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Video: The V-Ray material

In this video, we'll be taking a look at the VRay material. We'll go ahead and open the sample scene provided with the video called decorativeboxvraymaterial.ma. Once you have the scene open, press 6 to see the textures on the box, and take note that there is in the scene a dome light for some fill light, which we'll see right here, and a rectangle light for the primary light.
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  1. 2m 1s
    1. Welcome
      2m 1s
  2. 9m 42s
    1. What is V-Ray?
      2m 50s
    2. V-Ray integration with the Maya UI
      6m 52s
  3. 1h 0m
    1. The Rectangle light
      11m 8s
    2. The Sphere light
      9m 24s
    3. The Dome light
      4m 52s
    4. V-Ray Sun and Sky
      11m 7s
    5. Using images and HDRs on lights
      8m 35s
    6. Using linear color space and the V-Ray Frame Buffer
      15m 20s
  4. 39m 58s
    1. The V-Ray material
      12m 46s
    2. The V-Ray Blend material
      6m 42s
    3. The V-Ray Light material
      6m 14s
    4. The V-Ray Car Paint material
      8m 21s
    5. V-Ray textures: Dirt for ambient occlusion and edges
      5m 55s
  5. 52m 21s
    1. What is global illumination (GI) in V-Ray?
      2m 43s
    2. Primary and secondary bounces
      5m 58s
    3. Brute force
      9m 1s
    4. Light caching
      11m 49s
    5. Irradiance mapping
      9m 50s
    6. Popular GI engine combinations
      13m 0s
  6. 30m 33s
    1. What are V-Ray object properties (VROPs)?
      2m 47s
    2. Creating VROPs
      9m 8s
    3. Extra object properties
      7m 48s
    4. Material IDs vs. object IDs
      5m 8s
    5. Setting VROP overrides with Maya layers
      5m 42s
  7. 40m 10s
    1. Creating passes and elements
      6m 23s
    2. Diffuse, reflection, and refraction
      8m 49s
    3. Lighting and GI
      4m 3s
    4. Shadows
      5m 6s
    5. Ambient occlusion
      8m 39s
    6. The Multi Matte render element
      7m 10s
  8. 57m 0s
    1. Cameras
      8m 32s
    2. Using the V-Ray Frame Buffer and history
      10m 22s
    3. General V-Ray render settings
      8m 57s
    4. Sampling settings
      12m 1s
    5. Color mapping
      6m 0s
    6. Surface subdivision rendering
      3m 43s
    7. Back to beauty: Assembling the render
      7m 25s

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Watch the Online Video Course Learning V-Ray for Maya: A Professional Reference Guide
4h 52m Beginner Jul 22, 2013

Viewers: in countries Watching now:

V-Ray for Maya is a powerful rendering software that allows you to have render-time subdivisions, motion blur, and depth of field in your renders. It also offers an innovative global illumination engine. This course covers all the key aspects of V-Ray, from lights and shaders to object properties and render layers, as well as creating passes and elements, and of course rendering and optimizing.

Topics include:
  • What is V-Ray?
  • V-Ray integration with Maya UI
  • V-Ray lights and shaders
  • Working with global illumination
  • Object properties and render layers
  • Creating passes and elements
  • Rendering and optimizing
Subjects:
3D + Animation video2brain
Software:
Maya
Author:
Dariush Derakhshani

The V-Ray material

In this video, we'll be taking a look at the VRay material. We'll go ahead and open the sample scene provided with the video called decorativeboxvraymaterial.ma. Once you have the scene open, press 6 to see the textures on the box, and take note that there is in the scene a dome light for some fill light, which we'll see right here, and a rectangle light for the primary light.

Go back to our camera view, and we'll check in the render settings that we are Indeed using the VRay VFB, and under the color mapping section, we are at a 2.2 gamma, and we're using linear work space. The color texture on the box does indeed have a input texture correction enabled with the proper gamma. When we render the scene, we'll see an image like this.

Now, the shader that's on the box is a simple phong created inside of Maya. This phong has a displacement. It also has a map force reflectivity, as well as a color map. When we look at the VRay render, we'll see that the displacement map is working just fine. However, the reflectivity hold out which should create a zero reflect shouldn't inside the carvings of the box doesn't seem to be respected by the VRay render, but that's okay. Mostly everything that you do in VRay will respond a little bit better with VRay specific materials, although Maya materials do work just fine. Every now and then you will into run into a glitch where, for example, this is rendering reflections where we're asking it not to. So the way the regular phong is set up is not working very well in VRay for the reflections.

So we're going to set to task changing this phong shader into a VRay material. VRay materials can be found in the hyper shape creation bar right under the my heading for surfaces. Here you can see all the VRay surface materials you can add along with the minor ones. You also have the ability to create some VRay textures. VRay materials can only be rendered through VRay, and will appear black in any other renderer. We'll go ahead and create a VRay material, which will gives us something that looks like a gray lambert.

Let's take a look at some of the attributes in the VRay material. We have diffuse color which allows you to color your material as well as the diffuse amount. The lower the amount, the more dark your render becomes because light is not able to bounce and diffuse off of it. The opacity map simply sets a transparency to the object and its alpha channel. Roughness amount takes away some of the highlight from any lightning in the scene and the Self Illumination allows you to add a bit of in contentions to the material.

The VRay material is able to retrace reflections right of the back this is dependent on the reflection color as well as reflection amount the brightness of the color will allow you to dictate how much reflection to get from your surface and that is multiplied by the amount. This gives you the chance to map the reflection. And also then control it with a multiplier using the amount. In this case, we will middle mouse button drag our reflection map right onto the reflection color. This will allow all the areas of white to be reflective at a full value of one while the areas that are black will have no reflection, and grey scale is, of course, in between.

Now to add the color map we simply go on to the diffuse color. Our middle mouse button drag our color map to diffuse color, and you'll be able to see when we rendered the color on the material. Let's go ahead and take a look in the outliner and we have two boxes here. I'm going to turn the thong box off and I'm going to turn the V Ray box on. I will then assign the V Ray material to this new box.

Make sure we have it assigned. There we go, now back to the attributes for the VRay shader. The type of specular that you get depends on the BRDF type. This also adjusts the reflections on the material, you can choose between Fong, Blend, and Ward. Let's go ahead and go to Fong to match the earlier material that we had on this box. Now we just have to make sure the displacement is added to the VRay material.

There are two different ways of doing displacements in rewrite, however we'll just take a look at how to do it through the shader by middle mouse button dragging the displacement node onto the material, and then choosing displacement map from the pull down menu. When we render the v-ray material now, we'll see that the box becomes very shiny. However, the carved areas don't seem to be picking up reflection. To reduce the overall reflection amount here, we'll just go ahead and reduce our reflection amount in the shader and create about a 0.3 reflection. Now that we render the box, we'll see that the reflection amount has taken care of a lot of that weird look from the previous render, and is giving us a much nicer render, of the box overall.

Compared with the fully reflective, render, we see that there is a lot of black reflecting in the top and that's why it looks so gnarly. Here we have a much better box. If we compare it in the history to our earlier phong, we can see that the reflection map is being respected within the carvings. Now I've created a new VRay material. With a fair amount of reflection then I am going to add to the floor, rendering this frame will give you glossy reflections of the box in our ground surface here We'll go ahead and save this to our frame history and compare between the two.

Now there is quite a bit of noise in the reflection here and it a very glassy reflection to get a feeling of formica for example We'll want to blur the reflection a little bit here. We can do that through this new ground material that we've created for the floor. Under the reflection heading you'll find a reflection glossiness, reducing that will allow you to blur the reflections on your ground.

Rendering this will allow you to see a much better material on the floor. Now, one neat thing about the VRay VFB is that you can turn on this icon, which allows you to put your mouse where you want your render buckets. Here I can look at the area I want with the mouse and have it render that area first. As you can see, there's a good deal of noise coming off of the reflection in the floor.

It's of course, reflecting back into the box as well. To mitigate that noise, of course you'll have to go into the render center window and increase your subdivisions. Rendering with a subdivisions of 16 should net us a little bit of a nicer result. The extra subdivisions make a big difference in how this looks. However, it does take quite a bit longer to render. If we compare it with the old and the new, you can see quite a bit of difference as the the floor is also picking up some of the reflections from the light. And this increases your overall illumination just a little bit. Now we can still see that there's still some noise in this reflection, and instead of turning up the subdivisions for the entire render, we can turn up the subdivisions just for the reflections in that material. So if I increase this to 24 from 8, if we save this to the buffer and render it again.

And with a render you can see that the reflection looks much more clean, especially when we compare it with the last one. Now this comes at a substantial increase in render times. The lower your glossiness, the noisier your reflections will be and the higher your subdivisions have to become. >> To enable fresnel on your object, click on fresnel. This allow you to only see the majority of the reflections at a glancing angle. Let's do the same on both the box and the ground, (SOUND) and let's go ahead and render.

With Fornale enabled you can see that a lot of the reflections have. Simply gone away. Furnell works by putting reflection into a glancing angle, so if we come and take a much more glancing angle at the box, we'll be able to see more of a Furnell effect. Go ahead and render this, and you'll see that, on the glancing side, that the reflections are returning to the box.

You can even see it on the insides of some of these carvings from the displacement. Back to the material properties, you'll see we've checked off for now for the box and, and the floor, enabling that glancing reflection. Here you set the traced up, the higher this is the more bounces of reflection you will get, but I had a higher render cost. And further down the attribute editor you will be able to create refractions much the same way. Let's give our wood box a glass feeling by increasing the refraction colour.

Just like the reflections, the refraction is governed by the refraction color, the brightness here, as well as multiplied by its amount. So you can feed a ramp or a map into the refraction color and change it by changing the amount. Let's go ahead and do a mostly glass surface here, and we will take a quick look at our render. When the render is done we will see the refraction.

I've turned the ground into a checkered pattern so that you can see that better, and we can see our displacement map still in hold this is a fully refractive color with a value of 1 to 4 fraction. This is used independently of the opacity map, the opacity map doesn't change that only will create an invisibility for the object. If you look in the alpha channel, the alpha channel is still purely white, the refraction however is coming through in the RGB.

With the VRay material, you're able to create a variety of objects, going from a nice wood box all the way to a glass box, by just using the attributes found in your VRay material.

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