I used forest by itoosoft to scatter the trees. There ended up being just 3 forest objects; one for the tall pines and firs, one for the birch and ash trees that make up the edge of the forest, and one for the snow covered planted area between the houses.
· 这里用的是itoosoft.com的forest来分离树群，做出森林的效果。最后选用了3个森林物体集——松树＋冷杉树群，用来组成树林边缘的桦树＋白蜡树群，以及房子周边的白雪覆盖的种植带。

As always my favourite part of the project was the lighting. I knew I wanted to go for another subtle diffuse light set up, so experimented with some suitable HDR skies from my library. The ones I tried were 1008, 0902 and 0743 but ended up going for 1008 again (as Allandale house) as having even a slight amount of warmth from the sun didnt look right.
· 这个项目最让我喜欢的部分还是打光。我知道我想要的是淡淡的漫反射，所以找来些合适的HDR天空作为参考，并选了一光线偏冷的以迎合场景。

I used vrayenvfog with a mesh as a gizmo to keep the fog away from the actual houses (didn’t want fog inside!) and a fog distance of 450 metres. No maps controlling density, colour or emission. The fog is set to scatter GI as it looked nicer and there wasnt much difference in render time. If I had gone for a darker time of day, having the interior lights interact with the fog outside the windows would have been really interesting, maybe next time!
· 这里用到vray雾效(vrayenvfog), 选用一个网格线框，并给雾与房子450米的距离（室内不需要雾）。没有贴图应用在密度(density)/色彩(color)/辐射(emission)选项里。雾的参数用来分散GI的影响，使效果更好，渲染时间也没有什么区别。下次想尝试下夜景，也就是打开室内的灯光，透过闯和和室外的雾效作用在一起，一定很有趣。

Colour balance was very important in this scene, and was something I experimented with right up to the final renders. Initially I had a very neutral colour balance, with slightly warm interior lights, but eventually I grew to like the blueish tint more and more. Being able to change kelvin values on lights and on the camera makes this process very intuitive in vray. I appreciate being able to think about these things in photographic terms rather than tweaking rgb values. I set the vrayphysicalcamera white balance to 4200K which gave a nice blue tint, then I had to push the interior lighting down to 3100K so that they still looked warm.
· 影响到最终效果的另一个重要的因素就是场景中色彩平衡的调整。起初我用的是一个中性的色彩平衡，室内带有少量的暖色，但最后还是选用了更多的青色。在vray里调节相机和光照的过程更多的是靠感觉，我更倾向于在photoshop里调整这些参数。这里vray物理相机的白平衡设置在4200K，从而得到一个舒服的蓝色调，然后就是室内光线要降到3100K，以抱持一定的暖光。

I used vray lens effects for the bloom and glare, which worked out really well I think. It’s best to experiment with the values on interactive mode till you get something you like. Bear in mind that you really need bright light sources if you want seductive looking glare. My interior spotlights had vraylightmaterials applied to them and the float value (right click and hold on the vrayFB to inspect rgb/float values) was often up around 5-20.
· 在亮光方面选用的是vray镜头，表现也很让人满意。建议设置成互动模式(interactive mode)并测试，以得到满意的效果。记住，如果想得到耀眼完美的光，一定要有亮光源。这里室内使用的点光源都是赋予了vray材质，浮动一般在5-20之间(右键按住vrayFB并查看RGB和浮动数值)。

Once in Photoshop, I added a slight s-curve to boost the contrast more on all the images. I added some detail to the snow, tracks from people, skiers etc. by copying and pasting from reference images and setting the blending mode to darken.
· 在ps里，运用一个简单的s-curve曲线加强下图片的对比度，并添加些细节，比如雪，脚印，滑雪的人，选用过来的素材图片需要设定为加深(darken)的图层混合模式。

People often ask about my render settings, so I’ll share there here even although there isn’t anything remarkable about them. Note that they are optimized for rendering all the foliage quickly, normally I would enable detail enhancement and retrace threshold. As it was the interiors looked OK without DE and retrace threshold.
· 大家可能会问到些渲染的设置，这里做个简单的分享，也没有什么特别的设置，要提到的是为了更快的渲染树枝和叶子，做了些渲染的优化。正常情况下需要打开细节加强和光线追踪阈值。

I am very grateful to my client for his patience and willingness to try new things. Some things I tested didnt end up making it to the final images though! I tried making frost covered windows, and snow cover on the roofs, but they ended up being distracting to the architecture. Its easy to get carried away with small details and forget that the focus of all the images should be the architecture.
· 非常感谢客户对于这些新尝试给予的耐心和支持，尽管一些尝试没有用在最终的效果上，曾尝试过窗户挂上霜冻，以及白雪压在屋檐上的效果，但这样会影响主体建筑的表现，所以一定要分清表现的主次。