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Behind the Scenes: Realistic Bedroom in a Wintery Landscape

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I am Paco Barruguer from Burriana, Castellón, Spain. I have been learning and practicing with Blender for two years. I discovered the 3D world and Blender in 2017 and I loved them. Since that moment I practice every day to create a powerful portfolio so that I can work making 3D scenes someday.

Inspiration

Every day I browse the internet in search of new ideas of scenes or furniture to do.
Interior pages, furniture, decoration, etc. When I see something that I like, I try to create it, always taking it to my personal design, maybe changing some of the form, architecture, or giving it materials according to the type of scene I have in mind.

It is well known that most archviz projects include a multitude of library objects, but I like to be able to model my own props (although I do not always have the necessary time).

Obviously I also use libraries of objects, especially for plants and decorative objects that will not hold a prime place in the final renders, as they help to give realism and to dress the scene.

For this particular project I used a large room in which I could place some props made by me, like the armchair and the floor lamp, since lately I had made several and wanted to include them in some scene.

Modeling

Before getting into the subject, I should mention that I work in Blender, specifically in version 2.8 that is still in beta. Sometimes I texturize in Substance Painter, but only when I want the object to look old or worn, and post-production I do in Photoshop and Lightroom, even though I'm changing my workflow to Affinity Photo and Luminar 3.

The first step before you start modeling is to set up the scene.

As important tips I highlight the following:

  • Measurements of the scene in meters
  • Automerge of vertices deactivated
  • Active vertex snap
  • Clipping at least 1 mm

I also usually configure the render from the beginning:

Cycles render engine rendering in GPU.

  • Maximum rebounds in 8
  • Clamping direct in 4 and indirect in 2
  • Deactivate the caustics
  • Transparent background and crystals
  • Size of the render cell in 8px

Unless I have the framing of the final render very clear, I always start by modeling the structure of the building, walls, doors, windows, etc.

I start with an image reference and I have no idea of the exact measurements. I do everything with the "standard" measures of things, such as the height and width of a door or window, the height of a countertop or the width of a pillar.

I always have the ceiling in a different object from the floor and walls, so I can hide it when I add decoration, which allows me to move the view more comfortably.

Once the structure is modeled, I do the doors, windows, beams and the base with all the details. Next I add the materials, trying to make them definitive.

I leave it finished but totally diaphanous.

In this way I find it more comfortable to configure the lighting. The scene is relatively light at this point and I can, without problems and taking into account where I will place the objects, put the viewer in render mode and configure the different types of light.

Illumination

I always illuminate with an HDR of 8k for the exterior, Area type lights in Portal mode in the windows and where halogens or lamps would go, I place spotlights.

The truth is that I do not try to overcomplicate things and I put lights in the places where they would go if it were a real-life project.

The temperature of the light frame with a blackbody node.

The values ​​I use are between 4500 and 6000 for normal interior lighting and 6000 to 8000 for kitchens and bathrooms.

I like to have the lighting configured when I start to texturize, so that I can see the materials in render mode with the final (or approximate) illumination, if necessary.

Textured

In my opinion, the most important thing to obtain good and realistic results is to work with good textures. I usually use 3K textures, except when they are masks (dirt, mix colors, bump, etc.). In this case, I use any size, even procedural textures.

Until very recently I used the box option in the image texture node. In this way I avoided having to unwrap the UVs from all objects. I did it especially for flat objects such as walls or floors, or for those which did not have textures such as metals, plastics, etc.

But now I unwrap the UVs of all the objects, and I do it for several reasons: it gives you a lot more control over the texture, it allows you to change the material very comfortably and also leaves the object ready to take it to Substance Painter or any software to create the maps.

Post-production

This is a very important point so that the final image has a more attractive touch.
It does not require great knowledge of photographic editing, normally touching the levels, curves and color there is enough.

In Blender there is the option of doing post-production with the composition nodes, but I believe that photo editing programs offer many more options and control.

As for the passes, I basically use Ambient Occlusion and a combination of emissives and reflections through a Glare node. Usually I take out the Cryptomatte so that I can correct any material in post-production

About the Author

Paco Barruguer, I have been learning and practicing with Blender for two years. I discovered the 3D world and Blender in 2017 and I loved them.

 

 

8 Comments

  1. Rombout Versluijs on

    Wow super nice shot and really well done after such short period of learning Blender. One note though, you should start learning and adapt to name EVERYTHING in your scene. This makes it much easier to organize and find items.

  2. Very good job!
    just one thing: the joints of the floorboards and the paneling must not be at the same level. The joints are always offset by at least 1/3 of the length (for more realism)

  3. Thank you for comment Wiltur.
    When the floor is a wood imitation ceramic tiles, I put the pieces to 1/3 but in this case, all the floor is only one texture of real wood. I thought that the texture was right

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