Join Brian Bradley for an in-depth discussion in this video Controlling global exposure, part of V-Ray 3.0 for 3ds Max Essential Training.
- Since the introduction of V-Ray 2 to 3ds Max, users have had access to a V-Ray global Exposure Control tool that comes in very handy indeed when rendering with either a standard 3ds Max camera, which is exactly what we're using in our scene here, or when rendering when using a 3ds Max perspective viewport. To cure the overexposure that we are experiencing in our scene, our scene at the end of the previous exercise, and to demonstrate how this particular exposure tool works, let's pull up the Environment and Effects dialogue by hitting the 8 key.
And from inside the Exposure Control roll-out, access V-Ray's global Exposure Control tool by means of the drop down. As soon as we enable this, we are presented with three approaches to controlling exposure in our scene. We have the default Photographic option, which gives us the ability to make use of, perhaps, very familiar camera based controls. We have a From EV parameter option that lets us work with a single exposure value. Or we can actually take our global exposure from an existing V-Ray camera in the scene.
As we are going to be working with the V-Ray camera and its photographic exposure controls a little later on in the course, we can happily ignore both the camera and Photographic options for now, which leaves us with just the From EV parameter control with which to work. The default value of 0 is designed to give us a fairly typical mid-day, summertime exposure. And so will probably be a little bright for the scene, as we have it set up here. To drop the exposure level down a little, in other words to darken our render somewhat, we would need to increase the values that are being used here, which hopefully clues us that if we go in the opposite direction, that is, into negative numbers, then we're going to be brightening our scene instead.
An exposure value of 2 should give us a fairly well exposed image here, which, if I go ahead and render, we can see is indeed the case. Now one brilliant thing about using the Daylight system that we didn't make mention of in the previous exercise, is the fact that it will automatically simulate atmospheric changes, according to the time of day that we set it at. In other words, as the V-Ray sun object is raised upward in a scene, we get more blue white light from the system, whereas as it is lowered toward the horizon, we start to see more oranges and reds in our renders.
Indeed if I just grabbed the assembly head of our Daylight system and, using the Move tool, lower it towards the horizon a little, we can see as I take a render, that what we get is a nice, early morning or late afternoon feel to the scene. It really is that simple to change both the overall look and the feel of lighting in our scene when we're working with the Daylight system. The V-Ray Sun and Sky then, are fantastic tools for creating realistic, physically based daylight simulations in our scenes.
If we are rendering them using a standard 3ds Max camera, or perspective viewport of course, we just have to remember to apply a global V-Ray exposure to the scene. Now it is true that not every daylight shot that we will want to produce needs both sun and sky lighting present. Oftentimes a shot depicting a cloudy or overcast day really only needs to have some form of sky light available. Typically in 3ds Max this type of situation would be handled using the dedicated Sky Light object.
As this particular Max light isn't compatible with V-Ray though, we will need to look elsewhere for a sky lighting solution, which, fortunately, is provided in V-Ray by means of not one, but two dedicated Sky Light tools. The first of which, the GI environment, we will take a look at in our next exercise.
- Using the new UI elements, Quick Settings, and revamped Frame Buffer
- Understanding color mapping modes
- Adding V-Ray light types
- Working with the V-Ray Sun and Sky systems and dome light
- Using irradiance mapping and light cache
- Working with diffuse color maps
- Making reflective materials
- Creating a translucency effect
- Using the new SSS and skin shaders
- Ensuring quality with image sampling
- Working with the adaptive subdivision engine
- Controlling the physical camera
- Working with FX tools such as VRayFur and VRayMetaball
- Stereoscopic 3D rendering
- Using Render Mask
Skill Level Intermediate
Q: This course was updated on 02/02/2016. What changed?
A: We added tutorials on the new 3ds Max camera tool, which replaces the defunct V-Ray Physical Camera. The author also includes a method for creating a V-Ray camera via scripting.
Q: This course was updated on 04/19/2018. What changed?
A: New videos were added that cover V-Ray 3.1 to 3.3 updates.
SketchUp: Rendering with V-Ray 3with Brian Bradley4h 15m Intermediate
V-Ray: Control Color Bleed in SketchUpwith Brian Bradley1h 2m Intermediate
Introduction and Important Information
V-Ray 3.1 to 3.3 Updates
V-Ray 3.4 to 3.6 Updates
1. Getting Ready to Render with V-Ray
2. Key Lighting Tools
3. Global Illumination
4. V-Ray Materials and Maps
5. Quality Control with Image Sampling
6. Working with Cameras: The V-Ray Physical Camera
7. Working with Cameras: V-Ray 3 & the 3ds Max Physical Camera
8. The V-Ray FX Tools
What's next?1m 47s
- Mark as unwatched
- Mark all as unwatched
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.Cancel
Take notes with your new membership!
Type in the entry box, then click Enter to save your note.
1:30Press on any video thumbnail to jump immediately to the timecode shown.
Notes are saved with you account but can also be exported as plain text, MS Word, PDF, Google Doc, or Evernote.