Beginning Lighting and Rendering with 3ds Max and V-Ray

Positioning the V-Ray Sun and Fine-tuning Exposure and Override

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This segment focuses on positioning the V-Ray sun accordingly, and fine-tune the exposure and override settings.

Keywords

  • V-Ray Sunlight Parameters
  • Environment Exposure
  • Override

About this video

Author(s)
Jamie Cardoso
First online
21 December 2018
DOI
https://doi.org/10.1007/978-1-4842-4403-6_5
Online ISBN
978-1-4842-4403-6
Publisher
Apress
Copyright information
© Jamie Cardoso 2019

Video Transcript

[Audio starts]

In this segment, we’ll focus mainly on positioning the V-Ray Sun accordingly and fine-tune exposure and override settings. This first step is to tweak the position of the V-Ray sunlight and its parameters; adjusting environmental exposure controls and fine-tune the V-Ray override exclusions. That blue line is an indication of where the direct light from the sun will be hitting. See that blue line there. You’re just going to move the sunlight like so. Click on the select by name, target. There you go. So now we know the direct sun is actually hitting the area there. This is what we want. Mostly we can move the light higher. So select the V-Ray Sun target again. I really like to see that line coming down there as you can see. Select the sunlight, V-Ray Sun. Open the modify panel. So just to go through some of its basic settings to enable function allows you to turn the V-Ray Sun on or off. The invisible function allows you to make the sun visible or invisible in render. It doesn’t disable the V-Ray Sun. It’s only for visibility and render purposes. Obviously sometimes you want it on, for this particular exercise we want it off. Then we have the effective use function, which is self-explanatory. Next, we have the diffuse contribution and effect specular. The value 1.0 is accurate. However, to return one you might need to exaggerate those values, especially this specular contribution. This is the cast atmospheric shadows, you leave that on. Tubidity, then we have the intense de-multiplier. The higher the values, the brighter the sun will be. Then we have the size multiplier. The smaller the size, the sharper the shadows will be. To find your 1.0 it is often okay. If you increase the size multiplier, the shadows from the sun will be softer. If you click on a filter color swatch, it will allow you to change the color of the sun. Then the shadow subdivisions three is normally okay. Then you have the bias values and the photons. It’s values define the size of the photon area. In the sky model you can change to different types and the ground color as well. You can set the grounds to be totally white or gray. It depends what you want. You can set the objects that you want the light to affect. I imagine if you have the sunlight affecting one particular object that’s too bright, in here you can select the object to be excluded from the sunlight. Now let’s do a quick test render to see, save it first. The scene looks slightly too bright now and that’s because the exposure settings are not on. So let’s cancel that. Let’s open the environment dialog, go to rendering, drop down list or click number 8 on your keyboard. In here you’re just going to go and load up under exposure control, load up to the exposure control. These default settings should be okay. So let’s just do another test run. Let’s see what it looks like. For some reason, the glass material doesn’t seem to be coming through. Let’s select the glass materials in the scene and exclude them from the override white material. Let’s open the display panel and enable the shaded object color option. This technique allows you just to see objects more clearly in a shaded view port without materials, especially transparent materials. Another test render. This segment is now concluded. Prior to begin test rendering, it’s utterly important to use your most rendering parameters that work incorrectly.

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