Join Brian Bradley for an in-depth discussion in this video V-Ray hair shader, part of V-Ray 3.0 for 3ds Max Essential Training.
- One of the areas that received an awful lot of attention in the release of V-Ray version 3 was the oftentimes difficult scenario of rendering CG hair and fur which, for the sake of this video, we will treat as one and the same thing. The V-Ray hair file modifier, the V-Ray Ornatrix modifier, the V-Ray hair info tex map and, of course, the subject of this video the V-Ray hair material have all been added in order to help make the prospect of rendering this oftentimes tricky subject as easy as possible.
Now, of course, it has been and is entirely possible to build a reasonable looking hair and fur texture using just the standard V-Ray material. In fact, if I take a render of our scene, you can see that very thing in action. The V-Ray fur on our toy bear is entirely readable and is clearly meant to be fur even though the V-Ray material applied has had very little work done to it. Diffuse color along with some scattered reflections is about all that we are seeing. The real problem we have as was the case with our V-Ray Fast SSS2 Skin Shader is the fact that we open up the material editor, and take a look at the material controls, they really aren't particularly adapted to the somewhat specialized job of tuning and tweaking the look of hair and fur.
When using this material for instance, how do we account for the unusual specular properties that are seen in hair and fur? How do we deal with diffuse coloration given the transmissive nature of hair and fur? How do we set up the material so that it can handle full on GI in a scene without bringing our computer to a crawl? All of these, and a whole bunch of other questions, are really difficult to deal with when using the standard V-Ray material as our primary hair and fur texture. Enter as we say the V-Ray hair material specifically designed to take all of those points into account when used in conjunction with either the V-Ray fur object, Ornatrix, Hair Farm or indeed 3ds Max's own hair and fur modifier when rendered using the mental ray primitive mode that is.
If we bring a copy of the V-Ray hair material onto our canvas here and then double click to access its parameters, we can instantly see just how specialized it is. Like the V-Ray Fast SSS2 material we have a number of useful precepts that can be used as jumping off points coming in both shiny and matted versions whilst at the same time we still have a raft of controls that can help us tune and tweak our hair as much as we want or need. We can even down in the advanced roll out increase light multiplier values for just this material instance alone giving us some very powerful material specific relighting options.
To apply the material in our scene, we will need to select all of our V-Ray fur objects. So let's come over the V-Ray layer explorer and select the layer of the same name and then right clicking on it use the Select Child Node option. We can then from the Material Editor apply the V-Ray hair material. As we will want to make a comparison here, let's add our current render to the history stack and then take another render. Straight away we should be able to note that two very significant things have happened.
The first being the speed at which our render has completed given that we have shaved something like 20% off the overall render time as compared that is to using the standard V-Ray material. Most important of all though is the change we see to the way in which lighting in the scene now interacts with the hair and fur material. If I just setup our previous render in channel A and wipe between the two, we can see how the light and reflectivity properties of the material make this new version look much softer, much more like real fur than was previously the case.
This, of course, comes from making use of just the default settings on the V-Ray hair material. Things do look a little odd around the eyes and ears given that the underlying geometry has a very different color applied so let's grab the diffuse fur color from our V-Ray material apply it to the diffuse color in the V-Ray hair material and then go ahead and render one last time. Again, if we compare this to our initial render, there is really no doubt at all that what we get from the V-Ray hair material looks much softer, has a much more natural look and feel to it as regards to its interactions with lighting in the scene.
- 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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