Start learning with our library of video tutorials taught by experts. Get started

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

Using brute force GI


From:

V-Ray 2.0 for Maya Essential Training

with Brian Bradley

Video: Using brute force GI

Time now to examine the final GI engine we will be working with in this chapter. This, of course, is the Brute force system. So with our now familiar GI room loaded, let's again run through the process of setting up V-Ray's global illumination systems. So into the Render Settings window; let's go into Indirect Illumination. I want to turn everything on. Now, by default, we get Irradiance map, and Brute force set up as our Primary, and Secondary bounce engines. As we are focusing on Brute force, let's set that in the Primary bounce slot, and let's turn off Secondary bounces for now.
Expand all | Collapse all
  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

Watch this entire course now—plus get access to every course in the library. Each course includes high-quality videos taught by expert instructors.

Become a member
Please wait...
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 brute force GI

Time now to examine the final GI engine we will be working with in this chapter. This, of course, is the Brute force system. So with our now familiar GI room loaded, let's again run through the process of setting up V-Ray's global illumination systems. So into the Render Settings window; let's go into Indirect Illumination. I want to turn everything on. Now, by default, we get Irradiance map, and Brute force set up as our Primary, and Secondary bounce engines. As we are focusing on Brute force, let's set that in the Primary bounce slot, and let's turn off Secondary bounces for now.

Now, one thing that we do want to say right at the start: there are probably very few experienced V-Ray users who would choose to use Brute force for an interior GI solution, that is, unless there was a very specific need for it. Now, that can happen if we have lots of complex geometry; if we have very detailed geometry in the scene, then brute force may be the best option for you. It will really pull out that detail, but we have to be aware of the fact that brute force, when we are working on an interior, is at its slowest, and it is very, very difficult to clean up renders, in terms of the noise that can be found in scene.

We may want to just factor that in as we are deciding which GI engine we want to work with in a particular scene. Now, as brute force is a lot slower, in terms of render times, than all the GI engines, for this particular video, we are going to be working with some pre-rendered images. Of course, again, you can go and load these if you just go into File > Open, and come into your assets folder; here we are in Chapter 04, and you can see we have all of the renders for this chapter set up. So with our Brute force system set up, let's take a look at the parameters; the controls given to us. And you can see, we have a very, very simple set of controls. In fact, we have two; in reality we actually only have one, because this Depth option really only comes into play when Brute force is enabled to ask a Secondary bounce engine.

So to control the quality of our system, we are just working with this Subdivs parameter. With the default value of 8 set, this image we are looking at is exactly what we would get from our scene, which as you can see, is not very pretty. Indeed, lots of noise, lots of very dark areas that would need to be sorted out. Again, the first step we would take towards cleaning things up would be to turn on our Sky_Portal. So let's come up to the Window menu. Let's pull up that Outliner for ourselves, and let's select the Sky_Portal.

Close out the Outliner, and come into the Attribute Editor just to enable that light type. Coming down, we have to remember to turn on Shadows as we go, and then we want to enable our Skylight Portal option. With those changes made, we would go from this particular render, to this. As you can see, we have definitely improved the quality of scene lighting. You can see we are really pulling in a much greater level of illumination. Also, the colors are looking much more natural as well. Although there is a very high level of noise still in the scene, we can see that in areas where our geometry intersects, or comes into contact with all the pieces of geometry -- in other words, we are looking at the contact shadows -- you can see, we are getting some very nice effects indeed.

Of course, we still need to clean things up in our scene, and if we just pull up our Render Settings window again, you can see that, well, really the only option that would appear to be available to us is this Subdivs parameter. Remember, though, that the problem we have in the scene, the problem that we get with the Brute force GI system is that, well, we want to clean up the noise that is created because of the way that the system operates. So we could use our Brute force GI Subdivs parameter, or we could, indeed, work with our image sampling, and DMC sampler controls.

Well, let's do a little bit of a comparison. So first of all, let's turn our Brute force subdivisions up to a value of 24, and let's see what we would get from that. So we would go from this, to this. As we can see, it really does clean up a lot of the noise in the scene, particularly around the window opening. We can see all the noise, we see the light bounce in between these pieces of geometry; really starting to work very nicely indeed. But of course, all we would be affecting here would be the noise coming from the GI system itself. Any other effect found in our scene; any other noisy render effect would not be improved at all.

For that reason, we may want to work with our image sampling and DMC sampler approach. So let's reset our Subdivs value back to 8. Let's, instead, come into our V-Ray tab, into the Image sampler controls, and we'll leave our minimum subdivs set a value of 1, but let's set our Max subdivs to a value of 12. We are locked to our DMC sampler threshold, so let's come across to the Settings tab, and make a little bit of a tweak to that. So we are a set here at a value of 0.008. We want to make things a little bit more sensitive than that, so we are going to drop all the way down to 0.003.

With those changes made, we would go from this, to this, which, as you can see, is a very comparable render indeed. Different areas of the scene are being improved. If we keep an eye on the floor area here, you can see that the image sampling controls really clean that up, whilst this back wall actually fares better with our brute force Subdivs approach. The render times, if we look at those, are 1 minute 54 with the subdivision approach, and 1 minute 51 using the Image sampler and DMC sampler controls.

Bear in mind, though; using the Image sampler controls, and the DMC sampler settings will affect every aspect of the scene; not just the noise coming from our GI system. To finish up, then, or just to try and illuminate our scene a little bit better, let's just enable Secondary bounce engine in the system. So first of all, we'll work with the favorite, which is Light cache. Just accepting its default parameters, we would go from this, to this, which as you can see, adds an awful lot of extra illumination into the scene. And it does, to some extent, hide the noise problems that we have been seeing, just because we have that extra light bounce taking place in the environment.

Oftentimes, though, I like to use Brute force as a Secondary bounce engine as well, simply because it seems to add a greater degree of contrast, and a greater level of accuracy, in terms of the contact shadow. So let's go and set Brute force as our Secondary bounce engine. I am just going to set the Depth of the bounces -- the number of times each secondary ray can bounce -- to 5, and we would go from this, to this, which as you can see, is very comparable in terms of the illumination. I just feel that the colors we get in the scene on the contact shadows, the detail is pulled out, definitely seems a little bit better. And, of course, we would be able to work with our Image sampler controls to just clean up the noise in the scene a little bit more.

Brute force is possibly not going to be our first choice of GI Engine for our interior rendering, due to the length of render times that we can get from it. Hopefully we have seen just how easy it is to work with its very simple control set, and we've seen just how good this particular mode is at pulling out small details in a scene.

There are currently no FAQs about V-Ray 2.0 for Maya Essential Training.

Share a link to this course
Please wait... Please wait...
Upgrade to get access to exercise files.

Exercise files video

How to use exercise files.

Learn by watching, listening, and doing, Exercise files are the same files the author uses in the course, so you can download them and follow along Premium memberships include access to all exercise files in the library.
Upgrade now


Exercise files

Exercise files video

How to use exercise files.

For additional information on downloading and using exercise files, watch our instructional video or read the instructions in the FAQ.

This course includes free exercise files, so you can practice while you watch the course. To access all the exercise files in our library, become a Premium Member.

Upgrade now

Are you sure you want to mark all the videos in this course as unwatched?

This will not affect your course history, your reports, or your certificates of completion for this course.


Mark all as unwatched Cancel

Congratulations

You have completed V-Ray 2.0 for Maya Essential Training.

Return to your organization's learning portal to continue training, or close this page.


OK
Become a member to add this course to a playlist

Join today and get unlimited access to the entire library of video courses—and create as many playlists as you like.

Get started

Already a member?

Become a member to like this course.

Join today and get unlimited access to the entire library of video courses.

Get started

Already a member?

Exercise files

Learn by watching, listening, and doing! Exercise files are the same files the author uses in the course, so you can download them and follow along. Exercise files are available with all Premium memberships. Learn more

Get started

Already a Premium member?

Exercise files video

How to use exercise files.

Ask a question

Thanks for contacting us.
You’ll hear from our Customer Service team within 24 hours.

Please enter the text shown below:

The classic layout automatically defaults to the latest Flash Player.

To choose a different player, hold the cursor over your name at the top right of any lynda.com page and choose Site preferencesfrom the dropdown menu.

Continue to classic layout Stay on new layout
Welcome to the redesigned course page.

We’ve moved some things around, and now you can



Exercise files

Access exercise files from a button right under the course name.

Mark videos as unwatched

Remove icons showing you already watched videos if you want to start over.

Control your viewing experience

Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.

Interactive transcripts

Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.

Thanks for signing up.

We’ll send you a confirmation email shortly.


Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

Keep up with news, tips, and latest courses with emails from lynda.com.

Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

   
submit Lightbox submit clicked

Terms and conditions of use

We've updated our terms and conditions (now called terms of service).Go
Review and accept our updated terms of service.