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INTERIOR. – A case study with 3DS Max and V-Ray popularity among photorealistic design and architecture. The final results of this. Virgin cruise ship. entitled Realistic Architectural Visualization with 3Ds Max and is automatically loaded at start-up of 3ds Max. vray and DefaultUI options. Realistically Light and Render Interior Scenes using 3ds Max and raudone.info Architectural Rendering with 3ds Max and V-Ray book. Read reviews from world's largest community for readers. Vray is a popular add-on rendering applicat.
Architecture, in KT; This special collection is to bring sophisticated small objects. Photorealistic architectural, engineering and design in the field of pre-visualization. V-Ray VisMasters demand for architectural visualizations.
Cinema 4D lighting, allowing you to produce more photorealistic renders. Screen, the pictures, you will learn from the practical rendering of using V-Ray. Indirect lighting algorithms together in order to make photorealistic image; a quick and easy. VRayforC4D lighting through the use of studio lighting to create photo-realistic. With regard to the challenges of the recent architectural visualization. This is a fast render engine that will produce high quality results with minimum settings.
This is the simplest lighting method that required minimum settings and will create some realistic light in your 3d render.
The Vray sun was positioned in a way that will produce some nice shadows and specular all around the scene. I increased the value, because I wanted to have softer shadows, by increasing the size your shadows will be more blurred but the intensity remains the same. Here is a detailed view of the vray sun settings: Interior Lighting for Exterior Rendering The tittle maybe confuses you, but yes it is correct, what I mean is that for exterior rendering you need a different lighting for the inside, if you are rendering a exterior daylight scene you need a soft interior lighting just to show a little bit of the interior, so you do not steal the focus of the exterior.
Also it is important to know that you have a bright interior, the exterior have to be overexposed and that will kill your image.
Architectural rendering with 3ds max and vray photorealistic visualization pdf torrent
For that reason you only see a little bit of lighting in the renderings, just to show that they are people living in that house! Vray IES gives you a real life feeling, because they use real life lighting data. The settings for this lighting are the next: As you can see the color is based on kelvin temperature, this gives me more control, and I am using a warm tone, so the house will look more welcoming!
To rename a layer or folder from the list. When selecting an object in the scene and creating a new layer. Because the drawings are in 2D e. Although it is possible to select and move the contents of this default layer or folder e. As with all new layers or folders created by the user.
Enable the Vertex and Endpoint functions. DWG plans are always more accurate than the elevations or sections. Welding the drawings manually often takes much longer than tracing them. Start by selecting the relevant spline in the Viewport. To make this process easier. Use the same procedure to position the following elevations and sections.
Extrude it thereafter. If it is too small. To view the rotated drawing plan in a straight angle. This way it is not necessary to rotate drawings individually. The Grid tool is the ideal solution when working with rotated drawings. To access this dialogue click on the 5. As drawings are produced in plans. Professionals often resort to this keyboard shortcut to have better selection control of objects when working in dense and complex scenes.
Once finished moving and rotating the grid helper. Its dialogue should open. Click inside the Hotkey box. If you wish to start tracing lines in the front viewport.
It is also important to set a keyboard shortcut to freeze selected objects. One good technique for tracing and creating a spline continuously without having to exit creation is to occasionally press the I and Z keys on the keyboard. Th is function makes it possible to rotate the viewport around the axis of the selected object.
Doing this will save time by not having to constantly pick through drop-down list menus for commonly used modifiers. Scroll down the list to pick other useful modifiers. This technique will help speed up the viewport performance whilst navigating and creating geometry the 3D scene. Objects in the distance often look acceptable with a realistic texture and a good shader applied.
VRay proxies can reduce the MAX file size and rendering times by a great deal. Although not always necessary.
To prevent unexpected proxy 5. The Display group controls the preview of the proxy object in the viewport. The Scale function allows users to control the size of the proxy in the scene. Choose the V-Ray mesh export option to open its dialogue.
It is common to choose the bounding box display type for very dense objects such as trees. The file name should be kept as simple as possible e. The former approach often leads to users having to resort to Photoshop to build the entire texture of an object or surface by tiling it. In some cases it may even crash the system. This methodology subsequently causes the final texture to look artificially tiled and have a lack of important details that frequently make a texture look convincing and realistic.
Complex geometry may take a considerable amount of time to retrieve. This approach captures all the important details of the entire surface i. The Easting value is the equivalent of the X position in 3ds Max. Below is an example of a typical survey data spreadsheet. Script for Verified Views In architectural visualisation. The Northing value is the equivalent of the Y position in 3ds Max.
CSV and the specified location. The great advantage of having survey points in 3ds Max as instanced point helpers is that their sizes in the camera viewport can be set to have a constant screen size. This is not a script error: If the survey points are too big. If by chance there is a script error reading the spreadsheet file.
Z depicted in the CVC file. To begin zooming in. Once satisfied. To crop. Before cropping.
Ensure the guide is positioned exactly where the vanishing lines meet. This exercise will require extending the canvas.
The image to be used as background in 3ds Max needs to be reduced in size for camera matching purposes only. On the drop-down quad menu. In the Setup dialogue. Exposure Time. To align the matched survey and cameras with the context model. Time into the VRayPhysicalCamera. ISO speed.
Architectural companies often use this drawing in conjunction with the cameras and point helpers 5. The average height of a chair is about 0.
Camera matching without survey data Before beginning the process of camera matching a photo. The average door height is around 2. Have an almost accurate dimension of a relevant object in the photo e. Be aware that photos are usually taken at eye level e.
The average height of most people in photos is between 1. The two green vanishing lines are often moved to line up closely with two key perspective lines of the photo e. Click on the Hide Vanishing Lines button to make it visible in the viewport. The two red vanishing lines are often moved to line up closely with two key horizontal lines of the photo. After much pulling and moving the vanishing lines around.
To move parts of the vanishing line. The rule of thumb is to keep the top vanishing lines e. In the Exposure Control roll-out parameters. The Origin info from the property details can be used in the Daylight System parameters Chapter 3 to enter the time. Because a standard 3ds Max camera is currently being used in the scene. F-Stop and ISO speed. Instead it might be necessary to eyeball the correct camera perspective by constantly rotating.
It often takes a bit of practice to camera match aerial shots accurately. Integrating shots in 3ds max Prior to starting. This function will prevent the environment background photo from being affected by the GI and the VRayPhysicalCamera settings e. The value of —1. Select the V-Ray properties option.
To have shadows cast onto its matte surface. Select the surface in the scene and right- click on it to bring up its quad menu.
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To override this. For more information about this procedural map. Tweak its colour temperature or sample it from the background photo in the viewport. VRayExtraTex 5. To add it. The subdivs parameter controls the smoothness of the occluded colour. The next step is to add the VRayDirt to the texture toggle. Try different values to see what works best. The default value is 8 very grainy. The radius parameter determines the occluded colour radius.
Test render its default parameters. The darker areas represent the occluded colour. The invert normal function allows corners facing outwards to also have shadows applied onto them. For more information about it. To make 5. Note that this element only works with V-Ray lights.
To use it. These areas often take little or no time to process the render. The green colours highlight areas of the scene where some render samples are being used. The red colours depict areas of the scene where a substantial or large number of render samples are being used. These areas normally take an 5. The blue colours depict areas of the scene where few or no render samples are being used. The render channel can later be used in post-production to create effects such as depth of field DOF and fog.
The value of 9. The default value is often 0. Choose the document destination to save it. The Save Selection dialogue should appear. This new saved selection should be added to the Channels palette of the document destination chosen. Note that selections can only be saved to a different document when both documents share the same pixel size same proportions.
To begin using this filter. This precautionary measure will make it possible to revert back to the original layer. Shape and Noise. Design Connected http: Click on the Customize main toolbar and choose the Units Setup option from the drop-down list. Note that changing any of the values 7. From the list.
Then click on the Tape tool. To measure. In the Find field. Exit Isolation Mode by clicking its button. Open the render setup dialogue by pressing F In the Common tab.
The Choose Renderer dialogue box should pop up. Choose the V-Ray renderer from the list and click OK to close the dialogue box. In its dialogue. Also click OK to the dialogue warning you about the next time you restart 3ds Max.
Once satisfied with the camera location. Back in the V-Ray Object Type group. This will ensure that we only work on areas within the camera range. In the Create command panel. Corridor area. For this project. Increase the film gate value to about The remaining values have not been changed. This will enable you to tweak the width and height values proportionally. Open the Render Setup dialogue as previously done press F Lock it by clicking on its padlock button.
To capture more of the foreground. HDTV video. In the resource files. Click on the Rendering main toolbar and choose View Image File from its drop-down menu. There are now two good references of a glass material in the viewport. The second reference depicts a slightly tinted green and reflective glass. SP5 roll-out and double click on VRayMtl to load this shader.
This function will help visualize any changes of the material in the editor. Click on the Refract colour swatch and hold down the mouse button. Assign it to the empty material slot previously selected. To make the glass material more transparent.
The Color Selector dialogue should pop up.
Click on OK to close the dialogue. Scroll down to the Refraction group. To adjust this to be closer to the photo reference. Click on its sample screen color tool and pick the green tone of the photo reference. Click OK to close the dialogue box. Note how its diff use colour is automatically changed. Note how its material thumbnail changes simultaneously.
Open the diff use Color Selector dialogue. This will help eliminate potential glossy artefacts when rendering. Also increase its Subdivs values to about Notice the shine appearing in the Material Editor thumbnail. Decrease its whiteness arrow to almost white e. Glossiness value to about 0.
At times. Open the Reflection group and click on the Reflect colour swatch to open the Color Selector dialogue. To add a bit of sharp shine as per the photo reference. This option is quite useful when editing the alpha channels in post-production. The rule of thumb is: Note that the Material Editor thumbnail changes simultaneously.
This stage is mainly to create the basic material parameters with the help of the Material Editor and the viewport. In the Rendering Control group. In the G-Buffer group. Also apply this glass material to other glass objects in the scene and close the glass photo references.
Once the lights are created. Please refer to the final scene. Open its general parameters. The following objects in the scene that are relevant can be numbered incrementally. The G-Buffer Object ID number will later play a crucial part when setting up the render elements for 7.
Note that no test renders are carried out until the lights are created. To start. Open the following photo references using some of the techniques described earlier: In the Reflection group. Notice the changes in the Material Editor thumbnail. Use some techniques highlighted earlier. In the Select Bitmap Image File dialogue. Click on the Refl. To view the texture in the viewport.
Also choose the Box mapping type. To rectify this. Use the slider to scroll down. Some of the main characteristics of this type of metallic finish are the direction of its reflection e. Other material effects such as VRayEdgesTex will be introduced once the lights have been created.
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In the Material Editor. This technique will help progress this process much faster. Note the changes taking place in the Material Editor thumbnail. Note how the concrete surface is slightly uneven and reflective. Set its Refl. Note that a greyscale version of the diff use texture has already been created. The more contrast the greyscale texture has.
Feel free to try different values. Keep the Fresnel reflections function enabled. To emulate this physical property. To control its shine. Start by scrolling down to the Maps roll-out and expanding it.
Also set its U Tiling value to 0. Begin by rotating its W Angle to about 7. To recreate this effect in 3ds Max. These values worked adequately for this exercise. This will allow better control of the Fresnel reflectivity.
Click OK to close the dialogue. In its Diffuse group.
V-Ray Tutorial for Residential Exterior in 3dsmax
In the Color Selector dialogue. Note that most values might require tweaking further once lights are added to the scene. The first colour swatch represents the middle part of a surface.
To start with. The falloff is broken down into two colour swatches. Blur the reflections slightly by decreasing the Refl. The default value of 8 is often too low to smooth out reflection graininess. To closely monitor the material changes. To spread out the ceiling panel highlights as seen in the photo reference. Note the changes taking place in the material slot. This falloff type will yield the effect of 7. To rotate the texture as previously done, in the coordinates parameters, set the W angle to To tile the texture, apply a UVW Mapping modifier to it.
In the Mapping group, set the Tiling type to Box and tile it until the texture looks correct in the viewport. For this scene, the following values worked well to start with: U Tile, 4. To do so, click on the button Show Standard Map in Viewport. Next, isolate the relevant object 7. In the top viewport, the texture display seems slightly whitewashed.
To correct it, go back to the main VRayLightMtl parameters and double- click on its colour swatch to bring up the Color Selector dialogue. In the Color Selector dialogue, change its value to black by typing in the value of 0. Note how the texture is less washed out in the viewport now. The Make Unique button directly below the modifier list indicates that the object is an instance.
If necessary, rotate and fit the bitmap multiple times until the bitmap is aligned more perfectly. Click on Exit Isolation Mode and 7. Finally, apply this material to all ceiling lights in the scene. Change the G-Buffer object ID of these objects to 6. Due to the bitmap size being relatively small, reducing the Blur values and enabling the Filtering type to Summed area will sharpen the bitmap. However, it will also increase the rendering time slightly.
Set the Mapping type to Box and tile the texture realistically. The following values worked well for this scene: U tile, Tile and move it realistically on the wall surface.
After few tweaks, the following values worked well as a starting point: Change the G-Buffer object ID number of these objects to 7. The remaining materials in the scene were created using the same techniques described earlier. While this stage of the process might be considered preliminary, it is still quite important to diligently set up key material parameters such as the following: As such, the following tutorial will take users through the intricacies of creating, setting up and rendering the final image realistically, while implementing some of the best techniques used by professional production houses.
In the Display and Bitmap Files 8. First, open the Render Setup dialogue press F In the Indirect illumination 8. Indirect illumination GI function. In the Ambient Occlusion group, set the Radius value to about 0. The value of 16 may take slightly longer to render, but the ambient occlusion results will be much smoother and more realistic. In the Secondary bounces group, choose the Light cache GI engine by clicking and choosing it from the drop-down list.
While brute force is more unbiased and accurate, light cache can also produce excellent results at a much quicker rendering pace. Irradiance map roll- out, choose the Low built-in preset from the drop-down list next to Current preset.
These two functions allow users to visualize the direction of the lights in the scene and the overall GI before the rendering process begins. Being able to visualize the precalculation phase provides the user 8.
The value of is neither too low nor too high to get the first draft renders. In addition, enable Store direct light and Show cal. This option will help speed up the light cache calculation, especially when there too many lights in the scene. Open the V-Ray tab and scroll down to the V-Ray:: Image sampler Antialiasing roll-out parameters.
While this image sampler works consistently well and fast with most scenes, you can try a different image sampler, if desired. In the V-Ray:: Note how the Clr thresh field goes from inactive to live.
Color mapping roll-out, change the default Linear multiply gamma value to 2. Turning on this specific function corrects rendering artefacts related to white dots in the render.
Scroll up to the V-Ray:: Global switches roll-out and enable the Override mtl function from the Materials group.
The next step is to create and apply a white base material to the Override mtl toggle Open the Material Editor dialogue and create a new VRayMtl slot. Color Selector Value: The Instance Copy Material dialogue should be prompted. Choose the Instance method and click OK to close it.
The glass material needs to be excluded from the Override mtl in order to let the sunlight through the glass window. In the Scene objects name field, begin to type the relevant object s you require excluding.
The dialogue should automatically list the names matching your keyword s. Click on the button with an arrow pointing outwards to bring in selected objects from the list. Alternatively, select a material slot 8. All the relevant objects with the glass material should be automatically selected. The first light we are going to start with is the slight blue ambient light seen directly behind the window.
This type of ambient light can usually be achieved with a V-Ray dome light object.
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To begin editing some of the light parameters, open the Modify command panel while the light is still selected. In its Parameters roll-out, in the General 8. This is to avoid rendering the wrong selected viewport. By default 3ds Max renders the selected viewport highlighted , when the padlock is not selected.
Start by enabling the V-Ray frame buffer. Frame buffer roll-out. All parameters are greyed out by default. The V-Ray frame buffer dialogue should appear. Next, open the Modify command panel and add a slight blue tint to its colour swatch. The following values worked well: In addition, scroll down to the Options group and 8. Also disable the Affect specular and Affect reflections options. Having these two options unticked will help improve your renders.
From the pop-up menu. For quick viewport feedback on the direction of the shadows. Select the sunlight target and place it in the following position. In the Intensity group. In the Size group. With the Move tool. Place it directly below the ceiling panels in the following position: Start by creating a V-Ray plane light in the top viewport. Also change its dimension as follows: The wider the light planes.
To create them. When the Clone Options dialogue is prompted. Test render the scene with the new added lights. Disable the Override mtl and test render the scene to assess it. To correct this. To change the texture percentage. The first test render shows that the Refl.
Start with the big window frame in the foreground i. While its Material toggle has a texture. Curtain Wall Mullions. V-Ray will blend both the Refl. A square region render should appear in the viewport. To region render. To adjust the texture contrast. In the Replace Map dialogue.
Textures such as the floor require sharpening and adjusting the contrast slightly.Getting Started in 3D with 3ds Max. Change the diffuse color to black. It is possible to achieve good results by tweaking the zdepth max values.
Plastic A less spectacular material—plastic—is also used in the scene. From the pop-up menu. Color Mapping.
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