V Ray 3.0 eBook ENG

Ciro Sannino

V-RAY 3.0 AND APPLIED PHOTOGRAPHY

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V-Ray 3.0 applied to the book

Photography & Rendering with V-Ray GC edizioni

Copyright © 2014 by GC edizioni ALL RIGHTS RESERVED

GC edizioni Corso America, 57 09032 Assemini (CA) Ph. and fax 070-8809018

www.gcedizioni.it [email protected]

Author Ciro Sannino Publishing, Graphics and Layout Gabriele Congiu Editing and Revision Barbara Sulis Translation Johanna Worton

E-book completed in July 2014

The authors and publisher accept no liability for damages of any type arising from the improper use of the program. All brands cited herein have been registered by their respective producers, particularly Autodesk and 3ds Max, which are Autodesk registered trademarks; V-Ray has been registered by Chaos Group. All rights reserved. No part of this manual can be reproduced, translated, copied or transmitted in any form or by any means, without the publisher’s prior written consent.

CONTENTS

V-Ray 3.0 and Applied Photography Introduction.................................................................................4 Gamma Compensation ................................................................4 The Render Pannel ......................................................................7 Progressive & Render Mask .......................................................8 Exercise: How to take advantage of the Render Mask ......10 V-Ray Frame Buffer .....................................................................12 V-Ray Toolbar and V-Ray Quick Settings ....................................14 Production time ..........................................................................16 Personal vision ...........................................................................16 Order your copy now ...................................................................17 Learn V-Ray .................................................................................17

GC edizioni

VR3

V-Ray 3.0 and Applied Photography

The book“ Photography & Rendering with V-Ray” focuses entirely on the implementation of basic photographic concepts in the process of creating an image through rendering. The various examples in the book refer to version 2.0 of V-Ray, but a user with version 1.5 can also use it very easily. The same goes for anyone who has updated to version 3.0. On the photographic level basically nothing has changed, as this would be absurd. However, seeing as several commands now have different names, or are simply found in different places, I have written this e-book so that using the main book is even easier.

E-book: V-RAY 3.0 NEW FEATURES

Introduction After little over a year V-Ray 2.0 took a new leap forward and launched version 3.0 at the beginning of 2014. It contains various additional features that contribute to making the production process simpler and more logical. Many improvements concern the core of the software and are related to increasing performance. Several new options have also been introduced, none of which, however, change the photographic rationale behind Photography & Rendering with V-Ray . This could not be otherwise, as photorealism means first of all adopting a photographic attitude, which automatically produces a photographically correct result. A detailed overview of all the new features is available on the official website http://www.vray.com. In this e-book we are going to look at the V-Ray 3.0 updates that are good to know so that you can always find everything you need to implement photographic concepts using V-Ray.

Gamma Compensation Compensation using the gamma curve is extensively described in Chapter 2 - Compensation Using the Gamma Curve of Photography & Rendering with V-Ray , from both a theoretical and photographic point of view and is accompanied by practical exercises. The explanation of gamma compensation is universal and naturally always valid, not just for V-Ray, but for any other software dedicated to photorealism. Its implementation has become much simpler in the versions 3ds Max 2014 and V-Ray 3.0. Everything stems from the fact that in 3ds Max 2014 management of the gamma in Input (texture) and Output (render) is automatic. The Gamma in preferences is already set to a value of 2.2 and cannot be changed, Figure VR3-1. This is different from in previous versions, in which it was necessary to set the gamma manually, Figure VR3-2.

Figure VR3-1 From version 2014 “Input and Output Gamma” are managed automatically and the “Bitmap les” box has been removed

Figure VR3-2 Until version 2013 of 3ds Max the gamma compensation in input and output could be changed using the “Bitmap les” box in the Gamma and LUT tab

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Considerations: The Gamma Input and Output can actually be changed by using a line of max script. However, I’ve noticed that, unless you know the whole theory well, it’s always better to use the default settings of 3ds Max, without changing them. Nor is it inconceivable that sooner or later the “Bitmap files” box could return. So the most important thing is to always be completely aware of why certain procedures are carried out, as clearly explained in Chapter 2 of Photography & Rendering with V-Ray . For this reason Chaos Group has seized the opportunity and, as far as the gamma issue is concerned, has made it so that V-Ray 3.0 is perfectly integrated with 3ds Max by default. In the following images - Figure VR3-3, Figure VR3-4, Figure VR3-5 and Figure VR3-6 - let’s look at how V-Ray 3.0 now appears upon opening.

Figure VR3-3 The “Enable built-in frame buffer” option, which allows you to produce the rendering in the V-Ray Frame buffer, is highlighted

Figure VR3-4 The option used to show a preview of a render compensated using the gamma curve

Figure VR3-5 In the Color mapping rollout the “Gamma” has already been set to 2.2 and the “Mode” to “Color Mapping only (no gamma)”

Figure VR3-6 The recommended option for gamma when saving is “Automatic”

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Coordinated in this way, the two systems, V-Ray 3.0 and 3ds Max 2014 , already produce and save correctly compensated images, using the gamma curve by default for any output format used. If you have 3ds Max 2014 (which no longer allows you to change the gamma in preferences), but haven’t yet purchased the V-Ray 3.0 upgrade, you can simply manually set the same configuration that V-Ray 3.0 adopts as a default. Let’s sum up the options that have changed slightly and which are shown in Figure VR3-3, Figure VR3-4, Figure VR3-5 and Figure VR3-6 on the previous page:

1. 2.

Activating the V-Ray Frame Buffer , Figure VR3-3;

3.

Setting Color Mapping to 2.2 and selecting the “Don’t Affect Colors” checkbox (option no longer exists under this name in V-Ray 3), Figure VR3-5;

4.

Ensuring that saving occurs with the Automatic option enabled, Figure VR3-6.

Enabling the gamma preview using the sRGB button in the V-Ray Frame Buffer , Figure VR3-4;

Remember that whichever method you use to obtain correct compensation, the result will be the same. When working with 3ds Max 2014 (or later) together with V-Ray 3.0, we suggest you begin your new projects without changing the already perfect default settings.

Notes: In Chapter 2 of the book the “classic” combination is used to obtain the correct Gamma compensation. This involves setting the gamma output in the preferences to 1.0. The result is, however, the same.

Considerations: At first glance, having many ways to do the same thing automatically leads up to think that one way is better or at least more advisable than the others. I personally suggest using the default settings of V-Ray 3.0 and 3ds Max 2014 when you start a project from scratch, and continuing to use the so-called “classic” setting, with the gamma output set to 1.0, if you find this type of configuration when you open an old file. It is simply a question of convenience.

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The Render Panel The interface of the Render Setup panel, Figure VR3-7, (which can be activated using the classic function key F10), may appear completely different at first. Three buttons, called Basic, Advanced and Expert, have simply been added. By choosing one of them, you can hide more or fewer options. If you enable Expert in all the rollouts (where possible), V-Ray appears almost identical to the previous version. Here are a few small changes that are worth highlighting, in order. The “Render Setup” panel is basically the same - it is just narrower:

Figure VR3-7 On the left, the Render Setup panel that has always accompanied the developments of V-Ray since its inception. The new, more practical and more compact Render Setup panel is shown on the right.

Adaptive DMC antialiasing is now simply called Adaptive, Figure VR3-8. It has just changed its name and is still set as explained on page 172 of the book, in which we talk about step-4 of the 5SRW method, dedicated to the production of sharp, clean images.

Figure VR3-8 In the Render Setup panel on the left “Adaptive DMC” antialiasing is highlighted. In version 3.0 this has become “Adaptive”. The new “Prog ressive” option can also be seen in the drop-down menu.

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For years the default system in the Color Mapping rollout has always been Linear. Now the default Color Mapping is Reinhard, with the Burn value option set to a value of 1.0, Figure VR3-9. As explained in the book, this is actually the exact equivalent of Linear . Officially the default setting has not changed but with Reinhard , V-Ray can more easily manage the highlights. For an accurate explanation of how and when to use the three main color mapping methods (Linear, Exponential and Reinhard), refer to the book from page 99 onwards.

Figure VR3-9 The Reinhard and Burn value options highlighted

Notes: The Noise Threshold parameter has changed positions. While previously it could be found in the SETTINGS section of the rendering panel (F10), it is now in the V-RAY section of the “Global DMC” rollout. Its function, however, has not changed.

Progressive & Render Mask Several very interesting new features can be found in the Image sampler (Antialiasing) rollout, including the Progressive and Render Mask options, Figure VR3-10. These two new production tools make your work easier and significantly affect finishing and delivery times. Let’s start with Progressive antialiasing. This allows the final render to be produced, no longer using buckets, but as a whole image. This image is initially very grainy but becomes cleaner and cleaner as minutes pass.

Figure VR3-10 The Progressive option and the relative eld in which to set the render time are shown

It is a similar technology to V-Ray RT. The latter, however, implements all the functions and also depends on Irradiance Map and Light Cache for Global Illumination. It’s a very convenient type of production, particularly when you don’t have a lot of time available.

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Progressive allows you to have a finished render available at any time. It may be grainy, but it will, however, be a complete render. In the Render Time field we can set the processing duration or simply set the time to 0, which corresponds to infinity, so the render will continue indefinitely and we can stop it when necessary.

Considerations: In Figure VR3-11 you can see an image I made during the beta phase of V-Ray 3.0 to test Progressive. This has become the testimonial image of the Progressive function and you can also find it on the official website www.v-ray.com. The image in FigureVR3-11 is a screenshot taken during processing. Here is some information related to the process: •

Image width 1200px;

•

Irradiance map: high / Light Cache: 2000.

After the first 5-6 minutes calculating the Global illumination with Irradiance Map and Light Cache the render began in Progressive mode. The image in Figure VR3-11 is the result after just 3 minutes of processing.

Figure VR3-11 Screenshot of the rendering after just 3 minutes of processing. You can see a lot of grain, which disappears as Progressive continues its calculation.

The speed when using the Progressive option is more or less the same, but the way the render is produced is different. This new type of antialiasing does most of the work in the first few minutes and then takes all the time needed to reach a high level of definition. So we can let it process until we are satisfied or for as much ti me as we have available. For this reason Progressive really is an intelligent solution for flexibly producing renders.

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As far as the new and very useful Render Mask option is concerned, let’s carry out a little exercise which will clearly show its functioning and related advantages without mincing words.

Exercise: How to take advantage of the Render Mask 1.

Start 3ds Max and open the file render-mask_2011.max, located in the folder E-bookV-Ray-3.0;

2.

Click on render and wait several minutes until it has finished, Figure VR3-12;

Figure VR3-12 The image is obtained in just a few minutes, showing the chair with opaque reections

3.

Now change the surface properties of just one object in the scene, for example, transform the chair from opaque to glossy (see Materials from page 62 of Photography & Rendering with V-Ray);

4.

Go to the “Image Sampler (Antialiasing)” panel and choose Selected from the Render Mask drop-down menu, Figure VR3-13, then select the object whose surface properties you have just changed;

Figure VR3-13 The Render Mask option, which we use as “selected”, is shown

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5.

By clicking on render you’ll see that the calculation is only carried out on the selected object, making the correction in just a few seconds, Figure VR3-14. This prevents you from having to recalculate other parts of the scene, which would certainly have made the rendering time longer.

Figure VR3-14 Image showing the render carried out only on selected objects

In a way the Render Mask is the evolution of Region Render . It allows you to render very specific areas based on a mask, a layer or - as we have just seen - on one or more selected objects.

Notes: If you click on render and nothing happens, you have probably left the Render Mask set to “Selected” and haven’t selected any objects.

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V-Ray Frame Buffer The new V-Ray Frame Buffer, Figure VR3-15, contains new functions particularly related to color correction and to other slight variations. Let’s start with the latter.

Figure VR3-15 V-Ray Frame Buffer graphics window showing the buttons for the functions Force A Color Clamping ( ) and View Clamped Colors ( B )

A B

1. The buttons A and B, Figure VR3-15, respectively Force Color Clamping and View Clamped Colors, have been grouped under the same button. Simply hold it down for a few seconds to access both options, which are described in the book;

Notes: This change had already been made in the latest versions of V-Ray 2.0, but seeing as they appear separate in the book, we prefer to emphasize it.

2. The button in Figure VR3-16 shows a preview of the effect of the gamma compensation, which is no longer called sRGB. It now shows the symbol of a gamma curve but the effect and meaning are still the same.

Figure VR3-16 Part of the V-Ray Frame Buffer graphics window showing the buttons to access Pixel information ( C ) and gamma compensation ( D ), and a box containing the pixel information and the Corrected colors option

C

D

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Notes: When the gamma curve button of the V-Ray Frame Buffer ( shown with a “D” in Figure VR3-16) is active, to measure the real value of the pixel, you need to enable the Corrected Colors option. This can be accessed by clicking the third button “i”, Figure VR316 (C). As far as new features are concerned, it’s a good idea to mention the Color Correction panel, which is still accessed as in the previous versions, by clicking the first button of the VFB Show Corrections Control . Now, finally, we are also able to change the Hue/Saturation and Color Balance, Figure VR3-17.

Figure VR3-17 The color correction options highlighted. Select the checkboxes to enable them and see the effects they have on the image.

For more new functions or improvements, visit the Features section, under V-Ray for 3ds Max, on the official website http://www.v-ray.com.

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V-Ray Toolbar and V-Ray Quick Settings By using the V-Ray Toolbar, Figure VR3-18, you can directly access almost all the functions offered by V-Ray without passing through the menus of 3ds Max. Amongst the various shortcuts available, we should highlight opening the Last VFB, the V-Ray lister , placing a V-Ray Light and the icon to open the V-Ray material editor, Figure VR3-18.

Considerations: In general the orientation of the software has changed to become much more artistic-oriented. This is precisely the intention of Photography & Rendering with V-Ray, so I am really happy that this tool has moved closer towards those who wish to experience rendering as artistic and photographic production. Moreover, V-Ray’s new payoff is “Art workflow”, which says a lot about the intentions of its manufacturer Chaos Group. The first tangible signs of this are the V-Ray Toolbar and the V-Ray Quick settings.

A

B

C

D

E

Figure VR3-18 The new V-Ray Toolbar showing some of the most commonly used functions. These include ), access the Quick Settings ( B ) or the V-Ray Light lister ( C ), place a V-Ray Light icons to open the Last VFB ( A ( D ) and access V-Ray VRMAT ( E ).

Notes: If you accidentally close the V-Ray Toolbar, Figure VR3-18, it can be easily reactivated by right-clicking in the menu area of 3ds Max and selecting V-Ray Toolbar from the list in the context menu. The V-Ray Quick Settings, which are activated by clicking on the icon shown in Figure VR3-18 ( B), offer another new function. This allows you, through the V-Ray Quick Settings dialogue box, Figure VR3-19, to select suitable Presets for different situations: outdoors, interiors, VFX and Studio lighting.

Figure VR3-19 V-Ray Quick Settings dialogue box

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From a mathematical point of view, the simpler the simulation, the more we tend to use calculation algorithms without approximation, such as Brute Force. The more complex the simulation, and the more it includes multiple light bounces - in an interior for example - the more we tend to use algorithms that approximate reality, such as Irradiance Map and Light Cache. However, the choice of which algorithms to use only concerns the time/performance ratio and does not affect the “beauty” of the final result. Moreover, if you perform a simple experiment by rendering the same scene using BF + LC (which stands for Brute Force 1st bounce + Light Cache secondary bounces), shown as “Accurate”, and IM + LC (Irradiance Map 1 st bounce + Light Cache secondary bounces), you‘ll notice that the main difference is the rendering time. BF+LC= 110 min

IM+LC= 49 min

Figure VR3-20 Two versions of ‘Gravity’ rendered with two different algorithms. The aesthetic quality is the same.

Notes: The BF + LC combination used in this experiment is known as “Universal Settings” (see online guide), while IM + LC is the setting shown at the beginning of the book and used in all the exercises. The final result obviously has minor discrepancies, Figure VR3-20, but as a whole it is essentially the same. The aesthetic quality doesn’t change just because it isn’t controlled by these aspects, but is mainly related to the photographic approach in terms of composition, skillful use of lighting, the matching of colors/materials and the final management of contrast. That’s why we work with several fixed settings throughout the book.

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The fixed settings help to isolate the technical aspects so as to devote each page to the relationship between photography and rendering and to the method - made up of 5 basic steps - to drive the workflow. The order of this workflow is: framing, lighting, materials, rendering and post-production. This is called the 5SRW method and its aim is to focus on aesthetic quality while providing a solid tool to help develop awareness and use photographic logic to address everything.

Production time The aim of the book Photography & Rendering with V-Ray , of related activities such as the V-Ray Masterclasses (supported by Chaos Group), and of the online teaching through the Learnvray.com website, is not merely a photographic affectation. On the contrary, it is intended to increase your productive efficacy through awareness, directing passionate users towards drastically decreasing their production time. While it’s true that on one hand optimizing settings for a specific scene can save you up to 2030% of total time, giving you a render in 2h instead of 2:30h, for example, that is not act ually the goal of these activities or of the 5SRW in general. Our real goal is to work on ourselves so that we are completely aware of how the lights, framing, lighting and lighting hierarchy work. This will allow us to gain total control over the process and finish setting up the scene in 1 day of focused work rather than seven days of random attempts. It isn’t about saving 30 minutes of final rendering time, but cutting away six whole days of attempts lacking a precise goal. Improving this aspect will make the whole process incredibly effective.

Notes: In other contexts, such as animation, saving just 5 minutes can be very worthwhile. In that case, however, we get into other dynamics concerning film production more than photography, which is the main subject of the book.

Personal Vision The Internet is literally overflowing with technical tutorials and video tutorials, not to mention that Chaos Group itself has recently updated its free online guide, which you can find at http://docs.chaosgroup.com. This provides all the functions explained parameter by parameter and is enriched with numerous examples. In contrast, what Photography & Rendering with V-Ray offers is a simple, solid and harmonious vision of the world of three-dimensional simulation. Just like a photographer, it looks at a real environment to photograph, whether it be indoors or outdoors, and uses light as its main tool for modelling work. Its a fresh and passionate view of photography, applied to rendering using V-Ray. I’m sure you’ll enjoy it! Ciro Sannino

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ORDER YOUR COPY NOW Thanks to the great success of the Italian version of Photography & Rendering with V-Ray, it is now also available in English and Spanish.

PURCHASE the book of your choice from the website www.gcedizioni.it

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The author Ciro Sannino also works for the online platform LEARN V-RAY and regularly holds V-Ray Masterclasses. These are among the live events most recommended by Chaos Group. Click on the following links to find out more:

IMPORTANT

Each individual product - the BOOK, LEARN V-RAY and the MASTERCLASSES - is original and does not duplicate information. Their perfect complementarity makes these three products the best photographic training for architectural rendering.

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V Ray 3.0 eBook ENG

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