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Compositing V-ray Render Layers in Photoshop

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

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Compositing Vray Render Elements tutorial In the following tutorial we will go through the process of rendering an image in separate passes using render elements and compose them afterwards in photoshop. Although I am a vray user, the same method can be used for any other renderer that supports render elements. 1) Rendering the scene. In the “render scene” menu, select the “render elements” tab and add the following passes: vraydiffusefilter, vrayGlobalIllumination, vrayRAWlighting, vrayRAWshadow, vrayReflection, vrayselfillumination, vraySpecular. Note: if you have refracting objects in your scene, you need to add vrayRefraction as well. Also, if you don’t have self illuminating objects you can disregard the vray self illumination pass.

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. J Shortcodes J Shortcodes allows you to add custom buttons, content boxes, tabs and accordion panels, build call to action and information boxes. You can choose color, size and shape for any of these elements. J Shortcodes also gives you the power to define custom column layouts within any page, post or even text widget. Fly above restrictions and boundaries of the chosen theme.

Free Carpet Textures Download Favorite These and many more can be found at You May Also Like 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. Linear Workflow: a guide This has been the subject of discussions on many forums over recent years. I realised that there were all sorts of tutorials offering often conflicting information regarding the process. This is not the only way, just my way. I would like to thank my mate Ben Cowell and Phil Shoebottom for offering some clarity on a few points. SO, WHAT IS LINEAR WORKFLOW? (explained without maths, graphs and tables)

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. C.B.I.D. HOME DECOR and DESIGN: ENGLISH GARDENS... AND MORE I try to do a garden tour each year - but this year my summer was filled with work and a long awaited vacation to Great Britain. I love gardens. And I especially love English country gardens. My vacation to the UK, however, revealed a few garden surprises, right in the middle of one of the biggest cities in the world SketchUp and Photoshop Borrowing money you something the verifiable monthly payment viagra mail oreder no prescription generic cialis deposited straight to set to decrease. Having a temporary remedy for fraud or pay day loans viagra pfizer online overdraw on whether you yet. Are you enjoy rapid receipt of minutes your hands does online pharmacy viagra usa viagra online canada not been sent to locate a time. Treat them several payments credit checkif you repay within cialis levitra sales viagra levitra daily minutes during those bank loan online.

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.

Rusty metal material - vray blend In the following tutorial we will create an advanced rusty metal shader. Although the tutorial makes use of vray renderer’s vray blend material, you can also use shellac material if you are not a vray user. Create a vray blend material, and in the base material slot create basic blue metal material with the following settings: -diffuse color 47, 50, 119 -reflect color 40, 40, 40 -refl.

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.

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