This was the most challenging and time-consuming task because
I carried out many trials and experiments to get the correct mood
of the textures. It also took a lot of time because the textures
were quite large, the bigger ones reaching 4096x4096 pixels.
Most of the textures made for this project were made by retouching
and painting over existing photorealistic textures (thanks to 3D
Total for the nice 3D Total texture collection used extensively
in this project). I usually then arranged my PSD files in catalogued
folders including one for ‘rust layers', one of the diffused dirt,
one for the hue and saturation color corrections and so on. This
way I could easily experiment with them, turning them on and off
and playing with layer fusion modes of entire folders. Of course,
I could also drag and drop them from one PSD files to another in
an easy and practiced way.
Just think how useful it can be to simply drag entire rust layer
folders to have the same rusty mood from 2 different metal textures
files… Or imagine the importance of building a folder containing
the color adjustments layers for specular and glossiness maps and
then being able to simply drag it from one PSD file to another
to share the same shininess map settings.
Most of the materials are standard max materials with Blinn shader,
except the water material which is a glass material from Brazil
Some other elements use Darktree's Simbiont procedural shaders.
These were really useful for very rusted metallic surfaces such
as the frontal gate.
Although the animation will be rendered in Scanline render (as
the whole project), this still was rendered in Brazil r/s 1.2.
The daylight scene uses one yellowish max standard target direct
light casting bluish shadow maps, a Brazil skylight, and indirect
illumination with one bounce.
The complete rendering and lighting setup (click
The aliasing filter is Catmull Rom type. I love the sharp and
neat quality it produces, although in some cases it can generate
After the straight render in 3ds max which took about 45 minutes,
the scene was processed in Photoshop in order to fine-tune the
hue and saturation of some areas, furthering increase edge sharpening,
add a subtle depth fading effect, and of course composite in the
sky and the background picture.
Pentium 4 3GHz, 1GB RAM
Geforce Ti 4600
3ds max 5.2, Photoshop
Baldasseroni 's website
Download large image: 1280
x 960 | 1576
Words by Alessandro Baldasseroni, Lisa Thurston & Marco Spitoni
Images © Alessandro Baldasseroni