V-Ray Configuracion de Materiales
V-Ray Configuracion de Materiales
V-Ray Configuracion de Materiales
author:
Wouter Wynen
2006 VisMasters. All rights reserved. VisMasters and the VisMasters logo are trademarks of ArchVision, Inc. All other trademarks belong to their respective owners.
INTRODUCTION
The basic material settings tutorial explains almost all material parameters of the V-Ray material. If you are new to V-Ray, please read the basic render settings tutorial rst, so you can start this tutorial in the correct way. The V-Ray version I used for this tutorial is 1.47.03.
6. Second material
I Repeat the previous steps to make a very light grey material. Rename this material ground plane and assign it to the ground plane and small teapot. You should have something like in the image on the left.
7. First render
Hit render! Your image should look similar to mine, if you have set all render properties as in step 1. Make sure default lights are turned off.
8. Reections
Select the orange material in the material editor. Below the diffuse slot are the reection options of the material. The color swatch next to reect is the main reection control. Black means there is no reection at all, white means the material will become 100% reective. If you make it red for example, the reections will be tinted red. First try a medium grey color.
9. Render
Hit render. Notice the teapot becomes very reective. Try a very dark grey, and very light grey too to see the difference.
Set the reection color to pure white, and set the max depth parameter to 1 and hit render. You will notice that many areas turn black. The max depth controls how many times a ray can reect before the calculation stops. Max depth of 1 means only 1 reection can take place. 2 means a reection of a reection can exist and so on...
10
11
12
15. Teapot 2
Duplicate the orange material, rename it teapot 2 and assign it to the small teapot. Change the diffuse color to a dark red.
13
The subdivs value beneath the re glossiness controls the smoothness of the blurry reections. Change it to 20 and render. The result is much smoother. Note that 8 subdivs means 8x8=64 samples, 20 subdivs means 20x20=400 samples. Doubling the subdivs will take +-4 times longer to render! Make sure you have the AA sampler at adaptive QMC when using high subdivs values! If you want to use adaptive subdivision AA, you can get away with much lower subdivs values (3 to 10). The adaptive AA smooths outs much of the noise from the low subdivs. If you have many blurry reections in the scene, adaptive QMC will always be faster.
14
15
22. Render
Render the scene. The white part on the teapot is the highlight glossiness, the fake blurry reection. A max spotlight is invisible to the camera and to reections, but with this highlight glossiness parameter you can make it visible in reections.
16
17
18
19
20
21
3. Create materials
Make a medium dark blue V-Ray material for the ground plane, and a very light grey V-Ray material for the torus knot and assign them to the corresponding objects. Hit render, you should get something like my example on the left.
4. Refraction parameters
Go to the white material and take a look at the refraction parameters. Refraction refers to light rays getting bent when going from one medium to another. For example light travels through air, then hits a glass object and the ray gets bent under a certain angle. Then this ray will travel further through the glass, and eventually will leave it at a certain point, getting bent again. How much a ray gets bent depends on the IOR (index of refraction) of the material. A high IOR means a lot of bending, IOR=1.0 means the rays will not bend. The V-Ray material has all options available to create any kind of refractive material. As you can see, many options are similar to the reection parameters. First, change the refract color to a medium grey color.
22
5. Refraction color
Render the image.You will notice the object has a transparent look. The grey refraction color means its about 50% transparent.
6. Diffuse color
Change the diffuse to black and render again. The result is pretty straightforward.
23
7. Refraction color
Change the refraction color to pure white and render. The result looks weird... Because now the object is 100% transparent, the diffuse color has no effect at all anymore. The black regions are rays that get refracted to the environment color, which is black.
8. Adjust reections
The previous step looks weird, because usually materials with such refractive properties are also reective. If you set the reection to pure white, and check fresnel reections, the material looks a lot better. The material you created now is the basic setup for clear glass in V-Ray.
24
9. Create an environment
The rendering looks very boring, because the only thing to refract/reect is the ground plane and the black environment color. Create a large, thin box and position it more or less like I did.
10.VrayLightMtl
The goal is to turn this box into a light source. An easy way to do this, is by using the special VRay light material. Click the get material button and choose VrayLightMtl from the list. Assign the material to the box and set the multiplier to 8.0
25
26
27
28
15. Glossiness
The glossiness parameter is similar to the one for reections. Its use is to blur the refractions. This is one of the most time consuming settings, render times will go really high if you use high subdivs... Try a value of 0.8 with 8 subdivs. Youll see that the blurry refractions are very noisy due to the low subdivs. But you get the idea. Turn the glossiness back to 1.0
29
17. IOR
Unlink the fresnel IOR, so that its value is set to 1.6 again. Hit render. The thing you see now is purely created by reections.
18. IOR
Set the refraction IOR to 1.1 and render again. Each material has its own IOR value. Typical glass values are around 1.6. Do a google search for other common used material IORs. Render a few tests with different IOR values. Reset the IOR to 1.6 to continue.
30
31
32
Adjust refraction settings to the ones on the right. By mixing an IOR of 1.0 with fog color, you get a waxy kind of material.
Adjust the glossiness to 0.75 and the subdivs to 16 and render again. The material looks a bit like reective wax. Turn glossiness to 1.0 again and IOR to 1.6 before continuing.
33
25.V-Ray Light
Click and drag in a viewport to create the V-Ray rectangular light. Make the size the same as our box, and position it in the same way. After that, hide the box. Set the V-Ray light settings as in the image on the right (click to enlarge). The multiplier should be equal to the multiplier of the V-Ray light material you used on the light box. We now created a light source exactly the same as the light box, but it will cast raytraced area shadows.
34
35
The top image on the right is rendered with an omni light as the only light source, and the affect shadows option is turned off. Notice the black shadows, no light passes through the material. The bottom image has affect shadows turned on. There is a fake caustic effect but its nowhere near physically correct. Note that the V-Ray light is a special light. Although it casts direct light just like max lights do, they do produce GI caustics (max lights dont!). Normally only rst bounce GI light (like the light coming from skylight and object lights like our light box) produces GI caustics.
settings all over the place! Drawback is that you need to have good GI settings for the caustics to be sharp, resulting in longer render times. Another advantage of V-Ray lights or object lights is that they reect/refract in your objects. Max lights are invisible to camera and reection/refraction. So to summarize: 1. If you use only object lights and V-Ray lights and you want caustics: - enable GI caustics - use good quality GI settings to make sure the caustics look sharp. 2. If you use max lights and you want the light to pass through refractive materials: - use the affect shadow option for a fake caustic effect - OR enable caustics in the caustics rollout and play with the settings for photon mapped caustics.
If you want real caustics when using max lights, you need to enable caustics in the caustics rollout (photon mapped caustics). Dont do this right now, these caustics controls need a tutorial 3. If you use V-Ray lights and of their own... Just rememyou want photon mapped ber that you can get nice caustics: caustics effects by using GI - Disable affect shadows and V-Ray lights much easier. - Disable GI caustics - Enable caustics in the That is why I prefer using caustics rollout and play the light box or V-Ray light with the settings. over the max lights. You simply check the GI caustics option and you dont have to care about other caustic
36
37
38
39
1. Translucency
Transparent materials like clear glass or water will let light travel through it undistorted (except for the bending due to the IOR). Translucent materials will scatter the light when traveling through it. For example stained glass, wax, grapes, etc... Stained glass can be made with V-Ray by using the refraction glossiness parameter, but wax or grapes for example will need the translucent controls. When to use the translucent controls or not, is a but unclear. Usually translucency is used for really opaque materials in which light can penetrate a certain distance, if its strong enough. Examples are wax, human skin, orange juice, milk etc...You cannot see through these materials, but light will be able to go through it partially and scatter around. For example when you hold a strong ashlight under your hand, the other side will turn red (blood!) and you can see where your bones are located because they block the light.
40
2. Translucency in V-Ray
Because the translucency controls are a bit strange in behavior, I will not try to explain them... More technical explanations can be found in the online documents, and I believe the V-Ray team is working on a translucency tutorial... You can get very similar results with extremely different combinations of settings, but when seen under changing lighting conditions, they will react very differently. The translucency controls also depend on the refraction glossiness and fog settings. They work together, and especially the fog color is a very sensitive setting that will have a very drastic effect on the material. One thing you should never do, is using colors that have one of their components set to 255!!! I usually leave the translucency color pure white, the refraction color a grayscale value and then control the material color with the diffuse and fog color. Then with the fog multiplier and translucency light multiplier create various effects of light passing through.
3. Skin
Heres a skin material that you can use to study the settings. Play with it and try to understand what effect each parameter has on the nal look. Note that because of the use of both reection and refraction glossiness, this material will render very slowly, especially with these high subdivs values.
41
42
6. BRDF
In this rollout you can choose between Blinn, Phong or Ward shader. The effect of these three types is noticeable the most when using glossy reections. Render the scene with the three different shaders. The settings affect how the highlights will look like. Ward is commonly used for metallic materials.
7. Anisotropy
Anisotropic reections are reections stretched in some direction. You see this often on brushed metals, for example the bottom of cooking pans. The anisotropy setting controls the shape of the highlight. The torus knot is not the best example, but youll get the point. Change the anisotropy setting to -0.6 and render the image. Theres also a huge difference between Blinn/Phong/Ward here. Try some other values too (like +0.6 for example). The XYZ axis option allows you to change the direction of the reections, or you can use a mapping channel instead. The rotation parameter rotates the reections...
43
8. Options rollout
First set anisotropy to 0.0 again, and also re glossiness to 1.0. Trace reections and trace refractions are pretty simple; turn calculation on by checking check box or off by unchecking check box. The cutoff parameter is a threshold value for V-Ray to trace reections any further or not. Try a value of 0,7 on the current image. Increasing the threshold can speed up rendering when you are using lots of reections in the scene. Double sided: please refer to the manual.
Reect on backside. We used this option already on page 2 of this tutorial. If turned on, reections for back facing surfaces will be computed too. Use irradiance map: if you turn this off, the irradiance map will not be used on this material. Instead, the GI on this material will be computed with QMC GI. This can be useful if the irradiance map blurs out small shadow details on certain objects. Treat glossy rays as GI rays: please refer to the manual. Energy preservation mode: please refer
9. Maps rollout
The maps rollout sums up all different texture maps. Almost all maps can be accessed in the basic parameters rollout (the small squares next to the parameters), but some will appear only here. Displacement is like bump, but instead of fake rendering it, the actual mesh is deformed to create the irregularities. Refer to the manual for extensive tutorials and examples about displacement.
These are the last four Opacity is the same as maps: bump, displace, you are used to in stanopacity and environment. dard max materials. Bump allows you to render irregularities in the surface by using a map. Dark areas in the map are low areas, bright areas are high areas. Environment slot allows you to use different reect/refract environment for each material.
44
45
46
Wouter Wynen has studied product development for 5 years at the university in Antwerp, Belgium. During these years, his interest in 3D modeling and visualization grew more and more. In the end, it even overpowered the interest in product design. After graduation, he founded the company Aversis, offering 3D viz & webdesign services.
47
2006 VisMasters. All rights reserved. VisMasters and the VisMasters logo are trademarks of ArchVision, Inc. All other trademarks belong to their respective owners.