Vray for 3ds max manual free pdf

Remember me on this computer. Enter the email address you signed up with and we'll email you a reset link. Need an account? Click here to sign up. Download Free PDF. Architectural Rendering with 3ds Max and V-Ray. Juan Julian. A short summary of this paper. Download Download PDF. Translate PDF. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher.

This book and the individual contributions contained in it are protected under copyright by the Publisher other than as may be noted herein. Notices Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary.

Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility.

We hope that you will enjoy reading the book and the opportunity to learn new things while working through the lessons. We trust that you will be able to apply this information in your future projects. The book is divided into six chapters. The first chapter focuses on theoretical knowledge. The information provided in this section spans a range, from light in real life via computer graphics to its significance in architecture.

We will discuss sources of light specific to V-Ray, as well as materials and cameras. Different render algorithms and their advantages and disadvantages will be introduced.

Architectural scenes and lighting scenarios are described, from opening the file to the final rendering settings. We decided to use V-Ray as the rendering plug-in, because it is a very fast, high-quality renderer and is available for all commonly used 3D software solutions.

DOI: There is also a current beta version of V-Ray for Maya. The parameters and theories that the settings are based on are the same in all applications, which makes this book interesting for many users, not just users of 3ds Max. Have fun and enjoy working with V-Ray! I also want to thank the team at ScanlineVFX for allowing me to learn so much and being able to see new tricks there.

From Enrico I am grateful to my family for their moral support. To them and to my closest friends, I owe thanks for being so understanding about how I was able to spend so little time with them. My good friend Anja deserves special mention for her great support in every respect during the last few weeks before completion.

I owe special thanks to Dr. Marcus Kalusche of archlab. He readily supported us with his technical expertise. We also wish to thank our publishing editor at Pearson, Brigitte Bauer-Schiewek, for assisting us throughout the creation of this book. The book is mainly intended for computer graphics artists, enthusiastic users, and students of all disciplines who want to present their drafts, products, and ideas in three dimensions.

Primarily, it obviously addresses students of architecture and interior design, where ideas are often conveyed through the medium of renderings. Furthermore, this book is meant to offer experienced architects and creative people access to the world of three-dimensional computer graphics. We hope to accomplish this through clear and straightforward presentation of the basics and by offering various problem-solving strategies as well as helpful tips for daily production tasks.

You should already have a basic understanding of the user interface and operation of 3ds Max. As we focus primarily on light, materials, and settings for V-Ray rendering, it would be beyond the scope of this book to explain the basic elements of 3ds Max.

It would also be helpful if you have previous experience with AutoCAD. Some of the models on which the scenes are based have been constructed in AutoCAD and are linked with 3ds Max. Here, emphasis is placed on using AutoCAD layers.

Sketches and templates for image formation are not necessarily required but can be very helpful. In architectural visualizations, photorealistic pictures are not in great demand. Instead, abstracted renderings are sought after in order to elaborate the idea and eliminate unimportant elements. Good communication with your client is therefore very important: you have to be speaking the same language, so to speak.

More concrete basics are a three-dimensional, digital model, reference photos of the surroundings, and materials or even mood pictures.

You should build a well-structured database of fixtures and fittings, textures, background images, and other accessories. This database will grow rather large over time, so it needs to be properly arranged. We do not want to comment in great detail on technical equipment, as it constantly needs to be updated.

We recommend that you have at least two computers. One should be a workstation with an up-to-date, powerful processor; a lot of RAM; a good graphics card; and two monitors. Ideally, one monitor should be at least 24 inches diagonally to allow comfortable working. You are going to be working on this computer, while the other one calculates your pictures.

The second computer does not require a powerful graphics card or monitors. If possible, you should use processors of the same type. In addition to your knowledge and your equipment, you will need a lot of patience and of course a great deal of inspiration for creative computer work.

Considerations Regarding Light In this section, we are going to approach the topic of light from three angles: its observation in real life, its translation within computer graphics, and its significance in architecture. We are going to comment on only a few aspects regarding atmosphere and phenomenology. In everyday life, we rarely think about light in the real world, although it is present everywhere.

But we are so used to the conditions of reality that we notice immediately if something is not real. This is mainly due to differences or errors in computer-generated presentations of light.

Almost anyone can notice that these diverge from reality, but only a trained eye can actually specify the differences. Light has a subconscious influence on our feelings; it can stimulate emotions and create atmosphere. For example, when we are watching a sunset, we might feel romantic. Depending on its color, light can have a calming effect or make us feel uncomfortable. Think of the difference between warm candlelight and a corridor with the cold light from fluorescent tubes.

Creating moods therefore requires conscious and deliberate observation of our surroundings. In the real world, there are three lighting scenarios. The first one is natural light, which means sunlight shining directly or indirectly onto Earth, such as moonlight or through a layer of clouds. Natural and weather phenomena provide an exception—for example, lightning and fire. The second scenario is artificial light: any light that is not of natural origin, but manmade. This includes electric light, but also candlelight.

The third and most common scenario is a simultaneous occurrence of both natural and artificial light. One of the first discussions you should therefore have with your client is determining which of these scenarios is present in the picture you are going to create.

Three of these are of great importance in computer graphics. The first rule is that the illuminance decreases with the square of the distance from the light source. This means that a surface of one meter square that is one meter away from the light source is illuminated with the full assumed luminous intensity of the light source.

If you increase the distance by another meter so that it is now two meters, the illuminance is only a quarter of the luminous intensity. At a distance of three meters, the illuminance is only a ninth of the luminous intensity. The luminous intensity always remains constant.

The two other important qualities are the reflection and refraction of light. FIG 1. The reflected part is the determining factor that enables us to perceive objects. An object that absorbs percent of light appears completely black to us.

White surfaces reflect most of the light. The darker and rougher the surface, the less light it will reflect and the more it will absorb. An object always reflects light in its object color, which can lead to what is called color bleeding, or the bleeding or overlapping of colors onto other objects. Again, the light will take on the color of the material. Light travels at the speed of light, which is measured inside a vacuum. The refractive index or index of refraction IOR can be determined for each material.

It measures how much the speed of light is reduced when passing from air into the medium. The following table contains some examples. TABLE 1. In blue light, the red and green components of the light source are lower or nonexistent. Under these circumstances, all red and green objects would appear black. When using colored light sources, you therefore need to make sure to always mix a certain proportion of all colors to avoid black objects.

The following table contains an overview of several color temperatures. The color of the light in the morning has a different proportion of red than the light of the setting sun.

The color of daylight also depends on the place, the time of year, and the weather conditions while you observe it. Shadow The shadow being cast is not really a property of the light, but rather a property of illuminated objects. A shadow in itself is the absence of direct light and mostly refers to a diffusely illuminated area.

Shadows always appear behind objects that are positioned in front of a light source. The shadow area does not necessarily have to be darker than the directly illuminated area. Transparent objects, for example, also cast a shadow and can even produce lighter shadows, due to a concentration of rays of light or caustics.

Shadows play a very important role: they indicate the position and type of the light source. Without shadow, a picture cannot have any spatial depth. Parallel shadows do not occur in nature; they can be created only by artificial light. Light in Computer Graphics Unlike in the real world, the light in computer graphics is not subject to any restrictions.

You therefore have many options and great freedom, but it becomes more difficult to produce realistic illuminated scenes. A watchful eye is required to achieve a rendering that appears realistic. Sometimes one light source is not enough and you have to resort to tricks in order to achieve a result that appears realistic or expresses the desired idea.

Light in Architecture Light has always played a decisive role in architecture. Light creates atmosphere, can make rooms appear bigger or smaller, and can emphasize details or hide them. The first great buildings that specifically employed light were religious buildings. Initially, they did not let much natural light in, in order to emphasize the few existing windows.

The windows seemed to shine, creating a mystical effect. Light and architecture are closely linked; light presents good architecture favorably, but can also show mistakes. Architects have always used this medium, from the old master builders of temples and churches to famous architects of today, such as Tadao Ando, Jean Nouvell, or Louis I.

Light can also be used as an effect in architecture, such as the Empire State Building, with its varying illumination for different occasions. The use of artificial light is of particular importance in exhibition architecture, whereas daylight plays an important role when constructing domestic buildings. We will begin with some product specifications that convinced us to work with this product; then we will comment on the methods for light calculation and introduce some features specific to V-Ray.

Last, we will discuss linear workflow. Why V-Ray? The first complex calculation takes place here, and the light is scattered, absorbed, refracted and reflected. If you did not activate the calculation of global illumination, only the process of primary bounces is applied automatically. In the following section, we will introduce the various render algorithms with their advantages and disadvantages.

Interpolation takes place between the calculated areas. A multitude of setting options is available and can be managed well with a selection of presets. Only true light sources are taken into consideration, not surrounding illumination or luminous materials.

The algorithm is useful for interior scenes with many light sources and achieves good results with short rendering times when used in combination with irradiance map. Light Cache This algorithm functions in a similar way to the photon map, but the photons are emitted into the scene from the camera and the algorithm can be used for any kind of scene.

Finally, we would like to offer you some guidance by comparing the most sensible combinations for an interior scene and an outdoor scene. We are analyzing only stationary images—these comparisons are not necessarily applicable to animations. Hardly any artifacts occur, and even in detailed image areas, the accuracy remains high. A clear disadvantage, however, is the long rendering time. The calculation is very quick and exact, even in detailed image areas. Possible errors can usually be fixed by selecting a better preset.

This combination is the better choice for everyday work. Exterior Scene For the exterior scene, the same applies as for the interior scene. The calculation can potentially take even longer in this case, as the scene has a higher number of polygons due to trees, bushes, and lawn, and therefore more detailed areas.

As there is an exception to every rule and sometimes the rendering time is irrelevant, you should not completely disregard the other algorithms. Ambient Occlusion In areas where two or more objects are touching, there is insufficient light, and these areas appear darker in comparison to the surroundings. These darker areas are called contact shadows ambient occlusion or AO. Ambient occlusion is always calculated without direct light, and with only a diffuse surrounding light.

In V-Ray, there are several options for calculating the ambient occlusion. For example, you can output it as a separate rendering channel, resulting in a grayscale image.

In an image editing program, you can multiply this image with the actual rendering. Only certain image areas are darkened, as the image consists of color values between one and zero. In this case, the ambient occlusion is already saved in the output image. As you can adapt the parameters for each material, you have good control over the contact shadow. These light sources behave with physical correctness.

Unlike standard light sources, the light is emitted by a three-dimensional source, not by one point. VRayLights require shorter rendering times, have integrated falloff as the standard, and always produce a realistic-looking area shadow. There is a choice of four light sources: 1. The V-Ray light sources have almost the same parameters as standard light sources.

A big difference is the option to be able to work with different units of light intensity. These enable you to simulate real luminaires with physical correctness. The emission properties of the lamps and the effects of built-in reflectors are taken into account. The light distribution within the room and on the walls appears more realistic than using standard light sources.

The rendering time is longer, but this is compensated for by increased realism. It simulates a daylight system, composed of sun direct light and sky diffuse light. For example, the lower the sun, the softer the shadows.

There are two possibilities of working with the sun system. For one, you can set the intensity in the multiplier to 0. This is not recommended, however, as the result is not physically correct.

It influences the diffuse light incidence within the scene. Using physically correct light sources is a requirement. The advantages in comparison to the standard camera are physically correct calculation of depth of field blur, motion blur, and bokeh effect explained later in this section.

The parameters, such as the exposure time, are equivalent to those of a real camera. The disadvantage is a comparatively long rendering time.

Here once again an overview of the most important parameters. Bokeh Effects The term bokeh describes the appearance or quality of blurred areas in a photo. It depends on the lens used; for example, blurred image areas appear softer if the aperture has many sides.

If the option is deactivated, a circular blur is calculated; if activated, the blur appears polygonal, depending on the number of blades. Values above 0 make the outside appear brighter. These are installed together with the plug-ins and are naturally optimized for V-Ray. VRayMtl The advantage of this material is that it has been optimized for the renderer and therefore enables it to calculate a physically correct result. It behaves physically correct with regard to absorption, reflection, and refraction of light.

The material is based closely on the standard material and has similar parameters. For example, within the material you can set and change the diffuse color channel, the reflection, refraction, bump mapping, displacement mapping, and other qualities of the desired material. If possible, you should work with this material, as it has been optimized for V-Ray, and—if used in combination with V-Ray—it requires less time for rendering than other materials.

Amongst other things, it is suited very well for the representation of leaves, curtains, and paper screens. Unlike a light source, the material does not emit photons and does not create caustics. The rendering time is shorter than if using a standard material with self-illumination, and it can be used to illuminate a scene. The material cannot be used if you are working with motion blur. You can create matte objects via materials already present in the scene.

The light within an object is transported on to the object. Materials such as wax or skin have this property. You can use it for example to influence reflection and shine. VRayBlendMtl This material offers the option of placing several materials on top of one another, to blend them. In each case, you can choose another material for masking. This material is used for creating complex surfaces, such as car paint. VRaySimbiontMtl This is a special material that you can use with procedural shaders by the company Darkling Simulations.

It enables you to create very complex shaders that are built completely procedurally and represented in full quality, independently from the representation distance.

It influences the relation between sharpness of edges and avoiding aliasing jaggies, or stair-like lines instead of smooth lines. Antialiasing Antialiasing is used to reduce aliasing when converting a vector graphic into a raster picture. This method is usually achieved with smoothing of edges and occurs mostly with angled lines. In V-Ray there are two methods of antialiasing. We are going to give you a brief introduction to both.

Oversampling Supersampling A rendering consists of several pixels created when converting the vector-based graphic to a raster image. Each pixel can again be subdivided into subpixels. The number of subpixels is the square of the number of subdivisions. For example, with a subdivision of 1, the pixel is divided once.

There is only one subpixel. With a subdivision of 2, the pixel is divided into 4 subpixels. The finer the subdivision into several subpixels, the higher the resolution and therefore the quality of antialiasing. However, the required rendering time also increases sharply. Undersampling In undersampling, the opposite occurs. Pixels are not subdivided, but combined. Again, the relation is square. To keep the required rendering time low, this method is suitable for preview renderings.

V-Ray offers three antialias algorithms. Oversampling and undersampling are used differently in each. Again, we will give you a brief introduction. It gives the best result with relatively short rendering times.

The required rendering time may be very long, however. Linear Workflow LWF Put simply, the linear workflow describes a method of governing the input, processing, and output of image material in 3ds Max.

The monitor is not able to display an image in the same brightness as we see it in reality. Each image has a gamma correction curve in order to be displayed on the monitor in such a way that our eyes see it correctly.

This is usually a gamma correction value of 2. Because 3ds Max works internally in a linear way—that is, with a gamma of 1. To do this, choose the following settings in 3ds Max and V-Ray. This tells 3ds Max that all image data has a correction and it can reverse this. The output images renderings are saved once more with the gamma correction to ensure that they are displayed correctly.

This ensures colors and images display correctly in the material editor. Here, no correction is applied. In the latest V-Ray version, 1. V-Ray is already working with the corrected brightness internally. The correction is not yet saved into the picture, however, but used only for calculating the sampling. This produces a better quality, as image areas that are too dark are lightened by gamma correction. About the CD Included with This Book Directory Structure Before you start reading the next chapter, please take the time to read the following comments.

This directory contains the 3ds Max files. The first file ch 02 You can use this file to quickly refer to a material, for example, or if you want to try something without having to work your way through the entire chapter first.

Each chapter directory contains subdirectories for textures, AutoCAD files dwg , and so on. Figure 1. This scale lends itself for architectural visualization. All objects or light sources are covered well without an excessive amount of zeros before or after the decimal point.

The 3ds Max system unit is set to centimeters as well. If you are using other units, 3ds Max will ask you when opening our files if you want to keep the units or convert to your settings. Please make sure that you adopt the units of measurement from our file to avoid conversion errors. Otherwise, you can end up with wrong values, such as for the intensity of light sources. Gamma Correction To be able to work correctly with 3ds Max, you should generally adopt the settings described in section 1.

Again, 3ds Max will ask you if other settings should be used. Here you can see all file links in the scene. Even if 3ds Max displays an error message when opening a file, telling you that a file was not found, you can use this dialog box to assign the correct path to that file. The files included on the CD are also in the most current format. You may need to register to do so.

The floor is covered by dark floorboards, the outer walls are exposed brickwork, and the internal walls are painted white. The large industrial windows let a lot of light into the room.

First we need to create a preset for linking the AutoCAD file. FIG 2. Enter the name acad. This increases the accuracy when reading the AutoCAD geometry, which affects above all curves.

You want only the geometry to be included. This specifies that the layer structure of the AutoCAD file is adopted and the objects are arranged according to this hierarchy. The great advantage is that you can assign materials and modifiers to a whole layer. To save the preset, click on SAVE. Link to the file ch02 From the subdirectory merge, choose the file ch02 mg. The visible image section is now marked with a yellow rectangle.

This gives you the option of using exposure parameters, such as exposure time or aperture, as analogs of photography. This enlarges the displayed image selection, which is often useful for indoor renderings, where the camera is usually positioned very close to the objects to be depicted, but at the same time you want to show a lot of the room.

Shift the camera left, below the rug. Adapt the height of camera and target as well. Set the camera to a height of about 80 cm and move that target so that a little bit of floor remains visible in front of the rug in the lower part of the picture; see Figure 2. To finish, apply the camera correction to remove perspective distortion. If you change the camera position, you need to apply the correction again.

Basic Settings for Texturing Before we can texture the scene, we need to make some preparations in order to reduce rendering time, to check geometry for errors, and to enable us to check the textures in neutral light. To save time in the following section, switch the layer 01 glass to not visible HIDE. The calculation of glass is very complicated; therefore, we will activate it only when we are ready for fine tuning.

Now all objects in the scene have a uniform material. This way, it is easier to assess newly created materials. Also, it prevents unwanted color bleeding and reflections. This replaces the default 3ds Max Frame Buffer. We will get back to this later. The default light is used only if no Global Illumination is used. Leave all other settings at the default. In the next step, we will determine the settings for indirect illumination, that is, the light calculation itself.

First we need to activate it. Choose both. We want to reduce the accuracy even more. Reduce the HSPH. This enables you to stop the rendering any time if an error occurs.

VRayLight Setup To illuminate the scene evenly, it is a good idea to choose a light source that emits only diffuse light. Now the light source is not visible in the rendering and the light color is determined only by the COLOR value. Now render an image. This takes us back to the linear workflow. V-Ray now applies gamma correction and the image appears lighter. The Viewport is now evenly lit again. We work exclusively with the V-Ray materials to achieve the best possible results.

Little tricks help us represent the result even more realistically. Choose an empty slot for each new texture and assign it a name. The building is a former factory; therefore, the outside walls are exposed brickwork. This is the standard V-Ray material. This corresponds to a neutral white, as mentioned previously for the test material.

This is a grayscale image, and bump-mapping makes lighter colors appear raised. This is generally recommended for any newly created material, as it lets you check the mapping. If you have many materials in one scene, you may need to deactivate the display again. All objects within the layer are now selected. The material is now projected three-dimensionally onto the object.

If you look at our picture of the bump texture, you will notice that it is very large. You can estimate the dimensions of the texture in the scene from looking at the brick size. You also need to take into account the picture's aspect ratio, to make sure that the texture does not get distorted. Render the picture to test the material. Brick, Exposed Brickwork The material of the exposed brickwork is the same as the one used before.

The image has of course the same size as the bump texture. The image will be blurred and details will be lost. This is recommended for almost any texture based on image material.

As the images used have the same size, the values are again identical. Floor, Parquet We will cover the floor with dark, solid parquet flooring. Now reflection comes into play and the time required for rendering the image increases noticeably. Name it floor parquet. This is a very dark image, so we will lighten it a little bit. You can vary this setting later if the result is too light or too dark. Consequently, we do not use a fixed gray value for the reflection FIG 2.

We provide the file wood s. As with the bump map, the same advice applies in this case: the lighter the gray value, the bigger the effect in this case, the reflection. Enter a value of 0. Go back to the top layer of the material. Reduce the value REFL. The softer the reflection, the higher the values need to be in order to avoid unwanted grain in the picture. You do need to think carefully about the value you decide to set, however, as this affects the required rendering time greatly.

A value of 16 should be okay for now. Use the file wood b. Picture Now we turn our attention to the nondescript rectangle above the couch.

We want to turn it into a work of art that makes the large white wall look less austere. We will base it on an abstract photograph by artist Anna- Dorothee Arnold.

The main focus is on assigning the material. First press the Z key to center the picture in every viewport. Apply it to the object. If you expand the modifier, it offers you five different options for altering the object. First, select all areas. As you can see, there is a list of ten currently unassigned materials.

Name it picture painting. This enables overriding properties such as global illumination GI color or reflection color with new materials.

We aim to achieve two things with this material. The picture is displayed on only the front of the picture frame, so the sides and back are white. But these white areas bleed black during the calculation of the indirect illumination. This darkens the wall area around the picture and the picture frame stands out more.

That seems like a lot of effort for such a small effect, but it is these sorts of details that make a good rendering. White Material, Matte Now we will do something less spectacular, just for a change. There are some objects in our scene, such as window frames and skirting boards, to which we will assign a simple white material. These do not need any reflection. This object is actually a group containing several objects with different materials.

We want to assign the current material to the lampshade. Select the lampshade and assign the material. Close the group again to avoid accidentally changing other objects in it.

White Material, Reflecting For other objects, we also need white material, but this time we want it to reflect—for example, shiny plastic surfaces or varnished wood. But we want the effect to be a little more realistic.

Next time you get the chance, have closer look at a cue ball or a white porcelain cup. The reflection on the curved surface increases towards the edges, whereas a small area in focus has almost no reflection.

This is particularly relevant for the two end tables. It enables falloff, in this case of the reflection, via a black- and-white gradient. The horizontal axis indicates the gradient from black to white; the vertical axis, the white content. At the moment, the gradient is linear, defined by two points at bottom left and top right.

Right-click on the bottom-left point FIG 2. Now drag the new control point to the bottom-right corner. The black content—that is, the areas without reflection—are now bigger, and the material reflects only on the edges, just as we wanted.

Select the two sockets to the left of the couch in any Viewport and also the two tables. Assign the material to these objects as well. Chrome We also have some pretty chrome objects in our scene. These reflect their surroundings almost entirely and create impressive light reflections. Drag the left point upwards, to a value of about 0. Compare your settings to those in Figure 2. Change the color in the Diffuse swatch to black. Assign the material to all objects except for the lampshade.

Using the icons in the main menu bar, you can limit the selection of displayed objects. In the selection list, activate the group table.

Now you can add your objects to the group table. Highlight the object table top and assign the material chrome. Now you can close the group. Do the same with the group table Leather The couch should have a black leather covering.

Once the sunlight is shining onto the couch, we want to achieve a nice soft sheen. Just as with white materials, we do not set black surfaces to pure black. Assign a Gray value of 8 to the amount of the reflection. Reduce the value for REFL. Now we want to add a slightly harder, more precise highlight.

Ceiling, Textured Plaster The ceiling has a textured plaster finish. We will create a white material, again with a bump map. Choose the file ceiling b. Choose BOX as the mapping method. A large flokati rug perfects the room composition and creates a cozy atmosphere. First, we will use a bump map to make the rug look more 3D, and then we will apply the displacement modifier.

The Fresnel reflection is relevant for glass. The default setting of 1. You can adjust this setting to achieve different reflections. But that is not necessary in our case. Select the layer and assign the material. Light Setup Now that we have assigned a material to every object in the scene, we can get into the light setup.

We are going to use only the V-Ray sunlight. A texture for the surrounding area—the sky, so to speak—is created automatically. You can change settings such as tint or atmospheric pollution. Place the target on the rug and drag the light source to the bottom right. Adjust the direction of the light so that the sunlight falls into the room diagonally from the right. There should be direct sunlight on the rug, about a third of the couch and the wall.

Compare your scene to that in Figure 2. V-Ray Rendering Settings We have nearly achieved our aim. Next, we will work our way step by step through the crucial V-Ray settings. Now our materials will really come into their own. But we also have to strike a careful balance between rendering time and quality of the final result. If you use a dual-core computer, the required time will double.

Keep an eye on the required rendering time. You may need to lower the settings a bit. Fine-Tuning We hope that you are already convinced by the result. Now we will refine the effect of the rug and the natural stone wall. Rug, Displacement The rug does not look like a proper flokati yet. We will fix this. Just as with the bump mapping, we need to assign a map to govern the displacement. It is the same picture as in the bump map. That is sort of the length of our flokati strands.

That should be enough. The rendering time increases noticeably again, as displacement is always very computationally intensive. To that purpose, we have already separated the visible wall surfaces in the AutoCAD file and placed it into the layer 01 wall brick displacement.

Generally, you should apply the displacement modifier only to objects visible in the picture, in order to keep calculation time and memory space as low as possible. The wall is a three-dimensional object, and we want the displacement to run around the edges of the wall as well.

The bathtub spans the width of the room and is immersed in light from the ceiling and at the head end. Here are the best answers to the question: Is there a free full version?

Autodesk 3ds Max Design tutorial. By right-clicking on the view cube, you can choose to see the 3d view either in isometric orthographic view or in perspective.

Select Free Light. When you select this for the first time, you will get a message pop-up. All Free eBbooks you can download here Introduction of 3d max 3ds Max, you can create 3D places and characters, objects and subjects of any type. You can arrange them in settings and environments to build the scenes for your movie or game or visualization. Iray is an intuitive interactive physically based progressive path tracing 3D renderer..

Thea for 3ds Max Thea Render: This manual covers all particular settings of Thea for 3ds Max dialogs, you can see some video tutorials about materials inside 3ds Max Using the Autodesk Civil Visualization Extension for 3ds Max Design: Autodesk 3ds Max Design helping streamline the process of passing in Railway section very versatile can be used for creating walls railways I would like to point out that techniques used in this tutorial are fully transferable to.

V Ray 1. Creating a dongle remote programming context. Instantly remove noise while rendering. Fully interactive production rendering. Tooltips are now in multiple languages. New automatic exposure and white balance. New, physically-accurate reflection model. Experience your project in virtual reality. Render massive scenes with proxy objects. Includes built-in SSS controls; popular for skin. Now with full support for GI, reflections and refractions.

Automatically analyzes your scene to optimize rendering. Efficient handling and support for Alembic 1. Import and render directly in V-Ray. Support for PBR shaders with new Metalness reflection controls.