CREATING RUGS WITH V-RAY FOR 3DS MAX –
Here I explores the creation of realistic 3D rugs in his latest V-ray for 3Ds max tutorial.A frequent presenter at conferences, reminds artists that “textures can be approached multiple ways.” However, some methods provide better results than others, producing visually accurate textures while offering creative control and fast results. Here, we dissect the options and weigh’s in on his methods of choice.
The hairpiece in our scene is created from a chamfer box with the nethermost half deleted. This allows a slight curve to the hairpiece itself. The hairpiece also has fifty parts in both the length and range.
Option 1: VRay Displacement Mod
The first fashion uses the VRay Displacement modifier on the hairpiece mesh itself. I used the 3ds Max Cellular chart to drive relegation. The only adaptation to the Cellular chart was the size, set to0.001.
In this illustration, the settings in the modifier are the dereliction settings except for turning Keep durability on. You should note that the Quantum of relegation ranges from 0″– 2″and adding the relegation gives veritably different results. While this is a quick and effective result for camera angles that aren’t close to the hairpiece, the detail in the hairpiece breaks down when you look at the close-ups.
Also, you’ll see that as the relegation quantum increases, the control on the fur direction is limited with straight beaches of fur. You could presumably get down with using a vector chart to control bending in the beaches themselves, but again, this depends on how near the camera is to the mesh.
Option 2: VRay Fur
Now we’ll explore using VRayFur to produce our hairpiece beaches. Using VRayFur in a scene is relatively simple and can be done in one of the two ways. For both styles, first elect the object for which you’ll induce fur.
System 1 –
- In the Command Panel, choose the Produce tab.
- Be sure the Figure button is named.
- In the rollout, choose V-Ray from the list.
- Eventually, elect the VRayFur button.
This series of way creates the VRayFur object, and you’ll incontinently see beaches of fur on your selection.
System 2 (my preference) –
Still, with your object named, simply click on the VRayFur button that has an icon of what looks like lawn, If you have the V-Ray Toolbar open. Easy enough.
As you can see, the dereliction settings are lower than ideal. With just a many tweaks, still, we can achieve the asked effect.
This bone is tone-explicatory. To start, I changed the length from the dereliction of 1’3″to0.125″. We’ll bandy colorful lengths again shortly.
Then, I acclimated the consistence from0.2″to0.02″.
This is the one value that does n’t change in real life, so I left it as the dereliction setting. Of course, if you ’re going for a unique look, feel free to change this up. That’s why it’s then!
For now, I ’m leaving this as the dereliction value.
Taper determines how thin the beachfront gets as it approaches the tip. The dereliction is at0.0 with no taper, while1.0 means it goes to a sharp point. For this exercise, I acclimated the value to0.85.
For now, I wo n’t acclimate any of the variation quantities, but we will look at the way Distribution works.
Per area is the dereliction setting. This setting simply means that for every square inch in the scene there are X number of beaches. Switching to Per face tells V-Ray to place X number of beaches within each face. I’ve plant this system to be more harmonious for giving me the results that I ask. Still, keep in mind that small faces will have the same number of beaches as large faces, so it really comes down to the effect you’re trying to achieve.
This illustration simply shows the adaptations in Length of the beaches with the below settings formerly described. As you can see, the hairpiece becomes darker as the beaches come longer. This is simply due to light getting trapped in-between the beaches. The ideal length really depends on the look or style you’re trying to achieve.
There are a many other styles of hairpieces that we will explore, along with the settings to achieve each style.
Hairpieces come in an horizonless array of shapes and aesthetics. Some are airy while others have a tighter, curled pile. To achieve the ultimate, V-Ray has a coil property. When turned on, this tool allows you to specify the details behind the filaments’ ringlets. Then, I set the Ringlet compass to0.05. The length of the beachfront is a factor for the way the coil is displayed. I also set the Number of ringlets to 4. Note that I acclimated the bend to0.0 to keep the beaches straight and just allow for the coil to control the bending.
The clumpy settings enable portions of the rug to grow in a specific direction. V-Ray allows you to control specific properties to be driven by maps. In this case, I used a combination of a Cellular map with a Noise map to regulate the direction.
Direction in this case is driven by the RGB values, with each color as a different direction.
Red u texture neutralize –
Green v texture neutralize Blue face normal neutralize
These parameters bear a bit of trial and error, and you can achieve some veritably intriguing and surprising results from simply conforming the colors and values.
In each illustration over, you can achieve some unique, controlled results, but as the beaches get longer there’s one problem that arises. The fur has no regard for other objects in the scene. This is apparent when there’s a piece of cabinetwork that the fur will grow through or over. An easy yet important result, still, prevents fur from growing where objects stand in place.
WITHOUT DISTANCE TEX-
WITH DISTANCE TEX –
Just like the Original Direction Chart, there’s an option called Density Map. This field specifies which portions of the hairpiece will grow fur and which will not. Simply put, a greyscale image will determine the viscosity of the fur in that area with white being 100 thick and black having no fur. Cleverly, V-Ray has a chart called VRayDistanceTex that allows you to specify objects in the scene to drive the Viscosity Chart.
In this chart, you can specify which objects in the scene will control the viscosity of the fur. Then, I applied the base of the beacon and the legs of the coffee table. Where these objects live in the scene, the Viscosity chart will induce zero beaches of fur. The distance parameter in this chart allows you to control how far from these objects the fur will begin to induce.
This chart not only applies to fur, but any other texture where you want objects in the scene to control how charts are changed. Veritably important indeed!
These are simply a many exemplifications of the ways in which fur can be acclimated and controlled. Once you begin playing with the settings, you’ll have a better understanding of how to control the look you’re trying to achieve … and the possibilities are endless.
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