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In this tutorial we'll attempt to cover and clarify how to optimize your V-Ray render settings to get the best
possible render quality and fastest render time for a given scene.
There's often a lot of confusion surrounding the topic of V-Ray's sampling and what 'ideal' settings are.
Many times you'll see artists adopt the 'Universal V-Ray Settings' of having the Image Sampler (AntiAliasing, or AA) Max Subdivs value set very high (like 50 or 100), and then simply lowering the noise
threshold value until the render becomes clean enough - thinking that it's the best / fastest that V-Ray can
do. But with a bit of understanding of how V-Ray works under the hood, you can achieve a higher quality
result WITH faster render times - in some extreme cases ranging between 3x faster to 13x faster than the
universal settings.
We'll first cover some of the underlying concepts behind how rendering and V-Ray's sampling works. We'll
then go over an example scene to demonstrate exactly how a render can be optimized to be faster and
cleaner. Then we'll learn how to identify the different sources of noise a scene can have. And finally I'll
provide a step-by-step procedure to optimize any scene to render with the perfect balance of quality and
speed.
If you already know the underlying concepts and just want the technical step-by-step procedure,
click here to skip right to it.
Neste tutorial vamos tentar cobrir e esclarecer como otimizar o seu V- Ray
tornar as configuraes para obter a melhor qualidade possvel tornar mais
rpida e tempo de render para uma determinada cena.
H muitas vezes uma grande confuso em torno do tema de samples do VRay e quais so as configuraes "ideais". Muitas vezes voc vai ver artistas
adotarem as ' Universal V-Ray Settings' de ter o valor do Image
Sampler( Anti- Aliasing , ou AA) Max Subdivs muito elevado (como 50 ou
100), e em seguida, basta baixar o valor do noise threshold at o render
torna-se limpo o suficiente - pensando que ele o melhor / mais rpido que
o V-Ray pode fazer. Mas com um pouco de compreenso de como o V-Ray
funciona internamente , voc pode conseguir um resultado mais elevado de
qualidade com tornam mais rpido vezes - em alguns casos extremos que
variam entre os 3x mais rpido para 13x mais rpido do que as
configuraes universais.
RAYTRACING 101
When a render begins, rays are first sent out from our camera into the scene to gather information about
the geometry that will be visible in the final render. These rays originating from the camera are
called Primary Rays (sometimes also called Camera Rays or Eye Rays) and are controlled by VRay's Image Sampler (Also known as Anti-Aliasing or AA).
Whenever a Primary Ray intersects with geometry in the scene, additional rays get sent out from that point
of intersection into the rest of the scene to gather information about things like Lighting, Shadows, Global
Illumination (GI), Reflection, Refraction, Sub-surface Scattering (SSS), etc. These additional rays are
called Secondary Rays and are controlled by V-Ray's DMC Sampler.
From this point forward, we'll simply refer to 'Rays' as 'Samples' - because that's what a ray's purpose is to take a sample of a scene to gather information about what's going on in it. Rays = Samples.
In order to accurately figure out what's going on in a scene, many Primary and Secondary Samples are
needed to be taken. The more a scene gets sampled, the more information V-Ray is able to gather about
the scene, and the higher quality the render will be - which means less Noise in the render. You
see, Noise is caused by a lack of information. Noise in a render means that V-Ray wasn't able to gather
enough information about what's going on in a scene. So to reduce noise, you need to provide V-Ray with
more information - and to provide V-Ray with more information, you need to take more samples.
The amount of Primary Samples sent out into the scene is mainly controlled by the Min Subdivs, Max
Subdivs, and Color Threshold settings of the Image Sampler. The amount of Secondary Samples sent
out into the scene is mainly controlled by theSubdivs settings from individual Lights / Global Illumination /
Materials in the scene, and the Noise Threshold setting of the DMC Sampler. (Noise Threshold is
named Adaptive Threshold in V-Ray for Maya)
Deste ponto em diante , vamos simplesmente se referem a ' Rays ' como '
Samples ' - porque essa a funo de um Ray - ter uma amostra de uma
cena para reunir informaes sobre o que est acontecendo nela. Rays =
Samples.
Ray= Sample
Primary Samples = Samples controlados pelo Vray Image Sampler (tambm
conhecido com Anti aliasing ou AA). especializado em resolver nas cenas a
Geometria, Texturas, DOF e Motion blur.
Secondary Samples = Os Samples controlados pelo Vray DMC Sampler.
Especializado em resolver na cena a Iluminao, GI, Sombras, reflexo e
refrao de materiais e SSS.
Com este tutorial vamos aprender a melhor forma de utilizar esses Primary
and Secondary Samples para obter a maior qualidade de render (menores
quantidades de noise), no montante mais rpido de tempo.
A Blue-ish color mean a low amount of the available Primary Samples (AA) was taken at the
pixel.
A Green-ish color means a medium amount of the available Primary Samples (AA) was taken at
the pixel.
A Red-ish color means a high amount of the available Primary Samples (AA) was taken at the
pixel.
So for a scene with the Image Sampler (AA) set to 1min and 10max
Subdivs (meaning 1min and 100max Primary Samples):
And for a scene with the Image Sampler (AA) set to 1min and 100max
Subdivs (meaning 1min and 10000max Primary Samples):
Assim, para uma cena com o Image Sampler (AA) definido para 1min e
10max Subdivs (significando 1min e 100 max Primary Samples):
Um pixel azul significa que 1 Primary Sample foi tomado
Um pixel verde significa que 50 Primary Samples foram tomadas
Um pixel Vermelho significa que 100 Primary Samples foram tomadas.
E para uma cena com o Image Sampler (AA) definido para 1min e 100max
Subdivs (significando 1min e 10000max Primary Samples):
Um pixel azul significa que 1 Primary Sample foi tomada
Um pixel verde significa que 5.000 Primary Samples foram tomadas
Um pixel Vermelho significa que 10.000 Primary Samples foram tomadas.
For this tutorial, we'll be working with a simple test scene consisting of: A plane with a few spheres on top,
various simple materials (including diffuse, glossy reflection, glossy refraction, and SSS), 2 areas lights,
and a domelight with an HDRI. Global Illumination is enabled and set to Brute Force + Light Cache. This
scene file can be downloaded HERE.
We'll begin with a baseline render with the following render settings:
Para este tutorial, vamos trabalhar com uma cena simples que consiste em:
um plane com algumas esferas na parte superior, vrios materiais simples
(incluindo diffuse, glossy reflection, glossy refraction, e SSS), 2 areas lights,
e uma Domelight com um HDRI. Global Illumination habilitado e
configurado para Brute Force + Light Cache.
Now lets go over exactly what's happening in this baseline render. Through the render settings, you're
telling V-Ray:
"I'm allowing you to use up to 64 (8 Subdivs) Primary Samples (AA) per pixel
to figure out what's going on in this scene and reduce the noise as close as
you can to my specified noise threshold... BUT for each of those Primary
Samples you take, you're only allowed to take 1 additional Secondary
Sample to figure out what's going on for each Light, GI, and Material."
Well it's important to note that even though the Lights, GI, and Materials are set to 64 Samples (8 Subdivs)
each - V-Ray internally divides this value by the AA Max Samples value of your scene. So instead of the
64 Samples for the light and material each as you might expect, this gets divided by the AA Max of
64 Samples (8 Subdivs), which results in only 1 Secondary Sample being taken for the Lights, GI,
and Materials each. (64 Secondary Samples / 64 Primary Samples = 1 Secondary Sample).
A razo pela qual o V-Ray faz isso porque frmulas internas so criadas
de uma maneira que tentam equilibrar os dois samplers(Primary e
Secondary). O pensamento por trs disso que, com mais Primary Samples
sendo levado de sua cena, uma quantidade proporcionalmente menor de
Secundary Samples so necessrias para descobrir exatamente o que est
acontecendo na cena (que veremos em breve, isso no sempre desejvel).
Este equilbrio do Image Sampler e do DMC Sampler pode ser um pouco
confuso no incio, mas a coisa importante a tirar a seguinte: Sempre que
voc aumentar as definies do Image Sampler (AA), o V-Ray tenta
compensar diminuindo internamente as configuraes do DMC Sampler.
Mais tarde, se voc estiver interessado em aprender mais sobre como
funcionam as frmulas internas trabalho do V-Ray - voc pode conferir o
DMC Calculator - mas agora no necessrio.
So lets get back to the rendering:
V-Ray finishes the render as best as it can manage, but warns you (by the many RED pixels in the
SampleRate render element):
"I was NOT able to figure out what's going on in all of this scene according to the level of quality (noise
threshold) you want it to be at! - A lot of the time I had to use up all of the 64 Primary Samples with 1
Secondary Sample per Light, GI, and Material you allowed me to use for each pixel, but it still didn't
provide me with enough information in those areas."
"Eu no era capaz de descobrir o que est acontecendo em toda esta cena
de acordo com o nvel de qualidade (noise threshold) que voc deseja . A
maior parte do tempo eu tive que usar todos os 64 Primary Samples com 1
Secondary Samples por Luz, GI, e material que me permitiu usar para cada
pixel, mas ainda no me forneceu informao suficiente nessas reas. "
If we take a look at the render - we'll notice that while the geometric detail (edges of objects) seem fairly
clean and defined, there are indeed noisy areas of the image - specifically noticeable in the reflections and
shadows. So we've got this noisy baseline render, and we have two options to reduce the noise to meet
our desired level of quality (noise threshold):
Option #1 = Increase AA Max Subdivs - Let V-Ray take more Primary Samples to figure out the scene but again only 1 additional Secondary Sample for the lights / gi / materials each per Primary
Sample.
Option #2 = Increase Lights / GI / Materials Subdivs - Tell V-Ray to stay at the same amount of Primary
Samples - but instead allow it take more Secondary Samples with each Primary Sample to
better figure out the scene.
So lets first try what most people usually do to get a high quality (low noise) render - adopt the so-called
'Universal V-Ray Settings' and let V-Ray take as many Primary Samples (AA) as needed to eliminate the
noise.
We'll increase the Image Sampler (AA) to 1min & 100max Subdivs.
We'll leave the Lights, GI, and Materials set to 8 Subdivs each.
We'll reduce the Noise Threshold to 0.005 to tell V-Ray we really want a noise-free render.
Ento, vamos primeiro tentar o que a maioria das pessoas costumam fazer
para obter uma alta qualidade de render (baixo nvel de rudo) - adotar as
chamadas "Universal V-Ray Settings 'e deixar o V-Ray tirar quantas Primary
Samples (AA) forem necessrios para eliminar o rudo.
Vamos aumentar o Image Sampler (AA) para Subdivs 1min & 100max.
Vamos deixar as luzes, GI e Materiais definidos para 8 Subdivs cada.
Vamos reduzir o Noise Threshold para 0,005 a dizer V-Ray que realmente
queremos um render livre de rudo.
Now lets go over exactly what's happening in this Option #1 render. Through the render settings, you're
telling V-Ray:
Agora vamos passar por cima exatamente o que est acontecendo neste
Opo # 1 de render. Atravs das configuraes de renderizao, voc est
dizendo V-Ray:
"I'm allowing you to use up to 10000 (100 subdivs) Primary Samples (AA) per pixel to figure out what's
going on in this scene and reduce the noise as close as you can to my specified noise threshold... BUT for
each of those Primary Samples you take, you're only allowed to take 1 additional Secondary Sample to
figure out what's going on with the Lights, GI, and Materials each."
"Eu estou permitindo que voc use at 10000 (100 subdivs) Primary
Samples (AA) por pixel para descobrir o que est acontecendo nessa cena e
reduzir o rudo to prximo quanto possvel para o meu Noise Threshold
especificado ... mas para cada uma dessas Primary Samples que voc toma,
voc s est autorizado a tomar um Secondary Sample adicional para
descobrir o que est acontecendo com as luzes, GI e Materiais cada um. "
Again, remember that even though the Lights, GI, and Materials are set to 64 Samples (8 Subdivs) each V-Ray internally divides these values by the AA Max Samples value of your scene. So instead of 64
Samples, this gets divided by the AA Max of 10000 Samples (100 Subdivs), which results in the minimum
of only 1 Secondary Sample being taken for the Lights, GI, and Materials each. (64 Secondary Samples /
10000 Primary Samples = 1 Secondary Sample).
V-Ray finishes the render as best as it can manage, and tells you (by the now mostly BLUE SampleRate
render element):
"I was able to figure out all of what's going on in this scene to the level of quality (noise threshold) you
want it to be at! - In fact, I was able to figure it out well before I had to use all 10000 Primary Samples with
1 Secondary Samples per Lights, GI, and Materials you allowed me for each pixel."
"Eu era capaz de descobrir tudo o que est acontecendo nesta cena com o
nvel de qualidade (Noise Threshold que voc quer. Na verdade, eu era
capaz de descobrir isso bem antes de ter que usar todos 10000 Primary
Samples com um Secondary Samples por Luzes, GI e Materiais que voc
havia me permitido para cada pixel. "
We take a look at the Option #1 render and see the noise has definitely been improved compared to the
baseline render. The render time has increased by 11min 44s (9.8x longer) compared to the Baseline
Render, but that's to be expected with a higher quality render, right? At this point, most people would think
this is as good as it gets, and call the render FINISHED!
...But what happens if we were to try that Option #2 we discussed earlier? Instead of increasing the AA
Max Subdivs, what happens if we instead opted to only increase the Lights / GI / Materials Subdivs? Well
lets find out...
This time we'll try something a little different - we'll tell V-Ray to take same amount of Primary Samples as
we originally did - but instead allow V-Ray to take more Secondary Samples with each Primary Sample to
better figure out the scene.
We'll leave the Image Sampler (AA) set to the original baseline render's settings of 1min & 8max
Subdivs.
We'll increase the Lights, GI, and Materials to 80 Subdivs each.
We'll leave the Noise Threshold set to the original baseline render's default of 0.01
Desta vez, vamos tentar algo um pouco diferente - ns vamos dizer pro VRay tirar mesma quantidade de Primary Samples conforme os primeiros
testes, e permitir que o V-Ray tire mais Secondary Samples pra cada
amostra elementar para melhor resolver a cena.
Vamos deixar o Image Sampler (AA) definido para o render base de 1min e
8max Subdivs.
Vamos aumentar as luzes, GI, e materiais a 80 Subdivs cada.
Vamos manter o Noise Threshold para o render de base padro de 0,01
Once more, lets go over exactly what's happening in this Option #2 render. Through the render settings,
you're telling V-Ray:
"I'm allowing you to use up to 64 (8 subdivs) Primary Samples (AA) per pixel
to figure out what's going on in this scene and reduce the noise as close as
you can to my specified noise threshold... AND for each of those Primary
Samples you take, you're allowed to take up to 100 additional Secondary
Samples to figure out what's going on with the Lights, GI, and Materials
each."
Mais uma vez, vamos verificar exatamente o que est acontecendo nesta
Opo # 2 .
Atravs das configuraes de renderizao, voc est dizendo V-Ray:
"Eu estou permitindo que voc use at 64 (oito subdivs) Primary Samples
(AA) por pixel para descobrir o que est acontecendo nessa cena e reduzir o
rudo to prximo quanto possvel para o meu noise threshold
especificado ... E para cada uma dessas Primary Samples que voc toma,
voc est autorizado a levar at 100 Secondary Samples adicionais para
descobrir o que est acontecendo com as luzes, GI e Materiais cada um. "
Again, remember that even though the Lights, GI, and Materials are set to 6400 Samples (80 Subdivs)
each - V-Ray automatically divides these values by the AA Max Samples value of your scene. So instead
of 6400 Samples, this gets divided by the AA Max of 64 Samples (8 Subdivs), which results in only 100
Secondary Samples being taken for the Lights, GI, and Materials each. (6400 Secondary Samples / 64
Primary Samples = 100 Secondary Sample).
V-Ray finishes the render as best as it can manage, and tells you (through the SampleRate render
element):
"I was able to figure out almost all of what's going on in this scene to the level of quality (noise threshold)
you want it to be at! - In fact, most of the time I was able to figure it out well before I had to use all 64
Primary Samples per pixel! All those extra 100 Secondary Samples per Light, GI, and Material provided
each Primary Sample with so much more information this time!"
"Eu era capaz de descobrir quase tudo o que est acontecendo nesta cena
com o nvel de qualidade (noise threshold) que voc quer. Na verdade, na
maioria das vezes eu era capaz de descobrir isso bem antes de usar todos
os 64 Primary Samples por pixel! Todos aqueles 100 Secondary Samples
extras por Luz, GI e material forneceram a cada Primary Sample muito mais
informao desta vez! "
We take a look at the Option #2 render and see the noise has definitely been improved compared to the
baseline render. The render time has increased by 4m 38s (4.5x Longer) compared to the Baseline
Render, but that's to be expected with a higher quality render.
Why is this? Why did increasing the DMC Sampler settings (Lights / GI / Materials Subdivs) rather than
increasing the Image Sampler (AA) settings result in a cleaner AND faster render for this scene? We
even set Option #1 to have a lower noise threshold, yet it still turned out noisier than option #2! Well the
answer lies in what we originally noticed about the Baseline render...
Por que isso? Por que aumentar as configuraes DMC Sampler (Luzes / GI /
Materiais subdivs) em vez de aumentar as configuraes do Image Sampler
(AA) resultaram em um render mais limpo e rpido nesta cena? Ns at
mesmo definimos pra Opo # 1 um noise threshold mais baixo, mas ainda
acabou mais ruidoso do que a opo # 2! Bem, a resposta est no que ns
originalmente observei sobre a linha de base tornar ...
In our Baseline Render, we saw that while the edges of objects looked clean and defined, the noise
seemed to reside primarily in the reflections and shadows. Well, if you remember what we learned
earlier: Primary Samples (AA) specialize in figuring out the geometry, textures, depth of field, and
motion blur in a scene. While Secondary Samples specialize in figuring out lighting, GI, shadows,
materials, etc.
So in the case of the Baseline render, the choice between Option #1 and Option #2 is actually a nobrainer! Why use a screwdriver to do a hammer's job? The Image Sampler (AA) had already done what it
was designed to do - make the geometric detail (edges of objects) clean and defined. So instead of firing
a bunch of additional Primary Samples (AA) at the scene to clean up noise - it's better to allocate
those additional samples to the DMC Sampler (Lights / GI / Materials Subdivs) so it can properly do
what it was designed to do - clean up the noise in the lighting, shadows, GI, reflections, and
refractions. There's our answer!
And now we begin to understand why the 'Universal V-Ray Settings' of 1min and 100max AA is generally
not going to be the most efficient method to render a scene - in fact it never was meant to be the most
efficient method! The Universal V-Ray Settings were designed to make V-Ray accessible and easy for
users who don't care about render optimization or learning how V-Ray works under the hood. It's simply a
method to put V-Ray on auto-pilot. It allows a user to control all render quality by adjusting only one setting
- the noise threshold. If there's too much noise in a render, just lower the noise threshold, and V-Ray will
keep firing Primary Samples (AA) at the scene until it eventually reaches the noise threshold guaranteeing a nice looking render with minimal understanding of how V-Ray works. But that render is
generally not going to be as clean or render as fast as if you take the time to understand how V-Ray works
and balance the Image Sampler and DMC Sampler according to a scene's demands!
And just to really drive the point home - the Option #2 Render can still be optimized even further! Using
some additional tricks listed in the procedures at the end of this tutorial, we can reduce it's render time
from 5m 58s to 4m 53s with only a slight hit in noise amounts! For a final render speed increase of 2.7
times faster than the Option #1 Render!
Here's another example of optimization, this time with a more production oriented scene...
The optimized render (right) renders nearly 35% faster than the universal settings render (left) while
reducing noise and improving render quality. Also note how the reflections have become more accurate noticeable on the floor towards the end of the hallway.
Aqui est outro exemplo de otimizao, desta vez com uma cena mais
orientada para a produo.
O render otimizado (direita) torna quase 35% mais rpido do que as
configuraes universais (esquerda) e com menos noise e melhor qualidade
The key to properly optimizing a render is to correctly identify which aspects of a scene are causing noise,
and assigning the right sampler with enough samples to attack that noise at it's source. Some scenes will
require more samples for the Image Sampler, while others (like the ones shown in the examples above)
will require more samples for the DMC Sampler. As a general guideline:
Circumstances where the Image Sampler (AA) will require larger amounts of Primary Samples to
eliminate noise:
Very fine texture detail like weaves, tiny bump map details, etc.
Circumstances where the DMC Sampler will require larger amounts of Secondary Samples to
eliminate noise:
Noise caused by the Image Sampler (AA) is luckily very easy to spot to the naked eye. It manifests itself in
jagged or unclear object edges, undefined texture detail or effects like Moir patterns, and grainy depth of
field or motion blur.
Noise caused by the DMC Sampler can be a bit trickier to see exactly what's causing it. Luckily we have
some very handy tools at our disposal to help us figure it out - V-Ray's Render Elements passes: Lighting,
Global Illumination, Reflection, and Refraction. By looking through these various render elements, you
can quickly isolate and check the levels of noise caused by any of these individual aspects of your scene.
Rudo causado pela DMC Sampler pode ser um pouco mais complicado de
ver exatamente o que est causando isso. Felizmente, temos algumas
ferramentas muito teis nossa disposio para nos ajudar a descobrir isso
- V-Ray's Render Elements passes: Iluminao, Iluminao Global, reflexo e
refrao. Ao analisar estes elementos, voc pode rapidamente isolar e
verificar os nveis de rudo causados por qualquer um desses aspectos
individuais da sua cena.
OPTIMIZATION PROCEDURE
Now that we have a solid understanding of how much can be gained by properly utilizing V-Ray's
samplers, and how to identify the sources of noise in our scene, we can follow a step-by-step procedure to
help optimize whatever scene you may be dealing with.
The general idea behind this procedure is to begin by setting the Image Sampler (AA) Max just high
enough to clearly define the Geometry, Textures, Depth of Field, and Motion Blur detail in your
scene, and then tune each of the DMC Sampler's aspects (Lights/Shadows, GI, Material
Reflection/Refraction) one at a time to eliminate noise. So we'll start with default V-Ray settings, and
bring our render to a very basic state to start the optimization process:
fontes de noise em nossa cena, podemos seguir um procedimento passo-apasso para ajudar a otimizar a cena.
1.
In V-Ray's Global Settings rollout - uncheck 'Lights' to disable them, and set 'Default Lights' to
ON.
2.
3.
4.
5.
2.
In V-Ray's Global Settings rollout - Check 'Lights' to re-enable them, and set 'Default Lights' back
to OFF.
At this point your render should have normal lighting and shadows, but still diffuse
materials. [Example]
Notice that noise (along with more red pixels in the SamplerRate render element) has been reintroduced to the render from enabling your scene's Lighting.
Raise the Subdivs value in your Lights until the noise in the shadows and lighting become
acceptably smooth and clear. It's easiest to see the effect of raising these Subdivs values by checking
your Lighting render element pass. As you raise these Subdiv values, the red pixels in your
SampleRate render element should again be receding back to the very edges of your objects and
textures while most other areas gradually become more blue or green - indicating that less Image
Samples (AA) are being needed.
2.
3.
Again notice that noise (along with more red pixels in the SamplerRate render element) has been reintroduced to the render from enabling your scene's GI.
Repeat the process of raising the GI's Subdivs value until any noise in the Global Illumination
becomes acceptably smooth and clear - this time using the Global Illumination render element pass to
check the noise levels. Again, as you raise the Subdivs value, the red pixels in your SampleRate
render element should be receding back to the very edges of your objects and textures while most
other areas gradually become more blue or green - indicating that less Image Samples (AA) are being
needed.
A special note about hair: If using the VRayHairMtl in your scene, the quality of your hair's
reflection and refraction is in fact controlled by your scene's Global Illumination Subdivs value. You
can verify this by noticing how hair's reflection and refraction doesn't appear at all in the Reflection or
Refraction render elements until GI is turned on. This is because the VRayHairMtl's reflection and
refraction components are entirely dependent on GI, and this is also why the VRayHairMtl has no
separate Subdivs values for it's reflection and refraction. So now is also the time to be tuning your hair
reflection and refraction quality.
In V-Ray's Global Settings rollout - Check 'Reflection/Refraction' and 'Glossy Effects' to reenabled them.
At this point your scene should render as normal, with lighting, GI, and material reflection &
refraction. [Example]
2.
3.
But again, notice that noise (along with more red pixels in the SamplerRate render element) have
been re-introduced to the render from enabling your scene's Reflections & Refractions.
Raise the Subdivs values in your materials' Reflections until any noise in them becomes
acceptably smooth and clear. It's easiest to see the effect of raising these Subdivs values by checking
your Reflection render element pass. Again, as you raise these Subdiv values, the red pixels in your
SampleRate render element should again be receding to the very edges of your objects and textures
while other pixels gradually become more blue or green - indicating that less Image Samples (AA) are
being needed.
Repeat the previous step, this time with your scene materials' Refractions.
Your render should now be optimized for an ideal render time according to the level of quality (noise
threshold) you have it set at!
If you desire less noise, lower the Image Sampler's 'Color Threshold' value, and raise Lights / GI /
Materials Subdivs as needed.
Na aba Global Settings do V- Ray - Habilite a ' Reflexo / Refrao ' e '
Efeitos Glossy '.
Neste ponto, a cena deve renderizar normal, com iluminao, GI , bem como
material e reflexo e refrao.
Mas, novamente, notamos que o rudo (pixels vermelhos na SamplerRate )
voltaram apos habilitar-mos as Reflexes e refraes .
Aumente os valores das subdivs em Reflexes de seus materiais at que
qualquer noise neles se torna aceitvel . mais fcil ver o efeito atravs do
Reflect Render Element. Mais uma vez, ao aumentar esses valores de
Subdiv , os pixels vermelhos em seu SampleRate Render Element volta aos
cantos de seus objetos e texturas enquanto outros pixels tornam-se
gradualmente mais azul ou verde - indicando que menos Image Samples
(AA) esto sendo necessrio.
Repita o passo anterior , desta vez nos materiais com Refractions.
In the examples in this tutorial, I kept the Lights / GI / Materials all at the same Subdivs values for
the sake of simplicity and to make the concepts easy to understand. But it's important to remember
that a properly optimized scene will have varying Subdiv values specifically tailored to the needs of
each of these secondary aspects of the scene.
For example: A material that's only 5% reflective probably wont need too many reflection samples to
prevent noise from being visible in the final image, since it's final RGB value will be 95% dependent on
the material's diffuse or refraction components. But if that same material was instead 95% reflective, it
will need more reflection samples to prevent noise being visible in the final render, since the reflection
will now be the main contributing factor of the material's final RGB values. The same goes for material
glossiness - the more glossy a material's reflection or refraction is, the more samples it'll need to
eliminate noise. The same applies for lights - the larger the light, the softer the shadows, and the more
samples it'll need eliminate noise.
Keep the DMC Sampler's Adaptive Amount setting below 1.0. There are many instances where
setting this value at or near the maximum value of 1.0 can give really unpredictable results. The default
value of 0.85 is a good place to leave it set.
Experiment with unlinking the Image Sampler's Color Threshold value from the DMC Sampler's
Noise Threshold by unchecking the 'Use DMC Sampler Threshold' checkbox under V-Ray's Image
Sampler rollout. Then increase the Color Threshold value in small increments to help the Image
Sampler not confuse noise caused by Lights / Shadows / GI / Materials for geometric or textural detail.
Raising this value can potentially re-introduce noise in your image, so you can either raise your
secondary Subdivs values higher to compensate, or just accept the slightly noiser but faster render
times. It takes a bit of experimentation to see if it's worth it for your particular scene.
Experiment with disabling the Image Filter of the Image Sampler if you don't have very small
repeating detail patterns in your scene. V-Ray's Image Sampler (AA) already does a good job resolving
and smoothing detail - so additional filtering sometimes isn't needed.
Experiment with disabling the Filter Maps checkbox in V-Ray's Global Settings rollout, or
lowering the filter/blur values of individual bitmaps used in your scene's materials to values like 0.1 or
0.2. Especially consider disabling the filtering of opacity maps for materials like leaves in trees.
Disabling or reducing the filter/blur values of maps will have a definite render speed increase while
making your maps appear sharper, but can also have the side effects of increased RAM usage, and
possible flickering or scintillation of maps in animations.
If using Light Cache for your GI's secondary bounces - enable 'Use for Glossy
Rays' and 'Retrace Threshold' to help speed up the calculation of glossy materials.
If using V-Ray 3.0 - try enabling the Embree raycaster via the 'Use Embree' checkbox in the VRay's System rollout. In many scenes the Embree raycaster can yield a great reduction in render time
with no visible difference in quality.
Reduce V-Ray's Bucket Size to something like 32x32 or 24x24 to avoid larger individual buckets
getting stuck on a particularly difficult part of the render while other the buckets finish rendering and
leave the image - causing your CPU to only use a fraction of it's available power to finish the last bit of
the render. V-Ray 3.0 dynamically reduces Bucket Size towards the end of a render to help avoid this
for you.
Reduzir o Bucket do V- Ray para algo como 32x32 ou 24x24 para evitar que
buckets individuais fiquem presos em uma parte particularmente difcil do
render , enquanto outros buckets terminam a renderizao e deixam a
imagem - fazendo com que seu CPU usar apenas uma frao de potncia
disponvel para terminar o ltimo pedao da render . V- Ray 3.0 reduz
dinamicamente o tamanho do Bucket no final de uma render para ajudar a
evitar isso para voc.
On a closing note - it's important to keep in mind that every scene is different, and therefore has different
needs from V-Ray's two samplers. Settings that optimize one scene can potentially grind another scene to
a halt - so please remember: Your settings and ability to optimize a render can vary greatly from one
scene to the next. With a bit of trial & error, practice, and patience, you can gain the experience to
intuitively know what settings a scene calls for.
So hopefully that helps to clear up the often confusing topic of V-Ray Render Optimization for you. If you
run into any issues, have trouble understanding something, or have any tips on improving this tutorial,
please feel free to get in contact with me.