Why do you use V-Ray and/or Corona?

[mitviz]

Hmm is there coming a time when the two will just merge into one?

[hoppergrass]

This could - paradoxically - be due to the fact that the LC is very very efficient, and able to bounce light 100 times (by default, at that!).
This will distribute more energy to its natural extinction, and result in a brighter, less contrasty render than if one used fewer GI bounces.

Corona by default stops at 25, thereby introducing more bias, and contrast with it.
It also has readily available S-Curve shaped tonemapping controls (f.e. the Filmic components, and most of the LUTs will add contrast.), which would also help with the "popping" of a render directly within the VFB.
Lastly, it also sports a sharpen/blur filter in camera, which would surely come in handy.


I could of course be sorely mistaken, and would love to see those comparisons as well, if they were still available.

edit: cross posted. thanks for the samples!

as a side note, I have always thought that Vray calculated light too well, now I know that its not just my perception

[Guest]

Just switched to V-Ray. I gave up on Final Render after they eviscerated it in the last release. Almost all the work I do is for domes, so the dome camera and bucket rendering is essential. Interactive rendering of the dome camera in V-Ray is fantastic. I've been through the help documentation once, and I'm just about to do it again. Looking forward to discovering all stuff I can use.

Any other dome creators here?

[viktor_szemes]

Hi Vlado and Lele,

this thread has been inactive for a while, but I was wondering if you guys have found anything conclusive in terms of "corona looks better out of the box", after checking Drawehn's sample model?
I found the suggestion of the GI bounces being different between the two render engines very interesting, but I never got to know as to what the actual difference coud be.

Now, I have come across a situation where I was doing work on a max model in corona, and had to hand it over to someone else: after the handover it turned out that a render on my computer looked different from the same model rendered on the other computer. (a PNG, that is)
Now, I am using calibrated monitors, and the calibration tool loads a custom .icc profile when windows boots, whereas the other computer had no monitor calibration, and most likely was using a standard windows srgb profile.
I suspect corona uses the operating system's .icc profile to convert the linear color space of final image with some tonemapping automatically applied.

The same situation in vray does not occour as far as I can tell, I have never come across renders from different computers that did not match when rendered from the same model and setup in max. So I am pretty confident vray does not do any color profile voodoo stuff, unless it is specified.

Is it possible that the difference between the "out of the box look" is due to the way corona handles the operating system's color profile by taking it into accout even in the corona VFB? And then maybe handling the highlight compression a bit different from vray.
I am just guessing here, but do you think there is any credit to anything I just said?


Thanks,
Viktor

[^Lele^]

Hi Vlado and Lele,

this thread has been inactive for a while, but I was wondering if you guys have found anything conclusive in terms of "corona looks better out of the box", after checking Drawehn's sample model?

We didn't, the scenes were never identical, rather very meticulously set up, but in a different way for each.
When made identical, they'd look and play identical, as they should given it's light transport we're talking about (if they didn't look the same, by and at large, one of the two would be doing things wrong.).

I'm no expert in Corona's inner workings, but i'd assume (wildly guessing would be more like it.) it does what Max does: ignore the OS.
I'll surely pass the idea on to the relevant people, it may indeed have merit.

[muoto]

Hmm...tested corona over the weekend.
As i feel vray seems to be a more complete/tweakable package, i'm quite pleased with the quality (light/reflections/noise) of corona (and it has maybe a better integration with railclone and forestpack?)...
I will go on trying on some real life project to see if i can conclude the best option (eventhough i used vray since the very early years)

[matanov]

and it has maybe a better integration with railclone and forestpack?

I'll be quite surprised if this is true

[muoto]

I'll be quite surprised if this is true

Might be true, only had in mind that some options where only working with corona

[muoto]

Hey Chaos, could i return your topic question? i was wondering, what features/options/quality/whatever would you like to integrate from corona into vray ? i'm curious

[s_gru]

it's been a little over 2 years since this was first posted. chaos, would you care to share some updates on your findings and where it might lead either of the two platforms?

[Vizioen]

Might be true, only had in mind that some options where only working with corona

It's the other way around.

[s_gru]

with regard to icc profiles and colors, i too have a calibrated and profiled monitor. i would not recommend using a machine's profile to render for the fact that not every profile is going to be the same - two or more machines in a render farm for example. i deal with different looking images every day and can only guarantee it looks like what the designer intended to look like on my main computer monitor or if i print a render.

the way camera raw converters do it, is supply the image from the camera in the widest possible color gamut profile such as 16-bit ProPhoto RGB. then when you go from the raw converter to an application such as Photoshop, you tell it to convert the colors for you to aRGB or sRGB or simply leave it in ProPhoto gamut and do the color conversion in the editing program after you've adjusted it.

with regard to 16-bit, most digital camera do not capture that much color but ProPhoto is the wrapper than can handle up to that or maybe a touch more.

anyway i would think a renderer can create high-bit color images, but the problem is to knock them down to a common color space like sRGB. i'm less familiar with color management in AfterEffects or PremierPro. but it'd be great to be able to do all of my adjustments in there in a high bit high color space (to avoid banding and pixelization) during sometimes drastic color and luminosity changes. then export as NTSC color space or sRGB etc.