Posts Tagged ‘3ds max’

TurboTips: V-Ray FastSSS2 Material, Part 1

Tuesday, May 13th, 2014 by

The following is an in-depth guide to the regular V-Ray Blend Material. In this series, we will cover the theory behind many of the features of the material.  We’ll also show specific examples of settings and give you some tricks to use. While the images used are from 3ds Max, the same concepts and settings can be used for V-Ray for Maya. Currently, the SSS materials in V-Ray for C4D behave differently, so this tutorial will not be as valuable for C4D users.

The V-Ray FastSSS2 Material is designed for creating translucent materials (ones that scatter the light inside the object). Some common examples are: skin, marble, wax, milk, etc.

Compared to the “translucency” option in the regular V-Ray Material, it has a far better sub-surface scattering model (SSS).  It is faster and much more advanced. For this reason, it’s preferable to use the FastSSS2 Material whenever you need to make a translucent shader.

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TurboTips: V-Ray Material, Part 5: Workflow

Monday, May 5th, 2014 by

In this series of Turbo Tips, we’re giving you an in-depth guide to regular V-Ray Material. We’ll cover the theory behind many of the features of the material and give you specific examples of settings and tricks to use. While the example images are from 3ds Max, the same concepts and settings can be used in V-Ray for Maya. The information covered here is generally useful in V-Ray for C4D, but the specific fields and values may be different.

To wrap up this series, we’ll show you an example workflow for creating a material from scratch. It’s not set in stone and you can change the order around, as long as you’re paying attention to the general principles.

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TurboTips: V-Ray Material, Part 4: Translucency & Bump

Tuesday, April 29th, 2014 by

In this series of Turbo Tips, we’re giving you an in-depth guide to regular V-Ray Material. We’ll cover the theory behind many of the features of the material and give you specific examples of settings and tricks to use. While the example images are from 3ds Max, the same concepts and settings can be used in V-Ray for Maya. The information covered here is generally useful in V-Ray for C4D, but the specific fields and values may be different.

 Last week, we talked about the Refraction tab.  This week, we’ll be moving on to Bump, but first: a quick tip about…

Translucency

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TurboTips: V-Ray Material, Part 3: Refraction

Monday, April 21st, 2014 by

In this series of Turbo Tips, we’re giving you an in-depth guide to regular V-Ray Material. We’ll cover the theory behind many of the features of the material and give you specific examples of settings and tricks to use. While the example images are from 3ds Max, the same concepts and settings can be used in V-Ray for Maya. The information covered here is generally useful in V-Ray for C4D, but the specific fields and values may be different.

 Last week, we talked about the Reflection tab.  This week, we’ll be moving on to:

Refraction

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TurboTips: V-Ray Material, Part 2: Reflection

Monday, April 14th, 2014 by

In this series of Turbo Tips, we’re giving you an in-depth guide to regular V-Ray Material. We’ll cover the theory behind many of the features of the material and give you specific examples of settings and tricks to use. While the example images are from 3ds Max, the same concepts and settings can be used in V-Ray for Maya. The information covered here is generally useful in V-Ray for C4D, but the specific fields and values may be different.

 Last week, we talked about the Diffuse tab.  This week, we’ll be moving on to:

Reflection

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TurboTips: V-Ray Material, Part 1: Diffuse

Tuesday, April 8th, 2014 by

In this series of Turbo Tips, we’re giving you an in-depth guide to regular V-Ray Material. We’ll cover the theory behind many of the features of the material and give you specific examples of settings and tricks to use. While the example images are from 3ds Max, the same concepts and settings can be used in V-Ray for Maya. The information covered here is generally useful in V-Ray for C4D, but the specific fields and values may be different.

The VRayMtl is the main workhorse for creating shaders in V-Ray. Eighty percent of the time, it is all you’ll need to create realistic results that also render quite fast. It is optimized to work with all other aspects of V-Ray (lights, GI, sampling, etc.), so it should always be used instead of 3ds Max native materials.

Main components

Generally, the main components of a CG shader are:

  • Diffuse

  • Reflection

  • Refraction

  • Bump

These are the names that V-Ray uses. They may have different names in different renderers, but the functions are pretty much the same.

Diffuse gives the basic color to the shader; reflection controls how the the shader reflects light; refraction controls how it lets the light through; and bump simulates a distortion of the object’s surface.

With the exception of the refraction, the other 3 components should be present in all materials.

This week, we’ll talk about the first of the main components:

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