I’ll take these into Nuke on my Mac mini with some stills and start the colour corrections in post. A great explanation of this technique can be found over at Akin Bilgic’s blog ( NULL.cggallery /tutorials/vray_optimization/).īefore I begin the render I have to create all my material ID masks. Remember the primary rays are really only there to alias all your edges, not to cleanup your image. We want the secondary bounces to clarify the fine details in the materials. This is where you’re going to see a lot of difference in the clarity of the surfaces. The DMC (advanced) settings are way way higher. Pushing this too high will cleanup up your edges, but it will also force needlessly high samples on areas of your scene that don’t need it. These are the heavy lifters we want talking care of edge cleanup (anti-aliasing).
The primary rays are kept as low as can be. I give them as a guide, but each project is specific and your settings will probably have to change to suit the exact needs of your scene. ( NULL.terrymatthes /wp-content/uploads/2017/05/witteveenVrayGray NULL.jpg)The render settings in the attached images worked for me. If I wanted to put a different picture in the frame I would simply move the UV cords of the corresponding faces over a new area of the atlas. I then merged all the picture geometry together. To keep things simple I created several 4K texture atlases for the bookshelf items and the pictures. Next I created masks for each group of books.
The books and nic nacs on the back shelf are all HDRI shots of a bookshelf inside my living room. There is a lot of duplicate geometry between the logs and the wine bottles, the cutlery could be considered another culprit. One thing in the future I would like to experiment with is instancing. ( NULL.terrymatthes /wp-content/uploads/2017/05/witteveenNB NULL.jpg)Some of the materials were made in Substance Designer, while other’s were built right in Maya. If you can’t see the setting it was left at default. I tried to include all pertinent information in the shots. One for GI and the other for primary rays/Secondary (DMC rays). In this post I’ve included 2 shots of my render settings. I’ve chosen to go with Light cache as my primary bounce solver while Irradiance mapping will be solving all of the secondary bounces. If I didn’t bake out the GI I would get changes in the grain when starting and stopping the render sessions.
#Maya paint fx vray material id pass Pc#
I’ve baked out all of the GI so that I can start and stop the render when my PC has some spare time. If this needed to be done sooner I would ship this off to an online farm or ask some of my friends to render a portion of the frames for me. I knew this would be a challenge, but what better way to practice using the diagnostic tools? The longer render times are actually acceptable given these are the minimum settings to avoid shimmering in the glass. This means that even at the current render times of ~90 minutes a frame the animation would take 225 hours. The animation is 5 seconds at 30FPS or 150 frames. There is a lot of glass so if the settings aren’t balanced right between the aliasing and reflection/refraction quality the animation will “shimmer” where the glass in moving. I’m in the process of rendering an animation of the environment. A big part of this project was crushing render times down while retaining quality in the right places. I’ve redone all the lighting and materials in Vray as opposed to Mental Ray. ( NULL.terrymatthes /wp-content/uploads/2017/05/GISettings NULL.jpg) ( NULL.terrymatthes /wp-content/uploads/2017/05/primarySettings NULL.jpg)I took some time over the last few months to rework a scene I had modeled last year.
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