Join Brian Bradley for an in-depth discussion in this video V-Ray workflow options and recommendations, part of V-Ray 3.0 for 3ds Max Essential Training.
- There is a mistake that we as 3ds Max users can make whenever we first introduce V-Ray into our rendering pipeline and that is to make the assumption that our current, and possibly hard-learned 3ds Max workflow has to be thrown out and a whole new way of working learned before we can even start to make use of this powerful rendering software in a production setting, which, to be honest, is not strictly speaking true. Yes, there are a very operating differences between V-Ray and 3ds Max's other installed renderers, such as Quicksilver and Mental Ray.
Yes, there are a number of tools that don't quite work in the same manner, but it is worth stopping and noting here that it is entirely possible to continue working with the vast majority of 3ds Max's standard tools just as we may already have been doing for some time. In fact more so now then ever before we can continue to use what I typically refer to as a Max Centric Workflow in our rendering pipeline. In this we would continue to use the same basic 3ds Max lighting and material workflows that we may have been using for years.
Meaning we could continue to work with typical 3ds Max light types, from both the standard and photometric groups, as well as regular 3ds Max material types. Such as the Standard, Raytrace, and now even the Mental Ray based Architectual and Design shader, which V-Ray can actually interpret pretty well. That having been said, whilst this kind of Max Centric Workflow maybe an ideal way to quickly start using V-Ray on production projects given that it will, of course, help us become familiar with the way in which the renderer works and help us get to know the layout of its tools and such, there is arguably a better approach.
Better in the sense that we can take full advantage of tools that have been written specifically for the V-Ray engine. In such a V-Ray Centric Workflow we would take advantage of V-Ray versions of essential everyday tools, such as Cameras, Lights, Materials, Exposure, Frame Buffer controls, and so on. With this approach we would, of course, experience some very beneficial effects. For one thing this approach will help optimize our rendering pipeline's efficiency. We get an efficiency in workflow because the tools have been designed to work together, meaning they integrate well and require no fudging or workarounds, which in turn leads to an internal efficiency and speed from the renderer, because everything having been written specifically for V-Ray will have been optimized to work as efficiency as possible with the engine's own internal algorithms.
Ultimately, of course, the choice of how we work with V-Ray is entirely up to us. Oftentimes artists will mix and match some aspects of these two approaches with some of their own preferences so as to get a workflow that just works well for them. Ultimately, all that really matters is that we're able to use V-Ray to produce work of sufficient quality and in sufficient quantities in order to meet the needs of our day to day 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.
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
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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