VRay Sun, Sky and Physical Camera video tut + Bonus Script!

[jacksc02]

you will have to teach me your method one day lele

[Animato727]

Cant use physical camera

So what would you do if you can't use the physical camera since you are using the Vray dome camera? The dome camera doesn't seem to have the same options. I want to use the sky and sun combo for a sunset. Unless anyone can suggest a better sunset process.

Patrick

[jacksc02]

you can use the same methid but drop the multiplier of your colormapping to around .01

[^Lele^]

small bump, as people are having trouble finding this post with default forum settings (it's a bit more than a month old...)

[chad]

Lele-

I was trying to download the script for the material converter, but the links in the earlier posts don't work. I also tried to go to scriptspot and do a search for it, but nothing came up that way either. Is the material converter script still available?

[^Lele^]

http://www.scriptspot.com/Lele/VRay_...erter_v1.1c.ms

It got to Ver. C as I added the bump multiplier, eventually.

[chad]

Thanks!

I've finally decided to take the plunge with your method, and It's definitely working great!

[^Lele^]

Bump!
Re-Bump!

[R_Cyph]

Depth of field

Lele : Does this workflow work well in conjuction with the DOF of the physical camera? would using an unsually high ISO affect it at all?

[^Lele^]

DoF shouldn't have any issues with ISO values.
I see ISOs on the physical camera pretty much as a "brightness" control working in float space (says the floater ).
As such, whatever the ISO number, all that's really happening is a simple RGB value multiplication.

Of course, you can change F-Stop number, darkening/brightening the scene in a non-linear fashion, and changing DoF focus planes.
Should your DoF not appear to work, you can probably decrease F-number to tighten the Focus ranges, and re-expose through ISOs to match what you had before (manually or through my script, the results can be the same).

I hope it was exhaustive and correct. feel free to ask if you find this lacking.

[R_Cyph]

nope that makes sense

expose with ISO

focus with DOF and other camera settings


re-expose with ISO again


Gotcha

[RSI]

Hello lele, thanks a lot for your method, i'm using it from some time now, and i must say that it give very good result for exteriors (.5 color multiplier). I'm also using it for interiors, because it's important for me to have same materials settings for interiors and exteriors (architecture rendering is often beetwen the both), so it's also .5 multiplier, but I must confess that I have problems with interiors in some case. Is there any solution to fix it, see image attached.
Best
Gael
www.rsi-studio.com

[^Lele^]

It looks like a light leak from geometry.
Does it go away when you use everything at 1.0 multiplier?

[DzineTech]

Lele,

Many thanks for your excellant tutorials. I've watched them several times and I'm looking to apply them in my workflow. I understand that they made before the latest release of vray but I have a few questions which I hope you (or anyone who has successfully used your method) can help with.

1) Your technique in the video's was applied using an external scene though I have heard it can be utilised on internal shots as well (e.g. aaron-cds internal loft rendering). From your experience how do you ensure that your scene is exposed correctly for an internal shot? To clarify, say you have a model in Max, no materials applied other than a white vraymtl (255 rgb, 0.5 rgb multiplier) with a physical cam in place and the scene is lit with only a vraysun/sky. My quandry is that there are 3 places which I could possibly look to have the phys cam expose so that it with the white mat applied it doesn't go above float 1.0

They are:

a) The floor which has direct sunlight passing through a window.
b) The floor adjacent to that in a) though where its not directly lit.
c) The external world outside of the model ( Ground plane etc..)

I would have thought the latter was incorrect as most internal shots tend to have the windows slightly 'blown out'.

2) What do you advise the rgb multiplier should be for internal shots? I presume that it must differ between external & internal shots?

3) Your suggestion 0.4-0.6 values for external shots - Is it just a simple case that the artist uses whatever value he/she prefers so long as a white material applied to a flat plane still looks white and is exposed at float 1.0?

Thanks in advance

[^Lele^]

1) Your technique in the video's was applied using an external scene though I have heard it can be utilised on internal shots as well (e.g. aaron-cds internal loft rendering). From your experience how do you ensure that your scene is exposed correctly for an internal shot? To clarify, say you have a model in Max, no materials applied other than a white vraymtl (255 rgb, 0.5 rgb multiplier) with a physical cam in place and the scene is lit with only a vraysun/sky. My quandry is that there are 3 places which I could possibly look to have the phys cam expose so that it with the white mat applied it doesn't go above float 1.0

They are:

a) The floor which has direct sunlight passing through a window.
b) The floor adjacent to that in a) though where its not directly lit.
c) The external world outside of the model ( Ground plane etc..)

I would have thought the latter was incorrect as most internal shots tend to have the windows slightly 'blown out'.

I'd personally pick B.
After all, if your eyes looked at either the directly lit floor, or the sunny outside, you'd be pretty blinded as to what goes on in the room, and so would a normal camera.

2) What do you advise the rgb multiplier should be for internal shots? I presume that it must differ between external & internal shots?

3) Your suggestion 0.4-0.6 values for external shots - Is it just a simple case that the artist uses whatever value he/she prefers so long as a white material applied to a flat plane still looks white and is exposed at float 1.0?

I never quite finished testing out interiors, so i don't quite have a "good" value to suggest.
This said, i'd start using an override material with a white of 1.0, expose, render, lower the rgb mult, expose, render, and so on, until with the override material on you find a good balance between speed and light distribution.
Then turn the override material off, and re-expose with the correct materials applied.
Which means yes, the whole numerology is just hot air, compared to an artist's taste and needs
Pick what works...