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Vu V ue Masterclass Chapter 01: The Bay

Chapter 01 - The Bay Software used: Vue

Introduction Welcome to the rst part of a series of Vue tutorials. We will be exploring the creation of landscapes, tackling a different environment each chapter.

The special thing about this series is that the tutorials will be very results-driven. This means that I will concentrate on pointing out the essential elements of landscape creation and a cost-effective way of getting great results, rather than getting stuck into the technical side of things. The reason I am doing it like this is that I want to write articles that are easy to follow and that are about the principles more than anything else. Working as an environment artist in the lm industry, I know the pressure of production and that is why I feel the end result is the most

photoreal, so it makes sense to start by looking

should know that by clicking on the Terrain

important thing. The software is just the tool that

for good reference images as this is the key to

editor window with the Function editor open, you

will help you reach that result.

creating realistic 3D environments. It is easy to

will update the preview of the procedural terrain.

get carried away into thinking that your image

So any changes you make to the nodes will be

The series should be interesting for beginners

looks photoreal, but only by comparing it with

previewed straight away.

and intermediates, but it will also be lled with

real-life examples will you be sure of that. I will

enough great tips to keep advanced readers

talk a bit more about this later on.

interested. I would like to start by recommending

The last node I use is a strata lter, which creates the nice lines running across the full

that you take a look at the work of Dax Pandhi.

The Terrain Terrain

length of the coastline. There is just one thing to

He is a very advanced user who creates

To build my coastline, I start with a procedural

be careful with here: the scale of your ground.

stunning nal results.

terrain (Fig.01 (Fig.01). ). By editing the function that

Having the right scale set up will save you a

generated the terrain I create the result I want.

lot of trouble later. Go to the Size tab, lock the

The setup is based on a model created by Dax

scaling proportion and then choose the size you

Pandhi. This approach uses two terrain fractals

are aiming for (Fig.02 ( Fig.02). ).

Choosing Your Choosing Subject Starting a new project can be a bit difcult. But

that are later combined. I use one of them to

the most important thing is to set a goal. If you

create the larger features of the terrain and then

Setting up the Camera

already have a brief, that shouldn’t be too hard.

the second one for the more detailed shapes.

Now that we have a general idea in place for

If you don’t, take the time to come up with one

The one that creates the large features has

the terrain, we can choose a nice camera view.

yourself. Working without one can be a lot of

been ltered to give it a canyon aspect. I need

Before I do this I create a sea layer, because

fun as a quick exercise, but when working on a

that for the steep cliffs of the coastline.

the water level is going to affect how much I see

bigger project the goal should be very clear from

of my terrain, and of course the composition of















Chapter 01: The Bay Vue Masterclass includes all of that. This is a moment where you should spend a bit of time exploring your scene because you might nd some great surprises. This is where the power of Vue becomes obvious: after just one hour of work, you are already exploring a full 3D environment.

Setting up the Setting Lighting After nding the view that looks right, there are still two things to worry about. The rst, and probably the most important, is the lighting. Choosing the lighting scenario is very important so this is where having a good reference comes into play. Find a good image and aim to light your scene like that.

My advice would be to start from one of the default “physical” atmosphere setups. Choose a good direction for the sunlight that helps to show the volumes of your terrain. Usually a side light which is not too high will give you nice daylight results. Here are my atmosphere settings (Fig.03 ). Notice the lowered setting for the Fig.03). quality boost which improves the render times. Of course, if you are not planning to move

“Final” render preset, and press go. Here is the

if it was for a movie. I’m trying to keep the

the camera you can reuse the indirect lighting

result (Fig.04 (Fig.04). ). It isn’t the most photoreal thing

elements as neutral as possible, with a lot

calculation to speed up your test times.

you’ll ever see, but we still have a way to go.

of range for changes. Our nal result is an image, which means that I will do all the nal

Before starting the rst render there is one

Building The Building Materials

last thing we have to take care of: the material

The next step is to start working on the

of our terrain. For the rst test I use one of

materials. I’m happy to keep the lighting as it

the default materials, “Rock and Grass”, from

is and the terrain also looks like it could work

One of these things is the distribution of

the Landscapes option. It helps you read the

for now. What you have to keep in mind when

materials. This is where we get to see the power

volumes of the terrain well. I leave the water

reading this is that my approach is inuenced

of the Vue Material editor. One of the things I

with the default material for now, choose the

by how you would work with this kind of scene

use most is the altitude distribution. With the

The First Render Render

tweaks in Photoshop, so the important things to concentrate on now are those elements that I can’t control there.

correct settings, you can create a complex material that simulates real ones very closely.

In the case of this image I start by working on


















the moment so let’s concentrate on those and

sharp or a progressive transition between the

specic environment, like this one, I tend not to

change the overall hue. This is what I’ve ended

two. In this case I want a sharper line to get a

use automatic distribution, but paint the areas

up with (Fig.06 ( Fig.06). ).

better feel of that area where the water touches

I want the vegetation to grow on. This way I

the cliffs. I apply the same technique on all the

have a lot more control over the vegetation

Control is the Key

terrain segments. It is also noticeable that I’ve

and on the composition. Adding vegetation

It could get a little tricky now because of the

changed the color of the water to create a better

can be a very tricky task though. Recreating

large scale, but I want to further rene the

sense of scale. Having deeper blue for the

the natural variation is not easy, and a lot

materials. The obvious solution is to try to split

water means having deeper water and therefore

of time must be spent trying to improve the

the terrain into smaller pieces that will be easier

automatically a bigger scale (Fig.09 (Fig.09). ).

look of your ecosystem. Because of the more

to control creatively. So I duplicate my ground three times and then sculpt away the parts I don’t need. This makes working on the scene a lot easier in the long run ( Fig.07 ). Fig.07).

general approach of this tutorial, we will not go

Adding the Ad Ve V egetation I’m happy with the terrain now so it’s time to

into that, but keep in mind that this is a very important point when you are creating your 3D environment.

start working on the vegetation. The ecosystem

Focusing on Specific Ar A reas The next natural step is to focus on improving each piece of the terrain. So I start with the far

technology is what revolutionized Vue a couple

A lot of the time you might need to create

of years ago, and it is a very handy tool. In a

custom plants, or even use outside models to

















Chapter 01: The Bay Vue Masterclass get the look you want. Again, I have to repeat, having good reference images is essential (Fig.10 ). Fig.10).

But as I said, I want to keep it simple and so I only use a type of tree, the “Springtime White Birch”. Here is how our scene looks after the ecosystem painting (Fig.11 (Fig.11). ). The beach seems a bit too empty so let’s add some bushes using the same technique (Fig.12 ( Fig.12). ).

Adding Details to the Ad Terrain Now that the general elements are in place, we can concentrate on making things a bit more interesting. The far cliff looks a bit boring, so let’s modify the terrain a bit on the far edge. Here is how the terrain looks after I’ve worked on it a bit (Fig.13 ( Fig.13). ). When making these kind of changes always check the result through your render camera. There is no point in making it look cool in the terrain editor if it is not interesting in the nal image. I know there are some artefacts here and there, but there is nothing that cannot be xed later ( Fig.14 ). Fig.14).

Rendering the Image At this point, I’m happy enough to start a serious render. Not everything is perfect and it doesn’t look photoreal, but I have faith in the way

It’s time to prepare everything for Photoshop

object masks, material masks and any other

things were going. This is another step where

now. It’s not just about the render at this point,

thing you think might help. Be careful though;

experience will tell you say if it’s the right time

it’s also about all the things you can use in

this will increase your render time, so if there is

or not to go to post-render work. On the other

Vue that could help the tweaking process later.

a time constraint, keep it under control.


















etc). When you open the PSD le look around

way too much time to render. However, having

Only one question could arise. Given the fact

and try to think about the way that you could

the water as a separate element in Photoshop,

that we are processing the image in 2D, aren’t

use the extra passes. They will have several

allows us to do that extremely quickly. So we

we losing the power of 3D? What if you have

blending modes which can be changed by

can be exible and creative, and most of all,

a moving camera in your scene? Well, at this

default, so take a look at how they look in

results driven. Having good references will

time, this is not our goal. We just want to create

Normal mode – you might be surprised at the

come in handy again, because right now we can

a good looking image using the power of Vue.

effect (Fig.15 ( Fig.15). ). Here is the render with some

actually have the two next to each other.

And that is still in reach. But, don’t worry; there

extra passes on the bottom. So the work is done now, surely? No, not even close ( Fig.16 Fig.16)! )!

The Photoshop Photoshop Processing As I said earlier, what I’m actually looking for

















Chapter 01: The Bay Vue Masterclass

are a lot of techniques to do exactly the same

I choose a very typical daylight sky, because I

use the indirect illumination pass and mask the

thing using this process. It’s not the purpose of

don’t want the image to look too dramatic. The

ecosystems alpha to get rid of those and add to

this tutorial, but I will probably talk about this

goal is still a natural looking image (Fig.17 (Fig.17). ).

the natural feel. I add depth to the far cliff using

subject in a later article.

the depth pass, and lower the contrast in the

Color Corrections

foreground. When doing large scale outdoor

The image is really coming along, but at this

environments, it is important not to have too

I am sure you’ve noticed that I haven’t talked

point, I’m not very happy with the tones and

much contrast, because that doesn’t really

much about the sky at all. Well, there is a

the values of my CG elements. So by having

happen in real life (Fig.20 ( Fig.20). ).

reason for that. Even though Vue skies look

the reference images on top of my render I

good, in most cases there is simply no need to

color correct my cliffs and my water to match

The next thing I do might look a bit strange,

use a CG sky. There are tons of amazing picture

those from the photographs. This way I know

but it is actually very easy to do and efcient. I

libraries that you can use, and the result will be

I will be closer to real values (Fig.18 (Fig.18 – 19). 19).

add a bit of extra detail to the overall image in

well, photoreal. This is what you would do in

In the next step I take advantage of the extra

the places that look a bit too clean to me, by

real-world production where time is an issue, so

passes I rendered earlier. For example, I think

creating adjustment layers and then painting in

unless you have a good reason for it, I wouldn’t

that the trees are a bit too shiny and the hard

the masks. For example, on the far cliff I create

spend too much time trying to get it to look right.

light makes them look a bit too plastic. So I

a Hue adjustment layer that makes it green, and

The Sky

















Vu V ue Masterclass Chapter 01: The Bay then invert the mask. By taking a small brush and painting in the mask you can reveal a bit of the green in places of your choice. I use the same approach for the beach ( Fig.21 Fig.21). ).

Going back to Vue for a bit of extra help painting bits of grass on the cliff is easy, but some other stuff might not be so. This is true for the water. I feel it needs a bit more underwater stuff around the far cliff, but painting those in could turn into way too complicated a job. So let’s go back to Vue and do a fast render of the ground with the underwater sand/vegetation material everywhere (Fig.22 ( Fig.22). ). This can now be used as a pass, multiplied and revealed around the far cliffs and shore (Fig.23 (Fig.23). ).

The Finishing Finishing Touches The image is starting to look pretty good, right? But there are still a couple of things to do. First, if you look closely, you can see there are still a

Time to add a bit of fun to the image! It’s a

populated, and a detail like this can make your

few places where the render has some issues.

shame to create such a nice place and have

image more appealing (Fig.25 ( Fig.25). ). The tiny boat

Just took the Clone brush and sample some

nobody to enjoy it, right? So let’s bring in a

on the left really looks great, and helps the

places next to the problem areas. This can be

couple of human elements to add a bit of life

composition too.

done around the far cliff and the vegetation on

to the image… not to mention scale and a bit

the beach, which looks a bit too big ( Fig.24 ). Fig.24).

of a story. People love to see environments

Speaking of composition, there is one last thing. When I do a Vue render, I tend to render a bigger area then I initially intended, just to get more space to play with. In terms of this image, I think cropping the image will make it look a bit better. So after adding a bit of chromatic aberration, and de-focussing some areas, I crop



















Chapter 01: The Bay Vue Masterclass
























































Vu V ue Masterclass Chapter 02: The Reef

Chapter 02 - The Reef Software used: Vue

Introduction For the second part of the Vue environment tutorial series I have chosen a beautiful and interesting subject matter: a coral reef. I think everybody can enjoy a nice underwater scene, and Vue is great at allowing you to create wonderful results in a small amount of time. The quality of the resulting image depends on creative choices rather than the technical side of things. That is why there will be a couple of steps where I will take some decisions that might seem strange but are actually just ways

lot of big shapes which will create my depth, but

scale. This will save a lot of trouble later when

of simplifying the workow and getting faster

also a lot of tiny details. This means we will most

setting up the atmosphere and vegetation.

results.

probably use a procedural terrain that combines

After doing a bit of research online looking at

two types of fractals, one for our big shapes and

Creating The Layout

another one for creating the details.

First of all I need to choose a format for my image. Because I want to create a canyon it

underwater photography, the ideas will start to ow and an image will start to form in your head.

The usual approach for creating the terrain

seems wise to choose portrait format as it I will

For my image I will try to combine two things:

would be to build the canyon from the beginning.

give enough vertical space to show the depth

a deep underwater canyon or cave, which

But because I want a lot of detail and shape on

of my environment. Given the fact that the

conveys a sense of mystery and scale, and a

my canyon wall, a standard approach in Vue

image is being created for a magazine I choose



















Chapter 02: The Reef Vue Vue Masterclass

so I move the sun to a position that will create

caustics would create a nice lighting effect, but

some nice shapes on my cliff walls, illuminating

there is no need for something like that in our

everything from the very top. Of course to make

case. This is a decision you can make based

it interesting it’s not exactly on top of my cliffs

on studying reference photos and deciding

but in a position that will mean the right wall will

what works best in your case. So instead of

click on it, even when you are still playing with

mostly be in shadow, and that there will be more

water I will just set up my atmosphere so the

the sliders. To get a better idea of the overall

highlights on the left wall.

scene looks deep under the sea. Here are my

look I would not recommend rendering with the

atmosphere settings (Fig.03 ( Fig.03). ).

default material. It can behave strangely in the

Now we reach a point where I make an

light setup and once you switch on your nal

interesting decision. I am creating an

The First Render

materials the light setup won’t work anymore.

underwater scene, but do I actually need the

It’s then time to start testing the scene. In the

Always use a simple material that is close to

water? In this case the answer is no. This

light setup I do a lot of fast test renders to

what you need in the end. That will give you a





















Vu V ue Masterclass Chapter 02: The Reef Then I start working on the coral material. The rst attempt is very straight forward. I choose one of the Vue preset rocks as a base (the sick rock). Then by changing the color and activating the displacement with a high enough value I get very interesting results. This is the beauty of Vue; you can get great results in a very short amount of time (Fig.06 ( Fig.06). ).

To see how things are looking I need to look at it again through the camera. I am not trying to create a realistic type of coral because I don’t really have to. An object that gives the right idea will do the trick. So at this point my corals might look weird, but keeping the whole environment in mind I am pretty condent that it’s going to



















Chapter 02: The Reef Vue Vue Masterclass the image look more varied. In this type of

Rendering The Image

environment you should vary the color as much

Now I am ready to start the nal render. Again

as possible, to create a natural look and feel.

I cannot stress enough the importance of

If some colors are going to be too out of place

rendering extra passes that can be used in the

they can easily be taken out in Photoshop

post-processing of the render. The Z-Depth

(Fig.12 – 13). 13).

pass, the direct light pass, the shadow pass and masks for the separate objects are always

Balancing The Image

useful. Up to now the render settings have been

At this point I feel my elements are pretty much

low so I don’t waste the time on test renders.

there, I just need to balance everything. I add

Now it’s time to boost the render settings a bit to

coral structures on the right wall and a couple

get the best results. Here is my nal Vue render.

of extra lights to make them pop out a bit more.

It produces interesting results but it still needs

I also feel the rock texture is a bit too light and

some love (Fig.14 ( Fig.14). ).

clean, so I change that material for something a bit darker looking.



















Vu V ue Masterclass Chapter 02: The Reef

The Photoshop Process As I said in the rst tutorial, the nal Vue render shouldn’t be considered the end of the work. There are a few more steps to be taken until the image can be called nished. In this example, the whole scene is created around the illusion of being underwater. That is why the most important extra pass that I’ve rendered is the depth pass. With this one I will be able to control the depth in the image and tweak it to a point where I am happy.



















Chapter 02: The Reef Vue Vue Masterclass we can enhance it. Fig.17 – 18 shows 18 shows the direct light pass and the image after it is applied in screen mode on top of our current image. This already feels very good.

The Finishing Touches The last things that needs to be done is to exaggerate the way the light behaves in our environment and add a bit of life to it. To make the lighting a bit more interesting I use a gradient from top to bottom, where I overexpose the top and darken the bottom. I also add a few schools of sh around the corals and a diver in the distance. I make sure that the size of the sh and the diver work well with the size I want the

























































Vu V ue Masterclass Chapter 03: The Cave

Chapter 03 - The Cave Software used: Vue

Introduction When I rst started this series and was thinking for subjects for each of the tutorials, I tried to think of challenging environments and unusual



















Chapter 03: The Cave Vue Masterclass landscape for options. Quickly I came to the conclusion that a vertical format would create a more interesting viewpoint. I wanted to show some stalactites and stalagmites, so it would need to show both the oor and ceiling. I also wanted to see some nice walls that demonstrated some depth. I concluded that a vertical format would suit this better. For the






































Chapter 03: The Cave Vue Masterclass








































Chapter 03: The Cave Vue Masterclass























































Vu V ue Masterclass Chapter 04: River Valley



































































































































































3DTotal - Vue Masterclass eBook.pdf

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