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Using VRayFur

From: V-Ray 2.0 for Maya Essential Training

Video: Using VRayFur

What we want to do now is look at a V-Ray tool that can help us create some simple render time fur generation effects with a minimum force. We have our start scene file loaded. You can see that we have a number of V-RayFur effects already applied to our bear's body like geometry. Of course feel free to play around with these parameters, just tweak in them a little seeing how they change the V-RayFur effect in our scene at this moment in time. But of course, we need to come at our V-RayFur effect to our bear's head.

Using VRayFur

What we want to do now is look at a V-Ray tool that can help us create some simple render time fur generation effects with a minimum force. We have our start scene file loaded. You can see that we have a number of V-RayFur effects already applied to our bear's body like geometry. Of course feel free to play around with these parameters, just tweak in them a little seeing how they change the V-RayFur effect in our scene at this moment in time. But of course, we need to come at our V-RayFur effect to our bear's head.

We need to finish off the fur effect in the scene. Doing this is very simple. We just need to select the geometry in the scene first of all. Then we can come up to the Create window, come down to our V-Ray set and we want to use this Add V-RayFur to selection option. Once we apply that you can say, well, we definitely have V-RayFur applied to this piece of geometry. Now before we show you the test renders that we have created for this particular scene, of course V-RayFur, itself quite an intricate piece of geometry in the scene.

We just want to show you how we've set up our Indirect Illumination engines to pull that geometry out so that we can see it very clearly. We have GI enabled and we have Brute force set as our Primary bounce engine. As we've said, this is an excellent choice for pulling out geometry detail in the scene, but it is quite slow, so as you would expect we are going to work with some pre-rendered image. So if I just open up Render View, you can see this is the render that we would get from our default V-RayFur settings. Now clearly, this is not going to work for the kind of effect that we are going for here.

So we just want to make some tweaks and changes to our V-RayFur setup. So let's select the V-RayFur Properties node and let's just room through some values that work for this particular scene setup. Now of course as you were working with your scene, you are going to change these parameters according to your needs. Scene scale, the type of fur effect that you are trying to create, all of those will affect the parameters that you would use here. So we are just going to set our Length value to around about 2.5. We are going to set Thickness of 0.09, our Gravity we can leave as it is, Bend can stay the same, Taper will set to a value of 0.9.

Now we can move on to adding some variation into our V-RayFur setup. You can see you have all of these variance controls, so let's take Direction variance and set it to 0.5. We will set our Length variance to 0.9, Thickness variance can be set to 0.4 and our Gravity variance can be set to 0.5. So now we've just got a little bit of as you would expect variance variation in how our fur object is working. Now again if we were to take a look at how this particular setup would render, you can see this is the result we would end up with, which is pretty much in keeping with the rest of our fur effect.

However, what if we wanted to have some variation in the length of the fur on our bear's head? What for instance if we wanted some shorter fur around his ears and muzzle area? Well we can use some other controls in the V-RayFur node to do just that. We can actually apply maps as control mechanisms, basically maps placed in these slots grayscale maps will act as multipliers for the values that we have already set in the basic parameters. So what we are going to do is we are going to apply a grayscale map to our Length texture slot, so let's go and search for that, so let's add a file node.

Go and browse for our control image. We want to go into the images folder and our Exercise Files folder, and we want to use this grayscale control TIF file. Now this is an image that we just prepared by drawing a grayscale map over-the-top of the default UVs applied to our head geometry. You can see these bright spots here correspond to the bear's ears and this section here corresponds to his muzzle. Now at this moment in time, the grayscale values are actually the wrong way round. Inside of V-Ray for Maya, light colors will give us a greater multiplier of our length parameter, so we will get longer hair where the bright colors are sitting.

That's not a problem though, because we can use my functionality to change this map around for ourselves. So if we just open this map and then make our viewport visible, you can see that things clearly and really working the way that we would want them to go very long fur on our ears and around our muzzle area. So let's just come down in our final node. We want to come to the Effects rollout, and if we just use the Invert checkbox, you can see things start to work a little bit more as we would want them to. In fact, what we could do is come back up to the top level of our V-RayFur Properties and we could still work with our Length parameter if we had in mind so we can still use this to control the overall length of the fur effect.

Remember those grayscale maps are just multipliers. But with these particular settings, if we were to take a render, you will see that we do indeed shorten the hair, shorten the fur around our muzzle and in areas. We can see we have a little bit of harsh transition line here, you may want to be little bit more careful when you are creating your grayscale transition, just smooth them out and you will get some very nice transitional effects. Of course the big thing to keep in mind regarding V-RayFur is that it is designed as a very simple albeit, sometimes highly effective system.

If we needed complex grooming control or we wanted to add dynamic simulations into our hair setup, then Maya's own hair system would definitely make a better choice. By being said for simple hair fur, even grass of fabric effects, V-RayFur can oftentimes do the job very nicely for us. Just remember, the lighting choice of GI and Image Sampling engines, all of these will affect the final look of our V-RayFur render. What we want to do now is use some V-Ray functionality that will give us the ability to create render time displacement effects in our renders.

Show transcript

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 · 2186 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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