[Vray For 3ds Max 2013 32 Bit With Crack Free 15
Amancio Mccrae
Is there a way to render it with lines, and do u have any other suggestions to make this render better? Im amateur and this is default settings with no materials, but for now it is good. I would just like to see it with lines
I think the modeling and materials look great! The scene is inviting. However, I do feel that the color of the interior lights is a bit too greenish/yellowish. Perhaps make these lights a bit more 'white' ... not 100% white but, not so greenish yellow. If a person was standing in the room they would start to look rather alienish?
I see what you wanted to do with the yellow/greenish lights. I can't say it looks awful but my suggestion about that is; you should make the light more blueish like around 6500K and make the image with warn yellow/greenish colors in post production.
Other than that i can't say i like the country stone material in the wall. You might want to play around with its displace modifier and bump. And maybe some color correction. (too saturated in my opinion) The carpet looks great but i'm not sure about the rug. Very nice design, i have to say. I would've used a sofa instead of 2 armchairs but i'm still amazed with the design.
Thanks very much Kenan fr ur valuable comments....definitely i will try to change the lighting as u suggested if i get time....moreover i know very little about post production..i mean i havent worked much on photoshop..thats why my image is without post production...I would appreciate if someone could give me some links for the tutorials on post production....if u know Kenan...
This tutorial must be helpful. The topic is very simply and effectively guided. To get beyond it, you need to practice some basic Photoshop skills like color correction, layering, layer types, filtering, curves and levels and such. It's not rocket science really, easy to learn once you get the main idea.
V-Ray for SketchUp 3D rendering software is designed for every designer, architect, or creator who needs a realistic visualization of their idea. From beginner to pro, Chaos V-Ray has all the tools you need to create stunning photorealistic renders and animations of your SketchUp models.
V-Ray is a powerful SketchUp rendering plugin that empowers architects and designers to efficiently design and communicate their ideas. This rendering software offers a wide range of features for creating high-quality photorealistic images and animations, making it an ideal tool for creating everything from early design concepts to polished marketing materials.
V-Ray is also designed to work seamlessly with SketchUp, making it easy to integrate into your existing 3D workflow. This allows you to quickly and easily create stunning renders of your SketchUp models without switching between different software programs.
You can now open your real-time Enscape scenes directly in V-Ray to continue building on your work and take it to the highest possible level of photorealism. Your department can now experience a fast and easy end-to-end design process.
With V-Ray for SketchUp, we've made creating high-quality renders as easy as modeling in SketchUp itself. Install the software, which has an easy-to-use interface just like SketchUp's, and you can jump straight into the fun stuff like setting up your camera and lighting. Once you get to know V-Ray, you can make use of its seriously impressive feature set, and create great renders and emotionally compelling scenes.
V-Ray and SketchUp are the perfect team. SketchUp is the world's most widely used 3D modeling software for architecture and design. And V-Ray is the world's #1 rendering software for architectural visualization. Put them together and you've got the perfect combo to take your SketchUp model to the next level.
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V-Ray 6 is better than ever. The latest update brings a multitude of improvements to enhance your user experience and expedite workflows. We've improved V-Ray to simplify your design process with new scattering features for easy scene setup, seamless .vrscene imports from various applications, and faster job submissions to Chaos Cloud.
Learn how Archilime's creative team leveraged V-Ray 6 for SketchUp's new features, using the rendering power of NVIDIA RTX GPUs and the flexibility of a Lenovo P1 laptop, to produce a gorgeous set of images and an animation showcasing a sustainable prefabricated home designed by renowned architects Koto Design.
I've been working for more than 10 years now in an architectural visualization studio, mainly as a lighting, renderer and compositing artist. I have also created my own micro-business for 3 years now in my free time, to help some clients.
Today I'm going to tell you about a series of images I recently made, mainly composed of close Up. The goal for me was to improve myself in lighting, and also mainly on the construction of realistic procedural Vray shaders in order to deploy them on any object or future 3d scenes.
Initially, this project was a commercial order of several 360 visuals in an apartment.vAs it involves paying attention to all the rooms and all the points of view, I thought why not exploit this scene to practice the shaders and make a series of images.
Nothing very complicated in the modeling. For interiors, I often manage my walls with one single object or two to separate interior and exterior walls. I start from a box and I work on it with an EditPoly modifier. I assign some Material Id in order to apply different paints wall. This method may not be very fast, but it allows me to model correctly.
Also, having the least possible separate walls allows me to use EdgeText map in the bump slot to simulate an overpaint in the corners. If you have two separate objects, it doesn't work. Most of the assets come from 3dsky, that I reworked or completely recreated materials. The floors are generated with FloorGenerator, nothing complicated.
For the lighting part of the scene, I wanted soft lighting, which does not attack, but with a certain direction at the same time. To do this I used a VraySky map in a VrayDome, allowing me to create my environmental light. To give a slight direction, I used a VraySun with a white color. Its intensity is very light (0.1) and its size is very large, around 30. This allows you to create soft shadows.
To handle various scenarios without relying on a Uvwmap modifier, I combined a VrayUVWRandom with a VrayTriplanarTex. Additionally, I employed a VrayCurvature to detect the edges, utilizing it as a mask to apply a lighter color.
The wood floor shader consists of a VrayMultiSubTex, allowing the assignment of multiple wood maps. This is then fed into a Composite to employ the same technique with a CurvatureMap for edge highlighting.
Similar to the wood floor, a VrayBitmap featuring wood textures is combined with VrayUVWRandom. Stochastic tiling is enabled, along with ByElements and rotation set at 0. This seamless configuration ensures that the material can be applied to wood siding without any visible repetitions.
In one of the close-ups, a captivating coffee cup takes center stage. I aimed to develop an intricate system to manage the foam shader. Thus, I devised a VrayBlendMtl, effectively amalgamating a basic coffee material with a translucent effect, seamlessly intertwined with a dynamic foam shader.
The foam segment is meticulously crafted, employing a foam map artfully driven by a VrayUVWRandom and a VrayTriplanarTex. Inclusion of a VrayEdgTex within the bump slot imparts a gentle curvature to the edges, acknowledging that the boundaries of liquid within a glass are inherently soft. Subsequently, utilizing a VrayDistanceTex alongside an unseen box enables precise control over the foam's elevation.
For the camera part, I knew from the start that I wanted to do close-ups, so that means long focal lengths. I used PhyscalCameras with a 75mm focal length. To help me in the composition, I use the SafeFrames to simulate the rule of thirds. I did not use Clipping for my placement.
To create the depth blur, I activate Enable DepthofField and I use a Custom Texture in the bokeh slot. The Target distance designates the area of sharpness, and the intensity of the blur is managed with the Aperture.
Navigating post-production proved a straightforward endeavor. My pre-established .cube settings in Vray streamlined the process, rendering much of the work completed. Subtle augmentations encompass a fractional addition of Specular, Reflect, and occasionally Lighting and bloomGlare passes, contingent upon image requisites.
This is likely because the hairs are generated differetnly on every machine depending on what type of hair and guide generation you are using. Try using the Remember button in Guides from Surface and Hair From Guides. This will be sure the same generator is used on each machine.
I was having the same problem. Michael, I will try the solution you proposed, but it seems cumbersome to have to render the hair locally everytime you want to submit it to a farm. Is it a one and done thing stored in the files cache, or will I have to render locally everytime I submit renders to a renderfarm? When rendering locally beforehand, does quality matter? Like, can I downrez the local render to like 1x1 pixels with no anti-aliasing prior to rendering my full resolution version on our farm?
If V-Ray plays nice with the Rhino SDK then you can do this using the latest release of Grasshopper that ships with Rhino WIP. The [Custom Preview] component now also outputs the meshes + materials to the render-pipeline, and you can reference materials by name from the Rhino document.
V-Ray has a Beta GH plug-in floating around the web (can't seem to find it at the moment) but they have demo'd it and used it a few times at our workshops. It is made fro rendering GH previews specifically.
There are a bunch of reasons I decided to stick with Linux on my nodes rather than switch them to Windows and use the standard 3ds Max + Vray workflow that has kept the world happy for years. For render nodes, Linux is by far my preference for a few reasons:
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