<![CDATA[℡长夜℡]]>

<![CDATA[℡长夜℡]]> http://999181.qzone.qq.com Tue, 24 Nov 2009 20:19:43 GMT Qzone zh-cn Copyright (C), 2005-2008, Tencent Tech. Co., Ltd. Mon, 02 Nov 2009 13:42:17 GMT <![CDATA[室外2]]> http://999181.qzone.qq.com/blog/1257169337

INTRODUCTION
I am happy to share the Making Of Story of my scene: Time under The Trees. I decided to make this series of images When I saw some photos of Toorak Residence in a book. I thought it would be nice to make different season images of a place inside forest, under trees. I changed some of the architectural forms, colors, and materials to a large or a small extent. The whole of Time Under The Trees was done in 3dsMax9 and rendered in VRAY.

ORGANISATION AND LAYOUT
My project consisted of images with different seasons and lighting so I needed to make
- variations of some models (like trees and ground),
- variations of some materials (wet and dry materials, dry leaves etc),
- variations of lighting.

So from the beginning, I tried to keep everything organised, named everything properly and used layers to organise things and grouped layers. I believe this is very important and saved me a lot of time.

First, I modeled the base layout of the concept and adjusted my camera point of view. This is a important step because I can adjust level of detail in my models according to how close they are to the camera. So I defined zones:
1.zones with high detailed models,
2.zones with medium detailed models
3.zones with less detailed models

or in other words, Foreground,Midground and Background.

- Little Stones:
I used a composite technique for the pebbles on ground:
- Foreground: Meshes distributed with ParticleFlow with higher density
- MidGround: Meshes distributed with ParticleFlow with less density + Displacement
- Background: Normal Mapping

First, I modeled few different little stones.

I converted these meshes into VrayProxy to save RAM. VrayProxy is an excellent feature of vray. Neil Blevins has written a very good tutorial about scattering objects in www.neilblevins.com After reading this tutorial, I decided to use a similar method.

A D V E R T I S E M E N T

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MODELLING THE GROUND
Distribution with ParticleFlow:
I created a Particle Source. You can control all parameters of your ParticleFlow when you go into Particle View. I made a sphere as a helper object to scatter around the ground. This is essential to be able to use the proxy characteristic of my vraymeshes. Proxy objects loose their proxy charecteristic if they are scattered directly. I replaced this sphere meshes with proxied pebble models in the later steps.

ShapeInstance operator is to choose the particle geometry object. In my case it is the sphere. The PositionObject operator is to choose the emitter object. From birth operator, you can adjust the amount of particles. If you want to scatter different type of geometry, you can make a parent dummy object and link the child objects to this. In my case, this is not necessary.

ParticleBake Script and Baking the Particles Into Mesh: After distributing the spheres with the particle flow, I baked the particles into a mesh by using Bobo's BakePFlowToObjects script. By making this, all particles become a mesh so they can be replaced. You can find this very useful script in www.scriptspot.com

Replacing The Particles With VrayMeshes (proxy objects of little stones):
For this part, I used another great script ObjectReplacer by Neil Blevins. (www.neilblevins.com) I replaced all dummy spheres with the meshes. This steps were necessary to be able to retain the proxy characteristic of the scattered objects. Position, Rotation, Scale properties are adjustable.

Most of the other changes are in the texturing stage.

TEXTURING
I unwrapped most of the models. This give me the chance to paint textures as I want for every different light-rig.This is the most direct and easiest way for me as I have the full control over the textures. I was able to paint all the marks of time and weather on aged materials and I could also easily handled the leakages, holes, even could even paint the leakage going inside the hole in concrete and going out again or the handprint on glass.

Fog:
This scene is only lighted with a white environment light. There is no GI in the scene, so it is not the Vray Environment Skylight but the 3dsMax Environment Light.

Rain:
I used IBL(image based lighting) for the Rain Scene. There is only one Vray Domelight mapped with a HDRI image in this scene.

Dusk:
Again one Vray Domelight and two sphere Vraylights for the interior and exterior lamps.

Rendering Fog Effect:
I used the VrayEnvironment Fog for this effect. I rendered it as a seperate layer with a black-matte material in override and composited it later in post-production. You can view the settings below:

Thank you for all your feedbacks and comments about my work. I hope this tutorial answers the questions that have been asked about my workflow.
Best Wishes For Everyone :)

]]> http://999181.qzone.qq.com/blog/1257169337#comment 134218241 Mon, 02 Nov 2009 13:42:17 GMT http://999181.qzone.qq.com/blog/1257169337 <![CDATA[室内]]> http://999181.qzone.qq.com/blog/1257168791

INTRODUCTION
In this tutorial I will show you how to create simple interior scene basing on reference photo.
I wanted to make it basic and simple for beginers without any complicated advanced settings.

MATCHING REFERENCE PHOTOGRAPHY IN VIEWPORT
First of all have to create help lines in Adobe Photoshop (using line tool) to set the perspective of the image.
These lines should meet in one point.

Open 3d Studio Max
Now open Views -> Background view (shortcut ALT+B), it will allow You to select Viewport Background.
Choose the reference file from hard disk and press ok.
Now You have to change render output in rendering menu to match the resolution of reference file (in our case 1025 x 819 ). Now in your selected viewport rightclick in top-left corner and select show safe frame. (shortcut SHIFT+F),
Safe frame will appear and image should be perfectly placed. In next step we will change units to centimeters.
This isn't that crucial, but may be helpful setting proper scale for the objects. Customize -> Units setup... change display units scale to Centimeters. Now right-click on the snap button, select Home Grid and change grid spacing to 1,0 CM.

Next let's create a simple box in scene.
Set height of the box to 300 cm.
Convert it to editable poly, Select all faces and flip them. Now right click mouse on our box and In object properties check "backface cull", because we want to see what is inside room without seeing walls from the outside.

This box will be a modeling base for our room.

Create Vray Physical Camera in the left corner of the box.
In the same viewport where you set background, change view to VRay camera. Adjust its position, and focal length, so the box line will match the red lines in background reference.
Select box and righclick on it. select object properties and in options check "see-trought" (shortcut: ALT + X ) Now your object will become transparent so you can see the viewport behind it. It will be easier to manipulate with connects and verticles this way.

Matching camera isn't easy task. So don't worry if lines aren't perfect. It would be much more easier if we had exact measurements of the room and camera specification.

body { background-color: #000000; } .frEx_sectionBar { background-color: #4a4a4a; margin: 0px; font-size: 12px; } .frEx_sectionBar div { padding: 3px; } .frEx_sectionBodyBrdr { border: 1px solid #4a4a4a; } .frEx_imageDescription { color: #84868e; margin: 4px; } .frEx_imageDescription a { color: #FFFFFF; } .frEx_imageDescription div { padding: 6px; padding-top: 2px; }

MODELING
If correct camera position is set we can start creating some details.
Now you may load reference photo without lines into your background (ALT+B). Delete faces on the walls to prepare holes for placing windows. Create central columns. Select faces on the floor and ceiling and in editable poly menu choose 'bridge'.

We need to extrude a little bottom part of the columns.

All the time you may control your connects and extrudes from the camera view.

--------------------------------------------------------------------------------

Let's create central desk. This is very simple object. We create it using box modeling.

1. Create base box and extrude basic shape. Use isolate selection to work only on that object (ALT+Q)

2. Add connects and chamfer them to create spaces

3. Extrude selected faces to 1 cm

4. Select 'grow' and detach faces. Now we have two separate objects, base and the doors.
5. Cap all holes in both objects. Select Borders in each of them and use CAP (ALT+P).
6. Now add double chamfer - select all edges, chamfer them and then again press ctrl+a and chamfer again

7. Select all faces and under smoothing groups parameters select "Auto Smooth" As we can observe shading isn't correct after auto smooth. If we want to use auto smooth we have to add some more connects.

8. Select these edges, and connect them. With this connects shading is back to normal. It should look flat, without any strange gradients.

9. Add more chamfers to the rest of the desk where necessary and repeat process on the other parts of the desk.
10. Here is the finished model with simple cylinders added.

The rest of the kitchen furniture were done in the exact same way. First create boxes, connect edges and control positioning with camera view.

Now create plane so it matches the hole. Plane has 240 width segments.
Over our plane create 28 boxes. They will hold our curtain.

Select plane and add Cloth modifier from modifier list. Unroll Cloth, select 'group', now select first vertex under first box, select 'Make group', Now click on 'Node' and select first box. Our first vertex is assigned to first box. You have to assign each vertex to box that lays over it.

In the end you should have 28 groups consisting 1 vertex each, assigned to 28 nodes. Use this settings for the curtain cloth:

Now we have to prepare animation for the nodes. First open the time configuration window and set animation time to 200

Now open CUSTOMIZE -> PREFERENCES ->ANIMATION and uncheck 'local center during animation'

Jump to frame 150 and hit 'Auto Key' button.

Select all boxes and scale them,then move to the side. Make sure pivot center is set to "Use selection center".

Uncheck 'Auto key'. Select Curtain and in cloth options hit 'Simulate'.

2. Create connects

3. Select opposing faces and use Bridge option to create holes.

4. In bridge options select 3 segments.

5. Now select those edges and choose 'ring'

6. Convert edge selection to faces by rightclicking and selecting 'convert to face' or hit CTRL + polygon selection

7. Extrude selected faces, remember to check Local Normal.

8. As you can see these lines aren't straight after extrude. Select 8 verticles laying on these lines and click on "Z" in the edit geometry tab. They will automatically become planar to z axis.

9. Now create new connects in the middle and select these edges:

10. Extrude edges inside the model.

11. Now select all edges (CTRL+A) and add slight chamfer.

12. Another window frame is done in the same way:

13. In the end create boxes and place them inside frames as glass.

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MODELING CARPET
1. Create box and add chamfers.

2. Add uvw map modifier and select planar mapping. Set length and width to the same value. If you scaled this box before you have to use "reset Xform" utility in Utilities window before adding uvw map modifier.

3. Add unwrap uvw modifier, Click Edit... setect Tools and 'render uvw template' Now you can open this template in Photoshop and create carped diffuse and bump.

4. Add connects so the wireframe of carpet is dense. After it add noise modifier.

5. Now you can use FFD modifier to scale corners of the carpet.

2. Now select 'detach' function to create separate object. Select floor and right click Isolate Selection (shortcut: ALT+Q)

3. Add UVW map modifier to the floor and set width and height to the resolution of the diffuse image. Now when you will apply diffuse, it won't be streched. You can also use 'Bitmap Fit' button to do so.

4. Create new VRay material, apply floor diffuse (HD_1_diffuse.jpg) and display map in vieport. Now select gizmo and scale it to achieve desired effect.

5. Here is complete shader of the floor.

1. Add 'unwrap UVW' modifier.
Select all faces that have incorrect wood direction.

2 Select 'Edit...' button.

Rightclick and choose 'Break' Now you can move selected faces in Edit UVWs separatly. Remember to use 'constant update' option. Now just rotate these parts 90 degress ( Rot. +90 )

Always avoid to much streching in textures, you may put checker map to check amount of stretch

Other models in scene like seats, can be found on Evermotion models collections.

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ADDING ENVIRONMENT
Create plane under building and select bright diffuse color. This plane will reflect skylight GI. Now create cylinder around scene and delete faces that we don't need. Next Invert faces so normals are directing inwards.

Now apply VRay light material on it. In color slot put environment map "land 08.jpg" Use unWrap modifier to addjust the position of trees. Now rightclick annd select VRay properties. Choose this settings:

Now when you set strenght of VRay light it's exposure will rise, but it will not affect final GI inside room. In this scene power of the VRay light is set to 7.

Press 8 to open environment settings.
Add VRaySky map into environment slot. Now the scene enviroment lighting will be produced by a skylight. We don't add any direct lights since all shadows in scene are soft.

Next add VRay plane lights to lit up room.

Light setup in scene:

body { background-color: #000000; } .frEx_sectionBar { background-color: #4a4a4a; margin: 0px; font-size: 12px; } .frEx_sectionBar div { padding: 3px; } .frEx_sectionBodyBrdr { border: 1px solid #4a4a4a; } .frEx_imageDescription { color: #84868e; margin: 4px; } .frEx_imageDescription a { color: #FFFFFF; } .frEx_imageDescription div { padding: 6px; padding-top: 2px; }

RENDERING
1. Camera settings
Turn vignetting off. Vignetting creates dark areas in corners of image and usually it isn't desired effect. If you want you can always add it later easily in Photoshop.
To control overall scene brigtness set different ISO or shutter speed.

2.Render settings
Turn GI reflevtive caustics on. This allows indirect light to be reflected from specular objects. It will help to lit up scene a bit. Open VRay object properties of the VRay lights, increase caustics subdivs to 8000.

We will choose irradiance map for first bounce and light cache for secondary bounces.
If you don't care about rendering time and want best quality, choose brute force as first engine and set its subdives to 30. Quality of GI in small details will be better, but brute force can produce more noise and rendertime will rise significantly. In Irradiance settings increase HSph. subdivs to 100.

In post-processing (VRay: Indirect illumination rollout), change GI saturation to 0,8. It will desaturate GI a little and colors will not 'bleed' that much.
Increase GI contrast to 1,1.

In Settings rollout when you will Set Global subdivs multiplier to 2 it means that all subdives in lights and materials will be mulitplied by 2. In materials reflection and refraction subdives are set to 8 by default so the result will be 16. This is fast way to change quality of all materials in scene.
You can of course set all subdives in materials by your hand, decreasing and increasing them directly in materials.

Color mapping is set to exponential. It will help to avoid having 'burned out' areas. (RGB = 255,255,255).

Here are all render settings:

Here is final render using this settings without post-production in Photoshop:

Ok, now open Photoshop, we will ad some bloom. Select this area:

When you press CTRL+J it will create layer from selection. Now just add gausian blurr and select blending mode to screen. Copy this layer few times to enchance effect.

Desaturate scene a little and play with levels to achieve final effect.
You may add slight vignetting using 'FILTER' -> 'DISTORT' -> 'LENS CORRECTION'
Also you can sharpen image if its too blury. 'FILTER'-> 'SHARPEN' -> 'UNSHARP MASK'

Final render after Photoshop:

Here is complete interior scene with models, shaders and textures for download. (Max 9 or higher)
]]> http://999181.qzone.qq.com/blog/1257168791#comment 134218241 Mon, 02 Nov 2009 13:33:11 GMT http://999181.qzone.qq.com/blog/1257168791 <![CDATA[室外]]> http://999181.qzone.qq.com/blog/1257168573

SCENE OVERVIEW
The scene consists of a round patch of grass, the house in the center and trees surrounding it. They had to be close to each other so you couldn't see through them, creating the impression of a forest. For every camera view, I added, removed or moved trees and foliage to shape the composition.

The whole scene

GRASS

Grass cut in patches

The grass is actually very simple and similar to the grass most people produce with displacement. The key is having a lot of displacement subdivisions and a good noise map. I used VrayDisplacement modifier, set to 2D mapping. The amount, controlling the length of the blades was different for every camera - shorter for close-ups and longer for broader views. The very detailed look is mainly provided by the resolution set to 3500. This also varied thru the different scenes, but generally I kept it to a very high level of above 2000.

Grass displacement settings

Of course, as you would imagine, this generates a huge amount of polygons which had to be rendered and I shortly ran out of memory even on a 6GB RAM machine. The problem was solved by cutting the whole grass field in patches. Then I would turn on the displacement only for those seen in the view. I also added some bumps to the surface which was displaced to make it more random. I did this by subdividing the grass surface and then applying a standard displacement modifier, with a smoke map in it. Just next to the building or the trees I added some extra, untrimmed grass blades. Each one is a VrayProxy, because I had to save every polygon I could.

The map for the displacement is a plain noise map. You just have to set it up properly, so there aren't any bright white dots which make the grass look like a carpet. You need just the right balance between the high and low settings and the right size, which in my case was the smallest possible.

Grass bumps

Displacement noise map

TREES
Most of the trees were modeled in Onyx Tree and two were made with the Bionatics plugin, because it provides very detailed leaves. Making trees in Onyx Tree is quite simple, furthermore simplified by the pre-saved parameters that come with it. The hard part part involved the leaves. Since I used SSS material (More on that topic in the Materials section), I couldn't use opacity maps, so I had to have leaves made by geometry only. Onyx Tree does not support complex leaves, which is OK in most cases, but not in this one. I needed the leaves to be well shaped and to have volume.

Tree bark displacement

This meant I couldn't use the original leaves, imported from Onyx. In the scene I had trees for background and some better detailed for foreground and close-ups. The leaves on the background trees I left almost as they came from Onyx Tree. The only thing I did was to add a shell modifier to add volume instead of having just a surface (Why, you'll find out in the Materials section). Sounds easy, but it isn't. With the thousands of leaves these trees had, that operation turned out to be quite heavy and it had to be done in pieces. All the leaves were in a single object, which I split to several parts. This let 3dsmax apply a shell modifier to each part without freezing. Then I attached them back together. Things got even harder with making the detailed trees. They had a replacement of leaves. I imported those models with square leaves from Onyx and then scattered a highpoly leaf model over the entire low-poly square leaves object, deleting the distribution object.

High poly leaves

Low poly leaves

Onyx tree and Bionatics produce pretty good trunks and branches. As far as geometry goes they give you all the subdivisions you could need. There was, however, some tweaking and model enhancement I did to one of the trees, mostly because I needed it to be thicker and more detailed since it was taking a central part in the composition.

Tree bark

The fine detail of the bark was added with VrayDisplacement. I tried to have displacement on all of the trees, but it didn't turn out to be a good idea, because the amount of memory this took was too much. I had to restrict it to the closest trees to the camera, or even to some of the boughs and branches. The thinnest branches didn't need any displacement and disabling it freed a lot of memory. You should always be very careful with VrayDisplacement. It's best if you make sure that only objects or parts of objects, that are in the render frame have displacement applied to them.

One of the best thing with these parametric tree generators is that they give you UV coordinates both for the leaves and the trunk/boughs/branches. You can then easily map your selected texture by adjusting its size and position.

After I've modeled the trees I had to convert them to proxies, so I can copy every type multiple times and shape a forest. What I did was, instead of making a single proxy, I made a group of two proxies for every type of tree. One proxy for the leaves and one for the trunk and branches. The purpose of this was to let me replace the trunk proxy with its mesh equivalent, so I could apply a VrayDispl modifier to it when needed. This way I could choose the close trees and add displacement only to them. You can't use VrayDispl with proxies.

Tree proxies

Every large tree had over a 1,000,000 polygons and there were a total of around 5 large trees and 5 more smaller trees or bushes. I don't have an accurate number for the total polycount of the scene, with almost everything being a proxy, but as the scene is the counter shows 13.6 million polygons. It isn't much at all, but the most of the final polygons come from the displacement of the grass and the tree bark.

MATERIALS
For grass material, I used a Vray2SidedMtl. As Front material, in the 2Sided, a simple VrayMtl was used, and the translucency color is a 140 140 140 gray. In the VrayMtl I had only a diffuse texture and some opacity added with VrayColor with a grey at 140 140 140. The use of 2 sided material and the lowered opacity gave the grass a bit softer look. To the grass patches that had no displacement, I gave the same material, but darker and opaque because they get reflected and take part in the GI calculations. Displaced grass gets darker than just textured, so I had to even them.

Since the main material is see-through I had to put an opaque plane under the displaced grass. It had the darker, opaque material.

The grass texture I used

Nothing special here. Bark texture for diffuse and the same but greyscale for Reflect and Reflect Glossiness. The Fresnel IOR is 2.0. Also, interpolation was used on some trees with reflections to speed things up. For every tree the scheme is similar but with different textures.

Bark material

Leaves
This was the biggest challenge. After several days of testing I decided that I should use VrayMtl with translucency enabled to achieve that special look of the greenery. The other option was to use Vray2SidedMtl, but my tests with it didn't give the results I could achieve with SSS. The main problem that came up was that in order to use SSS, I had to use fog, and fog works with geometry only. This means you can't use opacity maps to shape your leaves. You can't make an object transparent with a texture if it has fog enabled. You also have to have a solid object to use fog with it, that's why the leaves can't be flat. I applied a shell modifier to give them width and thus was able to enable fog (Be careful with the amount of the shell. Don't make it too thin, or the fog won't work. If you get black leaves, check whether it's not because of this). I have the following way of setting up a SSS shader: First I set the refract level to 100%. Then depending on the thickness of the object I set a color and value for the fog to make it have the right density and color (note that the value here may very greatly, depending on the thickness). If I want to have some diffuse texture in the shader, I lower the refraction level, making a mix. Then I put a value lower than 1 in the Glossiness slot, 0.8 or 0.6 is great. This is very important, otherwise the translucency won't work properly. You should increase the subdivisions to at least 20 to get a smoother light distribution. The hybrid translucency model worked fine for me. With the light multiplier I control the brightness of the shader. To simulate the "skeleton" of the leave I put a black/white texture for translucent. The other settings are a matter of testing. Of course there's some reflectiveness and bump in the material as well, as you can see in the screenshot.

Leaf material

TEXTURING
My main source of textures was www.cgtextures.com. They have great textures there, and even sets of photos for a specific use. I took a set of several bark photos and mixed them to make a tall texture for the trunks. For leaves I used mainly photos, but also did some corrections by hand to make the translucency and bump maps. The texture on the building is a mix of many dirtmaps placed according to the positions of the openings and the edges of the volume. All of the UVW mappings are simple plane or box. Only on the trees I used the coordinates that came from OnyxTree or Bionatics.

LIGHTING
The light setup is pretty simple. Direct light for sun, VraySky for GI, and a VrayColor with a boosted RGB multiplier for an environment to be reflected. This makes the reflections brighter. The color mapping is Exponential. The sun light has area shadows turned on to smooth the shadow edges. On some frames I placed planes around the camera to stop the light coming from behind.

VraySky settings

RENDER SETTINGS
I rendered the scenes with irradiance map and brute force engines. Image sampler was DMC with catmull-rom for antialiasing filter. I used the 1-100 technique to get better blurred reflections. You may be unfamiliar with this method, but it's very simple actually. You have to set max subdivisions of the DMC sampler to 100 and uncheck "Use DMC sampler thresh". This way you can control quality and render time with the Clr. thresh setting. It does get slower, but you get much better reflections. The reflection subdivisions in the materials you can leave at 8, everything is controlled with the Clr. thresh setting.

Render settings

In this scene it was very important to set properly the dynamic memory limit. Since most of the geometry was either displacement or proxies I had to increase the limit as much as possible. The system I was rendering on had 6GB RAM, so I set the dynamic memory limit to 4000MB, leaving some memory for the mesh geometry. After I optimized the displacement and the rendering settings I was able to render a frame in a single pass, however for one of the frames I had to render the grass in a separate pass, because there were too many displacement polygons to be handled.

To help the postprocessing I rendered multimatte elements for the different trees and materials. I also added a Zdepth channel for the depth of field effect to be applied later in PhotoShop.

POSTPRODUCTION
All of the postproduction for this project was done in Adobe Photoshop using various plug-ins: DFT-55mm, Nik Software Color Efex Pro 3.0,Digital Anarchy-Knoll Light Factory and Richard Rosenman DOF-pro 3.0.This is a step by step tutorial of making the post for one of the five frames but a similar method was used for the other four.

This is the pure render right from the render machine, there are no corrections.

There are two additional passes with the foreground trees and the grass that will be introduced later in the post production. First thing of all, here is to take all of the color channels from the multimatte elements and literally brake the render into layers for easier color correction. This is a method that we use in every project. There is a color channel for every material in the scene from the leaves of the trees to the various materials of the house. There are total of 84 layers of fine adjustments, color correction, curves, "re-paints" and blurs in the final frame.

The first thing that I did was to generally "light up" the picture a little bit because the original render was too dark. I work the same way every time. First I make a level correction for all the layers, then I start color correcting layer by layer. When I'm happy with the general result, I collapse all the layers and start up some plugins and play around.

The house on this picture has 3 layers on top of the original. I used levels and curves to give it more contrast, also there is a little bit of painting with the dodge and burn tool to enhance the light from the sun and the bounced light at the bottom. That is all, there is nothing more done to the house.

Now the really tricky part.

I put in and color correcte the pass with the displacement grass to match with the rest of the green in the picture, also there is a subtle gradient from dark to white with blending mode set to screen, this will give more depth to the grass. The two foreground trees on the left and right have layers with levels and curves to enhance the contrast. The light was then manually enhanced with the dodge tool. All of the leaves had the dodge treatment. In the original render the leaves are made with sub-surface scattering, so I wanted to enhance that and add an extra simulation of the light scattering effect. In the left upper corner are added some additional branches with leaves. The bark of the big tree on the right is "over-painted" and I placed somewhat cool photo filter in its layer. Some of the leafs in this stage are intentionally over exposed or burned, in the next stage I will reintroduce the original render with opacity set to 20 to dial down the burned area. There is also a warm filter applied to all of the leaves in the scene. The background trees have more pronounced dark areas and a little more light from the sky to simulate real world light reflection, they are also desaturated and cooled a little bit to get the effect of depth. A little bit of vignette effect and level adjustments finish this stage.

Leaves with bokeh effect are added in the foreground, to achieve a similar effect in PS you must find a good Depth Of Field generator, I use Richard Rosenman's DOF-pro it's a wonderful plug-in with a lot of capabilities. In one of the other final pictures there is a branch on focus and the house is fully blurred, there DOF-pro played a big part in achieving the final look. The blur in that frame is made with Z-Depth channel that is loaded as a depth map in DOF-pro, then in the aperture tab the aberration is altered to make the aperture shape. At this stage there is also a curves adjustment layer that affects everything in the scene, the sky is cooled down and a little glow is added to simulate light passing through the leaves. I regularly copy all the layers into a new one on top of them. I do this to preserve layers and previous corrections in case I need to undo. I used DFT 55mm and Nik Software Color Efex Pro for additional color correction.

Here additional layers are added using the plug-ins.

A foreground plant is added also, and blurred with motion blur. A little bit of chromatic aberration is added, the vignette is strengthened to frame the house better. And this is all, this is the final look and feel of this frame.

This is our way of working at RED-VERTEX. We make the post production for almost every static picture in the exact same steps. Everything is subjective when it comes to color correction and post-production because everyone perceives colors differently and sees things in his own way. The main thing is to be critical of your work, and of course learn from the best to become one of them. ]]> http://999181.qzone.qq.com/blog/1257168573#comment 134218241 Mon, 02 Nov 2009 13:29:33 GMT http://999181.qzone.qq.com/blog/1257168573 <![CDATA[欧式教程]]> http://999181.qzone.qq.com/blog/1257167449 Modeling

In the modeling one of my friends, Koroljov Ilja helped me a lot (mainly with the ornaments - the hard part hehe). We had to model everything from old photos.

Basicly everything is modeled from primitives. Because of the symmetrical composition of the whole room symmetry tool was mandatory in the modeling process. As well as other modifiers like lathe, sweep. When I start with a new part I usually draw the section of it using a spline. I extrude it (or use sweep, lathe...) and convert it into editable poly to be able to edit it after.

The whole image as it is looks like a very sophisticated scene but if you take a closer look at things you will find that all the details are pretty easy to model. I am not going to go deeply into this part because of the reason I described above and because the only interesting models are the sculptures which are evermotion models. In general the modeling part of the creation is the least interesting for me I must admit. And this is the part in which I am the least qualified in as well...

TexturingThis is going to be more fun (at least it was for me). Some of the interesting materials of the scene: Sculptures:

Plastered walls:

Stone floor:

A D V E R T I S E M E N T

LightningI left lightning after materializing deliberately. I of course have set up a temporary lightning to see the materials but it's finetuning is left for now. First to create the main ambient light with a vray plane that is slightly tilted in the direction of the sun.

There are several other vray spheres with a radius around 2 meters, you can see the places of lights clearly. For the sun I was using a vray sun.

RenderingNothing special here to mention.

Post ProcessThis is the original render:

First thing is some color balancing and exposure control. I go to image/adjustments/exposure and set the gamma to 1,2-1,5. Now the image turned very bright and lost it's contrast. Don't worry! Now comes color balance. This time I wanted to create a different mood. A darker, uncomfortable maybe even disturbing color tone. For this I used these settings:

Light bloom: right after this I make a new layer and make it the last one (pull it down to the bottom at the layer bar) and paint it plain white. Now color select on our render with the white color and with a very small value of range. Now the brightest areas are selected. I go back to our white layer and press ctrl+J to make a duplicate of the selection I made with only pure white color. I bring this new layer to the very top and make a duplicate of it again. Now that we have two of them I apply a gaussian blur on one of them with a radius around 1 and to the other I apply a gaussian blur with a radius of 7.

And finally here I added a lens flare effect with Knoll Light factory to the top with a magenta/blue color. Here's the result so far:

Now the volume light from above. Make a new layer. Make this layer the first one! Select the desired area and paint it pure white! Now comes radial blur. Now get eraser tool with a really high radius and a 0 hardness and erase the bottom of it.

Set the layer to Overlay and decrease it's opacity to 30-40 percent. Duplicate the layer and set it on normal.
Now putting the girl there:

And here we are!

Only effects are left to do!
Depth of field: with Alienskin Bokeh plugin. Planar setup.
Chromatic aberration: done by using 55mm film tool. I tried to keep it as subtle as possible. I see a lot of images that are destroyed by the abuse of these effects (and most of those images are mine...). My advice is that you do that too and keep it low.
Vignetting: again with 55 m film tool. Not much to write here. It is only a matter of taste I guess.
Film Grain: with NIK color effects' film effect tool. It is on a separate layer that is created automatically by the plugin. It is set to 75-50 percent and I use erase tool with a high radius and 0 hardness on 10 percent flow to clear it from where I don't need that much grain (like from the pictures focus point, the gate and the girl).

Here is the final result:

I hope I could help! ]]> http://999181.qzone.qq.com/blog/1257167449#comment 134218241 Mon, 02 Nov 2009 13:10:49 GMT http://999181.qzone.qq.com/blog/1257167449 <![CDATA[不诱钢]]> http://999181.qzone.qq.com/blog/1257167293 Hello, in this tutorial I will show you how to create realistic steel shader with anisotropic reflections.
We can observe this effect quite often in real life. Here are some reference photos:

MODELING
First of all let's create model of the pot. Create it's profile using spline, next use loft modifier and move its axis to center and then convert it to editable poly.

Use chamfer and connect to make proper edges.
To view final result add turbosmooth modifier with 2 iterations.

Create top using cylinder, then bevel and extrude center faces to make upper part.

The handle is created with simple box modeling with shell and turbo smooth.

CREATING SHADER
Now we are going to create steel shader. Here are settings for this material. It is quite simple, there is scratch map put in bump slot to achieve subtle brushed metal effect. Use cylindrical uvw mapping on each part of the pot And then convert object to poly.

Now we have to create anisotropic shader for the bottom part.

Anisotropic material settings:

Here are maps used in reflection and normal bump slots:
Get full resolution reflect map
Get full resolution normal map

Very important thing to do is set BRDF to Ward mode. This mode behaves much more physically correct than phong or blinn.

I deleted faces from the bottom and then caped the hole, to make it completely planar surface. Select this face and apply UVW modifier to it, select planar mapping. Check if gradient map from anisotropy rotation is properly placed by displaying it in viewport.

Now just Apply this material to selected bottom face of our pot.
If shader doesn't work you may have to change UV vectors derivation is anisotropy settings. That's all, here is final render with a a little post production in PS:

Here is complete scene with camera and studio setup: ]]> http://999181.qzone.qq.com/blog/1257167293#comment 134218241 Mon, 02 Nov 2009 13:08:13 GMT http://999181.qzone.qq.com/blog/1257167293 <![CDATA[大师Alex Roman的CG教程]]> http://999181.qzone.qq.com/blog/1253987761

　　Alex Roman是一个CG艺术家。想必大家都看过他许多电影级的CG作品。比如路易斯康的图书馆，安藤忠雄设计的藏书馆等。这里我给大家翻译的是一个礼堂的教程。
　　有人会说，这有必要做成这样吗。当然我可以不客气的回答那些人——你活着有必要吗？对艺术品我只能万分敬仰。对于不屑一顾的人，艺术也应该给予他们以最大关爱！
　　当我开始做CG时，看过许多“星球大战”式的CG艺术：战争，机器，怪物...当我看到Alex Roman的作品时，感到数码图片也可以达到治疗效果——那种准宗教般的宁静与关怀！
　　煽情结束，这个教程在http://area.autodesk.com/index.php/t...torium/#title1（需要注册才能看）
　　他把教程分为五个部分：
　　Modelling（模型）
　　Materials（材质）
　　Lighting（灯光）
　　Rendering（渲染）
　　Postproduction（电影后期）
Modelling（模型）

I started to build it from some initial blueprints. I couldn't find much info on it except for a very basic-stage simple plan and section. Thanks to this, I was able to add a few personal details. The whole main structure and individual elements are mirrored by a central axis, so I centered the modeling around just one of the symmetries.
翻译：
　　开始，建模用一些原始蓝图。我找不到更多关于这个礼堂的参考，除了舞台的简单设计和剖面。
　　对亏这些，我就可以自己加入一些细节。整个的主体结构和个别元素用一个中心轴镜像。
　　所以模型就大约只有一个对称。

Walls, floors, stair-steps and so on... they all are modelled from primitives or extruded splines. Mapping was also quite simple: all elements were mapped by a simple UVW Box. As I eventually attached all the steps into one single mesh, I had to boolean them with some cylinders in order to get the proper holes where I could introduce the actual stepping spotlights
翻译：
　　墙面，地板，台阶等等...他们都是用基本集合体或样条线（splines）挤压建模出来的。
　　贴图也非常的简单：所有物件的uv都是UVW BOX。最后把所有步骤attach到一个单独的mesh。
　　我不得不用一些圆柱体进行波尔计算（boolean），以便得出适当的凹洞来进行分级照明

All of the seats come from one original model with randomized elements. Both the back and the seat itself were box modelled with an applied turbosmooth modifier while the rest of the seat elements are simple modified primitives. Once the seat was done, each group of mobile elements were attached into one and transformed into Vray proxies.
Then, I placed their own pivot point in it's logical place and grouped the seat afterwards.
Why proxies? --------> The seat itself has a lot of polys because of the seams and I had to replicate it 510 times! So the VrayProxy was the best solution...
And why did I place the pivot in the mobile axis parts? ---------> Cause we want to randomize them!
翻译：
　　所有的座位来自一个用“随机法原理”得到的原始模型。当靠背和座位都用box建模turbosmooth修饰细分时，其余座位也被修饰了。
　　一个座位完成后，attach每个可移动的元素（靠背，座椅），然后转化为Vray代理（VR proxies）.于是，我在合理的位置上安置他们自己的转动支点，然后群组座椅。
　　为什么要代理？
　　因为我必须复制510次有皱纹的座位，座椅就占去了很多面数。所以Vray代理是最好的解决方法...
　　为什么我要把转动支点（pivot）设为可移动部分？
　　因为想要去随机转动座椅。

After duplicating them all by arc splines and the wonderful spacingtool, I had to add a bit of chaos using some wonderful scripts from Blur Studio. Making several random selection sets with "randomselect" script, I could do some rotation variations via the "randomtransform" script (Blur Studio too)...
翻译：
　　用一根曲线和spacingtool把座椅复制完成后，我必须用来自Blur Studio的脚本让座位乱一点。
　　设置“randomselect”脚本，进行随机选择。我也用到“randomtransform”脚本来旋转座位（同样是Blur Studio）...
Materials（材质）

The scene does not have many different materials. We have basically some timber in contrast with the white fabric seats and ceiling concrete. The original idea was to get three primary colour spread over the big surfaces.
Here are some of the materials and textures used:
翻译：场景并不需要许多不同的材质。最基本的一些木材和白色织物的座椅，和天花板上的混凝土。
　　原来设想就是用三种色系来覆盖整个场景表面。
　　以上是贴图和材质的的设置
接下来是Lighting（灯光）

This chamber auditorium has no natural light openings so the place had to be lit in a completely artificial way. I chose to ignore the typical stage spotlights since I was more interested in dividing spaces by the light areas: Upper cold fluorescent light against the warmer steps with small leading lights.
Each step spotlight has a vraylight in front of it and is invisible (affecting only in diffuse and specular terms). They're all instanced so as to allow for more easier and global control.
翻译：
　　每一台阶前的射灯都是用不可见（invisible）的vraylight（只需要影响散射（diffuse）和高光(specular)）.
　　考虑到能够简便的全局控制灯光，所以灯光都被关联复制了。

For the upper light panels, I also cloned an instanced planar vraylight using the spacingtool. The lights are looking down and placed inside the upper hollow pits and they have one-sided sss-plastic single face in front of them which doesn't cast shadows. The no-casting shadow point is to allow the lights to "freely" affect both diffuse and specular surfaces, but avoid the enclosure panels' direct shadow while still being back-lit to show a translucent effect.
翻译：
　　上面的灯光面板，我同样用spacingtool关联复制了vraylight。灯光朝下，放置在凹洞里边。有一个sss塑料片在灯光前面。
　　这各半透明塑料片没有强制阴影。为什么没有阴影，是因为光在散射和高光表面自由散射效果（freely）。
　　当还在逆光显示半透明时，避免围起来的面板里有直接阴影。
Rendering（渲染）

It is important to care about balance in every composition. After deciding what was going to appear in the comp, I chose to set the shot image aspect. Afterwards, it was time to find the right balance between volumes by changing camera position, focal length, etc... All shots here are made by physical cameras because of the need of real exposure, vertical correction, etc...
Here are two good architectural photograph references. Of course all the advice won't fix things in CG, but I think it is quite good to know it anyway in general terms:
　　重要的是注意各成分之间的平衡。决定什么是你想在最终画面上出现的，就是要如何选择构图。
　　在这之后，改变摄像机的位置，焦距等，来取得一个体量之间的平衡。所有镜头都用的是物理摄像机，因为可以取得一个真实的曝光，垂直修正等等。
　　这里有两个很好的建筑摄影参考。当然所有建议并非可以用在CG里，但不管怎样，我觉得可以了解个大概：
Postproduction（电影后期）

Obviously all process steps are highly important in order to get a desired CG picture. However, I feel IMHO that postproduction work is the most personal step. In this example, I decided to go for an old-analog Lomo's Holga and Polaroid film look. All post work was done in AfterEffects.
翻译：
　　显然所有的过程步骤最重要的是得到一张想要的CG图像。个人认为后期制作时一个非常个人的步骤。
　　在这个例子中，我决定模拟出老式Lomo's Holga(lomo相机的一种)和偏振胶片效果。所有帖子都是在AfterEffects中完成。 ]]> http://999181.qzone.qq.com/blog/1253987761#comment 142606849 Sat, 26 Sep 2009 17:56:01 GMT http://999181.qzone.qq.com/blog/1253987761 <![CDATA[梦想总会照进现实揭秘未来的汽车]]> http://999181.qzone.qq.com/blog/1253534100 [环球动向] 记得孩童时期有一个梦想就是拥有一辆自己的车，当我一出生就经常有乘坐汽车的机会，不过对我来说汽车依然是如此的神秘。现在我有了车，但早已失去曾经的那份憧憬。不过当我看到那些面向未来的汽车，又使我燃起对汽车的那份期待。
　　德国法兰克福是世界上最早办国际车展的地区，法兰克福车展是世界规模最大的车展，今年众多厂商在法兰克福车展中推出了众多新概念未来车型，下面我们就一起来看看这些未来之车，让大家再次燃起对汽车的渴望。
　　大众L1 环保车 (专区)
　　未来概念：百公里油耗约为1.0L

大众L1

　　大众在法兰克福车展中发布了一款L1概念车，这款概念车将做为2002年亮相的One-Liter概念车的后续车型。

大众L1

　　与One-Liter概念车名字来源相同，L1概念车的名字也是表示其百公里油耗约为1.0L。有消息称这款车将在2013年实现量产。

大众L1

　　L1概念车在燃油经济性方面略逊于One-Liter概念车，One-Liter概念车燃油经济性为235mpg，约为99.9公里/升。L1概念车百公里油耗约为1.38L，换算为燃油经济性为170mpg,约为72.3公里/升，尽管比起One-Liter概念车要差一些，但仍然很可观。

大众L1

　　L1概念车车重为1100磅约为500千克，舱内只设两座，乘客只能坐在驾驶员身后，而且储物空间非常有限。搭载一款36马力柴油发动机，并匹配7速双离合变速器
奥迪e-TronConcept
　　未来概念：最快电动跑车

奥迪e-TronConcept

　　奥迪e-tron Concept采用四个电动马达驱动，最大可输出313匹马力，同时可输出高达4500Nm扭矩。装备一块42.4kWh的锂离子电池，据奥迪官方声称，在完全满电的状态下，这款电动R8可以不间断行驶248公里，而且加速性能并不亚于普通V8跑车。

奥迪e-TronConcept

　　奥迪e-TronConcept从静止加速到100km/h仅需4.8秒，而从60km/h加速至120km/h只有4.1秒，极速则被限速在200km/h。奥迪e-TronConcept采用奥迪拿手的ASF全铝车架，尽管该车搭载了重量不轻的电动机及电池，但其整备质量依然能控制在1600kg。以目前的技术水平去投产如此高性能的电动超跑并没有多大难度，唯一要担心的恐怕是那惊人的售价了。

奥迪e-TronConcept

宝马EfficientDynamics 环保车 (专区)
　　未来概念：插电式混合动力系统

EfficientDynamics

　　这款概念车外壳采用金属铝，车顶和车门包有铬聚碳酸酯玻璃，坐椅为凯夫拉框架设计。车上的LED照明能根据环境进行调节色调。这款汽车的主动通风装置将在需要时冷却动力传动系统，在必要时改善车辆的空气动力学性能，而其风阻系数为0.22。采用插电式混合动力系统，由三缸柴油机组成。

EfficientDynamics

　　EfficientDynamics的全套动力系统包括一个容量为1.5升，含有3个气缸的163马力直喷式涡轮增压柴油引擎，两个单轴电动马达，一组锂离子电池。全套动力系统的总输出可以达到356马力和800Nm的扭矩。在其驱动下，汽车最高速度能达到155英里每小时，汽车能在4.8秒之内加速到60英里每小时，而百公里燃油消耗为3.76升，每公里仅排放99克二氧化碳。

EfficientDynamics

　　此外，VisionEfficientDynamics还具有纯电动模式，将发电排放的二氧化碳考虑进来，纯电动模式下的每公里二氧化碳排放量为50克，而续航里程约为50公里。插入式意味着概念车可以用家用220伏电源来给电池充电，充电时间预测为2.5小时。如果用380伏电源充电的话，宝马称44分钟就可以充电完毕。

EfficientDynamics

　　这是否将成为宝马汽车的未来？它的车身长181.1英寸（约4.6米），车身宽74.8英寸（约1.90米），车身高48.8英寸（约1.24米），重3076磅（约1395千克）。考虑到它的尺寸，再加上目前市面发售的3系轿车已经有几年历史的事实，笔者认为这款新车实际上将成为下一代3系的蓝本。除了各项先进动力系统的应用以外，下一代3系的很多设计元素将能够在这款概念车身上得以体现。
Smart fortwo电动车 (详情图片报价)
　　未来概念：环保电动车

Smart fortwo 电动车

　　SmartFortwo电动车将先以租赁的方式在欧洲和美国的大城市投放，大批量投产、全面上市销售需要等到2012年。
　　SmartFortwo电动车配备一台最大功率30kW，扭矩为120Nm的电动机。由Telsa公司提供，容量为14kWh的锂电池组安放在底盘中下部。在满电状态下，SmartFortwo电动车的续航里程可达115公里。如果用220伏家用电源进行3到4个小时快速充电，可行驶30到40公里，车主可以利用夜间进行充电。

Smart fortwo 电动车

　　虽然是电力驱动，但SmartFortwo电动车的性能表现却非常耀眼，从0加速到60仅需6.5秒，注意速度单位为每小时英里，而不是每小时公里，与265hp马力输出的尚酷R打了个平手，但极速被电脑限定在100km/h。

Smart fortwo 电动车

　　SmartFortwo电动车的租期为4年/6万公里，将在柏林、汉堡、马德里、米兰、巴黎和罗马率先投放。令人惊讶的是，伦敦没有列入第一批城市，这里的使用者必须支付城市交通拥堵税。美国的投放城市可能会在稍后公布。Smart用租借的方式投放第一批Fortwo电动车可收集在使用中出现的各种问题，帮助改进和完善，毕竟纯电动车技术的成熟度仍有欠缺，Mini也采用了与Smart相同方式。

Smart fortwo 电动车

雷诺 Zoe ZE 环保车 (专区)
　　未来概念：零排放全电动车，与巴黎欧莱雅合作的可释放香气的空调系统

雷诺 Zoe ZE

　　全新ZoeZE概念车是雷诺在此次法兰克福车展主推的四款零排放全电动概念车之一，Zoe为跑车。全长4.1米，宽1.8米，高1.5米，轴距为2.6米。动力系统为锂电池配电动机，峰值马力和扭矩输出可达95hp和225Nm。目前还没有从静止加速到100km/h成绩，极速达到140km/h。LED尾灯安置在大型扰流翼上，当车速超过90km/h能自动升起，提高车尾下压力。

雷诺 Zoe ZE

　　车顶的太阳能电池板能在空调系统的控制下用于调整车内温度。电池组通过车头两侧的进气口导入气流进行冷却。前后车门的打开方式有所不同，前门类似于我们通常所说的剪刀式，后门类似于欧翼式，两种车门都有利于驾乘者的出入，特别是欧翼式非常适合于低矮车身。

雷诺 Zoe ZE

　　空调系统融入了一种特制的氢氧化合物以保持皮肤合适的弹性和舒适度，能释放一些香气调整驾乘者的心情，并具有消毒的功能，可吸收车厢内的有害物质，这套系统由雷诺汽车与巴黎欧莱雅合作研发

雷诺 Zoe ZE

雷诺Twizy ZE 环保车 (专区)
　　未来概念：零排放电动车，车身披满鲜花

雷诺Twizy ZE

　　雷诺在日前开幕的法兰克福车展发布了全新TwizyZE零排放概念车。相对于SmartForTwo嬉皮士风格的设计，TwizyZE零排放概念车的车身披满鲜花，外形和内饰设计都充满未来气息。

雷诺Twizy ZE

　　TwizyZE的四个车轮似乎不是圆形，其实我们看到的只是轮胎外的装饰罩。车头的矩阵式显示屏可充当大灯的作用，并能通过变换显示图案向其它驾驶者传达信息，例如微笑。雷诺TwizyZE是一辆城市用车，车长仅有2.3米，车宽1.13米，前座看起来很宽敞，但是后座很狭窄，并且视野很差。尽管如此，后座还能调整高低，我们将雷诺TwizyZE作为一辆高尔夫球车或许挺合适。

雷诺Twizy ZE

　　全新雷诺TwizyZE零排放概念车配备一套雷诺全新研发的电动系统，马力和扭矩输出分别达到20hp和70Nm，锂电池组安放在座椅下面，续航里程可达100公里，极速为75km/h。

雷诺Twizy ZE

　标致BB1 环保车 (专区)
　　未来概念：摩托车方向盘，0排放电动车

标致BB1

　　标致全新设计的BB1概念车将在法兰克福车展首发，该车是摩托车和微型轿车的结合体。从标致一贯大胆的外形设计看，我们会误认为这是一款城市用车，为奔驰Smart的竞争者，但内饰却否定了这种猜测，标致并没有选择模仿和跟随。

标致BB1

　　标致BB1概念车采用双排四座设计，最令人意外的是设计师用摩托车手把替换了方向盘。当然它仍然是四个车轮的汽车，两扇车门向后开启，以方便后排乘客出入，采用LED大灯。前挡和车顶为整块玻璃，并带有太阳能电池板。后视镜被两个摄像头和座舱内的两个液晶显示屏替代。

标致BB1

　　这辆四座小车的全长仅有2.5米，驾驶员脚下没有控制踏板，油门和制动都由龙头控制。转弯半径仅有3.5米，相比Smartfortwo[综述图片论坛]足足小了1米，几乎可在任何街道实现一次调头。每个后轮配备一台20hp马力输出的电动机，BB1概念车从静止加速到30km/h仅需2.8秒。两个锂电池组分别安放在左右两边的座椅下，能提供121公里的续航里程，并且是绝对的零排放。

标致BB1

　　标致BB1概念车的车身采用碳纤维制造，整备质量控制在600千克以下，前后悬架皆为先进的双叉式，转向机采用电动助力。标致为BB1概念车配备了多媒体彩色液晶显示屏、车载电话、导航系统、英特尔网接入和带有MP3播放功能的音响。
雪铁龙REVOLTe　　未来概念：采用太阳能提供日常电力

雪铁龙REVOLTe

　　雪铁龙全新设计的Revolte概念车借鉴了2CV的设计元素，试图复制经典，就像MINI、菲亚特500和大众甲壳虫所做的那样。Revolte概念车估计与雪铁龙DS3共享平台，看起来像一部豪华运动掀背。

雪铁龙REVOLTe

　　Revolte概念车的前脸很有新意，充满力量感，暗藏一分杀气。全新进气格栅弱化了中间的斜齿标徽，突出上宽下窄的边框，两侧配搭细眼大灯，下部则是蜂窝状进气口配两个比头灯还稍大的雾灯，发动机盖上的DS标徽证明其属于雪铁龙全新精品小车系列。

雪铁龙REVOLTe

　　尾门和敞篷车顶的设计明显是对2CV的继承，排气管不见踪影，但我们可以看到两个带有格栅的独立气坝，这似乎是车底的空气扩散器。相对于外形，充满未来感的座舱与量产的距离更远，副驾驶座椅甚至能180度旋转面向后排。

雪铁龙REVOLTe

现代 ix-Metro
　　未来概念：采用汽电混合动力，1.0L发动机可达124马力

ix-Metro

　　ix-Metro概念车采用汽电混合动力，并将标配6速双离合自动变速器。

ix-Metro

　　在动力方面，ix-Metro概念车搭载一款1.0LVVT三缸直喷发动机，进排气可变气门正时技术的应用以及采用涡轮增压器将使这款发动机最大输出功率达到124马力。这款发动机的二氧化碳排量仅为80g/km。

ix-Metro

　　ix-Metro概念车是由位于韩国南阳的现代汽车全球设计团队所设计，这也是该团队设计的第五款概念车型。
　奔驰B级 F-Cell (详情图片报价) 环保车 (专区)
　　未来概念：氢动力燃料电池

奔驰B级 F-Cell

　　奔驰推出一款采用氢动力的车型，命名为：B-CLASSF-Cell，将于2009年底开始量产，先期的数目大概在200辆左右。遗憾的是，这批新车将只在北美市场登陆。

奔驰B级 F-Cell

　　B-ClassF-CELL采用新型燃料电池，电池容量为1.4千瓦时，最大功率136匹马力，峰值扭矩能达到291牛米。根据官方信息，在满电的情况下，单次行驶里程可以达到400公里，如果是在较拥堵的路段行驶，也可达到100公里据官方数据显示新车在电池储满的情况下，可以行驶400kM，城市路况则可行驶100kM，行驶一百公里的成本仅仅相当于消耗3.3升燃油的水平。

奔驰B级 F-Cell

马自达MX-5 Superlight (详情图片报价) 　　未来概念：无前风挡玻璃设计

马自达MX-5 Superlight

　　马自达为了纪念MX-5推出20周年将发布一款双座敞篷跑车风格的概念版车型MX-5Superlight，这款极简主义风格的MX-5去掉了前风挡，车框和帆布软顶，只有几个流线型的防翻滚架来保护乘客。

马自达MX-5 Superlight

　　正如这款车的名称所表明的那样，该车采用了大量轻量化措施使车身重量降至2190磅（约合994公斤）。此外，从内装图片看，这款车还配备了运动座椅和具备赛车风格的内装元素，这一切都暗示这款车拥有强劲的性能。

马自达MX-5 Superlight

　　MX-5 Superlight搭载一台1.8升汽油引擎，最大功率125马力，峰值扭矩123磅-英尺（约合167牛米），虽然算不上很出色，但它的重量比标准版MX-5低了200磅（约合91公斤）。与动力系统相配的是一台五速手动变速器，它将动力传递至后轮。该车百公里加速时间约为8.9秒。Superlight轮距比标准版MX-5宽50毫米，这无疑更有助于增强抓地力，减轻车身晃动并提升弯道行驶性能，该车制动系统采用四活塞卡钳。

马自达MX-5 Superlight

雷克萨斯LF-Ch
　　未来概念：混合动力驱动系统

雷克萨斯LF-Ch

　　外观方面的前卫设计是显而易见的，内饰设计上，从座椅到娱乐设施的装备，这款车无不透漏出超前的设计理念。不知道实车是否会有这样的冲击力。另外动力方面LF-Ch预计将会引入类似于雷克萨斯GS系列的混合动力驱动系统，未来丰田或雷克萨斯的任何一款全新产品上我们可能都会看到一个新能源版的车型。

雷克萨斯LF-Ch

　　全新雷克萨斯LF-Ch是一款定位类似于大众尚酷这样的四门轿跑产品，而它的到来亦正好符合年轻人的口味。与雷克萨斯IS系列中IS-Fsports这样的高性能表现不一样的是，LF-Ch将会展现出更为经济性的油耗和更为低廉的入门级售价。

雷克萨斯LF-Ch

法拉利 458 Italia
　　未来概念：废气排放降低

法拉利 458 Italia

　　这款458Italia是法拉利最新的中置引擎高性能车型，是法拉利设计用来取代430的，其设计灵感是源于法拉利著名的Dino车型。
　　据法拉利表示，这款458Italia的基础设计融合了430、California与Enzo的设计特征，同时其下压力被加大至200公里/小时时的140公斤。总体上，车身尺码4527×1937×1213mm较F430的4512×1923×1214mm明显于车身纵向与横向部分有所成长，显得458Italia更为宽扁。

法拉利 458 Italia

　　全新的铝制底盘采用了高级的合金材料和航空业的制造与焊接技术，法拉利表示。除了比前任车型更为直接的转向传动比之外，这款458Italia还增配了一个双叉骨/多链环悬挂系统以及一个可与更为先进的牵引控制系统共同发挥作用的E-Diff电子差速器，法拉利称这款新车的过弯提速过程比430快了32%。此外，该车的ABS防抱死刹车系统也得到了升级改进。

法拉利 458 Italia

　　新款4.5升V8发动机采用了燃油直喷技术，配合标配的一款7速的双离合器变速箱可输出570hp最大功率和542Nm的最大扭矩，可在3.4秒内将458Italia加速到100km/h，极速达到325km/h。法拉利表示，该车的废气排放也降低了。这款458Italia的二氧化碳排放量为320克/公里，燃油经济性为17mpg，法拉利称这在该车型领域是最好的。

法拉利 458 Italia

　　在内饰方面，这款458Italia采用了一个新的设计，将所有的重要调节装置都设置在方向盘上。Manettino模式转换旋钮在F430的基础上取消了Ice模式，增添了可以单独关闭牵引力控制系统的CToff模式更适合驾驶狂热者。
]]> http://999181.qzone.qq.com/blog/1253534100#comment 134218241 Mon, 21 Sep 2009 11:55:00 GMT http://999181.qzone.qq.com/blog/1253534100 <![CDATA[高薪诚聘室内表现师]]> http://999181.qzone.qq.com/blog/1249727743 999181@qq.com 丁生 15815561515 ]]> http://999181.qzone.qq.com/blog/1249727743#comment 134218240 Sat, 08 Aug 2009 10:35:43 GMT http://999181.qzone.qq.com/blog/1249727743 <![CDATA[[转]这样当老婆才是真老婆!]]> http://999181.qzone.qq.com/blog/1249709289 关于洗碗
老公：一会你洗碗？
老婆：好。
老公：那怎么还不动啊？
老婆：我头疼。
老公：懒死了，不让你洗碗你也不头疼。
老婆：真的！一想到要洗碗我就头疼。

关于吃东西
老婆：这个话梅我吃了一半，挺好吃的，剩下的给你吃吧。
老公：我不爱吃话梅。
老婆：不行，你就爱吃！你是不是嫌弃我吃过的！
老公：这鱼挺好吃的，来。
老婆：你的脏筷子碰过的，谁吃！
老公：那你吃过一半我还吃呢，我不嫌弃你，你怎么嫌弃我？
老婆：那就对了。我嫌弃你说明我比你干净。我比你干净你凭什么嫌弃我？！

关于离婚
老婆：咱们要是离了婚，房子归我，我的钱我也得拿走。
老公：那我的钱呢？
老婆：你的钱都是我的钱，你有什么钱！
老婆：还有，离婚后你每月的收入也得给我80%。嗯，如果你再结婚了，那就给我60%就成了。
老公：老婆，我决不跟你离婚！

关于买衣服
老婆：这衣服好看吗？
老公：好看。
老婆：你就敷衍我，想让我赶快买完了赶快回家！
老婆：那衣服好看吗？
老公：不好看。
老婆：你就舍不得给我买！

关于干家务
老公：咱们把家务分分工吧。
老婆：好。首先，脏活累活得男人干吧，比如擦地、刷马桶、擦桌子……
老公：这对。
老婆：你是学理工的，我是学文科的，带电的东西得你干吧，像洗衣机、电冰箱、电饭锅、电熨斗……
老公：这……行！
老婆：男主外，女主内。和外人打交道的活得你干吧，买菜、交水电费、取报纸牛奶……
老公：行，行，那你干什么？
老婆：别着急呀。厨房里油烟这么大，可毁皮肤了，做饭得你干吧。
老公：你就告诉我你干什么吧。
老婆：我也有很多要干的呀。我可以陪着你，监督你，赞美你，安慰你……

关于孩子
老婆：咱们要个孩子吧。
老公：行。
老婆：那你喜欢咱们的孩子吗？
老公：喜欢。
老婆：那不行！你就得喜欢我一个人！
老公：好，好，就喜欢你一个人。
老婆：那我的孩子你凭什么不喜欢啊！
老公：咱还是别要孩子了。

关于幸福
老婆：你娶了我是不是特幸福？
老公：没觉得。你又不讲理，又不干活，还老折腾人，我怎么幸福啊？
老婆：这就是你的幸福啊。我不讲理，要不是我牺牲自己，能反衬出你的宽容大度吗；我不干活，就培养出了你呀，艺多不压身，你能力强还不好；我折腾人，那你的生活多丰富多采呀，你看，你的婚姻生活就不像别人家那么单调吧。

关于领导
老婆：我在外面不是领导，在家里就得当领导。你在外面是领导，在家里就得被领导。
老公：那我要是在外面当不成领导了呢？
老婆：一个男人，在外面看人脸色，回家来拿老婆耍威风，算什么男人！

关于讲理
老公：你不讲理。
老婆：和你我从来就没讲过理，家就不是讲理的地方。
关于钱
老公：以后我挣的钱按比例给你吧，我挣的多留的也多，这样有积极性。
老婆：好。
老公：那我给你百分之多少？
老婆：百分之一百二。

关于睡觉（一）
老公：你那么小人，怎么占那么大地儿！
老婆：那当然，我得翻身，还得伸懒腰呢！

关于睡觉（二）
老婆：咱们盖那个双人被吧。
老公：别！那到第二天早上就全裹你身上了。我什么也盖不着。还是自己盖自己的吧，心里踏实。
老婆：哼，你就是自己盖，到明天早上照样也得被我裹走！

关于异姓朋友
老婆：我可以有男朋友，你不能干涉我。
老公：行，我也交个女朋友。
老婆：不行！
老公：凭什么你行我不行呀。
老婆：我交男朋友，你做不到的人家能做到，我就不会老挑你毛病了，有利于家庭幸福。你交女朋友，我心眼儿小，吃醋和你吵架，不利于家庭安定。
老公：那我也心眼儿小。
老婆：一个男人，和女人一样心眼儿小，亏你好意?担?

关于心情
老婆：我一干活心情就不好了，会降低咱们的婚姻质量。
老公：那我干活心情也不好。
老婆：你的心理承受能力应该比我强，因为你个子比我大，心脏也应该比我大！

]]> http://999181.qzone.qq.com/blog/1249709289#comment 134218249 Sat, 08 Aug 2009 05:28:09 GMT http://999181.qzone.qq.com/blog/1249709289 <![CDATA[win7 还行]]> http://999181.qzone.qq.com/blog/1249554601

图片：
=700) window.open('http://www.ylmf.net/attachment/Day_090723/342_86027_4a1af714d3b3005.jpg');" border=0 src="http://www.ylmf.net/attachment/Day_090723/342_86027_4a1af714d3b3005.jpg"> 图片：
=700) window.open('http://www.ylmf.net/attachment/Day_090723/342_86027_d004a0cd57a7a3d.jpg');" border=0 src="http://www.ylmf.net/attachment/Day_090723/342_86027_d004a0cd57a7a3d.jpg"> 图片：
=700) window.open('http://www.ylmf.net/attachment/Day_090723/342_86027_bc515f0754da35e.jpg');" border=0 src="http://www.ylmf.net/attachment/Day_090723/342_86027_bc515f0754da35e.jpg"> 使用WIN7时，发现在任务栏中没有快速启动栏，对使用快速启动栏习惯了的朋友来说，很不方便。在网上查询，没有很好的解答，其实设置一下很简单，与大家分享：

右键点击任务栏：选择工具栏

选择新建工具栏

按下面地址选择Quick Launch文件夹

C:\Users\Administrator\AppData\Roaming\Microsoft\Internet Explorer

选定文件夹，OK，在任务栏上显示：Quick Launch。了
]]> http://999181.qzone.qq.com/blog/1249554601#comment 134218240 Thu, 06 Aug 2009 10:30:01 GMT http://999181.qzone.qq.com/blog/1249554601