Penetrate deep in the Field

Blurred backgrounds effects are one of the coolest ways to raise the realism of your renders because it’s something can be easily associated closely with real life photography.Using a shallow depth of field helps separate your subject and can help in progressing your composition by leaps and bounds when it’s used in appropriate situations. Depth effects can be calculated at render time from within 3D package, or applied in post-production using a z-depth pass and lens blur in Photoshop.

USE Specular Maps

Specular maps tell how render engine which parts of the model should have high specularity (shininess) and which should be more diffuse. Using specular maps increases realism because let’s face it—most objects in nature don’t display uniform shininess but when you leave the specular map off that’s exactly how your model will render.Even for objects that do have relatively uniform glossiness (glazed ceramics, polished metal).

Add Asymmetry

The ability to turn on symmetry when modelling or sculpting a character is a great extravagance—it means that as modellers one should have to do half the work and never have to worry ourselves over one eye being bigger than the other or making sure the left cheekbone lines up with the right one .But when it comes time to do a concluding detail pass and pose your model, it’s always a great idea to turn off symmetry and add some sort of asymmetric variance to 3d character. Whether it’s in the pose, costume or textural detail, asymmetry will make the models more lifelike and chances are that will end up with a more dynamic and successful final image.

Use Liner workflow

The need for linear workflow essentially comes down to the fact that monitors generally displays images in a different color space than what is output by your render engine (linear). In order to fight these artists must take the necessary steps to apply gamma correction to a render.But linear workflow actually goes pretty far beyond simple gamma corrections—it’s all about avoiding old techniques and workarounds (most of which are based on out-dated math) and moving toward true actually based lighting solutions.

Select Natural Shader and Material Colors

Beginners in 3D graphics often blunder on the side of choosing surface colors that are too saturated or too close to pure black or pure white and thereby they create surfaces that don’t respond convincingly and consistently to light. As a rule of thumb, keep most of the red, green, and blue values on surfaces roughly between 0.2 and 0.8 (when represented on a 0 to 1 scale). This way you leave room to use your lighting to determine most of the brightness values in the scene, instead of having some surfaces that always appear much gallant or respond to light differently from others.