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CG Education. Shading A Hard Surface Model 2015: Texturing A SciFi Power CellBy Neil BlevinsCreated On: Nov 7th 2015 Are you a 3d Concept Artist who uses Keyshot but wishes its materials were more flexible and it had better painting capabilities? Are you a Texture Artist who works on the final asset, but are tired of waiting for complex models with thousands of parts to be UVd? Well this video tutorial shows how I texture the hard surface model of a scifi power cell using a projection painting technique that requires no UV unwrapping and gives you far more flexibility than Keyshot provides while still retaining the speed. The tutorial is for 3dsmax and vray, but the ideas can be applied to your 3d package and renderer of choice. 33 min video, $1Shading A Hard Surface Model 2015: Texturing A SciFi Power Cell Video Tutorial (Gumroad, accepts Credit Card and Paypal) The video is also freely available on youtube, but the quality is not as high, and its not downloadable.

Needed Plugins and Scripts Rust Layer. Procedural Sand. Free Vray Shaders | Tiner.co. 3Ds Max | Realistic Terrain | Tutorial. IES lights with VRay. Rendering Very Large Images - V-Ray 3.2 for 3ds Max Help - Chaos Group Help. Create an Ivy Covered Tree Stump with 3ds Max, Ivy Gen, and VRay. Ryse_moss_tutorial_zenpat.pdf. Procedural V-Ray Sand Material by Javier Pintor. Many of you asked for it and here it is – Javier Pintor’s Procedural V-Ray Sand Material as showcased in his forum WIP thread. You will find here a short textual how-to supported with a video without commentary and the 3ds max scene file. Feel free to use it for any project you like. Procedural V-Ray Sand Material How-To from Ronen Bekerman on Vimeo. Open the “sand_start.max” scene and assign V-Ray as the rendering engine (no matter what version you are using). Set it for a test render so you don’t waste too much time in this demonstration.

The following image show how I usually do it, which doesn’t mean you can’t do it your way Next step will be to create a plane of 500x500cm centered in X, Y and Z and with 100 segments in both directions like so. Setting up the work plane Now let’s add a “Displace” modifier, set the strength to 30cm, open the material editor, go to the very last material and instance the map from the diffuse slot to the empty map slot in the displace modifier.

Adding Noise. Materialism 1.5 – rough metal | BBB3viz. There are many types of metal, many uses for it, and thus more than one way metal ages. Here, I’m picking a few arbitrary examples and how I would go about recreating a specific look in 3ds Max and Vray, using an object modeled for my Haussmann series and a more complex material than those I went through in the first Materialism post. While this shader is object-specific, it may yield a few general principles to be applied to a range of metals. The render above shows the final result. First two references, including a very bad Ipad photo I just made of a vintage kitchen ustensil. Here are a few things we can pick up here: There seems to be two layers of reflection: a sharp, mirror-like one, that reflects objects in a crisp way; and a blurry one, with a very noticeable bloom effect, particularly around bright highlights.Because of micro-scratches and the curvature of the surface, the blurry reflections seem to have an anisotropic distorsion, i.e.

This one is a very basic Ward shade. Materialism (1) | BBB3viz. 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. I may upload it for free to TS if there is interest, but there really is nothing to it.

A few points before looking at the specific mats. 1. 2. 3. 4. Eames plastic red 1.

Tuts

Vray 2.0 materials guide. An in depth look at each setting within a V-Ray material. You can jump to a specific section using the links below. DiffuseReflectionRefractionTranslucencyBRDFOptionsMapsReflect/Refract interpolation 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). 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. Fresnel reflections Most materials except metals have a Fresnel reflection, making the reflection strong at glancing angles but weak at more front on angles.

Fresnel IOR Highlight glossiness Reflection glossiness Subdivs Abbe. Hair & Fur in 3D Studio Max. Following a great thread in the finished works section of the forums, pixela was very kind to send me a little ‘How-To’ about the the use of 3D Studio Max’s Hair & Fur modifier you can see on the chair in the image above. I hope you’ll enjoy this article, even though it is just a small taste of what could be achieved with this great modifier. In my 3d interior visualization scene ‘Bedroom Concept’ I had one chair with fur which many people asked me to write a small tutorial about. Here I will try to explain the process of making it using 3D Studio Max internal Hair & Fur modifier. I used poly modeling techniques for creating the chair, but I won’t elaborate on that any further since I’m focusing on the use of the Hair & Fur modifier I applied on the chair after I finished it’s modeling.

So… While the chair is selected, from the modifiers panel, you add Hair & Fur modifier (under World Space Modifiers). You can see the parameters I used in the image below. 3D Underwater Scene. 14 May 2010 In this tutorial we’re going to create an underwater scene in 3ds Max. We’re going to create a deep blue sea with light rays and bubbles. Creating convincing underwater scene is a challenging task and I’m not even trying to create a physically accurate simulation. Rather I’m using my artistic freedom to neglect some real world rules to get the look and feel I’m going for. Step 1 Mental Ray Renderer We’re going to render our 3d underwater scene with the Mental Ray. Step 2 The Basic Geometry for the 3D Water Create a plane ( ) in the top viewport . Length: 1000Width: 500Length Segs: 200Width Segs: 200 Step 3 Water Surface with the Displace Modifier Add Displace modifier to the plane ( ) and apply the following parameters: Displacement Strength: 17 Image Map: Noise Open Material Editor ( ).

Noise Parameters Noise Type: TurbulenceLevels: 10Size: 300 Step 4 Water Material Now the water geometry is complete so let’s apply a material to it. Largest: 100Smallest: 1Quantity: 20Steepness: 5. Making of Maison Hermes 3d render – 3D Architectural Visualization Rendering Blog - Ronen Bekerman. Roberto De Rose from State of Art studio posted his great ‘Maison Hermes’ image at the forum not long ago.

I was very impressed with that 3d rendering of Renzo Piano’s building and asked him to share with us how he created it. I hope you’ll enjoy this article and learn from it as much as I did! Author: Roberto De Rose (Cepp) Roberto is a Director at State of Art Studio – An architectural visualization studio based in Italy. Visit their website at – www.stateofartstudio.com Hi everyone, welcome to the Maison Hermes Making of. It’s difficult for me writing this because I worked without saving step by step information.

Let’s start! First of all, references! I can’t make an artwork (dedicated to our favorite architects) without photos. The modeling stage was the easy part, just the 12,000+ glass-blocks gave me a little problem. There are 9-12 spot lights on each floor, no HDRI, only a VRay sky with night settings. Materials are very simple. Base Render : Color Correction for Dusk Time : Project Manager. Author Name: Alexander Kramer Project Manager - Asset Browser for 3ds Max Easy to organize and use 3ds Max models, materials, textures and lights.Interactive rendering previews for materials and IES files.Show native previews for 3ds Max files, HDRI & etc.Search files by tags and file-names.Missing external files management.Support to most used renderers like Vray, Corona, Octane, Mental Ray, Maxwell & etc.

Changes for Project Manager v.2.31.12: Updates the studio for rendering previews for materials. *Adds an option for setup number of level for searching files in subfolders (menu item ‘Show files in subfolders’). Update History for all versions. Quick Start Frequently Asked Questions Main Features Simple adding the models, materials, textures and IES into the sceneCataloging libraries of models, materials, textures and IESSync database on network. Asset Tracking Misc Features Additional Info: This is a commercial script. Wishlist for future versions. Demo-version: Version Requirement: Vray Linear WorkFlow Different ways to add Gamma in your renders. Share with your friends! Every real device to take pictures adds gamma. We actually are “producers” of images and we need to correctly setup the gamma in 3ds Max, in order to imitate the behavior of real cameras.

In 3ds Max the options we have to add gamma are various: Gamma in “output” / preferencesGamma / color mappingDon’t Affect colors / color mappingsRGB button /V-Ray Frame Buffer (VFB) Every option in this list affects gamma. I’m going to show you how many combinations are possible and you’ll see just one way is the correct one. COMBINATION 1 : Gamma in. . . - Gamma in “output” / preferences = 2,2 - Gamma in color mapping = 1,0 - Gamma in VFB (sRGB button) = disabled Brief Explaination: You’re adding 2,2 to the final image. COMBINATION 2: Gamma in… sRGB button (follow the green arrow) - Gamma in “output” / preferences = 1,0 - Gamma in VFB (sRGB button) = enabled Brief Explaination: You’re adding 2,2 with the sRGB button but it’s just a “preview” of gamma.

COMBINATION 3: Gamma in.. Compositing V-ray Render Layers in Photoshop. In this tutorial Ahmed Fathi takes a look at how to composite together V-ray render layers using blending-modes and masks in Photoshop. Once completed, this process allows you to change or tweak any aspect of your image in seconds without having to re-render a thing! Ahmed also covers a few extra post production techniques such as Chromatic Aberration and Depth Of Field, as well as how to emulate a Cross-processed look.

Republished Tutorial Every few weeks, we revisit some of our reader's favorite posts from throughout the history of the site. This tutorial was first published in July of 2010. Additional Files/ Plugins:Download the Project Files for this tutorial Step 1 As this is a compositing tutorial, not a lighting/rendering tutorial, I'll assume that you have at least a basic knowledge of V-ray, and that you are able to render out your own scenes already. Step 2 We'll start with the VRayZDepth element. Step 3 Step 4 Step 5 Step 6 Step 7 Step 8 Step 9 Step 10 Step 11 Step 12 Step 13 Step 14 Step 15. V-Ray Render Optimization | Akin Bilgic. Intro This tutorial attempts to cover the process of optimizing your V-Ray render settings to get the best possible render quality and fastest render time for a given scene. There's often a lot of confusion surrounding V-Ray's sampling methods and what 'ideal' settings are.

Many times you'll see artists adopt the 'Universal V-Ray Settings' of having the Image Sampler (Anti-Aliasing, or AA) Max Subdivs value set very high (like 50 or 100), and then simply lowering the noise threshold value until the render becomes clean enough - thinking that it's the best / fastest that V-Ray can do. But with a bit of understanding of how V-Ray works under the hood, you can achieve a higher quality result WITH faster render times - in some extreme cases ranging between 3x faster to 13x faster than the universal settings. We'll first cover some of the underlying concepts behind how ray tracing and V-Ray's sampling works.

Raytracing 101 Figure 01 So to recap the important terms: Figure 02 Figure 03 Figure 04. FumeFX Obstacles.