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Cinema 4D Training
Introducing VRay
A short guide to the settings of VRayForC4D
Stuart Lynch
e C4D Vault presents
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ZIP ARCHIVE PASSWORD
SherbetLemon
case sensitive
Project les can be found at
/>Page 4 Page 5
eC4DVault(.com)
eC4DVault.com was created by Stuart Lynch and provides Cinema 4D training, resources and sample
les for the C4D community. Stuart is a veteran Cinema 4D user with over 10 years of professional expe-
rience in the industry and several years providing instructional information to intermediate users.
is rst in a series of new short instructional pdf ’s is aimed at providing the user with enough informa-
tion to digest without becoming overwhelmed. It highlights the backend of VRay and relates the impor-
tance of understanding the settings that make VRayForC4D one of the best render engines around.
Over the coming months, eC4DVault pdf booklets will cover a wide variety of topics, providing a free
and reliable way to learn Cinema 4D. “I hope you enjoy this rst addition and learn a thing or two about VRay in the process. anks for reading.”
Stuart Lynch
Right click the light object in the Object
Manager and scroll down to the VRay tags.
From the list, you’ll want to add a VRayLight
tag. gure 1.8.
gure 1.9
e information required to manipulate
VRay lights specically is now contained in
the VRay light tag for future reference. gure
1.9 You can double click this tag at any time
to retrieve this set of parameters.
If you were to search images.google with
the term ‘VRay’, one of the rst thing you’ll
notice is the abundant usage of the Physical
Sun/Sky setup.
It’s a practical solution for lighting interiors
and will serve as our rst demonstration of
the VRay engine at work.
In gure 1.1 we have the Sun light parameters
which allow us to make changes to the Sun’s
intensity and it’s physical properties.
For this example we’re simply going to acti-
vate the Sun/Sky and become familiar with
the lighting it provides for the scene.
gure 1.1
In gure 1.2 I’ve created a primitive cube with
2 segments on each side. e geometry has
been edited and 2 simple openings have been
For now, our intention is change the target
spotlight to become a Sun light with a
PhysicalSky
In the option Light type gure 1.4 Change from
a Spot light to an Innite light.
Also check Enable shadows
gure 1.10
e light now is as it suggests, an innite
light and not yet a Sun Light. In order for the
light to become a Sun Light we must click
the Sun Light tag and make a few adjust-
ments
gure 1.11
In gure 1.11 I have checked the boxes Physical
Sun and Physical Sky.
A test render gure 1.12 will now reveal a room
illuminated by the physical qualities of the
sun and sky together.
Focussing on the details of the render, it’s
possible to notice that there’s a slight aw in
the accuracy of the lighting.
e sunlight that enters the room looks
overexposed, yet the subsequent light fall-
o is too dramatic and occurs too quickly.
Meaning, the rest of the room is too dark
when compared to the intensity of the sun.
Maybe it’s that the scene needs a ll light or
colors as they reach too high of an intensity.
e darkness multiplier value increase to 3.6
indicates that the original output of grey/
blue will have be multiplied by 3.6, giving
rise to the additional light and brightness in
the scene.
e brightness multiplier is increased to 1.8
Which indicates that although the exponen-
tial value has reduced overall brightness, it
can still be multiplied to compensate for the
dip you see in gure 1.19.
You can consider it a compromise.
In gure gure 1.19 the brightness multiplier
is being le at its default value of 1.0 and the
sunlight would be too low in its intensity.
gure 1.19
FOR INDOOR SHOTS.
Type: Exponential (some prefer HSV exponential)
Dark Multiplier: 3.6
Brightness Multiplier: 1.8
Gamma: Between 1.8 - 2.2
LinearWorkFlow - Check to ON
FOR OUTDOOR SCENES.
Type: Reinhard
Multiplier: 1.5
Burn Value: 0.5
Gamma: Between 1.8 - 2.2
is basic cube is 500cm x 200cm x 800cm
and represents our small bedroom. gure 2.1
Chapter 2: e test scene
In this chapter we’ll begin with a quick scene and will introduce the Physical Camera.
gure 2.1
In figure 2.2 I’ve added 5 segments to the X
side of the model. Edit the model (hotkey C)
and move the editor camera inside of the
model.
gure 2.2
With the camera inside the model, select all
polygons and reverse normals so that they’re
facing inwards. (hotkeys U~R)
gure 2.3
Selecting two faces as shown below gure 2.4
Use inner extrude (hotkey I) and extrude (hotkey
D) to create two window openings.
Here you could split the glass geometry for
later (hotkeys U~S) or simply delete the two
polygons.
gure 2.4
gure 2.7
Returning to the editor view, raise the lowest
portion of the windows up slightly. gure 2.8
gure 2.8
Select all the polygons on the oor plane and
extrude down slightly to create room for a
thin moulding feature gure 2.9
Select all ceiling polygons, perform a slight
Add a VRay Light tag to your Target light,
check enable shadows, change from spot
light to innite light. In the SunLight tab
activate the Physical sun and Physical Sky.
Returning again to the editor view and
ensuring you have you camera selected. Run
your rst render. gure 2.16
gure 2.16
Clearly not enough light entering the room
on this angle. is issue of balance is more
prominent than in my initial examples.
It’s time to apply Color Mapping to bring the
room to life. gure 2.16
gure 2.17
REMINDER
FOR INDOOR SHOTS.
Type: Exponential (some prefer HSV exponential)
Dark Multiplier: 3.6
Brightness Multiplier: 1.8
Gamma: Between 1.8 - 2.2
LinearWorkFlow - Check to ON
A small improvement.
Select the wall polygons in between the win-
dows and extrude. gure 2.11
gure 2.11
gure 2.13
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Bringing the shot to life.
From the Material Manager add a new VRay
rest of the scene. gure 2.23
gure 2.23
Make a few adjustments to your camera po-
sition and to the SunLight and try to balance
both lighting direction and composition.
gure 2.24
gure 2.24
In this next phase of scene creation, we’ll
start blocking out some objects with simple
geometry to get a better feel for composition.
Place Cube primitive objects and position
them where the bed, side tables and cabinet
would potentially be.
e presence of more white objects has
changed the dynamic lighting of the scene
once again. gure 2.25
gure 2.25
Adding some additional materials with
variations in color (preferably chosen to represent
how you imagine your scene) we’re able to improve
upon the overall feel of the shot. gure 2.26
gure 2.26
With all of these geometry additions you
may have noticed that the light in the room
has taken a signicant dip in brightness.
On the next page we’ll discuss the Physical
Camera and how to implement photographic
values in order to restore the balance.
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Introduction to the Physical camera
intensity.
Click the VRay Physical Camera tag
Under the Tab - Lens parameters.
Scroll down to Film ISO and change the
value from 100 to 400
A test render produces this result gure 2.28
gure 2.28
gure 2.26 ‘Old result for comparison’
An increase in Film ISO values from 400 to
1600 gure 2.29 increases the lm sensitivity
further and subsequently alters the bright-
ness of the scene.
Changes in F-Stop values can also be made
to compensate for brightness.
Shutter speed can typically be le alone,
although it is an important value when intro-
ducing motionblur into your workow.
gure 2.29
If you’d like to continue with your scene and
start placing actual geometry or re-working
the blocked out models to become realistic
xtures in the room. Feel free.
gure 2.30
In gure 2.30 I’ve added a new bed and a some
subtle blurry reections (refereed to as Glossiness
reections in VRay) to the wood material.
With this setup the Light Cache will be cal-
culated rst. gure 3.3
gure 3.2
Aer successful completion of Light Cach-
ing, the Engine then begins computation the
Irradiance Map.
A simplied explanation of the Irradiance
map is to imagine a point cloud that origi-
nates from the Camera and projects out-
wards into the scene.
In gure 3.6 I’m using a VRay resource
called IMapViewer.exe. With this we’re able
to view the resulting IR map in its raw form.
From the camera perspective in the bottom
le corner, it’s quite easy to visualize the job
of the Irradiance map. ere are no samples
outside of the Camera view and so we can
conclude, it only samples what it needs to
see.
gure 3.4 ‘e familiar Light Cache calculation’
gure 3.6
gure 3.5
At these low settings rendering with Light
Cache as both a rst and second bounces
as with gure 3.5 would produce some odd
splotchy results.
Although with the correct values, this tech-
It’s not imperative that we learn exactly how
the backend of VRay works. What’s impor-
tant is that we understand how these vast
amounts of values will aect our end results.
We’ll need to break them down a little in
order to make sense of them.
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Back to the DMC sampler, add the values
from gure 3.10
gure 3.10
Adaptive amount will be le alone.
Minimum samples have been reduced from
8 to 4
Noise threshold was in an okay place with
0.01, so we won’t touch that either.
Global Subdivs multiplier is set 0.5, down
from 1.
In the tab Indirect Illumination (GI) click
the Irradiance Map arrow to reveal more set-
tings gure 3.11
change the Hemispheric SubD
Anti Aliasing (AA) is another important fac-
tor in determining nal VRay render quality.
e Adaptive DMC Anti Aliasing mode gure
3.9 and the DMC sampler gure 3.8 are tied
in very closely, especially when compared
to other Anti Aliasing techniques like the
Adaptive Subdivision sampler
gure 3.9
process it will start to become second nature.
Yet that is only part of the equation.
It is also important to have a basic under-
standing of why each value works the way it
does.
In this next section we’ll adjust for a nal
render a along the way I’ll point out some of
the method behind the madness.
gure 3.16
If your render happens to look as it does in
gure 3.16, it would be because you haven’t yet
applied Color Mapping. Not mentioning it
this was an intentional test.
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Creating a higher quality render
Reload the example bedroom.c4d
Attempt this without illustration (please)
#1 In the tab Indirect Illumination (GI) se-
lect ‘03_IR-LC_medium’ from the GI Preset
list and check the box GI On
#2 In the Irradiance Map sub menu
Min Rate: -3
Max rate: -1
Hemispheric SubDivision: 55
Interpolated samples: 15
Leave every other IR setting alone
For a scene with Global illumination that’s
not a bad time.
But was the result ready to send to a client?
Well, aside from the fact that the scene is
pretty bad to begin with, I’d still have to go
w i t h “ n o”.
ere’s artifacting issues in a couple of areas,
too much noise in the wood and black glossy
metal and it needs a little more.
It feels close but it could use a little more to
sell it as nal.
Indirect Illumination - Irradiance map
Tempting as it may appear to ignore this section and rely upon VRay’s preset values, I would recommend
against it. Presets only solve half of the equation, they have no aect on AA or the DMC sampler and
they’re not intended to provide a complete setup for your scene.
Instead see the presets as a good starting point. e Medium quality preset is sucient for most projects
and only requires a few minor adjustments to bring it up to speed.
When rendering a GI shot in VRay, the
engine requires two solutions to produce ac-
curate GI results. ose are the Primary and
Secondary bounces.
In gure 3.18 I’ve turned o secondary bounces
and le the Primary bounces as: Irradiance
map.
less complex scenes.
gure 3.18
So far we’ve used only two of the ve
possible GI engines in these slots. e preset
values highlight other combinations, though
the IR and LC is our focus for the time be-
ing.
As Irradiance map is our primary bounce,
we’ll introduce its settings rst.
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You could ask why not just have a Min value
of -1 and a Max value of -1? Or a xed value?
e smaller values in the Min setting (-4 for
example) are important for sampling the bigger
details (walls etc). e larger values in Max (-1
or 0) are for sampling the ner details.
You would rarely encounter a need to use a
positive value like 1 in the Max setting. If it
occurs to you to do so, it would be wise to
look elsewhere before concluding that this is
the solution to your rendering woes.
Min and Max however, are only part of the
solution.
In gure 3.19 the low settings I’ve deliberately
chosen are creating very obvious splotches.
is suggests that are settings are way o the
mark and need to be re-worked.
In gure 3.23 the Interpolated samples value is 20. is is practical amount for most renders.
At this scale it is perhaps dicult to see a huge dierence. Also any remaining noise issues you’re seeing
would then be an issue with the DMC sampler and not the IR Map.
gure 3.21 gure 3.22 gure 3.23
ere are clearly other settings in the Irradiance map parameters, yet in the interest of not becoming
bogged down with too much input, I’ll only briey highlight their usage.
To the le of the Min/Max rates lie the Intensity reshold, Normal reshold and Distance reshold.
ese settings refer to individual sensitivities to light intensity changes, surface normal changes and
changes in the distance between surfaces. I would leave these values alone and let the provided preset
values guide you until you become more familiar.
ere are occasions with objects such as ‘thin blinds’ where adjustments to these settings will benet your
render.
In the Detail enhancement section are a couple of additional parameters.
is function as the name implies creates additional detail (to small detailed objects, not really useful in a typical scene).
Utilizing this process will force the GI algorithm to compute with Brute Force GI in places that are dif-
cult for the IR map to reach.
When using this function it is oen necessary to consider lower overall IR Map settings.
With this option checked we’re dependant upon Detail enhancement to enhance our render, the remain-
ing settings would therefore only need to made be suitable for coverage of the larger objects.
Note: is is because large objects such walls/ceilings typically get adequate coverage from fewer samples.
In my professional career I have used the Detail enhancement function no more than 3 times.
Rening the IR map settings is how we
prevent splotches and other inaccuracies. It
ensures that this approximation method (our
primary light bounce) will provide enough
ing your own value is recommended, espe-
cially if the secondary bounces require more
attention.
e number of paths traced from the camera
is the square of the subdivision value. 1000²
equals 1 million paths. 2000² is 4 million and
10,000² is 100 million.
e Samples Ratio values are based on the
resolution of your scene. In the case of the
1/1 setting in a scene that’s 1280x720, the
Light Cache would produce 0.9 million
paths.
gure 3.25
In gure 3.25 I used a Sample ratio of 1/1 at
1280x720, implying 921,600 samples.
e light cache took 28 seconds to compute
gure 3.26
In gure 3.26 I used a 960 samples in the
Subdivision box. 960² = 921,600 samples. It
should come as no surprise that the calcula-
tion took exactly the same amount of time.
ere are some instances where you’ll need
to go beyond the 1/1 Samples ratio amount
and manually enter Subdivision values.
ough 1/2 is quite sucient in most cases.
It is imperative to use a higher value during
animation, but rare to exceed 4000.
With scenes outside of the typical Physical
Prelter samples More prelter samples
equals a more blurry and less noisy cache.
Filter type. is is for tracing the Light cache
along a camera path and is benecial for
animation.
Use light cache for glossy rays. If this option
is on, the Light Cache is used to compute
glossy rays as well normal GI rays.
is option can speed up rendering of scene
that have blurry reections by a signicant
amount.
Enable LC retrace. is option assists VRay
in preventing light leaks at the expense of
slightly increased calculation time in the IR
Map.
Retrace threshold. is value can be used in
conjunction with ‘use light cache for glossy
rays’ to help VRay dynamically decide when
and where to use the Light Cache.
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e DMC Sampler
Having covered two of the possible GI engines and how their individual passes contribute towards the
quality of the nal render, we need to talk about the big guns! e DMC Sampler.
You can think of the DMC sampler as a global quality control.
is group of 4 settings play a very important role in the rest of the workow.
gure 3.29
During render time, the DMC sampler is
adaptive amount of 0.8, the DMC sampler
will always use 20 of those samples. e
other 80% will be considered internally by
the engine, but not necessarily used.
Control over this function is decided by the
“Early Termination Algorithm”
With an Adaptive amount of 1, we hand over
control of all of the samples. (Fully adaptive)
With an Adaptive amount of 0, All 100
samples will be used without consideration
for the “Early Termination Algorithm”. (Not
adaptive)
In most cases, the default value of 0.85 for
the Adaptive amount is more than sucient.
At 85% adaptive, this may seem like we’re
leaving too much to chance, giving too much
control to the DMC sampler. But VRay
handles the process very smoothly and it’s
not oen necessary to go below 70% (0.7)
Noise reshold.
e Adaptive process communicates directly
with the Noise reshold amount. is value
determines the amount of noise that is ac-
ceptable before it can tun its attention to the
next pixel in the calculation.
gure 3.35
gure 3.32 Noise threshold has a value of 0.01
stands out from the others as having too
much visible noise, would also benet from
sending more samples to the DMC sampler.
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When a single object causes an issue, it’s im-
portant to look at it’s individual subdivision
parameters to resolve.
It would be a shame to spoil a good balanced
rendering solution and shoot for an overall
increase in quality on account of one prob-
lematic object. is wouldn’t be a practical
way to work.
Looking again at gure 3.29 we have 2 settings
remaining to talk about, and both of them at
this point should be easy to comprehend.
gure 3.36
Minimum Samples
Min samples equals the minimal amount of
samples that the DMC sampler will compute
before terminating the algorithm.
Note: e default 8 is once again squared
to imply 64. It also intentionally matches
the default number for all subdivision based
parameters.
Global Subdivs multiplier.
If an overall quality boost is required for
every subdivision based parameter, this is a
good place to dial in some numbers.
slow.
e subdivision parameter here will also
talk to the DMC sampler in the same way as
discussed earlier.
Ray depth controls the number of bounces
that will be computed, but is only available
if Brute force is chosen as a secondary GI
engine.
Photon maps are occasionally useful for in-
teriors scenes, but this is an older method of
approximation and I typically avoid it.
Spherical harmonics is not yet properly
integrated into VRayForC4D and should be
avoided.
Antialiasing
Brute force, Photon maps, or
Spherical harmonics.
Fixed Rate sampler gure 3.37
With this method, the sampler takes a xed
rate of samples per pixel. e subdivision
value is squared as with other subdivision
parameters. 1² =1 / 2²=4 / etc
A value of 4 would indicate that 16 samples
had been taken per pixel.
is sampler is simple and predictable in a
broad range of antialiasing tasks, but the na-
ture of a xed sample can equal slow perfor-
mance in some cases.
manage the antialiasing settings.
at may seem like a common sense approach, but if I got a dollar for every time somebody sent me a
scene where they’d randomly entered 0.001 in the Noise reshold to resolve a simple issue, I’d be rich!
at value may well have xed the issue, yet they inadvertently made the rest of the scene more compli-
cated than it needed to be. On inspection it’s usually obvious that they were only trying to improve upon
a couple of small problems.
Similarly there’s a list of preset values known as “Universal VRay 1.5 Settings” that people rave about.
You can see the appeal right away, although if you use these settings be open to the possibility of waiting
around for a long time.
It’s my hope that I explained this process with relative clarity. If you do have any unresolved questions the
VRayForC4D manual oers very precise examples of why each setting performs the way it does.
Wrapping up
gure 3.39
Adaptive Subdivision sampler gure 3.37
Of the 3 methods, this is the only sampler
that can undersample (take less than 1
sample per pixel).
In scenes that don’t rely on blurry eects,
this is the preferred image sampler for both
its speed and reliability. However, in the
presence of these eects it can perform
worse than the DMC sampler.
few additional seconds when compared to
blurring lter like Box, Area and Gaussian
and Area.
Note; ese lters are not the same as apply-
ing sharpening/blurring lters in post. I would
recommend using one based on your needs at
all times.
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Chapter 4: Vray’s materials
Whatever your choice of render engine it’s good practice to have a test scene for trying out materials.
In this chapter we’ll work with such an environment and introduce Vray’s BRDF material system.
gure 4.1
Open the scene le test_stage.c4d gure 4.1
gure 4.2
e scene uses three area lights and some
basic geometry, it also renders very quickly
for fast feedback.
Create from the materials manager, a new
VRayBridge - VRay Advanced material
A VRay advanced material has far more
options than a standard C4D mat. e vast
majority of materials you’ll set up in VRay
are relatively straight forward, though with
this much exibility, there’s a lot of room for
complexity and creativity.
e material editor features many settings
that you’re probably already familiar with
Diuse (color), Bump, Material weight
(alpha), Luminosity layer (Luminance) and
Specular layers (a mix of C4D’s reection
Specular layers
gure 4.5
In gure 4.5
Sphere A, the Vray Material is tracing
only the fake specular values.
Sphere B, is tracing both fake specular
and blurry reections.
Sphere C, is tracing blurry reections
only.
Note: In the real world, almost every object contains at least some specularity.
gure 4.4
‘VrayAdvancedMaterial’
Page 40 Page 41
For our rst material, lets activate a single
Specular Layer and leave everything as de-
fault. Apply the material to the sphere object
and perform a quick render test. gure 4.6
gure 4.6
In the setting Specular Layer Transparency,
change the amount to 50% and test again.
gure 4.7
e reduction of transparency has allowed
for more of the reection from this layer to
show. gure 4.7
For the next stage of this material test, add
another Vray advanced material and in the
diuse channel only, add a blue color. Apply
this new material to the cube object.
Now returning to the rst materials Specular
layer. Scroll down to reection glossiness
(Index of refraction)
You will now notice that the Specular Layer
Transparency option is no longer available.
is is because we’re using IOR to determine
reectivity.
In the Specular color at the top, add a Fresnel
shader to the texture map slot. gure 4.12 In the
shader settings, reduce the black to a light
grey. is will prevent the scratched surface
from reaching the sphere’s edges.
gure 4.12
Lower the Anisotropy amount back to 0 and
in the Texture map slot below load in the
texture ‘HT_Brushed.png’ from the textures
folder.
Repeat this process as illustrated below in
gure 4.13 - while also checking the invert box
where appropriate.
gure 4.13
Page 42 Page 43
We’ve provided VRay with enough informa-
tion to produce a semi-realistic scratched
metal surface. Work can be done in the
bump map channel to bring out extra details
and a lot of time can be spent tweaking the
values for a perfect result.
Note: e reason behind the inverted texture
map in the Glossiness reection is that in real-
ity, the deeper the scratch, the more blurry its
vast amount of exibility available to you in
the Specular layer channel.
gure 4.17 “e Weasley’s’
gure 4.18
Open example le scene test_stage2.c4d
Create a new Vray advanced material and apply
to the sphere object.
In Diuse layer 1 check from the Diuse op-
tions - Use VRayDirt.
e menu layout will now change to the
VRayDirt workow.
Add a black Color channel to the Occluded
color slot (from the drop down menu)
Add an 80% white Color channel to the
Occluded color slot (from the drop down
menu)
gure 4.19
In gure 4.18 the result has been intentionally
enhanced to show the overall eect.
Any color combination can be used to
achieve the desired look.
In gure 4.20, I’m using a wood texture as the
Unoccluded color and Red for the Occluded
color (Dirt eect).
gure 4.20
‘VrayAdvancedMaterial’
Page 44 Page 45
Refraction Layer
e Refraction layer is for the creation of optically transparent materials.
to the glass and it now has the appearance of
greater volume.
To simulate frosted glass, we would enter
a Glossiness value (0.6 in this example) in the
Refraction layer. As shown in gure 4.15
Variation in the frosted amount can be
achieved by using the Glossiness Texture map
slot.
gure 4.15 - Color enhanced
Note: ese eects can add signicantly to your render
time and oen require additional subdivision values to
render accurately.
e images below contain dierent examples
of Glossiness eects in the Refraction layer.
gure 4.16 ‘Visa’ product shot
gure 4.17 ‘Go Beyond’
It is also possible to use the SSS parameters
from the Refraction layer to simulate the
translucent properties of hard wax, honey,
plastics and other surfaces that depend more
on refraction for accurate results.
e example from gure 4.19 uses the follow-
ing setup. gure 4.18
gure 4.19
gure 4.18
Note; To speed up the SSS calculation check
‘Environment fog’ in the SSS parameters. is
stores the light directly in the volume.
‘VrayAdvancedMaterial’
refraction amount based on the provided
IOR.
Also notice that when VRay is computing
Fast SSS, it’s also adding an additional dark
pass that appears to isolate the translucent
eects.
is is a special pass called the Illumination
map. It can be controlled in the prepass rate
which is set to -1 by default. For higher res
images, a value of 0 is occasionally needed.
is time we’ll use the SSS layer in the VRay
Advanced material to make a semi accurate
portrayal of a marble oor.
Open example le test_stage_marble.c4d
e scene is setup with a marble texture map
and contains only a Diuse layer.
In the Diuse Layer change the Diuse
Layer Transparency to 40%. is will allow
underlying eects such as the SSS layer to
mix with the Diuse Layer at the inputted
value.
At 100% transparency, this Diuse layer
would no longer render at all.
Activate the SSS Layer and try to match the
three shades of green from gure 4.24
gure 4.23
gure 4.24
Change the Single Scatter parameter from to
Simple to Raytraced-Solid. gure 4.21
In gure 4.27 ‘the lamp shade’ object highlights an example of how this material was intended to work.
Illumination from within the object passes through the material via translucency and displays the result
on the front facing normals.
e VRay2Sided material is controlled by two standard diuse materials (VRayAdvanced material) for the
front/back facing normals and a Translucency color to determine how much of the eect should come
through.
e VRay2Sided material in gure 4.28 features reective properties on its front side. A separate object with
a colored pattern light has been placed within the dragon model (via the Luminosity layer) and the result
creates a glowing translucent eect. is behavior looks closer to a refractive SSS solution, but is actually
cheated as the light is emitted from the inside only. Of course cheating in 3D is never a bad thing.
In gure 4.29 I’m using the same approach but on a much bigger scale. is time I’ve placed uniquely col-
ored light objects within each skyscraper. e Luminosity layer casts its rays outwards and are intended
to fake the lighting that would have otherwise come from a traditional lighting solution. is was a test
scene, but also a very practical solution for visualizing cities at a distance.
gure 4.31
Open example le scene 2_sided_user.c4d
is simple setup has an area light, a thin
plane object, a couple of props and currently
no materials. gure 4.30
gure 4.30
If we the render the shot directly, you’ll see
that the plane object is obscuring the light.
gure 4.31
Add a VRay2Sided material and apply it to
the plane without any additional changes,
and it will now render a simple diuser.
figure 4.32
gure 4.32
e light has now penetrated the object as
determined by the parameters in the VRay-
gure 4.27 gure 4.28 gure 4.29
Standalone material
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