Join Brian Bradley for an in-depth discussion in this video Physical Camera setup, part of V-Ray 3.0 for 3ds Max Essential Training.
- If we were to create what could be defined as photographic realism in our lighting and rendering setups, then we will most likely want to master can rightly be called a photographic approach to rendering. In such a workflow, we would make use of real world scale in our scenes, we would use real world lighting units for our light intensity settings, and we would as closely as possible, mimic the physical behavior of real world photographic equipment. For those who already have experience as photographers, this approach to a rendering workflow would immediately feel very familiar, as it shares the same tools and terminology as its real world counterpart.
Even for those who may not have any real photographic experience, this approach can quickly become a familiar and powerful way of creating natural, photographic looking images. A major component in this particular workflow is the V-Ray Physical Camera that we will take a closer look at in this chapter. Inside our stat scene here, we are currently making use of a standard 3ds Max perspective viewport in order to view and render our scene, which we have the daylight system setup to provide natural looking outdoor lighting is probably not the ideal photographic tool to be making use of.
A much better option, typically speaking, would be to make use of V-Rays' own Physical Camera option. To add a V-Ray Physical Camera to the scene, let's jump into the Command Panels Create tab, and from the Cameras section, access the dropdown and choose the V-Ray option. In the Object Type rollout that appears, we now have access to both the V-Ray Dome Camera, and of course the one that we want here, the V-Ray Physical Camera. We add one of these to the scene by selecting the button, and then using a left mouse click and drag in the viewport to actually create the Physical Camera object itself, remembering of course to right-click in order to exit creation mode.
We do want to keep the camera selected, as we want to take this and because we like the view we already have, match it to the existing viewport. We can do this by, as we say, keeping the camera selected and using the Control and C keyboard shortcut. This causes our Physical Camera to jump to, and more or less frame up on the perspective view that we are currently looking through. Indeed, if I go ahead now and hit the C key alone, we can view the scene through our V-Ray Physical Camera. We have, of course, changed the framing of our view just a little but seeing as I am still perfectly happy with what we have here, I'm going to leave things as they are.
Now straight out of the box, the V-Ray Physical Camera gives us a default exposure setting, which if we jump into the Modify tab, we can see is using an F-Stop value of 8, a Shutter Speed of 200, and an ISO value of 100. This, if I just take a render, gives us a perfectly acceptable late afternoon daylight exposure for the scene. Of course, we may want to change the look of our exposure, which we can do using any combination of the three parameters that we have just highlighted.
We do need to keep a couple of factors in mind, however, should we want to do this. First of all, if we decide to use our F-Stop value to control exposure, we need to remember that the F-Stop number, as it does on a real camera, also controls the Physical Camera's depth of field effect, once it has been enabled, of course. We also, if we decide to use our Shutter Speed to control exposure, need to remember that this controls any motion blur effects that we may enable. Because of the dual nature of these controls, I will typically choose to work mostly, if not exclusively, with the ISO value in order to control exposure on the Physical Camera.
For instance, here we have a value of 100 set. But, let's suppose we wanted to brighten the scene up quite a bit, maybe even overexposing it somewhat. If I set a value of 400, making our virtual camera now much more sensitive to light energy and then take a render, you can see that we do indeed get a much higher level of apparent illumination in the scene. Well, let's move on to our next exercise and start to take a look at a few more of the Physical Camera's critical controls, ones that we may need to use on a day-to-day basis for our rendering projects.
- 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
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