Join Brian Bradley for an in-depth discussion in this video Introduction to V-Ray specific materials, part of V-Ray 3.0 for 3ds Max Essential Training.
- When it comes to outputting high-quality images from a render engine, one of the things we very quickly need to recognize is that a lot of the power, a lot of the functionality, and a lot of the final quality comes from the materials and maps that have been written specifically for it. Now, whilst there seem to be changes on the way that will make cross-render engine materials a welcome reality, I can say without hesitation that at this moment in time, all of today's high-quality render engines, both biased and unbiased, would be nowhere near as appealing, nor convincing in their output were it not for the engine-specific materials and maps that they use.
Of course, V-Ray is currently no exception in this regard. If I open up 3ds Max's Material Editor using the icon on the main toolbar, you can see that for the duration of this chapter, I am going to be working in the slate version of the Material Editor. If you, however, prefer to work in compact mode, that is fine, so long as you are able to translate what I do here into steps that you can perform in the compact version. Let's come then to the Search by Name field and type V-Ray, which, as you can see, gives us access to all of the V-Ray specific materials and maps that are part of the default V-ray installed.
We have materials then that can be used to create sub-surface scattering effects, car paint materials, we can create light-emitting objects, we have dirt or ambient occlusion maps available to us, as well of course, as lots, lots more. When these V-Ray specific options are added to 3ds Max's own already strong material and map tool set, much of which V-Ray can, of course, use natively, we have at our disposal a rendering, texturing and effects powerhouse that should prove capable of accomplishing most any task that we throw at it.
Not that we will need to use every single V-Ray material and map on every project we undertake, of course. As you would probably expect, a few of these materials and maps are going to be used on pretty much a daily basis, having a part to play in almost every project we work on. Some will be used a fair amount of the time, meaning they will pop up with reasonable regularity in our workflow while some, of course, are fairly specialized in their application, and so we shouldn't expect to be using them too often in our projects, even though they can still play a very powerful role in our texturing workflow.
In this materials chapter, we're going to focus mainly, although not exclusively, on one of the engine-specific materials that are available to us, which is the aptly named V-Ray material, or PowerShader, as it is labeled in the 3ds Max Material Editor. This quite literally is the Swiss Army knife of material work in V-Ray and will probably be the material we use to recreate the vast majority of surface types. Over the next few videos then, we're going to walk through the major controls of this material and demonstrate how they can be used to create not only single-surface properties for our materials, but also how various properties can be combined to create complex and realistic surface materials that genuinely enhance the quality of our final output renders.
- 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.
Introduction and Important Information
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
V-Ray 3 & the 3ds Max Physical Camera
7. The V-Ray FX Tools
What's next?1m 47s
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