IntroductionWelcome| 00:00 |
(MUSIC).
Hey there.
| | 00:05 |
I'm Dariush Derakhshani, a VFX Supervisor
and adjunct faculty with the University of
| | 00:10 |
Southern California in Los Angeles.
I'm the co-author of an AutoDesk 3DS MAX
| | 00:17 |
book series, as well as the author for the
best-selling Introducing AutoDesk Maya series.
| | 00:23 |
I'm delighted to bring you this course on
Vray for Maya.
| | 00:27 |
I designed this course not only as a
primer for those new to VRay and CG
| | 00:31 |
rendering but also as a reference for
anyone with prior experience seeking more
| | 00:36 |
detailed information about specific
aspects of Vray.
| | 00:41 |
In this course you will learn rendering
using the powerful VRay rendering platform
| | 00:47 |
through Autodesk's Maya software.
We will begin the course by exploring the
| | 00:53 |
VRay for Maya interface.
And how this popular renderer is
| | 00:57 |
integrated into Maya's UI.
Next, I will show you how VRay lights work
| | 01:02 |
and when to use them.
We'll then take a look at the various VRay
| | 01:07 |
materials and shaders and how to utilize
them before moving on to several lessons
| | 01:13 |
exploring global illumination using VRay
In these global illumination lessons.
| | 01:19 |
You'll learn how the different GI engines
work in VRay and some of the popular
| | 01:24 |
combinations for efficient, clean renders.
You will also learn about object
| | 01:29 |
properties and special VRay cameras and
attributes.
| | 01:34 |
Lastly, we'll explore how to use VRay
Render Elements to render in passes to
| | 01:39 |
integrate with compositing packages such
as Adobe's After Effects for the ultimate
| | 01:45 |
in control over your images.
I'm delighted to be the author of this
| | 01:50 |
VRay course and I am confident this will
give you the knowledge and confidence to
| | 01:54 |
take your rendering to the next level.
Thank you very much, and enjoy the course.
| | 02:00 |
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1. Getting Started with V-RayWhat is V-Ray?| 00:02 |
In this video, we'll be taking a look at
what V-Ray is in general and what it does.
| | 00:07 |
V-Ray is a powerful renderer developed by
the Chaosgroup, who also develop a suite
| | 00:13 |
of V-Ray renderers for different programs.
We'll be dealing with V-ray for Maya which
| | 00:20 |
is specifically created for AutoDesk's
Maya, a powerhouse animation and CG
| | 00:26 |
content creation software.
V-ray for Maya installs as a plugin for
| | 00:32 |
Maya, and fits directly into the interface
with ease, allowing you to create renders
| | 00:39 |
alongside your Maya scenes.
That allow you to have such things as
| | 00:44 |
render time subdivisions, motion blur, as
well as depth of field, are inherent
| | 00:52 |
features within VRay.
As is an innovative global innovation
| | 00:56 |
engine that allows you to cast light as
bounced light as white in a scene.
| | 01:02 |
VRay works with all of Maya's features,
including render layers allowing you to
| | 01:09 |
render your objects in separate elements
and be able to cop them together.
| | 01:14 |
For example, we have the reflections being
cast by these objects with the objects
| | 01:21 |
being holdouts themselves, created by
using render layers in Maya and rendering
| | 01:26 |
through VRay.
VRay has an affinity for rendering hard
| | 01:32 |
surfaces such as cars, with one of the
featuring being a VRay car paint material,
| | 01:39 |
making creating difficult renders a lot
easier.
| | 01:43 |
VRay is very well known for its
architectural rendering, being a favorite
| | 01:48 |
among architects looking to visualize
their scenes, inside and outside.
| | 01:54 |
And with image-based lighting, and global
illumination, integral to the VRay workflow.
| | 02:01 |
You can count on your model's details and
your textures to really come out and shine beautifully.
| | 02:07 |
VRay's tight integration with the Maya
interface makes it easy to avail yourself
| | 02:13 |
of all of the options that VRay has to
offer.
| | 02:18 |
Artists coming from different packages to
VRay for Maya will find a lot of the
| | 02:24 |
features very easy to pick up and
translate into the Maya interface.
| | 02:31 |
With a little reference, and a little bit
of patience and practice, pretty much
| | 02:36 |
anybody can become very good at rendering.
In this video, we took a look at some of
| | 02:42 |
the features VRay has to offer Maya and
what it could mean for your workflow.
| | 02:50 |
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| V-Ray integration with the Maya UI| 00:02 |
In this video we'll be taking a look at
VRay's user interface integration with Maya.
| | 00:08 |
VRay loads in as a plugin into Maya, and
may be found in the plugin manager.
| | 00:14 |
If you check Load and Autoload, you'll be
able to see Maya load VRay into its render settings.
| | 00:24 |
Here you'll find VRay under the render
using dialog.
| | 00:29 |
Running VRay gives you access to a number
of VRay specific panels in the render settings.
| | 00:36 |
Under VRay common, you'll find all the
common render features.
| | 00:40 |
The VRay tab gives you access to some of
the subdivision and sampling settings for
| | 00:48 |
the render, as well as giving you access
to color mapping allowing you to work in
| | 00:54 |
linear work flow.
For example, you'll have access to some
| | 00:59 |
camera features in the VRay tab, such as
turning on depth of field or motion blur.
| | 01:07 |
You'll also have access to an environment
where you can override the environment,
| | 01:12 |
giving your scene an environment of your
choosing.
| | 01:16 |
Further down the render settings for the
VRay tab, you’ll also find access to
| | 01:22 |
VRay’s Sun and Sky system.
At the very bottom, you’ll be able to turn
| | 01:27 |
on some of the user interface elements for
V Ray by adding them to the shelf.
| | 01:34 |
In the Indirect Illumination tab, for the
Render Settings window, you’ll find
| | 01:40 |
everything you need for global
illumination within V Ray.
| | 01:45 |
Here you'll be able to choose the
different engines that you'll want for
| | 01:50 |
your primary and secondary balances.
And you'll be able to control those engine
| | 01:55 |
parameters, through the indirect
illumination tab.
| | 02:00 |
You'll also have access to any caustic
effects that you may wish in your render.
| | 02:08 |
The Settings tab of the Render Settings
window give you access to a lot of the
| | 02:14 |
under the hood attributes responsible for
optimizing and outputting your scene.
| | 02:22 |
Here under the System rollout, you'll find
a lot of the attributes you need for
| | 02:27 |
memory management of your renders.
In addition, under the Distributed
| | 02:33 |
Rendering section under the System heading
You'll be able to assign other machines to
| | 02:41 |
do renders for you in your current session
of Maia.
| | 02:45 |
This allows you to have multiple machines
rendering a single frame as you test your scene.
| | 02:53 |
Here we've seen that I've set a secondary
system that will aid in rendering the
| | 02:59 |
scenes that I have loaded in Maya and this
machine is a small form factor machine
| | 03:05 |
from HP.
VZ220 a small but really powerful machine
| | 03:10 |
that is a huge help in picking up some of
the render tasks as I work in Maya and VRay.
| | 03:18 |
The Translator tab allows you to specify
some of the options.
| | 03:24 |
When you're rendering, you can export to a
VR scene directly and use that scene in
| | 03:30 |
your workflow.
Render elements tab allow you to add a lot
| | 03:35 |
of different render passes to your output,
whether they are in separate files or in
| | 03:42 |
the same open exr file as multiple
channels.
| | 03:46 |
And finally the RT engine gives you access
to V Ray RT.
| | 03:52 |
Which is a real time GPU or CPU enabled
renderer that allows you to visualize your
| | 04:00 |
scene while you're working in it.
The render settings, also known as the
| | 04:04 |
render globals, is the most obvious place
to find VRay.
| | 04:09 |
But you'll be able to find VRay user
interface elements in the create panel.
| | 04:14 |
We can create V Ray lights under the
lights subheading as well as certain
| | 04:23 |
special features within in V Ray through
the V Ray sub menu under the create menu
| | 04:30 |
or you can create and use proxies in your
scene.
| | 04:34 |
You can create mesh lights, fur, or VRay
displacement, as well as assigning or
| | 04:40 |
removing VRay object properties to any of
the objects in your scene.
| | 04:46 |
Specific objects within Maya also have
VRay user interface elements within the
| | 04:53 |
attribute editor.
Here under the attribute menu we have a
| | 04:57 |
VRay sub menu allowing you access to some
of VRay's features, such as subdivision at
| | 05:04 |
render time.
When any of these attributes are enabled
| | 05:08 |
at the bottom of an object's attribute
editor, under its shape node tab, you'll
| | 05:15 |
find extra VRay attributes, which give you
access to those values.
| | 05:20 |
For example here we have an object ID of 3
set for the box as well as a 64 max
| | 05:28 |
subdivision set for this box which has a
displacement map applied to it, we can
| | 05:35 |
here see some of the displacement
attributes that view array allows me to
| | 05:40 |
adjust auto per object basis they have
through the attribute editor For any
| | 05:45 |
object that you may wish to add V-Ray
attributes to.
| | 05:53 |
You will also find VRay user interface
elements within the hypershade, where you
| | 05:58 |
will see a lot of the VRay materials and
textures available in the Maya section.
| | 06:07 |
As well as some of the the 2D textures
that are specific to V-Ray, all within the
| | 06:14 |
Maya heading in the hypershade.
To summarize, the number one place to find
| | 06:20 |
V-Ray interface elements is through render
globals or render settings.
| | 06:26 |
Accessing shaders and textures through the
hypershade, and accessing specific object
| | 06:33 |
based v ray attributes within the
attribute editor itself.
| | 06:39 |
And lastly, creating v ray lights and
other such attributes under the create
| | 06:45 |
menu in the v ray sub menu.
| | 06:48 |
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|
2. V-Ray LightsThe Rectangle light| 00:02 |
In this video we'll be taking a look at
rectangle lights in VRay, one of the most
| | 00:08 |
commonly used lights.
Here we have a simple scene with an oil
| | 00:11 |
rig set up and if I go ahead and check my
render settings to make sure that I have
| | 00:18 |
Vray selected.
I'm gong to go ahead and just render a
| | 00:22 |
frame with no lights in the scene.
As you can see it is rendering with a Maya
| | 00:30 |
default light.
As soon as you start adding lights in your
| | 00:34 |
scene V Ray will turn off its default
light.
| | 00:37 |
However, if you open the render settings,
you can go to the VRay tab, and under the
| | 00:43 |
global options you can manually turn off
Default Lights.
| | 00:49 |
Now let’s go ahead and add one of our
lights.
| | 00:51 |
Go ahead under Create lights, you’ll see
once you've installed VRay that four VRay
| | 00:59 |
lights are available under the Create
Lights option.
| | 01:03 |
We'll start with the VRay rectangle light,
which will place a light at the origin.
| | 01:08 |
If we focus on it, we can see it's a
fairly small light in face of a very large
| | 01:15 |
oil rig, which is perhaps 60 meters
square.
| | 01:19 |
So that's quite large.
We'll grab our light and we'll move it.
| | 01:29 |
Once we have the light all at it's
defaults placed in here.
| | 01:33 |
Go ahead and aim it a little bit, and
we'll see what this little light can do on
| | 01:39 |
this large oil rig.
We'll go ahead and, and render out a
| | 01:44 |
frame, and you can see that, that little
light really doesn't do much for us.
| | 01:50 |
It's very small in comparison to the large
scene size.
| | 01:56 |
You may be tempted to scaling the light,
however that's not a very accepted workflow.
| | 02:05 |
Instead, you should go ahead and change
the size of your light using the u size
| | 02:09 |
and the v size.
We'll go ahead and we'll make this light
| | 02:13 |
about fifty times bigger in UNV.
See its getting a little bit bigger.
| | 02:17 |
Lets go ahead and go 200.
Now we have a larger size of the locator.
| | 02:25 |
We go ahead and render that scene again.
We'll start to see some of the light
| | 02:29 |
coming in.
By default, varialights have a fantastic
| | 02:35 |
decay rate.
If we go into the attribute editor, you
| | 02:39 |
can go ahead and turn off the decay rate.
By clicking on no decay.
| | 02:44 |
Let's go ahead and put this in the buffer,
and go ahead and re-render this light with
| | 02:50 |
no decay.
And you can see the tremendous amount of
| | 02:54 |
light that's being given off by that.
Part of the charm in VRay's rendering, and
| | 03:00 |
its lighting system is the decay.
And you should typically have your lights
| | 03:06 |
with a decay on them.
Now the larger the light, the more the
| | 03:12 |
light that you cast.
Let's go to 1,200 for the U and the V sides.
| | 03:18 |
And we already have this image in the
buffer, this was a U and V size of 200.
| | 03:24 |
We'll go ahead and rerender this frame
with six times the size of previous slide.
| | 03:31 |
We can begin to see how much the decay
rate there really is.
| | 03:36 |
Now this oil rig is to scale, so the light
fall off coming out of this rectangle
| | 03:41 |
light is pretty nice and dramatic.
This works exceptionally well for studio
| | 03:47 |
lightening situations where you have a
need for more physically accurate light.
| | 03:53 |
Now lets go ahead and increase the size
even more or go to twice the size to 20400
| | 04:01 |
or move the light back, because again
distance is very dependent on its fall
| | 04:06 |
off, we'll go ahead and angle this a
little bit move it, move it up in the
| | 04:16 |
world, and get a nice soft light.
Since we are so far away now, go ahead and
| | 04:26 |
move it further back.
As we're getting further away, our light's
| | 04:33 |
going to diminish quite a bit.
And this is where the intensity multiplier
| | 04:36 |
comes into play.
We can increase the intensity multiplier
| | 04:41 |
the further back we get.
Let's take a quick look at what this light
| | 04:46 |
looks like.
We've got a nice looking light.
| | 04:50 |
We'll triple our intensity from 30 to 90
and take a look.
| | 04:59 |
You get a very hot spot where the light is
closest, with a gradual falloff.
| | 05:04 |
This, again, is a sense of the scale.
If you're looking for a general gradual
| | 05:11 |
light, you'll want to back off on the
intensity multiplier and create this light
| | 05:17 |
to be much, much larger.
Go ahead and we'll set the UNV size for
| | 05:26 |
our light, higher still.
And then it's placement is really very important.
| | 05:38 |
Just like any sort of aerial light.
The dispersion depends on the size of the
| | 05:43 |
light, and its brightness and falloff
depends on the scale of your scene, as
| | 05:48 |
well as the size and intensity of your
light.
| | 05:54 |
And one thing you'll notice is that the
light is actually rendering in the scene
| | 05:58 |
as well.
By default, all V-Ray lights will come in
| | 06:01 |
visible in the scene.
Unless you turn them invisible, lets go
| | 06:06 |
ahead and take a look at the attributes
for the rectangle light, opening up the
| | 06:11 |
attribute editor we can see our light
colour is dependent on the colour mode we
| | 06:18 |
can specify a colour through the swatch or
we can specify a temperature.
| | 06:23 |
This is measured in kelvins, go ahead and
leave the color and we'll give it a little
| | 06:29 |
bit of that yellow, morning sun.
U and the V size, of course, we've already
| | 06:34 |
seen is the size of the light.
Subdivision sampling is the noise that the
| | 06:41 |
light may introduce into your render.
You can see a little bit in the darker
| | 06:45 |
areas, you start getting a little bit of
noise.
| | 06:48 |
Let's go ahead and get closer in on those
areas and render a frame.
| | 06:53 |
You can begin to see that noise as the
light falls off.
| | 06:59 |
Let's put that into our buffer and
increase the subdivisions from 8 to 24.
| | 07:06 |
We can go ahead and render a region using
Maya's render view, just by specifying the
| | 07:12 |
region and rendering with that icon.
You can see that the noise has been
| | 07:18 |
greatly mititgated by turning up the
sampling for the light.
| | 07:24 |
Shadows, further down in the Attribute
Editor, are by default turned on and give
| | 07:31 |
you a really nice softness the larger the
light is.
| | 07:35 |
The smaller the rectangle the sharper the
lights will be.
| | 07:38 |
If you wish to put a texture on your light
for example an HDRI you can use the
| | 07:44 |
texture roll out where you can include a
texture file going through this icon.
| | 07:49 |
You can in bring in a file or what have
you.
| | 07:55 |
We'll go ahead and leave our texture
alone.
| | 07:58 |
And then we've got a few options.
We've seen the no decay and the invisible.
| | 08:04 |
We turn on double-sided, the light will
light on both sides of it's locator
| | 08:10 |
(SOUND) that we can see here.
(SOUND) But we'll just leave it to the one side.
| | 08:21 |
We can also toggle whether this light
affects the diffused, specular, or
| | 08:26 |
reflections properties of our render,
which is quite handy when you're trying to
| | 08:31 |
control what lights do what.
You can also turn up or down the diffuse
| | 08:37 |
and specular contributions of your lights.
If I decrease my diffuse contribution,
| | 08:44 |
let's say by a half, the amount of light
that I'll see on my object will be mitigated.
| | 09:01 |
This render is at half diffuse
contribution.
| | 09:04 |
If we increase our diffuse contribution
back to the default of one, we'll save
| | 09:09 |
this in the buffer and render out this
frame again.
| | 09:18 |
As you can see, the diffuse contribution
is much better than before, 0.5 to 1.0 .
| | 09:25 |
This is one other way that you can control
how the light affects your objects in the scene.
| | 09:29 |
Further down you'll find photon emission
controls, as well as your UI.
| | 09:39 |
The UI roll out allows you to scale the
locator for the light.
| | 09:45 |
Its best just to leave it at one and to
gauge the size of your locator to the more
| | 09:52 |
appropriate UNV size which actually
increases or decreases the surface area,
| | 09:58 |
from which the light is emitting.
You have familiar Maya options for Object Display.
| | 10:05 |
You can go ahead and, turn on, drawing
overrides if you so wish.
| | 10:12 |
You can also, be different, aspect ratios,
by creating, a different UMV light.
| | 10:21 |
This way you get a much different response
from your lighting.
| | 10:25 |
Now that we've made the light narrow and
smaller, we're going to have to boost the
| | 10:31 |
intensity quite a bit to account for the
lack of surface area.
| | 10:43 |
With this shape light, we've created a
nice little bit of ray that hits our oil
| | 10:49 |
rig, but doesn't get the entire area.
In the video we took a look a the VRay
| | 10:55 |
rectangle light and discussed some of the
options that are inherent to the rectangle
| | 11:00 |
light, as well as to all of the other
lights that are available through VRay
| | 11:05 |
from Maya.
| | 11:08 |
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| The Sphere light| 00:02 |
In this video, we're going to take a look
at the VRay's Sphere Light.
| | 00:06 |
Here in our oil rig scene, we have a
rectangle light already creating, but I'm
| | 00:10 |
going to go ahead and disable light simply
by hiding it Ctrl + H.
| | 00:15 |
Now that light, which you can see here in
the outliner, is hidden.
| | 00:23 |
Keep in mind the scale of the scene is in
meters, and we have a rather large oil rig
| | 00:29 |
that is 60 meters by 60 meters.
This is important because the light
| | 00:34 |
falloff for VRay is dependent on scale and
size.
| | 00:39 |
Lets go ahead and create our VRay's Sphere
Light through create Lights, VRay Sphere.
| | 00:45 |
Now, place this sphere light at the
origin.
| | 00:50 |
Now, because we are in a very large scene
measured in meters, this gives us a very
| | 00:56 |
small locator size.
Let's go ahead and snap that close to our
| | 01:00 |
geometry here.
That'll give us a chance to move it right over.
| | 01:07 |
So, there's our sphere light, and that's
how small it is in the face of this large scale.
| | 01:15 |
Let's see about moving it some place a
little bit more friendly, and we'll render
| | 01:23 |
it at its defaults and see what it can do
in this corner of the oil rig.
| | 01:34 |
You can see the light, but you can't see
much else.
| | 01:42 |
Of course, the oil rig is still there,
however, that light is just not large
| | 01:47 |
enough or strong enough to give you much
in the way of the scale of the scene.
| | 01:54 |
We can increase the intensity multiplier,
let's go to 300, and let's also before we
| | 02:01 |
forget go down to the Options and turn the
light invisible.
| | 02:05 |
That way we won't see the sphere of the
light in the render itself.
| | 02:10 |
We'll go ahead and render that frame with
the much brighter sphere light.
| | 02:21 |
As you can see in the render, you're not
getting much of anything.
| | 02:24 |
We have to go much, much higher on the
intensity, because the light is so smaller
| | 02:30 |
in a large scale scene.
We'll go ahead and we'll go to, let's say
| | 02:36 |
6,000 intensity multiplier to account for
the size of the light compared with the
| | 02:43 |
size of the scene, and we're going to
start getting a little bit of light
| | 02:47 |
casting on the ground.
Instead of getting ridiculously high
| | 02:52 |
intensities, let's go ahead and turn up
the radius on that sphere.
| | 02:56 |
We're at a radius of one, let's go ahead
and jump to radius of 120.
| | 03:04 |
As you can see is just now starting to
touch the bottom of the floor.
| | 03:10 |
Now, our intensity is still quite high.
We increased our radius by a factor of 120.
| | 03:17 |
Let's go ahead and reduce our intensity by
a factor of 100.
| | 03:24 |
As you can start to see in the render,
increasing the radius by a 120, but
| | 03:29 |
decreasing the intensity by 100, isn't
really a one to one relationship.
| | 03:36 |
We'll have to bring the intensity
multiplier much lower to be able to get a
| | 03:41 |
decent light.
We'll set our intensity 60 and keep the
| | 03:46 |
radius at 120.
We'll see how the sphere light effects the environment.
| | 03:54 |
The fall off on sphere light is mostly a
very gradual, very beautiful fall off.
| | 04:02 |
However, in proximity of its actual radius
the light is very bright.
| | 04:12 |
So, what we'll want to do is reduce our
radius and increase our intensity.
| | 04:18 |
We’ll go ahead and go to about a quarter
of our radius, and we’ll double our intensity.
| | 04:36 |
As you can see, the proximity of the
sphere light is very important to the
| | 04:43 |
lighting in this scene.
Now, I wouldn't try to light a huge 60
| | 04:50 |
meter by 60 meter scene like this with
just an individual sphere light.
| | 04:58 |
These lights would be very helpful to
create little spots of light, that are
| | 05:06 |
practically driven.
For example, lights on the towers, lights
| | 05:11 |
on any of the gadgets on any of the tanks,
little lights that may be practically
| | 05:20 |
lighting up the oil rig.
Then you'll find that the scale becomes
| | 05:25 |
much more proportionate.
Now in this case, I've created a batch of
| | 05:31 |
VRay Sphere Lights, that I've placed all
around different areas of the scene, as
| | 05:37 |
you can see here.
These lights are generally small, with a
| | 05:42 |
radius of about 15, with an intensity of
about 120, some are smaller with a smaller density.
| | 05:51 |
Go ahead back to our camera view, this
sort of lighting gives you a render of a
| | 05:56 |
large scale, where you have a sense of
real practical lighting on this huge oil rig.
| | 06:03 |
Now of course, that's not enough, you'll
want to add a little bit more light in the scene.
| | 06:10 |
Remember that rectangle light?
Let's go ahead and position that and get
| | 06:14 |
some fill light.
I've unhidden it, let's go ahead and move
| | 06:21 |
it on over to this side, while we reorient
the light..
| | 06:29 |
Relocated the light, made it blue color,
gave it an intensity of 12, it's quite
| | 06:37 |
large with a 4800 UNV size.
We'll go back to our camera view, and when
| | 06:43 |
we run a render, we get a little bit of
that moonlit fill.
| | 06:48 |
And we still have these point lights
giving us some motivated lights coming
| | 06:54 |
from the rig itself.
Now, let's take a look at the attributes
| | 06:58 |
for one of our sphere lights.
Go ahead and select one of these guys.
| | 07:04 |
Just like the rectangle light and the
other VRay lights, you have an intensity
| | 07:09 |
multiplier, as well as a light color,
which can be controlled by the color or
| | 07:14 |
temperature measured in kelvin degrees.
The lower the temperature the warmer the
| | 07:23 |
light will seem.
If we want a nice orange light for all of
| | 07:27 |
our VRay Spheres.
We'll go ahead and select them all in the Outliner.
| | 07:34 |
And in the Channel box, we can go ahead
and put in a temperature for the color mode.
| | 07:41 |
And then enter in our temperature of about
3,600 degrees Kelvin.
| | 07:48 |
If you look at each one of these lights in
the Attribute Editor, you'll see that they
| | 07:55 |
all have the same orange cast.
Instead of the U and V size that we saw
| | 08:01 |
with the rectangle light.
We have a radius, which governs the size
| | 08:05 |
of the light itself.
As we saw earlier in the video, the
| | 08:10 |
position and the size of the light really,
really makes the intensity of the light different.
| | 08:18 |
If you want to keep your lights small
enough to cast a soft, generic point light.
| | 08:25 |
Or if you want to very defined harsh
light, you can create a radius that
| | 08:30 |
actually overlaps your geometry.
If you start seeing noise with your lights.
| | 08:38 |
As you can see a little bit here if we go
ahead and zoom in.
| | 08:42 |
Might see a little bit of noise in the
darker areas.
| | 08:47 |
You can mitigate that, by turning up the
sampling for that light.
| | 08:53 |
Shadows are on by default, and we have the
same set of options as most of the other lights.
| | 08:59 |
We can choose to affect the diffuse
specular or reflections for each
| | 09:03 |
individual light.
And of course, you will need to turn on
| | 09:07 |
the invisible check box, so that you don't
see the actual points of light.
| | 09:14 |
So, that in a nut shell is the VRay Sphere
Light and how it can contribute to your
| | 09:20 |
lighting scene.
| | 09:20 |
| | Collapse this transcript |
| The Dome light| 00:02 |
In this video we're going to take a look
at the VRay dome light.
| | 00:07 |
This scene we have a 60 meter oil rig, and
the idea is to get an evenly lit
| | 00:15 |
environment for its render.
We'll go ahead into the Create Lights,
| | 00:21 |
Dome Light.
And you will see a little locator show up
| | 00:28 |
for the dome light.
It's attributes are similar to other VRay
| | 00:33 |
dome lights, in that it has a color which
can be set with temperature.
| | 00:38 |
Measured in Kelvin or with a simple color
swatch, and it has an intensity multiplier.
| | 00:47 |
This of course sets how bright the dome
light becomes.
| | 00:50 |
This gives you a hemisphere that fits over
your object to give you a nice soft lighting.
| | 00:58 |
We'll go ahead and take a look at our
render now.
| | 01:06 |
So with that dome light, we have a nice
even shading all the way around.
| | 01:12 |
You'll notice a little bit of a white
strip up here, let me show you what that is.
| | 01:16 |
If we zoom out and we angle this way and
we go ahead and render again, you're
| | 01:25 |
going to see a lot more white.
And that actually is the dome light being
| | 01:29 |
visible in the render.
So, first thing you should do is go ahead
| | 01:34 |
and go into the attribute editor, and turn
on the Invisible checkbox, just like all
| | 01:40 |
the other V-Ray lights that you don't want
to see.
| | 01:47 |
So you have to keep that in mind when you
create your viewer lights, and the dome
| | 01:52 |
light gives you a very nice soft
surrounding light.
| | 01:56 |
Go ahead and put this into our buffer and
then in the Attributes, I'm going to turn
| | 02:02 |
on Dome Spherical.
And what this does, you've seen the sample
| | 02:07 |
gets a lot brighter.
It turns the hemisphere of the dome into a
| | 02:12 |
full sphere.
As you can see you are getting a lot more
| | 02:18 |
light from the bottom because of the
bottom part of the sphere has been filled
| | 02:22 |
in, and there's generally a little more
light overall because there is more
| | 02:28 |
surface area for the VRay light to cast
from.
| | 02:31 |
Now the amount of noise present in the
scene is a function of two things,
| | 02:36 |
obviously render settings, which allow you
to increase your subdivisions on the whole
| | 02:42 |
but also the light itself has a
subdivisions attribute, just like all the
| | 02:47 |
other VRay lights.
If I increase this attribute, let's go to
| | 02:51 |
four times its current bit, put that in
the buffer, and we'll render it out,
| | 02:57 |
you'll notice less noise coming from this
particular light.
| | 03:03 |
As you can see a lot of that noise is
disappearing, as the buckets fill, and the
| | 03:08 |
difference between the two is quite
striking.
| | 03:11 |
This was accomplished by increasing the
subdivisions on just the light.
| | 03:17 |
Further down the Attribute Editor, you'll
find a texture roll-out.
| | 03:23 |
This allows you to put a texture on the
color, or to use a color for the dome, itself.
| | 03:31 |
Let's do a cyan, and let's put this in the
buffer and render out a flat cyan color
| | 03:38 |
for our oil rig.
As you can tell, the light's gone
| | 03:44 |
completely cyan.
So you can feed a file texture into here
| | 03:50 |
by going through the Map button, and you
can map anything from regular bitmap
| | 03:56 |
images to 32 bit HDRs.
The options for Dome Light are similar to
| | 04:01 |
other VRay lights, where you can multiply
the diffuse and specular contributions, as
| | 04:07 |
well as turning them on and off, as well
as turning on and off reflections.
| | 04:13 |
You've got photon emission for GI control,
if you need, and you can change the
| | 04:19 |
locator scale so your light shows a little
bit bigger.
| | 04:28 |
So you'll have to get quite a bit bigger
for this very large scene to get any sort
| | 04:36 |
of effect out of your scaling.
In this lesson, we took a look at the dome
| | 04:44 |
light and the soft overall lighting that
it can provide in your VRay scene.
| | 04:52 |
| | Collapse this transcript |
| V-Ray Sun and Sky| 00:02 |
In this video, we're going to take a look
at how to light this oil rig using the
| | 00:07 |
VRay Sun and Sky system.
Or as with most lights in VRay, you go to
| | 00:13 |
Create menu to create them.
The Sun and Sky lives in the Render
| | 00:18 |
Settings > VRay tab > V-Ray Sun and Sky
rollout.
| | 00:24 |
You'll see options to create a sun and a
sky, as well as delete them.
| | 00:29 |
These icons allow you to adjust the nodes,
once you've created them.
| | 00:33 |
Let's go ahead and create a sun.
In our viewport, we will see this locator,
| | 00:41 |
which gives you the angle of the sun.
And in the outlining/g, you'll see we have
| | 00:48 |
a transform node, which is used for
positioning and orienting the light.
| | 00:56 |
And we have the actual sun light
attributes, we can access through the
| | 01:06 |
GeoSun node.
(SOUND).
| | 01:09 |
Lets take a quick look at a render of this
scene, and you'll see that it's completely
| | 01:14 |
blown out.
Making sure we have the GeoSun selected I
| | 01:20 |
have access to the intensity multiplier
which I will turn (SOUND) way down.
| | 01:27 |
We'll go to a very low number, put this in
the buffer, and go ahead and render this out.
| | 01:33 |
And you'll notice that our render hasn't
really changed.
| | 01:37 |
It's still extremely blown out.
We'll go ahead and put a very small number here.
| | 01:42 |
(SOUND) We'll have to go even smaller than
that.
| | 01:48 |
(SOUND).
And you'll see that our swatch has finally
| | 01:53 |
come off of being very, very bright.
If we render this with that extremely
| | 01:58 |
small number, we'll start seeing the sun
come into play.
| | 02:05 |
The reason we have to turn the intensity
multiplier so low is that the sun is
| | 02:10 |
dependent on the scene scale.
If we open up the Preferences and go to
| | 02:15 |
the Settings tab, we'll see that our
linear scale is set to meters.
| | 02:20 |
Let's go ahead and go to millimeters and
save that scale.
| | 02:24 |
And if I render this object out now, let's
put this in the buffer and render the oil rig.
| | 02:33 |
It turns very, very dark.
The intensity multiplier at a scale of
| | 02:40 |
millimeters needs to be much greater.
Let's go 0.001 (SOUND) 0.01.
| | 02:49 |
(SOUND) Go to 0.1, and we're starting to
see light coming back in.
| | 02:55 |
Let's go ahead and render this with an
intensity multiplier of 1, and you'll see
| | 03:02 |
very similar lighting to what we had
before.
| | 03:05 |
There’s quite the exponential factor going
from meters to millimeters.
| | 03:12 |
We’re talking about a ten thousand factor
for the intensity.
| | 03:16 |
The only unfortunate part of that is if
you do have to work in a large scale such
| | 03:23 |
as meters, you won’t be able to see your
intensity multiplier very well.
| | 03:30 |
However, most scenes in Maya are done in
centimeters.
| | 03:35 |
So having an intensity multiplier of about
0.01 will get you a pretty good lighting
| | 03:41 |
response from the sun.
Again ,we’re at centimeters now.
| | 03:45 |
We’re at 0.01, where before we were a
hundred times more at intensively of 1 in millimeters.
| | 03:53 |
And then, 10,000 to get the same lighting
from a scale of meters.
| | 03:59 |
Let's go ahead and stay in centimeters
with an intensity of 0.015 (SOUND) make it
| | 04:05 |
just a little bit brighter, so we can see
some more light.
| | 04:09 |
Because this is a sunlight, the shadows
we’ll be seeing will be nice and crisp and
| | 04:14 |
very sun like.
The turbidity attribute governs how much
| | 04:20 |
dust and other pollutants are in the air.
The higher the number, the yellower and
| | 04:26 |
more orange the sky becomes and the
resulting light of the sky.
| | 04:32 |
So with a turbidity of about 9, if we
render this out, we'll see a much more
| | 04:40 |
orange and much smoggier light, as well as
becoming more dim.
| | 04:45 |
The lower the light values, the clearer
the light becomes, giving you more of a
| | 04:51 |
crystal blue sky.
The lowest you can go is 2.0, but you can
| | 04:57 |
go quite a bit higher as you need.
20, of course, will give you a very
| | 05:02 |
polluted and very dim sky.
As you can see here, you'll have to
| | 05:07 |
increase your multiplier.
Let's go to 0.04 and we'll take a look at
| | 05:14 |
a very dirty atmosphere.
We'll have to go even higher on the
| | 05:20 |
intensity multiplier to compensate for the
amount of pollutants in the air.
| | 05:24 |
And here we have a very orange look,
perhaps a nice Los Angeles day afternoon.
| | 05:31 |
Let's reset our turbidity to about 3, and
we'll have to re-compensate our intensity
| | 05:39 |
back to about where we were, giving this a
render like this.
| | 05:44 |
And let's now introduce the sky.
(SOUND) We'll go ahead and put this in the
| | 05:52 |
buffer and render to see any difference
that sky will make.
| | 05:56 |
Well, it's given us no extra lighting.
However, it has given us a bit of a slate
| | 06:03 |
gray environment.
For the sky to play much of a role in the
| | 06:08 |
lighting, we have to turn on indirect
illumination to get a GI bounce.
| | 06:15 |
We'll render this now after putting it in
buffer to compare the difference.
| | 06:19 |
(BLANK_AUDIO) And as you can see, we've
got quite a bit of an addition to the
| | 06:30 |
lighting solution and quite a nice fill
from that sky environment.
| | 06:38 |
In our Outliner, we see that there's no
additional nodes for the sky.
| | 06:44 |
However, if you look in the Render
Settings, you'll find that the environment
| | 06:49 |
roll out has been overridden by the VRay
sky, adding these nodes to the textures
| | 06:56 |
for the environment.
To get rid of the sun or the sky, simply
| | 07:01 |
come to the Render Settings and delete
either or both of your attributes.
| | 07:06 |
To get to the attributes, simply press
this icon.
| | 07:13 |
Now, adjusting the sun direction is quite
easy.
| | 07:17 |
You don't want to transform this node, you
want to transform the node right above it.
| | 07:23 |
Selecting the transform node allows us to
scale up our locator, so we can see a
| | 07:30 |
little bit better what's going on.
Now this will not change the lighting.
| | 07:34 |
Let's go back to our previous camera view
and verify that.
| | 07:46 |
We can see, as the image finishes
rendering, that the image with the scaled
| | 07:51 |
up light locator is exactly the same.
So no need to fear scaling up your
| | 07:56 |
transform node.
Now, let's go ahead and rotate it, so we
| | 08:00 |
get the sun coming from the left of
screen.
| | 08:03 |
And now when you render, you will notice a
light direction change.
| | 08:16 |
And here we are in direct sunlight by just
rotating our transform node.
| | 08:25 |
Let's take a look at the GeoSun node very
quickly, and go over some of the attributes.
| | 08:30 |
The ozone attribute governs the color of
the light.
| | 08:36 |
Smaller values will make the sunlight more
yellow, while larger values will make the
| | 08:42 |
sun more blue.
There's a range of 0 to 1.
| | 08:46 |
We'll set the ozone to be a blue color.
We'll render this frame.
| | 08:50 |
(BLANK_AUDIO) We'll notice that the render
with a ozone of 1 takes on a much more
| | 09:07 |
blue color in the light.
The sky model attribute will let you
| | 09:13 |
change the type of sky that's being
generated.
| | 09:16 |
If we go to CIE, you'll notice that the
horizontal illumination attribute will
| | 09:22 |
turn on.
When we render with this new sky method,
| | 09:26 |
we get a very bright response.
So we have to greatly reduce the
| | 09:32 |
Horizontal Illumination.
This attribute governs how much light is
| | 09:37 |
being reflected from horizontal surfaces
coming from the sky.
| | 09:42 |
At a reduced illumination, we should get a
better response.
| | 09:48 |
(BLANK_AUDIO) And if we compare the two,
there's slight differences in the quality
| | 10:00 |
of the light that's on the objects.
This is from switching to the CIE Clear.
| | 10:10 |
If we switch to the CIE Overcast, we'll
put our clear into the buffer and render
| | 10:17 |
for comparison.
And you'll see immediately there's quite a
| | 10:22 |
big difference between the clear sky and
the overcast sky.
| | 10:28 |
But just remember, you’ll need to adjust
the Horizontal Illumination if you’re
| | 10:33 |
getting blown out areas.
And, of course, we have shadow parameters,
| | 10:37 |
as well as the invisible option.
We can affect the diffuse or the specular
| | 10:44 |
or even multiply their contributions
coming from the slide just like all the
| | 10:48 |
other lights.
Of course, this is the photon emission
| | 10:51 |
section, if you're using Photons for GI or
for Caustics.
| | 10:57 |
In this video, we took a look at the VRay,
Sun and Sky system, which is created
| | 11:02 |
through the Render Settings dialogue.
| | 11:04 |
| | Collapse this transcript |
| Using images and HDRs on lights| 00:02 |
In this video, we will be talking about
how to use images on VRay Elite.
| | 00:08 |
The most common use of an image on Elite
is with an HDRI, and typically, HDRIs can
| | 00:15 |
be environments.
For example, we have here an interior
| | 00:20 |
environment of a kitchen, where we have a
good amount of light coming in through the
| | 00:26 |
open windows.
Of course we have exterior environments.
| | 00:31 |
Here's a nightscape and a dayscape, where
we have the primary lights coming from the
| | 00:37 |
sun, and of course from the street lamps.
To create an environment light like that
| | 00:45 |
in VRay, you create a dome light.
There we go, there's our dome light.
| | 00:54 |
And in the use textures down here, you'll
want to use dome text and that will enable
| | 01:02 |
you to map a file over to your light.
We'll go ahead and click file, this will
| | 01:10 |
give us access to adding an image file.
I will bring in the desert environment.
| | 01:17 |
Of course, I don't want the JPG, that's
just for preview purposes.
| | 01:21 |
I'm going to want the HDR.
Now you can find HDR's online.
| | 01:26 |
There are multiple websites that, sell and
create them.
| | 01:31 |
Now you'll see, we have quite a large
scene scale, so, we have a little bit of
| | 01:37 |
sharing going on here.
So, let's go into our camera, see if we
| | 01:43 |
can bring in, there we go, I had to reduce
my Clip Plane to allow Maya to show the dome.
| | 01:50 |
Now, the dome light is only a hemisphere
right now.
| | 01:57 |
That's because we have not turned it on to
be spherical.
| | 02:01 |
So, I will select the dome light and I
will use it as the dome spherical, and
| | 02:09 |
that gives me the entire HDR.
Now you can see the HDR is in the viewport.
| | 02:21 |
In the panel we can turn that on and off
by going to the viewport display heading,
| | 02:29 |
which is right here, and we can enable or
disable as well increasing the detail and resolution.
| | 02:39 |
Let's go ahead and line up our camera
right about here.
| | 02:42 |
And let's run a test render.
As you can see, we are getting a direct
| | 02:53 |
light from the HDR.
But we can also get indirect lighting from
| | 02:58 |
the HDR as well, by simply turning on GI.
Irradiance map Brute Force is the initial default.
| | 03:06 |
We'll put this in our buffer, and go ahead
and render this out to see how GI fills in.
| | 03:12 |
And as we can see in the render, we have a
little bit of an extra light contribution
| | 03:22 |
from the GI from the dome.
And of course the position of the brighter
| | 03:30 |
spot of your HTR, which in this case is
the sun dome will end up being the primary
| | 03:36 |
lighting direction.
You control the brightness of the HTR.
| | 03:43 |
In the dome light, you can use the
intensity multiplier, for example to turn
| | 03:47 |
up the overall illumination to give you a
render that is quite a bit brighter.
| | 03:53 |
You can also control it through the HDR
itself by editing the values in the image.
| | 03:59 |
The noise that can come from an HDR can be
mitigated by increasing the sub-divisions.
| | 04:06 |
For the dome light and you would do this
as needed to get rid of any noise that you
| | 04:12 |
might see in your render.
And particularly that noise ends up
| | 04:17 |
showing up in the darker areas of your
render.
| | 04:21 |
Not only can we put an environment on a
dome light, we can also use lights on
| | 04:28 |
rectangle lights.
This is very useful for using actual
| | 04:34 |
photographs, HDRs of real lights or even
real reflectors or soft boxes and so
| | 04:42 |
forth, that you can map directly onto the
light itself.
| | 04:48 |
Now in this simple scene we have a couple
of characters, emoticons that are being
| | 04:56 |
lit by a single rectangle light and this
rectangle light has no texture on it.
| | 05:06 |
And then intensity of eight, we're going
to go ahead and use a texture.
| | 05:11 |
We'll go ahead and map a file onto it.
Then we'll go and select a key note light,
| | 05:19 |
which essentially looks like this.
Let's see about adding the key note 2 HDR (BLANK_AUDIO).
| | 05:32 |
And when we do add the light and run a
render, we'll see quite a bit of difference.
| | 05:39 |
We'll put this in the buffer and render,
the intensity of the light we can tell is
| | 05:47 |
immediately different, as is the color of
the light.
| | 05:54 |
And as the render finishes, the all
important reflections are also quite different.
| | 06:00 |
And as we scrub back and forth, there's a
big, big difference between the two.
| | 06:06 |
Using a texture like this will require us
to increase the amount of light to
| | 06:11 |
compensate for the lower intesity.
We'll go ahead and bring this up to a
| | 06:18 |
little bit higher.
And we can also, again, mitigate the
| | 06:23 |
amount of noise that the light is throwing
by increasing the sub-divs.
| | 06:28 |
We'll go ahead and put this in the buffer
and render this frame.
| | 06:33 |
The result is a brighter frame than
before, obviously, but also less noise
| | 06:40 |
because of the higher subdivs.
We can see we have a more photographic
| | 06:46 |
quality to the light because of the
photographic nature of the light itself.
| | 06:54 |
Using a photograph of a real light will
give you much more subtle details in your render.
| | 07:02 |
These HDR's you can create yourself or
acquire as a set online.
| | 07:08 |
We'll go ahead and try one more example,
we will swap out the Quino light H.D.R
| | 07:15 |
that we're using And we'll go ahead and
use a soft box which looks like this.
| | 07:23 |
When we use the HDR of course and as soon
as that's loaded we'll go ahead and render.
| | 07:36 |
As the render finishes you can immediately
see a huge difference in the quality of light.
| | 07:43 |
Even though the intensity hasn't changed,
we've got a very blown out floor and we
| | 07:49 |
get a much brighter scene.
So the brightness of the HDR in question
| | 07:54 |
is very germane to the lighting of your
scene, as is obviously the color.
| | 08:00 |
And as you can tell, you get a much more
photographic quality than if you had just
| | 08:05 |
used a flat white color that is default
with the rectangle light.
| | 08:10 |
And there you have it mapping real HDR
environments and real HDR lights on to
| | 08:19 |
rectangle, and dome light gives you a much
more photographic render.
| | 08:24 |
so in this video we took a look at how to
map images onto dome and rectangle lights
| | 08:31 |
in the theory
| | 08:32 |
| | Collapse this transcript |
| Using linear color space and the V-Ray Frame Buffer| 00:00 |
In this video, we'll be taking a look at
the use of linear color space with V-Ray
| | 00:09 |
as well as learning how to use the V-Ray
Frame Buffer instead of the regular Maya
| | 00:14 |
render view.
Color space is defined as how your monitor
| | 00:18 |
displays the color information coming from
the file.
| | 00:22 |
Now, Wikipedia has a pretty good
explanation of color space, as well as
| | 00:29 |
sRGB color space.
Your screen, your monitor is most likely
| | 00:37 |
sRGB color space.
That's how it presents the mathematical
| | 00:41 |
information stored in the file and
displays it for you to see.
| | 00:46 |
Now, linear color space is more accurate
and is the preferred way of working in V-Ray.
| | 00:54 |
To enable linear color space in V-Ray,
simply need to go to the V-Ray tab and go
| | 01:01 |
under the Color Mapping section.
Here, you'll find the chance to set your
| | 01:07 |
color space.
For linear color space, we'll want a Gamma
| | 01:11 |
of 2.2, and we'll want to turn on Don't
affect colors.
| | 01:18 |
Now, a quick hack work around in V-Ray is
to use the linear workflow.
| | 01:23 |
What this does is that it automatically
takes all of the images coming into Maya
| | 01:30 |
such as textures that we have on the box
and converts them to linear space for
| | 01:37 |
calculating in V-Ray.
Most of the images coming through, for
| | 01:42 |
example like this JPEG or sRGB color space
are not linear.
| | 01:47 |
Using the Linear workflow button will give
you the proper gamma values to allow the
| | 01:54 |
conversion from sRGB space to Linear space
for V-Ray to work properly, all in linear space.
| | 02:02 |
The preferred method however, is to put a
gamma curve on the file itself.
| | 02:08 |
So when you select the texture node, the
file in texture node in the hyper shade,
| | 02:14 |
you'll have access to V-Ray attributes.
Here, you need to put a texture input
| | 02:22 |
gamma node, or I should say attribute, on
the file in node which automatically sets
| | 02:29 |
you to 2.2 gamma.
This is what you need to convert sRGB
| | 02:35 |
images such as this color map into your
linear space for viewing.
| | 02:40 |
Maps for black and white uses or gray
scale uses such as reflection and
| | 02:48 |
displacement or bump map do not need to be
converted to linear space as they are only
| | 02:54 |
luminance values are being used.
Color maps should be converted every time
| | 03:01 |
they're brought.
The only exception to this rule is if your
| | 03:05 |
textures coming in already in Linear space
such as when you're using an EXR image for
| | 03:11 |
a texture.
To recap, in the Render settings, you
| | 03:15 |
want to make sure that your gamma is set
to 2.2 and that you have Don't affect colors.
| | 03:23 |
If you are using input gamma nodes you
will not want to use the Linear workflow
| | 03:32 |
hack around.
Only use one or the other.
| | 03:34 |
Otherwise, you will end up double
gamma-ing your texture nodes, which will
| | 03:39 |
give you an in correct process.
So now that we have a linear color coming
| | 03:45 |
into Maya through the texture nodes.
And we have instructed V-Ray to run at a
| | 03:50 |
2.2 linear gamma workflow.
We'll want to view the output of our
| | 03:57 |
renders in proper linear space.
As you can see with this render, it's
| | 04:03 |
quite dark.
Let's put it in the buffer and will turn
| | 04:07 |
off the gamma correction and re-render
this frame.
| | 04:14 |
As you can see, the render is coming out
much brighter than before because it does
| | 04:20 |
not have linear correction on it.
However, one thing that we need to do is
| | 04:26 |
we need to be viewing the proper space
because the linear information that is
| | 04:30 |
being output for V-Ray is being displayed
as sRGB.
| | 04:35 |
And that information is not correctly
accurate until we enable sRGB view.
| | 04:42 |
The best method for doing so is to use the
V-Ray Frame Buffer.
| | 04:47 |
In the Render globals, under the V-Ray
Common tab, all the way at the bottom,
| | 04:54 |
you'll find switches to use V-Ray VFB.
If you need to stick with the Render view
| | 05:00 |
for any reason, you can automatically
convert your image to sRGB view in the
| | 05:05 |
render view.
Here's our current render.
| | 05:09 |
We'll put it in the buffer and we'll
render again.
| | 05:12 |
This time having told V-Ray to convert the
image to sRGB.
| | 05:15 |
Now, there's been a drastic change, where
our image is much, much more pale.
| | 05:22 |
And if you cycle through these images,
your first thought may be I need more
| | 05:27 |
light here, I need more light here and I
need less light here.
| | 05:30 |
However, we are rendering with the same
default lighting in all three of these circumstances.
| | 05:37 |
However, your output is different because
of the color space.
| | 05:44 |
Now that we are working in linear space
and correctly viewing in sRGB space
| | 05:49 |
because of this check box, we have to
re-enable our texture input gamma to get
| | 05:55 |
the proper render and the proper view.
As you can see, the textures are becoming
| | 06:02 |
much more rich and much more vibrant then
they were before the texture input gamma
| | 06:08 |
was enabled.
Let's remove this from the buffer and take
| | 06:12 |
a look at our three properly gamma
textured renders.
| | 06:16 |
This is viewing in the wrong color space
and this is viewing in sRGB.
| | 06:24 |
Again, we've told Maya to convert the
output image from V-Ray to sRGB in the
| | 06:30 |
Render view.
However, a lot of people prefer to use the
| | 06:34 |
V-Ray VFB, the Frame Buffer.
Doing so enables V-Ray to open its own
| | 06:41 |
Render Viewer when you hit the Render
button.
| | 06:49 |
As you can tell here, our image is quite
dark as well.
| | 06:53 |
In the Render View, if we go back to the
very first image you'll see there is quite
| | 06:59 |
the match.
To enable sRGB View in here, we simply
| | 07:04 |
click the sRGB button.
Here, we're viewing in the wrong space and
| | 07:08 |
here we're viewing it in sRGB space, which
is correct for your monitor.
| | 07:14 |
If we compare that to the Render view
sRGB, we have parity.
| | 07:21 |
Some of the advantages to using the V-Ray
Frame Buffer over the regular Maya Render
| | 07:27 |
View, you can easily switch between Linear
and sRGB.
| | 07:32 |
You could also have a history of all the
renders in your scene by activating the
| | 07:37 |
History button.
Here, you can see all the renders that I
| | 07:41 |
have accomplished in V-Ray.
When you hit the Options button, it will
| | 07:45 |
give you a chance to dedicate a folder,
and a megabytes amount of the number of
| | 07:51 |
V-Ray images that you want to keep in your
history.
| | 07:56 |
Let's go ahead and put this in our History
button by hitting the Save button.
| | 08:02 |
From here on, if we change our frame and
do another render.
| | 08:10 |
We can save that to the buffer, again by
hitting Save.
| | 08:13 |
We can compare the two by just
double-clicking, to bring up any images
| | 08:21 |
int he history.
Some other uses for the V-Ray Frame Buffer
| | 08:26 |
have to do with color correction.
Here you can use Exposure Control and even
| | 08:30 |
Curves to allow yourself to change your
image.
| | 08:34 |
For any of those, you need to turn on the
Corrections Control tab.
| | 08:39 |
Once this windows is open, you'll be able
access Exposure and Curve Control.
| | 08:46 |
Let's turn on the Exposure Control, which
is run with this slider up here.
| | 08:51 |
This allows you to expose up or down your
image interactively while you view it in
| | 08:58 |
the VFB.
Simply toggle it on and off.
| | 09:01 |
If you need to reset it, obviously just
grab the slider and bring it back down to
| | 09:05 |
0, just sometimes easier said than done,
there we go.
| | 09:14 |
You also have control over your curves and
also your levels.
| | 09:20 |
Here, we can change the levels.
I am changing the mid-point values, the
| | 09:28 |
black values and so on, can easily be
adjusted in this window.
| | 09:34 |
The Curve Control allows you to use the
curve color correction to adjust the image
| | 09:41 |
using curves and stem.
You can also toggle it on and off pretty easily.
| | 09:51 |
Clicking this will allow you to stamp your
frame with any number of information by
| | 09:57 |
default and its set to the V-Ray version
and the render time.
| | 10:02 |
So if I go ahead and render this frame
again by clicking the teapot, I'll be able
| | 10:06 |
to see the time information and the V-Ray
version display at the bottom as a stamp.
| | 10:13 |
Right-clicking anywhere inside the image
gives you pixel information that gives you
| | 10:21 |
brightness and colors.
In 8, 16 and 32 float.
| | 10:27 |
Towards the top of the V-Ray Frame Buffer,
you will be able to see a number of icons.
| | 10:37 |
Here you got the choice to a b between two
different choices in your history.
| | 10:42 |
Here we have, let's set this one as A,
let's set this one as B, and then we'll be
| | 10:50 |
able to swipe between the two different
renders.
| | 10:54 |
Very helpful for comparing different
colors and different renders.
| | 11:04 |
To turn this off, simply go back to your
history and turn off by unsetting those.
| | 11:14 |
Take a look at our latest render, we can
save the image from your frame buffer by
| | 11:19 |
clicking the Disc icon, the icon right
next to it will save all the different
| | 11:25 |
channels from your render.
Currently, the only two channels we have
| | 11:29 |
are the RGB channel and the alpha channel.
However, with V-Ray, you will be able to
| | 11:34 |
save multiple channels that are all
dependent on the render elements that you
| | 11:40 |
set up through the Render view.
Here in Render Elements, we are able to
| | 11:45 |
add a number of different render passes
and elements as different channels to your render.
| | 11:52 |
Let's just randomly pick a number of, of
these.
| | 11:56 |
We'll go ahead and render, we haven't
really set up any of those elements quite
| | 12:03 |
properly yet, but you'll be able to see in
your pull-down menu that you have all of
| | 12:08 |
those as channels.
To save all of these, you'd have to click
| | 12:18 |
this button.
When you save your renders, when you work
| | 12:26 |
in the Linear space, you will be saving it
into sRGB.
| | 12:34 |
So when you see the image displayed, it
will display in the wrong color space.
| | 12:40 |
It has to be converted by either your
viewer, which in this case it can't be or
| | 12:45 |
by a composting package back into sRGB.
In this case, we have the image loaded
| | 12:53 |
into Photoshop CS5 and we're going to put
a an exposure adjustment on it.
| | 13:05 |
We'll need to set the gamma to 2.2 to more
accurately display the image.
| | 13:11 |
However, this JPEG doesn't have enough
color information to be able to withstand
| | 13:17 |
the exposure change.
So if you must save out to an sRGB file
| | 13:22 |
format, it's best to do it at a 16-bit.
We go ahead and try to save this file again.
| | 13:29 |
This time we'll choose a 16-bit file
format, such as a TIFF.
| | 13:43 |
This time in Photoshop, opening the TIFF
will give you 16-bit.
| | 13:49 |
But as you see, as you go into the
adjustments to create a 2.2 gamma, your
| | 13:57 |
image will be slightly washed out still,
compared with these two.
| | 14:01 |
Saving an EXR files, however, will give
you a good color depth to be able to gamma
| | 14:11 |
your file in posts.
So in Photoshop now, opening the EXR
| | 14:19 |
version of this render will automatically
give us the proper color space.
| | 14:25 |
In addition it's tolerance for change is
much broader than all the others, TIFF or JPEG.
| | 14:33 |
Let's go back to RGB.
Lastly we're able to render only a region
| | 14:41 |
of what we're looking for.
By clicking on the Render region and
| | 14:49 |
specifying a space to re-render.
The computer only begins to calculate the
| | 14:57 |
area within the region.
And that sums up the V-Ray Frame Buffer as
| | 15:02 |
well as linear versus sRGP space.
In this video we took a look at how to
| | 15:09 |
enable working in linear space in Maya and
also how to use the VRay frame buffer
| | 15:16 |
instead of maya's render view
| | 15:20 |
| | Collapse this transcript |
|
|
3. V-Ray ShadersThe V-Ray material| 00:01 |
In this video, we'll be taking a look at
the VRay material.
| | 00:05 |
We'll go ahead and open the sample scene
provided with the video called decorativeboxvraymaterial.ma.
| | 00:13 |
Once you have the scene open, press 6 to
see the textures on the box, and take note
| | 00:20 |
that there is in the scene a dome light
for some fill light, which we'll see right
| | 00:27 |
here, and a rectangle light for the
primary light.
| | 00:33 |
Go back to our camera view, and we'll
check in the render settings that we are
| | 00:39 |
Indeed using the VRay VFB, and under the
color mapping section, we are at a 2.2
| | 00:46 |
gamma, and we're using linear work space.
The color texture on the box does indeed
| | 00:53 |
have a input texture correction enabled
with the proper gamma.
| | 01:01 |
When we render the scene, we'll see an
image like this.
| | 01:06 |
Now, the shader that's on the box is a
simple phong created inside of Maya.
| | 01:16 |
This phong has a displacement.
It also has a map force reflectivity, as
| | 01:23 |
well as a color map.
When we look at the VRay render, we'll see
| | 01:28 |
that the displacement map is working just
fine.
| | 01:31 |
However, the reflectivity hold out which
should create a zero reflect shouldn't
| | 01:38 |
inside the carvings of the box doesn't
seem to be respected by the VRay render,
| | 01:44 |
but that's okay.
Mostly everything that you do in VRay will
| | 01:48 |
respond a little bit better with VRay
specific materials, although Maya
| | 01:53 |
materials do work just fine.
Every now and then you will into run into
| | 01:57 |
a glitch where, for example, this is
rendering reflections where we're asking
| | 02:02 |
it not to.
So the way the regular phong is set up is
| | 02:06 |
not working very well in VRay for the
reflections.
| | 02:10 |
So we're going to set to task changing
this phong shader into a VRay material.
| | 02:17 |
VRay materials can be found in the hyper
shape creation bar right under the my
| | 02:22 |
heading for surfaces.
Here you can see all the VRay surface
| | 02:26 |
materials you can add along with the minor
ones.
| | 02:31 |
You also have the ability to create some
VRay textures.
| | 02:35 |
VRay materials can only be rendered
through VRay, and will appear black in any
| | 02:42 |
other renderer.
We'll go ahead and create a VRay material,
| | 02:48 |
which will gives us something that looks
like a gray lambert.
| | 02:52 |
Let's take a look at some of the
attributes in the VRay material.
| | 02:55 |
We have diffuse color which allows you to
color your material as well as the diffuse amount.
| | 03:03 |
The lower the amount, the more dark your
render becomes because light is not able
| | 03:09 |
to bounce and diffuse off of it.
The opacity map simply sets a transparency
| | 03:16 |
to the object and its alpha channel.
Roughness amount takes away some of the
| | 03:22 |
highlight from any lightning in the scene
and the Self Illumination allows you to
| | 03:28 |
add a bit of in contentions to the
material.
| | 03:33 |
The VRay material is able to retrace
reflections right of the back this is
| | 03:38 |
dependent on the reflection color as well
as reflection amount the brightness of the
| | 03:43 |
color will allow you to dictate how much
reflection to get from your surface and
| | 03:49 |
that is multiplied by the amount.
This gives you the chance to map the reflection.
| | 03:58 |
And also then control it with a multiplier
using the amount.
| | 04:03 |
In this case, we will middle mouse button
drag our reflection map right onto the
| | 04:07 |
reflection color.
This will allow all the areas of white to
| | 04:12 |
be reflective at a full value of one while
the areas that are black will have no
| | 04:18 |
reflection, and grey scale is, of course,
in between.
| | 04:22 |
Now to add the color map we simply go on
to the diffuse color.
| | 04:26 |
Our middle mouse button drag our color map
to diffuse color, and you'll be able to
| | 04:32 |
see when we rendered the color on the
material.
| | 04:36 |
Let's go ahead and take a look in the
outliner and we have two boxes here.
| | 04:41 |
I'm going to turn the thong box off and
I'm going to turn the V Ray box on.
| | 04:47 |
I will then assign the V Ray material to
this new box.
| | 04:53 |
Make sure we have it assigned.
There we go, now back to the attributes
| | 04:58 |
for the VRay shader.
The type of specular that you get depends
| | 05:05 |
on the BRDF type.
This also adjusts the reflections on the
| | 05:10 |
material, you can choose between Fong,
Blend, and Ward.
| | 05:13 |
Let's go ahead and go to Fong to match the
earlier material that we had on this box.
| | 05:20 |
Now we just have to make sure the
displacement is added to the VRay material.
| | 05:25 |
There are two different ways of doing
displacements in rewrite, however we'll
| | 05:30 |
just take a look at how to do it through
the shader by middle mouse button dragging
| | 05:35 |
the displacement node onto the material,
and then choosing displacement map from
| | 05:41 |
the pull down menu.
When we render the v-ray material now,
| | 05:46 |
we'll see that the box becomes very shiny.
However, the carved areas don't seem to be
| | 05:53 |
picking up reflection.
To reduce the overall reflection amount
| | 05:58 |
here, we'll just go ahead and reduce our
reflection amount in the shader and create
| | 06:04 |
about a 0.3 reflection.
Now that we render the box, we'll see that
| | 06:10 |
the reflection amount has taken care of a
lot of that weird look from the previous
| | 06:16 |
render, and is giving us a much nicer
render, of the box overall.
| | 06:21 |
Compared with the fully reflective,
render, we see that there is a lot of
| | 06:27 |
black reflecting in the top and that's why
it looks so gnarly.
| | 06:31 |
Here we have a much better box.
If we compare it in the history to our
| | 06:37 |
earlier phong, we can see that the
reflection map is being respected within
| | 06:43 |
the carvings.
Now I've created a new VRay material.
| | 06:48 |
With a fair amount of reflection then I am
going to add to the floor, rendering this
| | 06:58 |
frame will give you glossy reflections of
the box in our ground surface here We'll
| | 07:06 |
go ahead and save this to our frame
history and compare between the two.
| | 07:11 |
Now there is quite a bit of noise in the
reflection here and it a very glassy
| | 07:17 |
reflection to get a feeling of formica for
example We'll want to blur the reflection
| | 07:24 |
a little bit here.
We can do that through this new ground
| | 07:29 |
material that we've created for the floor.
Under the reflection heading you'll find a
| | 07:36 |
reflection glossiness, reducing that will
allow you to blur the reflections on your ground.
| | 07:45 |
Rendering this will allow you to see a
much better material on the floor.
| | 07:52 |
Now, one neat thing about the VRay VFB is
that you can turn on this icon, which
| | 07:58 |
allows you to put your mouse where you
want your render buckets.
| | 08:03 |
Here I can look at the area I want with
the mouse and have it render that area first.
| | 08:11 |
As you can see, there's a good deal of
noise coming off of the reflection in the floor.
| | 08:17 |
It's of course, reflecting back into the
box as well.
| | 08:22 |
To mitigate that noise, of course you'll
have to go into the render center window
| | 08:26 |
and increase your subdivisions.
Rendering with a subdivisions of 16 should
| | 08:33 |
net us a little bit of a nicer result.
The extra subdivisions make a big
| | 08:40 |
difference in how this looks.
However, it does take quite a bit longer
| | 08:44 |
to render.
If we compare it with the old and the new,
| | 08:49 |
you can see quite a bit of difference as
the the floor is also picking up some of
| | 08:54 |
the reflections from the light.
And this increases your overall
| | 08:59 |
illumination just a little bit.
Now we can still see that there's still
| | 09:04 |
some noise in this reflection, and instead
of turning up the subdivisions for the
| | 09:10 |
entire render, we can turn up the
subdivisions just for the reflections in
| | 09:16 |
that material.
So if I increase this to 24 from 8, if we
| | 09:22 |
save this to the buffer and render it
again.
| | 09:26 |
And with a render you can see that the
reflection looks much more clean,
| | 09:31 |
especially when we compare it with the
last one.
| | 09:36 |
Now this comes at a substantial increase
in render times.
| | 09:41 |
The lower your glossiness, the noisier
your reflections will be and the higher
| | 09:46 |
your subdivisions have to become.
>> To enable fresnel on your object,
| | 09:52 |
click on fresnel.
This allow you to only see the majority of
| | 09:56 |
the reflections at a glancing angle.
Let's do the same on both the box and the
| | 10:03 |
ground, (SOUND) and let's go ahead and
render.
| | 10:13 |
With Fornale enabled you can see that a
lot of the reflections have.
| | 10:20 |
Simply gone away.
Furnell works by putting reflection into a
| | 10:26 |
glancing angle, so if we come and take a
much more glancing angle at the box, we'll
| | 10:33 |
be able to see more of a Furnell effect.
Go ahead and render this, and you'll see
| | 10:39 |
that, on the glancing side, that the
reflections are returning to the box.
| | 10:45 |
You can even see it on the insides of some
of these carvings from the displacement.
| | 10:50 |
Back to the material properties, you'll
see we've checked off for now for the box
| | 10:54 |
and, and the floor, enabling that glancing
reflection.
| | 10:59 |
Here you set the traced up, the higher
this is the more bounces of reflection you
| | 11:04 |
will get, but I had a higher render cost.
And further down the attribute editor you
| | 11:10 |
will be able to create refractions much
the same way.
| | 11:14 |
Let's give our wood box a glass feeling by
increasing the refraction colour.
| | 11:21 |
Just like the reflections, the refraction
is governed by the refraction color, the
| | 11:27 |
brightness here, as well as multiplied by
its amount.
| | 11:31 |
So you can feed a ramp or a map into the
refraction color and change it by changing
| | 11:39 |
the amount.
Let's go ahead and do a mostly glass
| | 11:43 |
surface here, and we will take a quick
look at our render.
| | 11:48 |
When the render is done we will see the
refraction.
| | 11:52 |
I've turned the ground into a checkered
pattern so that you can see that better,
| | 11:56 |
and we can see our displacement map still
in hold this is a fully refractive color
| | 12:02 |
with a value of 1 to 4 fraction.
This is used independently of the opacity
| | 12:10 |
map, the opacity map doesn't change that
only will create an invisibility for the object.
| | 12:17 |
If you look in the alpha channel, the
alpha channel is still purely white, the
| | 12:22 |
refraction however is coming through in
the RGB.
| | 12:26 |
With the VRay material, you're able to
create a variety of objects, going from a
| | 12:33 |
nice wood box all the way to a glass box,
by just using the attributes found in your
| | 12:40 |
VRay material.
| | 12:45 |
| | Collapse this transcript |
| The V-Ray Blend material| 00:02 |
In this video, we'll be taking a look at
the VRay Blend Material.
| | 00:06 |
Go ahead and open up the decorative box
VRay Blend Scene file, that came with the video.
| | 00:12 |
And you'll see a scene that looks like
this.
| | 00:17 |
When you render the scene, you'll find a
box that is not reflective, nor does it
| | 00:23 |
have any specular highlights on it.
Let's take a look at the box's material in
| | 00:30 |
the Attribute Editor.
You'll see that the reflection color is
| | 00:33 |
set to black.
This is not going to matter at all,
| | 00:37 |
because the reflection is at black.
In this situation, we're going to create a
| | 00:43 |
VRay Blend Material that will allow us to
put a coat on top of the box, that will
| | 00:51 |
give it a lacquered look.
So, first with the material that's on the
| | 00:57 |
box now, this is what's assigned to the
box.
| | 01:00 |
We can see here, this is the base material
on the box.
| | 01:07 |
In the blender, we're going to middle
mouse button drag the base material on over.
| | 01:13 |
And then, we'll go on ahead and assign the
box to the blend.
| | 01:19 |
Right now, the blend only has the coat
material.
| | 01:21 |
So when you render the scene you'll get
the same result as if only the v ray
| | 01:26 |
material were assigned.
As you can see here you'll get the same
| | 01:31 |
render result.
Now we'll need to create one of the coat
| | 01:35 |
materials that we'll put on here and we'll
do that with another v ray material.
| | 01:41 |
And we'll turn that material completely
black, but we'll give it a reflectivity, a
| | 01:47 |
generous of reflection about there.
We'll select the blend material, and then
| | 01:53 |
middle mouse button drag this new shiny
material onto coat material zero.
| | 01:59 |
We'll turn on Additive mode to make sure
that the contribution from the black shiny
| | 02:06 |
material will add on to the base.
We'll go ahead and Render, and you'll
| | 02:14 |
begin to see in the render that the
reflections are being added.
| | 02:19 |
On to the box without changing the rest of
the color of the box in any way shape or form.
| | 02:25 |
That's because the shiny material that we
created was based on a completely black
| | 02:34 |
color with a reflective surface.
Comparing the two renders allows you to
| | 02:39 |
see the addition of that glossiness from
the coat material.
| | 02:43 |
This is very useful for creating complex
surfaces, such as a car paint, where you
| | 02:49 |
have a base color and you have a clear
coat on top of it.
| | 02:53 |
We don’t want to see reflections in the
carving, so we have to map on a hold out
| | 02:59 |
map for our reflections into the clear
coat of our object.
| | 03:04 |
Especially, because we have no reflection
on the base coat it has to go node instead.
| | 03:10 |
And simply we'll minimize button we'll
drag over to the reflection color.
| | 03:15 |
And we will offset the white color of that
map, by bringing down the amount to about
| | 03:22 |
a half, which is about were it was before.
We'll make sure that this is in our
| | 03:28 |
history, which it is.
And then we will render to see the
| | 03:33 |
reflection hold outs, and how they work in
the carvings of the box.
| | 03:37 |
And you'll immediately see that, we are
now holding out all those reflections properly.
| | 03:45 |
With the render complete, we verify that
our reflection map is working great.
| | 03:50 |
This blend material allows us to have a
clear coat that will give us a lot of
| | 03:56 |
control over the reflection coat that's
on.
| | 03:59 |
And you can stack multiple coats on top of
your base with these multiple slots that
| | 04:06 |
are inside the blend material.
Now, here I've created a new VRay Blend
| | 04:12 |
Material, and a blue and a red material to
see how the blend works.
| | 04:17 |
We'll place the blue as the base and the
red as the coat material.
| | 04:22 |
Now, without additive mode turned on, what
you get is a straight blend between the
| | 04:28 |
two materials that is controlled by the
blend amount.
| | 04:32 |
White makes the coat material predominant,
while black makes the blue material predominant.
| | 04:40 |
Additive mode will only take the
highlights from the coat material and add
| | 04:45 |
them to the blue.
You can control the blend amount using a
| | 04:50 |
map as well.
Let's go ahead and assign the box to our
| | 04:54 |
new blend material, and render the scene.
As you can see, the box takes on a purple
| | 05:02 |
color as a blend of blue and red.
However, in the blend material, if we use
| | 05:10 |
this ramp for example, to control the
blend amount, we'll be able to get a much
| | 05:15 |
different effect with blue on top and red
on the bottom, as you can see in this render.
| | 05:23 |
Of course, top and bottom are completely
dependent on the U and the V of the object.
| | 05:30 |
The UV layout will have a distinct impact
on how this box operates with its color.
| | 05:38 |
This way you can use a map to govern which
material shows up where, and how they
| | 05:44 |
blend together.
This gives you the ability to mix
| | 05:48 |
different materials on the same object and
be able to use a map to distinguish which
| | 05:53 |
material goes where.
And you can do this with a number of eight
| | 05:59 |
coats and one base.
Just keep in mind if you're stacking them
| | 06:03 |
to keep Additive Mode turned off, and to
use a separate blend amount map, such as
| | 06:10 |
this ramp on each of the coat materials
with the higher numbered coat being on top
| | 06:18 |
of the lower numbered coats.
In this video, we talked about the VRay
| | 06:24 |
Blend Material and how you can use it to
create multiple materials on the same object.
| | 06:31 |
And also, on how to create a clear gloss
that is more easily controlled on top of
| | 06:37 |
an matte object.
| | 06:39 |
| | Collapse this transcript |
| The V-Ray Light material| 00:00 |
In this video, we'll be taking a look at
the VRay Light Material.
| | 00:06 |
Now, we have this box set up with a simple
VRay material that's set to a blue
| | 00:12 |
diffused color.
If we render this frame, we'll see a blue
| | 00:16 |
color, but we'll see shading on that blue
as well.
| | 00:21 |
Now, what we'll do is we will create a
VRay Light Material, which is found here.
| | 00:30 |
What this does is it's very similar to
Maya's Surface Shader material.
| | 00:35 |
The Surface Shader, as you may or may not
know, gives you a flat color.
| | 00:39 |
No matter what the lighting is in the
scene, we will go ahead and assign the
| | 00:46 |
light material to the box.
And now we're going to assign the same
| | 00:54 |
blue color to the color of the light
material, that is right there.
| | 01:01 |
Now when we render this box out, put this
in the history buffer and Render.
| | 01:09 |
You'll see that the box itself is a very
flat blue color.
| | 01:17 |
(BLANK_AUDIO) Now when compared in the
history to the previous render, you'll see
| | 01:22 |
that the flat blue has no shading
whatsoever.
| | 01:28 |
No shadowing.
It's pure color is what gets output in, in
| | 01:35 |
the render.
Now let's make sure we have that assigned.
| | 01:41 |
One of the neat things about the Light
Shader is that it can also emit light.
| | 01:47 |
Under direct illumination you'll be able
to get a direct illumination coming from
| | 01:52 |
the blue itself.
We'll go ahead and turn this on.
| | 01:56 |
And we'll leave the color and the
multiplier as they are and take a look at
| | 02:01 |
how different it would be when we have a
little bit of that blue emission as a light.
| | 02:08 |
And you can start to see some of that blue
is illuminating the ground around us as well.
| | 02:15 |
The actual color on the box itself stays
flat, which makes it a good shader to use
| | 02:20 |
for custom matte.
And also to get an exact texture out of
| | 02:29 |
the Render without any sort of shading,
shadowing, or lighting involved.
| | 02:34 |
Go ahead and (SOUND) cancel our render
here.
| | 02:37 |
You can see that there's plenty of blue
being cast from that.
| | 02:42 |
We can increase the color multiplier to
add even more light.
| | 02:50 |
And you'll see on the ground immediately
around our object that you'll get much
| | 02:56 |
more light being cast from that object.
And again, the blue itself on the box
| | 03:02 |
doesn't change at all.
That remains a flat surface shader-like quality.
| | 03:10 |
The higher the multiplier the more light
that is being cast into the scene from
| | 03:14 |
that object.
Now, this is a direct light and does not
| | 03:19 |
need Global Illumination enabled.
(SOUND) Let's go ahead and kill that render.
| | 03:27 |
I'll turn off direct light.
However, this time, in my render settings,
| | 03:32 |
I'll turn on GI to see the contribution
that a normal color multiplier of 1 with a
| | 03:41 |
blue will give, and you can see in the run
up here, he had a little bit of a blue
| | 03:48 |
cast coming from that light with the GI
on.
| | 03:52 |
So the GI is taking into account the
intensity of that blue.
| | 03:56 |
However, to really get it to, to shoot
light, you'll want to turn on either the
| | 04:03 |
direct illumination or the NGI.
You may want to turn up the color
| | 04:07 |
multiplier little bit and that should give
you a little bit more like casting in the
| | 04:15 |
GI solution.
And again the blue, regardless, does not
| | 04:22 |
change at all.
That blue always stays the same.
| | 04:29 |
Now, in this scene we have a couple of
lights that are accessible through the Outliner.
| | 04:35 |
We'll go ahead and delete those lights
entirely, so that there's no lighting in
| | 04:43 |
the scene.
(SOUND) And we'll want to make sure that
| | 04:47 |
our default light in the Viewing tab is
actually turned off.
| | 04:51 |
Under Global options, we'll turn off
Default lights, so the scene should be
| | 04:56 |
completely black.
Except for whatever's attached to the
| | 05:01 |
light material.
And indeed everything is black, except for
| | 05:08 |
the light coming off of the object.
If we kill this render and kill the color
| | 05:15 |
multiplier entirely, we'll have an
entirely black scene of course.
| | 05:19 |
If I turn off the GI (BLANK_AUDIO) make
sure there's no direct illumination, but
| | 05:27 |
keep the color multiplier at 1.
I will get a flat blue box.
| | 05:32 |
Now this is a reflection, on the floor,
that's being cast.
| | 05:37 |
This is not a light being cast.
So, simply put, I can turn off the
| | 05:42 |
reflection off of the floors veering
material by killing its reflection color.
| | 05:50 |
Now we should get a flat blue box.
In this video, we took a look at the VRay
| | 05:59 |
Light Material, and how it can be used to
create flat color renderings, as well as
| | 06:05 |
casting illumination into your scene,
whether with GI or with direct lighting.
| | 06:11 |
| | Collapse this transcript |
| The V-Ray Car Paint material| 00:02 |
In this video, we'll be taking a look at
VRay's car paint shader.
| | 00:06 |
In this scene, we have a Ford car set up.
We have a Render Settings with GI on with
| | 00:15 |
a Brute Force on a light cache.
And I'm reading a pre-baked out light
| | 00:21 |
cache to make things a little bit faster.
We have our reasonable settings with the
| | 00:26 |
minimum and the maximum subdivisions.
And right now, the car has a regular my
| | 00:34 |
material on it that has a little bit of
reflective and a fennel turned on and that
| | 00:41 |
gives us a render that looks like this Now
to create the car paint shader, you go
| | 00:47 |
into the Hypershade and you simply click
on car paint shader.
| | 00:51 |
Now the there's a few components of the
car paint shader that you should be aware of.
| | 00:55 |
One of them is the flake parameters.
Here you can have a nice Glossy flake
| | 01:02 |
within your car paint.
Part of the layering of the base and the
| | 01:07 |
reflections and the flakes, makes for a
really very convincing shanner.
| | 01:16 |
Go ahead and select all the parts of the
car, and apply them to the default car
| | 01:23 |
paint, and let's have a render and take a
look.
| | 01:31 |
Now, you can see I've got Distributor
Rendering turned on which means I have a
| | 01:36 |
secondary system, an HP Z220 furnished by
HP with a Xeon processor in it will chew
| | 01:44 |
up Through all these buckets very, very
quickly.
| | 01:47 |
And the secondary system gives me 8 more
cores to render on which is quite nice.
| | 01:53 |
Especially, when you're rendering
something like a car.
| | 01:56 |
The car paint shanner and the amount of
lighting and GI.
| | 01:59 |
that You should be using for a car will
make things a little bit slower so we're
| | 02:04 |
having the extra power from the HP Z220 is
really quite helpful.
| | 02:09 |
And as we start seeing some of the buckets
start to complete, you'll see that the
| | 02:18 |
nice light silver blue is giving some very
nice detailed reflections in the fresnel
| | 02:26 |
from the environment, which is almost
always what you want to rely on for a car rendering.
| | 02:32 |
You want to have a gorgeous environment
that gives you lots of nice light play, to
| | 02:38 |
give you some beautiful contours and
really Model the shapes of the car.
| | 02:44 |
Now, you’ll also start noticing some of
these little purple blotches and little
| | 02:50 |
triangular spots.
This is from the default flake, which is
| | 02:54 |
not quite set, right?
With the flakes being too far apart, and
| | 03:00 |
far too large.
Let’s go ahead and wait for the full
| | 03:03 |
render to finish.
And now, with the render completed, we can
| | 03:10 |
see a lot of these flakes are streaking
and not looking so great.
| | 03:15 |
However, the reflections in the car, if we
compare them to the regular VRay material,
| | 03:21 |
we see a lot more detail and a lot more
fresnel effect happening.
| | 03:27 |
Which gives us a better idea of the clear
coat that's on the car.
| | 03:34 |
The major points on the car paint to look
at, would be the flake density and the
| | 03:39 |
flake size and scale.
Right now, the size is quite large so if
| | 03:44 |
we reduce the size.
And increase the density, we'll have a
| | 03:49 |
better flake distribution across.
Now, I've made a pre-made car paint shader.
| | 03:57 |
We're going to select all of our car
geometry pieces and attach them to this shader.
| | 04:06 |
This has a flake glossiness of point 9.
Quite a large flake density.
| | 04:11 |
A small flake size and a flake scale.
The flake map size gives you more detail
| | 04:18 |
in your flakes.
However, the higher you go, the more it
| | 04:23 |
will cost to render.
Now, the Flake Glossiness, you don't want
| | 04:27 |
to set higher than point nine, as that may
create some artifacting.
| | 04:32 |
And a flake density of zero will create a
shader that has no flakes in it whatsoever.
| | 04:38 |
Giving you a clean car paint without any
flakes.
| | 04:44 |
The flake filtering mode currently set to
simple, which averages the flake orientation.
| | 04:51 |
It's less accurate than the directional
filtering, but uses less RAM and it, it's
| | 04:56 |
a little bit faster to render.
Using simple filtering mode may change the
| | 05:01 |
look of your flakes when the car is looked
at from a distance.
| | 05:06 |
These settings give us a render that looks
like this.
| | 05:10 |
We have some flakes that glisten off of
the fresnel, off of the edge.
| | 05:15 |
We have a beautiful reflection off the
back because of the clear coat, which is
| | 05:21 |
under the coat parameters.
The coat strength is the strength of the
| | 05:27 |
reflections in the coat when you're
looking at the car's surface directly
| | 05:33 |
straight on, meaning surfaces that are
facing you will have a stronger reflection
| | 05:39 |
the higher the strength.
For example, with a high coach strength
| | 05:46 |
will get a lot of reflections.
We'll go ahead and take a look at this
| | 05:53 |
part of the car.
As the buckets begin to complete we can
| | 05:59 |
see a highly undesirable effect where the
car is beginning to look like solid chrome.
| | 06:06 |
This defeats the purpose of the car paint
in many ways, because we want the glancing
| | 06:12 |
angles, the fresnel of the reflections to
come up.
| | 06:16 |
So the coach strength should be usually at
a pretty low number.
| | 06:21 |
We'll go ahead and kill this render and
set this back to its default of 0.05.
| | 06:27 |
You can increase this a little bit to get
a little bit more plainer reflections but
| | 06:30 |
you don't want to go too much higher.
The coat glossiness is of course the
| | 06:36 |
glossiness of the reflection, in the coat.
You could go a little bit lower but you
| | 06:42 |
start loosing the, juicy qualities of the
clear coat, in the car.
| | 06:47 |
We'll go ahead and reduce ours just a
little bit here, and we'll give a shot, at
| | 06:54 |
this location, and see what it looks like.
And as the last of the distributed buckets
| | 07:02 |
begin to complete, you can see that the,
the car becomes more of a matte finish,
| | 07:08 |
more of a satin finish.
Which, if you have a satin finish car paint.
| | 07:14 |
You can achieve by reducing the Coat
Glossiness, lets go head and set this back
| | 07:19 |
up to 1.
Those are pretty much the parameters for
| | 07:24 |
the car paint shader of course, you've got
your base color, the amount of reflection
| | 07:29 |
in your base beneath the coat.
This is one way you can get a little bit
| | 07:33 |
more satin feel as well, with the amount
of reflection and its gloss.
| | 07:40 |
You're going to want the base to be less
glossy than the coat to achieve the, the
| | 07:45 |
nicer look that we had from before.
Which is coming up right now.
| | 07:52 |
Finally, you've got the ability to add a
bump to the base, as well as to the coat.
| | 08:00 |
So, you can have the same matte coming in
to create a bump, or you can have
| | 08:05 |
different mattes to create a different
effect.
| | 08:08 |
In this video, we take a look at view race
car paint shader, to see how different
| | 08:14 |
parameters work to produce a nice
beautiful car render.
| | 08:18 |
| | Collapse this transcript |
| V-Ray textures: Dirt for ambient occlusion and edges| 00:02 |
In this video, we'll be taking a lot a
couple of VRay textures, namely VRay dirt
| | 00:09 |
and VRay edges.
These two texture nodes require a shader,
| | 00:14 |
to work propely we create two V Ray
materials.
| | 00:21 |
We can do a light material and I'll also
create a regular VRay, so we can take a
| | 00:28 |
look at both of them.
We have a car scene here set up, we'll go
| | 00:34 |
ahead and start with the VRay dirt this
will give you an ambient occlusion, lets
| | 00:40 |
first put it on the regular VRay material
by minimal mouse button dragging it to the
| | 00:46 |
diffused colour And then assigning the
entire car to the material.
| | 00:50 |
Once we have that aside, we’ll go ahead
and render.
| | 01:02 |
Actually go ahead and give the floor to
the dirt material as well.
| | 01:08 |
I'll do a quick render, here's the car
with the car paint shader, and we'll
| | 01:15 |
render now with the dirt on a regular VRay
material.
| | 01:22 |
And as you can see with this render, I've
got a kind of a strange ambient occlusion
| | 01:28 |
going on here.
The issue here is, we put the dirt shader
| | 01:32 |
on a regular VRay material, so it's
reacting to lighting.
| | 01:38 |
We dont't really want that for an ambient
inclusion pass.
| | 01:41 |
So let's go to the light material and
attach the veer raider right to the light.
| | 01:47 |
And select all the objects that have this
material on it.
| | 01:53 |
And let's go ahead and assign the light
material.
| | 01:57 |
Get this out of the way here and
disconnect that.
| | 02:02 |
Now, you can also put the VRay dirt on a
regular Maya surface shader.
| | 02:10 |
In this case, we'll just put it on the, on
the vray light charter and lets take a
| | 02:15 |
look at a render.
Now as you can see, we are sewing through
| | 02:23 |
the frames pretty quickly.
The light material does not react to
| | 02:30 |
lighting or shadowing.
So it gives you a much better ambient
| | 02:34 |
occlusion pass.
Of course we'd want to put any occlusion
| | 02:37 |
on everything, and indeed, you'll be using
the VRay dirt in conjunction with the
| | 02:44 |
extra texture render element to create
your occlusion pass.
| | 02:51 |
Now let's take a look at how to control V
ray dirt.
| | 02:55 |
We've got radius options, the lower the
ratings the tighter the tighter the dark
| | 03:00 |
areas, and the faster and brighter.
The render will be.
| | 03:07 |
Now I'm going to go ahead and assign
everything in the scene to the V ray dirt shader.
| | 03:15 |
And we'll take a quick look at a render
now.
| | 03:19 |
You can see that the darker areas are much
more tight than before, and that's a
| | 03:28 |
function of the radius by default it's a
10.
| | 03:33 |
Now let's take a look at the edges
texture.
| | 03:38 |
We'll go had ahead and first put that on
the V-Ray material.
| | 03:44 |
We'll go a head and assign this to the
car, and we run the render.
| | 03:56 |
And as you can see the edges give us a
nice wire frame render.
| | 04:02 |
You saw the wire frame render of the car.
Again the edges texture is currently
| | 04:09 |
connected to a regular vray material.
So we have some shading involved with the
| | 04:18 |
wire frame.
The background is still a white dirt, so
| | 04:23 |
we get a little bit of ambient occlusion
look back here lets fill head and put the
| | 04:30 |
Blu Ray edges inside on the light
material.
| | 04:34 |
We will go ahead and put that on the
color, and we'll assign this shader to the
| | 04:44 |
car now.
Let's go ahead and render now with the
| | 04:51 |
light shader.
And we can see that the wire frame is
| | 04:56 |
taking on a much flatter, wider look,
giving you a nice effect when compared
| | 05:05 |
with the VRay material that has the wire
frame edges, and see a more schematic view
| | 05:13 |
of the car.
The attributes of the edge's texture are
| | 05:19 |
pretty simple.
You've got the color of your, your
| | 05:23 |
wireframe lines as well as the color of
your solid fill.
| | 05:28 |
You can change those any way you wish, and
you can set the width of your lines by
| | 05:34 |
world units or pixels.
With this value here, in this video we
| | 05:41 |
took a look at the V-Ray dirt and the
V-Ray edges texture as they can be applied
| | 05:47 |
to a flat or a shaded shading model
| | 05:52 |
| | Collapse this transcript |
|
|
4. GI MethodologyWhat is global illumination (GI) in V-Ray?| 00:02 |
In this video we'll be taking a look at
what GI is inside V-Ray.
| | 00:08 |
We have a scene here that is enclosed in a
sphere, which has a single light coming
| | 00:14 |
from the left.
With direct lighting where there is no
| | 00:19 |
global illumination, you get a render that
looks like this.
| | 00:25 |
The shadows in the enclosed areas are very
dark and there is no detail seen within
| | 00:31 |
that black at all.
GI, standing for Global Illumination,
| | 00:35 |
allows you to render a bounce light
situation, where rays coming from the
| | 00:42 |
light source in the scene bounce around in
the geometry, giving you a result such as this.
| | 00:49 |
GI allows you have refractive and
reflective caustics giving you a better
| | 00:57 |
reality of glass and other such materials,
as well as giving you the ability to have
| | 01:04 |
colour bleed along with your materials.
What GI allows you to do is to take the
| | 01:13 |
rays of light coming from your light
source or light sources and allows you to
| | 01:19 |
bounce them inside enclosed areas where
the direct rays won't reach.
| | 01:26 |
These rays, once they bounce off of
objects that are already colored, will
| | 01:31 |
pick up some of that colour and bleed on
to more neutral surfaces, in view array GI
| | 01:40 |
is turned on through the Indirect
Illumination tab by simply clicking on the
| | 01:46 |
object box.
There are two different types of bounces
| | 01:51 |
for GI.
The primary bounce calculation, and the
| | 01:54 |
secondary bounce calculation, and each has
a set of different types of GI
| | 02:00 |
calculations available to them.
What types of GI that you choose for
| | 02:07 |
either of the bounces will depend on the
quality you need to achieve, as well as
| | 02:11 |
the movement and animation inside the
scene.
| | 02:14 |
With a (UNKNOWN) of options and settings
GI can represent a little bit of confusion.
| | 02:22 |
However, in V-Ray, it's actually pretty
easy to use.
| | 02:28 |
With a little bit of practice and trial
and error, you'll be using GI effectively
| | 02:33 |
pretty quickly with V-Ray.
So, in this video we took a look at what
| | 02:38 |
GI is in VRAM /g.
| | 02:43 |
| | Collapse this transcript |
| Primary and secondary bounces| 00:02 |
In this video, we'll be taking a deeper
look into global illumination with VRay,
| | 00:08 |
as far as primary and secondary bounces.
We're going to go ahead and open the scene
| | 00:14 |
file giscene001, that's available to you
through this video.
| | 00:18 |
And taking a look in the scene, we've got
a simple geometry setup with a box with a
| | 00:28 |
little sculpture next to it and a glass
cylinder out in front.
| | 00:34 |
We have a blue wall inside, and a green
ceiling inside that box, as well as a red
| | 00:42 |
backing to our little stepped structure.
The whole scene is lit by a single V-Ray
| | 00:49 |
light that is enclosed inside a sphere
which right now is only one sided.
| | 00:56 |
So we can see into this sphere from the
outside since global illumination is all
| | 01:03 |
about light bouncing we've decided to
enclose the entire sphere to allow the
| | 01:09 |
light to bounce around inside the scene.
In the Render Settings dialog, we'll see
| | 01:15 |
that the indirect illumination tab shows
that GI, is by default turned off.
| | 01:22 |
We are using a 2.2 gamma where don't
affect colors is turned on.
| | 01:27 |
And we are also using The V-Ray vfb as
well while it is set to SRGV view mode.
| | 01:35 |
We'll go ahead with gi turned off.
We'll render the camera that is called
| | 01:50 |
Render Cam, and see what it looks like
with only direct lighting involved.
| | 02:00 |
And as you can see, we have very dark
areas where the shadows are.
| | 02:04 |
Indeed, because of the single light
source, there is no direct light reaching
| | 02:09 |
into our little box, nor into our
structure on the side.
| | 02:15 |
We'll go ahead in the render settings
window and turn on GI.
| | 02:21 |
We will leave reflected and refractive
caustics turned off for the moment and
| | 02:27 |
we'll leave everything to its default.
Meaning we have a primary balance of
| | 02:31 |
irradiance map.
However for the secondary bounce, we'll go
| | 02:36 |
ahead and set that to none to turn off the
secondary bounce.
| | 02:40 |
So with this render we're only getting a
primary bounce of light.
| | 02:47 |
This is the calculation phase that goes
through the light from the radiance map.
| | 02:53 |
And this is our result, you can start to
see light bouncing around inside our room
| | 02:58 |
and inside our structure.
Comparing with our previous render, in the
| | 03:05 |
history, you can start to see how A
primary bounce starts filling in some of
| | 03:11 |
these enclosed areas.
This has helped in part by the fact that
| | 03:16 |
we have and overall dome or sphere that
encompasses the entire scene, allowing
| | 03:23 |
more of the light to be captured
throughout the scene.
| | 03:26 |
Well we can see here, now, adding a
secondary balance will increase the
| | 03:34 |
overall illumination in our scene.
So, let's go ahead and set our secondary
| | 03:39 |
bounce engine to Brute Force.
With everything else set to default we'll
| | 03:45 |
go ahead and rerender This frame.
They'll begin to see that there's an
| | 03:52 |
increase in illumination inside the box as
well as inside the enclosure during the
| | 03:57 |
irradiance map calculation.
And as we finish the render and compare it
| | 04:03 |
with the previous render in our history
you can see the secondary bounce has added
| | 04:08 |
quite a bit of illumination to our scene.
Its a matter of fact looking inside the
| | 04:14 |
box you will see that the secondary bounce
has also picked up color bleed coming up
| | 04:21 |
from green.
Ceiling to the side of our wall.
| | 04:24 |
Now lets go into the render setting and
turn on reflective and refractive acoustics.
| | 04:33 |
So we have primary bounce of radiant map
secondary bounce of blue force and both
| | 04:38 |
types of acoustics turned on rendering
will allow us to see a little bit of
| | 04:45 |
additional light play around where the
glass reflective object is showing us a
| | 04:51 |
reflective acoustic.
Seen in the increasing illumination right
| | 04:56 |
here, as well as a refractive caustics
shown right here.
| | 05:03 |
Comparing the two, before caustics and
after caustics shows you also a slightly
| | 05:12 |
increased level of illumination reflecting
from the glass cylinder.
| | 05:17 |
(SOUND) Different combinations of bounce
engines will yield slightly different
| | 05:27 |
results with different render times.
Getting a proper combination will depend
| | 05:35 |
on the scene itself, the objects in the
scene and the animation as far as the
| | 05:40 |
objects and the camera in this scene.
In this video we took a lot at what
| | 05:46 |
primary and secondary bounces are, inside
a VRay, and how to enable them as well as
| | 05:52 |
reflective and refractive caustics.
| | 05:58 |
| | Collapse this transcript |
| Brute force| 00:02 |
In this video, we will be taking a look at
a Brute Force Engine inside of VRay's
| | 00:07 |
Global Illumination.
Go ahead and open GI Scene Engines, my
| | 00:12 |
file that came with the video, and you'll
see a scene set up where we have a sphere
| | 00:19 |
enclosing the entire scene.
We have a single VRay rectangle light, and
| | 00:25 |
we have a simple setup with a structure
next to room with a glass cylinder all set
| | 00:33 |
on top of a floor.
Switch review to the render cam field and
| | 00:39 |
you will see our composition, in the
render settings we have set up, so that we
| | 00:46 |
are using the VRay VFB and we have set up
our color mapping with a 2.2 gamma and
| | 00:53 |
don't effect colors.
When we view the renders in the vfb we
| | 00:57 |
will make sure that SRGB is enabled.
In the Indirect Illumination tab, we have
| | 01:04 |
GI turned on.
We are going to change our Primary Bounce
| | 01:09 |
from Irradiance Map which is default to
Brute Force, and will be turning the
| | 01:15 |
Secondary Bounce to none.
So we will only have a primary Brute Force
| | 01:20 |
bounce In the VRay VFB we see a non GI
render of our scene where we have a lot of
| | 01:29 |
dark where the direct light is not
reaching.
| | 01:31 |
I'll go ahead and we'll render a primary
bounce with brute force turned on.
| | 01:39 |
We'll see some light seeping into the dark
areas.
| | 01:44 |
Currently and by default, subdivisions are
set to eight for the brute force GI under
| | 01:50 |
the engine specific options, with a depth
of three.
| | 01:54 |
The depth parameter for the brute force GI
under the engine specific options has to
| | 01:59 |
do with the number of times.
The brute force calculates bounces.
| | 02:05 |
This gives us three bounces of light.
However, since brute force is the primary
| | 02:12 |
bounce, it's equivalent to only a single
bounce.
| | 02:16 |
If we increase the depth, let's say to 16,
and we render the scene, we get a net
| | 02:22 |
result of the same exact render.
If we compare between a 3 bounce, or a 3
| | 02:32 |
depth, and a 16 bounce, or a 16 depth
render, for the brute force.
| | 02:37 |
We'll see that there is absolutely no
difference between the two renders.
| | 02:42 |
Again, this is because brute force is set
as the primary bounce, and there are no
| | 02:49 |
bouncers beyond that one bounce.
However, if we set our depth down to 2,
| | 02:58 |
but we enable secondary bounces by setting
it to brute force, we will now have a
| | 03:04 |
secondary bounce for a total of two
bounces, all being calculated by the brute
| | 03:11 |
force algorithm.
You can see that inside our box and inside
| | 03:16 |
our sculpture, we're getting additional
illumination against the back walls.
| | 03:24 |
Doing a quick comparison between the
previous single bounce and the current two bounce.
| | 03:30 |
We see that there is indeed a pretty good
difference between the two renders.
| | 03:37 |
When we have brute force enabled as the
secondary bounce we're going to be able to
| | 03:41 |
increase the number of bounces that go
beyond Two.
| | 03:44 |
If we increase our depth to, let's say
eight, we now have eight bounces of brute
| | 03:48 |
force within our scene.
Again, only because that secondary bounces
| | 03:53 |
is set to brute force.
Now we'll go ahead and we'll render a
| | 04:03 |
depth of eight with brute force.
And you can probably start to see a little
| | 04:12 |
bit of an increase in the illumination in
the scene.
| | 04:16 |
It does take a little bit longer to
render, but you can definitely see a
| | 04:22 |
marked improvement in the overall
illumination of this scene.
| | 04:29 |
When we do a comparison between the single
bounce and the eight bounce, or even the
| | 04:37 |
two bounce against the eight bounce, you
definitely see a drastic difference in the
| | 04:42 |
amount of illumination.
However, blindly increasing the depth
| | 04:48 |
won't get you very far.
Let's go ahead and increase to a very
| | 04:53 |
large number, a depth of 64.
And we'll go ahead and render this scene
| | 04:58 |
and we'll compare it back to the eight
bounce.
| | 05:03 |
You can start to see that there isn't much
of a difference going from 8 to 64.
| | 05:10 |
There is a point of diminishing returns
where you're doing unnecessary
| | 05:15 |
calculations for a depth that will yield
you little to no results.
| | 05:22 |
The biggest results that you'll see in the
number of bounces is going from one or two
| | 05:27 |
bounces up to four or five bounces.
Anything really beyond eight or nine
| | 05:33 |
bounces starts to give you very negligible
results.
| | 05:37 |
Here, we have the 64 depth, and here we
have the eight depth.
| | 05:41 |
And you'll notice, there's really no
difference between these two renders.
| | 05:46 |
So let's go ahead and set our depth back
down to eight.
| | 05:49 |
And we should expect a render that still
looks like this.
| | 05:56 |
However, there is quite a lot of grain and
noise in our render and that is tackled by
| | 06:02 |
the number of sub-divisions under the
brute force GI heading.
| | 06:08 |
If we increase the sub-divisions to 16
from 8, we'll notice a pretty good
| | 06:14 |
difference especially in the low light
noise that you see inside the room of
| | 06:19 |
course at a cost of render time, with our
finish render set to subdivisions of 16
| | 06:28 |
compared to subdivisions of 8.
We see quite a bit of difference in the
| | 06:35 |
noise, particularly the lighter grain is
mitigated much better with subdivisions of 16.
| | 06:44 |
However, it's still not quite enough, and
with this scene, you'll find yourself
| | 06:48 |
hovering around subdivisions of about 32
We'll go ahead and render 32 subdivisions
| | 06:55 |
and take a look.
Here we have distributed rendering
| | 07:00 |
enabled, which allows different machines
on your network that are set up to
| | 07:05 |
calculate the frame as it goes.
Here we see the primary machine, as well
| | 07:12 |
as the secondary machine, an HPZ220,
churning through the calculations that we
| | 07:18 |
need for this render.
With this render complete you can see as
| | 07:26 |
we compare to subdivisions of sixteen, the
12 subdivisions has done a much nicer job
| | 07:34 |
of reducing our noise.
However we went from a 26 second render
| | 07:39 |
with a subdivisions of 8, to one minute 13
with a subdivisions of 16, to over three
| | 07:47 |
and one half minutes with a subdivisions
of 32.
| | 07:50 |
Brute force GI is the more accurate engine
for primary and secondary bounces.
| | 07:58 |
However, it does take longer to render
because of the noise inherent with that calculation.
| | 08:06 |
Brute force may be used at the primary
and/or the secondary bounces combined with
| | 08:14 |
any of the other engines it may give you a
good amount of accuracy, but if you use a
| | 08:23 |
map such as an irradiance map along with
brute force, you will get some accuracy
| | 08:28 |
and some of the time savings inherent in
the irradiance map or light cache engines.
| | 08:35 |
So a good combination is really what
you're looking for, however for pure
| | 08:40 |
accuracy at the cost of render time,
you're going to want to be brute force
| | 08:45 |
brute force with an appropriate depth and
subdivisions In this video, we took a look
| | 08:51 |
at the brute force GI engine as it applies
to the primary and the secondary bounce.
| | 08:58 |
| | Collapse this transcript |
| Light caching| 00:02 |
In this video we will be taking a look at
the Light cache GI engine in V-Ray.
| | 00:07 |
Go ahead and open up the GI Scenes Engine
Maya file and you will find this scene set
| | 00:13 |
up for you with this geometry in this
camera angle.
| | 00:17 |
In the Indirect Illumination tab, GI and
Reflective and Refractive caustics are
| | 00:24 |
already turned on.
We're going to set the Secondary Bounces
| | 00:28 |
to none and we'll set the Primary Bounces
to Light cache.
| | 00:33 |
Now, here is a render of the scene with no
GI turned on.
| | 00:38 |
Now ,let's take a look at a primary bounce
of Light cache in the scene.
| | 00:41 |
We can already see quite a bit of light
filling in our box and our structure.
| | 00:49 |
Now, Light Caches, pretty fast and gives
you a good result with the primary bounce.
| | 00:56 |
If you turn Light Cache on for the
secondary bounce as well, and you render
| | 01:01 |
the scene, you may be surprised to see
that there is actually really no
| | 01:06 |
difference between the two renders.
Here is our primary bounce, light cache.
| | 01:11 |
And here is our primary, and secondary.
And there is no difference between the two.
| | 01:19 |
This means that light cache, as the
primary bounce, is also calculating a
| | 01:24 |
secondary bounce, as well.
So, the secondary bounce, even if it's set
| | 01:29 |
to none, will yield you the same result,
as if it had been set on secondary bounce
| | 01:36 |
as well.
Even if we set the secondary bounce to
| | 01:40 |
something like brute force and give the
scene a render, you'll see that there is
| | 01:46 |
really no difference.
The Light Cache is calculating all of the
| | 01:51 |
bounces in the scene.
If we take a look at the Light Cache
| | 01:57 |
Primary with no Secondary verses the Light
Cache Primary and the Brute Force there is
| | 02:03 |
again, no difference.
So, setting the Light Cache as the Primary
| | 02:08 |
Bounce gets you calculation for all of the
bounces available in your scene.
| | 02:14 |
However, at it's default, everything looks
quite blotchy and we don't have a very
| | 02:22 |
good caustic, refractive or reflective
that should be on either end of the glass cylinder.
| | 02:30 |
Taking a look at the parameters, or the
attributes, for Light Cache under the
| | 02:34 |
Engine Specific options, we'll see first a
number of subdivs.
| | 02:42 |
This is the number one way to control how
clean your renders will be.
| | 02:47 |
The higher the subdivisions, the greater
your accuracy will be or render a
| | 02:55 |
subdivisions of a thousand, as you can see
its going to a take little bit longer in
| | 03:01 |
the Light Cache calculation before it
kicks into rendering the full scene.
| | 03:08 |
The difference between a 500 subdivision,
and a 1000 subdivision, is quite noticeable.
| | 03:15 |
The overall splotches in the background
are much better.
| | 03:21 |
However, there is still quite a bit of
noise around the shadowing and the
| | 03:25 |
caustics around the glass sphere.
As well as some of these smaller spaces
| | 03:33 |
visible inside our stepped structure.
The attribute number of passes has to do
| | 03:40 |
with the number of cpus or cpu cores that
you have available on your machine setting
| | 03:47 |
this number higher than the number of
cores you have really won't get you much
| | 03:52 |
difference in render speed or calculation.
You see, we have 8 course available to us
| | 03:58 |
on this machine, so the number of passes
limiting it at 8 is perfectly fine.
| | 04:06 |
Sample size however, is very important to
the quality that you see rendering in the
| | 04:14 |
small spaces.
The smaller these samples size the more
| | 04:19 |
accurate these areas will be however, the
greater number of subdivisions you will need.
| | 04:25 |
Let's go ahead and set our sample size to
half of what it was, I will keep our
| | 04:31 |
subdivisions at a 1000.
We'll render the scene and compare our results.
| | 04:39 |
You'll see with our finish render here
that the splotchiness in these detailed
| | 04:45 |
small areas has gotten a lot better
however, the overall blotchiness of the
| | 04:51 |
Light Cache map has returned.
This is a 0.02 sample size with a thousand
| | 04:58 |
subdivisions, and this is a 0.01 sample
size.
| | 05:02 |
The sample sizes must be big enough, or
there must be more subdivisions i.e., more
| | 05:10 |
samples, to allow the samples to merge
together to give you a clean render.
| | 05:16 |
So the calculation really needs to come
down to how small you need your samples to
| | 05:23 |
be to give you the accuracy in tight
spaces mitigated by the number of samples
| | 05:30 |
you need to get those samples to get clean
together.
| | 05:34 |
We'll go ahead and double our subdivisions
to 2000 and keep our sample size at 0.01
| | 05:42 |
and render to compare the results.
Our render times have increased quite a
| | 05:50 |
bit if we compare it with a 12 second
render with 1000 subdivs with a 0.01.
| | 05:57 |
Now that we have 2000 subdivs, we've gone
from 12 seconds to 40 seconds but we have
| | 06:04 |
a markedly cleaner and more accurate
result.
| | 06:09 |
While this is still not perfectly accurate
it is a pretty acceptable result in a very
| | 06:15 |
short amount of time.
Getting a great accuracy would require you
| | 06:21 |
to get into an engine such as Brute Force
because if you keep decreasing your sample
| | 06:29 |
size and increasing your subdivisions,
you'll end up getting to the same degree
| | 06:35 |
of render time that you would if you just
went with Brute Force.
| | 06:41 |
We'll go with a smaller sample size 0.008
compared to 0.01 and we'll double our
| | 06:47 |
subdivs again, we'll render the scene.
Now, with the 4,000 sample size, it'll
| | 06:55 |
take quite a bit longer to calculate the
Light Cache, but it'll give us much better
| | 07:02 |
results at much better accuracy with the
decreased sample size.
| | 07:07 |
But we may start getting into render times
that rival Brute Force calculation.
| | 07:15 |
One of the advantages to using Light Cache
over just using Brute Force for everything
| | 07:20 |
is that it does calculate faster but at a
loss of quality.
| | 07:25 |
Increasing the quality or increase the
rendered times however, you are able to
| | 07:31 |
bake out the Light Cache, meaning you can
write the Light map to disc and use it for
| | 07:39 |
future frames in an animation.
There are restrictions to this, however,
| | 07:44 |
it can be a great time saver and a good
quality without having to resort to
| | 07:50 |
calculating a brute force at every single
frame of the animation.
| | 07:56 |
Here with our finished render, you can see
a very nice result coming from the light
| | 08:00 |
cache compared to what we had before with
fewer subdivisions and a slightly larger
| | 08:09 |
sample size.
We have a pretty good quality, especially
| | 08:12 |
in this shadow area.
With a two and a half minute render
| | 08:17 |
compared to a 40 second render, you can
see a good amount of noise has been eradicated.
| | 08:25 |
And this is still a little bit faster than
a Brute Force calculation, resulting in
| | 08:32 |
more bounces than we would get from Brute
Force alone.
| | 08:37 |
Now looking at some more of the light
cache attributes, we're also able to
| | 08:43 |
pre-filter our result allowing us to merge
some of these sample sizes.
| | 08:51 |
This will get us less accuracy in some of
the smaller areas but with much faster
| | 08:58 |
render times.
Let's go ahead and reduce our number of
| | 09:02 |
subdivisions to 2000 and we will keep our
sample sizes at 0.008 but we'll have our
| | 09:11 |
pre-filter turned on with the samples of
10.
| | 09:15 |
And then this render, we see that we've
picked up quite a bit of time savings
| | 09:23 |
however compared to a non pre-filtered
that had 2,000 subdivisions.
| | 09:30 |
Compared to a filtered with 2,000
subdivisions, we see that our splotches
| | 09:36 |
are much, much cleaner than our non
pre-filtered at about the same render
| | 09:42 |
time, but with a nicer, cleaner outcome.
However, we do lose a slight bit of
| | 09:51 |
accuracy in some of the more detailed and
tight areas, when we begin to pre-filter
| | 09:59 |
the Light map.
The depth attribute has to do with the
| | 10:03 |
number of bounces.
For example setting the depth to one will
| | 10:08 |
yield you a result when we render.
That is very similar to a single bounce of GI.
| | 10:20 |
Here, we have a depth of 100 and here we
have a depth of 1.
| | 10:24 |
The time savings is, is pretty
substantial.
| | 10:28 |
However, obviously, you lose a ton of
illumination by reducing the depth.
| | 10:34 |
With a depth of 100, you get essentially
quite a lot of bounces with a light cache,
| | 10:39 |
which is one of Light Cache's strengths.
However, it is difficult to mitigate the
| | 10:44 |
amount of noise you get with a Light
Cache.
| | 10:47 |
Particularly within animated, a moving
camera or animated objects because you'll
| | 10:54 |
have to really decrease the sample size
and increase your subdivisions to keep
| | 10:59 |
your detail and get rid of that
blotchiness that happens.
| | 11:04 |
You can however bake your Light Cache,
which is one of the great benefits of
| | 11:09 |
using Light Cache that will help you, in
render times since you don't have to,
| | 11:14 |
calculate at every single frame.
Further down the attributes you'll find,
| | 11:20 |
mode, which allows you to, go ahead and
bake your light cache, to a file that you
| | 11:26 |
can later use, instead of recalculating
it.
| | 11:30 |
We'll be taking a look at banking light
cache in a later video.
| | 11:33 |
In this video, we took a look at the Light
Cache GI engine and how it can be used for
| | 11:41 |
your primary and also your secondary
bounces within your scene.
| | 11:46 |
| | Collapse this transcript |
| Irradiance mapping| 00:02 |
In this video, we'll be taking a look at
the Irradiance map engine with VRay's GI.
| | 00:07 |
Go ahead and open GI_Scene_Engines, my
file that came with our videos.
| | 00:14 |
And you'll see a scene set up like this
with renderCam as the primary camera.
| | 00:20 |
In the render settings, you'll want to go
into the Indirect Illumination tab and
| | 00:26 |
keep your primary bounce at Irradiance
map, but go ahead and change the secondary
| | 00:31 |
bounce to None.
So we have a single Irradiance map bounce.
| | 00:36 |
Now, we'll take a look at a non-GI render
of the scene and we'll go ahead and render this.
| | 00:43 |
We can see that the distributed render is
helping with the Irradiance map
| | 00:48 |
calculation, as we wait for that
calculation to be done.
| | 00:52 |
We'll get a single bounce solution that
gives us a lot more illumination in our
| | 00:59 |
environment when compared with the non GI
render that we see here.
| | 01:05 |
We get light into our box and into our
sculpture with a pretty nice amount of detail.
| | 01:13 |
As a matter of fact, we get a lot better
detail out of the Irradiance map than we
| | 01:18 |
do from a light cache, but not quite as
accurate as a brute force.
| | 01:24 |
Irradiance map is pretty darn close.
You may notice that the irradiance map is
| | 01:30 |
only available as the primary bounce
engine and is not available as a secondary bounce.
| | 01:40 |
If you want to have a secondary bounce,
you'll have to use Light cache, Brute
| | 01:45 |
force, or Photon map to give you
additional bounces within your scene.
| | 01:50 |
The Irradiance map is meant to be a very
quick and pretty accurate calculation of
| | 01:56 |
the primary bounce only.
There are quite a lot of controls built
| | 02:02 |
into the irradiance map, even if it is
just a primary balance.
| | 02:06 |
There's a lot of different ways of
controlling it to get the quality that
| | 02:10 |
you're looking for.
Irradiance map is frequently recommended
| | 02:16 |
for animations and moving objects within
your scene as a savings over brute force
| | 02:22 |
render times.
The current presets that you have access
| | 02:28 |
to range from very low to very high.
These presets change the max rate, the
| | 02:35 |
color, the normal and the distance
threshold.
| | 02:41 |
You can set those numbers yourself by
changing your current preset to custom.
| | 02:46 |
You can see with a very low preset, we
have a very small min and max rate.
| | 02:53 |
And our color and normal threshold are
fairly high and our distance threshold is
| | 02:58 |
fairly low.
Switching to a very high preset means that
| | 03:03 |
the distance threshold turns up, while the
color and normal thresholds turn down.
| | 03:08 |
And our max rate and min rate have also
gone up.
| | 03:13 |
With that logic, you'll be able to set
your own custom preset by reducing color
| | 03:20 |
and normal threshold to gain more quality,
increasing distance threshold for more
| | 03:26 |
quality, and a increasing min and max
rate, as well, for a better quality.
| | 03:31 |
All at the expense of render time.
The number of subdivisions also increase
| | 03:38 |
the amount of rays being cast into the
scene for your Irradiance map.
| | 03:44 |
This does increase render time but it can
also greatly effect the quality of the
| | 03:50 |
Irradiance map, especially when you have
animation.
| | 03:54 |
The interpolation of samples and the
interpolation frame, are also very useful
| | 03:59 |
for mitigating noise from your irradiance
map during animation.
| | 04:05 |
As a matter of fact, most of the noise
coming from GI is most readily seen when
| | 04:12 |
your camera or objects within your scene
are moving.
| | 04:15 |
That's why the Irradiance map has so many
different controls to allow you to get a
| | 04:22 |
clean render.
Further on down, you're able to enhance
| | 04:26 |
some of the details in corners and tight
spaces by turning on Enhance Details and
| | 04:31 |
specifying a radius and a subdivision
multiplier, once it fits within that
| | 04:38 |
radius threshold.
And you also have the option of baking out
| | 04:42 |
your irradiance map in a few different
ways to allow you to read irradiance map
| | 04:50 |
as opposed to calculating it at every
frame.
| | 04:54 |
Let's go ahead and set our current Preset
to High and we'll see what happens when we
| | 05:02 |
increase our subdivisions manually to 100.
And we'll go ahead and render the scene.
| | 05:11 |
The calculations tend to slow down in
areas where there is lot of subdivisions
| | 05:15 |
required, especially around caustic areas.
And our result will give us a nice clean
| | 05:23 |
render when it's finished with minimal
increase in the render time.
| | 05:29 |
So if we take a look at subdivisions of
50, we'll see small difference in quality
| | 05:36 |
specially in the caustics area (SOUND)
with a minimal increase, we went from 15
| | 05:43 |
seconds to 20 seconds.
However, this detail is about the only
| | 05:49 |
difference in quality that you can see.
Right here (SOUND) with our 50 (UNKNOWN)
| | 05:53 |
we're getting some splotches where with
100 (UNKNOWN) we have a much cleaner location.
| | 06:02 |
This is especially important with
animation and moving cameras and moving
| | 06:07 |
objects you want to set proper
subdivisions to allow those blotches from
| | 06:12 |
showing up especially with movement.
Now by turning enhanced details on, we'll
| | 06:19 |
be able to increase the level of detail in
some of these areas when we render again.
| | 06:27 |
And in this render, you'll see a minimal
difference in the detail, (SOUND) in the
| | 06:34 |
Caustic areas especially.
Where now we have a more accurate caustic
| | 06:41 |
shape and brightness than we did without
the enhance detail turned on.
| | 06:47 |
However, there is some noise here.
We have to increase our overall max
| | 06:53 |
subdivisions, of course, to get rid of
that noise.
| | 06:56 |
This is a sampling issue and not a
irradiance map noise.
| | 07:03 |
With enhance details turned on, we went
from a 20 second render that showed a
| | 07:09 |
little bit of a soft caustic to a minute
and 17 seconds to get a much clearer much
| | 07:16 |
cleaner Caustic area.
In some of the low light areas, we don't
| | 07:22 |
see that much of a difference in the
increased detail.
| | 07:27 |
So when you have a render that depends
more heavily on subtle caustic areas,
| | 07:36 |
you'll want to use enhanced details to get
a better result.
| | 07:42 |
Now, it's best to use irradiance map with
a secondary bounce.
| | 07:47 |
And for the highest in accuracy, you'll
want to do irradiance map primary with a
| | 07:54 |
brute force secondary.
And here in the depth of the Brute force
| | 07:59 |
GI, you can specify how many bounces
you're looking for.
| | 08:02 |
Let's increase ours to a depth of about 4.
And we'll go ahead and we'll turn off
| | 08:09 |
enhance details.
And we'll go ahead and render an
| | 08:13 |
Irradiance map primary with a brute force
secondary.
| | 08:20 |
You can begin seeing that there's more
illumination inside our structure and
| | 08:27 |
inside our box because of that secondary
balance, which is being calculated by
| | 08:31 |
Brute Force.
You can also do an irradiance map primary
| | 08:35 |
with a light cache secondary to get even
more bounces at a low render time.
| | 08:41 |
However, you need to be careful of the
amount of noise which, of course, is set
| | 08:47 |
through your subdivisions, as well as some
of your threshold and min and max settings.
| | 08:55 |
We have a pretty nice clean render here
that only took us about 44 seconds to
| | 09:03 |
achieve, giving us a much nicer look than
the primary bounce, (SOUND) when we add a
| | 09:09 |
secondary bounce with a brute force.
So, again, to recap with the Irradiance
| | 09:16 |
map, your quality settings are set with
your basic parameters.
| | 09:20 |
With a color and normal threshold, the
smaller these numbers, the greater your
| | 09:26 |
quality, and the longer your render times.
The larger your distance threshold the
| | 09:33 |
greater your quality and the larger your
min and max rate again would be the
| | 09:37 |
greater the quality.
In this video we took a look at how to use
| | 09:41 |
the irradiance map as your primary bounce
engine in the VRay GI.
| | 09:50 |
| | Collapse this transcript |
| Popular GI engine combinations| 00:02 |
In this video, we will be taking a look at
some of the more popular GI engine
| | 00:06 |
combinations in V-Ray.
Go ahead and open up the GI Scene Engines
| | 00:11 |
file and we will see our familiar GI set
up where we have a good amount of
| | 00:18 |
secondary bounce needed to illuminate
inside our structure and inside our room.
| | 00:26 |
Let's open up the Render Settings to take
a look in the Indirect Illumination tab.
| | 00:30 |
Currently, we have Irradiance Map and
Brute Force set up, which is actually a
| | 00:36 |
pretty good, pretty fast and quite
accurate combination to have.
| | 00:42 |
We have the Irradiance Map set to a
current preset of High.
| | 00:46 |
And we have the Brute Force secondary
bounce subdivisions 8 and a depth of 3.
| | 00:53 |
Let's go ahead and render this
combination.
| | 00:56 |
And you'll see a pretty fast result that
ends up being pretty clean, with a good
| | 01:02 |
amount of primary and secondary
illumination.
| | 01:07 |
This combination ends up being the closest
we can get.
| | 01:11 |
To a very accurate Brute Force brute force
setup, but saving us quite a bit of time
| | 01:19 |
in that primary bounce by using the
Irradiance Map.
| | 01:23 |
Now, we have a subdivisions of 50 setup,
we're going to go ahead and reduce that to
| | 01:30 |
very low so we can see the kind of noise
that you will get from Irradiance Map as
| | 01:36 |
opposed to the kind of noise you will get
from a Brute Force.
| | 01:39 |
We will go ahead and make sure that this
is in our VFB history.
| | 01:46 |
I'll go ahead and render the reduced
number of subdivision for Irradiance map,
| | 01:53 |
calculates a lot faster, however, you'll
start seeing quite a bit of noise from
| | 01:58 |
that primary.
And this sort of blotching that you see is
| | 02:03 |
indicative of at Irradiance Map noise.
You can see these samples have not been
| | 02:11 |
smoothed out and have not been calculated
in a nice clean fashion because there
| | 02:17 |
simply isn't enough subdivisions for
Irradiance Map to make a clean render.
| | 02:23 |
You can see a little bit of blotchiness in
the background as well and this larger
| | 02:31 |
scale blotch is indicator of Irradiance
map.
| | 02:37 |
Let's go ahead and set our subdivisions to
higher.
| | 02:41 |
Let's go to a 100, except this time, we
will take our Brute force subdivisions and
| | 02:47 |
turn that to 2 so we can see the kind of
noise that we get from the Brute Force GI.
| | 02:55 |
Now, the Irradiance map will take a little
bit longer to calculate but will be more
| | 03:02 |
accurate and more clean and all these
blotches that you can see in the
| | 03:06 |
pre-render calculation of the Irradiance
map will get cleaned in the final render.
| | 03:14 |
And as we can see, our Irradiance map
blotches have gone away because of the
| | 03:24 |
increased subdivisions.
However the Brute force noise is visible
| | 03:29 |
through the tight, almost full grain that
we see here.
| | 03:33 |
So if we compare it with higher
subdivisions, we'll see that there is more
| | 03:40 |
noise, that it's a tighter grain pattern
that is coming from the Brute force GI.
| | 03:49 |
If we increase the subdivisions.
Let's go to 24 for subdivisions.
| | 03:55 |
We'll see less noise that looks like the
tight film grain that we see with a low
| | 04:03 |
subdivisions on Brute force.
And as this render completes, you still
| | 04:12 |
see some noise but this happens to be a
factor of the overall sampling that we
| | 04:18 |
have set pretty low.
But with the GI, with a higher
| | 04:23 |
subdivisions we're going to see a nicer
result than we did before, especially in
| | 04:29 |
some of the darker areas.
Now, let's go to a Brute force, Brute
| | 04:34 |
force so we can see this demonstrated even
better.
| | 04:39 |
Now, we are going to be more accurate then
we would be with an Irradiance map.
| | 04:45 |
However, with such a low subdivisions, our
renders are going to be quite grainy, and
| | 04:51 |
you can see a lot of that grain coming up
as we render.
| | 04:55 |
Now, Brute Force does not require a
pre-pass so what you are seeing is the
| | 05:02 |
final render coming straight through here
because we've got a primary and a
| | 05:08 |
secondary set to brute force.
Its subdivision's are super important to
| | 05:14 |
get nice and clean, the higher they go
however, the more it will take to render.
| | 05:21 |
We'll go ahead and set our subdivisions to
24 and you will immediately see that it
| | 05:27 |
takes longer.
However, these areas, particularly the
| | 05:32 |
brighter pixels that are popping up with
noise, are much more clean with more subdivisions.
| | 05:39 |
A combination of Brute Force, Brute Force
for your primary and your secondary will
| | 05:47 |
get you the most accurate calculation and
result.
| | 05:52 |
But at the longest render time, because
you're having to set your subdivisions
| | 05:57 |
quite a bit higher to calculate a cleaner
result.
| | 06:03 |
You may also notice that you may have to
increase the number of your depth passes
| | 06:08 |
to get more bounces to get the proper
amount of illumination with the Brute
| | 06:14 |
Force, Brute Force combination.
So while this is the more accurate way to
| | 06:20 |
go, it will cost you dearly in render time
by the time you train your subdivs and you
| | 06:26 |
depth high enough to get the illumination
and the quality you are looking for.
| | 06:32 |
And as the render finishes up, we can see
that the GI noise from the Brute Force has
| | 06:39 |
been greatly mitigated between our subdivs
of 2 and subdivs of 24.
| | 06:46 |
Any sort of grain that you see now is
really indicative of overall sample rate
| | 06:51 |
as opposed to the Brute Force sample rate.
Let's take a look at one of my favorite
| | 06:58 |
combinations which gives us a Brute Force
primary with the light cache secondary bounce.
| | 07:06 |
We will go ahead and make sure this is in
our buffer and will go ahead and render
| | 07:11 |
this new combination.
There is a pre-pass with light cache which
| | 07:17 |
is pretty quick depending on the quality
settings then you have for the like cash
| | 07:23 |
here we are getting a pretty clean render
that gives us a secondary bounce with a
| | 07:29 |
much faster render time then we had with
Brute force, Brute force.
| | 07:35 |
We can even produce our Brute Force
subdivisions because we are relying more
| | 07:42 |
on the light cache for the overall
illumination in the scene.
| | 07:45 |
So here, we have a 31 second render that
looks fairly acceptable and we can
| | 07:52 |
mitigate some of this with the overall
sampling.
| | 07:57 |
But let's go ahead and reduce our
subdivisions for the Brute Force to 3.
| | 08:02 |
And we'll keep everything else the same
for right now.
| | 08:07 |
Make sure this is in our buffer and we'll
render it now with less Brute Force subdivisions.
| | 08:15 |
You'll see that we're starting to get a
little bit of noise so we've gone a little
| | 08:19 |
bit too low.
(SOUND) I'll hit Cancel.
| | 08:21 |
I'll hit Escape to cancel that render and
we'll slowly come up on the Brute Force
| | 08:27 |
subdivisions until we start seeing no
noise in the primary.
| | 08:36 |
Indeed, the kind of noise that you can
expect from the brute force is that very
| | 08:40 |
tight grain.
The kind of noise that you will see from
| | 08:45 |
your light cache will explore right after
this render.
| | 08:49 |
You can see all of this noise really
compels us to go to a higher subdivisions,
| | 08:57 |
more like what we had before.
Now, let's take a look at the type of
| | 09:01 |
noise that you can get from a light cache.
We'll reduce our subdivisions from 500 so
| | 09:07 |
we can force a blotchy render in our light
cache.
| | 09:13 |
You can see the light cache pre-pass went
by very, very quickly.
| | 09:17 |
And as the render finishes up we will be
able to compare the lower subdivs that we
| | 09:28 |
just rendered with the higher subdivs from
before.
| | 09:34 |
Where you can really see that is in the
areas that are tight, we can see with our
| | 09:41 |
higher subdivision level the light cache
is able to get into those areas were with
| | 09:46 |
the lower subdivisions it just can't,
giving you bright and dark splotches
| | 09:52 |
compared to a cleaner render.
In addition, you get a much better feeling
| | 09:59 |
of depth and accuracy with a higher
subdivision where the lower subdivision
| | 10:06 |
tends to blur out a little bit the
lighting solution.
| | 10:11 |
So for a clean render in this case, we'll
want to use a pretty good subdivision pass.
| | 10:19 |
We don't have to get too high, let's go to
800.
| | 10:22 |
We can reduce our sample size a little bit
for better accuracy in these areas.
| | 10:28 |
Although since the light caches the
secondary bounce, these areas are pretty
| | 10:35 |
much clean because of the Brute Force as a
primary.
| | 10:38 |
So we're not too too worried about our
sample size.
| | 10:44 |
(SOUND) Running this render will give us a
nice clean render with a fast turnaround.
| | 10:50 |
However, the noise that you get, that you
start to see in these splotches, in this pre-pass.
| | 10:56 |
May end up causing a bit of a flicker if
you have animation or a moving camera in
| | 11:03 |
your scene.
And indeed if you do get some of the
| | 11:06 |
dancing splatchyness in your secondary
bounce, you'll have to go ahead and
| | 11:13 |
increase the number of sub divisions in
your animation.
| | 11:18 |
You may also opt to turn on the prefilter
which will reduce your accuracy, but give
| | 11:25 |
you a cleaner animated render.
With a stillframe, we have our comparison
| | 11:31 |
between a lower and a higher subdivisions
is pretty good.
| | 11:36 |
But really, you see that noise when you
start animating the most.
| | 11:42 |
So to recap one of my favorite
combinations is using a Brute Force
| | 11:49 |
primary with a light cash secondary, for
more accuracy with less time you may
| | 11:56 |
choose to do a radiance map with our Brute
force secondary.
| | 12:01 |
And for the upmost inaccuracy but the
longest render times, you can do a brute
| | 12:07 |
force, brute force.
You may wish to do some wedge testing,
| | 12:11 |
meaning you can render several frames with
different engine settings to see what sort
| | 12:18 |
of noise you get your.
Animated renders to find the best solution
| | 12:23 |
for you.
Brute force, brute force will require a
| | 12:27 |
tremendous amount of depth and
subdivisions to get a clean, well
| | 12:32 |
illuminated render.
But it's pretty accurate, so if you have
| | 12:37 |
the render power.
You can stand by brute force, brute force.
| | 12:40 |
To save a little time, Irradiance, Brute
Force, and to save a lot of time, you can
| | 12:47 |
do a Brute Force Light Cache.
In this video, we took a look at some of
| | 12:52 |
the more popular GI engine settings for
your renders.
| | 12:57 |
| | Collapse this transcript |
|
|
5. V-Ray Object Properties and Render LayersWhat are V-Ray object properties (VROPs)?| 00:02 |
In this video we'll be taking a look at
what VRay object properties mean for your scene.
| | 00:08 |
Here we have a car rendered out, and it
has multiple VRay object properties in
| | 00:13 |
different parts of the car.
One of the good things about a VRay object
| | 00:19 |
property is the ability to give you
different object IDs easily that allow you
| | 00:25 |
to separate parts of the car for easier
compositing.
| | 00:29 |
Here we've created different object IDs
based on the different shaders that are
| | 00:35 |
attached to the car.
For example, we have green for the glass,
| | 00:39 |
with red for the car body paint.
Blue for the chrome alloy wheels, and
| | 00:48 |
green for the chrome trim.
This allows us to easily use the matting
| | 00:55 |
in composite to change the characteristics
of the render.
| | 01:01 |
But object properties are more than just
allowing you to have object IDs for your geometry.
| | 01:09 |
You can have object IDs for groups of
objects that allow you to turn on and off
| | 01:16 |
various render properties, such as whether
a set of objects will generate or receive GI.
| | 01:26 |
Whether those objects are visible in the
scene or in reflections or in refractions,
| | 01:33 |
whether or not they cast shadows.
You can create them as matte surfaces,
| | 01:40 |
which will make those objects render black
with even a negative one or a negative
| | 01:46 |
black alpha contribution, allowing you,
again, a greater flexibility in composite.
| | 01:55 |
All of these settings work with my render
layers, so you can set overrides quite easily.
| | 02:04 |
You can set up object properties on a per
object basis, or in groups of objects as
| | 02:10 |
you see here.
We've created an object property here for
| | 02:16 |
all the roof elements that we need to
control.
| | 02:20 |
(BLANK_AUDIO).
With these object properties we've created
| | 02:27 |
setups for different object ID's to allow
us to control the background separately.
| | 02:34 |
In this video, we took a look at what
object properties are in VRay, and we'll
| | 02:40 |
be taking a look at what they can do in
coming videos.
| | 02:47 |
| | Collapse this transcript |
| Creating VROPs| 00:02 |
In this video, we'll be taking a look at
VRay object properties.
| | 00:07 |
We have a simple scene set up here, with a
background and several objects that make
| | 00:12 |
up this oil rig.
We have some of the objects lose and in
| | 00:18 |
top node and a few groups, as well, to
differentiate some of the overall pieces.
| | 00:27 |
The purpose of the V-Ray object properties
is to give you a little bit of control and composite.
| | 00:34 |
To create a property first, you have to
describe the geometry that you wish to
| | 00:40 |
create a property for.
For example we will be taking a look at
| | 00:44 |
creating a separate property for these
text.
| | 00:47 |
I will go ahead and select the top group
of those text and then go to Create >
| | 00:54 |
V-Ray > Object properties.
And I will apply a single object property
| | 01:03 |
to the selection.
This adds a new node in the Outliner,
| | 01:09 |
called a VRay object properties that will
show us group one.
| | 01:15 |
Let's take a look at the attributes for a
VRay object property.
| | 01:19 |
You'll see you'll have a chance to change
quite a number of things including setting
| | 01:25 |
an object ID, which is the first thing
we'll do.
| | 01:28 |
For these objects, we'll set an object ID
of one.
| | 01:33 |
This will override any individual object
property on any item In that group,
| | 01:41 |
including any of these tanks.
Our goal in this exercise will be to
| | 01:48 |
create different colored mats for all the
different groups that I've created here
| | 01:52 |
using object ID's placed on object
properties.
| | 01:56 |
We'll go down the list and create new
object properties for each of the groups.
| | 02:04 |
I'll go ahead and tear this off.
We will apply a single object property
| | 02:10 |
node to the selection again.
We'll get a new object property node and
| | 02:16 |
we will set that object ID to 2.
To make things simple, I'll go ahead and
| | 02:23 |
select the remaining groups.
And now, this time I'll apply multiple
| | 02:28 |
object properties to that selection.
This gives me multiple object properties
| | 02:33 |
that I can put a different object ID for
each one.
| | 02:38 |
We'll go to three and then four and so on.
I've gone ahead and created a different
| | 02:47 |
object ID for each of these (INAUDIBLE)
object properties.
| | 02:53 |
Looks like I missed one.
There we go.
| | 02:55 |
And of course, I'll set one last one for
the ground plane that we've got.
| | 03:05 |
I'll apply a single object property to
that one and set an object ID of 11.
| | 03:11 |
So now each of my V-Ray object properties
has a distinct object ID.
| | 03:19 |
What this ultimately allows me to do is
set up render elements using multi-mats to
| | 03:25 |
allow me to set the ID's to the different
RGB channels for each of the mats.
| | 03:33 |
Gone ahead and set seven, eight, and nine
>> 10, 11 and 12, they all correspond to
| | 03:48 |
the object ID set within these object
properties.
| | 03:52 |
So, when I render this again, I will be
able to see more channels created for that image.
| | 04:00 |
Four of the channels will be the mat
images that will have a corresponding red,
| | 04:07 |
green, blues To the object ID set for the
object property.
| | 04:12 |
And that object property is, of course,
set to the different groups that I showed
| | 04:17 |
you in the outliner.
And as this render completes, we'll be
| | 04:22 |
able to go into the Channels pull-down
menu and take a look at each of these mattes.
| | 04:33 |
The V-Ray object property made it
possible, to group a lot of different
| | 04:39 |
objects into, certain objects ID's, making
matting a lot easier to deal with.
| | 04:46 |
You'll see the alpha channel is completely
white.
| | 04:50 |
Let's go ahead and take a look at one of
these object properties for the base.
| | 04:56 |
Now, the base is in group nine, which has
this object property.
| | 05:02 |
What we can also do for this is turn this
into a matte surface and give it a
| | 05:09 |
negative 1 alpha contribution.
Let's put this into our history, by saving it.
| | 05:18 |
That will save all the different channels
as well.
| | 05:20 |
And I would go ahead and re-render.
So we can take a look at the alpha and see
| | 05:26 |
what the matte surface object property
will do.
| | 05:30 |
And as the render finishes, we can see
that the matte surface is black in the RGB
| | 05:42 |
and because the negative 1 set, becomes
black in the off, as well.
| | 05:48 |
And that is negative 1 of the alpha
contribution setup here.
| | 05:53 |
Going back to RGB color, we can set any
number of these to have layer overwrites.
| | 06:04 |
So if we have created render layers, for
example let's go ahead and select the
| | 06:13 |
entire rig and everything in the scene.
And we'll go ahead and create a couple of
| | 06:20 |
different render layers.
You can tell with the object properties
| | 06:26 |
that we'll be able to set layer overrides.
Let's go ahead and turn off shadows for
| | 06:38 |
parts of the rig.
Let's go ahead and take a look at the
| | 06:43 |
crane objects.
These are found in group five, which is
| | 06:51 |
under the group five VRay object
properties, and we'll be able to go ahead
| | 06:56 |
and let's turn off the GI visibility.
So it wont generate or receive GI and lets
| | 07:06 |
go ahead and turn off Shadows, and
Reflections as well.
| | 07:14 |
Go ahead and render this to see what the
VRay object property allows us to do very
| | 07:21 |
quickly with these cranes.
(BLANK_AUDIO) And as the render finishes,
| | 07:28 |
you can immediately see that the shadows
are missing from the crane because we
| | 07:33 |
simply turned them off.
If we take a look at an earlier render, we
| | 07:40 |
can see quite simply that they are not
only not castings shadows (SOUND) but they
| | 07:45 |
are darker quite a bit as well because
they are no longer visible to GI.
| | 07:54 |
And that was accomplished very quickly by
setting attributes in the VRay object properties.
| | 08:02 |
To remove an object property, let's say we
want to remove the object properties
| | 08:10 |
entirely from our group nine.
We can select the object that's in the
| | 08:15 |
object property and go to Remove Object
Properties From Selection.
| | 08:20 |
Again, that is found under Create > V-Ray
> Object properties.
| | 08:24 |
We'll go ahead and remove it, and that
object property node will be deleted.
| | 08:29 |
And these will return back to normal.
Learning to use object properties can
| | 08:35 |
increase your composite workflow quite
considerably.
| | 08:39 |
The more you render with VRay, the more
comfortable you become with it's setup,
| | 08:45 |
the more you'll come to see that V-Ray
object properties will make you look a lot
| | 08:51 |
easier on the post side of the render.
S o in this video we took a look at V-Ray
| | 08:58 |
object properties and some of the uses
they have in your renders when you go to
| | 09:04 |
composite
| | 09:05 |
| | Collapse this transcript |
| Extra object properties| 00:02 |
In this video we will be talking about
some of the extra VRay attributes that you
| | 00:07 |
can add to your objects.
Here we have a simple scene with the
| | 00:11 |
decorative box and a low poly beach ball
rendered out.
| | 00:16 |
You can see the fastening on the beach
ball.
| | 00:19 |
We can see the displacement map is working
quite well on the box, what we're going to
| | 00:26 |
do is first on the beach ball, we're going
to add a new set of V-Ray attributes.
| | 00:34 |
Those are subdivision, subdivision and
displacement quality, but you can also add
| | 00:40 |
displacement control, rounded edges, your
own user attributes, object ID's which is
| | 00:47 |
great for assigning mattes for later
compositing and a fog fade out radius.
| | 00:54 |
Let's go ahead and add subdivisions And
subdivision displacement quality.
| | 01:01 |
These open up in the Extra VRay Attributes
section, of the attribute editor, for the object.
| | 01:07 |
We're going to render this object, as a
subdivision surface, and we'll allow it a
| | 01:12 |
maximum subdivisions of 256.
Which, by default, is pretty big, but
| | 01:18 |
let's go ahead and put this in the buffer
and render out, and see what we get.
| | 01:23 |
As you can see, as the buckets complete on
the ball, that the faceting is
| | 01:29 |
disappearing from the ball as it's being
subdivided at render time.
| | 01:35 |
Once the ball's finished, we can simply
hit Escape to leave this render and stop
| | 01:42 |
it from completing the frame.
And we can see from our history that the
| | 01:50 |
ball has attained a much smoother shape,
though it has lost a little bit in volume.
| | 01:59 |
For an object like this, you can probably
get away with subdivisions of, probably no
| | 02:04 |
more than eight will give you a very
similar result We can also add an object
| | 02:12 |
ID, which we'll set to one.
And then for the floor, we'll add an
| | 02:22 |
object ID as well.
And we'll set that one to two.
| | 02:26 |
And for the box, we'll create an object
ID.
| | 02:31 |
And set that to three.
In the render settings, if I have my
| | 02:39 |
render elements set up properly with a
multi-matte, I'll get a red matte object
| | 02:45 |
for ID1, ID2 will be green, and ID3 will
be blue.
| | 02:50 |
One of the many useful things about
rendering in VRay elements.
| | 02:57 |
Next we'll add a little bit of subdivision
control for our box by going to the V-ray
| | 03:03 |
Add subdivision and add subdivision and
displacement quality.
| | 03:09 |
Now the box is not a terribly high
tessellation.
| | 03:14 |
Theory is going in and adding tessellation
in the areas of the displacement.
| | 03:20 |
This subdivision can be controlled with
these.
| | 03:25 |
Let's go ahead and set this down to 64 and
the edge length will determine the quality
| | 03:36 |
of the displacement at The cost of render
time.
| | 03:40 |
The lower the edge length, the higher
quality the displacement will be.
| | 03:44 |
Let's go ahead and set that down to 2, and
we'll go ahead and render.
| | 03:53 |
Now that we have the finished render,
we'll go ahead and toggle between the two
| | 03:59 |
different renders to see what adding a
subdivision on the box really did for us.
| | 04:05 |
This is with no subdivision, you can see a
little bit of errant specular here and
| | 04:12 |
there, and a little bit of noise down
here.
| | 04:16 |
When we go to the higher subdivision and
edge length you can see that the
| | 04:21 |
displacements are far tighter and create a
smoother geometry outcome in the render.
| | 04:31 |
In short, the lower your edge length the
cleaner your displacements at a higher
| | 04:37 |
render cost.
The higher your max subdivisions the
| | 04:42 |
smoother your result will be with
particularly low poly.
| | 04:46 |
You shouldn't really need to have very
high subdivisions, but it's useful for
| | 04:52 |
areas that have a lot of displacement.
Of course the object ID when setup
| | 04:58 |
properly with the Multimat will allow you
to separate these objects.
| | 05:02 |
Now, you will notice that the displacement
map is working perfectly even in the flat
| | 05:08 |
blue mat of this object, and these were
simply set up with singular object IDs on
| | 05:16 |
each of the objects.
(SOUND) Now since we have a lot of
| | 05:23 |
displacement on the box, it's still
selected.
| | 05:26 |
We're going to go ahead and add
displacement control to the box.
| | 05:31 |
And we'll get a very nice set of
attributes that we can use to control the
| | 05:39 |
displacement on the box.
The first attribute is the displacement amount.
| | 05:45 |
Let's go ahead and set this at a pretty
high number.
| | 05:49 |
And we'll render this little region to see
what it does for our displacements.
| | 05:55 |
This will control.
How deeply the displacement affects the gemoetry.
| | 06:02 |
And as you can see as the last bit of the
distributed rendering buckets disappear,
| | 06:09 |
that indeed the grooves have gotten much,
much deeper.
| | 06:14 |
Than the original render.
We take a look in our history.
| | 06:18 |
We'll be able to go back and forth and see
that we've created a much deeper
| | 06:25 |
displacement amount.
Let's reset that back to one.
| | 06:31 |
Now with displacement shift, you can
globally increase the amount of
| | 06:36 |
displacement, out, with a positive number,
or in, with a negative number.
| | 06:44 |
Now let's do, just a little bit of a
positive number, and render.
| | 06:50 |
And we'll see that the box got bigger
overall.
| | 06:53 |
The displacement was shifted, raising the
number up higher, essentially creating a
| | 07:01 |
slightly larger box.
Let's set that back down to zero.
| | 07:05 |
You can go negative to create a smaller
box, and finally is filtering in the
| | 07:12 |
texture this will help soften and blur the
displacement texture a little bit.
| | 07:19 |
The value is quite low and this helps
mitigate a little bit of noise in your
| | 07:25 |
displacement map.
In this video, we took a look at some of
| | 07:31 |
the extra attributes that you can add on a
per object basis with VRay, including
| | 07:37 |
Object ID, Subdivision and Subdivision
control as well as Displacement control.
| | 07:44 |
| | Collapse this transcript |
| Material IDs vs. object IDs| 00:02 |
In this video we'll be taking a look at
object ID's, and material ID's, and how
| | 00:07 |
they compare.
To create an object ID simply select the object.
| | 00:12 |
And on a shape node, in the Attribute
editor, you can create, under Attributes menu.
| | 00:18 |
Vray Object ID.
Once you create that, you'll get a new
| | 00:24 |
heading called Extra Vray Attributes
giving you the Object ID slider.
| | 00:30 |
You can use the slider or you can manually
put in your own number.
| | 00:34 |
And these numbers can be as high as you
need.
| | 00:39 |
We'll set up with one for the ball.
We'll create a object ID for the box and
| | 00:46 |
set that to two and the floor plane will
get an object ID of three.
| | 00:55 |
This is useful for creating multimats,
which allow you to set a red, green and
| | 01:03 |
blue color to different objects in the
scene.
| | 01:06 |
So, when you render, you have a mask
selection that you can use on an object
| | 01:12 |
basis inside your composite.
Now material IDs work much the same way
| | 01:20 |
except instead of being on an object basis
they are on a material basis.
| | 01:28 |
For the catapult we have a number of
different materials.
| | 01:33 |
Let's just randomly select a few of these
objects on the catapult, and graph to see
| | 01:41 |
their different materials.
Let's get all these materials together and
| | 01:46 |
we can see we've got three different
materials to work with.
| | 01:50 |
Now instead of selecting all of the
objects on their own to create individual
| | 01:57 |
object IDs for these meshes, we can easily
set them on the materials.
| | 02:06 |
So, this material which covers the leather
straps at the top of the catapult will
| | 02:13 |
have an ID of four.
To create that, we'll want to go into the
| | 02:20 |
attributes in the attribute editor for the
material and click to create a material ID.
| | 02:27 |
At the bottom of the Attribute Editor
you'll see the familiar Extra V-Ray
| | 02:31 |
Attributes heading with your Material ID
and Multimat ID.
| | 02:37 |
What you'll be setting is the Multimat ID.
That will be set to 4.
| | 02:45 |
The lighter wood contains all of these
objects.
| | 02:49 |
And that will also get a material ID and
that will be set to five, and lastly the
| | 03:00 |
darker wood, which is attached to these
objects, will get its material ID.
| | 03:09 |
And that will be set to six.
Now, in the render settings, when we take
| | 03:17 |
a look at the render elements tab.
We already have one MultiMatte setup, with
| | 03:23 |
red one, two, and three.
We're going to create one more MultiMat by
| | 03:28 |
adding it, and this multi-mat will be set
to four, five and six, to account for the
| | 03:37 |
material IDs we just created for the
catapult.
| | 03:41 |
However, because we want these to be on
the material, we must turn on Use Material IDs.
| | 03:50 |
Now, we will go ahead and render the
scene.
| | 03:56 |
When the renders complete, we have all the
objects in that scene.
| | 04:01 |
If we go on to the channels field, we can
see Multimat.
| | 04:06 |
Where any object ID that is not 1, 2 or 3
or render black as a black hold out then
| | 04:16 |
we've got the red, green and the blue
corresponding to object ID 1, 2 and 3 if
| | 04:23 |
we go to multi matte 1, which is the
second multimat we set up on the material IDs.
| | 04:30 |
We see that the three different wood
materials have been assigned to red, green
| | 04:35 |
and blue.
Mat ID one, Mat ID two and Mat ID three.
| | 04:42 |
Just be sure when you set up your multimat
to turn on used material id's for the id
| | 04:52 |
numbers that you need on your materials in
this video.
| | 04:57 |
we took a look at creating object id's as
well as creating material id's
| | 05:07 |
| | Collapse this transcript |
| Setting VROP overrides with Maya layers| 00:02 |
In this video, we're going to take a look
at VRay object properties, and how to use
| | 00:07 |
them effectively with Maya render layers.
And setting render layer overrides.
| | 00:14 |
We have a simple scene with a beach ball,
a toy catapult.
| | 00:18 |
A decorative box set on a simple checker
table, our goal is to create a render
| | 00:25 |
layer were we only see the surface of the
table with the reflections of the objects
| | 00:32 |
in it, but we don't want to see the
objects themselves.
| | 00:36 |
So I'm going to select all of the objects
in the scene from the top node of the
| | 00:42 |
catapult, the ball, the box and the
flooring, as well as our lights, and I
| | 00:52 |
will create a new layer and we'll call
this floor.
| | 00:57 |
Only.
Now in this layer, I'm going to crate v
| | 01:02 |
ray object properties for the ball, the
box, and the top node of the catapult.
| | 01:10 |
For this I'll need only a single object
property, which I can create through
| | 01:19 |
create the array.
Apply single object property to selection.
| | 01:25 |
We'll see, here's our object property.
Now before I start making any settings to
| | 01:31 |
this object property, I'm going to go
ahead and copy this layer.
| | 01:36 |
And this will be our full render, meaning
we'll render everything together so that
| | 01:44 |
we get this result.
The floor only layer will be the floor,
| | 01:51 |
with it's reflections, without any of the
objects.
| | 01:55 |
So the floor only in the object
properties, I'll open up the Attribute Editor.
| | 02:00 |
And I will need to turn off the primary
visibility for these objects for this
| | 02:06 |
layer only.
Primary visibility, I will right click on
| | 02:11 |
it and Create Layer Override.
Once I do that, I may turn off the primary
| | 02:16 |
visibility, which allows me to render
without those objects appearing in the
| | 02:23 |
render, but still appearing in the
reflections of my scene.
| | 02:27 |
Go ahead and render, and you can see the
render buckets complete that the objects
| | 02:39 |
are disappearing.
However, their shadows and their
| | 02:43 |
reflections remain on the floor.
And as the render completes, you get a
| | 02:51 |
full clean pass of the floor with
reflections and shadows from the objects
| | 02:59 |
without the objects themselves.
If we switch back to the full render,
| | 03:05 |
you'll see that the VRay object property
resets itself back to being on in the
| | 03:13 |
primary visibility.
Again, switching back to the floor only
| | 03:20 |
we'll turn off Primary Visibility due to
the render layer override.
| | 03:25 |
You can set a render layer override pretty
much for any attribute inside the VRay
| | 03:31 |
object property for any of your render
layers.
| | 03:35 |
This way you can create complex elements
for your composite that you can go in and
| | 03:42 |
control easily.
Let's quickly create one more pass or we
| | 03:48 |
copy the floor only there, and have floor
no shadows.
| | 03:56 |
And then in this case we want a clean
render of all the objects in this scene
| | 04:03 |
but without casting any shadows.
We'll go to the attribute editor for the
| | 04:09 |
VRay object properties and we will remove
the layer overwrite for primary visibility.
| | 04:16 |
So the objects will render, except this
time we'll turn off cast shadows after we
| | 04:22 |
create a render layer override.
We do however, want these objects to be a
| | 04:28 |
matte surface, meaning when they render
they will render as black hold out objects.
| | 04:37 |
I'll create a render layer override and
turn on matte surface.
| | 04:41 |
Now with these settings, these objects
under this object property will render
| | 04:47 |
black in the RGB, but they will still give
an alpha of one.
| | 04:53 |
I'll set a render layer override for the
alpha contribution and set that to
| | 04:59 |
negative one so that there is a black hole
within the alpha for these objects as well.
| | 05:05 |
And I will go and render this new layer
quickly, and we can see that our
| | 05:14 |
foreground objects are all black as hold
out mattes and then the, the alpha channel
| | 05:22 |
will also have those areas black as well.
In this video, we took a look at how to
| | 05:29 |
create V-Ray object properties for objects
and how to create render layer overrides
| | 05:36 |
with Maya's powerful Render Layer system.
| | 05:39 |
| | Collapse this transcript |
|
|
6. V-Ray Render ElementsCreating passes and elements| 00:02 |
In this video we'll be taking a look at
creating passes and render elements in v-ray.
| | 00:08 |
We've a scene setup with multiple objects
whether for plane.
| | 00:12 |
We have a rectangle light, we have a dome
light.
| | 00:16 |
And our render settings are set to be.
In two point two gamma with linear
| | 00:24 |
workflow enabled in each of the texture
maps coming into the scene.
| | 00:31 |
We'll go to our render camera, which will
give us our framing, and we'll take a look
| | 00:37 |
at how to output different layers.
Of course, with my, you can output
| | 00:43 |
different render layers, which makes it
terrifically easy to set up whole objects
| | 00:50 |
with their own VRay render properties that
allow you to change and set overrides.
| | 00:57 |
For example, I can create a VRay object
property which allows me access to many of
| | 01:06 |
the features in the VRay property,
including turning things on and off for
| | 01:11 |
that object.
And setting render layer over rides is
| | 01:19 |
quite easy once you set up render layers
themselves.
| | 01:23 |
So if we go ahead and copy the master
layer, and we'll call this ATY for beauty,
| | 01:31 |
go ahead and turn off the master layer.
Copy the beauty layer, and we'll call this
| | 01:37 |
Wagon Pass, I should say Wagon Less Pass,
we'll want to turn off the wagon in this layer.
| | 01:42 |
So simply we'll go to the VRay object
properties assigned to the wagon, and in
| | 01:47 |
the attribute editor turn off its primary
visibility after we set a render layer
| | 01:56 |
override on it.
Now when we render this we'll be able to
| | 02:02 |
output different render layers which will
turn off the wagon.
| | 02:08 |
Now render elements within VRay give you
access to the different components that
| | 02:13 |
make up the beauty render of your scene.
Here we're taking a look at Spot 3D.com
| | 02:20 |
and its valuable VRay resource.
You can see the different types of
| | 02:25 |
elements that can output, and all of these
elements come together to form the beauty
| | 02:30 |
pass, the RGB beauty.
Let's go ahead and switch to our Beauty
| | 02:35 |
Render layer and bring open the Render
Settings dialogue.
| | 02:39 |
And here, we'll make sure we're on VRay.
We'll switch over to the render elements.
| | 02:46 |
Here we have an entire assortment of
different elements that we can render.
| | 02:51 |
For instance, I am looking for diffuse,
and I will double click on the elements
| | 02:58 |
that I wish to have.
Let's say for example I have added
| | 03:05 |
acoustics but I don't need acoustics
anymore.
| | 03:07 |
I can click Remove to remove that render
element.
| | 03:11 |
Clicking on any other render elements will
give you access to their attributes in the
| | 03:16 |
attribute editor, which is very useful for
elements such as Z depth.
| | 03:20 |
With Z depth you have a few attributes
that you can run to allow you to set the
| | 03:28 |
depth of your scene.
Since we don't have a very deep scene,
| | 03:33 |
let's go ahead and set ours to 100.
Go ahead and add a few of the raw passes
| | 03:40 |
such as Raw GI, Raw Light, and Raw Shadow.
We'll look at Raw Reflection as well.
| | 03:48 |
Now I'll want to make sure that we are
using the V-Ray VFB, because that will
| | 03:52 |
give us access to the elements that we
render.
| | 03:58 |
Once I do a render, the scene looks like
this.
| | 04:03 |
I have not enabled any of the render
elements, we will go ahead and render the
| | 04:07 |
scene and we'll see our distributed render
buckets start take hold.
| | 04:12 |
After a few seconds, and as our render is
continuing, we're actually able to go in
| | 04:19 |
and take a look any of the render elements
as they're going on.
| | 04:22 |
For example, the diffuse pass which gives
you a flat for all of the objects in the scene.
| | 04:31 |
Reflection gives you a reflection pass
that is multiplied against the diffuse
| | 04:36 |
color which means that the reflections are
somewhat mitigated.
| | 04:40 |
Refraction, there is none in the scene, so
it'll be all black.
| | 04:46 |
Here's the shadow pass to give you all the
shadows, specular pass to show you all the
| | 04:52 |
specular highlights in the scene.
Take a look at the lighting pass.
| | 04:57 |
This gives you a lit version, taking into
account all of the lights in the scene.
| | 05:03 |
GI pass, there is no GI in the scene so
that will be all black, the ZDepth pass of
| | 05:10 |
course will give you depth and the raw GI
is black.
| | 05:18 |
The raw light will be just a pure lighting
pass, raw shadow will be a pure shadow
| | 05:26 |
pass that gives you shadows in white
against black.
| | 05:30 |
Where there is no shadow and raw
reflection will give you an unmitigated
| | 05:36 |
reflection pass that is not multiplied by
the diffuse of the scene.
| | 05:42 |
All of these elements will be composited
together by VRay to give you the final beauty.
| | 05:48 |
However, having these elements will allow
you to control them yourself in creating
| | 05:54 |
your own composite.
In this video we talked about how to
| | 06:00 |
create, Render Elements, within V Ray by
using the Render Settings dialog, and
| | 06:07 |
using the Render Elements tab.
We also briefly spoke about how to output,
| | 06:13 |
Maya Render layers, and how to set
overrides when dealing with theory object properties.
| | 06:19 |
| | Collapse this transcript |
| Diffuse, reflection, and refraction| 00:02 |
In this video, we'll be taking a look at
the render elements in V-Ray for diffuse,
| | 00:07 |
reflection and refraction.
I've added a sphere to our scene.
| | 00:12 |
And we'll be adding this V-Ray material to
it.
| | 00:17 |
And, of course, to make it refractive,
I'll add a refractive color to make it
| | 00:21 |
very glass-like.
And in the Render settings, I'll be adding
| | 00:27 |
a Raw Refraction pass, as well as a
Regular Refraction pass so we can see the
| | 00:34 |
difference between the two.
Now, we already have a raw reflection, as
| | 00:40 |
well as a regular reflection.
And of course, a Diffuse pass already
| | 00:46 |
built into our list of elements.
We'll go ahead and render into the V-Ray
| | 00:53 |
frame buffer.
And you can see all of the distributed
| | 00:58 |
nodes kicking off.
Extra nodes provided with the HP Z220.
| | 01:04 |
Quite a hefty machine.
Seems to be tearing through the buckets
| | 01:08 |
pretty fast.
We've also turned on GI, and this is the
| | 01:12 |
GI calculation taking place right now.
And as the frame begins to render off of
| | 01:20 |
the GI pass, we can see that our glass
ball, is indeed quite refractive.
| | 01:28 |
And here is our final frame we can see a
very nice refractive glass along with the
| | 01:35 |
prerequisite elements that we set up in
the Render settings, we can access them
| | 01:40 |
right through here.
And we've got our raw light, our raw
| | 01:46 |
shadow but more effectively, we will take
a look at our raw reflection and we will
| | 01:52 |
take a look at our raw refraction which is
the ball, and we will take a look at the
| | 01:59 |
regular refraction.
And there's not much difference between
| | 02:07 |
the raw refraction and the refraction
itself.
| | 02:13 |
But, if we take a look at the raw
reflection, you'll see there's no
| | 02:20 |
reflection on this glass ball.
We'll go ahead and add that in a moment.
| | 02:24 |
But we've got a very strong reflection, on
all of these objects.
| | 02:29 |
If we look at the regular reflection,
element, you'll see that a lot of that is mitigated.
| | 02:36 |
Meaning that the surface isn't 100%
reflective, like it is in the raw reflection.
| | 02:44 |
The idea is we have to take the raw
reflection and multiply that in composite
| | 02:50 |
to get the regular surface reflection.
And we need to multiply that with an
| | 02:55 |
element called the Reflection filter.
We'll go ahead and add that, and also on
| | 03:01 |
the glass ball, we'll select it's material
and we'll make it a little bit more fun by
| | 03:08 |
adding some reflection to it and also
turning it into a green beer bottle glass
| | 03:14 |
by adding some color to the fog color,
giving the glass just a little bit of a color.
| | 03:24 |
Let's turn down the refraction ever so
slightly and we'll go head and render into
| | 03:33 |
the V-Ray frame buffer and take a look at
how these passes come out.
| | 03:40 |
And as our render finishes, we can see a
little bit of that green in our new glass
| | 03:47 |
and a little bit of fog.
As a matter of fact our raw refraction and
| | 03:53 |
our refraction which are the same are a
little bit green and foggy.
| | 04:02 |
Taking a look at the reflection.
We have the multiplied reflection.
| | 04:09 |
Let's take a look at the raw reflection,
see it's much brighter and what's
| | 04:14 |
happening is the raw reflection is being
multiplied by the reflection filter, and
| | 04:22 |
this winds up being an alpha channel of
sorts.
| | 04:26 |
Acting on the raw reflection to give you
the surface reflections for your scene.
| | 04:35 |
Let's go ahead and take a look at this
After Effects.
| | 04:41 |
Here we have all of our passes output,
we'll import our reflection and refraction
| | 04:47 |
passes along with the diffuse into After
Effects.
| | 04:52 |
Now, taking a look at the beauty pass in
After Effects you notice that it seems a
| | 04:57 |
lot darker than what we rendered before,
which is seen here.
| | 05:02 |
But keep in mind we're in linear space,
which means we are looking at this in
| | 05:08 |
linear, so we have to convert to SRGB to
get a proper view.
| | 05:14 |
So we have to put a gamma correction on
our frames.
| | 05:19 |
And since I've rendered 16 bit tiff, that
is quite easy by adding an Exposure Effect
| | 05:26 |
found in Color Correction found in After
Effects.
| | 05:29 |
And setting the Gamma Correction to 2.2.
This will give us exactly.
| | 05:35 |
The frame that we see in sRGB mode through
V-Ray and Maya in After Effects once we
| | 05:44 |
have that exposure we need to add it to
all the other layers, with that 2.20
| | 05:54 |
copied and pasted Exposure so that we can
see them.
| | 05:58 |
Now we'll take a look at the diffuse pass
first.
| | 06:04 |
That gives us flat colors.
You can add on top of this to create your beauty.
| | 06:11 |
And the first thing you want to do is you
want to multiply by.
| | 06:16 |
The raw light.
So I'm going to take the Diffuse, and put
| | 06:19 |
it below the Raw light.
And I will change Raw light to a Multiply.
| | 06:26 |
(SOUND) This way, this gives us something
very similar to our lighting pass, which
| | 06:34 |
is the first step in going back to our
beauty with our comp.
| | 06:40 |
This of course is a larger topic that
we'll discuss in a later video.
| | 06:45 |
Now similarly, we'll do this with our
reflection passes as well.
| | 06:53 |
Now here I have the reflection pass which
is quite dark, but keep in mind you have
| | 06:59 |
to add your gamma.
Since you're rendering in linear.
| | 07:05 |
And now that's the reflection pass that
we've seen in the V-Ray buffer.
| | 07:09 |
We'll have to make sure to copy and paste
the gamma correction to the others as well.
| | 07:20 |
Take a look at the Reflection filter.
This will act as an alpha channel of
| | 07:24 |
sorts, that must be multiplied on top of
the raw reflection to give you the surface
| | 07:30 |
reflection, which is indicated by this
pass.
| | 07:35 |
So we'll set the transfer mode to
multiply.
| | 07:39 |
And this gives us basically the same as
our reflective pass.
| | 07:45 |
Now, what is the purpose of rendering a
Raw reflection as well as a reflection
| | 07:51 |
filter if your reflection element contains
what you need for resurface reflections
| | 07:59 |
anyway and this may be answered by the
needs of your job.
| | 08:04 |
If you find that you'll need ultimate
control over your reflection passes,
| | 08:09 |
you'll want to break out your reflection
into the filter and the raw reflection to
| | 08:14 |
have the utmost in control over your
reflection.
| | 08:18 |
However, if you don't need that much
control over your reflection a simple
| | 08:24 |
reflection element will suffice.
In this video we took a look at creating
| | 08:30 |
and using the Diffuse pass as well as
different reflection passes including the
| | 08:36 |
Raw reflection and the Regular reflection.
As well as the Reflection filter, we took
| | 08:43 |
a look at the refraction passes as well.
| | 08:46 |
| | Collapse this transcript |
| Lighting and GI| 00:02 |
In this video we'll be taking a look at
the different lighting passes as well as
| | 00:07 |
the GI pass coming out of VRay.
These elements are set up through the
| | 00:14 |
render settings, are found here is GI,
here is lighting as well as some of the
| | 00:20 |
raw settings if you want extra control.
You'll be able to find the raw GI and the
| | 00:26 |
raw light passes.
We've already rendered, and of course, we
| | 00:32 |
can see the GI and the raw GI are really
quite different in composite.
| | 00:41 |
Using After Effects, we've brought in the
diffuse pass, and of course, we've added
| | 00:47 |
an exposure node to give us a gamma of
2.2.
| | 00:51 |
We'll be adding a raw light on top by
using a multiply.
| | 01:00 |
This also has the exposure node for 2.2
gamma.
| | 01:04 |
The raw light multiplies on top of the
diffuse to give you the lighting pass.
| | 01:10 |
So you can see here, they're pretty much
similar, except for maybe some of these
| | 01:14 |
mat lines.
And you can see that the overall
| | 01:18 |
luminance, the overall brightness of the
renders, are the same once you multiply
| | 01:24 |
the raw light over the diffuse.
The GI adds on top of this result to give
| | 01:31 |
you something close to the beauty.
Here is the beauty with all the
| | 01:37 |
spectacular reflections and refractions,
then what we are doing with the GI are
| | 01:42 |
adding the GI of top light and diffuse,
except this time there is no gamma
| | 01:48 |
correction necessary on the GI pass, a
simple addition brings up our value.
| | 01:54 |
We turn both of these off.
We'll see that the GI is dark, and that's
| | 01:59 |
quite okay because it's only adding a
little bit to the final result.
| | 02:04 |
If we go to our beauty past, we can see
that our color, our brightness and
| | 02:11 |
luminance is exactly where we want it.
Again, we have the diffuse multiplied by
| | 02:19 |
the raw light with an addition of the GI
without an exposure, without the gamma
| | 02:26 |
correction, will give us the color and the
brightness without of course the
| | 02:33 |
refractions, reflections, and the
speculum.
| | 02:37 |
The question is why bother with a raw
light and a diffuse light if you are
| | 02:43 |
getting everything out of the lighting
pass?
| | 02:47 |
Well again this is purely for extra
control, we can easily get closer to the
| | 02:53 |
beauty by using just the lighting and the
GI passes by themselves.
| | 02:58 |
Here we'll go ahead and get rid of, turn
off the raw light and the diffuse, and
| | 03:03 |
bring our lighting under our GI.
Once we turn on the lighting, we have the
| | 03:10 |
lighting pass with the GI added on top.
The lighting pass does have an exposure,
| | 03:18 |
Gamma correction of 2.2, the GI does not.
The GI adds on top of the lighting pass
| | 03:25 |
and gets you the brightness and color and
luminance of your beauty without the
| | 03:33 |
specular reflections and refractions.
Those you would add to return your comp
| | 03:40 |
back to beauty.
In this video, we took a look at how to
| | 03:45 |
take the diffuse pass and add your raw
lighting to create your lighting pass, and
| | 03:51 |
also to add your GI to create almost your
beauty pass without your spec, reflection,
| | 03:59 |
and refraction.
| | 04:03 |
| | Collapse this transcript |
| Shadows| 00:02 |
In this video we'll be taking a look at
some of the shadow elements coming out of V-Ray.
| | 00:09 |
We can see the diffuse pass for a render
here, and we'll take a look at the raw
| | 00:15 |
light pass.
Baking into these passes for lighting and
| | 00:21 |
V-Ray is the shadow it is calculated
within the lighting pass so it is not a
| | 00:29 |
separate pass.
When you take the raw light and you
| | 00:34 |
multiply it on top of the diffuse, you get
your lighting which is pretty much the
| | 00:41 |
lighting pass.
Let's go ahead and leave the raw light and
| | 00:45 |
the diffuse out of it, and we'll start
right here with the lighting.
| | 00:49 |
Of course we have the 2.2 gamma conversion
on all of these as well.
| | 00:56 |
We'll ad the GI pass for the little bump
and light that we get.
| | 01:01 |
Here's the beauty turning on and off.
Obviously, this has reflection, refraction
| | 01:06 |
and specular added on to it, but the
luminance and brightness of the scene is
| | 01:13 |
within our total lighting.
The shadow pass generated out of the array
| | 01:20 |
looks like this, which looks like an
inverted shadow.
| | 01:24 |
It may seem a little strange, but if you
take that shadow pass and you put it on as
| | 01:31 |
a screen operation, you're effectively
erasing the shadows out of your total
| | 01:38 |
lighting pass.
You can see here, I'm taking the shadow
| | 01:43 |
out by screening the shadow pass on top.
This allows you to set the relative
| | 01:51 |
opacity of that shadow layer to let you
control how much shadow's in your scene.
| | 01:58 |
With no shadow pass screen on top, we're
back to our total lighting, but I can
| | 02:06 |
slowly increase the amount of opacity of
that pass to lighten my shadows in the
| | 02:13 |
scene to the point where I can remove them
entirely.
| | 02:21 |
The raw shadow pass looks like this.
It's a black and white version of the
| | 02:28 |
regular shadow pass that we just saw but
it's not mitigated by any color.
| | 02:36 |
If you choose to take the shadow and
screen it to remove your shadows, you can
| | 02:43 |
add the raw shadow as a multiply, and
you'll get this weird effect.
| | 02:50 |
What you have to do first with the raw
shadow is invert using the invert in after effects.
| | 03:00 |
By inverting it, you're effectively taking
it to white on black as we can see here.
| | 03:06 |
Here's the original.
Here's an inverted.
| | 03:11 |
Now we can take that pass and multiply it
on top of our total lighting to give us
| | 03:18 |
our own shadows which through opacity you
can again control.
| | 03:23 |
This however is devoid of any color that
you once saw.
| | 03:30 |
In the regular shadow pass, leaving the
shadow pass off you can add the raw shadow
| | 03:39 |
on top of your existing lighting pass and
any amount to make your shadows denser.
| | 03:51 |
These passes are found in the render
settings under the elements tab.
| | 03:56 |
In matte shadow we have raw shadow and we
have regular shadow.
| | 04:04 |
All three of which have been added to our
current render where we can see shadow,
| | 04:10 |
and raw shadow.
Now the matte shadow is a harsher version
| | 04:23 |
of the raw shadow, and can be used as a
matte, illuminance matte, to control the
| | 04:30 |
density of your shadow.
Or it can serve as a denser version in
| | 04:37 |
composite of the raw shadow pass that
we're currently using to multiply on top
| | 04:42 |
of our lighting to make our shadows more
dense.
| | 04:47 |
In this video we took a look at the
different types of shadow passes that are
| | 04:52 |
being output and the sort of work you can
do with them to change how your shadows
| | 04:59 |
are in your scene.
| | 05:01 |
| | Collapse this transcript |
| Ambient occlusion| 00:02 |
In this video, we'll be taking a look at
creating an Ambient Occlusion pass for our scene.
| | 00:07 |
Now, you may have noticed in the Elements
tab in the Render settings, there is no
| | 00:14 |
Ambient Occlusion element that you can
choose.
| | 00:19 |
You'll have to go through the Extra Tex
element, which will give you these attributes.
| | 00:27 |
It'll allow you to attach a single texture
node that will take the entire render and
| | 00:36 |
assign itself to all the objects in the
scene as a pass-through texture.
| | 00:42 |
This would be similar to taking a surface
shader and assigning it to everything in
| | 00:46 |
the scene and rendering that.
Now, for an Ambient Occlusion, you'll want
| | 00:52 |
to use the V-Ray dirt shader which is
found Right here, V-Ray Dirt and this Dirt
| | 01:05 |
map will essentially give you an Ambient
Occlusion.
| | 01:12 |
You don't have to assign it to anything,
you don't have to put it on a surface
| | 01:16 |
shader and create a render layer override.
The Extra Texture element will take care
| | 01:22 |
of it for you once you connect it.
So we'll select the extra text in the
| | 01:28 |
render settings and we will middle mouse
button, drag the V-Ray Dirt over to the
| | 01:34 |
texture attribute for the Extra Text
element.
| | 01:38 |
You'll want to put in a file name suffix,
for example A, O, or N bach.
| | 01:47 |
To add that to the file name of the
resulting render, or channel.
| | 01:53 |
It just makes it a little bit easier then
saying V-Ray Dirt.
| | 01:57 |
You can also see N bach which will let you
know that's the pass that you've got.
| | 02:05 |
Make sure you turn on, or keep on,
consider for anti-aliasing.
| | 02:08 |
Otherwise, the texture that you've
assigned to this render will not anti-alias.
| | 02:17 |
Let's take a look at a render at the
default setting for that Dirt shader.
| | 02:23 |
As the render begins after the GI
calculation you will be able to go in and
| | 02:29 |
select the extra text there it Ambocc
V-Ray Dirt begin to see your Ambient
| | 02:36 |
Occlusion render start to take shape.
What's good about this process is that any
| | 02:43 |
displacements such as you can see on this
box that is about to finish, are actually
| | 02:50 |
held intact.
And as the render finishes you can see
| | 02:58 |
some great detail in the crevices and some
of the cracks and gaps in the models that
| | 03:05 |
will add a nice sense of contact and
density to your composition.
| | 03:15 |
You would use this pass in conjuction with
the Alpha Channel as a multiplier on top
| | 03:21 |
of your comp.
Let's take a look at that in After Effects.
| | 03:28 |
Now, here we have the V-Ray Dirt, the
Ambient Occlusion pass in After Effects.
| | 03:34 |
I'm going to go ahead and add a, an
exposure so I can correct the gamma
| | 03:39 |
correction to 2.2 to lighten up the
density of that Ambient Occlusion.
| | 03:52 |
We'll go head and set this to a multiply
operation and we can see an added density
| | 03:59 |
to our scene.
Maybe a little bit too much, you'll want
| | 04:04 |
to back off on the Ambient Occlusion a
little bit, perhaps around 40 percent will
| | 04:09 |
just add a little bit more contact in some
of these areas.
| | 04:15 |
Now overall, the ambient inclusion will
give you great bits of detail and density
| | 04:28 |
And this is multiplied directly on top of
the Beauty render.
| | 04:32 |
And it gives it a little bit more weight,
particularly in these areas.
| | 04:38 |
Now, you may notice a little bit of a
fringing.
| | 04:44 |
That's because if we turn all the way up,
you can see some fringing, that's because
| | 04:51 |
of the Alpha channel.
And what I will do is I will use the Alpha
| | 04:55 |
Channel, which looks like this and I will
go ahead and cut the Ambient Occlusion
| | 05:02 |
with the luminance or the Alpha from the
Alpha Channel and that'll help mitigate
| | 05:09 |
some of those fringes.
Lets take a full look at the Ambient
| | 05:17 |
Occlusion pass.
And let's take a look at how to get,
| | 05:23 |
overall the render to be much brighter and
only have a little bit of contact at the
| | 05:31 |
smallest areas and crevices.
To do that, we'll go ahead and go back
| | 05:37 |
into Maya and we'll need to select the
V-Ray Dirt, and take a look at its attributes.
| | 05:47 |
The number one way to control it is, of
course, by adjusting the color.
| | 05:54 |
So that your densities may not need to be
so dark, we can always add your own tinge
| | 06:02 |
of color to it.
To control the tightness or the travel of
| | 06:08 |
the darkness, you'll want to increase or
decrease your radius.
| | 06:13 |
We're at a default radius of 10, we'll
change that to 1.
| | 06:16 |
We'll go ahead and we will save this frame
into our Render History buffer.
| | 06:24 |
There it is.
And then we'll go ahead and re-render with
| | 06:30 |
a radius of 1.
You can start to see that only the contact
| | 06:39 |
areas and some of the closest and smallest
gaps are being shown with the Ambient
| | 06:46 |
Occlusion where everything else is turning
to a flat white.
| | 06:52 |
This will create an Ambient Occlusion pass
that will be more of a Contact Shadow
| | 06:58 |
pass, more than anything, and also a Fine
Detail pass.
| | 07:02 |
Once this finishes, we'll go ahead and put
it into After Effects, and take a look at
| | 07:08 |
the difference between these two.
Here in After Effects we'll go ahead and
| | 07:13 |
put the, the new ambient inclusion on
here.
| | 07:16 |
We'll go ahead and add our 2.2 gamma
correction to lighten it up a little bit.
| | 07:23 |
And we can take a quick look at how this
pass.
| | 07:29 |
We'll multiply on top of our beauty.
And again, you'll want to take your alpha
| | 07:38 |
and cut the V-Ray Dirt.
This gives us a more specific contact pass.
| | 07:51 |
For our objects without darkening any of
the surfaces that may not need the
| | 07:57 |
darkening from the larger radius that we
created earlier.
| | 08:02 |
The difference between the two passes, you
can see right here, quite evident.
| | 08:10 |
You can easily stack them if you desire to
make more of a dense contact, but you
| | 08:17 |
still want the gradual fall off of a
larger radius.
| | 08:20 |
You can go ahead and stack that on top.
In this video we took a look at how the
| | 08:27 |
V-Ray Ambient Occlusion is created by
using the extra-text element alongside the
| | 08:36 |
V-Ray Dirt shader.
| | 08:39 |
| | Collapse this transcript |
| The Multi Matte render element| 00:00 |
In this video, we'll be taking a look at
how to add multi-mattes to our VRay Render.
| | 00:07 |
What a multi-matte will allow me to do is
to take any of my geometry, and allow me
| | 00:14 |
control over that geometry in composite,
by giving me a matte that will keep each
| | 00:21 |
piece as a red, a green, or a blue matte.
To do so, I will first need to make sure
| | 00:30 |
that my object has an Object ID.
Which is an attribute that can be added
| | 00:37 |
through the Objects Attribute Editor.
Here, I've already created an Object ID,
| | 00:42 |
you can see that it's already checked on.
And if I take a look in the Shapes
| | 00:47 |
Attribute Editor, I'll see there's an
extra VRray attributes and roll out.
| | 00:53 |
And in here is an Object ID slider that
has the object id of of the beach fall set
| | 00:59 |
to 1.
Take a look at the top node of our
| | 01:04 |
catapult here, and we'll see that there is
also an object ID, this one's set to 6.
| | 01:13 |
Indeed, all of the objects in the scene
have an object ID, except for the glass
| | 01:20 |
ball that we've created.
We'll go ahead and set up that Object ID.
| | 01:28 |
Now, all the other objects have object
id's of 1 through 6.
| | 01:35 |
So, we will add object ID for the ball,
for the glass ball to be 7.
| | 01:44 |
Multi-mattes can be set up through Object
IDs as we're doing now.
| | 01:48 |
But they can also be set up through
material IDs.
| | 01:53 |
Whichever way you choose to work, either
way, that is just the first step by
| | 01:58 |
setting the IDs.
The next step, is to go into the Render
| | 02:03 |
settings and to create a multi-matte
render element in the Render Elements tab.
| | 02:12 |
I double click, I will get a multi-matte
and in the attributes for the multi-matte
| | 02:20 |
I want to set my ID numbers for my seven
different objects.
| | 02:28 |
Object ID 1, will render red, object 2
green, object 3 blue in this multi-matte element.
| | 02:39 |
We have more than three, so we'll have to
create more than one multi matte, go ahead
| | 02:45 |
and set up the second multi matte so this
start with 4, we'll go to 5 Will go to six.
| | 02:52 |
And lastly we'll setup one more multi-map
that will be for the glass ball which is
| | 03:00 |
object ID seven.
If you are using material IDs instead of
| | 03:07 |
object IDs make sure you turn on "use
material IDs".
| | 03:12 |
In the multimatte element itself.
Since we're only using Object IDs, we
| | 03:16 |
don't have to use that check box.
Let's go ahead and render our scene with
| | 03:25 |
the new multimattes added to our elements.
And as our frame finishes, we will be able
| | 03:35 |
to go into our elements list and see that
we have three multi-mattes set up for all
| | 03:46 |
seven of our objects.
And you'll notice when an object ID is not
| | 03:53 |
assigned to a red, green, or blue channel,
it will become a black hold out.
| | 04:02 |
This way you can control your objects
pretty easily in composite.
| | 04:09 |
In AfterEffects, for example, you can use
the multi mattes to control let's say the
| | 04:13 |
color of the beach ball.
This would be the red channel in the first
| | 04:19 |
multi matte.
I'll go ahead and pull the first multi
| | 04:23 |
matte in and we will Go ahead, and turn it
off.
| | 04:29 |
I'm going to make a copy of my beauty
render, here.
| | 04:33 |
And I'm going to isolate the ball, by
using the Set Matte effect.
| | 04:43 |
What the set matte effect will allow me to
do is to set the alpha, for that layer to
| | 04:51 |
be whatever channel from whatever layer we
need.
| | 04:56 |
So, we'll go ahead and we'll take map from
layer multi-matte, and we'll set that to
| | 05:03 |
be the red channel.
So now here I can go in and add any sort
| | 05:09 |
of effect.
Let's just do a simple color level.
| | 05:14 |
Or I can begin to change the brightness,
and density of the ball, and the contrast
| | 05:26 |
levels very easily without affecting the
rest of the scene.
| | 05:32 |
Let's go ahead and take a look at
lightening up the little toy catapult,
| | 05:38 |
which will be the blue channel in multi
matte one.
| | 05:43 |
Let's go ahead and make another copy of
our beauty layer, and bring in multi-matte
| | 05:51 |
one that is blue.
We will go ahead and turn it off and we
| | 05:56 |
will go into our new copy, and again add
in a set matte effect we will select
| | 06:08 |
ultimate 1, and we will want the blue
channel.
| | 06:18 |
Now, we can go in and add our effect,
let's do a color correction with another levels.
| | 06:26 |
And here, we can brighten up the overall
the catapult by itself.
| | 06:34 |
Having used the blue channel from the
multi-matte that is output through Maya.
| | 06:43 |
Using fusion or nuke, you can use these
multi-mattes quite effectively as well, in
| | 06:50 |
a very similar fashion as we just did in
After Effects.
| | 06:55 |
In this video, we took at how to create
multi-mattes to create different mattes
| | 07:02 |
for the different objects in our scene.
| | 07:05 |
| | Collapse this transcript |
|
|
7. Rendering and OptimizingCameras| 00:02 |
In this video we'll be taking a look at
Maya cameras and Vray.
| | 00:07 |
We have a scene set up here with a 22mm
lens on a regular Maya camera, which gives
| | 00:13 |
us a result like this.
Now the sampling is fairly low, set up in
| | 00:18 |
the render settings.
But in the render settings under the VRay
| | 00:23 |
tab, there's a heading called Camera.
Here you can change the type of camera
| | 00:29 |
that we've got set up.
Now this is not to be confused with the
| | 00:34 |
VRay physical Camera, which we are not
covering in this video.
| | 00:38 |
We're just dealing with the regular Maya
camera, not the VRay physical.
| | 00:44 |
However, in the render settings, you can
change the camera type and there's quite a
| | 00:50 |
few listed here.
For example, switching it to a spherical
| | 00:54 |
camera will yield a warped result because
the lens elements in the camera are spherical.
| | 01:04 |
Now, if we change to a cylindrical type
camera we get this result, a box is
| | 01:13 |
actually very interesting because it
basically unwraps the scene into a Layout
| | 01:20 |
of six different cameras, that gives you
an orthogonal view, of each side of your scene.
| | 01:27 |
This is excellent for baking out,
irradiance maps, for example, that give
| | 01:32 |
you, the entire scene, in one camera,
which you can then use to read into your
| | 01:39 |
GI solution, using a regular camera to do
the actual render at that point.
| | 01:47 |
We've got a fish eye, which gives you this
result.
| | 01:52 |
Which essentially takes the entire scene
and projects it onto a fully reflective
| | 01:58 |
chrome ball.
And that's the result you get with the
| | 02:01 |
fish eye.
With an orthogona,l we get tiny tiny
| | 02:06 |
render like that and the pinhole camera
ends up pretty much being the same as your
| | 02:14 |
standard camera, take a look between the
pinhole render and the standard render.
| | 02:20 |
There is really no difference.
Matter of fact these standard camera is
| | 02:24 |
really a pin hole.
Also in the camera settings and the render
| | 02:29 |
globals we have depth of field which
allows you to render with depth of field.
| | 02:36 |
Here you set your focus distance to see
how far you can focus into the scene.
| | 02:43 |
The aperture size, is the size of the pin
hole in the camera, that opens up when you
| | 02:50 |
expose your picture.
So we'll set our focus distance to
| | 02:55 |
somewhere around 12.
Matter of fact, if you take a look in one
| | 03:01 |
of your perspective, notice you can create
a distance tool from about where your
| | 03:10 |
camera's going to be, to about where you
want your focal distance to be at about a
| | 03:17 |
reading of 12.
So let's go ahead and put that in.
| | 03:22 |
We got that already set, and we'll go
ahead and render and the result of this
| | 03:30 |
render gives you a very small depth of
focus here.
| | 03:35 |
With a whole lot of blur leading up to
that distance of about 12.
| | 03:42 |
With our depth of field only showing a
little bit of focus in our scene, what we
| | 03:48 |
can do is reduce the size of the aperture.
So let's from an aperture of 5 to an
| | 03:55 |
aperture of 2.
And we'll go ahead and render this result
| | 03:59 |
to see what the depth of field becomes.
We should see a little bit more of the
| | 04:04 |
center of the scene.
And indeed with the final render that we
| | 04:10 |
see here, compared to an aperture of 5, an
aperture of 2 gives you more of the scene
| | 04:18 |
in focus than the larger aperture.
Of course, you want to play with your
| | 04:24 |
focal distance and your aperture together
to get the right amount of depth of field
| | 04:29 |
from your camera.
And the blurrier that your depth of field
| | 04:34 |
gets the higher your sample settings have
to go for your min and max to get you a
| | 04:40 |
nice clean render.
Depth of field is quite nice when rendered
| | 04:45 |
in camera.
It looks great, however your subdivisions
| | 04:47 |
do have to go quite high.
It's preferable if you can to generate a z
| | 04:53 |
depth pass and use a post lens blur
effect.
| | 04:57 |
However, quite honestly, the depth of the
field from the V-Ray render will look
| | 05:04 |
nicer than opposed blur if you've got the
time to spare in your renders.
| | 05:10 |
Now, also in the camera attributes under
the V-Ray tab, you are able to turn on
| | 05:16 |
your motion blur.
And here you've got a number of settings
| | 05:21 |
to increase your motion blur by increasing
the duration or decreasing the amount of
| | 05:26 |
blur by setting the duration to the number
of frames you want to blur by.
| | 05:33 |
When you have objects that are spinning in
frame, you'll need to turn up your
| | 05:38 |
geometry samples to get a nice, smooth
blur.
| | 05:44 |
For instance, in this scene we have a
little bit of animation on the catapult's
| | 05:49 |
arm, as it deforms down.
With motion blur, we'll want to get a good
| | 05:55 |
smooth (SOUND) blur.
Let's go ahead and take a closer look at
| | 06:02 |
our catapult and we'll go ahead and render
a frame from this vantage point.
| | 06:09 |
Now we'll put the arm halfway through it's
blur at frame three.
| | 06:15 |
We'll make sure that motion blur is turned
on.
| | 06:17 |
We have a geometry sample of 2.
And we'll go ahead and render our scene.
| | 06:26 |
When our render is done, you can see that
the motion blur on the end of the catapult
| | 06:32 |
has some pretty straight streaks.
But if we increase the number of geometry
| | 06:38 |
samples, let's say 2, let's go to 6.
8 is a little bit high.
| | 06:43 |
We will see a better curvature from the
movement of that arm.
| | 06:49 |
We put this into a buffer we will go head
and re-render, with the render finished,
| | 06:55 |
you can see when we compare the two that
the motion blur is actually much, much
| | 07:02 |
nicer and gives you a better solution with
the higher geometry samples.
| | 07:10 |
Now, these samples are especially good for
detail with curvature or with radially
| | 07:18 |
moving objects, it gives you a much nicer
solution.
| | 07:23 |
Subdivisions, of course, the higher you
go, the more of this kind of noise you mitigate.
| | 07:29 |
This of course is also controlled by the
overall sampling.
| | 07:34 |
In the min max subdivisions and the
interval center will allow you to offset
| | 07:40 |
where the original part of the motion blur
begins and where it ends.
| | 07:45 |
We'll change our interval center and we'll
do a region render of just this area to
| | 07:51 |
take a look at how changing the interval
center, we'll change our motion blur solution.
| | 07:57 |
Now here, with an interval center close to
zero, it brings the catapult into less of
| | 08:04 |
a blur, because it puts the center of the
blur further down to the bottom of that motion.
| | 08:14 |
And that pretty much sums up some of the
extra camera attributes we have in the
| | 08:18 |
render settings dialogue.
So in this video we take a look at some of
| | 08:24 |
the camera settings that you have access
to in the render globals.
| | 08:32 |
| | Collapse this transcript |
| Using the V-Ray Frame Buffer and history| 00:02 |
In this video, we will be taking a look at
the V-Ray frame buffer and the history
| | 00:06 |
that goes along with it.
If you have been using Maya for sometime,
| | 00:10 |
you are already familiar with the Render
view.
| | 00:13 |
Seeing your renders, show up in the render
view, and being able to keep them in your
| | 00:19 |
image buffer And of course remove them
when you're done.
| | 00:24 |
The V-Ray Frame Buffer has a number of
advantages over the regular Maya Render View.
| | 00:30 |
You'll want to enable it in the Render
Settings or the Render Levels in the V-Ray
| | 00:38 |
Common tab towards the bottom of the
window you'll see a check box to use V-Ray VFB.
| | 00:47 |
Go ahead and turn that on and you will be
to see your renders open in the V-Ray
| | 00:52 |
frame buffer, the VFB.
One of the advantages to the Frame Buffer
| | 00:59 |
is that you can look at all the different
channels, all the different render
| | 01:06 |
elements that you are generating through
your V-Ray renders.
| | 01:13 |
For example, here, we have quite the list
of render elements that we've created in
| | 01:20 |
the render elements for the V-Ray tab, you
would not be able to do that easily
| | 01:28 |
through the Render view.
So immediately when I begin any sort of
| | 01:33 |
V-Ray work, I go ahead and enable the VFB
right off the bat.
| | 01:39 |
The VFB itself has a number of interesting
controls.
| | 01:44 |
By expanding this little area you'll be
able to stamp your renders by turning on
| | 01:52 |
the stamp.
It'll give you whatever text that you want
| | 01:56 |
to put in for yourself including variables
which are led by the percent symbol.
| | 02:03 |
In this case you're getting the V-Ray
version.
| | 02:06 |
Which is shown here 2.3.01 as well as your
render time of 3 minutes 16.1 seconds.
| | 02:18 |
This is very handy, very handy indeed.
However, if you choose to save your
| | 02:23 |
renders through the VFP, make sure to turn
off the Stamp.
| | 02:27 |
Otherwise, the Stamp will go ahead and
save along with your image.
| | 02:33 |
As a matter of fact, in the Settings tab,
you'll be able to turn on the Show Frames
| | 02:41 |
Stamp even when you're batch rendering.
So if you don't want that on make sure
| | 02:47 |
that this is turned off but if you're
curious to see how long your renders are
| | 02:53 |
taking, overnight you can go ahead and
turn Frame Stamp and they will save the
| | 02:58 |
stamp along with your images.
We also have the sRGB switch.
| | 03:07 |
When we're working in linear space, you
want to convert what you're seeing into
| | 03:12 |
sRGB so you can properly view it in the
right color space for your monitor.
| | 03:20 |
You can also add a LUT, a Look Up Table,
as well as going into and creating a
| | 03:28 |
Stereo view of your render.
Of course, this is not rendered in stereo,
| | 03:34 |
so this does us no good.
Right clicking anywhere in the VFB pops
| | 03:39 |
open the Pixel Information window which
gives you readings in 8, 16, and float
| | 03:47 |
color space to show you the values of what
you're mousing over.
| | 03:54 |
You can also turn on the pixel information
dialogue by simply clicking the little i
| | 04:03 |
icon here.
You can also turn on color correction
| | 04:06 |
controls with this icon which gives you
access to a number of corrections.
| | 04:14 |
Now, I am changing the exposure however
nothing is happening in my view, I need to
| | 04:20 |
enable the exposure by clicking on this
icon, this allows me to change the
| | 04:28 |
exposure correction.
So I can take a look at what my render
| | 04:31 |
might look like once I take it into
composite and began to adjust it.
| | 04:36 |
I can go ahead and turn it off when I no
longer want that effect.
| | 04:43 |
I also have the ability to turn on Color
Curves, which gives me access to changing,
| | 04:51 |
the curvature of my image.
I can turn that on and off with this icon.
| | 05:06 |
Additionally, I have a Levels Control
which is found right here.
| | 05:12 |
Allows me to change the levels of black
and white I have in my shot.
| | 05:18 |
Go ahead and turn that off, and lastly the
LUT control, which I showed earlier has a
| | 05:29 |
load which allows you to load in a LUT or
an ICC color correction to be able to be applied.
| | 05:37 |
To your image, we'll go ahead and we'll
turn the corrections off.
| | 05:44 |
We'll take a look at the history.
Here when you turn on the H, you'll get
| | 05:50 |
the Render History button and clicking the
Options will allow you to Set a location
| | 06:00 |
for your temporary saved files, and also a
maximum limit on how much disk space you
| | 06:08 |
want to allocate to those images.
As you can see, you can have quite a few
| | 06:15 |
images stacked up in the render history So
you can compare.
| | 06:20 |
Now, for me to compare this image with
let's say an earlier render, I just simply
| | 06:25 |
double-click on the earlier render that I
want to take a look at.
| | 06:30 |
On any of these I'll be able to see the
differences in history.
| | 06:38 |
Going quite a ways back to some of my
earlier renders.
| | 06:42 |
The great thing is, each of the channels,
or each of the elements, that were
| | 06:51 |
rendered along with the image are also
saved in the history.
| | 06:58 |
You can see the full channels of each of
these renders as far back as they go, lets
| | 07:06 |
get to our most current render you can
click the disk icon to save a single image
| | 07:16 |
or the multiple disc icon to save all of
the channels as whatever file format you choose.
| | 07:22 |
You can choose TIFs and Targets to save
individual images for each of the channels
| | 07:32 |
or you may choose an open EXR to save one
file with multiple channels all saved
| | 07:39 |
within that EXR, to compare images side by
side simply select your A side image and
| | 07:48 |
your B side image, and you'll be able to
compare the two.
| | 07:55 |
Now, let's pick a new B side and we'll be
able to scroll through and see the
| | 08:03 |
differences between our A and our B.
To get rid of it simply select and click
| | 08:12 |
the same letter to get rid of A or B.
To remove any images from your history,
| | 08:20 |
simply select it and click Remove.
You may also clear the entire history by
| | 08:28 |
clicking the Clear button.
Of course, you can see each of the color
| | 08:33 |
channels separately with these icons or
all of the colors together.
| | 08:39 |
As well as just the alpha channel quite
simply with these icons here.
| | 08:45 |
And Monochromatic mode, with this icon
here, gives you the luminance of your
| | 08:49 |
scene were it a grey-scale.
Clicking the teapot with the little red
| | 08:57 |
box allows you to specify a render region.
So the next time you click the teapot, it
| | 09:04 |
will render only within that region.
And lastly, this icon allows you to copy.
| | 09:13 |
The current image into Maya's render view.
If you so choose, to see it in here.
| | 09:24 |
However, keep in mind that the sRGB that
you see in the V-Ray frame buffer, is not
| | 09:32 |
readily accessible in the render view.
To get this image to display as an sRGB
| | 09:37 |
image, simply go into the render settings,
and at the bottom of the V-Ray Common tab,
| | 09:45 |
turn on Convert Image to sRGB for Render
View.
| | 09:50 |
Enabling this allows you to copy the Image
from the VFB to Maya's Render view with a
| | 09:59 |
proper sRGB space.
And from here, you can go ahead and save
| | 10:04 |
your image just like you would in any
other Maya render.
| | 10:09 |
In this video, we took a good look at the
V-Ray frame buffer and it's very powerful
| | 10:17 |
Render History stack.
| | 10:22 |
| | Collapse this transcript |
| General V-Ray render settings| 00:00 |
In this video, we'll be taking a look at
some of the overall global VRay Options
| | 00:07 |
and the Render Settings.
Of course, we have the image sampler
| | 00:11 |
rollout, which gives you access to the
anti-aliasing and sampling that governs
| | 00:18 |
the overall look of your render and how
clean it is.
| | 00:24 |
Under the global options rollout, we're
able to turn on and off various features,
| | 00:30 |
such as displacements, lights.
Default lights are automatically turned on
| | 00:37 |
when there are no other lights in the
scene.
| | 00:39 |
So, if you're relying solely on GI and
illuminance of your shaders, you're
| | 00:45 |
going to want to turn default lights Off,
before you render, otherwise, you'll get
| | 00:51 |
artificial light in your scene.
You'll be able to turn on and off shadows, globally.
| | 00:59 |
Under the GI heading, you're able to turn
on Don't Render Final Image.
| | 01:04 |
This is very useful for when you want to
bake your GI maps, but don't want to wait
| | 01:09 |
for the image sampling and for the entire
image to get done rendering.
| | 01:15 |
VRay runs the GI first, so if you turn on
don't render final image, it will be
| | 01:23 |
faster and it will still calculate your
GI.
| | 01:27 |
Just make sure you turned it off before
you go to your final renders.
| | 01:33 |
You're able to turn on and off reflections
and refraction.
| | 01:37 |
And also to set a global maxim depth for
your reflection and your refraction recursions.
| | 01:45 |
By default, shaders are set to five,
however you can increase them in your
| | 01:51 |
shaders and then as you're testing.
Turn them down globally, or you can just
| | 01:55 |
turn them all down here.
You can turn maps and map filtering on and
| | 02:01 |
off very quickly here as well.
In the environment roll out we have the
| | 02:09 |
ability to override our environment and
place textures or specific colors into the
| | 02:16 |
background We can add color into the GI
texture.
| | 02:20 |
This is automatically overridden when you
add a physical sun and sky into the VRay
| | 02:28 |
lighting environment.
If you find that your renders are
| | 02:32 |
strangely overblown, come and check to
make sure you don't have an override in
| | 02:38 |
your environment set up.
Color mapping allows you to go into linear
| | 02:43 |
space, which when you set your Gamma to
2.2, and turn on down effect colors.
| | 02:50 |
And make sure you have your texture input
Gamma set properly, and that you are
| | 02:55 |
looking through the sRGB button, will
allow you to work in color space, but view
| | 03:00 |
everything in sRGB space properly.
You have your camera options here, which
| | 03:08 |
allow you to turn on and off depth of
field and motion blur, as well as setting
| | 03:14 |
the type of camera that you've got.
Of course, most everything will be done
| | 03:19 |
through a standard camera.
However, you have a few different options
| | 03:22 |
that will change the look of your Renders.
Here is where you can turn on and attach a
| | 03:33 |
sun, or a sky, or both into your scene.
Again, this will automatically override
| | 03:39 |
your environment, inserting the sky into
the environment.
| | 03:44 |
And lastly, in this tab, is the VRay UI,
allowing you to add or remove shelf
| | 03:51 |
buttons for VRay materials and lights.
The Indirect Illumination tab has
| | 03:59 |
everything you need for GI and caustics,
where you can turn them on and off and set
| | 04:05 |
the number of photons and the densities
and so forth, for the caustics.
| | 04:11 |
Or for turning on GI and setting the type
of GI you want for your primary or
| | 04:17 |
secondary bounces in here.
In the Settings tab, you'll find a few
| | 04:24 |
settings for the DMC sampler including
turning on and off the type of noise that
| | 04:30 |
you have, whether it's static or whether
it is like film grain and is animated
| | 04:36 |
along with your animation.
You're able to set your default
| | 04:41 |
displacements with your maximum
subdivsions being set 256 by default to
| | 04:48 |
figure out, for example any of the
displacements that need to happen.
| | 04:54 |
If they're coming out jagged, or not so
nice, you can can increase the max
| | 05:00 |
subdivisions at a global level.
Or if you're finding that your renders are
| | 05:05 |
taking far too long, because of copius
subdivisions with your displacements, you
| | 05:12 |
can globally turn them down.
The shorter your edge length, the more
| | 05:17 |
detail will be in your displacements.
Under the system settings, you are able to
| | 05:24 |
set your tree depth and leaf size.
This is greatly useful for when you have
| | 05:31 |
limited memory in your machine and you
need to set tight limits, so that your
| | 05:37 |
machine doesn't go into RAM overflow, and
start going to disk swap, which will
| | 05:43 |
greatly increase your render times.
Sometimes by default, you'll find that the
| | 05:50 |
dynamic memory limit is set to a very low
500.
| | 05:53 |
On a 8 gig machine, you can go as high as
5 or 6,000, which correspond to 5 or 6 gigs.
| | 06:02 |
This is very useful to increase when you
have a lot of displacements in your scene.
| | 06:10 |
The render region division, is the size of
your render buckets.
| | 06:16 |
Setting this number too high when you have
a lot of cores will slow down your render
| | 06:22 |
as you wait for the large buckets to be
completed.
| | 06:26 |
For example, here we have a bucket size of
40 pixels in a square.
| | 06:32 |
We have a total of 16 buckets rendering
through distributor renderer on a
| | 06:38 |
secondary and primary machine, an HPZ220
and my home built server.
| | 06:45 |
Increasing the buckets will mean that each
bucket will render slowly, and you're
| | 06:50 |
waiting more.
However, setting your bucket size too low,
| | 06:54 |
will be memory inefficient.
To cancel this render, simply hit Esc and
| | 07:01 |
it will cancel out.
Distributed rendering, as you can see, is
| | 07:06 |
turned on, and is governed through the
settings.
| | 07:09 |
Here you can set your IP addresses for the
machines that will help you render.
| | 07:15 |
Under VRay log, you set the message
readout that you get back.
| | 07:21 |
So, if you have to debug your renders you
can set it to errors warnings or even all
| | 07:26 |
messages so you can really see what's
going on with your renders.
| | 07:31 |
Of course, the VRay common tab gives us
the access to the common attributes
| | 07:37 |
including your image format, EXR,
multi-channel, tiff, and so forth.
| | 07:43 |
As well as, the options for each of the
image formats, including whether you want
| | 07:50 |
16-bit, 8-bit, or 32-bit for the file
types that support them.
| | 07:57 |
If you wish to batch render an animation,
you should turn on Animation.
| | 08:01 |
However, make sure you also turn on Render
animation only in Batch mode.
| | 08:07 |
Otherwise, when you go to render in the
VFB it will actually render an animation
| | 08:13 |
frame after frame, after frame, within
your VFB, which is probably not what
| | 08:18 |
you're looking for.
Of course, your start end and by frame are
| | 08:22 |
set here as well.
Make sure you have a renderable camera
| | 08:27 |
setup, otherwise VRay will render any
camera that has the renderable attribute
| | 08:34 |
turned on.
If no cameras are available, VRay will
| | 08:39 |
error out.
And that's about it, these are the major
| | 08:44 |
points of the VRay rendering settings.
So, in this video, we took a look at some
| | 08:52 |
of the more important render settings for
VRay.
| | 08:57 |
| | Collapse this transcript |
| Sampling settings| 00:02 |
In this video, we'll be taking a look at
some of the image sampling options that
| | 00:07 |
VRay has to offer.
Now, in the Render Settings window under
| | 00:11 |
the Vray tab, you will find the Image
Sampler rollout.
| | 00:15 |
Here, you can set the type of image
sampling that you want.
| | 00:19 |
Typically I prefer you use the adaptive
DMC which allows you to set your minimum
| | 00:26 |
and your maximum subdivisions set against
your color threshold.
| | 00:32 |
Here we have a render of our scene with a
min 1 and a max 8 subdivision.
| | 00:39 |
And you can plainly see there's some noise
in these areas, especially in the
| | 00:45 |
reflections in the beach ball.
One of the primary areas to mitigate that
| | 00:52 |
kind of noise, is within the sampler.
If I increase the max subdivisions to,
| | 00:58 |
let's say 32, that will give me 4 times
the number sampling within the entire frame.
| | 01:09 |
I could also lower the contrast threshold
to force the renderer to using more
| | 01:17 |
subdivisions, where there's a lower
contrast threshold between pixels.
| | 01:23 |
Lowering this value first will get you
better results then just blindly
| | 01:30 |
increasing this value.
And in this case we're going to do a
| | 01:34 |
little bit of both and see what the
difference is when we go ahead and
| | 01:38 |
re-render this frame.
Now, of course increasing your samples and
| | 01:44 |
decreasing your threshold will increase
render times.
| | 01:49 |
We currently have a render time of about
three minutes or so with this current render.
| | 01:55 |
Quadrupling the Mac subdivisions and
reducing our threshold will allow us a
| | 02:02 |
cleaner render, but at the cost of time.
Now clicking this icon in the VFB will
| | 02:09 |
allow you to send the buckets of your
render to where your mouse is.
| | 02:14 |
So if we mouse over the area of the beach
ball that is a primary concern with our
| | 02:21 |
noise, we'll be able to direct the render
buckets here.
| | 02:26 |
And you can see I've got distributed
rendering turned on with my primary
| | 02:31 |
machine and then secondary HPZ220 machine
taking up an extra 8 course to allow me to
| | 02:41 |
render the frames faster.
Here we have the completed render and we
| | 02:48 |
will go ahead and compare that with the
previous render.
| | 02:51 |
You'll see that our noise levels and their
reflections are much much better.
| | 02:58 |
Overall, we have a much cleaner render and
our render times have unfortunately jumped
| | 03:05 |
from 3 minutes 15 seconds to 8 minutes 36
seconds.
| | 03:10 |
While the frame is mostly clean, there is
still a little bit of noise in the beach ball.
| | 03:17 |
But instead of just sampling up again or
lowering the threshold, we should take a
| | 03:23 |
look at the glassy samples for the ball
itself.
| | 03:29 |
We'll go ahead and select the ball and
open the Hypershade to access our shader.
| | 03:37 |
(SOUND) And in the attribute editor,
you'll see that under the Reflection
| | 03:45 |
Glossiness is subdivisions.
Let's go ahead and increase this to 24 and
| | 03:54 |
this alleviate some of the noise in the
area of the ball, without affecting the
| | 04:03 |
rest of the frame as would turning up
samples on a global basis.
| | 04:09 |
Let's go ahead and render just the ball.
Now, with the finish render with the
| | 04:17 |
subdivs of 24 on the reflections, you can
see a little bit of a change.
| | 04:25 |
In the render, but let's take a look at
the reflection pass itself.
| | 04:30 |
Go to the raw reflection and you'll see a
bigger change in here, where we've got
| | 04:35 |
very coarse bits that are helped smooth by
increasing the reflection subdivisions.
| | 04:43 |
Of course, our earlier render was very
noisy, indeed, with a 18 min max.
| | 04:51 |
So going up to 32 gave us a much cleaner
render in all of the channels that we need.
| | 04:59 |
Furthermore, you have control over the
subdivisions over your individual lights
| | 05:06 |
as well.
For example, here the dome light has a
| | 05:12 |
subdivision of 8.
If we increase that to 24, we'll
| | 05:18 |
immediately notice our sample looks much
cleaner.
| | 05:22 |
Now, if we switch or view to the
perspective we can see that we have got a
| | 05:27 |
rectangle light that has a subdiv of 8, as
well, increasing that as well will create
| | 05:35 |
a bit of a cleaner render for that
specific light.
| | 05:41 |
However, no one attribute, no one setting,
will have a greater effect on the quality
| | 05:48 |
of your render than will the min and max
settings for the adaptive DMC.
| | 05:52 |
You can change the sampler type to a fixed
rate, which gives you a single number for
| | 06:00 |
the sample rate for the entire scene.
I don't usually find this helpful as the
| | 06:08 |
adaptive DMC does a better job of
ascertaining areas that have very little
| | 06:14 |
image contrast between pixels.
We'll get lower subdivisions than areas
| | 06:20 |
that have more contrast.
In this case, to get rid of even some of
| | 06:26 |
this noise, we'll probably have to
increase the minimum subdivisions a little
| | 06:31 |
bit, and we can probably afford to lower
our maximums a little bit, as well.
| | 06:38 |
You could also set to an adaptive
subdivision, which has a min and max rate
| | 06:45 |
that is similar to mental rays, where the
setting are exponential as opposed to
| | 06:52 |
linear, as they are in adaptive DMC.
The anti-aliasing filter type, I prefer
| | 06:59 |
Gaussian, gives you a slightly softer
look.
| | 07:03 |
The higher the size, the softer the
aliasing will become.
| | 07:10 |
That ranges with a Gaussian of less than
2, you won't notice much of the difference.
| | 07:16 |
So you want to be around to 2, 2.2, or may
be even going upwards of 2.4, 2.5.
| | 07:25 |
There's area, which by default is at 1.5
when you first start VRay.
| | 07:32 |
This does a nice crisp job.
But again, if you need a little bit of
| | 07:37 |
help with some of your areas, I recommend
Gaussian with a matter of 2.2.
| | 07:45 |
When you have large areas of black or a
single color, you're better off going into
| | 07:53 |
the adaptive subdivision because it's able
to undersample those areas with a minimum
| | 08:00 |
rate, which can yield in faster renders
when your frame is largely blocked in a
| | 08:09 |
single color or is largely negative space.
In those cases you can afford to have a
| | 08:16 |
low or even a negative minimum rate, and a
higher max rate, to get very fast renders
| | 08:23 |
in flat color areas.
And lots and lots of sampling in areas
| | 08:30 |
that have a positive value and have some
detail.
| | 08:35 |
Whichever you like to use, one thing you
can do is turn on Show Samples, which will
| | 08:41 |
give you a diagnostic reading of your
frame.
| | 08:45 |
With Show Samples turned on, I'm going to
go ahead and render this frame.
| | 08:52 |
As the render continues, you can start to
see areas that are nice deep blue, have
| | 08:59 |
very little sampling, while the areas that
are red, have a lot of sampling in those areas.
| | 09:08 |
Green, yellow is fair amount of sampling.
This can help you fine tune how much
| | 09:16 |
sampling you need and in what areas are
causing you the most grief with your
| | 09:21 |
render times.
Just make sure to turn show samples off
| | 09:26 |
before you render your scene, otherwise,
this will be your result.
| | 09:33 |
And here with the completed render you can
see that these areas have the most
| | 09:39 |
sampling indeed.
Now, in the Settings tab there's a DMC
| | 09:47 |
ruler with a value called Time Dependent.
With this off, any sort of noise that's in
| | 09:54 |
your render will be static.
Meaning, any of this grain that you might see.
| | 10:00 |
Let's pick a frame that's a little bit
more grainy.
| | 10:05 |
That grain will end up being static and
will be the same for every frame.
| | 10:09 |
With time dependent, when you have
animation and especially moving cameras,
| | 10:14 |
when you turn time dependent on that grain
will change from frame to frame which
| | 10:21 |
means you'll have more of a film grain
look in your animations than you would
| | 10:25 |
have a static noise that looks like dots
on a window.
| | 10:32 |
And lastly, the Subdivisions Multiplier
will allow you to quickly increase or
| | 10:38 |
decrease all the subdivisions in your
scene for your lights, for your glossy
| | 10:45 |
reflections, or your refractions, for area
shadows, brute force, irradiance map,
| | 10:52 |
motion blur, and that the field.
This will not affect your anti-aliasing
| | 10:58 |
subdivisions which are set here.
However, this is a quick way to turn down
| | 11:03 |
all the different subdivisions you might
have on lights and so forth.
| | 11:09 |
So, if I render this frame now, all of the
subdivisions that I've set on my lights
| | 11:14 |
and in the refractions on the shaders will
be multiplied down to a tenth of their
| | 11:20 |
current value, allowing me a faster render
to see my results quicker.
| | 11:27 |
We'll go ahead and render a 0.1 multiplier
to see what happens.
| | 11:32 |
Now we've been able to shave a couple of
minutes off of the render and you can see
| | 11:39 |
a little bit off the noise that shows up
now.
| | 11:43 |
But ideally to test the renders, you
definitely want to reduce your max and
| | 11:50 |
your min as well.
In this video, we took a look at the
| | 11:54 |
sampling options that we have in VRay.
| | 12:00 |
| | Collapse this transcript |
| Color mapping| 00:02 |
In this video we'll be talking about color
mapping, which is found in the VRay tab in
| | 00:07 |
the Maya render settings.
Typically, for a linear workflow, you
| | 00:13 |
want to have your color mapping type set
to linear multiply with a gamma set to a
| | 00:19 |
2.2, effect background and don't effect
colours adaptation only both turned on.
| | 00:27 |
For real linear work though, you want to
make sure that in your hypershade your
| | 00:34 |
texture maps have gamma filter corrections
on them.
| | 00:38 |
For example, we have the attribute turned
on, texture input gamma.
| | 00:44 |
At the bottom of the attribute editor,
that texture has a 2.2 gamma, meaning that
| | 00:52 |
this file coming in is at SRGB space, and
needs to be converted with a gamma to be
| | 00:59 |
workable in linear space.
So the input for all the file textures
| | 01:05 |
that you have in your scene should
correspond with texture input gamma note.
| | 01:11 |
When you have that and you're at a 2.2
gamma with dome effect colors, you'll be
| | 01:20 |
working in linear mode.
So when you render you'll render linear,
| | 01:27 |
which if you change and view in SRGB will
give you the proper brightness and color
| | 01:35 |
for the image that you're working.
Because most screens are SRGB, you have to
| | 01:42 |
make this conversion from linear color to
SRGB color to view it accurately.
| | 01:48 |
Otherwise, you may find yourself
inadvertently creating or reducing lights
| | 01:54 |
to make up for improperly watched color
space.
| | 02:00 |
Now, the color mapping type has to do with
how the light gradates and dissipates away.
| | 02:10 |
With a linear multiply in this scene, we
get a render that looks like this.
| | 02:16 |
We have a simple, rectangle light set to
an intensity of 20 on a non reflective
| | 02:23 |
VRay material floor with that slight
purple blue color.
| | 02:30 |
With the type set to linear multiply, this
is our result changing into a HSV
| | 02:35 |
exponential will give us a very similar
result.
| | 02:43 |
However the falloff, coming off of the
light is slightly different.
| | 02:48 |
It's said, that, with a linear multiply,
light will clamp and become a solid white,
| | 02:57 |
quicker than it would with an exponential
or an exponential HSV.
| | 03:04 |
Switching it to a gamma correction, for
example, will yield an incredibly similar
| | 03:11 |
result to the linear multiply with hardly
much difference that is actual visible.
| | 03:19 |
When we correct for SRGB space those very
subtle differences are practically
| | 03:27 |
negligible within the color mapping,
traditionally leaving it at linear
| | 03:33 |
multiply will get you pretty much
everything that you need.
| | 03:38 |
Now if right mouse button click, you'll be
able to see that in your render you've got
| | 03:43 |
values in float that are able one,
slightly over here, and that the
| | 03:49 |
reflection on the ball certainly gets up
to 4.7, 4.6 and they're about making this
| | 03:59 |
area super, super bright.
Now, you can easily clamp the highest
| | 04:05 |
brightness in your render by turning on
clamp output.
| | 04:09 |
For example, with a clamp of 1, if we go
ahead and re-render this scene, you'll see
| | 04:15 |
that the super bright areas that were
returning values of 4, 3, .9, 4.6, will
| | 04:22 |
start to get clamped at the maximum clamp
level.
| | 04:29 |
When we sample this area with the right
mouse button you'll see that the float
| | 04:34 |
value is perfectly at 1.0 for that area,
meaning it's been leveled and it cannot go
| | 04:41 |
above your clamp level.
In this level where our levels were pretty
| | 04:47 |
close to one, you'll see that they indeed
still will stop at 1.0 clamping.
| | 04:56 |
Clamping your output is very useful for
when you have a very noisy reflection pass.
| | 05:05 |
For example, if we go take a look at the
reflection here or even the raw
| | 05:11 |
reflection, you'll see quite a bit of
speckles.
| | 05:15 |
These speckles are definitely noisy,
especially in movement.
| | 05:22 |
Having them clamped at one will create a
little bit less noise than if they were
| | 05:27 |
set to a higher result.
So if you notice that in your animation,
| | 05:34 |
you have a lot of sparkling, bright pixels
in your reflection pass, you should be
| | 05:42 |
able to mitigate that by returning to
clamping your output to a reasonable level.
| | 05:50 |
In this video, we talked about the Color
mapping options in VRay under the Render Settings.
| | 05:57 |
| | Collapse this transcript |
| Surface subdivision rendering| 00:02 |
In this video, we'll be taking a look at
how to render subdivision surfaces so that
| | 00:07 |
objects that look faceted in geometry may
render smoothly at render time.
| | 00:13 |
Here in this scene, we have two different
objects.
| | 00:16 |
We've got this beach ball that is pretty
low tessellation, and we have the arm of
| | 00:22 |
our little catapult here.
When it's bent you can start to see a
| | 00:26 |
little bit of subdividing going on at its
apex here.
| | 00:33 |
It's pretty easy to enable subdivision
rendering in VRay.
| | 00:36 |
You add a VRay attribute by selecting the
object, and in the attribute editor under
| | 00:43 |
it's shape node.
Simply go to Attributes > VRay and add
| | 00:48 |
subdivision and also add subdivision and
displacement quality.
| | 00:54 |
This will allow you to render the object
as a subdivision surface meaning you will
| | 00:59 |
get extra faces which will give you a
smoother result, now here in the render
| | 01:05 |
you can see that the ball before its
subdivisions is quite segmented and the
| | 01:11 |
arm of the catapult is also fairly
segmented.
| | 01:17 |
So going in to the extra VRay Attributes,
once we've added Subdivision and
| | 01:22 |
Subdivision Displacement Quality, gives us
the ability to render this object as a
| | 01:27 |
subdivision but also to set a max
subdivision level.
| | 01:33 |
So for the ball we can stay, you know,
fairly low to about 4.
| | 01:37 |
And on the shape node for the catapult arm
We'll want to add subdivision and
| | 01:43 |
subdivision displacement qualities as well
and then the extra vray attributes, let's
| | 01:49 |
set this to four as well.
And we'll make sure this is in our render history.
| | 01:56 |
And we'll render this frame, and take a
look at the difference.
| | 02:01 |
Now, render time, V-Ray will go in, and
start to add faces, to round out the
| | 02:08 |
surfaces in question.
Here, we can already see that the ball is
| | 02:12 |
coming out, much nicer.
Now, you'll notice that you're losing a
| | 02:16 |
little bit of volume, as it's subdividing
inwards.
| | 02:21 |
This is the case for, pretty much, any
type of smoothing that you do.
| | 02:25 |
Whether its geometry-based inside the
scene or whether its at render time, such
| | 02:31 |
as we are doing it right now.
We will take a look at how the arm or
| | 02:35 |
render in just a second to see how well we
can get these curves.
| | 02:41 |
And as you can see as the finish is
rendering the curvature and catapult arm,
| | 02:45 |
we are already to a much smoother
interpretation into that deformation.
| | 02:52 |
It gives us a more real look with a
slightly higher render time as before.
| | 03:00 |
As you can see with the finished render,
we have a much better looking ball and
| | 03:04 |
catapult arm.
You can see the curvature ends up being
| | 03:10 |
much, much nicer for the subdivisions that
are created.
| | 03:17 |
Many times we have gone from 1 minute 35
to 1 min 53 so its a minimal investment of
| | 03:23 |
time to get much smoother result in this
video.
| | 03:28 |
We took a look at how to take a lower
tessellation object and increase its
| | 03:34 |
tessellation at render time by using the
VRay subdivision, and subdivision quality.
| | 03:40 |
| | Collapse this transcript |
| Back to beauty: Assembling the render| 00:02 |
In this video we'll be taking a look at
how to take VRay Render elements and put
| | 00:08 |
them together in composite using After
Effects to bring the image back to beauty.
| | 00:16 |
We have a scene here with some simple
objects set up with a couple of lights.
| | 00:24 |
This light is on a beach ball to give a
subsurface scatter effect, and we have a
| | 00:32 |
simple light bulb within this lamp to give
us a Self Illumination Effect.
| | 00:38 |
We have a glass ball to give us a
refraction, and the beach ball has
| | 00:45 |
subsurface to give us that element as
well.
| | 00:51 |
The theory behind a back to beauty
composite is that a Simple Render pass
| | 00:58 |
should get you back to beauty when you
take lighting Plus Global Illumination.
| | 01:05 |
Plus Reflection, plus Spec, plus Sub
Surface Scattering, plus Self Illumination.
| | 01:15 |
These passes when added to each other
correctly in composite should return All
| | 01:25 |
the passes to the original beauty render.
Using these passes and combining them to
| | 01:31 |
get back to beauty, allows the compositor
or lighter to control the final image
| | 01:37 |
without having to do any new renders.
In this sample, we see the Render passes
| | 01:43 |
we're talking about, Lighting GI
Reflection, Spec, Refraction, Subsurface
| | 01:51 |
Scattering, Self Illumination.
And in this case, we also have a MultiMat.
| | 02:00 |
Our scenes camera gives us a good view of
everything.
| | 02:04 |
And when we start to render the scene,
we'll be able to see all the passes come
| | 02:11 |
together within the view rate frame
buffer.
| | 02:13 |
Now we can see the distributed buckets
going to town this pass is for the GI as
| | 02:22 |
well as the subsurface prepass.
And here we begin to render the scene, and
| | 02:32 |
as our render finishes here we can see a
little bit of GI and some surface noise
| | 02:38 |
coming through, but that's okay.
We'll be saving these out as 32 bit EXRs.
| | 02:45 |
As individual EXRs and not multi-channels.
To make the importing process in After
| | 02:53 |
Effects a little bit easier.
W'll be able to save all the channels at
| | 02:57 |
once, by clicking Save All Channels button
here.
| | 03:03 |
I will go ahead and specify a location
We'll go ahead and select Open EXR, and
| | 03:14 |
we'll click Save.
Of course, running a batch render will
| | 03:19 |
also output these EXR, obviously don't
need to go through the (UNKNOWN) frame buffer.
| | 03:27 |
Lets go ahead and start up, our
compositing package, Adobe After Effects.
| | 03:34 |
And we will bring in, all of the, passes
that we've just saved out, including the,
| | 03:42 |
original, Beauty Render.
Following our equation, we'll go ahead and
| | 03:49 |
put the comp together now.
Our base will be the Lighting Layer, come
| | 03:56 |
in like so.
Adding on top of the lighting layer will
| | 04:01 |
be the GI, the Global Illumination Pass.
And the way we have to plus this layer on,
| | 04:09 |
is very important within After Effects.
With a compositor, such as Nuke you would
| | 04:15 |
use the Operation Plus.
With After Effects, there is an Add
| | 04:21 |
however the Add will create too much
brightness, so you'll want to use the
| | 04:28 |
transfer mode called Screen.
There you can tell the GI has quite a bit
| | 04:35 |
of noise.
We would mitigate that by changing some of
| | 04:39 |
the GI parameters with in VRay, but, we're
good for now.
| | 04:45 |
On top of the GI we'll upload the
Reflection pass.
| | 04:49 |
Again, instead of adding, you'll want to
Screen this pass on top.
| | 04:58 |
You can see add creates a little bit more
brightness than does screen.
| | 05:04 |
And screen is more accurate within After
Effects to the audition process for the
| | 05:10 |
VRay passes on top of Reflection we'll
have the Specular pass.
| | 05:19 |
We'll screen that on top.
On top of Specular is the Refraction pass,
| | 05:25 |
which we'll also screen.
We'll have the subsurface pass if you so
| | 05:32 |
have one in your scene.
And once again we'll screen on top, and
| | 05:37 |
then we have the Self Illumination pass,
if you have any objects in your VRay
| | 05:43 |
Render that are Self Illuminated.
You should put out the Self Illumination
| | 05:52 |
and we'll screen that on as well.
And now we have a Back to Beauty that
| | 05:58 |
matches the original render that we have
from VRay.
| | 06:06 |
The noise not withstanding, of course,
we'd want to fix that in the GI settings.
| | 06:14 |
In summation, we took our lighting, added
GI, added reflection, added Specular
| | 06:21 |
Refraction, SSS, and Self Illumination
using the Screen process in After Effects.
| | 06:29 |
Though you can use the Plus process in the
foundry's nuke to bring your passes Back
| | 06:37 |
to Beauty by and large, this equation
works for most.
| | 06:42 |
Simple render passes.
You, can also use a lot of Raw Render
| | 06:47 |
passes to output your renders, which you
can find in the Render Elements.
| | 06:53 |
You can see we've got some Raw Light, Raw
Shadow, Raw GI.
| | 06:58 |
If you want ultimate control, if you put
out the Raw asses, for example, with Raw
| | 07:03 |
Light, you can use some of the Raw passes
to make up the lighting.
| | 07:08 |
Or perhaps the GI passes with ultimate
control.
| | 07:14 |
In this video, we took a look at how to
bring the beauty back together from our
| | 07:19 |
comp element passes.
| | 07:25 |
| | Collapse this transcript |
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