PIPE­LINE TECH­NIQUES: Mas­ter ad­vanced V-ray ma­te­ri­als

3D Artist - - CONTENTS -

Un­wrap UVS and make shaders in our next-level guide

In this tu­to­rial, we will dive a bit deeper into V-ray ma­te­ri­als and ex­plore dif­fer­ent tech­niques to achieve cool re­sults. us­ing 3ds Max, V-ray and Pho­to­shop, the aim of this tu­to­rial will be to bet­ter un­der­stand the po­ten­tial of ma­te­ri­als, and how we can start to el­e­vate our scenes to the next level. Ma­te­ri­als are not only the fi­nal fin­ish and colour of an ob­ject; ma­te­ri­als and map­ping an ob­ject go hand in hand to cre­ate beau­ti­ful sur­faces that seem much more com­plex to cre­ate than what they re­ally are.

We will take a look at the scene cre­ated specif­i­cally for this tu­to­rial, use it as a case study and break it down into sim­pler steps to get the same re­sults. i have in­ten­tion­ally used sim­ple ob­jects to make this tu­to­rial an easy one to fol­low, but what you will learn from it will be ap­pli­ca­ble to very com­plex scenes and ob­jects as well. First, we will walk through how the en­vi­ron­ment and ter­rain were cre­ated us­ing maps, then we will get into best prac­tices of un­wrap­ping an ob­ject, and the do’s and don’ts of un­wrap­ping uvs. We will then start to play with dis­place­ment and giv­ing our ob­jects dif­fer­ent and in­ter­est­ing forms us­ing maps that we will cre­ate in Pho­to­shop and il­lus­tra­tor.

Dis­place­ment will come up in this tu­to­rial in more than one sce­nario, and it is good to see how we can use it on a flat sur­face ver­sus an un­wrapped 3D ob­ject. Fol­low­ing that, we will start to make two shaders: the re­flec­tive sil­ver brushed ma­te­rial, and the car­bon fi­bre ma­te­rial. We will then take those shaders and start to play with the V-ray Blend ma­te­rial, which al­lows us to com­bine and blend dif­fer­ent ma­te­ri­als, and cre­ate very in­ter­est­ing mask­ing ef­fects, es­pe­cially be­tween shiny and matte ma­te­ri­als, and solid and re­frac­tive ma­te­ri­als.

We will also touch base on how to use the com­pos­ite fea­ture in V-ray to mix dif­fer­ent maps to­gether in the same way that it works in Pho­to­shop. Fi­nally, we will add some mi­nor de­tails to our scene and make it feel more dra­matic with the right amount of light­ing by us­ing hdri Maps.

My in­ten­tion be­hind this tu­to­rial is to make it as in­tu­itive and easy to fol­low as pos­si­ble. 3ds Max and V-ray have amaz­ing ca­pa­bil­i­ties, and are filled with lots of hid­den gems. By learn­ing just a few tools ev­ery time, and mix­ing the tech­niques to­gether, you will end up with end­less pos­si­bil­i­ties and lim­it­less vari­a­tions of very cool and ex­cit­ing de­signs.

Cre­ate the ter­rain map To start off, cre­ate a square plane in your scene with an equal amount of seg­ments in both di­rec­tions – i usu­ally go with no seg­ments. Ap­ply the Tur­bosmooth mod­i­fier to start con­trol­ling how many seg­ments you will have; the higher the value, the more dense your plane will get, and the more de­tailed re­sults you will have.

Ba­sic dis­place­ment Ap­ply the Dis­place mod­i­fier, and in the ‘Map’ slot, put in a black-and-white map of any ter­rain height map. This is usu­ally the value of how high and low a sur­face is, black be­ing the low­est and white the high­est, and start play­ing with the ‘strength’ val­ues to see the re­sults tak­ing place. A cool trick to make your own ter­rain maps is to go into Pho­to­shop>Fil­ters>Ren­der>Dif­fere nce clouds, ap­ply that fil­ter three times, and bump up the con­trasts – this will give you a sim­i­lar re­sults. You can also add more than one dis­place­ment map on top of each other and play with dif­fer­ent strengths and maps.

Un­wrap – cre­ate seams in this case, start off with a sphere, select it and ap­ply the uv un­wrap mod­i­fier. in your uv un­wrap set­tings, select edge un­der selec­tion, and then start se­lect­ing the edges you want by hold­ing cmd/ctrl on your key­board. These edges will de­ter­mine how your sphere will be un­wrapped and flat­tened. next, un­der Peel, select con­vert edge selec­tion to seams to con­vert your selec­tion to seams.

Pack­age the UV now, we will choose the quick Peel op­tion, which will cut the ob­ject up in the uv ed­i­tor and give us an idea of if we did a good job cut­ting it up or not, and how it will look laid out flat. in the top-right cor­ner, you can set the check­ered or the Tex­ture checker view to see how a tex­ture map would seam­lessly fit on to your model. choose the Pack: cus­tom op­tion un­der Ar­range el­e­ments to fit all your pieces into the uv ed­i­tor view – ev­ery­thing must fit in­side that box for you to ap­ply your tex­tures later.

Ma­te­ri­als and map­ping an ob­ject go hand in hand to cre­ate beau­ti­ful sur­faces that seem much more com­plex

Cre­ate tex­tures in Pho­to­shop in the uv ed­i­tor, go to Tools>Ren­der UVW Tem­plate. You can now save that ren­dered uv and im­port it into Pho­to­shop. use the green lines as a guide only of where things fall in­side of your model, and start to ap­ply your tex­tures and visual graph­ics. Go back into 3ds Max, and ap­ply your new uv map to the dif­fuse layer to see how it fits on to your model. The same can be ap­plied for all the maps in your V-ray ma­te­rial.

Dis­place the mesh Just as we did in the first step, make sure your model has enough sub­di­vi­sions on it by smooth­ing it out, and then ap­ply the Dis­place mod­i­fier. You can get re­ally cre­ative here and test out what dif­fer­ent maps would give you. Ap­ply a map and start play­ing with the strength val­ues. Your dis­place­ment will prob­a­bly not look right, there­fore you need to make sure you are us­ing the map­ping from the uvs, so go ahead and check use ex­ist­ing Map­ping. To smooth the dis­place­ment out, in­crease the value on Blur and as a cool ef­fect you can add De­cay, which will let your map dis­place­ment fade off.

Get cre­ative here and test out what dif­fer­ent maps would give you

Me­tal­lic brushed ma­te­rial set your Dif­fuse colour to a light pink, or any colour you de­sire, and your Re­flec­tion colour to white – the brighter the value, the more re­flec­tive your ma­te­rial will be. set your Re­flec­tion Glossi­ness to .8 to make your ma­te­rial a bit less glossy. Fi­nally, add a black-and-white im­age of any painted brush strokes into your Re­flec­tion Map – this will make some parts of your model less re­flec­tive based on the val­ues of black/ white taken from your im­age map. untick the Fres­nel Re­flec­tions op­tion to make the ma­te­rial re­flect its sur­round­ings bet­ter.

Car­bon fi­bre ma­te­rial For the car­bon fi­bre ma­te­rial, we want to achieve a sim­i­lar re­sult to how it looks in re­al­ity, as if it’s made up of two lay­ers with dif­fer­ent re­flec­tive prop­er­ties. so let’s insert a tex­ture of a car­bon fi­bre ma­te­rial into your dif­fuse map, and make sure that you ap­ply the show ma­te­rial in the scene to get a sense of how big or small your map is be­ing pro­jected. now you should set your Re­flect val­ues to white and Re­flec­tion Glossi­ness to .75, mak­ing sure that you tick the ‘Fres­nel Re­flec­tions’ op­tion.

V-Ray Blend Ma­te­rial Blend Ma­te­ri­als al­low us to use more than one ma­te­rial on an ob­ject, and mask dif­fer­ent parts of the ma­te­rial to show dif­fer­ent re­sults. The same way you would select a V-Raymtl, choose a V-Ray­blendmtl. Add your Me­tal­lic ma­te­rial to the Base Ma­te­rial slot – this will now make your en­tire model sil­ver. In the coat Ma­te­rial, add the car­bon Fi­bre Ma­te­rial, and this will now be the layer that coats your model with a dif­fer­ent ma­te­rial.

V-Ray Blend Ma­te­rial Mask­ing A trick that i find in­ter­est­ing is to ap­ply the same map i added to my model to dis­place it to the Blend Amount slot. This way, your ma­te­ri­als will fol­low the same shape of your ge­om­e­try. You can add up to nine dif­fer­ent coats and keep mask­ing them, as well as play with the blend amount by chang­ing the colour from black to white (0% – 100%). You can also ap­ply Blend ma­te­ri­als in­side of Blend ma­te­ri­als to cre­ate a hi­er­ar­chy of dif­fer­ent ma­te­ri­als in­side of each other.

Blend Glass and Solid Ma­te­ri­als We will now ap­ply those same learn­ings to get dif­fer­ent re­sults, but us­ing the same tech­nique. Cre­ate a new V-Ray Blend Ma­te­rial, and set your base ma­te­rial as a frosted glass ma­te­rial (as taught in is­sue 111 of 3D Artist), set the coat ma­te­rial as a shiny see-through glass ma­te­rial, and mask it off with an in­ter­est­ing thin lined tex­ture just like in the ex­am­ple. Now, you can put an ob­ject in­side your sphere – this will cre­ate an in­ter­est­ing visual of see-through ver­sus frosted ma­te­ri­als to re­veal what’s in­side.

HDRI light­ing To fin­ish off, we will ap­ply the fi­nal touches by ap­ply­ing a dra­matic light ef­fect to the en­tire scene us­ing hdri light­ing. I will use an hdri map with strong red and blue lights to cre­ate a nice con­trast­ing and dra­matic look and feel to the scene. To ap­ply an hdri us­ing V-Ray, cre­ate a new V-Ray Light source, set the type to Dome, en­able the Tex­ture box, and ap­ply your hdri map to that slot. The ben­e­fit of us­ing a V-Ray Dome Light as op­posed to the stan­dard en­vi­ron­ment map on Max is the amount of ex­tra fea­tures V-Ray of­fers all in one place.

Ap­ply Blend ma­te­ri­als in­side Blend ma­te­ri­als to cre­ate a hi­er­ar­chy of dif­fer­ent ma­te­ri­als

Newspapers in English

Newspapers from UK

© PressReader. All rights reserved.