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72 Tips And Technical For V-Ray in 3ds Max That You Should Know

2022-07-01

V-Ray for 3ds Max

In writting this article, the leading cloud rendering service provider and the best render farm, Fox Renderfarm wants to share some tips in the rendering process for V-Ray in 3ds Max, which can save rendering time and improve rendering speed.

Try to limit the number of Ploygons, the less the faster rendering speed.
If you use V-Ray, use Proxy instead of the high-surface model.
When making shadows, subdivisions are best not to be too high.
Remove unwanted objects from the scene.
If the model is very small on the output screen, the texture resolution should not be too high.
Avoid excessive use of glossiness and highlights. You can achieve approximate results with simple diffuse, bump and reflection (0.95 ~ 0.75). Also try not to use Archshaders.
Use the high number of models near the camera or the main visual range.
When V-Ray is used in outdoor scenes, the built-in direct light (such as the sun made by yourself) and V-Ray's ambient light are much faster than V-Raysun and sky. You only need to adjust the color to achieve V-Raysun and sky effects.
Understand the difference between copy and instance, and the appropriate application, simple but effective.
Clear the undo data, especially the list of commands in the command line above, because this will eat a lot of memory. There is a need to clear, undo is not enough and it is very troublesome.

Regarding system resource management, turn off anti-virus software (such as norton or mcafee) when rendering, because this will slow down.
It is best to use textures in the details of the model.
Use the xref scene.
Optimize the model, such as using polycruncher and other plugins, MAX2010 already has ProOptimizer.
When making smooth surfaces (curves/meshsmoothing), note the value of iteration.
When using V-Ray's irradiance map, check the interpolation so that the value is the same as the reflection and refraction interpolation in the submenu.
Are you sure you want to use the time killer caustics effect?
When V-Ray renders, the first pass selection, brute force vs. irradiance map, is judged according to the case.
The core parameters, noisehreshold (noise threshold) and AA (AntiAlias) subdivision (anti-aliased subdivision), based on the case.
Fine-tune the parameters of glossy reflection and frosted materials, based on the case.

Use render elements to make various channel outputs. Then do the post-synthesis system, which can shorten the rendering time, such as using some common synthesis software AE, Combustion, etc.
Evermotion Archshaders and Archinterior/Exterior's default material settings are time killers that need to be adjusted and rendered.
Commonly used Irradiance and Light Cache (save to file) options, if the scene is unchanged, you can skip the calculation part, directly access the cached data graph, and the rendering speed will be faster.
A balance is achieved between the output screen resolution and the irradiance map setting.

For example, if you are 3600pixel large image, set min/max=-4;-3 (equal to "very low" preset option), interp. samples to 25 (smooth surface). or min/max=-4;-2.

Before setting all the shaders, try to place the material in the Override mtl: Material button in the V-Ray: Global switches in the render dialog. Then test which parameter values are the fastest and the best. Use this method to get the optimal settings.
Too much light will also consume rendering time.
When rendering the test, please use the preset parameters, the speed is faster.
ADAPTIVE QMC improves detail and is slower; Adaptive Subdivision makes the picture smoother and less detailed, but faster. Based on the case.
Please check the render region division, region sequence, etc. in Raycast Parameters.
When using V-Ray's displacement, if 2d mapping and related settings eat a lot of memory, please limit the use area of the displacement.
It is recommended to use 3ds max 64 bit.
Using the X-refs feature allows you to manipulate large, bulky external reference scenes in the main scene.
3ds Max handles 9000 scenes with 10k facets more efficiently than 200000 1K facets. So attaching objects can increase execution efficiency.
Using mrProxy or V-RayProxy in Mental Ray or V-Ray, Proxy is designed to efficiently load models and renders.
Bitmap Proxies: Reduces the amount of memory consumed in the scene.
Data resources are concentrated in one path for management, not to be scattered around.
Local computer operations can avoid the damage caused by remote network traffic jams or files. Remember to do backups often.
3ds Max users with a systematic organizational concept know how to use Layers, Groups and Selection sets.
Write MAX s to simplify heavy work and increase productivity.

Photoshop and post-production software (AE, Combustion) will be used, which will save a lot of rendering time.
Good knowledge of photography, training your own visual observation ability, you can immediately see where you need to modify and immediately stop rendering when rendering, you don't have to wait until you finish it to judge whether it is good or bad.
If the texture is too large, such as 3600pixel or above, please lower the AA (anti-aliasing) value, min/max=-1; 2.
Make sure to turn on the system multi-threading option.
Use a smaller size for the rendering test.
Area Rendering: Only test the important range, so have more time to check the Shader and adjust the results you want.
Try not to add Glossy (gloss, highlight) effect unless you think the effect will be good.
The more the number of scene model faces, the more memory is consumed. Some techniques can reduce the amount of RAM used. Adjust the Raycaster settings in the System volume column (reducing Max. levels, increasing Min. leaf size, increasing Face/level coefficient, switching Static to Dynamic) Default Geometry).
When rendering, using 2d displacement mapping will consume a lot of rams, especially large displacement maps. If so, you can use 3d displacement mapping. If you have multiple Displacement modifiers, but share a displacement map, And to set the same parameter value, it is best to replace the Displacement modifier with the attribute instance, that is, multiple models share a Displacement modifier.
Bitmap filtering: Summed area uses more RAM than Pyramidal. Summed area is only suitable for smaller textures.
Shadow maps obviously consume RAM, you can use raytraced V-RayShadows instead.
When the scene has only a simple model (no fine-grained model), you can use only the first Light Bounces.
Image sampler (AA anti-aliasing): V-Ray's anti-aliasing function requires a large amount of RAM to store data. The amount of memory depends on the bucket size (Rendering region division) and sampling rate (sampling rate). To reduce memory usage, you can reduce it. The bucket size and the use of different Image sampler, such as Adaptive QMC sampler memory usage is less than the Adaptive subdivision sampler.
Global illumination caches: Irradiance maps, photon maps and V-RaylightMtl maps all require additional memory for storage, with separate methods to control RAM.

For example, the memory usage of Irradiance maps is based on the number of samples, so you can lower the Min/Max value and use the loose threshold values (higher Color threshold, higher Normal threshold, lower Distance threshold).

For example, the memory usage of photon maps is based on the number of photosns, which can reduce the Diffuse subdivs of V-Ray material or increase the maximum Max. density.

Decrease the trace depth as much as possible.
Even if V-Ray's VFB (Visual frame buffer) is selected, MAX's VFB will still be colored, taking up extra RAM. You can turn off the "GET RESULOTION FROM MAX" option and set the MAX output resolution to 100×100. Set the correct resolution of V-Ray VFB.
Sometimes it is considered that the rendering settings are slower. If you check the scene carefully, see if there are any unused Polygons, or if there is any useless material in the Polygon? shader editor outside the Camera lens? Affect the speed of Render.
Sometimes the model in AutoCad is far from the coordinate center, and we call it in max, but render is very long, you can move this model to the coordinate center [0,0,0] position in AutoCad.
Avoid overlapping models, so you must raise the render setting to remove spots or blemishes.
It takes a lot of time to calculate a large image, so you can use a similar Super Render to split the block rendering.

Do not increase the Reflection/refraction value in V-Ray Global swithces, about 2~3 to meet most of the requirements.
The REFLECT ON BACKSIDE parameter can be turned off in the Option option of the V-Ray material.
If you spend a lot of time to render a flat and ungraded result, and similar to the contour map, you can check the Use interpolation in the reflection in the shader, and then adjust the reflect interpolation min/max = -3 in the Reflection volume.
Avoid using the Bump map with the glossiness of the check-in interpolation, which will produce a lot of impurities.
If you render 3600pixel and other large images, you can only count small sheets, such as 1600 or 2200, then use the PS/PP profit filter, or zoom in ssplinepro, unless the laser output, no one will notice.
Irradiance map with light cache can meet most of the rendering quality requirements.
After determining the GI solution (such as Irradiance + light cache), the setting of image sampling and antialiasing becomes extremely important.
The HSph. subdivs of Irradiance maps are adjusted upwards from 20 until the impurities are removed. Generally, good results can be obtained between 20 and 50.
The default min/max=1 of the Adaptive QMC sampler; 4 is only used for testing, min/max=3; 6 meets most high quality requirements, and the best between min and max should not exceed 2 or 3.
When Light Cache's Subdivs value is used for testing purposes, 100 is used for large scenes; 250 is used for small scenes or indoor scenes. When used as product output, multiply by 10, 1000 for large scenes; 2500 for small scenes or Indoor scenes (more details). In actual rendering, adjust according to the current environment.
Avoid using the DOF of the physical camera, you can use other plugins instead.
After all, using a render farm or cloud rendering farm can make the works more realistic, most useful in time-saving and money saving.

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Creation Analysis: Using 3D to Make 2D Style Scene（1）

The best cloud rendering services provider and 3ds Max render farm, Fox Renderfarm will share with you a tutorial of using 3D to make 2D style scene.In this case, we show the use of 3ds Max to create 2D animated movie-style scenes and will focus on explaining the Makoto Shinkai-style picture performance. From his animation works, we can feel a strong personal style, exquisite light, and shadow applications, strong light and dark contrast and gorgeous colors are the biggest features of his works, these features make his works look more real. Reference material from Makoto Shinkai’s animated film "Koto no ha no niwa".Some pictures material comes from the 2D animated film "Koto no ha no niwa", and some screenshots are found for reference.The whole idea:Composition layout and lighting testMaterial adjustment and rendering settingsUse of channelsColor comparison and synthesisComposition layout and lighting testIt is very important to make scene lights in this style, often in small details, such as the bright and dark junction of very bright objects, reflections in small details, the color gradient of objects under the influence of light, and the objects interspersing and blocking, the resulting changes in light are all things we need to pay attention to. Every time I watch an animation, I am always moved by these nuances. The models used in this tutorial are very simple. When doing interior scenes, it is often to build a simple BOX first and modify the approximate shape to test the lights to see if they meet the expectations. But when making, it is better to have an imaginary picture first, so that you can judge whether you have achieved the desired effect when you are done, but you must know what kind of effect you want before you do it.This is a scene from the animated movie "Koto no ha no niwa", which is real in Shinjuku Gyoen Park, Japan. What I want to do now is to make the 2D animation feel with 3D. First, use a simple model to determine the main pavilion. And the location of the surrounding trees, place the camera, as the picture shows:Then we can see through the original animation that the light is shining from the bottom left corner.Here, a standard target parallel light is used as the main light source. The angle of light and the attenuation range of the illuminated area are adjusted. The shadow length and direction of the trees are observed and adjusted to a suitable position. Adjust the UVW in the shadow parameters to blur the tree projection to make it unreal. Open the environment and effects panel, add a VRaySky map to the environment map, drag it to the material panel by example, check the first column, pick the target parallel light in the scene, and set the map light intensity to 0.03. You will get a sky environment that matches the scene lighting, making the rendering more realistic.A high light and dark contrast picture is needed here, so no ambient light is used in this scene. In addition, a VRayLight was created in the direction of the light to simulate a small range of strong sunlight. It can produce more intense light and shade. The parameter settings are the shape of the light is spherical, the intensity is 200, the color is warm, and the light is not visible.Open GI and test the lighting effect, as follows:After the lights are almost well, we start to refine the scene, and finally, it looks like this:In order to simulate the feeling of the rainy season in the original animation, I used the 3ds Max particle system to simulate some raindrops, created a standard particle flow source, and added a random rotation to make the raindrops have some random changes.I also used the MultiScatter plugin to plant some grass.Material adjustment and rendering settingsIn terms of materials, I will focus on the material of the pavilion and the surface of the water. The material of the pavilion must be rendered wet and wet. Because the scene is rainy, I chose mirror high reflection on the material. I did not check Fresnel. The top will be completely reflected in the surrounding trees, plus the projection of the tree occlusion to get a similar effect.The water surface did not make it reflect the sky and clouds like the original painting, but chose a green that matches the scene, as shown in the following figure:The material of water is as follows:Next, we can adjust the rendering parameters. Anti-aliasing uses Catmull-Rom with a certain sharpening effect, which can make the details of the trees richer. Turn on the reflection environment. A VRayHDRI map is added to the reflection environment. The exposure selection is the last one. The term Reinhard mixed exposure is similar to the combination of exponential exposure and linear exposure. Set the blend value to 0.7.VRayHDRI is displayed as a sphere with an intensity of 4.Using the VRayHDRI map can increase the reflection details of some scenes. Turn on the GI and use the Irradiance Map for the first bounce. The first bounce is the first global light calculation for the direct light. The second bounce uses the Light Cache. Actual calculation, turn on display calculation phase. As the picture shows:Open the rollout of the light cache, set the light subdivision to 1500, andcheck the options in the figure.The rendering effect is as follows:Now please follow the best CPU &x26; GPU render farm and cloud rendering services provider to our next part: Creation Analysis: Using 3D to Make 2D Style Scene（2）.

2022-07-27

Creation Analysis: Using 3D to Make 2D Style Scene（2）

As the leading cloud rendering services provider and GPU &x26; CPU render farm, Fox Renderfarm is here to continue to share with you how to make 2D scene with 3D.Creation Analysis: Using 3D to Make 2D Style Scene（1）In this article, we still show the use of 3ds Max to create 2D animated movie-style scenes and will focus on explaining the Makoto Shinkai-style picture performance.The use of channelsWhen rendering into a map, we need to add some channels to the rendering elements to help us post-process the scene. I added VRGI channels, VR lighting channels, VR reflection channels, VR shadow channels, VR highlight channels, and Z channel. The Z channel needs to test the distance of the camera in advance. It can be measured directly with a tape measure, or the camera's ambient range display can be turned on. The rendering results are as follows:Adjust the color and compositionIn the last step of color processing, you must first have a clear understanding of the overall picture effect processing ideas. Let's analyze the original picture of Makoto Shinkai first. "Koto no ha no niwa" uses the delicate design and delicate application of color elements to enhance the overall expression of the work. In the picture, the author uses a variety of green and gray with different purity and brightness. Multi-tones such as blue, white, and white are painted and painted. The crystal clear and colorful colors contrast with each other, forming the vivid art style of the film. The courtyard scene uses high-purity dark green forest leaves as the main thing, and the dark parts are generally biased to cool gray, so we must focus on these factors in the post-processing.Select the color of the GI channel and the reflection channel for the superposition method, and select the soft light for the superposition method of the light channel. Adjust the opacity of the screen overlay according to the picture conditions. The Z channel is reserved, and then the center of the picture is brightened with warm colors. The colored sky map gives the original image a soft light overlay. The opacity is set to 50% to make the picture breathable. Then adjust the color balance, saturation, and curve of the overall picture to improve the overall color purity and contrast of the picture. Warm color filter, as shown below:Next, use the Z channel to create the blue fog effect in the dark part at the top of the screen. Display the Z channel separately, adjust the color level to make the black and white obvious. Then, in the RGB channel, Ctrl + left mouse button to select the white selection area. One layer, fill it with blue-gray, and adjust the opacity as shown:Create a new layer, use the radial gradient in the gradient to make a rainbow in the upper left corner, wipe out the desired shape, and then add a Gaussian blur to give the rainbow a foggy feel.Next, create a soft light effect for the overall screen. Ctrl + Alt + Shift + E stamps all visible layers duplicates one layer and uses Image-Adjust- Threshold to change the image to black and white. Similarly, select the white part of the selection, Ctrl + J duplicates one layer, uses soft light for the superposition method, and gives a Gaussian blur with a value of 10, so that you can get a soft light effect that enhances the bright part of the overall picture, adding a depth of field effect, and the final effect is shown in the figure:Fox Renderfarm hopes it will be of some help to you. It is well known that Fox Renderfarm is an excellent cloud rendering services provider in the CG world, so if you need to find a 3ds Max render farm, why not try Fox Renderfarm, which is offering a free $25 trial for new users? Thanks for reading!

2020-02-12

Rainy Scene Performance of Building Exterior

The best cloud rendering services provider and GPU &x26; CPU render farm, Fox Renderfarm will share with you a good 3D tutorial to make rainy scene.This is a rainy scene performance of building exterior, from 3D artist Han Shilin. The software used is SketchUp, 3ds Max, V-Ray for 3ds Max, Photoshop, and Substance Painter, etc.How to be "realistic"?"Realism" doesn't just give each material a very accurate parameter that can be applied to any environment, so that it can render a very realistic effect. It also refers to realistic performance = according to your own visual experience, controlling parameters to make the map in line with expectations.The difference between the two understandings is that the former has no control and expectation of the final result, and is based on the idea that "parameters are correct.".ReferenceThe reference picture is very important, this is an expectation of the final effect, such as light and shadow, atmosphere, composition. And it is recommended to combine all the reference pictures into one plate.In order to show a sense of tranquility and quietness, a darker, rainy weather was set. The architectural details of this scene are not many, the atmosphere of light and the treatment of the ground part are very important.ModelingGrasshopper makes the appearance, imports SketchUp to make the main body of the building, and then imports into 3ds Max, and rendered with V-Ray. The process is very simple.The important thing is to do a good job of layering, otherwise, it will become more troublesome when importing into 3ds Max.As for the composition, a very low angle was used, as much as possible to expose the ground material and the wider sky.TextureThe main body of the building is far away from the lens, so only ordinary materials are needed, and the texture of the materials can be maintained. Taking the skin material as an example, the rest of the building materials are very basic.Sidewalk and road eaves: indoor concrete texture package, because there will be a lot of dirt in the outdoor scene, so the concrete texture and the dirt texture are mixed together. The area in the close shot is relatively small, so the repeatability of the material is serious. Since it is a rainy scene, the roughness value is also very low.PS. The main building can be modeled in SketchUp and then imported into 3ds Max. The environment and settings of the scene are best created with 3ds Max because the SketchUp model will have some problems when imported into 3ds Max, such as the UV will be messed up.Performance details (Substance Painter draws some textures)From the perspective of the camera, the pavement greatly affects the picture, so its material is very important. You need to import this pavement into Substance to draw textures.Import the mesh file that needs to draw textures into Substance Painter.Remember to turn off the channels other than the natural color when drawing the natural color map. After drawing the natural color map, create a new layer and draw the bump.Then you can add some standing water to both sides of the road.There are many ways to draw. One of the simpler methods is to add a material to adjust a very flat height and then apply it several times with a dirt brush to get a better random effect. Because what to do is a rainy scene, there is no wet feeling. So adjust the level of the roughness layer.One thing to note is that if you want to get the same effect in 3ds Max as in Substance Painter when importing the texture, adjust the blur to 0.2. For sharper effects, lower it. In addition, the imported map gamma needs to pay attention to, the map color of the natural color is selected automatically, and the rest are all 1.0.Then it is relatively simple work and found some model-rich scenes from Evermotion's model library.Such as the middle and lower left cars. After that, I used V-Ray rendering in 3ds Max, and finally adjusted it in Photoshop.Fox Renderfarm hopes it will be of some help to you. It is well known that Fox Renderfarm is an excellent cloud rendering services provider in the CG world, so if you need to find a render farm, why not try Fox Renderfarm, which is offering a free $25 trial for new users? Thanks for reading!

2022-07-13

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V-Ray for 3ds Max