Where 3d product visualization is concerned, one of the most important techniques for achieving realistic high quality images, is your ability to create studio renders. In this detailed 4 part tutorial you will learn every step necessary to create your own high quality studio renders with Vray and 3ds Max. This tutorial is divided in 4 parts: Scene setup, materials, lighting, and rendering.
- In the first part, we will set up the scene, create a base, and import our models, in the second part, we will be assigning materials and using Vray lights to light our scene, and in the last part, we will adjust the Vray settings for the final render.
- Note: This is a lighting and rendering tutorial. You will need to supply your own model in order to follow along.
- Open 3ds Max and set our scene units to meters by going to "Customize>Unit Setup>Metric>Meters.
- Now lets create an environment for our scene. Create a "C" shape with the line tool and convert it to an editable spline.
- Select the corner points and choose "Fillet" with a .187m value.
Also, set the "Interpolation Steps" to 10. Select the line again, and in the rendering tab, check "Enable in Viewport" and "Enable in Renderer".
Select "Rectangular" for the type, and enter the values shown below. Now convert the line to an editable poly, and your base for the lighting setup is done. Import or merge your model, and scale it according to the size of the base. In my case i am importing a furniture model. Create a free camera in the front view. Now, click on the top left side of the view port, go to views, and select the camera view.
Turning On The Lights
Enable the safe frame, and adjust the camera according to your scene and model. Press f10, and under production, choose Vray from the assign renderer tab. This will enable Vray as your renderer, and also enable Vray materials in the material editor.
Constructing Our Studio Lighting Setup
Press 'M' to open the material editor, then click standard, and then Vray mtl. The VRayMtl is provided with the V-Ray renderer. This allows for physically correct illumination in the scene, faster rendering, and more convenient reflection and refraction parameters.
Click on the diffuse color and make it pure white and apply it to the base. This will help in bringing out the details and getting diffuse reflections. Now lets texture the upper part of the stool. The basic parameters that will be used in the material are:. Diffuse - The diffuse color of the material.
Rougness - Can be used to simulate rough surfaces or surfaces covered with dust. Reflect - The reflection color. Reflection glossiness - Controls the sharpness of reflections. A value of 1.0 means perfect mirror-like reflections, while lower values produce blurry or glossy reflections.
Use the Subdivs parameter to control the quality of the glossy reflections. Apply a fall off map in the Diffuse slot (as you can see in the image). Also change the reflect color and bring down the reflect glossiness to .7 Apply this material to the cushion of the stool. Note: You will need to adjust the colors and various settings described to suit your own model.
Now add a bump map, with a bump value of 60, in the maps area of the same material. Bump mapping makes an object appear to have a bumpy or irregular surface. When you render an object with a bump-mapped material, lighter (whiter) areas of the map appear to be raised, and darker (blacker) areas appear to be low. Apply a UVW map modifier on just the cushion, and select box as the type of mapping style. Also, scale the gizmo so that it can fit the bump map properly.
Time to create the shader for the metallic legs and the base of the stool. Here are the important parameters you will need to adjust:.
Fresnel Reflections - Checking this option makes the reflection strength dependent on the viewing angle of the surface. Some materials in nature (glass etc) reflect light in this manner. Max Depth - The number of times a ray can be reflected. Scenes with lots of reflective and refractive surfaces may require higher values in order to look right. Exit Color - If a ray has reached its maximum reflection depth, this color will be returned without tracing the ray further.
Now create 3 Vray lights in the scene. Change the multiplier, the color to white, and check invisible. The important parameters you should know are:. Color - The color of the light. Multiplier - The multiplier for the light color. Also the light intensity is adjusted by the Intensity units parameter. Invisible - This setting controls whether the shape of the VRayLight source is visible in the render result.
When this option is turned on, the source is rendered in the current light color.
Otherwise it is not visible in the scene. Create a simple plane, rotate it as shown, and apply a Vray light material to it. Add a gradient map on the Vray light material, and set the intensity of this material to 2.
VRayLightMtl - A special material provided with the V-Ray renderer. This material is used for producing self-illuminated surfaces, and allows faster rendering than a Standard 3ds Max material with self-illumination enabled. It also allows you to turn an object into an actual mesh light source. Color - The self-illumination color of the material. Multiplier - The multiplier for the Color.
The following steps will be dedicated to the render settings for Vray. Press F10, and under "Global Switches", uncheck "Default Lights". "Default Lights" allow you to control the default lights in the scene. For the "Image Sampler" type select "Adaptive DMC", and "Catmull/Rom" as the filter.
Also, change the "Min" and "Max Subdivs". Here is a description of the important settings:. Image Sampler - An algorithm for sampling and filtering the rendered image. Fixed - Always takes the same number of samples per pixel. Adaptive DMC - Takes a variable number of samples per pixel, depending on the difference in the intensity of the pixels.
Adaptive Subdivision - Divides the image into an adaptive grid-like structure, and refines depending on the difference in pixel intensity. Under the "Environment" tab, check on "GI Override", which will allow you to override the 3ds Max Environment settings for indirect illumination calculations.
The effect of changing the GI environment is similar to that of a skylight.
Under "Indirect Illumination", select "Irradiance Map", and "Light Cache" as the "Primary" and "Secondary Engine". Also, change the preset to "High hsph", the "Subdivs" to 50, and the "Interp Samples" to 20. Below is a description of the important settings:. Irradiance map - Computes the indirect illumination only at some points in the scene, and interpolates for the rest of the points.
This is very fast compared to direct computation, especially for scenes with large flat areas. Current Preset - this dropdown list allows you to choose from several presets for some of the irradiance map parameters. Hemispheric Subdivs (HSph. subdivs) - Controls the quality of the individual GI samples.
Smaller values make things faster, but may produce a blotchy result.
Higher values produce smoother images. For the "Light Cache" set the "Subdivs" to 1500, and for "No of Passes" set the value to 8. Light Cache - The light map is built by tracing many eye paths from the camera. Each of the bounces in the path stores the illumination from the rest of the path into a 3d structure. This is very similar to a photon map.
Subdivs - Determines how many paths are traced from the camera. The actual number of paths is the squared value of the subdivs (the default 1000 subdivs mean that 1 000 000 paths will be traced from the camera. Number of Passes - The light cache is computed in several passes, which are then combined into the final light cache.
Each pass is rendered in a separate thread independently of the other passes. This ensures that the light cache is consistent across computers with a different number of CPUs.
In general, a light cache computed with a smaller number of passes may be less noisy than a light cache computed with more passes for the same number of samples. However, a small number of passes cannot be distributed effectively across several threads. Hit render, and you're done. You have just created your first studio render !!
Hey guys, welcome back for another tutorial. Today, I’ll be showing you how to create a quick professional studio lighting setup using VRay as our primary renderer. The purpose of learning to create a studio setup is to make our subjects expressive or emotive. We want to paint them with lights in such a way that it brings out their own unique character. Take a look at any of the Renaissance paintings, and you’ll notice the beauty of light play within them.
The tradition continues today, and the studio is where we can learn to master light. Therefore, we’ll be using the same approach as professional photographers to light our CG subjects. A physically correct method in which we’ll create the background, lights and camera just like a real studio environment.
If you’ve ever seen a real studio, you’d have noticed the use of various gobo lights and a smooth edgeless background.
We’ll be taking a look at the function of these lights and their uses. In the end we’ll have a simple setup that you can use to get an awesome studio rendering. So let me jump in and show you the basics. The most important principle for professional lighting is the 3-Point Lighting System. It involves using 3 lights at different intensities and angles to light our subject.
In order of their strengths, they are:. Primary or Key light. Secondary or Fill light. Tertiary or Back light. The Key light is the main light responsible for illuminating our subject. The Fill light balances and softens the shadows cast by the key light. Lastly, the Back light makes sure there are no overly dark areas in the scene, while also giving a definition to the silhouette of our subject. Another important principle applied in photography is the notion of chromatic contrast.
‘Chroma’ means color, and hence this signifies the use of different colored lights to boost the perceived contrast of our subject. You might have noticed this concept being used on all the Hollywood blockbusters of late, especially for the movie posters. Opposing hues on the color wheel work best, one assigned to the key light, while the other to the fill. Blue and Orange are often the most used pair, and these are the ones we’ll be using in our setup as well.
Now that you’ve understood the basic principles essential for correctly lighting a subject, we’ll begin creating our studio. For this lesson, I’ll be using a Buddha model as our main subject. And for building a background for the studio, that can be achieved in a few simple steps:. Create a ‘C’ shape with a flat bottom in your left viewport. Make it twice as high as the subject.
You can smoothen the edges of the shape with the fillet control. To give our shape some geometry, add an extrude modifier with the normals on the inner side.
Make sure that it’s wider than its height. Place the subject in the middle of the background and create a VRay Physical Camera in front as well. Focus on the subject and frame the camera as you see fit. The settings I’ve used for the exposure are f/5.6, shutter of 1/200secs and ISO of 500. I’ve also set a slightly bluish white balance for a warm render.
Assign a simple white VRayMtl with a value of 253 to the background. Avoid using completely black or white values for materials as it might yield unrealistic results. And now we’ll be focusing on creating our 3 point lighting system with chromatic contrast. Create 2 Vray area lights on either side of the studio background, facing our subject. The bigger the area lights, the softer the shadows.