Join Brian Bradley for an in-depth discussion in this video Introduction to V-Ray materials, part 2, part of SketchUp: Rendering with V-Ray 3.
- [Instructor] Having taken a brief look at as we say four of the 14 V-Ray materials available to us in version three, let's continue with the exercise and take a look now at the car paint material. Now, we did mention earlier that we could use V-Ray's blend material to create complex shaders such as car paints and what we have here though is a ready-made material with everything that we would need to hand in order to create a typical metallic car paint surface. The material comes with four basic components already set up as it were, so we have the base color and base reflection controls along with a glossiness setting.
We have a metallic flakes rollout and we have a coat rollout with the material letting us adjust the settings for each of these elements separately. Indeed, if we apply this material to the shader ball head and base in the scene, and then render, we can see out of the box the effect that we get. Switching the color of the car material over to orange and then adjusting the scale of the fakes is a quick and easy edit to make and when we render we see the results straightaway.
Along with the car paint material we also have the stochastic flakes material which gives us the ability to create something very similar to the flakes rollout found in the car paint material, only as a material in its own right here. Now, whilst this could be added to an object as a standalone material, a more obvious use would be to add it as an extra layer in something like the blend or generic materials. The flakes material can of course be used to help simulate metallic car paint but it could also be used to create things like snow and other glittery-type surfaces.
To look at our next material type let's switch the shader ball preview over to sub-surface scattering and then create a sub-surface scattering material. Straightaway we see the difference that having this tweaked shader ball scene makes as we can clearly see the light penetration taking place in the geometry. The sub-surface scattering material in V-Ray 3 is primarily designed to help create translucent materials such as skin, marble and the like. The implementation is that more or less physically accurate approximation of the sub-surface scattering effect, albeit one that has been designed to be fast enough to be used in a production situation.
The material is made up of three layers if you like, these being specular, diffuse and sub-surface scattering. A sub-surface scattering layer comprises both single and multiple scattering components, single scattering being where the light bounces just once inside the material, whilst multiple scattering results from light bouncing two or more times before leaving the surface. Next up we have the hair material which if I just create, you can see has a huge range of options with which we can work.
Now, fortunately we can get some pretty good results right out of the box with a minimum of parameters needing to be tweaked, something that we will be doing a little later in the chapter. Let's finish this part of the exercise then by adding a toon material to the scene materials list. This is a very simple option that has been designed as the name suggests to add cartoon-style outlines to any object to which the material is applied making it perfect in many ways for creating something like a technical drawing kind of look.
It can also be used to create some interesting NPR, or non-photorealistic rendering effects although it does need to be applied to objects that have a reasonable amount of surface detail in them in order for this material to work well. Of course, the big gotcha here is that we do need to remember to apply a base material from the base material dropdown, otherwise the objects that have this material applied will just seem to disappear in the render. To show how things should work, let's apply the material to our shader ball geometry, add the base gray material in the base material slot and then after setting the line width value to three, take a render.
With our cartoon outlines added, let's move into the final part of our materials overview and take a look at the last four options found on the add list and then of crouse, go back to the bump material that we skipped over earlier.
- Gamma handling in V-Ray 3 for SketchUp
- Working with interactive rendering
- V-Ray light types
- Working with irradiance mapping
- Rendering animations
- Working with the V-Ray camera
- Using the Materials UI
- V-Ray FX tools
- Stereoscopic 3D rendering
- Using V-Ray objects