Rail haven, Marco Rolandi (3D)

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  02 February 2008

  02 February 2008
Hi guys, sorry for the late reply , it's quite a busy period...
First I wanted to thank you for all the nice words; knowing the cg talk community, it's definitely an honor.
Here are some more details. I'll have more in the future hours as well. Just give me time to prep everything...

First the wireframe. You asked fot it ahahahah

And now some explanation:
This scene is made of very different objects coming for separate scenes of a personal project I'm working on. If it's not exactly the "mother of all my scenes in project X", let's say it's the uncle. It's made of low and high poly models, not exactly sorted by complexity going from background to foreground (sigh).
In the end the scene turned out to be... ehm... 12,225,355 faces.
Which is indeed quite too much for such a scene, and is basically due to the UNOPTIMIZED modeling. Hey, there's a lot of wasted polys in there. But optimizing would have taken even more time than the one required to cope with such a high number of polys.
Ok, you already know that. No matter how hard I cried, and no matter the language I used to pray the 3Dgods, this scene wouldn't render on a single pass. (ok I know it's not surprising.. but you know... never give up on hope! :shrug
Therefore I had to subdivide the scene in 5 steps and render them separately. Keeping coerent lighting was a little challenge, as well as maintaining some form of discipline along the pipeline (because of course once I started subdividing, I also started to tweak every singular piece and adding details and... )
Subdividing gave me some much needed freedom as well, once I entered the compositing stage. At that moment I also decided that, for the sake of the overall composition, I even had to further HIDE more details from view. ahahah such a waste of rendering time ah ah ah
For those who asked, smoke and steam are part hand made, part partciles (because the background layer for this image (everything but the bridge and the building in the foreground) comes from a simple animation and tehrefore the steam and smoke had to be animated.
I'll leave you with a closeup of one of the main machines you see in the background (the "Daridras" as I call them), taken from another scene.

In here the steam and smoke are painted over and it shows... Maybe I'll get back to this later on... mmh... see ya later!!
  02 February 2008
Hi Marco,
An extraordinary job, full of atmosphere and of details.
For me 5 stars

  02 February 2008
Hi Marco,

Good work... Bravo pure qua!


VFX | CG Artist
available for freelance jobs

RnD | Simulation Reel July 2014
3D Generalist Reel Winter 2012
  02 February 2008
terrific work. 5 stars, this should deserve frontpage imo.
EDIT: I see in your wireframe that you're using a lot of gorups - you do know that they're killer for rendertimes, do you? I had tremendous speedups by just exploding groups in my scenes... groups in Max are nasty :|
  02 February 2008
Here I am, back again. Again thanks for all the nice comments.
Random answers:
I was thinking of doing some bird view of the city and the swamp sea, but that would take some time... right now I have multiple sets but I don't have a complete environment. We'll see.
Yes zemmuonne I use groups. I know it sucks, I know I should use layers instead (and in other projects I use them a lot) but this one simply grew with goups by basically inheriting them from older scenes. There is one little trick tough, since the scene is divided in levels as said before, I completed the set pieces coming from the background till the foreground (which needed more details and more specific modeling). Once every set piece was done, I launched the rendering onto a second PC and continued working on the next level. In the end, when I finished modeling the foreground, all the previous layers where already rendered and therefore I had to wait restless only for the foreground to render before beginning compositing on photoshop.
Of course most of the objects were already done from previous scenes, (example)

and since I basically maintained the same conventions across the board (names, materials, dimensions) integrating alltogether was rather simple. As I said, lighting was a little more complicated, but it just required some planning.
  02 February 2008
Beautiful work. I love all of these environments you have done... Great atmosphere and mood. You have been pluggified to the front page.
Mike Rhone
-VFX Artist-

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  02 February 2008
Congratulations, looks stunning !, looking forward to see you here again mate !
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  02 February 2008
Thumbs up

A good technique and an impressive precision, extraordinary!!
  02 February 2008
Hi Marco, great modeling, texturing and compositing...............BRAVO.
5 stars.

  02 February 2008
Excellent work!! Congratulations!

  02 February 2008
Simply amazing, a really god job. 5 stars!
  02 February 2008
very nice work congratulations
  02 February 2008
wow......great work.....I so love the picture and I love the colours......

um um .....no words....*****5stars from me ...... ........good job.........keep it up......
May God bless the grieving families,and may God continue to bless china.
chinese people..don't cry..a za a za fighting.
  02 February 2008
great work!! beautiful!!!
I like the atmosphere, and the lighting....it's a very elaborate matter!!
I would like to know your working procedure !!
I mean from the concept (did you start whit a sketch?) to lighting set..
because I see that on my work the point is to start with a good idea..
Thank you!!

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