Making Of 'Getty'
I wanted to create an interior scene of the world famous Getty Center. The straight architecture of that center fascinated me, so I started with the simple modeling of the room. It had to be a tall room with a lot of space. I also wanted to have no direct sun light, so I ending up using the VRay Sky for the lightning and some IES lights for the spots and VRay mesh lights for the wire lamp, but I'll by talking more about that later.
I modeled the room with box modeling and the boolean function to create the typical round windows. The sofa is a pretty easy box model with some extra boxes for the legs and the lamp is made with splines, which took me a while to adjust. I also made huge doorways to receive more light from outside and that was everything in the room (Fig.01)!
When everything was modeled, I started to set up several VRay physical cameras and decided to use this straight perspective (Fig.02).
Because of the lack of light inside the room, I took a very low F-number of 3.6, a shutter speed of 200 and a film speed of 100. Of course, I did that also because of the depth of field! To get a good depth you need a lower F-Stop.
I also had to adjust the vertical shift to get the straight architectural lines of the building really straight.
Now one of the most important things of any illustration is good textures. This image has been textured with textures from the 3DTotal Textures collection, which are great and really allowed me to recreate the look and feel of the Getty building.
Total Textures Collection V1 - V19
Total Textures V2: Aged & Stressed
Total Textures V6: Clean Textures
Total Textures V16: Architectual Showroom
I started with the marble-stone floor, for which I used "Stone_14" from Total Textures V16 - Architectural Showroom. I wanted really soft reflection and a strong bump effect to create a "used" look (Fig.03). So I adjusted the contrast to get more depth in the original maps and for the gaps between the big tiles I added a black boarder in the diffuse, bump and specular texture.
I repeated the UVW map to get a nice structure and good tiles on the floor.
The material settings can be seen in Fig.04 - 05. I made a Fresnel reflection with a value of 3 and a glossiness of .85. The prepared reflection map had a value of 50% and a reflection color of a light grey. I set the bump map to -30 to get a rough look.
The leather material for the sofa was also made from one of 3DTotal's high detailed maps - "Fabric_05x04" from Total Textures V06:R2 - Clean Textures. Here I also added an extra glossy map to give the bump effect a better result and some more contrast to both the bump and reflection maps (Fig.06).
The material is set to a reflection amount of .68 to get really soft reflections in some areas (Fig.07).
Here I had a Fresnel reflection with the value of 6, a reflection map of about 20%, the Reflection Glossiness map of about 10% and a bump map of 30% (Fig.08).
For the sofa I added a box UVW map and adjusted the value to get a small and detailed structure. For the walls of the room I used "Stone19" from Total Textures V02:R2 - Aged & Stressed. I used the diffuse, the bump and the specular/reflection maps (Fig.09).
Here I made a reflection color of a darker grey, with a Reflection Glossiness value of .73 (Fig.10).
The specular/reflection maps I used in the reflection, HGlossiness and in RGlossiness slot with values between 10% and 25% (Fig.11). For the bump I used a smaller value of 15%.
There are also some glass and sliver/chrome materials in the scene, but here I used standard materials, nothing special. I used them for the lamps, and for the window glass.
The lighting setup is very simple but nice. As mentioned earlier, I just used a standard VRay sky map for the light and reflections. No sun was used and I left the skymap at the normal settings. I also adjusted the light with the physical camera (see Fig.02).
After a little adjustment of the UVW mappings, I started the set up the render settings. I used an adaptive subdivision of min 0 and max 2, a VrayLanczos AA filter and a linear workflow (Fig.12).
The GI and sampling settings you can see in Fig.13 - 14.
Because of the LWF you have a lot of power in the post-production stage. You can adjust light, color and contrast as you want. As long as you know where the illustration should end, you can do all the color corrections in a post program instead of rendering and losing a lot of time! So I did my post-work in Photoshop because the original rendered image was too blue because of the VRay sky map (Fig.15).
And here's the final image (Fig.16)!
So thanks for reading and I can really recommend the great 3DTotal texture collection to create great renderings!