Teach You The Use Of Hdr Maps In VR

HDR is a high dynamic range texture, the full name is High Dynamic Range, in short, is the light beyond the ordinary light color and intensity. With the help of HDR, we can use color values beyond the normal range, so we can render more realistic 3D scenes. Generally, computers use 8bit (256) or 16bit (65536) levels to distinguish images when representing images. The brightness of the image, but this area hundreds or tens of thousands can not reproduce the real natural lighting conditions, beyond this range you need to use HDR map.
Below are two contrasting renderings

The first picture is the picture with the HDR map added, skylight (HDR map) + reflection (HDR map) + refraction (HDR map) + VR surface light (off the effect of highlights, affecting reflection); the second picture is skylight The effect of the 1.0+VR surface light (which affects the high light and affects the reflection).
HDR textures are better suited for use in open environments. When you want to represent a single object, or a group of objects, HDR maps perform well in scene illumination and refraction. However, indoor scenes and outdoor scenes are not suitable.
The role of HDR maps is mainly used to achieve scene illumination and analog reflection refraction, so that objects behave more realistically.
Let's take a look at how to use HDR maps:
I created a simple scene with two glass cups, a metal teapot, a ceramic dish, and a metal spoon fork.

Settings in the render panel: default lighting: off, skylight: off

There is no light source in the scene, and the rendering is black.

We started to make the scene light up, turn the sky on, and render the image.

See, at this time the object of the scene does not show texture, below we open the reflection channel, click once, find VRHDR, and open the refraction channel, drag the VRHDR of the reflection channel to the refraction channel, and associate the copy.

Drag the HDR of the reflection channel onto the shader and copy it.

Edit the parameters of the HDR map on the shader

In this case, I adjusted two places. Everyone looked at what kind of effect they wanted and tried more. The rotation angle of the texture and the multiplier affect the rendering.

The picture at this time

You can also add HDR textures to the skylight channel to achieve the effect of lighting the scene, but usually the hdr color will affect the object itself (like the image below), so this requires us to adjust by changing the color of hdr.

Click in the light channel, find the RGB Tint, associate it to the shader, and then associate the hdr map to the RGBTint.

These three colors make the color of the texture black and white.
Render the picture, you will see that this picture is brighter than the previous HDR when there is no HDR, the contrast is high, the color is positive.

Finally, we put a light on the side to make the picture layer richer.


Willys Jeep Production Analysis, A Real Photo-Level Rendering Tutorial
Willys Jeep Production Analysis, A Real Photo-Level Rendering Tutorial
The first step in creation is a material collection, which requires careful observe and study of the structure of the car body. It is only after you understand the image and structure that you can start modeling, which will improve efficiency and prevent excessive modification. The main software used was: 3ds Max, V-Ray 1. Polygon modeling After the conception, the production started. The first thing to start is the creation of the model. The model here is mainly based on the mechanical body, so it can be done with the polygon modeling tool in 3ds Max. Since there are no shortcuts, only basic modeling ability and patience are required. Of course, modeling takes a considerable part of the time. 2. UV deployment: Considering that the vehicle has a certain degree of damage and dirt, it is necessary to specifically paint the damaged paint and dirt at a specific position, which requires UV splitting of some models. The UV split is using 3ds Max's default Unwarp UVW tool. The UV of the car body, tires, ammunition box and fuel tank must be split, and the small parts can be used without UV removal. Only UVW Mapping can be used with appropriate mixed materials (textures). Here only the UV split of some key models is shown, as shown below. However, some models such as: steering wheel, seat, armrest, car suspension system including sandbags, obstacles, stones do not need to be split, but with UVW Mapping with Composite texture or VRayBlend Mtl material can be used, so for trivial small Objects can save a lot of time to remove UV and improve work efficiency. There are also some models that are used with the VRayBenldMal material in conjunction with the UVW Mapping tool. 3. The drawing of the map: After the model UV is split, the texture map is drawn. The software used here is Mudbox2014. Mudbox is very powerful in drawing textures. The real-time model mapping makes the texture alignment and seam processing very simple and efficient. Very high. The display here takes the car body and the ammunition box as an example. The main tool used in Mudbox is Projection, which maps textures, dirt, and LOGO to a UV-removed model. Since Projection can be projected with photos or processed images in PS, this can greatly increase the authenticity of the creation, so Mudbox's texture drawing is also widely used in next-generation game production and some film production. After the drawing is completed, the texture is baked and output to the PS for further color correction and adjustment. In this example, the textures that I baked include: inherent color map, highlight map, and bump map. The final effect of the car and small scene: Since the ground is going to do some careful division, the ground UV is also removed and imported into Mudbox for texture processing. According to the division of the texture (gravel land and grassland), the model of the ground is treated separately, that is, one side is the grass and the other side stone. The model of the stone is processed in 3ds Max, and the stone on the ground is brushed out by the default model drawing tool of 3ds Max. The grass itself uses a proxy model, and the whole grass is planted using the 3ds Max plug-in Forest. 4. Background elements Since the idea is a hand-type of willys jeep, some of the hand-made tools are used as background elements. The main tools are airbrushes, air pumps, model knives and paint bottles, and these objects are very industrial. It can also respond to the car body, so use it as a background element. The paint bottles can be used in a variety of colors to increase the color of the background image, and the colorful colors used in the background will not be overwhelming. The photo only reflects the history of Willys Jeep, and also adds elements of the background image. 5. Lighting and rendering In order to have a strong sense of sunshine, VRaySun is used here because VRSun is better and simpler to show true sunlight. Putting it on the front of the model has a meaning of "bright guidance". The warm and bright light on the grass can also form a contrast with the obstacles on the gravel floor under the shadow of the back, the ammunition box and the sandbag. The specific light position layout is as follows: The main parameters of VRay specific parts are as follows: 6. Post-production adjustment Post-production used are DF and PS. The output Z channel can be used as a depth of field and fog effect. The specific effects are as follows: Depth of field effect selection is synthesized in PS. Of course, it can be added in AE or DF according to personal preferences and habits. In PS, you can adjust the depth of field effect by adding "Z channel" to Alpha in the channel layer and then using "Filter Blur Lens Blur". Basic color correction and fog and glow are added in DF. Summary: Even if the production of jeep is completed, the production process and ideas are expected to be helpful to everyone, thank you! Author: Rui City
The Production And Rendering Process Of Office Building' s Night Scene
The Production And Rendering Process Of Office Building' s Night Scene
For landscapes and architectural drawings, designers need to grasp the aspects of volume, texture and light efficiency. The following is a case model, although the scale is not very large, but the details are complete. Case collection Before you make a production, you can find some reference pictures of the effects. If we are going to make a night scene, then the reference picture is also a night view. Model adjustment The original model has been built to the details of the scale, in order to make the model look more perfect, here added the glass frame part of the window frame, floor, and some railings and other handrails. Then, taking into account the scene, and adding some scenery buildings, floor lights and street light poles according to the original general situation of the site. Light and material Referring to the building in the case, I first used a night scene HDRI to illuminate the scene, followed by interior lighting, outdoor entrance lighting, ground lighting (illuminated building exterior) and red atmosphere lighting. I only did a simple lighting test, because the intensity of the light may need to be adjusted after adding the material. In fact, I added the light and material synchronously. In terms of material, I chose two concrete materials made by Arroway for the wall and the entrance floor. The rest of the railings, window frames, and glass are of course simply set up, and the textures are not mounted. The interior uses the dark glossy wood flooring material that Thea comes with. After the initial setup of the lights and materials, it is necessary to start a long test rendering. Here are a few test renderings, which relate to the adjustment of the light environment and materials. Mapping and channel Once the various parameters have been determined, the rendering begins. This time I used the BSD engine, because the Presto engine will give up some of the lights that are far away, occupy a small distance, have little impact on the picture, and are not easy to detect due to resource saving. However, these lights are considered to be more important. After choosing the right parameters, I waited patiently for more than 3 hours. Since BSD does not use the GPU for rendering, its algorithm is obviously not as good as Vray, and the speed is slower. The following is a map and a channel map. Alpha\\Material_ID\\Object_ID\\Depth will be used in the channel. Others such as Shadow\\GI\\Diffuse can also be checked to prevent use. Thea is different from Vray. Checking the channel map will significantly affect the final rendering speed, which will slow down the rendering speed by 10%~20%. Vray doesn't seem to slow down the rendering speed because of the checkmark. Post-production process Since the normal pattern rendering is not used, the post work is slightly more cumbersome. First of all, the landscape building is replaced with photo material from CGTEXTURE, and the overall light and dark relationship is adjusted to make it harmonious. Adding plant scenes afterwards is also a long process. The reason is that you need to find a perspective relationship and a relationship between light and dark. The latter is the most time-consuming, and this process needs to be done in the reference case picture and in the process of continuous modification and balancing. The method of adding characters and plants to the scene is no different, and it is also an individual activity. After the scenes are added, adjust their brightness and warmth again and thoroughly into the picture. Ultimate Weapon: The Topaz Adjust filter adds a portion of exposure, detail and contrast to unify colors in one shade. After some minor adjustments, I got a picture. I hope that you will gain something in this tutorial, especially for the built environment, space and light and shadow.
The Reason And Solution When Rendering Image Become Black in V-Ray For SketchUp
The Reason And Solution When Rendering Image Become Black in V-Ray For SketchUp
When many people encounter rendering with V-Ray for SketchUp, the rendered image is all black or partially black. What is the reason? 1. There is a case where SketchUp's file storage mechanism is somewhat different from other software. It packs the model and texture in a SKP, so even if you don't copy the texture file, SketchUp can still recognize it, but V-Ray must need a texture path. So, when the computer or the path have been changed, the V-Ray texture map was actually wrong, so the diffuse texture Gamma correction was biased when the file was opened. How to solve the problem? We can delete all the data of V-Ray in the extension program, and then reset all the materials, lights, and rendering parameters. And to force the back of the model to be hidden. If it is still black, try again to adjust the background to white. 2. There is also a situation where the sky is rendered black, which requires checking the following items 01. Whether the background is on, whether the average color is black, whether SKY is on, and whether SUN1 is linked. 02. Whether the default light source starts, reset the Option. 3.V-Ray for SketchUp is often prone to appear black in rendering glass because VR has highly reflective objects such as glass, mirror, stainless steel, indicating that the inherent color of the material (diffuse reflection) is itself the black color, plus nothing around the object, can naturally reflect the inherent color of the diffuse reflection. The solution is to place some detail around the object that can be reflected, or to lighten the color of the diffuse reflection. If the glass material is normal (check Fresnel, etc.), if you are using single-sided modeling, you can flip the surface, and the one side has front and back.

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