LowPoly renders. 3ds Max 2020 - Radeon ProRender
Some photo restorations I did.
More testing using 3DF Zephyr. One great thing was that Zephyr took my Nikon’s D3200 raw NEF photos without any conversion on my part.
Camera used: Nikon D3200.
The first four pictures were created using Meshroom, and rendered using 3ds Max 2019 ART renderer. The last one of the bench was created using Agisoft Metashape Standard (Trial). I wasn’t able to process the bench through Meshroom, most likely not enough ram in my computer to process the entire scene. I had to tweak some settings to make it work but the results didn’t have enough detail. With Metashape I can delete sections of the point cloud so only the sections I want will be processed into a mesh.
This is a rendering method I use regularly in 3Ds Max using Mental Ray (3Ds Max9 – 2017). It cuts down rendering time by a fairly good margin and gives you a nice clean look for animation.
I'm using the Arch & Design (mi) material. I prefer the Pearl Finish template for everything just to get a slight blurred reflection on surfaces. Make sure Fast (interpolate) is enabled.
Under Fast Glossy Interpolation drop-down, set Interpolation grid density to 1(same as rendering) and enable High detail distance. Under the Special Effects drop-down, enable Ambient Occlusion. I leave Samples at default (16) but higher value will give you less grain. The Max Distance will change depending on your scene but I tend to stay around 150 – 250. The Zenith Station scene used a Max Distance value of 250. That's it as far as the material.
Now for the rendering settings. For this method I'm using Mental Ray. Under the Indirect Illumination tab I'm using the Draft Preset with Enable Final Gather check box enabled. Enable Use Falloff (Limits Ray Distance) check box. Set the start to 0 and the Stop to 0.01. The Falloff settings will disable any GI and final gather calculations from Mental ray while still keeping the ambient lighting. Everything else is default settings. Setup up your scene the way you want using your preferred daylight system and Physical Sky setup for the background.
One con to this method is that it doesn’t take into account light bounce. In the image on the right you see the red tint on the ground coming from the red wall. This method does not calculate light bounce as shown on the image on the left.