3dsMax Monday Movie #73: VRay Displacement. VRay Tutorial: Using VRayDisplacementMod to Displace Objects Based on their Material. How to make wallpaper with blend material in 3ds max with vray. Creating a realistic wood material with V-Ray. Introduction We are going to look at some real world photos of antique wood, analyze the main features and use some advanced material creation techniques to re-create that look with V-Ray.
Instead of unwrapping all the objects and painting custom maps for them, we are going to use a procedural approach. This method is quicker and the resulting material can be re-used in other projects. The result is also very flexible – since I’ll be using a layered approach, I can turn off or modify features like worn edges or dust. This tutorial is not meant to just show you how to create wood, it’s also meant to show you how you can achieve complex results using some simple V-Ray and 3DS Max maps. Subjects covered: V-Ray material creation techniques, using vrayblendmtl for complex layered materials, using vraydirt and falloff maps as procedural masks. The Tutorial Part 1 – Wood Part 2 – Lacquer Part 3 – Worn edges Part 4 – Dust Austris Cingulis is a self-taught 3D artist based in Latvia.
Creating a rusty painted metal material with VRay. Vray Materials Tutorial - VISCORBEL. To begin creating beautiful materials, we must first understand how the VRay material works. Let’s take a closer look at the VRayMtl, VRayFastSSS2, and VRayBlendMtl. These 3 are the main material types that are essential for realistic results, you can achieve almost anything with them. VRay offers even more material types, but those are meant for pretty specific tasks and will not be covered in this guide. Forget about using MAX Standard materials, they will give you slow, noisy and non-realistic results. VRay is designed to be used with it’s native shaders, so that is what we are going to do.
Let’s get started. (You can click on the images to enlarge them.) VRayMtl is the basic, most used, universal material that VRay offers. This how the basic, unchanged material looks. Now let’s look at the first section – Diffuse. Think of Diffuse as the base color of the object. VRayMtl allows you to choose a simple color as the Diffuse or use a Map. Here is an example.
Next section is Reflection. Materialism (1) As promised, I wanted to follow up on my Eames series with a few pointers about the materials created for the chairs. This is the first in a series of mini how-to tuts about materials. The Eames chairs are a good place to start. They all use materials that are meant to show some age, a certain vintage quality and patina, yet are as simple as materials can get. They are a good way to demonstrate how materials can be made to look realistic without necessarily using complex, multi-layered setups that would take a long time to render. I will explore more complex materials later on (indeed, I’m planning a post just about multi-layered mats), but, for the sake of economy, I only use them in my work to achieve effects that cannot be obtained with single-layer mats. For this series, I have cobbled together a material test scene. A few points before looking at the specific mats. 1. 2. 3. 4. Eames plastic red I could have used a plain colour here, or a VrayColor if I needed float values.
Fibreglass. Improve your shaders with Reflection maps - vray tutorial. Share with your friends! In my last Live-Training (in Italy), Alessandro Pellegrini made this wonderful Render: This is the perfect image to say something about the Reflection Maps. In the following image reflections are glossed. Leaks have been modeled in 3D, but the whole surface has just uniform reflections. Here a detail of the scene: we can appreciate it a little bit more But for aged wood simulation, uniform reflections is not the right solution. For this material we will use 2 simple maps: 1 – One in the Diffuse channel (where usually we have the classic textures) 2 – Another in the Reflecion channel That’s how they look, just to figure out: (yes, yes .. after you download;-) Here a simple way to simulate an aged wood: Examples: no reflections(1), uniform reflections(2) and finally mapped reflections(3). 1) No reflections: it looks strange. 2) Uniform Reflections: just Glossy 0,75. 3) Mapped Reflections: Glossy 0,75 + Reflection Map: Good for aged floors. .
Vray Material basics. Creating V-Ray Materials Vol 1. Evaluate gamma compensation at a glance! Share with your friends! We can evaluate “at a glance” if gamma compensation is correctly applied ? When working with the visual disciplines (and others) we constantly tune the shot based on what we see during the process. It’s a continuous action-reaction and in the end much of the success comes from the ability to react correctly to stimuli.
The singers, musicians, successful athletes are all able to properly evaluate their own results, to correct from time to time effectively, being so more and more perfected. Ok Ciro.. what is this bullshit on self-assessment today? The point is that if we can effectively evaluate our outcomes – including the gamma correction application – then we can ‘react’ and correct any errors. Regardless of how and where it is applied the gamma in our software, we can train to estimate the functioning of this compensation from a couple of objective information. All images that follow have a problem, except but one! No matter how cases 1,2,3 and 4 were generated. Seamless Texture.
Folout map1. Where 3d product visualization is concerned, one of the most important techniques for achieving realistic high quality images, is your ability to create studio renders. In this detailed 4 part tutorial you will learn every step necessary to create your own high quality studio renders with Vray and 3ds Max. This tutorial is divided in 4 parts: Scene setup, materials, lighting, and rendering. In the first part, we will set up the scene, create a base, and import our models, in the second part, we will be assigning materials and using Vray lights to light our scene, and in the last part, we will adjust the Vray settings for the final render.
Note: This is a lighting and rendering tutorial. Open 3ds Max and set our scene units to meters by going to "Customize>Unit Setup>Metric>Meters. Now lets create an environment for our scene. Select the corner points and choose "Fillet" with a .187m value. Now convert the line to an editable poly, and your base for the lighting setup is done.
Rendering Tutorial: August 2011. James Cutler written this tutorial for Mintviz Diffuse Diffuse This is the actual colour of the surface, reflection and refraction colours can affect the visual appearance of this colour. It is important to understand that no material in the real world is pure white RGB (25,255,255) nor pure black RGB (0,0,0). When creating a white or black material, set the colour values to an off white RGB (245,245,245) / black RGB (2,2,2). If you render an object that is pure white or pure black you will notice that there is no contrast. The light rays are bouncing all over the place, and not being absorbed. Roughness Can be used to simulate dust on a surface by controlling the way the surface reflects direct light. Reflection Reflect Like diffuse it uses a colour value to determine the reflection strength. By default the reflection colour acts as a filter for the diffuse colour and the stronger the reflection colour the dimmer the diffuse colour.
Metals Composites Ceramics Finishes Fresnel reflections Subdivs. Proper tiling by Matt Vainio. Photorealistic VRay Materials. Zasady mapy odbicia siwtala. Introduction I originally made this tutorial for a lecture I gave at CCAA, a school in Brazil where I help to run the Post-Graduation course in Game Art. It came from the need to explain some elements of the materials that are commonly misunderstood. Especially about Specular maps which, sometimes, seem to be a bit confusing for some people. Most artists, in general, have a pretty good understanding of Diffuse, Normal and Alpha maps, but it's often on the Specular map that they will get lost and sometimes even ruin a pretty good asset. I hope you enjoy this tutorial. Textures & Shaders If the shape of an object, in 3D, is the result of its geometry, the material from which this object is made of is the result of its shader and textures.
Fig. 01 In this way, we use textures as inputs of a shader, defining attributes such as color, reflectivity, transparency, roughness, brightness and other characteristics of a possible material. Alpha Maps define transparency. Fig. 02 Fig. 03 Fig. 04 Fig. 05. Creating realistic Wood Material ( part1/3) In this tutorial CG Artist from Brasil: Ramon Zancanaro will show us how to create a realistic wood material which can be use for several objects on scene such floors and furniture. Creating Wood We will basically follow tree steps in this tutorial: Many Artists, Interior Designers and Architects have the difficult to get high quality wood textures with the accurate colour for their 3D applications. Most of the time the textures need several adjusts to obtain the desire result and in some cases those changes simply destroy the colour definition. In many cases, the 3D Artist end up creating plenty of similar wood textures with different variations from the original one, making his work a bit more confuse that should be.
Ads 1 - Texture Correction (Tiling and Saturation) To make the texture distribution easy into the 3D objects (mapping), our first step is to correct the tiling of the texture. Figure B-02. Creating realistic Wood Material ( part2/3) If you did not see the part 1, take a look here 2 - Composing the diffuse colour map This sample was made into 3Ds Max 2011 utilizing the material Slate editor because is much easier to control, but can be executed in previous versions of 3Ds Max that don't have this tool. To begin the composition open the material editor clicking on Rendering>Material Editor>Slate Material Editor.
For this exercise we will use VRayMtl. Figure B-10. Now we need to choose the colours that will replace the black and white on the bitmap placed onto channel Mix Amount. Figure B-11. For this sample we will use the value Color #1 R 45 - G 33 - B 22; Color #2 R 88 - G 57 - B 45 Applying Glossy and brightness variation The wood veins normally react in different ways when varnish is applied, resulting with a non-uniform varnish brightness. Figure B-12. Bellow examples of maps with different tones for Color #1 and Color #2 and the results on material. Figure B-13. Wood Floor Figure B-63. Creating Floor Figure B-64. Creating Bump and Specular Maps in Photoshop & 3ds Max. 3 years ago In this tutorial you will learn how to create your bump and specular maps with Photoshop and also you will see how to setup the material inside of 3ds max, creating bump and specular maps can be easy of hard depending of the textures that you are working and how many details you want to add, but in the majority of case can be really easy for a basic bump and specular map, check the video tutorial and share yours thoughts.
Like this: Like Loading... Photorealistic VRay Materials. 3d max tutorials : Building a multi sub-object material. How to create a displacement map? - PhotoSculpt creates 3D models and textures from 2 photos. Download our software PhotoSculpt Textures and create high resolution displacement maps easily from just two photos Sample Displacement map of a tree barkSample displacement maps and textures.
Click to download. Tutorial to create Displacement maps: