel is

that it brings in the translucency map but doesn't plug it into the color map. Uh, so we've got the translucency map. So what I want to do is hold control, click, and copy. So control, click, and drag. And I'm going to plug that into the color map. And I'm going to go back to the translucency map. And I'm actually going to do like 7 or maybe 0.5, which is going to for the gamma, which is going to give it like a lighter color. So that way when our light shines through our plant and we trigger that backlighting, that's really cool and built into the RS material. Uh, it's going to give us that nice subsurface scatter look without actually being subsurface scattered. Again, displacement 0.5 and 0.5. I wish you could batch do that, but you can't. Um, there you go. But again, we're going to go to our register assets, asset manager, select all these except our HDR light studio, click, and then raw. And again, we'll type in the

alido, and maybe that one's called translucency, uh, but maybe it's actually going to be fine to be translucent if it's not an albo. It should be fine, uh, so we're going to go ahead and go to render view and take a look at that. So yes, we'll have to, we won't have to wait for the displacement right now because we have it turned off, but there we go. We have our nice plant here where if we look at it, you know, with that backlight shining through it, you're going to see, let's turn off our dome light so you can see it specifically struggling. We see that we get that nice light shine in through, so we can come in here and crank that up, maybe dial it in so you get that really nice fake subsurface scattering through that translucency map because we have that like nice um, the lower gamma on those, so that's going to give us that nice look there. Okay, now displacement, you probably don't need on a lot of

plants, but if you want to, you can um, but most of the time it's probably going to be fine. What you can actually do for the displacement map, what I found, is you can create a bump map, bump map, and grab that displacement and plug it into the bump map, but set it to height field. And again, uh, we'll do negative one here because it's a bump, it's not going to be that big a deal, and we can plug that into the overall bump map. So now we should get a little more detail out of our plans. It should look a little less like a paper cutout. It's not going to be that drastic because, again, it's a bum map, but it does give you a little bit better detail. And again, we can come back in here, turn our lights back on and stuff, and take a closer look at it, and we just get that little bit of bump going on. And again, um, for our ground, you may know, like, we had bump and stuff selected, so like, where the heck, where's our bump, right? Um, why don't

we have one so tic grass floor. We it just didn't come in um so let's go ahead and grab a bump and we're going to go ahead and grab this displacement and you notice it's red. That's totally fine because it's going to extract out what it needs from that. It's it's strange I know uh but we're going grab that and go in here to overall bump again. There we go and so now we should have like a little better detail in there. The main reason I think it doesn't have it is because when you use displacement it toggles and instant uh bump map so but there anyo I'm not sure that actually worked at all. We can go in here and do a ramp and drag that in in between and clamp it down so we're actually going to get like a you know like a a gray Scale map. Maybe we just need to bring up the black. Yeah so that should give us some actual bump like that. Okay yeah there we go. This gives us this a little bit of bump but again obviously

It's not that fancy, so yeah, weird issues play around with getting things to work. So, they bring in a bump map. Let's go ahead and come in here to our download settings and normal bump bump bump. Let's click all those on. We'll go back and then go to our export settings, textures, 3D plants, bump, normal bumps, not even like an option. It's very confusing, right? But let's try and export down. Well, hang on, we got to download it and then export it. Downloading and export that. We're going to see if that one comes in properly. Looks like it's coming with the exact same stuff, so doesn't matter. Frustrating, right? Pretty dumb. Okay, last thing we'll do is bring in a landscape model because, again, it's probably the last thing you're going to need, and we might as well just cover all the bases. So, we're going to go ahead and go to 3D assets, grab a nature piece, and we'll do like an embankment that

looks cool, has a lot of detail. Like, um, let's do, uh, let's filter by environments, and let's do a tundra. I love the tundra stuff, and we'll do like a massive Tong of rock, right, boom. You can see it's got a little scale here. There's a little bitty guy right there because this is huge, and we're going to go with 8K. We're going to download it, then we're going to export it in, and take a look at that. That'll be the last thing we do, um, because it's just, it's a lot. Actually, let's grab this Tundra mossi Boulder, and we'll do AK, and there's a little guy for size on how big this is, and this is going to be a nice one to bring into our scene because it should, um, give us a good example of how displacement is actually supposed to work and stuff, and everything's looking good. So it's just kind of frustrating that you tell it to download things, and it just doesn't, um, I will say that stuff.

like kit bash actually brings in everything, and it's a little better, uh, when it comes to a plugin, but again, Kash isn't owned by Epic. So anyway, here we go, uh, did I export it or just download it? Export it, okay, cool. So I brought that in. Sometimes when you bring in an asset like that, it'll come in in a world rout, and you'll need to actually move your material on there. Let's take a look at this. This is probably going to be pretty big. Let's loading in. There we go, boom, big old. There we go, look at that. That is very high poly. Let's take a look at the lines. You can see it's insanely high poly, but that's okay because we're in 2024. And there we go. So we're going to grab that, pull it back, and let's just pull it back a bit here. And we'll grab our light and pull it up. So whoops, we'll grab our light here and pull it up so it can actually light up our scene a bit. We'll

make it a little bigger. There we go. Okay. And again, what we want to do is inside of this, we're just going to leave it in this one for now. Oh, look, it actually came in with the bump, so that's good. The actual that came in properly. So we're going to grab roughest map, map normal map, shift and displacement map, switch them all to Raw. So here's what I'll say about bringing in assets like this, and this rock, see how high Polly it is. It looks really good, but it's always going to have limitations. Like, it looks great from here. Like, displacement is not even on. I don't even know if we need it for this, but when you start getting in close, you're always going to get this weird kind of like, Oh, uh, yeah, that's not that great. So maybe we accidentally downloaded the 4K version. Let just 8K. So yeah, AK, it's just that's just what it's going to look like, which is fine because when we zoom

out and we look at it in our scene like this, you know, like if this is our whole scene, that's going to look really, really good, right? So if you want to add displacement, you can. What I will say about displacement with objects is it gets a little weird sometimes, um, but what you want to do is you want to make sure that for the actual objects and stuff, you're going to leave the range how it is and not do the negative .5 thing because it just doesn't like it sometimes. And then you, you might even need to scale back the scale of it. You don't need to, to make it near as high, so we'll try here. So what I'll do is I'll turn on this and we're going to set this to the default for in six and we're going to say one in one and we'll leave it like that and we'll go ahead and say okay and that should subdivide that. It's going to take it a while because it's subdividing a very high poly object, um, but again, we can do

our snowflake trick, but I'm really curious to see if we can even really tell a difference and see if it's worth it to even add a displacement or we should just let it be the bump map when it's like an object like this because that looks really good. So, there it is with displacement. Um, I don't really even know that I see a difference. We can crank it up to maybe two and two and see if we start to see a difference there. I really want to see the difference, but maybe we don't. Maybe it needs to be subtle. Maybe we're just bumping up the Moss a little bit on there. And again, we'll do our snowflake trick. It's not really a trick; it's literally a feature built for this purpose, but it looks really good from this distance. And that's kind of the thing you have to keep in mind with all these assets is, yes, they're 3D scans, yes, they're AK, but you still can't zoom in on everything and get really close and

have it look good. It's kind of a bummer, but there you go. All right, but uh, there we go. So now we can take a look at this from another angle. Maybe it does look pretty good. Um, yeah, I think with that little bit of displacement, it turned out really nice. Nice. It just kind of seems to have elevated our Moss a little bit, which is really all we want. So yeah, now from a distance, it looks, I mean, that looks really, really good, right? So again, we come in, get like a longer lens on our camera, uh, 150. That's pretty long already. We'll do like a 250, really zoom in, and let's catch a glimpse of it with like the light hitting it like that. And we can do a nice little depth of field, turn on bokeh, click the focus like right here, and make it really shallow. We'll type in like one. It's going to be super shallow, but there you go. So now we get this nice kind of macro shot on a really, really nice detailed

model so again you know you put a plant right there. Let's take our Fern. Obviously, the Fern's not a good example, but if you had like a blade of grass or something right there, it would look really good. Let's pretend this is that. We'll scale it down really small and put it on there and pretend it's a blade of grass, right? Piece of byy little byy guy all right there, right? That looks pretty cool. Let's just paint on a bunch of those really quick. Now we're having fun. All right, so cool, we've got that. Just paint on a bunch of those. Did that work at all? Probably not. One second. Oh, did they're on there? I just need more of them, so we're going to say count up, spacing down, and do more. There we go. So now we can draw a bunch of those. Let's see if they load in here, and it might look kind of nice. Yeah, like a little bitty fake Moss. So if you want to do a Mac shot, you

can use ferns for moss. Who knew? Yeah, again, we can just now. I think it was this one, right? Scale it up, and that should, uh, is that the one we use? Which is the one we use? That one. Scale it up. It'll scale up all of them, and we might get a really nice-looking shot. Probably look silly. It might look better being small, but there you go. That's not bad. Pretty cool. So there, yeah. So you have the option to do a lot of really amazing cool things. Obviously, we zoom out on that and realize, oh, it's a very small. Looks good. Turn Booker off. There we go. And so now we can come in and, you know, get a real tight, real tight macro shot. Again, looks so silly. I know. I don't know why I'm doing it, but there we go. Click the Focus right there. But you could do that with something that looks like moss, with grass, whatever. And so hopefully all of these settings where I know a lot, and that's kind of the whole thing, uh, was that the fact that Quickel just has

a lot of nuances that are not intuitive, and that would be the surface displacement to be negative and positive, the object displacement do not, and then um, how to actually connect the lights, change the translucency layer, how to actually use the displacement to be a bump for the plants, all of that stuff hopefully has helped you understand like how to create some cool stuff. So now maybe you can actually use Quicksoul comfortably. If this helped you, maybe with some headaches and stuff, quick so let me know in the description or the comments below. Thank you again, and again, I cannot wait to get started creating with our environments, so very, very cool. Um, yeah, see you next time.

Beginner's Guide to Quixel Bridge Megascans for Redshift and Cinema 4D | Photorealism

Effectatron

시네마 4D용 퀵셀 설치 및 설정하기

Affron의 데릭 커크가 곧 공개될 "정말 멋진 렌더링 경품" 씬을 위한 퀵셀 설치 및 사용 가이드를 제공합니다.

이 과정은 무료 에픽게임즈 계정을 생성하고, Cinema 4D용 Bridge 플러그인을 다운로드하고, 개인용에 적합한 구독 플랜을 선택하는 순서로 진행됩니다.

Bridge 플러그인을 설치한 후 사용자는 Cinema 4D에서 메가 스캔 플러그인을 확인하여 설정을 완료해야 합니다.

퀵셀 브리지를 사용하려면 에픽게임즈 계정으로 로그인해야 에셋에 액세스할 수 있습니다.

텍스처와 모델에 대한 다운로드 설정을 설정하고 적절한 포맷과 해상도를 선택하는 것이 중요합니다.

익스포트 설정도 다운로드 설정과 일치해야 하며, 최상의 품질을 위해 하이 폴리 소스 모델에 중점을 두어야 합니다.

레드쉬프트에서 머티리얼 익스포트 오류 수정하기

Redshift에서 자료 내보내기가 실패할 수 있지만 환경설정에서 "사전 설정에 대한 자료 없음" 옵션을 끄면 이 문제를 쉽게 해결할 수 있습니다.

이렇게 조정한 후에는 내보내기에 성공해야 합니다.

풍경을 만들려면 변위를 위한 충분한 세그먼트를 확보하는 것이 중요하며, 에셋 색 공간을 일괄 업데이트하면 프로세스를 간소화할 수 있습니다.

3D 렌더링의 조명 및 플랜트 통합 개선

처음에는 돔 라이트가 너무 어두웠지만 강도를 10과 10으로 조정하고 최소 가장자리 길이를 줄이고 세분화를 늘린 결과 렌더링 품질이 개선되었습니다.

실시간 피드백을 위해 테셀레이션을 사용했고, 회색 색상 문제를 해결하기 위해 설정을 조정하여 일반적인 양치 식물을 씬에 추가했습니다.

반투명 맵을 컬러 맵에 연결하여 빛의 상호 작용을 개선하고 감마 조정을 통해 식물의 색상을 더 밝게 만들었습니다.

3D로 사실적인 플랜트 모델 제작

식물의 반투명도는 사실적인 백라이트 효과를 위해 조정되며, 가짜 지표면 산란을 위해 낮은 감마를 사용합니다.

식물의 텍스처에 디테일을 더하기 위해 변위 맵에서 범프 맵이 생성됩니다.

범프 및 노멀 맵용 텍스처를 내보내고 다운로드하는 과정과 함께 풍경 모델을 추가하여 씬을 완성하는 과정을 설명합니다.

3D 모델링에서 툰드라 에셋으로 작업하기

스피커는 툰드라 환경에 맞게 필터링하고 씬에 사용할 거대한 바위 에셋을 8K로 다운로드하고 있습니다.

또한 크기를 참조하고 변위를 보여주기 위해 툰드라의 이끼 낀 바위를 가져옵니다.

에셋의 하이 폴리 특성에 주목한 화자는 클로즈업 뷰의 한계에 대해 논의하면서 조명과 머티리얼 설정을 조정합니다.

변위는 3D 오브젝트의 외관을 향상시킬 수 있지만 마이너스 스케일링을 피하고 범위를 일관되게 유지하는 것이 중요합니다.

높은 폴리 오브젝트를 세분화하는 데 시간이 걸릴 수 있으며, 변위에 따른 외관의 차이가 미묘할 수 있습니다.

긴 렌즈와 얕은 피사계 심도를 사용하면 물체의 디테일을 강조하는 멋진 매크로 사진을 만들 수 있습니다.

퀵소울에서 사실적인 식물 효과 만들기

이 튜토리얼에서는 작은 풀잎을 사용하여 이끼를 모방하는 등 퀵소울을 사용하여 사실적인 식물 효과를 만드는 방법을 보여드립니다.

이 과정에는 자연스러운 모양을 얻기 위해 식물의 여러 인스턴스를 스케일링하고 페인팅하는 과정이 포함됩니다.

또한 튜토리얼에서는 표면 변위, 오브젝트 변위 및 조명 연결과 같은 중요한 설정에 대해 설명하여 사용자가 인상적인 식물 디자인을 만들 수 있도록 도와줍니다.