Join Brian Bradley for an in-depth discussion in this video Blurring reflections, part of V-Ray 2.0 for 3ds Max Essential Training.
To create the blurry chrome material that we want to work with in this particular video, the first thing we need to do is quickly run through re-creating our basic chrome setup. So, let's come up to the Main toolbar and open up our 3ds Max Material Editor. Of course, we need to have an object in the scene that we want to apply our material to. So let's open the Manage layers dialog and let's come to our Clock/Timer object and just click on the lightbulb icon to bring that object into the scene. Now, the material we're going to be applying is this 3ds Max multi sub-object material.
You can see it has a number of IDs set, specifically IDs 1 and 2. They correspond to material IDs applied to our piece of geometry. Now, just to show you how this works, it f I select this, you can see this appears to be a single piece of geometry, but if I come into the Modify tab, if I come to the Element sub-object mode, and if I just select this object, you can see we have this central piece here and then we have these little two pieces on either side. These are broken up and assigned different material IDs. And just to show you how this works, if I bring back our Material Editor and with the default material set there, we've not really done anything in terms of setting up our reflection GI, but just with these two colors gray and green assigne,d if I just use the Assign Material to Selection option, even in the view- port you can see how those materials are divided, and they're placed on separate parts of the object.
Of course, what we need to do now is go and set up our basic reflective chrome, first of all. So, let's come into our Blurry_Chrome material, come to the Reflect swatch, and let's set that from black to white and now we have a reflection material set back up. In fact, in the Material Editor, we come to this Background option. We just enable it. You can see we're getting in our preview sample a completely reflective material. To add the blurriness to these reflections, very, very simple in the V-Ray Material. We just want to work with this Reflection Glossiness parameter.
The lower the value set here, the blurrier, the noisier our reflections will be. So, let's go and set this value to something around about 0.7. And with our default Subdiv setting of 8, let's take a look at how that is rendering. And you can see we do indeed get very blurry reflections on our objects. Now, one thing I want to do is I am just going to clear out the checker map for this particular material, just so we can compare our blurry reflections with this completely reflective object.
So, I am just going to right-click on that map slot, checker map we edit in there, and use the Clear option. Now when it comes blurry or noisy render effects, such as these lowered glossy reflections, we do have to keep in mind that the DMC sampler controls will have a big impact. They will play a large part in determining how smooth or how noisy these particular render affects are, these blurry reflections in this case. In fact, just to show you how that will work, let's come to the Render Setup dialog. We want to come to the Settings tab, and in our DMC Sampler controls, I am just going to set this to a value of 0.1.
Just minimize that, and if we just pull our V-Ray frame buffer over a little bit, I am going to enable a new piece of functionality, well, a piece of functionality we haven't looked at so far, with regard to the V-Ray frame buffer, and that is this History option. So, if I just check that and if I just make certain that the Render history is enabled, we can now save our renders into this temporary holding area, and we can compare and examine how our different vendors are turning out. So, if I just click the Save button, you can see this particular render appears here. Now, I am going to use another piece of the V-Ray frame buffer's functionality.
I am going to come up and use this Region Render option. So, if we just click on that and then left-mouse click and drag out a region around our object, we can use the Render last button on the V-Ray frame buffer to just very quickly take a region render of our scene. And now, if I just disable the Region render option and if we just save that image into our Render History, we can now use this Set A and Set B functionality. So, I will select our initial render and set that in the A channel, select our current one and set it as B, and now what you will find is that if we just compare how these are looking, you can see with our DMC Sampler controls lowered, we are getting very, very noisy reflections in there indeed.
And remember, those lowered sample controls will affect any kind of noisy effect in our scene. So, I just want to show you how they can oftentimes impact the way our blurry reflections are looking. So, let's just clear our V-Ray frame buffer. We would do that just by clicking on this Clear option. We can clear out everything that is in there, and we're ready to just continue. So let's just turn the History off for this moment in time. And of course, we need to come back into our DMC Sampler controls and reset those, so we're getting some reasonable quality out on our scene. Let's reset to back to its previous volume of 0.01, and have a look now at another option that allows us to really smooth out the blurry reflections that we are working with, and that is this Use interpolation option.
This basically is a way of taking the samples used to create this render effect and averaging, or blurring them together to create a smoother affect. So, again, let's enable that and show you how that will look. And you can see what we get is a very, very smooth brushed metal result indeed. In fact, this really reminds me of the kind of metal look, the fake metal look, that you get when plastic is used on objects such as this instead of metal itself. So, if that is an effect that we want to create, then this Use interpolation option may be one that we want to work with.
There are a number of controls that will affect how the interpolation will work, so if we just come down in our Materials control-- so, let's now turn down; let's just keep going down-- you can see we have these Reflect interpolation roll-out and a whole bunch of controls that will set the min, max rate values and some thresholds, and the number of samples that are actually interpolated together. So, it's not just that one simple check box that we want to work with if we're going to use this option. Now another option that we can use to control how our reflections are working in the scene is this Dim distance control.
So, if I enable this option and then just set our Dim distance value here down to something pretty small, like 5 centimeters-- here we are using same units, our measurement in same units.,Aand then if I just come up to our Region render option and again we set wherever we want to be and let's just take a Region render, you can see that we actually restrict by 5 centimeters how far out into the scene our reflection rays are allowed to travel. Anything beyond the 5-centimeter distance is not calculated inside of the reflection, so we get this black return instead.
We have this Dim falloff parameter also that will give you a smooth transition from the cutoff point. So, if you don't want this hash transition, you can create a bit of a gradient in there. So, let's just uncheck that and take another Region render. In fact, to make a comparison with our next option, the next parameters we're going to look at, we need to make certain that our Use interpolation option is unchecked, because we want to compare now how light will interact with our blurry reflections. So, if we just scroll down in our Materials options here, you see we come to this Brdf rollout, BRDF standing for bidirectional reflection distribution function.
Basically, this is how we control light interaction with our reflections. It will affect the way they're looking in our final renders. So again, if we just make a little bit of room and enable our History option, we can save what we can save what we currently have and come back to our Brdf dropdown. We're going to set these from the default Blinn to Phong, and we will take a Region render. Once that's done, of course we want to save that into our Render History, and while we're here, let's come and set the final one, which is Ward, and come back and take another Region render.
Now, let's turn that Region option off, and we can obviously save the renders that we currently have, and let's do a little bit of a comparison. So, let's set our initial the original render, the default render, to channel A. Then let's set channel B. And again, if we compare, you can see that the reflections that we get interact quite a bit differently with the light. There was a different quality to the noise effect that we are seeing in there. And again, if we just leave our original render, the default Brdf setting, which of course is Blinn, if we just leave that set as our A channel and now set our Ward option to be the B channel, you can see again, there's quite a bit of difference in the way that the reflections are working.
So, not just a matter of setting all the glossiness of our reflections, not just a matter of working with this Reflection Glossiness value. We have our Brdf options, we can work with interpolation or Dim distance values. All of these will help us when creating reflections, particularly when working with blurry reflections in our scene. So, we've seen then, creating blurry reflections of any type, very quick and easy to do using the V-Ray Material simmple controls. What about increasing the difficulty level for the V-Ray Material now, by asking it to reproduce a material that is both reflective and refractive and is so common to people that they would instantly know if something was not looking right in the material we have created? Well, creating glass seems like a good material to tackle next.
- 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 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