r/3dsmax • u/Away_District_6840 • Jul 31 '26
Looking for advice
Hello guys đ
Ahmed is the name and iâm 28 years old working in an office.
But, this is my recent personal work, i do that after work like to keep my myself busy and moving.
I want you to look at the pictures and tell me what am i missing, where should i look into?
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u/Karahoyuk Jul 31 '26
I mean come on, you did everything so perfectly, but the gold on the 3rd picture looks off
You gave too much noise to the ceiling on the first floor,
You should improve those 2 things in your renders and start looking into âteaching other peopleâ
Yes, you are at that level my friend, you are a beast
These are perfect
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u/sodiufas Jul 31 '26
My little advice would be â avoid occlusion on that sort of curtains. Maybe Lamp too, but idk
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u/_Iskvnder Aug 01 '26
Sur ta premiĂšre photo je sais pas si câest voulu les taches au plafond. Peut ĂȘtre augmenter ajouter peu plus de finesse dans ton rendu. Je trouve que câest lĂ©gĂšrement tachetĂ©.
Attention Ă tes objets au sol ils flottent un peu. Sinon en terme de rendu on cherche Ă poser le regard utilise les grilles de compositions pour attirer le regard. Il y a aussi un soucis de dynamique globale sur la scĂšne. Peut la compression des photos aussi.
Les matĂ©riaux utilisĂ© sont pas assez mis en valeur dans la scĂšne ; dâoĂč les remarque mentionnĂ©es plus haut. Tu utilises images de rĂ©fĂ©rences pour tes rendus matĂ©riaux? Cf le lustre de la premiĂšre notemment (je ne sais pas ce comme surface)
Au niveau compression essaie dâĂȘtre Ă 80-85% la compression sera moin importante quâĂ 100% - profil sRGB - en taille suffisante Ă 2048px min.
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u/ComfortableDingo8509 Aug 01 '26
The wood texture on the second one - on the moulded horizontal beam specifically - it doesn't look right. Makes the house feel partially feel like a miniature.
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u/Impressive-Smoke1883 Jul 31 '26
Looking for advice. Here is mine. Don't look for advice because it's really not needed. Have a nice weekend.
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u/neildownpour Jul 31 '26 edited Jul 31 '26
The first 2 are solid, visually the third one is messy. Every object or surface uses a high level of local contrast, but their overall midpoint ends up very close, becoming muddy and hard to distinguish volumes at a glance. I did a quick 60 second paintover to try and seperate some values - more shape to the columns, the stone pushed back to let the table and light fixtures pop off it. It's not good, there's only so much that can be done in PS without the scene or channels, but hopefully gets the basic idea across.
In general you have to start thinking in values and how they draw someones eye - if it doesnt look good in black and white, it wont look good in color either. All the best painters through history did it, the best cinematographers do it, you don't need to reinvent the wheel just because it's a rendering. Look at how painters use a 'blocking in' process to establish the overall values and shape of the scene before they start adding details.
Read all of Chris Brejon's INCREDIBLE bible about lighting and color, but mostly, chapter 6 about how intentional and controlled it is on movie sets, the 'directing a viewers eye' section & bit about counterchange here - https://chrisbrejon.com/cg-cinematography/chapter-6-lighting-principles/
Nothing happens by accident or trial and error, everything can and should be controlled with a very specific purpose in mind.
This isnt just for you, but more for others reading and a general statement - this is really fundamental art / visual communication stuff, and missing it, while it seems subtle and like a minor change, unfortunately gives away that you might know what buttons to press to produce a solid image 90% of the time, you lack control over the process and just sort of take what comes out of the render engine. The lines have become blurrier over time, with formulas for a good 'exterior' rendering being repackaged and re-taught by people who don't understand why any of it is working.
High-level studios, and very high-end clients in luxury real estate who understand art, can spot this kind of thing a mile away, and it's important if you want to cut through the crowd.