3d tutors

Vray render settings for interior visualisation

2011-10-23T02:38:00.002+05:30

An advanced guide to the interior rendering of still images within Chaos Group Vray and Autodesk 3ds Max. Most will argue that there are no “universal settings” for Vray and I tend to agree. But there are steps you can take in order to get close to what you need for the majority of interior visualisation.

There are many other guides out there that offer similar and different approaches to Vray rendering but I have found some techniques to be somewhat confusing and hard to follow. This guide is a summary of all those different techniques, and it will give you rendering settings that work well for interior visualisation as well as the reasons behind them.

Before I start, I would like to point out that I will be using a linear workflow with a gamma 2.2 setup within 3ds Max and Vray. I strongly recommend setting this up as it will improve many areas within your workflow. You can find an easy to follow step by step guide here.

I also use the Vray physical camera, information on how to set the camera up correctly can be found here.

Please click on any of the links below to jump to a specific section within this post.

The initial set up

Anti-aliasing

Choosing the right anti-aliasing filter

Configuring the adaptive DMC image sampler

DMC sampler

Colour mapping

Adding environment light

Indirect illumination (GI)

Irradiance map

Light cache

The initial set up

In the Vray Render Setup go to Vray frame buffer and tick enable built-in frame buffer and leave the other settings as they are. The Vray Frame Buffer has some key additions which will help you finalise your render. At this point you can also tick split render channels and point to the location where you want to save your render passes.

In Vray Global Switches, under lighting, set default lights to off. This turns off the 3 point lighting system Autodesk 3ds Max has as default, now you have full control over all lights that you add to the scene.

You can also turn displacement off (Optional). Under the geometry rollout, displacement is ticked by default, rarely do I have a project where displacement is used so I turn this off. Another personal reason for turning this off is because I work largely with 3rd party CAD data, specifically Autodesk Inventor 3d files which I import into Autodesk 3ds Max. When working with this file type, leaving this on actually increases render times considerably.

It is very important to decide early on the render output size as this influences the time allowed for the project. What resolution do you or your client require? As this largely affects the render settings you decide later on, not matching your output resolution to your render settings can increase your render times unnecessarily. Typically I render out at 3200 pixels x 2400 pixels for A3 presentation, this is large enough to do any post processing, touch ups and if necessary, it can be adjusted for a larger print by lowering the DPI.

Anti-aliasing

Anti-aliasing works to correct aliasing artefacts which occur within the rendered image either by supersampling or undersampling of sub pixels. Aliasing artefacts are generally regarded as jagged edges which are derived from poor, insufficient sampling data. Vray has it’s own method of dealing with Anti-aliasing and this is controlled via the Vray image sampler (Antialiasing) within the render setup.

Here is a quick explanation of the types of image sampler, again I am not going to go in to much detail as this is not the main focus of this post but if you wish to know more, you will find an in depth explanation on image sampling here.

Fixed

This is a non-adaptable sampler that uses the simplest method of calculating. Subdivisions determine the number of samples per pixel, 1 sample is equal to 1 pixel (1×1). Whereas 4 samples divides the pixel in to 16 (4×4). The more samples per pixel given improves sampling and therefore results in a better quality render. Negative values are not something to be associated with this sampler.

For scenes that have blurry effects and/or detailed textures, the fixed rate sampler performs best but at the cost of a higher render time due to the amount of samples needed to get a passable result. Because of this it is not recommend for interior visualisation but at a low setting it can be useful for preview renders.

Adaptive subdivision

The first word “adaptive” means that this sampler can adapt to the scene via undersampling and oversampling. By being adaptive in a positive and negative way, Vray can calculate the number of samples needed for areas that are less detailed (undersampling) than more complex areas which require more samples (oversampling).

This method does not work well with glossy reflections and camera effects such as depth of field, but instead sits well with flat colour, non-reflective objects which are commonly used in architectural visualisation.

Adaptive DMC

In simple terms this is the next step on from the fixed sampler, with the addition of adaptability. It will take a minimum/maximum value of positive subdivisions and calculate the most effective number of samples needed for a given pixel. Much like adaptive subdivision, it will attend more to detailed areas of the scene and pay less attention to the lesser detailed areas.

It is the most beneficial solution for both speed and quality when calculating glossy reflections, depth of field (DOF) and so on. It will be the chosen image sampler for this topic.

Choosing the right anti-aliasing filter

In addition to the image sampler, the anti-aliasing filter takes the calculated sub pixels and averages out the colour of all samples that belong to that particular pixel. Each anti-aliasing filter available offers different calculations which in turn produce different results. For example, some filters create a soft blurred effect on the edges of your 3D geometry whereas others produce a hard sharpening, there are also filters that lie in between these two. As well as this you have the option to use no filter at all thus allowing you to add your own desired effect in post processing. This can be easily managed for a single image but for an animation it may prove to be difficult to adjust every frame to how you want it.

There is no right or wrong filter to choose, it’s down to personal preference. The two filters I commonly use are the Catmull-Rom or Mitchell-Netravali filters but keep in mind that when using a filter it does restrict the amount of post processing you can carry out on the final image.

Catmull-Rom

This is an edge enhancing filter, if you wish to carry out some internal sharpening in post processing then you will obviously over sharpen the already sharpened edges which can lead to increased moiré effect.

Mitchell-Netravali

A control between edge-enhancement and blurring so you can generate a happy medium between the Catmull-Rom filter and a blurry Area filter.

Configuring the adaptive DMC image sampler

Setting the min sub divisions to 1 and the max sub divisions to 16 will give you a good starting point and will almost get you to where you want to be in terms of quality. This will clear up the majority of noise sampling issues. You are basically stating that the minimum each pixel can be subdivided is 1 and the maximum a pixel can be divided is by 16.

Vray will not necessarily go all the way to dividing it by 16. It may decide that a maximum of 8 subdivisions for a particular pixel is adequate because of the effect the clr thresh has over this. The clr thresh determines how finely to look for contrasts in colour between pixels. By default the value is greyed out and set to 0.01, and in most cases this value is adequate.

If within your scene you are finding that you are still getting aliasing artefacts at these settings then by working on a rule of 8 you could up the max subdivisions to 24. At this point I would also recommend adjusting the clr thresh to a lower value of 0.005 so that it has a finer control over the contrast between pixels, un-tick use DMC sampler thresh and you will get the option to alter the clr thresh. By only increasing the max subdivisions to a higher value without decreasing the clr thresh you will be increasing the subdivisions unnecessarily which could lead to longer render times.

There may be a rare occasion where you will need further sampling which could see your max subdivisions be 56 and your clr thresh to be as low as 0.001. Only use these settings if you cannot get rid of any remaining aliasing artefacts. I never adjust the minimum subdivisions as it tends to lead to longer render times. I recommend leaving this value at 1.

You can pretty much clear up all your noise and sampling issues via image sampling. By tweaking the DMC image sampler you are 90% there before you even have to think about global illumination (GI). The ability to control the quality of global illumination is there to enable you to get even more out of Vray and to improve the quality of your renders. Some scenes will come out fine with just decent image sampler settings and low GI, it is purely down the complexity of your scene and the quality that you are happy with.

DMC sampler

In addition to the adaptive DMC image sampler there is also the DMC sampler in the settings rollout. No matter what image sampler you use, the DMC sampler will always be there because everything runs through it. By default, providing you have tweaked your clr thresh in the adaptive DMC image sampler rollout and set your min and max subdivisions correctly, you will not need to adjust the parameters within the DMC sampler.

But there may come a time when you have adjusted everything and still have unwanted artefacts. The settings within the DMC sampler are there so that you don’t result to cranking up the values from other settings and end up in a state of frustration. You can do some fine adjustments but they are only advised if your scene has unwanted artefacts.

Adaptive amount determines the point at which Vray decides if you need more samples to clean up a glossy reflection if the amount before it becomes adaptive is not enough. For example, if you have 100 samples to clean up a glossy reflection and you set your adaptive amount to 0.5, it will use a fixed amount of 50% and then decide how much of the remaining 50% it needs to fully clean up the glossy reflection. An adaptive amount of 0.7 means Vray will use a fixed amount of 30% and have the remaining 70% as adaptive samples. A value of 1.0 means Vray is fully adaptive, in some cases this is desirable but it is down to personal preference.

The min samples parameter is there for safety reasons; if your adaptive amount is set to 1.0, Vray sometimes cannot make the decision if it needs more reflection samples. You are making sure that whatever happens, the minimum number of samples for a glossy reflection, refraction etc. will be 8 or whatever you set it at before Vray becomes adaptive.

The noise threshold averages out the samples taken after the initial fixed samples. This setting is very important and should not be set to anything lower than 0.005 and not be any higher than its default value of 0.01.

Finally, the global subdivisions multiplier is very simple. It multiplies all the subdivisions within your scene in one hit. This includes light samples, material samples, motion blur and DOF. It is a quick way of increasing your subdivisions so that you don’t have to go through each light, material etc. and have to set the subdivisions one by one. For example, if your light has 10 subdivisions, by setting your global subdivisions multiplier to 2.0 your light subdivisions now becomes 20. If it is set to 0.2 it will lower your light subdivisions to 2.

Colour mapping

If you are following the linear workflow and gamma correction method then the only two settings you may or may not change are the sub-pixel mapping and clamp output tick boxes. Detailed information on both options can be found here. These two options help fix over bright areas within your scene that are greater than pure white (255,255,255). You can identify this problem when noticing white spots on your render that sometimes appear to have a black stroke around them.

In effect, your over-bright pixels will be clamped down to improve anti-aliasing. But if you choose to do this you will lose control over the exposure and the ability to adjust the range in post processing applications such as Adobe Photoshop as the render will no longer have a 32bit colour range.

Adding environment light

Whether it is a bright sunny day or a night time scene, I recommend always having the GI environment (skylight) override on. It is a good starting point for global illumination, and this doesn’t have to affect your scene hugely by using a high multiplier. Small values can really help clear up noise and other artefacts when creating low lit scenes as well as casting a subtle shadow. For a sunny day use a multiplier of 0.8 – 1 and for a night time scene you could go as low as 0.2.

Also keep in mind that the colour of the skylight can affect your scene, think sky colour when deciding on the tone/mood. A light blue would give the impression of a bright day whereas a dark aqua blue colour would best suit a night scene. You can also add in maps here, gradient ramps to show graduation in colour which simulates the sun rising or setting. The sky is always brighter at the horizon so a graduated colour would be more realistic.

Another method is to use HDRI images of skies or environments. This type of image allows for a greater dynamic range of luminance between the lightest and darkest areas of an image. In short, the image pops out more than current standard digital imaging techniques.

In order for the skylight to work indirect illumination must be enabled.

Indirect illumination (GI)

Vray has several approaches for computing indirect illumination, each have their own advantages and disadvantages. The two methods that are commonly used for interior visualisation still images are the irradiance map GI engine for primary bounces and light cache GI engine for secondary bounces.

The irradiance map works by caching some samples that the camera can see during rendering and then interpolating them for the rest of the scene, as the name suggests it is creating a map of samples that will be used to calculate the primary bounces. This method is very fast at computing compared to others such as brute force and it works particularly well on flat glossy surfaces.

Light cache is similar to the irradiance map in that it caches a map of light samples from the camera view and works efficiently with many types of light.

Both of these methods are not adaptive and only work well for still images, they are also resolution dependant. Using incorrect settings with the wrong resolution can lead to unnecessary longer render times. I will go through the necessary steps to make sure the correct settings are used depending on the output resolution.

Irradiance map

Firstly, the built in presets are BAD! These presets have been made for a resolution of 640 pixels x 480 pixels. Typically, neither you nor I render out images that are this low in resolution. As I mentioned earlier, I render out images that are normally 3200 pixels x 2400 pixels. But they can be used as a starting point, as a rule of thumb you can half the min/max rate when you double the resolution. So if you were to choose a high preset at 640 pixels x 480 pixels, that’s a min rate of –3 and a max rate of 0 and then doubled your resolution to 1280 pixels x 960 pixels you can reduce you min rate to –4 and your max rate to –1 and your quality settings will be the same. Lets increase the resolution again to 2560 pixels x 1920 pixels and you would have a min rate of –5 and a max rate of –2.

This will give you a total of 4 passes, each pass getting smaller, some passes may appear faster in certain areas because it is using samples from the previous pass from areas where there is less detail such as flat surfaces.

You can check tick show calc. phase so that you can see what the irradiance map is doing, there is nothing worse than leaving it to render and finding the quality is not as required because you couldn’t spot it in the early stages of rendering.

HSph subdivs control the quality of individual GI samples. Smaller values compute faster but may produce artefacts. Higher values produce smoother images at the cost of increasing the render time. A value of 50 is good for almost anything but in some cases where artefacts still appear, increase by multiples of 10 but try not to go above 100. When approaching 100, it may be best to find an alternative method of reducing artefacts either in the image sampler or light cache.

Interp samples controls how neighbouring samples are merged into each other. High values will blur more and appear smooth but you will lose GI detail, a value that is too low will make splotches appear but improve GI detail. A value of 20 is usually enough.

The threshold values also effect the GI detail, the two most important are clr thresh and dist thresh. These values determine the cut-off point between using a sample from the previous pass or to create a new sample. The smaller the value, the closer the cut-off point, meaning longer render times because it is creating more samples than is necessarily needed.

As mentioned above, less samples are used for flat surfaces, whereas more samples are used for corners or curved areas. Always leave the dist thresh at 0.1 but you can change the clr thresh to a higher value if you think there are too many samples and you want to reduce your rendering times. Only increase this value by .1, anything higher will produce unwanted results. So a clr thresh of 0.3, nrm thresh and dist thresh of 0.1 is good enough in most cases.

Light cache

This is used as a secondary bounce to spread light around your scene, not necessarily to improve detail which is controlled via the primary bounce. The main setting here is the subdivs parameter; this determines how many paths are traced from the camera. By default, 1000 subdivs are used and I would say this is a low – medium setting to use for interior visualisation. Somewhere in the region of 2500 – 3000 samples will certainly clear up a lot of sampling issues.

The sample size determines the spacing between each sample; smaller values mean samples will be closer to each other which in turn produce sharper detail but increases noise. Larger values smooth out the samples but at the cost of losing detail. Scale determines the type of units used for the sample size. The two types of units are screen and world.

Screen units calculates by making samples closer to you smaller which creates finer detail and samples that are furthest away from you larger, therefore creating less detail. This works particularly well with still images and animation for scenes that have a large ground plane.

World units means fixed samples throughout, but the samples that are closest to you will be sampled more often and appear smoother than samples furthest away from you which appear noisier. It gives a more even distribution of samples and is proven to work best with fly-through animations and small interior spaces but not so well with scenes that have distant objects as these can become very noisy. To compensate for the noise, the sample size must be smaller but at the cost of a longer render time so this is not advised.

For both unit types, larger samples will increase the chances of light leaks because light is spreading over larger samples. Smaller samples will help keep light leaking to a minimum but will increase noise.

Set the scale to world and change the sample size to somewhere within the range of 100 mm – 150 mm which works well in most cases.

If you decide that setting the scale to screen works best for your scene then leave it at the default value of 0.02, there is no reason to change this as light cache is being used as a secondary bounce and the default sample size is adequate. See here for further explanation and examples.

Tick show calc phase again to see what the light cache is doing during rendering. Keep all other settings as they are. Unless you are experiencing some really bad sampling issues with the light cache, I would avoid changing anything else. Finally the number of passes should be set to the number of processor cores you have in your pc.

The use light cache for glossy rays can reduce rendering times by quite a lot if you have heavy glossy reflections in your scene but it is very scene dependant, in some instances it can lead to unwanted artefacts. There are multiple steps you can take to avoid this happening. This parameter is optional though I recommend turning it on, especially if you are pushed for time and to work through some of the solutions outlined below.

Option A

If you have the latest version of Vray (which is 2.0), there is an added feature called retrace threshold which improves the precision of the global illumination and helps eliminate light leaks when use light cache for when glossy rays is on. See here for more information and examples.

Option B

Set the filter to fixed and adjust the filter size to two or three times the sample size. So if your sample size is 150 mm set the filter size to 300 mm.

Option C

Within a material, scroll down to the options panel and set treat glossy rays as GI to always. Also turn off the use light cache for glossy rays if you have it on. By doing this you are telling the material to always use the secondary GI engine to calculate the glossy rays, which in this case is the light cache. It basically does the same job as use light cache for glossy rays but you can specify which materials within the scene use this option. So if there is a material that has unwanted artefacts, you can have it so that it does not receive GI from the secondary bounce but from the first as normal by keeping the setting at only for GI rays.

Although the default values are the recommended, I will explain a little about some of the parameters. The filter determines how rays of light are interpolated from the samples within the light cache, this means the type of filtering a group of samples goes through as they are merged into either larger or smaller groups depending on their distance from the camera. Nearest looks up the nearest samples to a shaded point/coloured pixel and averages their value and is best suited for secondary bounces. Then the samples that have the same average value are grouped.

Fixed looks up and averages all samples from the light cache that fall within a certain distance from the shaded point/coloured pixel. Again, larger values blur the image whereas smaller values increase noise. This filter type is best suited if the light cache is set to primary GI engine for test purposes.

The interp samples controls how many of the neighbouring samples are merged together from the light cache. Pre-filter is one of those options that is great if you are really pushed for time and you need to get your work out but you still have some artefacts that won’t go away. Turn this on and hope it fixes your problem. It basically smoothes out the result and you end up losing light and shadow definition if it is set too high. If you do turn pre-filter on I suggest setting it to around 100 samples, this will take a load off the calculation that is done during render time but as I have mentioned, the result may be less than satisfactory. If you set the samples too high then your rendering time will increase dramatically.

Conclusion

As I mentioned early on, this is a work flow that I use 99% of the time for my still renders and it suits the type of work that I create, rarely do I need to tweak the settings. Hopefully this guide will have given you a solid explanation of the areas you must attend to when working on an interior scene and ways to overcome problems if you happen to run in to any.

If you have any questions about this post feel free to leave a comment and I will do my best to answer as soon as possible.

MintViz is the owner and author of this content. Please click the following link to be redirected. http://www.mintviz.com/blog/vray-render-settings-for-interior-visualisation/#ixzz1bXz2I0Kd
Under Creative Commons License: Attribution Non-Commercial

HDRI exterior lighting with Vray

2011-10-23T02:37:00.001+05:30

An outline of the techniques used for rendering an exterior scene using Autodesk 3ds Max and Chaos Group Vray. A HDR image will be used to light and reflect the environment and VraySun as the direct light source for a typical sunny day scene.

HDRI stands for high-dynamic-range imaging, which is a 32bit float image format that allows a greater dynamic range of luminance between the lightest and darkest areas of an image.

A HDR image holds enough information to light a scene, where as images such as JPEGs do not hold enough information to light a scene successfully. HDR images can produce good results, but the intensity is still not enough to give realistic hard shadows that would come from the sun. By adding in VraySun as a direct light source, the two methods combined will allow for easy control over time of day and various types of weather conditions.

Before I start, I would like to point out that I will be using a linear workflow with a gamma 2.2 setup within 3ds Max and Vray. I strongly recommend setting this up as it will improve many areas within your workflow. You can find an easy to follow, step by step guide here. This tutorial will not go through the Vray render settings, but you can find a detailed explanation of how to set up the Vray renderer here.

Finding the right HDR image

The choice for time of day and weather conditions will determine what HDR image is required. Within this tutorial it will be a sunny midday scene with minimal cloud. There are various shapes and sizes of HDR images out there on the web. You will need to make sure that the HDR image is a 360 degree spherical image and the higher the resolution the better. When a spherical HDR image has been applied as an environment, Autodesk 3ds Max wraps the HDR image around a sphere. None spherical HDR images will not wrap around the sphere correctly and produce incorrect results. Resolution matters only if you are planning to use the HDR image as a back plate. If the HDR image is only to be used to light a scene, you can get away with a much smaller resolution.

You would want a HDR image that has maximum sky and a hint of a horizon. Typically a HDR image is pure black under the horizon and therefore will not cast any light. In theory it will also be covered up by geometry.

You can also find HDR images that are pure sky with no horizon. This type of HDR image allows for maximum light, there is no pure black present.

Aligning the HDR image in the viewport

A 360 degree spherical image has a narrow aspect ratio. By default the 3ds Max viewport is 4:3 (1.33) which is a standard resolution of 640 x 480 pixels. As a result of this, you will not be able to see the full height of the HDR image no matter what aspect ratio you choose and this is due to the nature of a computer screen. The majority of exterior visualisations are viewed from a person’s eye line. If the sun is high up in the sky, it will not be visible within the viewport.

Start by setting your 3ds Max standard environment to a VrayHDRI.

Next drag and drop the material from the environment rollout to an empty slot in your material editor. Choose instance and then load in your HDR image. Here you can select spherical for the mapping type.

Go to views, viewport background and tick use environment background and display background. Under apply source and display to change the view type to all views.

HDR images are typically over exposed and may appear blown out in your viewport. To fix this, lower the overall multiplier so that you can clearly make out brightest spot within the HDR image, in this case it is the sun with no clouds. The render multiplier is there if you only wish to affect the map upon render time and not in the viewport.

Next add a Vray physical camera to your scene and point the target up in the sky. Move around the viewport and locate the brightest spot within the HDR image. Ideally the brightest spot needs to be in the centre of your viewport. You can leave the Vray physical camera settings at their default. Do not rotate your HDR image using the horizontal rotation in the material editor; this will need to remain at 0.0.

Once you have aligned the Vray Physical Camera to the bright spot within the HDR image, change the HDR image overall multiplier back to 1. Render your scene using the Vray physical camera with everything hidden so you only render the viewport environment. Once complete, within the Vray frame buffer click duplicate to Max frame buffer and leave it open. This is used as a reference so you can check that the VraySun lines up correctly.

Adding the VraySun

Add a Vray sun to the scene and choose yes to adding a VraySky map to the environment when prompted. This will replace the current HDR image in the viewport. Again, the VraySky map may be over exposed but there is no need to view the VraySky within the viewport, so turn off the viewport background.

Using the align tool, align the VraySun target to the Vray physical camera and then align the Vray physical camera target to the VraySun. The height of the VraySun will vary depending on where the bright spot is within the HDR image. The higher the VraySun the brighter the VraySky, this simulates the time of day. As an example the height of the VraySun for this scene after matching it to the HDR image is roughly 50 times the height of the building.

Render only the environment background using the Vray physical camera. If your sky is over exposed then adjust the f-number of the Vray physical camera to something like 12. Compare the rendered VraySky to the previously rendered HDR image. Both suns should be roughly in the same place within the image.

You may need to adjust the size of the sun within the VraySun parameters. Adjust the size multiplier but keep in mind that the larger the sun, the softer the shadows. A range of 2 – 10 is adequate. All other settings can remain at their defaults.

Depending on the scene, there are multiple options available for the type of sky used with the VraySun.

Preetham et al

This is typical blue sky that has a visible atmospheric haze.

CIE Clear

Again a typical blue sky, but it has less atmospheric haze which tends to give a deeper more saturated blue

CIE Overcast

A very diffuse and desaturated sky that you would typically get in overcast weather conditions. You would normally use very soft shadows, which are controlled by the sun size.

Adding environment light

Place a VrayLight in to the scene and change the type to dome, set the intensity multiplier to 1 and under texture, drag and drop the HDR image from the material editor and chose instance. Make sure the Vray light dome is perpendicular to the ground plane.

If you want the HDR image to be visible when rendered, keep invisible un-ticked and if you plan to add your own sky in, post production then tick invisible. The VraySky will then be the background for the render; this can be removed via an alpha mask whereas the HDR image cannot.

The resolution and the adaptiveness of the texture affect the way shadow rays are generated towards bright area of the HDR image. Increasing the resolution requires more RAM and slows down the render times slightly, but it will make the adaptation follow more closely with the intensity of the HDR image. Within the majority of scenes this goes unnoticed, so the default resolution and adaptive amount is adequate.

Setting up the multipliers

In the material editor, make sure the HDR image overall multiplier is set to 1. Also set the VraySun multiplier to 1. You can control the level of intensity via the Vray physical camera settings. Keeping all multipliers at 1 and the default settings for the Vray Physical Camera is a good starting point. Then adjust the exposure to suit your scene. You can turn off the Vray dome light and complete a test render to see the effects of the VraySun and vice versa. By doing this you can see how one is affecting the other and then find a healthy balance between the two.

Making final adjustments

Remove the VraySky from the 3ds Max standard environment as this is no longer required because the scene will be lit via the Vray dome light. It was only used to make sure that the VraySun was aligned to the HDR image correctly and was the right size.

Next within the Vray physical camera settings, change the white balance to daylight as this will add a colour filter to the render. This is not a requirement, you can choose to have a neutral colour balance of white if you prefer.

You may need to increase the sampling subdivisions of the Vray dome light. If your shadows are very noisy, increase the subdivisions by multiples of 8 until you are satisfied with the results.

The resulting render has a visible reflection within the windows. The Vray dome light does two things, illuminates the scene and adds a reflective environment. There is no need to add a reflection map in the Vray GI environment (skylight) override.

Rotating the VraySun and HDR image

At the moment the sun is to the right of the building. Obviously if you were to move the VraySun to front or the left side you would want the HDR image to rotate also, so that the two suns stay together. This can be achieved by wiring the horizontal rotation of the HDR image to the Z rotation of the Vray dome light.

When rotating HDR images, they are rotated by degrees. Because the 3ds Max rotation is also in degrees, wiring HDR image and the Vray dome light together is very straight forward. There would only be any complication when trying to wire an image that uses U and V as rotation, which is essentially X and Y coordinates. If for example you use EXR images instead of HDR images, you would need some method of converting the different forms of rotation.

Hide everything within your scene except the VraySun and the Vray dome light. In the top view, position the Vray dome light half way between the VraySun and its target, it doesn’t have to be exactly to centre.

Using the select and link tool, select both the VraySun and its s target and link them to the Vray dome light. Test that the link was successful by rotating the Vray dome light on its Z axis, the VraySun and its target should rotate around the Vray dome light. If you have rotated the Vray dome light, undo this step as it needs to be in its original position.

Still in the top view, select and right click the Vray dome light and choose wire parameters, transform, rotation, and then Z rotation.

A wire will appear prompting for you to select an object so select the Vray dome light itself. Then choose object (VrayLight), texture, and then horizontal rotation.

In the new pop up window, choose one-way connection: left parameter controls right parameter. In the expression window put a – (Minus) in front of Z_Rotation. This is to make both the Vray dome light and HDR image rotate in the same direction. Otherwise the Vray dome light will rotate in a clockwise direction and the HDR image will rotate in an anticlockwise direction. Press connect and close the window.

This allows you to control the rotation of the HDR image shown within the material editor by rotating the Vray dome light on the Z axis within the viewport. Now the position of the brightest spot within the HDR image will follow the VraySun. You will notice that you can no longer rotate the HDR image by horizontal rotation within the material editor, this is now greyed out. You can see the results by rotating the Vray dome light and watching the HDR image within the material editor rotate in real time.

MintViz is the owner and author of this content. Please click the following link to be redirected. http://www.mintviz.com/tutorials/hdri-exterior-lighting-with-vray/#ixzz1bXygcUuO
Under Creative Commons License: Attribution Non-Commercial

Rendering an exterior at night in 5 simple steps, using vray

2011-10-23T02:32:00.001+05:30

In this tutorial I will go through all the steps that we usually do when I’m asked to do an “exterior night-rendering”.
In order to follow it you need to know the basics of 3ds max and vray.

1) Natural light
The first step is to choose a background image of a sky.
For this tutorial I have used the image bellow:

Now put the desired image into the environment slot (3d max’s environment slot, not in vray’s).
In the vray settings, check global illumination, select lightcache for secondary bounces, irradiance mapfor primary (you could also use brute force, but it will take longer to render).
In the global switches tab, make sure that “default lights” is unchecked.

Last but not least go to the vray environment slot and check “GI environment (skylight) override. In the slot right beside put a gradient (dark blue in the upper slot, a lighter blue in the middle and a pale orange or purple in the lower position)

If you hit render, you will end up with something like this:

2) Adding artificial lights inside
As you notice, it is starting too look like a night rendering, but at the moment it lacks artificial lighting so the spaces look deserted.

We will begin by adding vray lights inside the house, to simulate artificial lighting.
The important thing to keep in mind at this point is that artificial light can look different from one case to another depending on many factors (intensity, color temperature, size of the space that is actually lit, etc.) so you shouldn’t put a light source and instance it all over the place. Be creative and play with parameters like intensity multipliers, filter colors, etc.
For this scene I have used spherical vray lights with intensity multipliers varying from 1 to 2, filter colors with orange, yellow and blue tints and different a radius for each one.

If you hit another render you will end up with something very similar to the following.

3) Simulating artificial light “spreading” from inside
Now we have light inside the house, but the light doesn’t seem to “come out” enough. Therefore we will place vray planar lights just in front of the windows, pointing towards the exterior, like in the following image.

Hit another test rendering and you should have something similar to the render bellow:

4) Adding artificial lights in the courtyard
We are getting closer. What doesn’t look right at the moment is the fact that the courtyard is too dark. Depending on your scene, you may have exterior lighting fixtures (like the lighting posts that I have in this scene), or even exterior spotlights that illuminate the building. If you don’t have specific instructions for these, you could place lights somewhere behind the camera, so that you give the impression that the space is receiving illumination from neighboring sources (street lights, car lights, or even other buildings).

In this particular scene, adding lights to the lighting small garden lighting posts should be enough.
First I have assigned them a vraylight material with a gradient map; than I have placed vray spherical lights over each one. For each vray light in the courtyard I have excluded the lighting post bellow it. This is kind of a fake, but in the end it looks right, and that’s all that matters. (If you want to do it more “accurate” check out the lampshade tutorial as well).

Hitting a test render at this stage you should obtain something like this:

5) Photoshop touches
a) Add a subtle glow effect to the visible artificial light sources (in this case, the small lighting posts). You can do this using the diffuse glow filter.
b) In a new layer, add a linear gradient from bottom to somewhere at the middle from orange to transparent. Put the layer on “color” and play with the transparency until you like the result. If you are feeling creative, you can also try some subtle brush strokes, with different tints of red, yellow or orange to create diversity.
After having done all of the above, here is the final image.

(CLICK THE IMAGE TO VIEW A HIGH RESOLUTION RENDERING)

Conclusion
Rendering an exterior at night can be very tricky. The best approach in my opinion is to take it systematically by starting with natural light, and adding artificial lights one by one during the process. Otherwise, you may find yourself lost not knowing where you did something wrong.
I can not stress enough how important is to have a few examples of professional architectural photography at hand and look at them at every stage of the process.
Here are some general guidelines that I always keep in mind when I’m doing a night rendering:

1) Even at night time the skylight still casts a subtle shadow.
2) Never make the sky 100% black; it should have either a blue or a purple tint.
3) If there are no artificial lights on the ground, the sky will always be brighter and the ground would “borrow” a bluish or purple tint from the sky
4) The lighting is a mixture of dark purple/bluish tints at the upper part and orange/yellow on the ground and on the building(s). That is because the natural light blends with artificial light sources placed on the ground.
5) The colors are more saturated in a night rendering that in a daytime one.
6) Artificial light sources have a subtle glow around them.
7) If you have “moving objects” in your scene, don’t be afraid to use motion blur. If you know a bit about photography, you are aware that at night time photographers use high exposure times when they target architectural subjects; this causes all moving things around (cars, people, etc) to appear with motion blur.

If you think that I have missed something, feel free to post a comment and let me know.

Tips For Improve Your Renders

2011-10-23T02:26:00.001+05:30

Many people write me emails asking how they can improve their renders, visually and by reducing the render time, it has to do with good optimization of geometry, materials and textures, then I will give some basic tips to help optimize your renders.

1 .- 3D Geometry: We must try every model has the minimum number of polygons, because if the 3d model has a lot of unnecessary poligons the render time will increase.

We need to avoid errors in our gemetry, like opened edges, overlapping polygons, try to keep your models as clean as possible with regard to modeling.

2 .- We need to try to get the texture size is suitable for the size of final render, for example:

If you download a 3k wood texture, but only use a small-scale model in your scene will be overloading the renderer with a texture that is not necessary to be so much resolution.

look this example in this render fro this scene:

We need to have in mind that we need to use Bump and specular maps for add more realism to our materials because in reality every object has relief and reflectivity. If you want take a look to this tutorialabout creating your custom bump and specular maps with Adobe Photoshop

4 .- Light: This is very important, I personally always try to use real physical system lighting like Daylight System and Vray Sun and Sky, HDRI, and always i use photometric lights with IES profiles, this helps the realism of scene because they work with real lights algorithms, and similarly calculated the light in your scene.

Remember to always work on Gamma 2.2 or LWF in your scenes, it helps that the colors are displayed correctly in 3ds Max, you can see an example by clicking here.

Scale: The scale is vital to get good renders, usually my Max unit setup is in cm, so I have more precision in my models, this also helps in the calculation of light and specular.

Render Setup: Some important tips, if you work with Vray, for the antialiasing I recommend using as Adaptive DMC but for best results in scenes with many details and containing many blurry reflections, Fixed is better, because it works better with this type of image, the number of subdivisions is recommended not less than 4, but for best results 6 would be fine.

For indirect illumination use Irradiance Map and Light Cache because it is the fastest time to value, but if you want more detail you can enable Detail Enhancement in the Irradiance Map setup and enable Pre-filter in Light Cache, this will help reduce the noise in your renders.

If you want you can download for FREE this render preset it is optimize for decent renderings, not high quality but nice quality with a decent render time, click here to download

When using vray lights for subdivisions use 15 – 25, this will help to have decent render time, also have pending always use Vray physical camera, this will help them control how light behaves in your scene and have more control over it.

And for having more control of the white balance in your scene try to work with Kelvin temperature, here is a color temperature table for better reference

I hope this little article helped, more articles will soon go up every day to help you improve your renders.

Regards

Sujji

Studio Lighting Setup with 3ds max and Vray

2011-10-23T02:25:00.001+05:30

So, let’s get started!!!

1.- The first thing that we are going to do is set our working space in linear workflow, this is for to work with a 2.2 gamma correction, this is good for to have our colors showing properly and the scene will be more brighter without using more fill lights, for more info you can make a search in google, so make in the menu make click in Rendering>Gamma/Lut Setup and change all the values like i show you in this screenshot

2.- Create a cylinder with these settings

3.- Now convert this cylinder to an editable poly, right click>convert to>convert to editable poly and delete the top polygons of the cylinder, you need to have something like this

4.- Go to the modifier panel, and make click in modifier list and select the shell modifier, with this modifier we are going to add more thickness to the the cylinder, change the parameters of Shell to these:

5.- Now add a Turbosmooth modifier for to have a more smooth surface, make click in modifier list again and select turbosmooth and add 3 iterations and check Isoline Display

6.- Now we have to add a material for the background of our studio lighting set up, this can be any color that you want, but i will use a light grey color in this case, press M in your keyboard and select any material slot and make click in Standard and select Vray Mtl

7.- Now assign the material to the cylinder and select the color that you want, i will stay with the default grey of the material, it is time to create our lights, i will use 3 vray plane lights, one in the left, one in the right and the last one in the top, this is how it looks with the 3 lights in the scene.

And the settings for each light:

If you see i am not using a color for each lights, i prefer to use temperature, and the value is 5500, this is the value in the real studio lights, but you can use your own color, but if you use temperature, this is in kelvin, more higher values are more cold (blue) and more lower are heat (red), so you can play with this.

8.- Now add a vray camera to the scene with the target in the center of the scene, with these settings

9.- We are almost done, see these settings is for to get started, you will have to change it depending of your model of the look that you are looking for, but it is really nice setup for almost everything, this is the render setup

It is time to make a test, i will use a model that i have create before, but if you do not have something to test you can download this chair that i modeled for to give it free here in the blog.

This is the render, no post production, just the raw render.

And with this we are done! if you want you can download the scene and make some test, i hope that you learn something from this tutorial and if you like it, please comment, share it, or subscribe to this blog.

Click here for to download the scene files!

Vray Tutorial – Lighting & Setting up a Realistic Render with Vray and 3ds max

2011-10-23T02:24:00.000+05:30

In this tutorial you will learn how to lighting and setting up a realistic render with vray 2.0 and 3ds max 2011, also how to use ies lights, setting lighting with vray sun and vray sky and using vray physical camera, and see how you can set up your render.

Soon i will upload a tutorial about modeling and unwrapping realistic furniture with 3ds max, zbrush and photoshop, but this times is just lighting and rendering.

This is the final render of this tutorial….

To start i have used vray plane lights, vray sun & sky, photometric ies lights and vray camera, i used 3 plane lights for each window, all the lights have the same settings, you can see the settings in the right panel, this is how it looks from the top view

Also i have used vray sun and sky, and this is the position for vray sun and the settings

Now this it is time for the vray camera, and this is the settings of the vray camera.

In the indoor lighting i used photometric ies lighting with vray, i did not used the vray ies because the standard photometric lights has more customizable settings/parameters, all the photometric lights have the same settings, this is an screenshot of all the ies lights in the scene and the settings.

If you want to download the ies file that i used in this scene click here

And this is how the ies looks like

We are done with the lighting part here, let’s see the render settings, i usually use brute force, but in this time i was looking for some fast render times, and irradiance map + light cache is more faster than light cache + brute force, and this is the the render set up with vray

( remember you can OPTIMIZE your render settings, i did pay too much attention to this because i have a render farm, but you can have the same quality or better with lower subdivisions )

If you want to speed up the render time using this setting, go to the Settings tab, and in the Global Subdivision Multiplier change the 3 for 1. In photoshop i did a color correction, chromatic aberration and sharpen, nothing more

I hope that you have learned something and please if you have any question, just comment

Some other renders from this project

Vray Tutorial for Rendering Sunset Lighting Interior

2011-10-23T02:23:00.000+05:30

In this tutorial you will see how to set up a sunset lighting using vray sun & vray sky, creating sunset image with vray can be really easy because when you use vray sun you just to put this light in the same position of the real sun, so let’s get started

1.- I have used more lights in the scene so we can have a nice lighting, and this is the setting for the windows lights:

2.- Also i used two vray sphere lights for the lamps, and this is the setting:

3.- Now let’s move on to the the settings and position of the vray sun, this is the light that will make your scene looks like a sunset:

4.- And the vray camera is crucial for this render and here is the settings:

5.- In this time i am using for the rendering setup the brute force solution, it is more slow but you will have a more sharpen render but a little bit noisy, check the settings:

( remember you can OPTIMIZE your render settings, i did pay too much attention to this because i have a render farm, but you can have the same quality or better with lower subdivisions )

And that’s all friends, just a note i did some color correction in photoshop, added glow, chromatic aberration and sharpen filter, i am preparing a more detailed tutorial about post production in photoshop, keep in touch…

Exterior Rendering Tutorial with Vray 2.0 and 3ds max 2011

2011-10-23T02:21:00.001+05:30

In this tutorial you will learn how to set up an Exterior lighting using Vray sun & Sky, how to configure the vray camera and the render setup.

You can download this Residential building from the same page that i did, click here for download de 3d model of this building

1.- For the Sun solution how i said previously i used vray sun and this is the parameters and the position in the scene:

If you see the sun is between some tree for to make a more interesting lighting around the building.

2.- Now i am going to show the settings for the vray camera:

The render settings:

( remember you can OPTIMIZE your render settings, i did pay too much attention to this because i have a render farm, but you can have the same quality or better with lower render settings )

Post production was working more with Curves in Photoshop, you can play with the RGB channels for to find a good color looking for your render, also i have added a lens blur filter, smart sharpen and chromatic aberration.

I hope that you like it and see you in the next time.

Modern Lamps - 3D Models

2011-10-12T16:59:00.000+05:30

Modern Lamps - 3D Models
113 Models | .max | + Textures | V-Ray | 1.25 Gb

Download Provider - Heroturko.com

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Archmodels Vol 84: 30 military 3d models

2011-10-12T16:58:00.001+05:30

Archmodels Vol 84: 30 military 3d models

format max | 30 models | textures | 479 Mb

Download Provider - Heroturko.com

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==============================

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3D models models of airplanes and airport equipment design

2011-10-12T16:44:00.002+05:30

3D models models of airplanes and airport equipment design
Quantity: 20 | .max | 1.11 Gb

Download Provider - Heroturko.com

Evermotion Archinteriors Vol.23 - Interior Scenes for 3D Max

2011-10-12T16:44:00.000+05:30

Download Provider - Heroturko.com

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Cars Vol.2 - Evermotion HDModels

2011-10-12T16:43:00.002+05:30

Cars Vol.2 - Evermotion HDModels
SIze: 1 GB

Download Provider - Heroturko.com

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=============================

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Sports Equipment 3D Models

2011-10-12T16:43:00.000+05:30

Sports Equipment 3D Models

40 models in max format | V-Ray | textures | 570 Mb

Download Provider - Heroturko.com

DOWNLOAD:
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http://www.filesonic.com/file/2520720271/archmodels.sports.equipment.part2.rar

==============================

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Evermotion The Archviz Training DVD

2011-10-12T16:42:00.002+05:30

Evermotion The Archviz Training DVD
book in flash format | videotutorials | scenes, textures etc. | 8.86 Gb

Download Provider - Heroturko.com

Learn how to properly use vray and start creating professional vizualizations. This DVD with over 4,5 hours of narrated tutorials will teach you how to do it. DVD contains two complete architectural scenes (for 3d studio max) with all the materials, cameras and light setup, as well as many After effects and Photoshop project files.

Software & formats:
V-ray - 1.5 SP5 or higher
3ds Max - 9 or higher
After Effects - CS4
Photoshop - CS2

DOWNLOAD LINK HERE

Filesonic

Wupload

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DREAM LAND Bedroom 3D models

2011-10-12T16:42:00.000+05:30

Dream land furniture models
57 models in max format | 248 Mb

Download Provider - Heroturko.com

DOWNLOAD LINK HERE

Filesonic

http://www.filesonic.com/file/2527252111/dream_land_furniture_models.part1.rar
http://www.filesonic.com/file/2527282151/dream_land_furniture_models.part2.rar

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3D Models Restaurant Tables and Chairs

2011-10-12T16:41:00.003+05:30

3D Models Restaurant Tables and Chairs
.max | 120 models | textures | V-Ray | 1.12 Gb

Download Provider - Heroturko.com

DOWNLOAD LINK HERE

Filesonic

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Luxury Decor 3D Max collection

2011-10-12T16:41:00.001+05:30

Luxury Decor 3D Max collection
Max + textures | 4.35 GB

Download Provider - Heroturko.com

DOWNLOAD LINK HERE

Filesonic

Wupload

HQ vol.1 Plants for Cinema4D

2011-10-12T16:40:00.002+05:30

HQ vol.1 Plants for Cinema4D | 2.63 GB

Download Provider - Heroturko.com

Format: lib4d
Quantity: 168 detailed models
Catalogs: prisutstvyut
Compatible versions of c Cinema 4D: tested on versions of R11, 5; R12
The presence of textures: no, not everything must be automated
Availability isochnikov light: No
Render: Models are configured to render in V-Ray
VrayProxy: their pens

Download Link

Filesonic

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Opended Living Room Interior Scenes 3d Models format max

2011-10-12T16:40:00.000+05:30

Opended Living Room Interior Scenes 3d Models format max | 9 scenes | V-Ray | textures | 684 Mb

Download Provider - Heroturko.com

DOWNLOAD:

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TeelanModels Day & Evening Building Scene

2011-10-12T16:39:00.001+05:30

TeelanModels Day & Evening Building Scene format max | VRay | Postprocessing PSD | textures | 559 Mb

Download Provider - Heroturko.com

Recommend Buy FileSonic Premium Account For Fastest Download

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Dining Room 3DMax Interior Scenes

2011-10-12T16:38:00.001+05:30

Dining Room 3DMax Interior Scenes
format max | textures | V-Ray & Scanline | 341 Mb

Download Provider - Heroturko.com

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Creating Realistic Eyes in Photoshop and 3ds Max

2011-05-29T11:43:00.000+05:30

videos in this course

Title	Run Time
1. Introduction and Project Overview	1 min. 9 sec.	Details »
2. Creating UV snapshot for the eyes within 3ds Max	6 min. 41 sec.	Details »
3. Starting the iris shape in Photoshop	8 min. 54 sec.	Details »
4. Building the first layer of iris fibers within Photoshop	9 min. 18 sec.	Details »
5. Painting additional iris details within Photoshop	13 min. 9 sec.	Details »
6. Altering coloration of various iris layers	7 min. 10 sec.	Details »
7. Viewing initial eye texture within 3ds Max	10 min. 30 sec.	Details »
8. Painting eye veins within Photoshop	6 min. 35 sec.	Details »
9. Finalizing eye texture within Photoshop	4 min. 49 sec.	Details »
10. Creating a realistic eye material within 3ds Max	8 min. 44 sec.	Details »
11. Giving the eye a wet appearance in 3ds Max	8 min. 49 sec.	Details »
12. Simulating wet tissue in the corner of the eye	6 min. 46 sec.	Details »
13. Making final alterations to our scene within 3ds Max	6 min. 49 sec.	Details »

Creating A Nuclear Explosion In 3ds Max And After Effects

2011-05-08T15:49:00.000+05:30

Video

Download

Note: click the ‘Monitor’ icon to view tutorial in full-screen HD.

Create An Animated Pinboard Effect In 3ds Max

2011-05-08T15:48:00.001+05:30

Scene setup

Step 1

Create a “Plane” in the “Front” Viewport with the following parameters. As you can see, I set the “Length Segs” to 50 and the “Width Segs” to 80, to keep the polygons square. Always rename your objects to keep everything organized. So change the name of the plane to “Displacement Plane”.

Step 2

Add a “Tessellate” modifier to the Plane, to create the pattern shown below. Set it to “Operate on: Polygons” and change the method to “Face-center”.

Step 3

Now, add a “Displace” modifier. In the “Displacement” group, set the “Strength” to 80. Under the “Map” group, add the “Human” image sequence to the “Map” slot. To smooth the plane a bit, set the “Blur” to 0.05. This plane will be used to create the “Pinboard” effect.

Step 4

Next, we’ll create a low poly pin object. In the “Front” viewport, create a “Sphere” with the following parameters. “Radius” 15.0 and “Segments” 12.0.

Step 5

Convert it to an “Editable Poly” (Right Click > Convert To Editable Poly) and then delete the following faces.

Step 6

Create a “Cylinder” with the following parameters, convert it to an “Editable poly”, then delete the “cap” faces.

Step 7

Move the cylinder into place as shown, to create the pin object.

Step 8

Then attach the sphere to the cylinder, using the “Attach” option.

Step 9

In the “Hierarchy” tab, set the Pin’s “Pivot Point” to the center of the object.

Step 10

Save your scene. Next, we’ll start to create the “Pinboard” effect.

Method 1: Creating the Pinboard using Scatter

Step 1

With the “Pin” object selected go to the “Command panel > Create > Compound Objects > Scatter”.

Step 2

Once you have clicked the “Scatter” button, go into the “Modify” panel to access its properties. Click the “Pick Distribution Object” button and select the “Displacement Plane” object.

Step 3

Under “Distribute Using:” select “All Vertices”. As you can see, the pins are too large and stay perpendicular on the “Displacement Plane”.

Step 4

In the “Source Object Parameters” group, scale down the pins using the “Base Scale” spinner, and then under the “Distribution Object Parameter”, disable the “Perpendicular” option.

Step 5

In the “Display” rollout, enable “Hide Distribution Object”. Now everything looks fine, but you can’t work with this huge number of pins in the viewport. Use the “Display” spinner to reduce the amount of the pins displayed in the viewport to 5%.

Step 6

Don’t forget, with “Scatter” you can save a preset and reuse it whenever you want. And with that, we’re finished with the Scatter method!

Method 2: Creating the Pinboard using Particle Flow

Step 1

Go to the “Command panel > Create > Particle Systems > PF Source”, and create a “Particle Flow” icon. Set the “Viewport Quantity Multiplier” to 100%, to see all the particles in the viewport.

Step 2

Open the “Particle View” window by clicking on the “Particle View” button or by pressing “6″ on your keyboard. Then delete the following operators, “Position Icon”, “Speed” and “Shape”.

Step 3

In the “Display” operator rollout, set the “Display Type” to “Geometry” to see the particle’s shape in the viewport.

Step 4

Add a “Position Object” operator to our current Event by dragging it out from the “Depot” at the bottom of the Particle View window. Under “Emitter Objects:” click the “Add” button, and add the “Displacement Plane” to the list. Next, enable the “Lock On Emitter”, “Animated Shape” and “Subframe Sampling” options. Under “Location:” select “Vertices” for the distribution method.

Step 5

Now, we’ll assign the “Pin” shape to our particles. Add a “Shape Instance” operator to our Event. In the “Shape Instance” rollout, select the “Pin Object” from the viewport, and then scale it down to 24%.

Step 6

Change the particle’s “Orientation” from “Random 3D” to “World Space”, with 90 degrees on the ‘X’ axis.

Step 7

Before setting the particle amount, we need to check how many vertices the “Displacement Plane” has. Click on the “+” sign (or “Right Click” on the viewport name) in the upper left corner of the viewport, then click on “Configure…”. In the “Statistics” panel, enable “Vertex Count” and choose to view the statistics only for the selected objects.

Step 8

Press the “7″ hotkey to see the statistics in the viewport. As you can see the “Displacement Plane” has 8,131 vertices.

Step 9

In the “Birth” operator, set the “Emit Stop” to 0, to generate all the particles on the very first frame. Set the “Particle Amount” to 8500, to be sure that the particles cover all the vertices. As you can see there are some gaps between particles, because multiple particles can be positioned on a single vertex.

Step 10

To fix the gap problem, in the “Position Object” operator, enable the “Separation” option.

Step 11

Add a “Material Static” operator. Here you can assign a material to the pin particles.

Step 12

Add a “Cache” operator, under the “Render” operator. The Cache operator records and stores particle states to memory, for faster playback.

Step 13

Now that everything is alright, decrease the particle amount displayed in the viewport to 5%. And that’s it for Particle Flow.

Method 3: Creating the Pinboard using Thinking Particles

Step 1

Go to the “Command panel > Create > Particle Systems > Thinking”, and create a “ThinkingParticles” icon in the viewport.

Step 2

Go to the “Modify” panel and click on the “Properties” button in the “Thinking” rollout, to open the “TP” user interface.

Step 3

In the “DynamicSet Tree” view, highlight “Master Dynamic”. Disable “Edit on the fly” to see the changes in real time, and enable the “Show Mesh” option to see the particle shape.

Step 4

To dictate what the particles do, you need to create “Dynamic Sets” (rules). In the “DynamicSet Tree” view, click the “Create” button under “Master Dynamic”, and create two Dynamic Sets: “Generator” and “Surface Position”.

Step 5

Highlight the “Generator” dynamic set, and then go to the right-hand side of the dialog, where you will see a new set of “Create” rollouts.

Step 6

Go to “Create rollout > Operators > Generator”. Select the “Born” node to highlight it, and then click in the schematic portion of the “Wire Setup” view, to add this node to the “Generator” dynamic set. The “Born” operator is used to generate the particles.

Step 7

In the “Born” rollout, set the generation type to “Pistol Shot”, to generate all the particles on the very first frame. Set the particle amount to 8,131 (we have seen before that the “Displacement Plane” has 8,131 vertices) and increase the “Life Span” value. As you can see, the particles are generated in the “All” group.

Step 8

Go to “Create rollout > Operators > Shape” and create a “Geom Instance” operator to this dynamic set. This operator is used to assign a specific shape to the particles. In the “Geom Instance” click the “Pick Object” button and select the “Pin Object” from the scene.

Step 9

To scale down the particles, we’ll use a “Scale” operator. To create it, go to “Create rollout > Operators > Standard”. In the “Scale” rollout set the “Scale” value to 24.

Step 10

Go to “Create rollout > Operators > Material” and create a “Shape Material” operator. Here you can assign a material to the pin particles.

Step 11

Connect the “*Born Particle” output of the “Born” operator to the “Particle” input of the “Geom Instance”, “Scale” and “Shape Material” operators. Now, the operators are connected, and 8,131 particles are created at the 0,0,0 position.

Step 12

Highlight the “Surface Position” dynamic set. In the “Create” panel, click the “Groups” icon. Add the “All” group to this dynamic set.

Step 13

Go to “Create rollout > Operators > Standard” and create a “Position” operator, then connect it to the “All” group. Until now, nothing changed because the position in the “Position” operator is set to 0,0,0.

Step 14

Go to “Create rollout > Helpers > Position” and create a “Surface Position” operator. This helper is designed to place the particles over the surface of a selected object. As you can see the distribution method is already set to “Vertex”.

Step 15

Now, create a “Node” helper from “Create rollout > Helpers > Standard”.

Step 16

In the “Node” rollout, click the “Pick Node” button and select the “Displacement Plane”. Connect the “Node” output to the “Node” input of the “Surface Position” helper.

Step 17

Now, all we need to do is to connect the “Position” output of the “Surface Position” helper to the “Position” input of the “Position” operator, and then, the “Particle” output of the “All” group to the “Particle” input of the “Surface Position” helper. And that’s all!

Final

I hope you enjoyed this tutorial! Stay tuned for ‘Day 2′, where we’ll take a look at modeling, animating, shading and rendering with finalRender!