These tips, some of which would defy and challenge the popular beliefs regarding lighting essentials, will help you get the best-looking renders really quickly.Īfter that we will move on to creating, changing and assigning materials to our objects in a normal interior scene.
Next, you will learn all the required tips and techniques to implement both natural and artificial lights in your scene so that you could have a great contrast in the scene. The shared optimal setting for camera setting parameters that I share with you, regardless of what version of 3Ds MAX or VRAY you're using, will help you take the best renders possible. I sincerely believe that if the cameras are placed and adjusted properly, a big portion of the work is done because they play a big role in helping achieve realistic renders that would make the untrained eye doubt whether they are an actual photo or a render. In a nutshell, in this course I have tried to familiarize you with the easiest and yet the most helpful methods used to place and setup your cameras in your scene in a that you will have an easy time advancing the next phases of your projects. They may also have difficulties creating their required materials resulting in a very unnatural-looking render with objects that do not resemble real-life at all.
3 DS MAX VRAY HOW TO
Furthermore, they do not know how to light their interior scenes properly to achieve a realistic atmosphere and also take fast renders during their project. One of the biggest problems that 3D artists face is that they do not know what type of render setup to use in their scenes for both their test renders and the final render. I have also included my own go-to setting parameters to achieve the best interior renders possible, and explaining the most effective options that are crucial for having the most realistic renders. As a general rule, I always make use of simplicity and clarity in my tutorials and additionally for this workshop I have tried my best to transfer some of the most important points in VRAY and Interior design and rendering in as short of a time as possible. The tree models are FBX files exported from the SpeedTree Modeler and imported via our V-Ray script (the materials are unmodified after that process in this rendering).As a 3D artist I am quite familiar with all the pitfalls and difficulties of learning how to work with 3Ds Max and VRAY 5, and my objective for this course is to use my experience in the field to present some of the most essential and useful techniques which could help you in your own projects. The image above was rendered in 3ds Max using V-Ray, a V-Ray sun as the only light source, and a V-Ray physical camera. The export/import process is detailed in the “SpeedTree Pipeline” segment of the documentation organized by the DCC app you are using. V-Ray support arrives with version 6.2.3 of SpeedTree Cinema, SpeedTree Studio, and our new product, SpeedTree Architect. Even if you want to modify the materials further, the script at least saves a lot of time in the initial setup - and it can be modified to setup the V-Ray materials however you’d like.
And now those scripts support V-Ray as well. It was via import scripts that we prepared SpeedTree models for rendering with Mental Ray. We’ve addressed this in SpeedTree by writing out native formats when we can (like C4D files for Cinema 4D users or 3DM files for Rhino users) and creating import scripts when we can’t. What’s more, that effort is typically repeated each time you import a model. Getting the materials correct for your particular renderer requires a significant effort.
This is no small feat - it isn’t enough to simply export an OBJ or FBX file and say you’re done. One of the main challenges of developing a standalone modeling app is making sure it fits in with as many modeling and rendering pipelines as it can.
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