Ciro Sannino - Photography and Rendering With VRay ().Compressed - Ebook download as PDF File .pdf) or read book online. Manual de Introducción a. __OCR_Ciro Sannino - Photography and Rendering With VRay () - Ebook download as PDF File .pdf), Text File .txt) or read book online. Book on. Photography and rendering with vray is the most complete book, all about Vray. Author Ciro Sannino graduated with a degree in industrial art and started.
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provided us with a huge insight in the 3D and photography business. Other helpful people at IKEA that need mentioning are Sören Larsson and. All the concepts explained in the book, "Photography and Rendering with V-Ray", have been Attached to the book is a DVD containing a folder called P&R−VRay , inside of which you will find. Can we expect an e-book/pdf version?. Cover Image by Brian Bradley ([email protected]) .. this book. For your convenience we have also provided a PDF that contains higher resolution or skillset of both the CG render artist and the photographer can become somewhat.
Examined without technicalities, these phases form a simple and deliberate pathway that aims to guide and encourage full awareness of each step leading to the creation of any kind of render. Each topic has a theoretical introduction, designed to prepare the reader for the pratical use of the V-Ray parameters.
In this book, the final outcome is not intended to be an end in itself. Instead, the focus is placed on the process used to achieve it. In line with this logic, the various exercises and videos accompanying the book are means, rather than ends, that will allow you to reason with greater awareness. The book is targeted both to readers who have never used V-Ray, as well as those who already have experience with the software and are simply loking for a way to organize their ideas simply and with greater coherence.
Contents of the attached DVD: MAX files, videos relating to the concepts explained and. JPG files of the images contained in the book. It also contains 3D models from designconnected. Would you like to tell us about a lower price? If you are a seller for this product, would you like to suggest updates through seller support?
Read more Read less. Customers who viewed this item also viewed. Page 1 of 1 Start over Page 1 of 1. V-Ray My Way: Lee Wylde. Real-Time Rendering, Fourth Edition. Physically Based Rendering: From Theory to Implementation.
Matt Pharr. What other items do customers download after viewing this item? Read more. Product details Paperback: GC edizioni Language: English ISBN Tell the Publisher! I'd like to read this book on Kindle Don't have a Kindle? More info will be available after February Which version of V-Ray does your book refer to?
The book uses version 2.
For now, no. It will be up to the publishing house to decide in the future. These days, achieving a photorealistic image is an important and at the same time rewarding goal for those who work in 3D graphics, but also those who need to use it more and more in their work as architects and designers. The close connection between photography, the handling of light and material physics is of crucial value in this work.
These form the essential basis for setting the correct values in V-Ray. Attaining photorealistic renders is very difficult without a basic knowledge of these topics, and is oftentimes left to chance. All the concepts explained in the book, "Photography and Rendering with V-Ray", have been structured into 5 well-defined steps.
Qil c. With the latter option active. J even faster J 1Preset: I deactivate the Show Window so that V-Ray's messages doesn't appear during rendering.. Image sampler Anti-aliasing rollout menu.. J RadiJs p s. The only thing that interests us for now is getting quick drafts. J Contrast Cootrastbase ro. Just go to the Render setup dialogue box. This opcio: Comnon I V. Most of the difficulties related to using cameras in 1: The focal length. This tool is an identical copy ofa real DSLR camera.
Excluding objects with certain lights. Rather than resorting to special tricks.. It doesn't have a better sensor or a more expensive lens. A photograph ic eye is definit ely one of the most important things t o have as a personal skill.
All these pro blems have been partially solved thanks to the Still Life genre. Over time and through experience. I've had the opportunity to meet several. In photography. To conclude. It is by no means a coincideince that the best always have a great passion for photography and practice it either for amusement or in t heir profession. With low sensitivity on the other hand. A photographer with a DSLR camera in low light conditions must always balance the exposure time with the sensitivity of the sensor.
It's dlifferent if you are actually seeking a blurred effect to create dynamism. The risk is granularity because in real life.
The secret is to treat the scene as if it were real -. Focal length It is of fundamental importance that you are familiar with these basic notions. The exposure time. So 30 is a longer exposuwe time than Exposure time expressed as fractions of a second.
The Sensitivity ISO regulates the degree to which the sensor reacts to light. With digital cameras you only need to turn a dial. The Exposure time indicates how long the sensor will be exposed to light. The higher this value is. The Aperture of the diaphragm. If a photographer knows fro'm experience that for a certain type of interior the correct exposure is a given combination of f.
If you increase the ISO. Aperture of the diaphragm f. It can be almost closed. The longer the exposure time. In our case. In rendering therefore. The V-Ray Physical camera is a simulator that replicates a DSLR camera and this is of particular benefit to those who use one already and have worked with one for some time. You will need them to understand the parameters in the V-Ray Physical Camera panel.
Time and ISO. This value is always expressed in fractions of a second: When film was in use. Figure An image s hot with a wide-angle lens 17 mm. The longer the focal length. The road lines appear more parallel man widt the previous lens and the trees appear closer together. The road mackedlr rends towards the vanishing point and the trees appear distant from o ne another Figure An image shot with a relephoro lens mm. By increasing the focal length we narrow the focal field of view length focal length It brings the subject closer or further away.
It changes our perception of perspective. The field captured is consequently narrowed Telephoto lens. Changing the Focal length. With this focal length. The field of view is very large and the perspective is accentuated. The shorter the focal length. We could. They have to analyze the space available and the possible viewpoints that will make a photo as realistic as possible.
Figute An example of a 3D model of a shopping centre. Photographers are forced to deal w it h reality. This is particularly true if it's an architectural photograph. Figure An example of a 30 model of a shopping centre. In the case of an interior. If there are. If you want a wide field of view1 choose a wide-angle lens. The format has the classic proportions of x In fact. T here is too much ceiling and floor showing. The frame height: This varies according to the subject you are depicting and the effect you wish to obtain.
If you want to reproduce a design object. The same goes for images. Always remember to fill up the frame. This is a very famous rule.
This is fundamental in ma king the object we are depicting stand out. Fill up the frame but take ca re to measure out the two elements: You really j ust need to be aware of this idea and. By not on ly taking advantage of the lighting. On the contrary. We could never have just notes or just pauses. Focal length of the camera: Contrast base: For example.
If it is. This doesn't mean t hat there can't be any empty spaces. If you place one or more subjects so that they appear in the intersection between the lines. In a harmonious composition. Apart from Composition and the Rule of Thirds. Just activate the "Crop" tool and a 3x3 grid will appear. The most interesting positions are those marked by the intersection between the vertical and horizontal lines.
This allows you to frame a wider or narrower field. Th is grid provides an instant reference for the 4 canonica l points of interest. Figure A graphic example of the rule of thirds. We are close to the subject.
The depth of field is shortened and causes a more pronounced blurring effect. This explanation is valid both for the DSLR camera and the V-Ray Physical Camera as the rules and principles that guide a photographer are the same for those working in rendering. Working with Depth of field. It's very simple to apply these principles to rendering and you won't need to deal with any parameters that do not correspond to reality.
The area in which the image is perfectly in focus is defined as the Depth of field OOF. This automatically makes it the most interesting area and gives compositional strength to the whole image. Depth offield helps to create a hierarchy between areas. The reason can be explained by physics and concerns the relationship between the size of the lens and the real world.
Attempting to frame everything is one of the most frequent compositional errors. Three factors influence the field of focus: These include the Bokeh effect and Tilt shift. Then there is a space in front of the subject and one behind it. The aperture of the diaphragm f. Figure Ara image rendered using a telephoto lens. The focus is on the chair in the foreground.. The purpose of composition. We use a telephoto lens. Let's look at a quick example to see how easy it is to apply. Th is activates the calculation of Depth of field.
Select the V-Ray Physical Camera and tick depth-of-field from among its options. P' SLbcrovs. While in the V-Ray Physical Camera. For the Depth of field to be noticeable Start 3ds Max and V-Ray and open the file Chapdof Balance this by reducing the Exposure time from 40 to in the shutter speed option of the V-Ray Physical Camera.
Launch a Render to obtain the image in Figure This will cause an enormous increase in the amount of light entering. The image of a landscape shot with any lens would. Tilt Shift The Tilt Shift technique. This optical illusion. You can intensify the effect by increasing the saturation and contrast.
To be able to obtain a Tilt shift effect. The rest has been blurred using Photoshop. All parrs of the image are in focus. A depth of field effect - that would be physically impossible in real life. Figure A phoro.
If we blur the bottom and top parts of the photo using Photoshop and only leave the centre in focus. Figure A beautiful photo of Ravcllo. With a scale model. It's very easy to do and can give you a great effect. By activating the blades option with an associated value of 5.
T he other render B had an equivalent exposure time but a much more open diaphragm: Objects that are far away from the focused area take on particular forms..
Using active DOF and the options f1. You can verify this concept by opening the file Chapbokeh. Bokeh originates from the Japanese word. Figure An image rendered with the following values: Let's look at an example of an exterior photographed with a blue sky.
The sky would literally fill the photo with blue if it weren't for the fact that when we use digital cameras. For the sake of demonstration. Figure 4. Very synt hetically. To set the white balance. In these conditions the dominant blue of the sky tends to produce a photo t hat is tinted all over with this color. There's always a light source or a colored surface that tends to influence the color of the entire image. Figure An unbalanced photographic image wich a dominant blue color Figure A phorographic image chat has been correctly balanced by eliminating the dominant blue color.
Figure A schematic representation of image balancing using equivalence warm balanced cool In this case. Balancing the image means rebalancing the colors by subtracting a bit of this blue. Figure As schematic representation of image balancing using equivalence warm balanced cool Note: Setting the white balance by eliminating the dominant color doesn't mean that the sky won't be blue anymore! The sky will be a bit less laden with blue but will still be the same color. At the same time.
If we move the image towards the centre. Let's place our image above this axis. The V-Ray Physical Camera has a default value of "" for white balance. To visualize this concept.
This is usually good for exterior rendering. The warm components can hardly be seen at all. In these cases. This produces a very unbalanced result. We will finish perfecting the white balance in Photoshop. Although the blue of the sky can enter through a glass window or door. Balance the white by setting Neutral. We will see a red floor that "tints" all the white walls with the same color and explain how to eliminate this dominance using a specific color.
Balance the blue when rendering an exterior the default value of is generally okay. It's important notto forget t his aspect. A neutral image is the easiest to work with and is best for managing materials. White Balance and Contrast. By leaving the default value blue active. Figure Figure An interior An interior with the white with tho: In the paragraph Color bleeding.
White balance. Figwe A balanced interior render. Some people may prefer the image in Figure to the one in Figure Unlike point-and-shoot or DSLR cameras. How to Balance an Interior - In this image. T he various components can be clearly seen: We have to do it. Launch a render to obtain the reddish image in Figure Launch the render again to obtain the correctly balanced image in Figure To restore the correct color balance.
Both the areas illuminated by the sun and those in shadow appear co be covered by a red veil. Excluding particular circumstances.
Figure A n interio r render. Thanks to the white balance. By checking the White balance option. Start 3ds Max and V-Ray and open the file Chapbalance. In the field of We could hide a wall. The solution is the Clipping plane. To photograph the interior of a yacht.. This causes distortion and markedly altered proportions.. The opposite problem cou ld also occur.. The problem that arises under these circumstances however.
You can avoid using a wide-angle lens by ticking the Clipping check box J far diPlli1g plane. I type: Still Cam I camera. The latter values are more suitable for balancing the red of a sunset. Jm Figure Part of the lenpe-ahre. This is the only value we will change to simulate Depth of field I Guess hertz. These values allow us to correct vertical and horizontal perspective distortion..
This is the only value w e will change to capture more or less light.. This setting generally works well for exteriors in daylight. This captures more or less light but we won't be changing its value..
It subtracts blue in order to neutralize the color of the sky Aperture of the diaphragm. This is its strength Lower values indicate that the diaphragm is more open and more light consequently enters.
Sensitivity of the sensor J ""PW-"'.. I Guess horiz As we continue to repeat The 40 mm default indicates a medium lens.. It has the same parameters and works in the same way Exposure time. Guess vert. This is mostly generated when we use a short focal length wide-angle lens It is set to by default.
RAY If you increase the near clipping plane value. Even in versions in which it isn't visible. Far clipping plane Figure Graphic cliagram of a camera. You can get feedback on the framing using the camera view in the viewport. Simply place the camera outside the scene and position the red near clipping plane. Thanks to this function. This plane represents the point from which the framing will start. How not to Freak Out. In Chapter From V-Ray version 1. The purpose ofthis chapter is to understand how to organise your lights and give them a clear hierarchy.
This kind ofapproach will make the light as "modeling" as possible. We are now going to take an in-depth look at the V-Ray Light tool and its role as a digital copy ofa studio bank light.
Once you've done that. This intensity drops off rapidly. This produces diffused lighting when direct light passes through it. Artificial light produces conical shadows and has a very strong intensity close to the source.
What Are Bank Lights? Certain light sources emit softer and more diffused lighting. This too can be direct or indirect and can vary in intensity and color. Inside a bank light there is a spotlight a direct light emitter. They can be rectangular. Why do we consider sunlight to be constant? Is it a different kind cf light. Artificial light. They can rotate and ne suitable for a large number of subjects. Unlike cirtificizl light.
Sunlight also drops off. By Natural light we only mean the light generated by the sun. Its color is neutral white. In computer graphics this kind of light is simulated by an Area light and. This light is made up of parallel rays and even though it is filtered by our atmosphere. That's why we consider sunlight to be a constant. They are used a lot in photographic studios. There would certainly be a difference in the light intensity between Mercury and Earth. Figure An image of a bank light Bank lights come in various shapes.
This is not always an advantage. This offers a variety of applications. We won't be using it.. Spotlights with t heir relative photometric data profiles standard IES. In some cases. While in a real studio one has to navigate around the space required and the costs of working with a great number of lights. What we will focus on now is the Plane type. As mentioned earlier. The advantage of a V-Ray Light.
Rendering Interiors. So even though we may have an infinite number of possibilities available to us. Bank lights Plane type being the most common. It is unrealistic. This substitutes Global illumination. It may sound obvious. It implies that the problem of rendering shifts from knowing how to use a software program to understanding how light really works and how to photograph it. The sun. A Plane light is a light panel that emits indirect light and faithfu lly imitates a bank light.
When we have a luminaire. Figure it is useful when we are integrating a V-Ray light to somethi 1g The Create control self-illuminating. It basically doesn't emit light. Emits light from both sides. Becomes invisible. Have you ever seen light coming from an invisible source? The Invisible option can produce a strange perception. One problem that is often encountered is that a light source that has been hidden from the camera inevitably appears on reflective surfaces. Unit of measurement for the light intensity.
How big the light is. The value of the light intensity. It is more logical and rearistic to find the right angles. Store with irradiance map: This quickly. In other cases however. Affect diffuse: The shape of the light source. Affect specular: The color and temperature of the light. Affect reflections: While on one hand this is convenient. In real life one has to find the right angles in order to avoid unwanted reflections. Figure and Figure The other.
If it's a draft phase. The shadow is very pronounced and the activated and the shadow is calculated by the Irradiance processing time is longer. There are some situations. Figure Grain in the shadows as a result of deactivating StoreIM. If you deactivate StorelM. We can uncheck the option before the final render.
In that case. The shadows generated by the V-Ray Light will be roughly calculated using the lrradiance map. You can verify this concept by opening the file ChapOS It is taken into consideration. This solution naturally requires a longer processing time. Change the value from 8 to The shadow is sharp and the grain is indiscernible. The default value is 8. When StorelM is active. Aar perfect value that works in all cases. The rule is always the same: IV Ignore light normals r No decay 1Considerations: Figure The Subdivs default value of 8.
Aff'Kt speo. There isn't one Light category p. The Figure The Subdivs have been increased to Figure S The difference lies in the effect they produce.
There are various units for measuring light.