But we'll instead be a course that focuses mostly on the V-Ray side of the rendering for compositing equation. Now just to be clear, this is not going to be a compositing course as such, of which there are lots in the LinkedIn Learning library. In this course then, we are going to take a look at the essential tools that exist inside V-Ray Next for 3DS Max, in order to help us facilitate that workflow with a minimum of force, and a maximum of quality. All the while, maintaining complete control over every aspect of the CG parts of the image, such as lighting, reflections, object colors, and so on. Now post-production work can of course, range from something as simple as adding a quick color grade, to a finished image, and go all the way up to a complex composite that requires the matching of CG, and real world elements that essentially blend into a seamless whole. When working as a lighting, and rendering artist in V-Ray, be that as a freelancer, or in a larger studio setting, one of the things that we will likely be asked to do, is create our renders with a post-production based workflow in mind.
We are pleased to offer this training in our library. This course was created by Brian Bradley.
Finally, learn how to add lighting and other effects in order to produce a very different looking final composite. The fifth chapter is a project-based lesson that shows how to select and adjust render elements for an animated sequence. In chapter four, Brian takes a deep dive into render elements such as MultiMatte, Cryptomatte, ZDepth, VRayLightSelect, and more. Then learn how to use 3ds Max state sets to manage multiple render passes, and find out how to analyze a scene.
Explore the render elements UI and workflow and the output options for still images and animated sequences. In this course, Brian Bradley shows how to use V-Ray Next to create renders specifically for a post-production workflow in applications like Photoshop and After Effects. If it is too warm one must decrease the value, and oppositedly if it is too cold one must increase the value.Īlso, sometimes having white areas looking blueish or reddish can lead to a better overall result and is dependant on the mood you try to achieve !Īll of the VP HDRI Skydomes include 3ds max scenes with proper light and camera settings, so you can just go ahead and start rendering your own scene.Using render elements, V-Ray Next for 3ds Max offers fine-grained control over parameters necessary for creating high-quality composites, such as reflections, shadows, mattes, and more. You can always use the eyedropper of the Vray Frame Buffer to see whether a supposed white area is too blue or too red and adjust the temperature according. For most of conditions, a value ranging from 4500 to 6500 should give you best results. Using the temperature option is probably the easiest as you can directly change a value and get a cooler or warmer result. If you can´t match the background with the lighting of the vray domelight, you can also create a second copy of the vrayHDRI map with different settings and split these two. If you want to use the same hdri skydome for the background, you can just add the same map to the environment slot of the render Environment Map. As the settings may vary strongly depending on the used hdri map, it´s not very useful to define specific settings here. There are lots of tutorials on the web explaining photography and we don´t want to go into too much detail here. These are photographic parameters and work the same way like a normal camera. To set the exposure up we have a few settings: There are basically two things we want to achieve when setting up the camera: a proper exposure, and an adequate white balance. You can decrease this value if you feel the light is a bit too flat to bring more contrasts, or increase it if the light gets too harsh. This setting allows colors to have more punch and contrast, in an high dynamic range context it means that bright spots are much brighter than normal, therefore creating sharper and stronger shadows. Before we move onto the next point, let’s speak about the gamma setting. Until this point, we have created our light system, in the next point we will treat the camera settings. Every sky is having the sun placed in the middle which allows to quickly change and try different skies by keeping the light direction. rotation parameter of the VRayHDRI map allows one to rotate the sky around to change the sun light direction.
Drag the VrayHDRI map in your material editor.
Next add a VrayHDRI map into the Texture slot.