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V-Ray 2.0 for Maya Essential Training
Illustration by Richard Downs

Understanding subdivs


From:

V-Ray 2.0 for Maya Essential Training

with Brian Bradley

Video: Understanding subdivs

When working with V-Ray tools, such as lights, cameras, materials, and many others, we will often come across a subdivs -- short for subdivisions -- parameter. Understanding what that term refers to, and how our numeric subdiv values will be affecting our final renders, is another critical concept that we will benefit from understanding. Now, we have, of course, already covered the bare bones of the ray-trace rendering process, We have discussed how our renderer collects samples from our 3D environments by means of rays that are cast, and traced through that environment.
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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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V-Ray 2.0 for Maya Essential Training
4h 46m Beginner Mar 08, 2012

Viewers: in countries Watching now:

This course introduces the features of the V-Ray 2.0 rendering engine and demonstrates how to extend the range of Maya with its state-of-the-art tools, such as irradiance mapping, fur and hair textures and shaders, and stereoscopic 3D rendering. The course covers critical concepts such as creating basic materials, image sampling, color mapping, subdivs, and lighting, as well as the Render Elements, RT, and physical rendering workflows in V-Ray. Exercise files are included with the course.

Topics include:
  • Installing and setting up V-Ray
  • Using the DMC Sampler
  • Understanding color mapping modes
  • Adding a spherical fill light
  • Working with the V-Ray Dome Light
  • Using irradiance mapping and the Light cache
  • Creating diffuse color
  • Making reflective materials
  • Creating translucency
  • Ensuring quality with image sampling
  • Controlling the V-Ray physical camera
  • Creating a motion blur effect
  • Compositing V-Ray elements
Subjects:
3D + Animation Rendering Textures Materials Visual Effects
Software:
V-Ray
Author:
Brian Bradley

Understanding subdivs

When working with V-Ray tools, such as lights, cameras, materials, and many others, we will often come across a subdivs -- short for subdivisions -- parameter. Understanding what that term refers to, and how our numeric subdiv values will be affecting our final renders, is another critical concept that we will benefit from understanding. Now, we have, of course, already covered the bare bones of the ray-trace rendering process, We have discussed how our renderer collects samples from our 3D environments by means of rays that are cast, and traced through that environment.

This initial phase of the ray-trace rendering process is handled by our image sampling, sometimes called anti-aliasing controls. If we just come up to the main toolbar, and click on our Render Settings window, we can just quickly show you where those controls are found. So inside of the dialog, let's come to the V-Ray tab, and by default, we find ourselves looking at our image sampling controls. These are the ones that will determine -- these will control the number of primary, or I-rays, that are used in this as we say initial phase of the rendering process.

If you recall, though, we also made mention of the fact that secondary, or bounced rays may also need to be calculated, depending, of course, upon the surface properties of our scene objects. These secondary rays are required to produce many of the effects that ray-trace renderers are so good at. Effects such as those seen in our slide, so reflections, and refractions, both glossy, and blurry, depth of field, motion blur, accurate area, or soft edge shadows, ambient occlusion, and quite a bit more.

The final quality of these effects will, to a large extent, be controlled by the number of secondary rays used to calculate them. The number of secondary rays used will be controlled by our various subdiv values. Now, let's just quickly show you a number of areas inside of the Maya UI where we will run across this subdivs value; this subdivs parameter. So for instance, in our image sampling controls, you see we have a Minimum and Maximum subdiv setting. If we come across to the Indirect Illumination tab, you can see we have a Subdiv parameter inside of our Irradiance map controls.

Come all the way down to Light cache, and we have Subdivs inside of those parameters. Let's go and pull up Hypershade window for ourselves. And if we just select a V-Ray material, and come into our Attribute Editor; make it so we are viewing it. And again, if we look inside a number of parameters in here, you'll see we have subdiv settings. So inside of Subsurface Scattering, if we come up to our Refraction controls, we have a Refraction Subdiv setting; up to Reflection controls, and we have Reflection Subdivs, and we could go on.

There are quite a number of areas inside the Maya UI where we will run across this subdivs parameter. Now, rather than being the actual number of samples used, the subdiv value represents the square of them. The value really describes the number of times each pixel will be subdivided, with of course, new rays being cast from each new subdivision pixel. So, a subdiv value of 8, as we see here, which oftentimes is the default in V-Ray, could more accurately be described as 8 multiplied by 8, which means we would get a total of 64 samples, or rays per pixel that could be used to produce a specific effect.

So hopefully you can see that our subdivs values will clearly impact the final quality of any secondary ray effects found in our scenes. However, there is another controlling V-Ray that will greatly influence just how many secondary rays are used. This is the DMC sampler, and it is our next critical concept for discussion.

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