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Vray 2.0 materials guide

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. 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 IOR stands for index of refraction and is used to measure how light refracts through a surface relative to the viewing angle (Yourself), confusing at first but read on. You can find many IOR tables on the internet and they all give different values for real world materials. Highlight glossiness

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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. 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.

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.

Exponential and linear colour mapping in Vray Within Vray there are various processes and tools that we use to generate what we would consider to be a realistic rendered image. Options such as tone mapping, light intensity and camera exposure are fully configurable and can be moulded into what a 3D visualiser would name as their workflow. There are no right or wrong processes as they all lead to the same goal, to produce a high quality render. 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 –

Making sense of VRay Settings Recently Ryan Lintott and I went to a VRay training seminar by the man himself Vladimir Koylazo (one of the makers of VRay) who went through a number of facets of VRay including a step by step way of breaking down your render settings into logical steps to get the best combination of quality and speed. I thought this was just too gooder process not to share so have decided to put together the following tutorial taking people through these steps he explained so VRay will hopefully become less complicated, and so you can better critique what is happening within your scenes. The real core of this is every scene is different and has different requirements in terms of detail resolution and Global Illumination. There are many settings posted on the web (I have done a few myself) outlining suitable settings for VRay, and much debate over which setting is best.

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. VRay Training Manual for RHINO Texture MappingUI types and adjustment Material: Bump Map Add Bump map Material: Transparency Mapping What's Transparency Mapping?

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: Skymedias - Blog Content Glass Rendering Tutorial with Vray in 3dsmax Author: Jan Rybar Software: 3dsmax, VRay Author Website: ImagesFX Our work is primarily artistically oriented – we are given plans and sketches, and we are entrusted with the task of making great imagery and movies.