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

Using the Fixed-Rate sampler


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V-Ray 2.0 for Maya Essential Training

with Brian Bradley
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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

Video: Using the Fixed-Rate sampler

If you recall in our earliest theory work on Image Sampling, we learned that rays and samples are used together lots of information from our 3D environment. The result, of course, being the computing of the final pixel color values for our rendered images. The V-Ray render, it gives us a choice of three different engines that can be used to handle this part of the rendering process. If we come up to our Main toolbar and open up our Render Settings window, and if we come into the V-Ray tab, we find ourselves by default in the Image Sampler rollout, and you can see have this Sampler Type dropdown.

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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

Using the Fixed-Rate sampler

If you recall in our earliest theory work on Image Sampling, we learned that rays and samples are used together lots of information from our 3D environment. The result, of course, being the computing of the final pixel color values for our rendered images. The V-Ray render, it gives us a choice of three different engines that can be used to handle this part of the rendering process. If we come up to our Main toolbar and open up our Render Settings window, and if we come into the V-Ray tab, we find ourselves by default in the Image Sampler rollout, and you can see have this Sampler Type dropdown.

If we access that, we can see three engines listed, Fixed rate, Adaptive DMC, and Adaptive subdivision. In this particular video, we're just going to be focusing on the first there, the Fixed rate sampling engine. Now the Fixed rate sampler performs image sampling in a very straightforward way. It uses, as would perhaps have guessed, a fixed number of rays per pixel to accomplish its information gathering. Now with our Subdivs value set to 1, what we get is a single ray sent out from the centre of each pixel for our rendered output.

Whatever that ray hits in our scene, will be used to determine the color value for all of this particular pixel, the pixel that this ray has traveled from. Now with that Subdivs value of 1 set in there, what we're going to do is jump into Adobe Bridge. We're just going to use some pre- rendered images to show you how the changes made in our image sampling engine affect the rendering of our scene. Image sampling is, of course, a render intensive process. So we just need to work with these images just to make the process nice and smooth. So let's jump over to Bridge.

You can follow these steps because we have these images inside of your Exercise files folder. So let's go into there, let's come into the Assets folder>Chapter06 and we're looking at of course our Fixed Rate engine. So let's select the first image. I am just going to use the Spacebar to maximize and then left mouse click to really zoom in. And you can see that we get not a bad image, but we can see that there are lots and lots of problems with it. You can see geometry edges are getting a very obvious stair-stepping effect.

We can see there's lots of noise present in the scene. Our lines on the objects are not fairing too badly. They are resolving quit well. You can see again, stair-stepping off the edges of the geometric objects, lots of noise on our diffuse textures. Our noisy texture is not fairing too badly in this instance; they are cleaning it up quite well, and you can see we have a Render Time, a very fast Render Time of 1 minute and 39 seconds. This is a 1000x1500 pixel render. Of course, we need to push the sampling quality if we want to clean things up here.

So let's jump back into Maya, let's come to our Subdivision settings, and let's increase now to a value of 2. This means that we are now getting full samples, evenly distributed across each of the pixels for our render. These four samples will of course be average together by the render. That will allow it to produce again a final pixel color value. Let's jump back into Bridge with those changes made. I am just going to Spacebar to exit and then select our second image, Spacebar, and then left mouse click to maximize, and you can see we're starting to clean things up somewhat.

Our geometry edges are not looking quite as jagged. We've got a bit of cleanup of the noise in the scene but still a very obvious problem, and now we're at our Render Time of 2 minutes and 28 seconds. So still fairly fast we're getting lots of nice feedback from the scene, but again, we've really not got anything that we would try to use as a final render. So again, let's go and push the Image Sampler's quality by adjusting our settings. This time we want to set our Subdivs value. Let's jump all the way up to a value of 8.

With those changes made, let's come back into Bridge and examine our third image. And what you can see is that we start to clean up our scene very nicely indeed. We're cleaning up the Shadow areas, all of the geometry detail is looking very nice. Of course, we have jumped now all the way upto at Render Time of 20 minutes and we still haven't cleaned up all of the noise. You can see lots of fine grain noise on our diffuse color block here and just some noise definitely present still inside of the shadows.

So one more quality setting change then, let's go all the way now up to a value of 16. This means we're using 256 samples per pixel for the sampling inside of our image. So back into Bridge and select our final image, Spacebar, and then left mouse click and what you can see is that we really have cleaned up our scene quite nicely. All of the line detail looking nice, shadow detail, not looking too bad at all, our noisy textures are picking out lots of detail, but of course, we're now at a Render Time of 1 hour and 28 minutes.

Now we do need to remember that the Fixed rate engine will still be making use of the DMC Sampler Threshold value. So you may need to tweak those to clean up any extra noisy effects in the scene. But we're just sticking to using the Image Sampling controls for the Fixed rate engine in this exercise. One weakness or one downside of the Fixed rate sampler is that there really is no adaptivity in this system whatsoever. V-Ray will always use that fixed value, that fixed number of samples whether our scene, whether image requires them or not.

This of course can lead to long render times as we see and we still may not have a satisfactory level of quality in our final renders. For this reason, and really the Fixed rate engine is, generally speaking, best suited to being used for quick and easy test renders. Well let's move now onto looking at a system that does have adaptivity associated with it and that is the Adaptive DMC engine.

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