3D graphics. Creation of realistic images of products Creation of a three-dimensional image

It doesn't matter how big and rich the virtual 3D world will be. There is only one way a computer can display it: by placing pixels on a 2D screen. In this part of the article, you will learn how the image on the screen becomes realistic, and how the scenes become similar to those you see in the real world. First, we'll look at how a single object is rendered realistic. Then we will move on to the whole scene. Finally, we'll look at how a computer implements motion: realistic objects move at realistic speeds.

Before the image becomes realistic, objects go through several stages of processing. The most important stages are shape creation, texture wrapping, lighting, perspective, depth of field and anti-aliasing.

Form creation

If we look out of the window, we will see that all objects have a shape, they are created from straight and curved lines of different sizes and positions. Likewise, when looking at a three-dimensional graphic image on a computer monitor, we will see an image created from various shapes, although most of them already consist of straight lines. We see squares, rectangles, parallelograms, circles and rhombuses. But most of all we see triangles. In order to compose a reliable picture with curved lines as in the surrounding world, you have to compose a form from many small shapes. For example, the human body may require thousands of these molds. Together they will form a structure called a skeleton. Wireframe is very similar to a sketch of an object, you can easily identify an object by wireframe. The next step after creating the shape is also just as important: the wireframe should receive the surface.

The illustration shows an arm skeleton made from a small number of polygons - only 862

Surface textures

When we encounter a surface in the real world, we can obtain information about it in two ways. We can look at a surface from different angles, and we can touch it and determine if it is soft or hard. In three-dimensional graphics, we can only look at the surface, while receiving all the available information. And this information consists of three components:

• Color: What color is the surface? Is it uniformly colored?
• Texture: Is the surface smooth or does it have dents, bumps, straightening, or something similar?
• Reflectivity: Does the surface reflect light? Are the reflections clear or blurry?

One of the ways to give "reality" to an object is to select a combination of these three components in different parts of the image. Look around you: your computer keyboard has a different color / texture / reflectivity from your desk, which in turn has a different color / texture / reflectivity from your hand. In order for the color of the image to look like the real one, it is important that the computer can select the color of a pixel from a palette of millions of different colors. The variety of textures depends both on the mathematical model of the surface (from frog skin to jelly-like material) and on the texture maps that are applied to the surface. It is also necessary to put into objects those qualities that cannot be seen: softness and hardness, warmth and cold, using various combinations of color, texture and reflectivity. If you make a mistake in even one of these parameters, the sense of reality will instantly dissipate.

Adding a surface to the wireframe begins to change
an image from something mathematical to a picture,
in which we easily find a hand.

Lighting

When you enter a dark room, you turn on the light. You don’t think how the light coming out of the bulb is distributed throughout the room. But when developing 3D graphics, this must be constantly taken into account, because all surfaces surrounding the frame must be illuminated from somewhere. One technique, called ray-tracing, traces the path that an imaginary ray will travel after exiting the lamp, bouncing off mirrored surfaces, and eventually ending on an object. The beam will illuminate it at different intensities at different angles. The method seems quite complicated even when constructing rays from one lamp, but in most rooms there are many sources of light: several lamps, windows, candles, etc.

Lighting plays a key role in two effects that give objects a sense of weight and solidity: shading and shadow. The first shading effect is to change the light intensity of an object from one side to the other. Thanks to the shading, the ball looks round, the high cheekbones bulge out on the face, and the blanket appears voluminous and soft. These differences in light intensity, together with the shape, reinforce the illusion that the object, in addition to height and width, also has depth. The illusion of weight is created by the second effect: the shadow.

Image highlighting not only adds depth
object through shading, but also "binds"
an object to the ground by means of a shadow.

Optically dense bodies cast a shadow when illuminated. You can see the shade on the sundial, or look at the shade of a tree on the sidewalk. In the real world, objects and people cast shadows. If there are shadows in the three-dimensional world, then it will seem even more to you that you are looking through a window at the real world, and not at a screen with mathematical models.

Perspective

The word perspective sounds like a technical term, but it actually describes the simplest effect that we all see. If you stand on the side of a long, straight road and look into the distance, it will seem to you that the right and left lanes of the road converge to a point on the horizon. If trees are planted along the side of the road, the farther the trees are from the observer, the smaller they are. You will notice that the trees converge at the same point on the horizon as the road. If all objects on the screen converge to one point, then this will be called perspective. There are, of course, other options, but mostly in three-dimensional graphics, the perspective of one point, described above, is used.

In the illustration above, the arms appear to be split, but in most scenes some objects are in front and partially block the view of other objects. For such scenes, the software must not only calculate the relative size of objects, but also take into account information about which objects are covering others and how much. The most commonly used for this is the Z-Buffer. This buffer got its name from the name of the Z-axis, or an imaginary line going beyond the screen through the stage to the horizon. (The other two axes are the X-axis, which measures the width of the stage, and the Y-axis, which measures the height of the stage.)

The z-buffer assigns a number to each polygon based on how close the object containing that polygon is to the front edge of the scene. Typically, lower numbers are assigned to polygons closest to the screen, and higher numbers are assigned to polygons adjacent to the horizon. For example, a 16-bit Z-buffer will assign the number -32.768 to the object closest to the screen, and 32.767 to the farthest object.

In the real world, our eyes cannot see objects covered by others, so we have no problem identifying visible objects. But these problems constantly arise in front of the computer, and he is forced to directly solve them. As each object is created, its Z-value is compared with the value of other objects occupying the same area in X and Y coordinates. The object with the smallest Z-value will be fully drawn, while other objects with higher values ​​will only partially be drawn. Thus, we do not see background objects protruding through the characters. Since the Z-buffer is used before the full drawing of objects, parts of the scene hidden behind the character will not be drawn at all. This speeds up graphics performance.

Depth of field

Another optical effect, depth of field, has also been used successfully in 3D graphics. Let's use the same example with trees planted along the side of the road. As the trees move away from the viewer, another interesting effect will occur. If you look at the trees closest to you, the distant trees will be out of focus. This is especially evident when viewing a photo or video with the same trees. Film directors and computer animators use this effect for two purposes. The first is to enhance the illusion of depth in the observed scene. Of course, the computer can draw every object in the scene exactly in focus, regardless of its removal. But since in the real world the effect of depth of field is always present, then drawing all objects in focus will lead to a violation of the illusion of the reality of the scene.

The second reason for using this effect is to draw your attention to the right objects or actors. For example, to heighten your focus on a movie character, the director will use the shallow depth of field effect when only one actor is in focus. On the other hand, scenes that should shock you with the grandeur of nature use the deep depth of field effect to bring as many subjects into focus as possible.

Anti-aliasing

Anti-aliasing is another technology designed to trick your eyesight. Digital graphics are very good at creating vertical or horizontal lines. But when diagonals and curves appear (and they appear very often in the real world), the computer draws lines with characteristic "ladders" instead of smooth edges. To convince your eyes that they are seeing a smooth line or curve, the computer adds pixels around the line with different shades of line color. These "gray" pixels create the illusion of no "steps". This process of adding pixels to trick the eye is called anti-aliasing, and it is one of the technologies that distinguishes 3D computer graphics from "handcrafted" graphics. The task of keeping lines and adding just the right amount of "anti-aliasing" colors is another daunting task for the computer when creating 3D animations on your display.

Imagine how the object will fit into the existing development. It is very convenient to view various variants of the project using a three-dimensional model. In particular, you can change the materials and coating (textures) of project elements, check the illumination of individual areas (depending on the time of day), place various interior elements, etc.

Unlike a number of CAD systems that use additional modules or third-party programs for rendering and animation, MicroStation has built-in tools for creating photorealistic images (BMP, JPG, TIFF, PCX, etc.), as well as for recording animation clips in standard formats (FLI, AVI ) and a set of frame-by-frame pictures (BMP, JPG, TIFF, etc.).

Creation of realistic images

The creation of photorealistic images begins with the assignment of materials (textures) to various elements of the project. Each texture is applied to all elements of the same color in the same layer. Considering that the maximum number of layers is 65 thousand, and the number of colors is 256, it can be assumed that an individual material can actually be applied to any element of the project.

The program provides the ability to edit any texture and create a new one based on a raster image (BMP, JPG, TIFF, etc.). In this case, for the texture, you can use two images, one of which is responsible for the relief, and the other for the texture of the material. Both the relief and the texture have different placement parameters on the element, such as: scale, rotation angle, offset, method of filling uneven surfaces. In addition, the relief has a "height" parameter (variable in the range from 0 to 20), and the texture, in turn, has a weight (variable in the range from 0 to 1).

In addition to the picture, the material has the following adjustable parameters: scattering, diffusion, gloss, polish, transparency, reflection, refraction, base color, glare color, the ability of the material to leave shadows.

The texture display can be previewed using standard 3D solids as an example, or on any element of the project, and you can use several types of shading of the element. Simple tools for creating and editing textures allow you to get almost any material.

An equally important aspect for creating realistic images is the way of rendering (rendering). MicroStation supports the following well-known shading methods: hidden line removal, hidden line filling, permanent shading, smooth shading, Phong shading, ray tracing, radio network, particle tracing. During rendering, the image can be smoothed (remove jagging), as well as create a stereo image that can be viewed using glasses with special light filters.

There are a number of display quality settings (corresponding to the image processing speed) for ray tracing, radio traffic, and particle tracing. To accelerate the processing of graphic information, MicroStation supports graphic acceleration methods - QuickVision technology. To view and edit the created images, there are also built-in modification tools that support the following standard functions (which, of course, cannot compete with the functions of specialized programs): gamma correction, tint adjustment, negative, blur, color mode, crop, resize, rotate , mirroring, converting to another data format.

When creating realistic pictures, a considerable part of the time is taken up by placing and managing light sources. Light sources are classified as global and local lighting. Global illumination, in turn, consists of ambient light, flash, sunlight, sky light. And for the sun, along with brightness and color, the azimuth angle and the angle above the horizon are set. These angles can be automatically calculated based on the specified geographical position of the object (at any point on the world map), as well as by the date and time of the object's consideration. The light of the sky depends on the cloudiness, the quality (opacity) of the air, and even on the reflection from the ground.

Local light sources can be of five types: remote, point, conical, surface, sky opening. Each source can have the following properties: color, luminous intensity, intensity, resolution, shadow, attenuation at a certain distance, cone angle, etc.

Light sources can help in identifying unlit areas of the subject where additional lighting needs to be placed.

Cameras are used to view the elements of the project from a certain angle and for free movement of the view throughout the file. Using the keyboard and mouse control keys, you can set nine types of camera movement: flight, rotation, descent, slide, bypass, rotation, swimming, trolley movement, tilt. Four different types of movement can be connected to the keyboard and mouse (modes are switched by holding the Shift, Ctrl, Shift + Ctrl keys).

Cameras make it possible to inspect the object from different angles and look inside. By varying the camera parameters (focal length, lens angle), you can change the perspective of the view.

To create more realistic images, it is possible to connect a background image, for example, a photograph of an existing landscape.

You are probably reading this article on a computer monitor or mobile device - a display that has actual dimensions, height, and width. But when you watch, for example, the cartoon Toy Story or play the game Tomb Raider, you see a three-dimensional world. One of the most amazing things about the 3D world is that the world you see can be the world we live in, the world we will live in tomorrow, or the world that lives only in the minds of the filmmakers or game creators. And all these worlds can appear only on one screen - this is at least interesting.
How does a computer do it to trick our eyes into thinking that by looking at a flat screen we see the depth of the picture presented? How do game developers make it so that we see real characters moving around in a real landscape? Today I'm going to tell you about the visual tricks used by graphic designers and how it all is designed and seems so simple to us. In fact, everything is not simple, and to find out what 3D graphics are, step under the cut - there you will find a fascinating story, into which, I am sure, you will immerse yourself with unprecedented pleasure.

What makes an image three-dimensional?

An image that has, or appears to have, height, width, and depth is three-dimensional (3D). A picture that has height and width but not depth is two-dimensional (2D). Remind me where do you see 2D images? - Almost everywhere. Remember even the usual symbol on the toilet door, denoting a stall for one or another floor. The symbols are designed in such a way that you can recognize and recognize them at a glance. This is why they only use the most basic shapes. More detailed information about a symbol can tell you what kind of clothes this little man hanging on the door is wearing, or the color of his hair, for example, the symbolism of the women's toilet door. This is one of the main differences between the way 3D and 2D graphics are used: 2D graphics are simple and memorable, while 3D graphics use more details and contain much more information in a seemingly ordinary object.

For example, triangles have three lines and three angles - all that is needed to tell what a triangle consists of and what it is in general. However, look at the triangle from the other side - the pyramid - is a three-dimensional structure with four triangular sides. Note that in this case there are already six lines and four corners - this is what the pyramid consists of. You see how an ordinary object can turn into three-dimensional and contain much more information needed to tell the story of a triangle or pyramid.

For hundreds of years, artists have used some visual tricks that can make flat 2D images a real window into the real 3D world. You can see a similar effect in regular photographs that you can scan and view on a computer monitor: objects in the photograph appear smaller when they are farther away; the objects close to the camera lens are in focus, which means, accordingly, everything that is behind the objects in focus is blurry. Colors tend to be less vivid if the subject is not as close. When we talk about 3D graphics on computers today, we are talking about images that move.

What is 3D Graphics?

For many of us, games on a personal computer, mobile device, or generally an advanced gaming system are the most striking example and common way through which we can contemplate three-dimensional graphics. All of these games, cool movies made with a computer, must go through three basic steps to create and present realistic 3D scenes:

1. Creation of a virtual 3D world
2. Determining which part of the world will be shown on the screen
3. Determining how a pixel will look on the screen to make the overall image appear as realistic as possible

What part of the virtual world is shown on the screen?
At any given moment, the screen only shows a tiny part of the virtual 3D world created for a computer game. What is shown on the screen is certain combinations of the ways in which the world is defined, where you decide where to go and what to see. Regardless of where you go - forward or backward, up or down, left or right - the virtual 3D world around you determines what you see when you are in a certain position. What you see makes sense from one scene to the next. If you are looking at an object from the same distance, regardless of direction, it should look high. Every object should look and move in such a way that you believe that it has the same mass as the real object, that it is as hard or soft as the real object, and so on.

Programmers who write computer games go to great lengths to design virtual 3D worlds and make them so that you can wander in them without encountering anything that would make you think "This couldn't happen in this world!" The last thing you want to see is two solid objects that can go right through each other. This is a stark reminder that everything you see is pretense. The third step includes at least as many calculations as the other two steps and should be done in the same way in real time.

Lighting and perspective

Lighting plays a key role in two effects that give the appearance, weight, and external strength of objects: darkening and shadowing. The first effect, dimming, is where more light falls on an object from one side than the other. Shading gives the subject a lot of naturalism. This shading is what makes the folds in the blanket deep and soft and the high cheekbones seem striking. These differences in light intensity reinforce the overall illusion that the subject has depth as well as height and width. The illusion of mass comes from the second effect, the shadow.

Solids cast shadows when light hits them. You can see this when you observe the shadow that a sundial or tree is casting on the sidewalk. Therefore, we are used to seeing real objects and people casting shadows. In 3D, the shadow, again, reinforces the illusion, creating the effect of being in the real world rather than on a screen of mathematically generated shapes.

Perspective
Perspective is one word that can mean a lot, but in fact it describes a simple effect that everyone has seen. If you stand on the side of a long, straight road and look into the distance, it seems as if both sides of the road converge at one point on the horizon. Also, if the trees are next to the road, the trees will look smaller further than the trees close to you. In fact, it will look like the trees are converging at a certain point on the horizon formed near the road, but this is not the case. When all of the objects in the scene end up looking converging at a single point in the distance, that's perspective. There are many variations on this effect, but most 3D graphics use the same point of view that I just described.

Depth of field

Smoothing

Another effect that also relies on tricking the eyes is anti-aliasing. Digital graphics systems are very good at creating crisp lines. But it also happens that diagonal lines turn up (they often appear in the real world, and then the computer reproduces lines that look more like ladders (I think you know what a ladder is when you look closely at the object of the image)). Thus, to trick the eye into seeing a smooth curve or line, the computer can add shades of color to the lines of pixels that surround the line. The computer deceives your eyes with this "gray color" of pixels, and you, meanwhile, think that there are no more jagged steps. This process of adding extra colored pixels to trick the eye is called anti-aliasing, and is one of the techniques that are manually generated by computer 3D graphics. Another challenging task for a computer is creating 3D animation, an example of which will be presented to you in the next section.

Real examples

The photo above is a typical office, which uses a sidewalk to enter. In one of the following photographs, a simple solid-colored ball was placed on the sidewalk and the scene was photographed. The third photograph represents the use of a computer graphics program, which has created a ball that does not actually exist in this photograph. Can you say that there are some significant differences between these two photos? I think no.

Create Animation and Live Action Visibility

How many frames per second?
When you go to a chic blockbuster at a local cinema, a sequence of images called frames runs at 24 frames per second. Since our retinas retain an image for a little longer than 1 / 24th of a second, most people's eyes will blend footage into one continuous image of movement and action.

If you do not understand what I just wrote, then let's look at it from the other side: this means that each frame of a movie is a photograph taken at a shutter speed (exposure) of 1/24 second. Thus, if you look at one of the many frames of a racing movie, you will see that some of the racing cars are “blurred” because they drove at a high speed while the camera's shutter is open. This motion blur is what we're used to seeing, and it's part of what makes the image real to us when we look at it on the screen.

However, digital 3D images are not photographs anyway, so no blurring effect occurs when the subject moves in the frame during shooting. To make images more realistic, blurring must be explicitly added by programmers. Some designers believe that it takes more than 30 frames per second to "overcome" this lack of natural blur, which is why they pushed games to the next level - 60 frames per second. While this allows each individual image to appear in great detail and display moving objects in smaller increments, it significantly increases the number of frames for a given animation sequence. There are other specific portions of images where accurate computer rendering must be sacrificed for the sake of realism. This applies to both moving and stationary objects, but this is a completely different story.

Let's come to the end

Computer graphics continues to amaze the whole world, creating and generating a wide variety of truly realistic moving and non-moving objects and scenes. With 80 columns and 25 lines of monochrome text, graphics have advanced significantly, and the result is obvious - millions of people play games and conduct a variety of simulations with today's technology. New 3D processors will also make themselves felt - thanks to them, we can literally explore other worlds and experience things that we never dared to try in real life. Finally, back to the ball example: how was this scene created? The answer is simple: the image has a computer generated ball. It is not easy to say which of the two is authentic, is it? Our world is amazing and we have to live up to it. I hope you found it interesting and learned for yourself another portion of interesting information.

Unlike 2D animation, where a lot can be drawn by hand, in 3D objects are too smooth, their shape is too correct and they move along too "geometric" paths. True, these problems are surmountable. The animation packages improve renderers, update special effects tools, and increase material libraries. Multiparticle technology is used to create "jagged" objects such as hair or smoke. Inverse kinematics and other animation techniques are introduced, new methods of combining video recording and animation effects are emerging, which makes scenes and movements more realistic. In addition, open systems technology allows you to work with multiple packages at once. You can create a model in one package, paint it in another, animate it in the third, add video recording in the fourth. Finally, the functionality of many professional packages can now be expanded with additional applications written specifically for the base package.

3D Studio and 3D Studio MAX

One of the most famous 3D animation packages at IBM is 3D Studio from Autodesk. The program works under DOS, provides the entire process of creating a three-dimensional film: object modeling and scene formation, animation and visualization, work with video. In addition, there is a wide range of application programs (IPAS processes) written specifically for 3D Studio. A new program from the same company called 3D Studio MAX for Windows NT has been created over the past few years and claims to be a competitor to the powerful SGI workstation packages. The interface of the new program is the same for all modules and has a high degree of interactivity. 3D Studio MAX implements advanced animation control capabilities, stores the life history of each object and allows you to create a variety of lighting effects, supports 3D accelerators and has an open architecture, that is, allows third parties to include additional applications in the system.

TrueSpace, Prisms, Three-D, RenderMan, Crystal Topas

Electric Image, SoftImage

To create three-dimensional animation on IBM and Macintosh computers, it is also convenient to use the Electric Image Animation System package, which includes a large complex of animation tools, special effects, tools for working with sound and a font generator with customizable parameters. Although this program does not have modeling tools, it does have the ability to import over thirty different model formats. The package also supports working with hierarchical objects and inverse kinematics tools. In turn, Microsoft's Softimage 3D software runs on SGI and Windows NT platforms. It supports modeling based on polygons and splines, creating special effects, working with particles and technology for transferring motion from live actors to computer characters.

3D modeling and visualization are essential in the manufacture of products or their packaging, as well as in the creation of prototypes of products and the creation of volumetric animation.

Thus, 3D modeling and visualization services are provided when:

• an assessment of the physical and technical features of the product is needed even before its creation in the original size, material and configuration;
• it is necessary to create a 3D model of the future interior.

In such cases, you will definitely have to resort to the services of specialists in the field of 3D modeling and visualization.

3D models- an integral part of high-quality presentations and technical documentation, as well as - the basis for creating a product prototype. A feature of our company is the ability to carry out a full cycle of work to create a realistic 3D object: from modeling to prototyping. Since all work can be carried out in a complex, this significantly reduces the time and costs for finding performers and setting new technical specifications.

If we are talking about a product, we will help you release a trial batch and set up further production, small-scale or industrial scale.

Definition of the concepts of "3D-modeling" and "visualization"

3D graphics or 3D modeling- computer graphics, which combines the techniques and tools necessary to create three-dimensional objects in a tech-dimensional space.

Techniques should be understood as ways of forming a three-dimensional graphic object - calculating its parameters, drawing a "skeleton" or a volumetric non-detailed form; extrusion, build-up and cutting of parts, etc.

And under the tools are professional 3D modeling programs. First of all - SolidWork, ProEngineering, 3DMAX, as well as some other programs for volumetric visualization of objects and space.

Volume rendering is the creation of a two-dimensional raster image based on the constructed 3d model. At its core, it is the most realistic image of a three-dimensional graphic object.

Applications of 3D modeling:

• Advertising and marketing

Three-dimensional graphics are indispensable for the presentation of the future product. In order to start production, you need to draw and then create a 3D model of the object. And, already on the basis of a 3D model, using rapid prototyping technologies (3D printing, milling, molding of silicone molds, etc.), a realistic prototype (sample) of a future product is created.

After rendering (3D visualization), the resulting image can be used in the development of packaging design or in the creation of outdoor advertising, POS materials and design of exhibition stands.

• Urban planning

With the help of three-dimensional graphics, the most realistic modeling of urban architecture and landscapes is achieved - with minimal costs. Visualization of building architecture and landscape design allows investors and architects to feel the effect of being in the designed space. That allows you to objectively assess the merits of the project and eliminate the shortcomings.

• Industry

It is impossible to imagine modern production without pre-production modeling of products. With the advent of 3D technologies, manufacturers have the opportunity to significantly save materials and reduce financial costs for engineering design. Using 3D modeling, graphic designers create 3D images of parts and objects, which can then be used to create molds and object prototypes.

• Computer games

3D technology has been used in the creation of computer games for over ten years. In professional programs, experienced specialists manually draw three-dimensional landscapes, models of heroes, animate created 3D objects and characters, and also create concept art (concept designs).

• Cinema

The entire modern film industry is focused on 3D cinema. For such filming, special cameras are used that can shoot in 3D. In addition, with the help of three-dimensional graphics for the film industry, individual objects and full-fledged landscapes are created.

• Architecture and interior design

The technology of 3D modeling in architecture has long proven itself from the best side. Today, the creation of a three-dimensional model of a building is an indispensable attribute of design. Based on the 3d model, you can create a prototype of the building. Moreover, both a prototype, repeating only the general outlines of the building, and a detailed prefabricated model of the future structure.

As for the interior design, with the help of 3d-modeling technology, the customer can see how his home or office space will look after the renovation.

• Animation

With the help of 3D graphics, you can create an animated character, "make" him move, and also, by designing complex animation scenes, create a full-fledged animated video.

Stages of developing a 3D model

The development of a 3D model is carried out in several stages:

1. Modeling or creating model geometry

It is about creating a three-dimensional geometric model without taking into account the physical properties of the object. As techniques used:

• extrusion;
• modifiers;
• polygonal modeling;
• rotation.

2. Object texturing

The level of realism of the future model directly depends on the choice of materials when creating textures. Professional programs for working with three-dimensional graphics are practically unlimited in the possibilities for creating a realistic picture.

3. Exposure of light and vantage points

One of the most difficult stages in creating a 3D model. After all, the realistic perception of the image directly depends on the choice of the tone of the light, the level of brightness, sharpness and depth of shadows. In addition, it is necessary to select a point of observation for the object. This can be a bird's-eye view or scaling the space to achieve the effect of being in it - by choosing a view of the object from a height of human growth.

4. 3D rendering or rendering

The final stage of 3D modeling. It consists in detailing the settings for displaying a 3D model. That is, adding graphic special effects such as glare, fog, shine, etc. In the case of video rendering, the exact parameters of 3D animation of characters, details, landscapes, etc. are determined. (time of color drops, glow, etc.).

At the same stage, the rendering settings are detailed: the required number of frames per second and the extension of the final video are selected (for example, DivX, AVI, Cinepak, Indeo, MPEG-1, MPEG-4, MPEG-2, WMV, etc.). If it is necessary to obtain a two-dimensional raster image, the format and resolution of the image is determined, mainly - JPEG, TIFF or RAW.

5. Postproduction

Processing captured images and videos using media editors - Adobe Photoshop, Adobe Premier Pro (or Final Cut Pro / Sony Vegas), GarageBand, Imovie, Adobe After Effects Pro, Adobe Illustrator, Samplitude, SoundForge, Wavelab, etc.

Postproduction is to give media files original visual effects, the purpose of which is to excite the mind of a potential consumer: to impress, arouse interest and be remembered for a long time!

3D modeling in foundry

In foundries, 3D modeling is gradually becoming an indispensable technological component of the product creation process. If we are talking about casting into metal molds, then 3D models of such molds are created using 3D modeling technologies, as well as 3D prototyping.

But no less popular today is casting in silicone molds. In this case, 3D modeling and visualization will help you create a prototype of an object, on the basis of which a shape will be made from silicone or other material (wood, polyurethane, aluminum, etc.).

3D rendering techniques (rendering)

1. Rasterization.

One of the simplest rendering methods. When using it, additional visual effects (for example, the color and shadow of an object relative to the point of view) are not taken into account.

2. Raycasting.

The 3D model is viewed from a specific, predetermined point - human height, bird's-eye view, etc. From the point of view, rays are sent that determine the light and shade of the object when it is viewed in the usual 2D format.

3. Ray tracing.

This rendering method implies that, when it hits the surface, the ray is divided into three components: reflected, shadow and refracted. This is what actually forms the color of the pixel. In addition, the realism of the image directly depends on the number of divisions.

4. Path tracing.

One of the most sophisticated 3D visualization techniques. When using this method of 3D rendering, the propagation of light rays is as close as possible to the physical laws of light propagation. This is what ensures the high realism of the final image. It should be noted that this method is resource-intensive.

Our company will provide you with a full range of services in the field of 3D modeling and visualization. We have all the technical capabilities to create 3D models of varying complexity. We also have extensive experience in 3d visualization and modeling, which you can see for yourself by examining our portfolio, or our other works that have not yet been presented on the site (upon request).

Brand agency KOLORO will provide you with services for the release of a trial series of products or its small-scale production. To do this, our specialists will create the most realistic 3D model of the object you need (packaging, logo, character, 3D sample of any product, casting mold, etc.), on the basis of which a prototype of the product will be created. The cost of our work directly depends on the complexity of the 3D modeling object and is discussed on an individual basis.