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V-Ray textures: Dirt for ambient occlusion and edges

From: Learning V-Ray for Maya: A Professional Reference Guide

Video: V-Ray textures: Dirt for ambient occlusion and edges

In this video, we'll be taking a lot a couple of VRay textures, namely VRay dirt and VRay edges. These two texture nodes require a shader, to work propely we create two V Ray materials. We can do a light material and I'll also create a regular VRay, so we can take a look at both of them. We have a car scene here set up, we'll go ahead and start with the VRay dirt this will give you an ambient occlusion, lets first put it on the regular VRay material by minimal mouse button dragging it to the diffused colour And then assigning the entire car to the material.

V-Ray textures: Dirt for ambient occlusion and edges

In this video, we'll be taking a lot a couple of VRay textures, namely VRay dirt and VRay edges. These two texture nodes require a shader, to work propely we create two V Ray materials. We can do a light material and I'll also create a regular VRay, so we can take a look at both of them. We have a car scene here set up, we'll go ahead and start with the VRay dirt this will give you an ambient occlusion, lets first put it on the regular VRay material by minimal mouse button dragging it to the diffused colour And then assigning the entire car to the material.

Once we have that aside, we’ll go ahead and render. Actually go ahead and give the floor to the dirt material as well. I'll do a quick render, here's the car with the car paint shader, and we'll render now with the dirt on a regular VRay material.

And as you can see with this render, I've got a kind of a strange ambient occlusion going on here. The issue here is, we put the dirt shader on a regular VRay material, so it's reacting to lighting. We dont't really want that for an ambient inclusion pass. So let's go to the light material and attach the veer raider right to the light. And select all the objects that have this material on it.

And let's go ahead and assign the light material. Get this out of the way here and disconnect that. Now, you can also put the VRay dirt on a regular Maya surface shader. In this case, we'll just put it on the, on the vray light charter and lets take a look at a render. Now as you can see, we are sewing through the frames pretty quickly. The light material does not react to lighting or shadowing. So it gives you a much better ambient occlusion pass. Of course we'd want to put any occlusion on everything, and indeed, you'll be using the VRay dirt in conjunction with the extra texture render element to create your occlusion pass.

Now let's take a look at how to control V ray dirt. We've got radius options, the lower the ratings the tighter the tighter the dark areas, and the faster and brighter. The render will be. Now I'm going to go ahead and assign everything in the scene to the V ray dirt shader. And we'll take a quick look at a render now. You can see that the darker areas are much more tight than before, and that's a function of the radius by default it's a 10.

Now let's take a look at the edges texture. We'll go had ahead and first put that on the V-Ray material. We'll go a head and assign this to the car, and we run the render. And as you can see the edges give us a nice wire frame render. You saw the wire frame render of the car. Again the edges texture is currently connected to a regular vray material. So we have some shading involved with the wire frame. The background is still a white dirt, so we get a little bit of ambient occlusion look back here lets fill head and put the Blu Ray edges inside on the light material.

We will go ahead and put that on the color, and we'll assign this shader to the car now. Let's go ahead and render now with the light shader. And we can see that the wire frame is taking on a much flatter, wider look, giving you a nice effect when compared with the VRay material that has the wire frame edges, and see a more schematic view of the car. The attributes of the edge's texture are pretty simple. You've got the color of your, your wireframe lines as well as the color of your solid fill.

You can change those any way you wish, and you can set the width of your lines by world units or pixels. With this value here, in this video we took a look at the V-Ray dirt and the V-Ray edges texture as they can be applied to a flat or a shaded shading model

Show transcript

This video is part of

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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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