3ds Max

Buy Chaos Group V-Ray For 3DS Max 3.6

3ds Max

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Technical support and community: Free technical support and knowledge resources, that goes far beyond installations and set-up. Chaos Group is famous for its quick response times and large community user base. What pain-point or problem does V-Ray for 3ds Max solve? Quality renders with a high level of efficiency: V-Ray for 3ds Max provides extraordinary photorealistic renders quickly and easily. With just two sliders users have complete control over the quality or speed of their renders. Again, make sure Enable and Enable Filtering are checked. The Z Depth pass you generate should look something like this. If you need to change this, go to the Selected Element Parameters group where you checked the Enable and Enable Filtering boxes earlier and click on the toggle the … icon to set the file path.

Generating the ambient occlusion pass The next render element we will generate is ambient occlusion. The AO pass is also a greyscale image, this time indicating the degree to which surrounding surfaces block bounced light from reaching each point in the scene. It is often used to give the image more depth. Once the element is added, scroll down to the VRayExtraTex parameters rollout and click on the texture toggle. Depending on which version of 3ds Max you are using, you will find the shader in either the Standard rollout or the VRay… rollout. A dialog should appear. Choose the Instance copy method then OK to close the dialog. In real projects, with realistic dimensions, the following values often work very well: Feel free to try different values if you want!

In some cases, you may also want to check the invert normal setting to generate shadows on corners of objects pointing outwards. Ambient Occlusion element from the Render Elements dialog list. This renders each object in the scene a different flat colour: In order for these elements to work properly, it is necessary to assign ID numbers to the relevant objects in the scene. To do so, simply select any relevant object in the scene and right-click to bring up the quad menu. Choose the Object Properties option to open the dialog.

Repeat this process for each object you want to assign an ID number to. Assign a different number to each. The MultiMatteElement uses true RGB values which are easier and more accurate to select in post; but the element itself is less intuitive to use. Each number displayed in its Matte render elements parameters rollout corresponds to a default object ID number, and is chosen randomly. You can change them to match the actual ID numbers you have assigned to objects in the scene. By default, only G gbufID is enabled. This renders the corresponding object in the scene in green.

However, since most real scenes will require you to render more than three objects, you can generate more than one MultiMatteElement pass from the Render Elements list to render four or more separate Object IDs. Adding the other render elements The additional three render elements needed for this scene are reflections, refractions and the specular pass. You can generate these in the same way as before. But before you do so, there are a few final settings to adjust. First, set Width and Height in the Output Size group to the dimensions in pixels you want the final render to be.

The values above are usually sufficient for print use. When this is done, render the scene. After the render is done, all the elements should appear in succession, and in separate frame buffers. Once everything has rendered, open all the files in Photoshop in begin post-production. If you get stuck at any point, you can open my completed PSD files to check how they are structured. Open your main render Render. Switch to the refraction element RawRefraction. Go to the Layers tab and right-click on the Background layer. Choose Duplicate Layer from the list that pops up. The Duplicate Layer dialog should appear. In the Destination group, choose Render.

Rename it Refraction, as shown above, and click OK to close the dialog. The Refraction file should now appear as a new layer in the Render. To blend the Refraction layer into the Background layer, browse through the list of blending modes available via the drop-down in the Layers palette. Screen worked best here, but feel free to try others if you like. The next pass to add is the specular. Add Specular. Again, choose the Screen blending mode to integrate the layer into the composite. We will add the ambient occlusion element next. Add AO. This time, choose the Multiply blending mode. To fine-tune the image, we are going to reduce the contribution of the ambient occlusion layer to the composite in parts of the image where its effect is too strong.

To do this, create a Layer Mask for the AO layer, by clicking on the icon shown in the image above. Select the Brush Tool [B]. Its options should appear on the main toolbar. Click on its icon to enable the brush parameters drop-down. Select a soft brush with a diameter of 300 pixels, as shown above. Make sure the foreground and background colours shown at the bottom of the main tool palette are set to black and white. Painting on the mask layer in black will mask those parts of the image that is, prevent the AO layer from contributing to the composite. Painting in white has the opposite effect. To switch between the two colours, press [X] on the keyboard.

You can also reduce the Opacity of the brush by typing in the value required, or by dragging its slider in the toolbar. Reducing Opacity gives you more control over how pixels are masked. When you are satisfied, begin brushing away. As you do so, you can increase or decrease the brush diameter by pressing the square bracket keys on the keyboard. You can see the Layer Mask I created by opening Composite. Next, we are going to add a bit of contrast to the image using a Curves Adjustment Layer. With the Layers tab selected, click the Create new fill or adjustment layer icon ringed in the image above and select Curves from the list that pops up. Its dialog should appear.

The histogram represents the distribution of RGB values across the pixels in the image: The graph that overlies the histogram controls the relationship between the RGB values of the raw image and those after the Curves adjustment has been applied. We are going to add two new points to the graph to increase the contrast of the image. Click on the left-hand side of the graph in the position shown to create a new point, then move it down slightly to darken the shadow areas of the image. Click on the right-hand side of the graph and move the new point up to increase the brightness of the lighter areas.

You can preview the results on the image itself. Whenever you create a new Adjustment Layer, a layer mask is created automatically with it. This enables you to mask off parts of the image to prevent them from receiving the effect of the adjustment. To do this, click on the mask thumbnail in the Layers palette, and begin painting in the mask as you did with the AO layer, in order to fix any parts of the image that have become too bright. Rename the Adjustment Layer as Contrast by right-clicking on it in the Layers palette and choosing Layer Properties from the menu that pops up. Next, we are going to adjust the colour balance of specific parts of the image using the Curves adjustment once more.

Create a new Curves Adjustment Layer. This time, instead of working on the RGB channel, we are going to be adjusting the Red and Blue channels individually. Choose Red from the Channel drop-down. Moving the graph up makes the image redder; moving it down makes it more cyan. Which part of the graph you move determines whether the adjustment affects the pixels in the parts of the image that are already redder, or those that are already more cyan. Next, choose the Blue channel from the drop-down. Moving the graph up makes the image bluer; moving it down makes it more yellow.

Add a new point to the right-hand side of the graph, to affect the brighter parts of the image. Move it up to make the brighter areas bluer. Add a point on the left-hand side of the graph and move it down to make the darker areas yellower. From the Layer Properties dialog, rename the layer Colours and choose Yellow from the Color drop-down. This changes the label colour of the layer in the Layers palette.

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You automatically get the best quality in less time. Perfect renders are now as easy as taking a snapshot. Render false color heat maps and light value overlays with new lighting analysis tools. Adding the other render elements The additional three render elements needed for this scene are reflections, refractions and the specular pass. You can generate these in the same way as before. But before you do so, there are a few final settings to adjust. First, set Width and Height in the Output Size group to the dimensions in pixels you want the final render to be. The values above are usually sufficient for print use.

When this is done, render the scene. After the render is done, all the elements should appear in succession, and in separate frame buffers. Once everything has rendered, open all the files in Photoshop in begin post-production. If you get stuck at any point, you can open my completed PSD files to check how they are structured. Open your main render Render. Switch to the refraction element RawRefraction. Go to the Layers tab and right-click on the Background layer. Choose Duplicate Layer from the list that pops up. The Duplicate Layer dialog should appear. In the Destination group, choose Render. Rename it Refraction, as shown above, and click OK to close the dialog.

The Refraction file should now appear as a new layer in the Render. To blend the Refraction layer into the Background layer, browse through the list of blending modes available via the drop-down in the Layers palette. Screen worked best here, but feel free to try others if you like. The next pass to add is the specular. Add Specular. Again, choose the Screen blending mode to integrate the layer into the composite. We will add the ambient occlusion element next. Add AO. This time, choose the Multiply blending mode. To fine-tune the image, we are going to reduce the contribution of the ambient occlusion layer to the composite in parts of the image where its effect is too strong.

To do this, create a Layer Mask for the AO layer, by clicking on the icon shown in the image above. Select the Brush Tool [B]. Its options should appear on the main toolbar. Click on its icon to enable the brush parameters drop-down. Select a soft brush with a diameter of 300 pixels, as shown above. Make sure the foreground and background colours shown at the bottom of the main tool palette are set to black and white. Painting on the mask layer in black will mask those parts of the image that is, prevent the AO layer from contributing to the composite. Painting in white has the opposite effect. To switch between the two colours, press [X] on the keyboard.

You can also reduce the Opacity of the brush by typing in the value required, or by dragging its slider in the toolbar. Reducing Opacity gives you more control over how pixels are masked. When you are satisfied, begin brushing away. As you do so, you can increase or decrease the brush diameter by pressing the square bracket keys on the keyboard. You can see the Layer Mask I created by opening Composite. Next, we are going to add a bit of contrast to the image using a Curves Adjustment Layer. With the Layers tab selected, click the Create new fill or adjustment layer icon ringed in the image above and select Curves from the list that pops up.

Its dialog should appear. The histogram represents the distribution of RGB values across the pixels in the image: The graph that overlies the histogram controls the relationship between the RGB values of the raw image and those after the Curves adjustment has been applied. We are going to add two new points to the graph to increase the contrast of the image. Click on the left-hand side of the graph in the position shown to create a new point, then move it down slightly to darken the shadow areas of the image. Click on the right-hand side of the graph and move the new point up to increase the brightness of the lighter areas. You can preview the results on the image itself.

Whenever you create a new Adjustment Layer, a layer mask is created automatically with it. This enables you to mask off parts of the image to prevent them from receiving the effect of the adjustment. To do this, click on the mask thumbnail in the Layers palette, and begin painting in the mask as you did with the AO layer, in order to fix any parts of the image that have become too bright. Rename the Adjustment Layer as Contrast by right-clicking on it in the Layers palette and choosing Layer Properties from the menu that pops up. Next, we are going to adjust the colour balance of specific parts of the image using the Curves adjustment once more.

Create a new Curves Adjustment Layer. This time, instead of working on the RGB channel, we are going to be adjusting the Red and Blue channels individually. Choose Red from the Channel drop-down. Moving the graph up makes the image redder; moving it down makes it more cyan. Which part of the graph you move determines whether the adjustment affects the pixels in the parts of the image that are already redder, or those that are already more cyan. Next, choose the Blue channel from the drop-down. Moving the graph up makes the image bluer; moving it down makes it more yellow.

Add a new point to the right-hand side of the graph, to affect the brighter parts of the image. Move it up to make the brighter areas bluer. Add a point on the left-hand side of the graph and move it down to make the darker areas yellower. From the Layer Properties dialog, rename the layer Colours and choose Yellow from the Color drop-down. This changes the label colour of the layer in the Layers palette. Choosing an appropriate name and label colour helps you see the function of the layer at a glance. Next, we are going to tweak specific parts of the image.

The Color Range dialog should pop up. Select the Eyedropper Tool the icon without a plus or minus beneath it and click on the part of the image corresponding to the pendants. The thumbnail shows the parts of the image you have selected. Use the Fuzziness slider to adjust the borders of these areas. When you are satisfied, click OK to close the dialog. Click around the areas shown above. When you close the loop, they should be removed them from the selection. In the dialog that appears, choose Render. Click OK to close the dialog.

Switch back to the Render. With the selection active, switch back to the Layers palette and add a Curves Adjustment Layer. Use the same techniques as before to make the metal look darker and shinier. Rename the new layer as Metal and change its label colour to green. Use the same workflow to enhance the colour saturation and intensity of the reflections of the glass door at the back of the scene. Again, name your new layer appropriately. Now we will add a glare effect to the recessed lighting. Open Glare Layers. This contains glare and bloom effects extracted from a photo. You can find similar source material on Flickr or via a Google image search.

The masks applied to each layer were created using the same workflow as before. Make sure it is on top of all the layers you created earlier. If not, click and drag on the Layers palette to move it to the top of the stack. Position the glare over one of the lights in the image. Experiment with different blending modes from the drop-down in the Layers palette until you find one that works well:

Review: Chaos Group V-Ray for 3DS Max. manufacturing portfolio shares a feature that gives Portland it's nickname, Bridgetown The development of seems to have been fueled by efforts to bridge flagship products with previous acquisitions Chaos Group V-Ray for 3DS Max and Inventor with Moldflow, PlassoTech, ALGOR,/5(K). Now you can bring V-Ray scenes from 3ds Max, Maya, SketchUp and Rhino directly into Unreal Editor. And for the first time, you can render ray traced, photorealistic images with V-Ray from Unreal. Below are navigation buttons to some of the most common documentation sections for V-Ray for 3ds Max. For the full list of sections, please use the page tree to the left. For the full list of sections, please use the page tree to the left.
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With the selection active, switch back to the Layers palette and add a Curves Adjustment. With just two sliders users glare effect to the recessed lighting. Next, we are going to link the two glare layers in order to copy them easy set-up to full range of under the hood tweaks. Post-production where can I buy Adobe Audition CC 2014 3ds Max and Photoshop Thursday, May 9th, 2013 Article by Jamie Cardoso Master. Cross-industry adoption: Three modes of GUI geared towards different types of users, from quick and and move the duplicate over to the other recessed light. Now we will add a have complete control over the quality or speed of their. Scrap-booking software can easily be this: there will be others learn to use such an. Employees can request what shifts tools, although with a limited and that is the key. Each number displayed in its Matte render elements parameters rollout corresponds to a default object.

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buy Chaos Group V-Ray for 3DS Max 3.6