intro prvray

8/13/2019 Intro Prvray

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PHOTOGRAPHY

&RENDERINGwith

Ciro Sannino

GC edizioni


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Copyright 2013 by GC edizioniALLRIGHTSRESERVED

GC edizioniCorso 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

Printing

Nuove Grache Tipograa Puddu S.r.l

Zona industriale Ortacesus

Via del Progresso, 609040 Ortacesus (CA) Italy

Ph. 070-9819015

ISBN

978-88-88837-28-4

Printing completed in February 2013

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 publishers prior written consent.


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CONTENTS

II

Introduction .................................................................................VThe Publisher ...............................................................................................................................VI

Who Is the Author? ....................................................................................................................VI

Objective of the Book............................................................................................................... VI

How the Book Is Structured ....................................................................................................VI

Style Guidelines ..........................................................................................................................VI

Contents of the DVD-Rom ...................................................................................................... VI

Principles and Methods........................................................................................................... VII

V-Ray Certification for Users ...................................................................................................VIII

V-Ray Certified Professional .............................................................................................VIII

5SRW Certification for V-Ray ............................................................................................VIII

Minimum Hardware Requirements for V-Ray .................................................................. IX

The Ideal Workstation for Using V-Ray.......................................................................... IX

Who IsChaos Group? ................................................................................................................ IXWho Is 3DWS? ............................................................................................................................. IX

Who Is DesignConnected? .....................................................................................................X

Who IsArroway Texture? ........................................................................................................ X

CHAPTER01 - First Steps inV-Ray .................................................1The5-Step Method ....................................................................................................................2

Details about the 5-Step Method ...................................................................................3

The Right Version........................................................................................................................4Activating V-Ray ...... .............................................................................................................6

What Is V-Ray RT? ........................................................................................................................6

How to Activate V-Ray RT ..................................................................................................7

CHAPTER02 -Compensation Using the Gamma Curve .................9Gamma Compensation ............................................................................................................ 10

Applying Gamma to the Scene, but not to the Textures.......................................12

Setting Up 3ds Max for Compensation........................................................................12Compensation Part 1 Avoiding Gamma on the Textures .................................. 13

Compensation Part 2 For Each New File..................................................................14

Exercise: How to Compensate an Image .......................................... 15

V-Ray Frame Buffer ......................................................................................................16

Exposure of a 32 bit Render.............................................................................................18

Exposure of an 8 bit Render .............................................................................................19
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PHOTOGRAPHY & RENDERING using V-RAY

V

CHAPTER03 - Global Illumination and Irradiance Map .................21Introduction to Global Illumination ....................................................................................22

Irradiance Map ............................................................................................................................23

How to Set Up Indirect Illumination .............................................................................23

What the Five Global Illumination Settings Mean ...................................................24

What ArePrepasses? ................................................................................................................. 25

The Metaphor of a Painter................................................................................................26

The Relationship BetweenPrepasses and Scenes....................................................27

How to Save a Renders Settings ................................................................................... 28

CHAPTER04 - The DSLR Camera in V-Ray ...............................29A Comparison Between the DSLR Camera and the V-Ray Physical Camera .........30

The Basic Properties of a DSLR Camera ........................................................................32

How Focal Length Affects Composition.............................................................................34

The Rule of Thirds .......................................................................................................................35

Depth of Field ..............................................................................................................................36

Exercise: How to Simulate Depth of Field ........................................ 37

Extreme Depth of Field: Tilt Shift ....................................................................................38

The Bokeh Effect ................................................................................................................... 39

White Balance in Exteriors .......................................................................................................40

White Balance in Interiors.......................................................................................................42

Exercise: How to Balance an Interior ...................................................... 43All This in the V-Ray Physical Camera ..................................................................................44

Framing in Tight Spaces ........................................................................................................... 45

The Clipping Plane Option ............................................................................................... 45

CHAPTER05 - Light Balance...........................................................47Types of Lighting ........................................................................................................................48

What Are Bank Lights? ........................................................................................................48

Light Sources that Can Be Simulated Using V-Ray .........................................................49V-Ray Light Parameters ............................................................................................................50

The Store with Irradiance Map Option .........................................................................51

The Size-Intensity Ratio.....................................................................................................53

Basic Lighting Scheme ............................................................................................................ 54

Simulating Part of an Interior like an Object..............................................................55

Classic Three-Point Lighting .............................................................................................56

Chromatic Contrast ............................................................................................................ 57

How to Balance Using Three-Point Lighting ....................................................... 57
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CONTENTS

Balancing an Interior ........................................................................................................... 58

How to Balance an Interior ........................................................................................ 59

CHAPTER06 - Simulating Materials .............................................61

Introduction to Using Materials ............................................................................................ 62Reflections on Surfaces with Varying Degrees of Glossiness...............................64

Refraction ................................................................................................................................ 66

Index of Refraction (IOR) ...................................................................................................67

General Guidelines for Analyzing Materials......................................................................67

TheMaterial Editor .....................................................................................................................68

How to Implement the Seven Questions in VRayMtl ..............................................69

Setting Up a Material and Optimizing .............................................................................. 72

How to Interpret the Material Tables.................................................................................. 73

Table: Glossy Red Plastic ..........................................................................................................74

Table: Varnished Wood / Polished Marble ......................................................................... 75

A Trick for Obtaining Good Chromed Metal.....................................................................76

Improving your Chromed Metal ..................................................................................... 76

Table: Chromed and Brushed Metal ....................................................................................77

Table: Opaque Blue Plastic ...................................................................................................... 78

Table: Natural Wood .................................................................................................................. 79

Suggestions for Good Glass....................................................................................................80

Table: Glass / Frosted Glass ..................................................................................................... 81Table: Colored Glass .................................................................................................................. 82

Table: Gold .................................................................................................................................... 83

OptimizingMaterial Rendering Time .................................................................................. 84

TheUse Light Cache for Glossy Rays Option............................................................. 85

TheUse Interpolation Option ......................................................................................... 85

The Max Depth Option ...................................................................................................... 87

A Word about Glass and Reflective Objects ...............................................................87

Color Bleeding ............................................................................................................................. 88

How to Create a Materials Library ................................................................................ 89

Creating Materials for a Scene ...............................................................................................90

Exercise: How to Create Materials and Launch a Render ...................... 90

CHAPTER07 - Exposure ..................................................................95The Reality Button ....................................................................................................................96

Research, Visualization and Rendering .............................................................................. 96

The Eyevs. the Camera ............................................................................................................. 97
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6/16


The Three Types of Exposure ..................................................................................................98

Technical Aspects of Exposure..............................................................................................99

Tone Compression orColor Mapping ...........................................................................99

Color Mapping: Reinhard .................................................................................................. 101

Color Mapping Without V-Ray (After Rendering) .....................................................102

Greater Compression, Less Contrast.............................................................................102

Exercise: How to Manage the Exposure in a Render ........................ 106

CHAPTER08 - Exterior Rendering..................................................111The Characteristics of Exterior Rendering.........................................................................112

Framing......................................................................................................................................... 113

How to Eliminate Distortionin V-Ray ............................................................................114

Balancing Light/Shadow......................................................................................................... 115

Elongated Shadows............................................................................................................. 116

Realistic Sky/Background ........................................................................................................117

Absence of the Horizon ......................................................................................................... 118

Vegetation .................................................................................................................................... 119

Considerations about Night Renders .................................................................................. 120

CHAPTER09 - V-Ray Sun System ...................................................121Lighting in Exterior Simulation.............................................................................................122

Exercise: How to Place the V-Ray Sun in a Scene ................................... 123V-Ray Sun ...............................................................................................................................124

How to Set a Specific Place, Date and Time................................................................126

V-Ray Sky ................................................................................................................................. 127

How to Control theV-Ray Sky .......................................................................................... 128

Exercise: How to Replace the VRaySky in Post-Production ................... 129

Exercise: How to Simulate a Night Render ....................................... 131

CHAPTER10 - Simulating Vegetation & Textiles ................ 135Introduction to Bump and Displacement .........................................................................136Displacement as a Channel or Modifier .......................................................................137

Considerations about the VRayDisplacementMod Modifier ...............................138

Simulating Grass and Carpets (Short Strands) ..................................................140

The Displacement of 3D Objects .................................................................................... 142

How to Create aDisplacement Texture ........................................................................144

How to Use theVRayFur Function ...................................................................145
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CONTENTS

VI

Simulating Ivy ............................................................................................................... 147

Memory Problems? V-Ray Proxy ...........................................................................................148

How to Create and Import a Proxy Object ................................................... 148

Exercise: How to Create the Curtain Effect ...................................... 150

CHAPTER11 - The5SRW Method in Interior Rendering ...............153Introduction to the 5SRW Method ....................................................................................... 154

Step-1: Analysis of the 3D Model .................................................................................. 155

Step-2: Light Balance .......................................................................................................... 155

Environment Shadows .......................................................................................................158

Creating Soft Lighting in an Interior .............................................................................160

Shadowed Areas ...................................................................................................................163

V-Ray Light Lister .................................................................................................................. 167

Step-3: Assigning Materials ..............................................................................................168

Parquet Material ...................................................................................................................169

Carpet Material .....................................................................................................................170

The Light Fixture ...................................................................................................................171

Step-4: Cleaning the Image ..............................................................................................172

Anti-aliasing ...........................................................................................................................173

Irradiance Map ......................................................................................................................174

Light Cache.............................................................................................................................175

Noise Threshold ....................................................................................................................176Various Subdivisions ........................................................................................................... 176

Other Sky Models ................................................................................................................. 177

CHAPTER12 - Other Lights and HDRI .................................. 179Other Kinds of V-RayLights ....................................................................................................180

Sphere Mode .........................................................................................................................180

How to Create a V-Ray Light Mesh .........................................................................181

Dome Mode ..........................................................................................................................181

V-Ray Light Material for Self-illuminated Objects........................................................... 182

V-Ray IES and IES files ....................................................................................................... 183

How Is a HDR Image Created? ............................................................................................... 184

Characteristics of HDRI Maps in V-Ray .........................................................................185

Exercise: How to Illuminate an Exterior Using a HDR Image ........... 186

Exercise: How to Simulate a Night Scene Using a HDR Image .......... 188

Exercise: How to Create an Alpha Channel Using IBL ...................... 190
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II

CHAPTER13 - White Balance and Contrast........................ 193The Perfect Image ......................................................................................................................194

Color Correction and Color Grading .............................................................................194

White Balance ..............................................................................................................................195

White Balance usingLightroom .............................................................................195

Exercise: How to Achieve White Balance Using Photoshop ............ 197

The Histogram .............................................................................................................................199

Exercise: Controlling the Contrast Using Curves and Unsharp Mask .... 200

CHAPTER14 - Optimizing Rendering Time......................... 205Dedicating Time to Research .................................................................................................206

Settings for Draft Rendering..................................................................................................207

Store with Irradiance Map .......................................................................................................208

Using the Render Region andBuckets ............................................................................... 208

V-Ray Scene Converter .....................................................................................................209

Disabling Trace Reflections ..................................................................................................... 210

Global Switches ..........................................................................................................................211

Sizing andIrradiance Map for Large Renders .................................................................. 212

Light Cache as a Preview .........................................................................................................213

Render Previews UsingV-Ray RT...........................................................................................214

Comparing Images Using the VFB History .................................................................214

Exercise: How to Compare Renders Using the VFB History ................... 214

CHAPTER15 - SOS: How not to Freak Out ........................... 217Introduction to Technical Problems .................................................................................... 218

Splotched Walls.....................................................................................................................218

Spotty Surfaces .....................................................................................................................219

Grainy Areas ...........................................................................................................................220

Insufficient Memory for Huge Renders........................................................................221

Framing in Tight Spaces .............................................................................................222Highlights with Jagged Edges ........................................................................................223

Edges of Objects with Displacement Opening Up..................................................224

Blurred Final Render ............................................................................................................ 224

Images Appearing Washed-Out after Saving............................................................225

Mistakes when Saving! .......................................................................................................225

Light Leaks ..............................................................................................................................226

White Pixels(the Sun) .........................................................................................................227

Image Blurred when Saved as a JPEG ...........................................................................227
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CONTENTS

I

Gallery............................................................................ 228

Index.............................................................................. 230

Acknowledgements....................................................... 232

THISSYMBOLINDICATESTHEPRESENCEOFAVIDEORELATINGTOTHEPARAGRAPHINWHICHITSFOUND
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11/16

Introduction

Ive held various workshops and met hundreds of

people over the last few years. Some participants were

experienced, while others werent at all, but everyone

shared the desire to create photorealistic renders and gain

complete masteryof the process and tools.

Workshop after workshop, Ive tried to continuously

improve the sequence of the presented topics to nd the

right order for a logical and above all informed use of

V-Ray. In architectural rendering more than anywhere

else, all the main concepts are derived from photography.

My job has been precisely that to put down rootsin thisdiscipline and make all the necessary connections that

give depth and thickness to its practical application within

the software.

Our goal is Awareness and this can only be obtained

through in-depth analysis, through asking ourselves

Why?, and through rst of all knowing the principles

and then rening them into methods all while

continuing to preserve simplicity of vision.

Ciro Sannino


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PHOTOGRAPHY & RENDERING with V-RAY

I

The PublisherThe publisherof this work, Gabriele Congiu, is owner of the publishing house GC edizioni,

(Autodesk Authorized Publisher) and an Autodesk Certified Author andInstructor. His

signature publishing style is evident in PHOTOGRAPHY & RENDERING with V-Ray, as it is

in all his publications. He regards Ciro Sanninos first book as a practical guide oriented to

all those (experts and not) who want to learn the basics for creating a photographic renderusing a quick and intuitive method.

Who Is the Author?The author Ciro Sannino, a graduate in Industrial Design, has been working in 3D and

rendering since 1997. Hes a Licensed V-Ray Instructor, approved by Chaos Group(V-Rays

production house), and since 2006 has also dedicated himself to his much-read personal

blog: www.grafica3dblog.it.

With the support of CGworld, he developed the 5-Step Render Workflowmethod, which

he has used successfully in his live workshops and which is illustrated in this book.

Objective of the BookThe intention of the book is to build a solid way of thinking through reasoning and

application. It allows the user to tackle photorealistic rendering and to know where to start

and what path to follow in order to arrive at the final outcome. All aspects, parameters and

problems are sorted into a framework that not only makes studying the book easier for

users, but also facilitates their subsequent phase of growth.

How the Book Is StructuredThe 15 chaptersthat make up the work are structured to ensure gradual learning and are

aimed at using V-Rayand its relative applications in the photographic field. The cornerstoneof the work is the parallelism between photography and the V-Ray software. The theoretical

concepts presented in the chapters are followed by their practical application using

exercises, and are examined further in some cases, through videos.

Style GuidelinesCertain style guidelines have been used throughout this book to facilitate reading

and comprehension of the topics covered. These include technical Notes for in-depth

analysis and the authors Considerations . Reading is also facilitated by color printing and

highlighting of the fundamental words in bold. Videos are indicated inside grey boxes

containing this symbol .

Contents of the DVD-RomThe book comes with a DVD-Rom that contains all the .MAXfiles needed to carry out the

exercises, together with their relative textures. It also contains videos in .MP4format and

.JPG files of the images used in the book. These can help you to better grasp the aspects

explained in the paragraphs. 3D models from DesignConnected have also been included

on the DVD. Some of these can be downloaded for free and others can be purchased directly

from the site www.designconnected.com. Finally, you will also find textures produced by

Arroway Textures, as seen on their website www.arroway-textures.com.


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INTRODUCTION

XII

Principles and MethodsThe famous American philosopher Ralph Emersonwrote:

As to methods there may be a million and then some, but principles are few. The man

who grasps principles can successfully select his own methods. The man who tries methods,

ignoring principles, is sure to have trouble.

Emerson didnt know about computer graphics but he did understand the problem withtutorials that dont illustrate principles. Tutorials are only valid and useful if, knowing the

principle, one seeks a guide to show him/her how to technically apply it.

This is what we are going to do in this book: illustrate a set of rules that go beyond the

software and which deal with photography, the physics of materials, the creation of a

photographic set, and the proportions between objects and lights. Each concept will then

be associated with its practical application, to be carried out using V-Rayfor 3ds Max.

To fulfill this purpose, we will prioritize the topics. There are tools which contain dozens

of options, but in this book we will only use the necessary ones to make the illustrated

principles concrete and speed up learning.

We must keep these simple relationships in mind:

Knowledge of all parameters > Time / Definition

Knowledge of Photography and Design > Aesthetic quality

Knowledge of the more technical parameters of V-Rayalmost always leads to better time

management and the production of a clean and defined image. Knowledge of photography

and design, on the other hand, directly influences aesthetic quality. Thats why we have to

start thinking outside the parameters. Imagine yourself creating a photograph by putting

together and arranging a photographic set, assisted perhaps by an interior designer who

can harmonize forms and colors.

The photographic world isnt made up of Vray light, Color mappingand the Physical camera.

Rather, its made up of Bank lights, exposure problems and DSLR cameras. This is a world ofknowledge in which we can find everything we need and translate it into parameters and

options that will allow us to produce photographic renders.

Considerations:The way we use the word Quality in this field can easily cause

misunderstandings. The same word can indicate both precision of calculation and the

aesthetic quality of an image. Lets use the power of words to immediately begin to

distinguish between two different types of quality, which have very different meanings.

We might have an image that lacks precise calculation, but in which we can already

glimpse a strong aesthetic quality. For this reason, henceforth, I will call the meaning

related to the precision of calculation the Definitionof the image, while the aesthetic

quality will simply be called Quality.


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PHOTOGRAPHY & RENDERING with V-RAY

V

V-Ray Certification for UsersThe official certificates currently available in Italy are the V-Ray Certified Professional,

issued directly by Chaos Group the company that produces V-Ray, and the 5SWR

Certification for V-Ray, issued by CGworld, a company specializing in education and

processes.

5SRW Certification for V-Ray

The 5SRW for V-Ray is a process certificate. It is issued by

CGworld and certifies that users are able to carry out the fivestepprocess using V-Ray. Vast knowledge is required and relates

to photography, lighting techniques, V-Ray software and color

correction using Photoshop.

The test is divided into two parts: 100 multiple choice questions

Official website: www.chaosgroup.com

Reference in Italy: www.vraytrainingcenter.it

Official website: www.5srwcertification.com

E-Learning: www.learnvray.com

V-Ray Certified Professional

The V-Ray Certied Professionalis a software cer-

tifcate. To obtain it you need to book a session and

go to a V-Ray Training Centerto take part in an exam

consisting of 120 multiple choice questions (currently

in English). To pass the exam, you need to answer more

than 70% of questions correctly.Users who pass the exam will be included

and published in the official list on the Chaos

Group website and can display their name

and surname aside the Chaos Grouplogo on

cards and letterheads.

and a practical exam in which the participant

shows he/she is able to build a scene using

specific processes and meeting the standards

of the 5-Step Render Workflow.

Certified users will be officially published at www.5srwcertification.comand will receive aunique urlfor their certification.


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INTRODUCTION

X

Minimum Hardware Requirements for V-RayThe minimum requirements for using V-Ray ADVor V-Ray RT CPUare:

CPU 4 CORE + Hyper-threading (i7 or its alternatives);

RAM 4 GB.

The Ideal Workstation for Using V-RayProviding only one ideal configuration for using V-Raymay be too limiting. However, in this

paragraph we would like to direct you to a workstation that provides good value for money.

We stress that, for a tailored solution, it is advisable to visit the www.3dws.netwebsite and

contact 3DWSto obtain the ideal configuration for your needs.

The workstation we currently (February 2013) advise is:

Middle Range class of workstation Mono CPU with Xeon E5 1650, 32 GB di RAMand a

Quadro 2000video card as a minimum, or a High End class of workstation for creating

renders using V-Ray Advanced dual Xeon E5 2687, 32 GB di RAMand a Quadro K5000

video card.

Who Is Chaos Group?Chaos Groupwas founded in Sofia, Bulgaria is the second half of the 1990s. Its two partners

Peter Mitev and Vladimir Koylazov

worked to develop software for

simulating fire.

intro prvray

Documents