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CO MP U T ER A I DED DES I G N. FR EE R ENDER ER T ECH NI Q U ES U S I NG V R A Y A ND MENT A L R A Y ; W I T H
CO MP ELLI NG T I P S T O MA K E Y O U R 3D DES I G N MO R E A P P EA LI NG .

M ON D AY, 20 M AY 2013 TRAN SL ATE

Photorealistic rendering: Vray and mental ray : Select Language ​

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JAM I E CARD OSO

An innovative and
Lighting a scene realistically is one of the most challenging aspects of
intelligent senior
producing photorealistic renderings.
computer
artist/technologist/Author/Reviewer
, whose first‐rate experience was
The following article/tutorial will focus mainly in easy techniques to
gained designing and producing work
help users achieve acceptable results, even when working on
since 1996 for a wide range of clients
relatively bare/simple scenes.  
worldwide. Adept at working with a
wide variety of people affectively
One of the preliminary steps often taken to light up a scene
and good‐humouredly in sometimes
realistically, is to create a clear definition between dark and bright
highly demanding situations. Skilled
areas: Depth.  
at evaluating and resolving problems
creatively. Much of my work and
To achieve this, simply ensure that, there’s enough distance between
contributions had been featured in
each light in the scene.
books and magazines such as the 3D
Also, test render the effect of each light created, especially when a
World Magazine,3D Total,CG Society;
key parameter is changed.
to name but a few. I am also the co‐
author of two successful books
entitled: Realistic Architectural
Photorealistic rendering: mental ray‐ It’s common practice to
Visualization with 3ds Max and
create photometric Target lights in the Left or Front viewport to set
mental ray. Finally, I regularly share
its directional point (e.g. downwards). 
my knowledge with users by
constantly updating my blog.
[email protected]

V I EW MY CO MP LET E P R O FI LE

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15

FOL L OWERS
Once the first light had been created, go to the Modify command
panel and set its shadow type to Ray Traced Shadows, to enable
mental ray to trace shadows more accurately.
F OL L OW BY E M AI L
Also, the distribution type is often set to photometric web, followed
by locating and choosing the appropriate IES web file.    Email address... Submit

Once the light is created, one should remember to disable the

Targeted function. This action will later prove crucial when copying M Y F AVORI TE L I N KS
/instancing lights across the scene.    
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My 3D Portfolio
Cut Out People
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cgrecord tutorials
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cg digest
While it may take slightly longer to render, soft shadows are
olivier‐ladeuix.com
commonly used to make the renders look more realistic. To create
soft shadows simply scroll down to the Shape/Area shadows rollout Angela's Blog
parameters and change the Emit light from (shape) to Disc type. tresd1.com
Its Radius controls the shadows’ softness: Sharp shadows= low values; enrichpro.com
Soft shadows= high values. rec‐blog.blogspot.com
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SE ARCH I N TH I S BL OG ( I . E . AF TE R
TYPI N G I N . . . F I N D YOU R SE ARCH
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POPU L AR POSTS

3ds max: Essential tips

& tricks for Vray and
mental ray
The above image
borders were extended
by 2000 pixels  (in width)  to each
side using the “ Overscan ” script
Extending the camera ...

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Photorealistic
rendering: Vray and
mental ray : 3d images
To control its intensity, simply open the Intensity/Color/Attenuation The 3d Images shown
rollout, and pan down to Dimming group, followed by enabling the above were created
Resulting Intensity and increasing its value.   and rendered whilst at Glass Canvas
Productions. To see my entire
portfolio   and the arch...

3D Realism: Practical
& Easy Workflows
Hi All, The above
image is part of a
project I have finished
for a client recently. The final files
were produced in two versions: for...

3ds max: mental

ray_Converting a vray
Max scene to mental
ray
Also check this new
article in this Blog: 3D
Realism:Practical & Easy Workflows
********************************************
******...

Test render each value tweaked to achieve the desired result. 3d: Creating
customised IES web
To quickly test render, one can simply use a white override material lights for vray or
(with its reflectivity set to 0.0)  for the sole purpose of creating the mental ray
correct amount of depth in scene (e.g. dark and bright areas of the The following tutorial
scene). assumes that the user has a basic
To use any specific IES light, one can choose from any of the pre‐ knowledge of creating and using
defined (Select Template) list; or by loading it from the Distribution “VRayIES” and “Photometric” lights
(Photometric) rollout toggle. One can preview the IES physical parameter...
distribution From the Open a Photometric Web file dialog and/or
from the Distribution (Photometric) thumbnail.   Crafting 3D
Photorealism: Lighting
Workflows in 3ds Max,
vray and mental ray
Hi All, I have just
completed my latest step‐by‐step
book, about 3D photorealistic renders
. The book is entitled: Crafting 3D
...

3ds max: Creating a “Velvet/Suede”

finish with Vray or mental ray

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After few requests to

post a tutorial about
creating a
velvet/suede fabric
finish, I have managed
to put something together. The f...

3d images: Tackling
unrealistic materials
It is worth noting that
the following is a full
version of an article I
have recently contributed to. Please
have a look at the 3D World ...

Autodesk: mental
ray_Valuable Tips 2
Mental ray_Glass
fritting effect The
glass fritting effect is
commonly required by numerous
clients in the 3D Visualisation sector:
Th...

3d images: Office
Reception Rendering
with Vray...and mental
ray
The above image is
part of a project I have finished
recently. It was produced with 3Ds
Max and V‐Ray. However, I have also
got the sam...

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The idea behind this technique is to prevent users from spending too
much time test rendering the lights with all the materials and
reflections enabled. 
Once satisfied, simply begin to copy (instances), test render and place M Y AM AZ ON PI CKS
the lights accordingly in the scene.  

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Photorealistic rendering: In Vray‐ Users often open the Create

command panel and choose VRay from the drop down list. 
STATS

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Next, one can create the VRayIES light by simply selecting its
respective button first, followed by clicking on the VRayIES button
next. Finally click in the Left or Front viewport, and drag its target
downwards to create it.

Once the target of the light is set, go to the Modify command panel
and disable its targeted function. As mentioned earlier, this action
will enable the user to easily copy/instance lights across the scene.  

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Next, locate and load the appropriate IES light file by clicking on its
toggle. To preview the IES web file in the viewport, one can simply
create a default Max photometric light, turn it off and use its
Distribution (photometric web) rollout for the sole purpose of
previewing the IES web file inside 3Ds Max.
Alternatively, one can use the IES generator software.     
To help pick up tiny shadows (e.g. grass, etc.), one should reduce the
shadow bias values.  

As mentioned earlier, while soft shadows may increase the render

times slightly it will also help make the renders more realistic.

To enable soft shadows with VRayIES lights, simply do the following:

Open the notepad dialog by typing in the word notepad, on the

windows start up text field. 

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Next, locate the relevant IES file in your computer folder, followed
by dragging and dropping it into the notepad dialog. Its numerical
values should appear.

To soften the shadows, one should only change three of its values.
These values are often the three zeros that appear after the numbers
1, 1 and 2.   

Change those three zeros to 0.5; 0.5 and 0.5.

It’s worth noting that, the suggested values work well for my scenes.
However, feel free to experiment with different values, if desired. 

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To control its intensity, simply increase its power values.  

As mentioned earlier, users should test render each value tweaked to

achieve the desired result.
As in mental ray, one can also use a white override VRay material
(with its reflectivity set 0.0) for the sole purpose of creating the
correct amount of depth in scene (e.g. dark and bright areas of the
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scene).

To further decrease the rendering times whilst test rendering the

lights in Vray, simply decrease the    Sampling Quality and the
overall render settings.  

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As previously mentioned, the idea behind this technique is to prevent

users from spending too much time test rendering the lights with all
the materials and reflections enabled. 

Once satisfied, simply begin copying, test render and place the lights
accordingly in the scene.  
  

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Test rendering each light created with Vray or mental ray will enable
users to preview their effect in the scene, and subsequently tweak
them further, if necessary; thus preventing the common mistake of
overexposing/scorching the 3D scene with too many lights, and/or
having the lights too close from one another. 
It’s worth noting that, prior to lighting up a scene, most materials
and their basic parameters (e.g. UVW Mapping, etc.) should be
applied to their respective objects first.         

While creating the correct amount of depth in scene will help make
the renders more believable, the light colours will also prove even
more crucial in achieving that ultimate photorealistic look.
The following examples will help demonstrate how to quickly apply
realistic colours of a photo to a light source in both Vray and mental
ray.

In addition to applying IES lights to a scene, one can make the

renders look more realistic by picking colour/s of a real photo
reference.
To do so, first load the relevant photo in the scene (e.g.  Rendering >
View Image File) . 

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Next, select a light and open the Modify command panel.

Photorealistic rendering: In mental ray, scroll down to the

Intensity/Colour/Attenuation rollout.

Click and hold the Filter Color swatch.  Its Color Selector: Filter
Color dialog should appear.

Click on its sample screen colour button and pick any part of the
loaded photograph. To mix colours, simply hold down the Shift key
and continue picking 

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Photorealistic rendering:In Vray, scroll down, followed by selecting

and holding its Color swatch to enable the Color Selector: Filter
Color dialog. 

Click on its sample screen colour button and pick any part of the
loaded photograph. To mix colours, simply hold down the Shift key
and continue picking.  

In addition to picking and using the colours of a real photo,

production companies also use a blurred version of the same photo as
light source to help make the render more realistic.
It’s worth noting that, while this methodology is utterly effective, it
also increases the rendering times slightly.

Photorealistic rendering:In mental ray, to create the additional

light/s with a blurred map, simply create a new spherical
photometric light using some of the techniques covered earlier.

To change the light to Uniform Spherical, simply open the Modify

command panel and expand its General Parameters rollout.

In the Light Distribution (Type) group, choose the Uniform

Spherical from its drop down list. This   light distribution type will
provide users with the numerical value to be added later in the
mental ray Light shader.    

Next, scroll further down to the mental ray Light Shader rollout and
enable its function.
Please note that once this function is enabled; all the default light
parameters are automatically switched off. So even when the light is

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physically turned off the light shader parameters will still affect the
scene.
To disable it, simply uncheck the Enable function. 

   
To plug a light shader, simply click on its toggle, and double click on
the Light point type to choose it from the Material/map Browser
dialog list. 

To view its parameters, open the Material Editor dialog first by

pressing the M button.

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Next, drag and drop the light shader toggle into an empty material
editor slot; followed by choosing the Instance type, from Instance
(copy) Map dialog.   Its parameters should appear on the material
editor dialog. 

Most of its parameters are self‐explanatory. Before plugging a blurred

map to its Color toggle, enable the Shadows and the Attenuation
function.

The Attenuation function determines the furthest distance of the

light source from its original point.

The Attenuation Start value should always be 0.0, unless there’s a

specific requirement. 

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Users often use the Radius values from the Shape/Area Shadows
rollout parameters to preview the Attenuation End value in the
viewport, without having to test render.

VRay users can also use this value to preview the size of the light
source; followed by turning it off once satisfied.

When using light sources to cast colours of a real photo onto surfaces,
users should always place the light/s in a position where it will affect
as many surfaces as possible.
For instance, in an interior scene it’s common practice to place the
light between the floor and ceiling of each floor. In addition, the
light should be slightly dimmed to prevent bleaching areas of the
scene.

Its sole purpose should be to create colour variations in the scene

with a faint brightness; and to also break up even specular patterns. 

Next, locate the relevant blurred image and load it in the Color
toggle. When possible, always use an HDR (high dynamic range)
spherical panoramic image. If the shot happens to be a
photomontage, one should seriously consider taking a panoramic
photo of the environment in question.  
Otherwise, one can simply use a standard non panoramic blurred
JPEG image.

To blur an image, simply open it Photoshop and use the Gaussian

Blur filter. The reason for blurring an image is to avoid having very
well defined colour patterns, sharp shadows and increased rendering
times.  

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Once the image is loaded, if the original bitmap is panoramic,

change its Coordinates parameters to Environment type, and the
mapping to Spherical Environment.
In addition, one can also decrease or increase its default Blur values
to about 100. Blurring it to 100 will decrease the rendering times
dramatically.  

Loading a sharp image and blurring it in 3ds Max with the Blur
function will never yield good results. The rule of thumb is to load a
pre blurred image and blur it further in Max to 100, if necessary. 

To control image intensity, simply scroll down and open its Output
rollout parameters.
Also, increase its RGB Level value accordingly by test rendering with
the Material Override enabled.  

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To clearly see the immense benefits of this methodology, the

following images will depict examples of a very simple scene lit
without a mapped image, with a mapped image, with an additional
IES light source and an IES light on its own.     

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Photorealistic rendering: In Vray, to create a spherical light, one is

required to first create a sphere primitive, with the desired
proportions. 

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Next, create a VRayLight object using some of the steps covered

earlier. Open its Modify parameters and choose the Mesh type from
its dropdown list.  This light type will allow the user to plug a blurred
image to its toggle. See fig. 41 and 42    

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Scroll down to its Options group and enable the following options:

Cast shadows

Invisible‐ This function will make the light object invisible to the
camera

Store with Irradiance map‐ When using the light source as Mesh, the
rendering times will increase dramatically. Enabling this function will
help reduce the rendering times massively. Otherwise, one can
disable it. 
This function will only work if the Irradiance map is being used in
the V‐Ray:: Indirect Illumination (GI) rollout parameters.  For this
reason, the Irradiance map parameters should be set above the
minimum required.

Affect reflections‐ This function is often disabled to prevent having

the light being visible in reflections.
While the above mentioned settings often work well in my scenes,
feel free to try different ones, if desired. 

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Scroll further down to the Texture group, and load the desired image
in its toggle as previously covered. 

To view its parameters, simply open the Material Editor (M) first,
followed by dragging and dropping the toggle into an empty material
editor slot.

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Choose the Instance copy method, and use similar parameters to the
ones covered earlier. 

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If necessary use the Cropping/Placement handles to choose specific

areas of an image to be used as a light source.
It's also common to tweak with the "Bitmap" "Offset" coordinate
values in "V" and/or "U" to help target specific areas of the bitmap.

Finally, scroll further down to the Mesh light options and select its
toggle, followed by picking the relevant mesh in the scene. Its
intensity can be controlled through the image’s RGB Level value,
or/and from the light’s Physical Multiplier value. 

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Note: When implementing the above mentioned technique using the

VRay mesh light, the default  "Sampling" "Subdivs" value of 8 may
yield inaccurate/unrealistic shadows. To correct this, simply increase
the "Subdivs" to 64.

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While this value will produce realistic/accurate shadows, it will NOT

increase the rendering times due to the "Store with Irradiance map"
function being enabled.      Furthermore, when sending the final
render, the "Indirect Illumination" "Irradiance map " values need to
be set to "Medium" or "High".

 
All the spherical lights depicted in the 3D scene below, were
created using the techniques highlighted earlier, for VRay and
mental ray. 

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Note: If the bitmap colours emitted by the sphere light are not
prominent enough in the scene, simply use the "Color Correction"
procedural map on top of the main bitmap; and increase its
"Saturation" value until satisfied.
To apply it, simply open the "Material/Map browser" dialog and
choose it from its list. This topic was covered in this post HERE.
Alternatively, increase the saturation in Photoshop and re‐save the
main bitmap.
 

To implement the same technique to emulate interior studio lighting

or a light being emitted from a self‐illuminated display screen,
simply create a VRayLight object.  

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To control its physical size, open the Modify command panel, scroll
down to the Size group and tweak with its Half‐length and Half‐
width values.  

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To plug an image to the light, scroll down to the light’s Texture

group and click on its toggle to enable the Material/Map Browser
dialog.  

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Photorealistic rendering: In mental ray‐ To emulate a similar

effect in mental ray (e.g. Interior studio lighting or a light being
emitted from a self‐illuminated display screen), simply create a mr
Sky Portal object. 

To control its size, open the Modify command panel, scroll down to
the Dimensions group and tweak with its Length and Width values. 

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 The mr Sky Portal is set to Use existing Skylight by default. This

option only works when a Skylight object is already in the scene. The
mr Sky Portal helps to re‐direct the Skylight rays through where the
mr Sky Portal is positioned (e.g. through open windows, etc). 

To use the mr Sky Portal for interior scenes, one is required to

enable the Custom function first, and click on its toggle; followed by
double clicking the Gamma & Gain shader from the Material/Map
Browser dialog list. 
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To edit the Gamma & Gain shader, simply open the Material Editor
first, followed by dragging & dropping it onto an empty material
editor slot. In the Instance (Copy) dialog, choose the Instance
method and OK to close it.   

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Its parameters should load up. To plug a texture/HDRI simply click on

the Input toggle and locate the relevant image.

Its multiplier value can be controlled through the Gain (multiplier)

values; or through the image’s RGB Level as previously shown.  In
addition, one can also use the mr Sky Portal’s On Multiplier value
(1.0 by default) to help bump up the intensity of the light.  
      
The Reverse gamma correction (De‐Gamma) function is enabled by
default; which means brighter values are equivalent to high negative
values. To reverse this, simply disable it.
One can also control the Gamma values of the image by tweaking
with the Gamma values.   See fig. 57 and 58

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All the rectangular lights depicted in the 3D scene below, were

created using the techniques highlighted earlier, for Vray and
mental ray.

To emulate the Payless self‐illuminated display screen on the right

hand side; I have simply created an object with a Payless self‐
illuminated bitmap assigned to the object, and placed a rectangular
light in front of it to emit rays of the same image using the
techniques covered earlier.  

Finally, one can also use the same approach with Skylight objects,
when creating external shots.
Photorealistic rendering:In mental ray: When using the Daylight

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System, users often disable the Skylight option and create a separate
Standard one.

The Standard Skylight object provides users with the flexibility to

independently plug custom shaders, colours and images to its toggle. 

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Alternatively, users can enable the Use Scene Environment option,

to extract the sky data from the Environment Map toggle (press 8 to
bring up its dialog).  
For Photomontages and film shots, users often plug the
Environment/Background Switcher shader to its Environment Map
toggle.  

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For further information about this shader, please check this useful
article HERE.

Photorealistic rendering:In Vray‐ Users are simply required to

create a standard VRayLight object as previously shown, and change
its Type to Dome.  Dome light is equivalent to Skylight object.

As with most VRay lights, users can control its intensity with the
Multiplier values. 
To plug an image, scroll down to its Texture group and click on its
toggle to bring up the Material/Map Browser dialog. Often some
users apply a standard image; and most professionals prefer to use
the VRayHDRI shader. 

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To edit the VRayHDRI parameters, first open the Material Editor (M),
followed by dragging and dropping it from the Texture toggle onto
an empty material editor
slot.                                                  Choose the Instance method. 

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Once the VRayHDRI parameters are loaded, click on its Browse

button to locate and pick the relevant HDRI file. 

While the Skylight shadows should yield diffused results, some users
prefer to turn off the VRaySun object and use the Dome light to
generate both direct and indirect shadows (e.g. diffused shadows).  

Most HDR images come with a reflection image (e.g. sharp), and the
environment image (e.g. blurred to emit diffused light). To generate
both direct and indirect shadows, one is required to use a sharp HDRI.
Users often tweak with Horiz. rotation and Vert.rotation values to
control its position in the Material Editor slot thumbnail.    

Also, the Overall mult. value will help control the brightness of the
light/scene.
Depending on the results intended, most users choose the Map type
to be a Spherical environment.          For acceptable results, one is
required to have the Irradiance map and the Light cache parameters
very high.  

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Furthermore, one should copy and paste/ instance these VRayHDRI

parameters into the Environment Map toggle.  
To override either the GI Environment (diffused light) or what’s being
reflected in the scene Environment Map toggle; one should open the
Render Setup (F10). In the V‐Ray tab, expand the V‐Ray::
Environment  rollout and use one or both of its  parameters(e.g.  GI
Environment (skylight) override and/or the Reflection/refraction
environment override).   

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Once the lights and colours have been signed off, one can then
disable the material override to finalize tweaking the materials/
reflections/glossiness, and perhaps fine‐tune minor light settings
(e.g. boost up or decrease certain values).   

The 3d images below depict some of many results I have personally

produced, with Vray and mental ray whilst using the techniques
covered in this article. 

3D Image created and rendered whilst at GMJ  design ltd 

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3D Image created and rendered whilst at GMJ  design ltd

3D Image created and rendered whilst at TP Bennett

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3D Image created and rendered whilst at TP Bennett

I hope you have found this article interesting!

My 3D Portfolio

Also check: 

Realistic materials

Post‐production techniques

IES lights

Self‐illuminated materials 

Architectural Visualisation Tips & Tricks

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P O S T ED B Y J A MI E CA R DO S O A T 18: 56
LA B ELS : 3D, 3DS MA X , A U T O DES K , LI G H T I NG , MENT A L R A Y ,
P H O T O R EA LI S T I C R ENDER I NG , P H O T O R EA LI S T I C R ENDER S W I T H MENT A L
R A Y , R EA LI S T I C R ENDER S , R ENDER I NG , V R A Y

1 5 COM M EN TS :

Lawrence Jorge R S 20 May 2013 at 19:44

Very nice work! Congratulations, thanks for share !
Reply

Jamie Cardoso 20 May 2013 at 20:45

Hi Lawrence,

Thank you very much for your kind comment here. I really
appreciate it!!!

Ta
Reply

Xavier 23 May 2013 at 04:15

This is awesome, took me quite sometime to digest all.
Reply

Jamie Cardoso 23 May 2013 at 04:25

Hi Xavier,

Thank you very much for your input here...and I am glad that
you have liked it!!!

Ta
Reply

Nilesh Arakh 20 September 2013 at 23:19

nice work thank you for share
Reply

Jamie Cardoso 21 September 2013 at 02:05

Thank you Nilesh. It's much appreciated!

Ta
Reply

Purple Star 29 December 2013 at 13:29

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Please advise on how to make urban architectural rendering

as you have on your home page.

Is there a plugin for this?

and.... would this aspect be covered in your book?
Reply

Jamie Cardoso 3 January 2014 at 08:31

Hi Marium,

Thank you very much for your input here!!!

The book features a day, and a night shot of the building you
see in the book captions; and the interior depicted in the
book cover (day and night tutorials).
In addition, users also have the context model of the
surrounding buildings!
Furthermore, the book doesn't cover modelling as such.
However there are essential tips on bringing models from
Autocad into Max; tips on creating accurate model s from cad
drawings in Max; etc.
All the above mentioned tips and tricks can be found in
Chapter 1 !!

After chapter 1, the subsequent chapters are detailed step‐

by‐step tutorials...with further tips & tricks thrown into the
mix occasionally!

Finally, as mentioned in the table of contents of the article,

the book covers pre‐production; production and post‐
production!

Ta
Reply

x 17 January 2014 at 10:22

just got your book and love it! one question though. In an
example above you use a sphere to be used as a mesh light in
vray. why not just create a vray sphere light and insert the
blurred image into the texture channel of the sphere light? I
would think this would render quicker than the mesh light. Is
there any advantage to using the mesh light over the sphere
light?

thanks in advance.
Reply

Jamie Cardoso 17 January 2014 at 19:52

Hi There,

Thank you very much for your input here. It's much
appreciated!!!

The reason for NOT using the V‐ray sphere light, is simply
because my version of v‐ray doesn't allow users to plug any
bitmaps to it (assuming your version of v‐ray does? (e.g. its
bitmap toggle is greyed out by default)).
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Again, thank you for your input here!!!

Ta
Reply

Lasitha Ishan Petthawadu 19 January 2014 at 14:11

I learnt a lot from your article, appreciate the effort taken to
explain in detail, Thanks again
Reply

thecreep 14 February 2014 at 07:52

Hi Jamie,
Thank you for your great blog, tutorials. I've learned a lot of
things from you :) now I have a stupid question: You said: "To
emulate the Payless self‐illuminated display screen on the
right hand side; I have simply created an object with a
Payless self‐illuminated bitmap assigned to the object, and
placed a rectangular light in front of it to emit rays of the
same image using the techniques covered earlier."
First,Can you please give me a bit detail about this subject
and second direct me to the link "techniques covered earlier".
Reply

Jamie Cardoso 14 February 2014 at 10:00

Hi there,

Thank you for your input here. It’s much appreciated!

What I meant was that, in addition to applying a
vraylightmtl(with the "orangy" payless bitmap), onto the
object on the right hand side, I rectangular vray light was
also created with the dimensions of the same object, and the
same "orangy" payless bitmap was also plugged to its light
"texture" group.
If you read the entire article you'll see where the section of
applying a texture to a vray rectangular light was being
discussed!
Please see below one of many images used to describe this
technique:

http://2.bp.blogspot.com/‐
Wn650pIjzlE/UZrEy6HI2fI/AAAAAAAABTM/CW1JavKX7TY/s16
00/Photorealistic+rendering+with+Vray+or+mental+ray_52+.j
pg

Regards

Ta
Reply

Kent Touchthis 29 March 2014 at 18:39

Nice Work Sir!!! But can you post about photorealistic
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exterior house designs rendering? Please Sir

Reply

Jamie Cardoso 5 December 2014 at 09:32

Yes, I'm creating an article about i!

If you happen to have other suggestions about tutorials,

please email me on:

[email protected]

Ta

Jamie
Reply

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