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Making clear and colored glass

From: V-Ray 2.0 for Maya Essential Training

Video: Making clear and colored glass

This glass is one of a handful material types that we come in to contact with everyday. The chances that we will want our need to re-create it in some way for one of our scenes, well, it's probably quite high. What we need to do then is come and unhide first of all the object that we want to work with, the object we want to apply our glass material to. So let's come to the Layer Editor tab and we just want to come and unhide or make visible this glass layer. With the object in the scene, let's come up to the Window menu, let's come to Rendering Editors, and let's pull up the Hypershade window for ourselves, and if we just move this to the side, we can see our object once we create a new V-Ray material.

Making clear and colored glass

This glass is one of a handful material types that we come in to contact with everyday. The chances that we will want our need to re-create it in some way for one of our scenes, well, it's probably quite high. What we need to do then is come and unhide first of all the object that we want to work with, the object we want to apply our glass material to. So let's come to the Layer Editor tab and we just want to come and unhide or make visible this glass layer. With the object in the scene, let's come up to the Window menu, let's come to Rendering Editors, and let's pull up the Hypershade window for ourselves, and if we just move this to the side, we can see our object once we create a new V-Ray material.

Instantly, we can come into the Attribute Editor and rename this Clear_Glass_2. We select our object and then right- click the material in the work area and use the Assign Material to Selection option. Now, that material is applied and we can work with its parameters, of course, we need to select it in the Hypershade first. Glass, of course, is another material that doesn't make use of the Diffuse Color controls in our V-Ray material.

Even when we have colored glass, it isn't these diffuse controls that provide color information. These particular controls are really for surface light interaction, whereas the coloration in glass comes from inside the volume. This is why we will need to work with the refraction controls in the V-Ray material to create believable glass for ourselves, both clear and colored. So let's scroll down in the Materials Controls and let's work with these Refraction Settings.

As with refraction, black means that refraction is essentially turned off, we have a completely opaque material and if we set this all the way to the other end of the scale, white will mean that we have a completely see-through material. Of course, the problem is glass is both reflective and refractive. So we are going to have to work with our reflection controls as well. So let's go back up and make certain we set our Reflection Color to White also. Now, let's take a render.

What we get though is not a refractive material at all but a completely reflective one, which possibly is not surprising as we now have a material that is completely reflective 100 % and completely refractive. The V-Ray material needs a way of determining which of these options it needs to render with, and we can do that by just using a simple parameter in the Reflection Controls. If we jus scroll down a bit, we have this Use Fresnel option. When we check this, the V-Ray material will be rendered according to the viewing angle.

So if we look at this object completely head on, then we will see through it, we will get the refractive properties of it. If however, we are viewing at glancing angles, we will see lots of reflection in the material. So again, we can just this time take a Region Render, and we can see that we have very nicely dealt with that particular problem. Of course, there are still issues with our glass, for one thing, we can see that things are a little bit bitty, a little bit broken up around the rim area here.

Of course, our V-Ray Image Sampling controls and the DMC Sampler options will take care of that, that will clean up very nicely if we increase the quality settings in there. We can hopefully see that we get a very obvious refraction effect, we can see through to the objects on the other side, we get distortion as light is bent, we can see that on the glancing angles, we are looking at reflections and not refractions, so everything is working very nicely in that department. However, we can see that light isn't penetrating through to our tabletop here and with clear glass that is exactly how we would expect things to be.

Well again, there is another parameter we need to work with, this time not in the Reflection Controls as this Use Fresnel one was, but all the way down in our Refraction Options. What we need to is enable this Affect Shadows control. Now, light will penetrate through to the bottom of our object very nicely and everything will look a little bit more natural. In fact, let's just take a very small region and demonstrate that to you. And we can see, that nicely deals with that. You can even see as the shadows are traveling away that they are looking much more realistic also, once we take a render of this area, we will see that all of the shadow is working as we would want it to.

Now, as with Reflections, when we come to our Refraction Controls, of course, we're using just a color swatch at this moment in time, but we could use a map type. We could apply a checker map as we did with our reflective object and we would get an object that has areas of complete refraction and areas that are completely opaque. Remember again though that the diffuse color would come into play in the opaque areas. Something else that we can do with refractions is to apply a blurriness to them. So let's come and set the value of 0.7 in our Refraction Glossiness, and let's just take a slightly big region, render here, and it will just show you how that effect will look.

And as you can see, that gives us a very nice quick and easy frosted glass effect. Of course, you will notice that our reflections are completely smooth. If we wanted to give the impression of a rougher surface here, we would have to add glossiness or blurriness into our reflection parameters as well. Now, one thing we haven't mentioned with regard to glass is the fact that the IOR value will control the strength of our refractive effect. So lower values will make the glass look thinner, higher values will, of course, make the glass look thicker, you will get more bending of light.

I am just going to go and set our Refraction Glossiness back to a value of 1 there, because really, that's all we need to do to create nice, clear glass for ourselves, but as you've seen, we can add some interesting effects and we can have that pseudo frosty glass look in there if we want to. Well, what if we wanted to recreate the look of colored glass? Well, let's do that in our scene. Of course, we're going to need to unhide another object, so I am just going to close Render View for this moment in time. Let's come to our Layer Editor and we just want to make certain that our Glass_Butterfly layer is visible.

We do, of course, need a new material, so let's go and open up our Hypershade window and I am just going to make certain that we clear our graph area at this moment in time, so left mouse- click and create a new V-Ray material. I am just going to select my object, right-click on the Material and use the Assign Material to Selection option. Now, if I make certain that the material is selected in the Hypershade, we can come back to our Attribute Editor and we can just rename this Coloured_glass.

Of course, we need to run through setting up our glass properties. So let's come up to the Reflection Controls and let's first of all set that to be completely reflective. Of course, as we come down these options, we want to select to Use Fresnel, down to our Refraction Options, let's set that to be completely refractive and turn on those Affect Shadow controls. Now, to create colored glass, all we need to do is work with these somewhat misnamed parameters inside of our Refraction Options and that is the Fog color, Fog multiplier and Fog bias.

Now, to create a colored glass effect, all we need to do is select our Color Swatch and we can just work with the -- let's create something along the lines of a nice burned orange and with that done, we can again pull up Render View and just take a render for ourselves. And what you can see is we get a very nice colored glass effect for ourselves. Where the geometry is thinner, we have less color; where it gets thicker, we have much more saturation. In fact, where we have our leg geometry, you can see it's almost clear glass in there, which is just the way that color glass behaves in the real world.

Now, these other two controls, the Fog multiply, really that is just a way of increasing the strength of our fog effect. If we increase that, we will get deeper color saturation in our colored glass. We can use the Fog bias to add color to even thinner parts of the geometry. If we increase this value, then even thin parts of geometry will receive more and more color saturation. So again, the V-Ray material makes the creation of dielectrics such as glass very easy to do, even when we want to add more complex effects in there such as if we're creating color glass or adding the frosty glass effect with blurry refractions.

Well time now to swap back to our tablecloth material. What we're on to do is add a little more of an organic or fabric feel to what we have at this moment. We want to just work at adding a bit of a translucency effect to that material.

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This video is part of

Image for V-Ray 2.0 for Maya Essential Training
V-Ray 2.0 for Maya Essential Training

54 video lessons · 2227 viewers

Brian Bradley
Author

 
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  1. 4m 28s
    1. Welcome
      59s
    2. What you should know before watching this course
      51s
    3. Exercise files
      40s
    4. Workflow recommendation
      1m 58s
  2. 11m 32s
    1. Installing V-Ray
      4m 25s
    2. Setting up V-Ray
      3m 14s
    3. Locating V-Ray's tools and features
      3m 53s
  3. 24m 41s
    1. Image sampling explained
      3m 19s
    2. Understanding subdivs
      3m 49s
    3. Using the DMC Sampler
      6m 54s
    4. Overview of color mapping
      4m 45s
    5. Understanding the color-mapping modes
      5m 54s
  4. 27m 55s
    1. Dealing with lighting problems
      9m 26s
    2. Adding a spherical fill light
      8m 50s
    3. Creating a mesh light
      2m 43s
    4. Creating a skylight effect
      3m 18s
    5. Working with the dome light
      3m 38s
  5. 44m 25s
    1. Global illumination (GI) explained
      3m 55s
    2. Understanding primary and secondary bounces
      3m 34s
    3. How irradiance mapping works
      5m 30s
    4. Using irradiance mapping, part 1
      4m 35s
    5. Using irradiance mapping, part 2
      5m 44s
    6. How light cache works
      3m 48s
    7. Using light cache
      7m 58s
    8. Understanding brute force GI
      2m 18s
    9. Using brute force GI
      7m 3s
  6. 40m 3s
    1. Introduction to V-Ray-specific materials
      2m 22s
    2. Creating diffuse color
      8m 31s
    3. Making reflective materials
      5m 40s
    4. Blurring reflections
      8m 31s
    5. Making clear and colored glass
      8m 49s
    6. Creating a translucency effect
      6m 10s
  7. 24m 15s
    1. Introduction to image sampling
      2m 56s
    2. Using the Fixed-Rate sampler
      5m 57s
    3. How to use the Adaptive DMC sampler
      5m 21s
    4. Working with the Adaptive Subdivision sampler
      7m 7s
    5. Comparing image-sampling renders
      2m 54s
  8. 17m 23s
    1. The physical workflow explained
      2m 37s
    2. Working with VRaySun and VRaySky
      7m 39s
    3. Controlling the VRayPhysicalCamera
      7m 7s
  9. 45m 0s
    1. Depth of field: VRayPhysicalCamera
      5m 45s
    2. Depth of field: perspective viewport
      5m 49s
    3. Creating a motion blur effect
      9m 30s
    4. Generating caustic effects
      7m 51s
    5. Using VRayFur
      6m 2s
    6. Setting up render-time displacement effects
      10m 3s
  10. 34m 17s
    1. Render elements workflow
      6m 47s
    2. Preparing to composite
      2m 22s
    3. Compositing V-Ray elements
      7m 8s
    4. Putting extra elements to work
      6m 20s
    5. Post-lighting a scene
      11m 40s
  11. 11m 47s
    1. Overview of V-Ray RT
      5m 27s
    2. Demonstrating the RT workflow
      6m 20s
  12. 1m 8s
    1. What's next?
      1m 8s

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