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8/14/2019 Manzana de Vidrio

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Glass apple in Vray and 3D Studio Max Tutorial

Ok as I have found in the last few days learning to do anything in Vray can be tricky dueto the lack of good beginner/advanced tutorials. Thats why I have been reading the Vray online manual for the last fewdays and trying to make myself accustomed to Irradiance mapping combined with a secondary bounce coefficientcalculated with a Q! engine" precalcing the caustics to a photon map and all sorts of other mind boggling techni#ues...$o to save you the trouble" I thought I should put my newlylearned knowledge to good use and make a tutorial for the good people of %dpalace..&'(ear in mind that I am pretty knew to this so I am sure that there are loads of differentways to do this" many of which would probably be better/faster/easier/...you get theidea"

)nywhooo...lets get to it" I personally have always had a fascination with rendered glass*especially coloured glass' and the beauty of caustics" I am sure its something that a lot of people have wanted to beable to make. $o I will do my best to show you how to get a pretty nice effect in a pretty simple way" and if any of thetechnical terms come up *and usually for rendering engines the names of settings and features can be completelyconfusing' I will try to e+plain them as best I can.

)nd were off,,...also this is not a complete beginner tutorial as I dont e+plain the basics of poly modeling and/or sub-dmodeling

Required Apps:

3D Studio Max 5/6/7Vray Advaned/!asi "#$% &' t(in) *asi supports all needed +eatures used *ut not sure,

Goal:

Teapots...whats cool about a teapot...so because of my dislike of drinking discoloured tap water &' I will be doingsomething slightly different to show off the nice lighting features of vray.yes thats rightan appleI mean seriouslywho doesnt like apples and also who doesnt like glassso I am cunningly combining the two to make a glass applewith a leaf,,,...0sighs of ama1ement0

$tep 2.

Ok so as you might have guessed this is not a modeling tutorial so I will only #uicklycover the modeling aspect. )nd for the apple I am using pretty much the ma+ tutorial found in the help section.

T(e apple &-odelin.,
http://www.cg-files.com/cgpicture/glass_apple_in_vray/glass%20apple.jpg


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2. $tart off with a sphere of about %3 segments" convert it to editable poly and turn on soft selection" now select about athird of the apple below the middle and pull downwards a bityou might have to tweak the falloff to get a nice taperingeffect like in the picture.

3. 4ow that we have the basic tapering shape of the apple we are gonna use a displacement map to make it look morelike and apple. 5ith the soft selection still from before still selected" $elect the Displaemodifier from the list and browsethrough your ma+/maps directory to find the AppleDis#p. and slap this into the bitmap slot.

If you have trouble getting the re#uired effect try these settings

$trength -26.789

:ecay; 3.6

%. 4ow we want to displace only the top half of the apple so we use an 0dit Mes( mod and use soft selection again toselect the top half of the apple like so


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apply a *endmod to it and twiddle the gi1mo till you get this" finally add a -es(s-oot(mod;:

5ell thats the stem done" now on to the leaf,.

T(e lea+ &-odelin.,

(ecause we want to make a glass replica of a leaf this one will be very basic in detail and also fairly thicklike a realglass replica of an apple

2. $o start in the top view port with a plane=ust because I love working from reference I will import a picture of a realapple leaf for view port reference. :ownload map below.

link

4ow make a plane2 height segment and one width segment. 5e dont need more because we will shift drag the shapeof this leaf. !onvert to ?ditable Aoly

3. 4ow select an edge and while holding $hift use the move tool to drag a new edge.

Bse a combination of shift drag and Bniform scale to follow the outline of the leaf.
http://www.cg-files.com/cgpicture/glass_apple_in_vray/leaf.jpghttp://www.cg-files.com/cgpicture/glass_apple_in_vray/leaf.jpg


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%. 4ow select all the vertical edges and press connect to cut a line along the center" this will sharpen the ends and makefor a denser mesh. )lso apply a meshsmooth now to see the final outline in high res.


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7. Dinally we will make the leaf a little more interesting by bending it nicely" "Bse a !endod for this and you should endup with something like this.

This should be enough for it to 5rap itself nicely around the apple" &' 5hen your happy with the bend amount andthickness move the leaf to the apple and position it correctly" $omething like this

In fact this is probably the best position of it so make a target camera and with it selected press !trl E ! to match thecamera to the perspective view" this will be out render angle.

)nd for anyone too la1y *or feels superior to the skills re#uired' to model the stuff thus far here is the finished apple$cene.

Glass apple in Vray and 3D Studio Max Tutorial

2i.(tin.: &G'/1(otons and ot(er su( ool toys,

This is arguably the most important aspect of this scene because so much of the final effect that the materials will have isdown to the lighting"

Dor this scene I am gonna use a $ingle point lighting system and a filler FI lighting setup. Dor anyone unfamiliar to Vray Iwill e+plain a bit about the

Todaymarketingand web designis more important than technical re#uirements of broadband" for thehostinge+perts.

Vray 2i.(t

This is a special vray light
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2. To set up the lighting in this scene we will make a vray light ands and set its state to pla

Gike this

4ow turn the multiplier up to

5.5e will tweak the si1e and position latter once the FI has been configured and we can get an idea of how the scenelighting will look

G' &Glo*al 'llu-ination,:

)lthough the Alane light is our main point light source we will need some filler lighting from the environment" If you wereto render the scene now it would look like this.

*4ote; ?nable Vray in the render tab first'

)s you can see the lighting is not yet right" its way too dark" the Vray light source is seen as the only light source so theob=ect is only illuminated from one point" the FI lighting setup is currently disabled" Gets summari1ed the FI or IndirectIllumination.

The FI calculations are very different to direct lighting used in a+ or even the default lighting seen in the above render.In direct lighting a photon *light particle &'' is sent out from a light and as soon as it hits an ob=ect it illuminates it butstops" it does not bounce around the scene as real light does. This is where Flobal Illumination comes in" it calculatesnot only the first hit *called the Arimary (ounce' that a photon makes with an ob=ect but also the second and subse#uentbounces *!alled secondary (ounces'. In FI as in the real world every ob=ect reflects light in a certain #uantity dependingon its reflectivity and brightness" so a self illuminated ob=ect in a scene lit with the Vray FI algorithm will be seen as alight source. In this way the lighting is very true to life but this comes at a price in the form of rendering times. There arecountless measures you can take to optimi1e the scene to save on rendering time but for this tutorial we will stick to abrute force method of calculating the FI.
http://www.cg-files.com/cgpicture/glass_apple_in_vray/glass_apple_in_vray_and_3d_studio_max_tutorial3_clip_image002.jpg


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Settin. up T(e G' 0n.ines:

2. Once the Vray Henderer has been enabled in the Hender Tab" !lick on the Renderer Tab and $croll down to 'ndiret'llu-ination &G',Tab Turn it on but dont change anything =ust yet" leave it at the default settings and render again.

)s you can see the render time has increased dramatically" with < prepass stages and then the final render. In thesestages the FI is being calculated in progressively more accurate passes.

This is what you should be getting

There is immediately more life in the scene and notice the very soft shadow to the right of the apple" this is being cast bythe e+tra photons coming from the bo+ light on the upper left. Of course these default settings take too long for testrenders so we will check out some of the settings in the FI tab.

The FI options should look like this

4ote that the Arimary and $econdary (ounces (o+es have an option of which Fi algorithm you wish to use to calculatethose bounces" leave these as they are for now" (asically the

'rradiane Map

Is a fairly good all round and very smooth FI engine" it calculates by taking actual light samples and interpolatingprobable photon points in between" this allows for very smooth renders with ne+t to no noise even at lower settings butespecially at lower settings it is very poor at capturing small details. ou will see this especially on detailed ob=ects wheretwo faces come into contact" it manifests itself as dark splotches and blurry artifacts.
http://www.cg-files.com/cgpicture/glass_apple_in_vray/glass_apple_in_vray_and_3d_studio_max_tutorial3_clip_image002_0002.jpg


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0xa-ples o+ 'rradiane -ap arti+ats on My ina Model

4i.( uality Sa-plin.:

4otice the clean gaps between ob=ects

2oer uality Sa-plin.:

4otice the rather ugly splotches and unclean gaps.

5ell those are the basics of the 1ri-ary !oune?ngine" the Seondary !ouneis by default calculated by the."

M &uasi Monte arlo,

This method of calculating FI is much more precise than Irradiance maps and allows the capturing of smaller details"Hather than interpolating between samples taken it calculates the photon bounces directly" if used on its own however itcan cause a lot of noise at lower settings as the detail is directly dependant on the amount of photon calculations made.@owever it is very useful in con=unction with the irradiance map as they complement each other weaknesses and makefor a fairly fast setup.

I will not go into detail about the other FI methods" Ahoton ap and Gight !ache as I know too little about them at thisstage" I might do another tutorial later outlining the use of these methods" depending on if this tutorial is well received"e.g.. hopefully I dont confuse the last bit of understanding out of people with my endless ramblinglol

1. 8pti-i9in. t(e 'rradiane -ap +or speed#

The main area of control for this ap can be completely mind boggling at first as there are no fewer than 36 differentoptions to tinker with each having a specific result on both render times and #uality" I will not try to e+plain them allbecause )' I dont know for sure what some of them do and I dont want to give out wrong info and (' since this is abasic enough tutorial I will not go into too much detail. I suggest =ust sitting down for an afternoon and twiddling with thesettings until you get what effect they all have.

5e will only bother with < for now.


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1. The Dirst Thing you should do to optimi1e the settings is change the urrent 1resetto !ustom" 4ow we canchange the Min/Max Rate options.

Gets simplify this rather complicated method of calculation"

The number of difference between the min and ma+ rate is the number of prepasses that are calculated" e.g." the highpreset is from -% to 6 which is < prepass calculations" the higher the number of either the min/ma+ rate is the accuracy ofthat particular pass" so a-9 pass is one with very few samples while a 6 is one with very many samples.

@ope that made some kinda senselolbut basically its not that hard to understand.I personally like having % prepasses for my renders which range from a in of $ to a ma+ of ;. This is good for testingwith a nice amount of #uality. Dor final renders a -% to -6 is e+cellent and will get very accurate sample rates.

2. The second thing is the 4Sp( Su*divs; this controls the amount of samples calculated on each pass and ofcourse the higher the number the more accurate the final result" turn this down to ;5 for test renders and slap itback up to 96 for finals.

4ow with that done your Irradiance ap Hollout should look like this. ake sure to check S(o al# 1(ase


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Ok with this done render again now.

The results are not all too different to the last render but the render time has been cut in half" this is very good to workwith now" giving you fast feedback on all your material and lighting changes.

That render is now ok to look at but in fairness the lighting is pretty poor" the apple seems to be lit too strongly from allsides and completely washed out where the main light hits it" lets see what we can do here.


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The lighting is way too strong at the moment" the FI is effectively washing the image out with bright white light so weneed to attenuate the Vray light as the main light by turning down the FI.

Try these settings

and you will get

There thats much better" (BT" the shadow of the apple is showing some nasty noise" there are two ways of solving this"as the Vray light is currently being calculated separately to Irradiance map changing the Irradiance settings will not getrid of the noise. (ut if you look at the Vraylight settings you will see spinner for subdivisions" increasing this from 8 to 27will give you this result


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The noise is reduced considerably but is still evident" also notice that the render time have increased somewhat" thismay not be significant at this stage but when the render is taking hours this kind of increase could be unacceptable.

Thankfully there are always multiple ways of overcoming a problem and by clicking the Store it( 'rradiane Mapoption we effectively add the light to the environment as a light source and can therefore control the accuracy of its lighttogether with the FI. Gets see what this does for the noise reduction and render times.

Voila,...nice clean Irradiance $tyle lighting at half the render time" but because we are working with the same Irradiancesettings for the FI and the Vray light the Image has been darkened" to correct this simply Increase the Vray lightmultiplier" a setting of =#5 got me back to almost the same illumination amount.

oull also notice the slight increase in render time" this is due to the e+tra photons being shot into the scene to increasethe overall light output.

Ok 4ow that we have a good lighting setup and I think youll agree it looks pretty nice already" we can finally start on thematerials.

Materials &Glass .lass and -ore .lass,


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T(e -ain Glass S(ader#

Three things to remember when making glass"

1. It looks best with a dark environment, black works very well for most glass types.

3. Bse the fog colour and multiplier for colouring the glass because it is the only method of has photon energy

absorption" this effectively means that thin areas of the glass will be lighter in colour and thicker areas will bedarker.looks really great.

%. ?rmforgot what I was gonna put here so if youre reading this I couldnt remember when I finishedlol

Apple Glass

4ow" lets make the apple glass shader first. (efore you do anything make sure that Vray is also assigned to the Material0ditorin the Render Ta*under Assi.n Render. 5ith that done open the material editor and call up a new map.

1. $tart off with a Vray-tl< this is the vrays e#uivalent of scanlines Haytrace mat" but much more powerful.

3. !hange the :iffuse to complete black.

%. Fo down to refraction tab and change the refraction to a pure white colour" this means the material iscompletely transparent. 5hich also cancels out the (lack diffuse colour immediately.

Hender now and you get this abominationurgh,,,...but dont worry we will be able to fi+ it in good time.

Main problem here is that it has no reflections so lets sort thatGlass apple in Vray and 3D Studio Max Tutorial

1. Fo to the reflection settings and make the reflection value a bright gray and turn +resnel reflections on"

)nd thats what we get" still nothing cool but were not done yet.


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?ven in web hosting" everything from the website design to the layout matters to the online marketing e+perts"particularly when you are about to start pay per click.

1. 4ow go to the Options rollout and )ctivate the re+let on !a)side

tab" this will give the glass some more realistic internal reflections" though it will also increase the render time.

3. Ok now to give this thing some colour. )lso the ground plane can now be brightened up a bit" make itcompletely white to brighten the scene somewhat" it looks less drab.

Dor the colour settings you will need to go to the fog colour tab and use a very light colour along with a tiny multiplieramount" usually in the 6.60 range.

@ere are the settings for the Dog

)nd the resulting render
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C. Ok thats better but there is still something wrong" that big black area at the base and top of the apple is not veryrealistic and we dont want such a dark feeling to the glass" we will have to do something about this and by putting agradient map into the ?nvironment slot you can get a better e+it colour"

Bse these or similar settings for the gradient" =ust e+periment a bit to find the look youre after.


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)nd the render once this environment map has been added" see a much better look already.


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