Ciro Sannino

V-RAY 3.0 AND

APPLIED PHOTOGRAPHY

E-book about news in V-Ray 3.0 applied to the book

Photography & Rendering with V-Ray
GC edizioni

Copyright 2014 by GC edizioni

all rights reserved

GC edizioni
Corso America, 57
09032 Assemini (CA)
Ph. and fax 070-8809018
www.gcedizioni.it
libri@gcedizioni.it

Author
Ciro Sannino
Publishing, Graphics and Layout
Gabriele Congiu
Editing and Revision
Barbara Sulis
Translation
Johanna Worton
E-book completed in July 2014

The authors and publisher accept no liability for damages of any

type arising from the improper use of the program.
All brands cited herein have been registered by their respective
producers, particularly Autodesk and 3ds Max, which are Autodesk
registered trademarks; V-Ray has been registered by Chaos Group.
All rights reserved. No part of this manual can be reproduced,
translated, copied or transmitted in any form or by any means,
without the publishers prior written consent.

CONTENTS

V-Ray 3.0 and

Applied Photography
Introduction..................................................................................4
Gamma Compensation.................................................................4
The Render Pannel.......................................................................7
Progressive & Render Mask........................................................8

Exercise: How to take advantage of the Render Mask.......10

V-Ray Frame Buffer......................................................................12

V-Ray Toolbar and V-Ray Quick Settings.....................................14
Production time...........................................................................16
Personal vision............................................................................16
Order your copy now....................................................................17
Learn V-Ray..................................................................................17

GC edizioni

VR3

V-Ray 3.0 and

Applied Photography

The bookPhotography & Rendering with V-Ray

focuses entirely on the implementation of basic
photographic concepts in the process of creating an
image through rendering.
The various examples in the book refer to version
2.0 of V-Ray, but a user with version 1.5 can also
use it very easily.
The same goes for anyone who has updated to
version 3.0. On the photographic level basically
nothing has changed, as this would be absurd.
However, seeing as several commands now have
different names, or are simply found in different
places, I have written this e-book so that using the
main book is even easier.

E-book: V-RAY 3.0 NEW FEATURES

Introduction
After little over a year V-Ray 2.0 took a new leap forward and launched version 3.0 at the
beginning of 2014. It contains various additional features that contribute to making the
production process simpler and more logical. Many improvements concern the core of
the software and are related to increasing performance. Several new options have also
been introduced, none of which, however, change the photographic rationale behind
Photography & Rendering with V-Ray. This could not be otherwise, as photorealism
means first of all adopting a photographic attitude, which automatically produces a
photographically correct result.
A detailed overview of all the new features is available on the official website http://www.vray.com. In this e-book we are going to look at the V-Ray 3.0 updates that are good to know
so that you can always find everything you need to implement photographic concepts
using V-Ray.

Gamma Compensation
Compensation using the gamma curve is extensively described in Chapter 2 - Compensation
Using the Gamma Curve of Photography & Rendering with V-Ray, from both a theoretical
and photographic point of view and is accompanied by practical exercises. The explanation
of gamma compensation is universal and naturally always valid, not just for V-Ray, but for
any other software dedicated to photorealism.
Its implementation has become much simpler in the versions 3ds Max 2014 and V-Ray 3.0.
Everything stems from the fact that in 3ds Max 2014 management of the gamma in Input
(texture) and Output (render) is automatic. The Gamma in preferences is already set to a
value of 2.2 and cannot be changed, Figure VR3-1. This is different from in previous versions,
in which it was necessary to set the gamma manually, Figure VR3-2.

Figure VR3-1
From version 2014 Input
and Output Gamma are
managed automatically
and the Bitmap files
box has been removed

Figure VR3-2
Until version 2013 of 3ds Max
the gamma compensation in
input and output could be
changed using the Bitmap files
box in the Gamma and LUT tab

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Considerations: The Gamma Input and Output can actually be changed by using a line
of max script. However, Ive noticed that, unless you know the whole theory well, its
always better to use the default settings of 3ds Max, without changing them. Nor is
it inconceivable that sooner or later the Bitmap files box could return. So the most
important thing is to always be completely aware of why certain procedures are carried
out, as clearly explained in Chapter 2 of Photography & Rendering with V-Ray.
For this reason Chaos Group has seized the opportunity and, as far as the gamma issue is
concerned, has made it so that V-Ray 3.0 is perfectly integrated with 3ds Max by default. In
the following images Figure VR3-3, Figure VR3-4, Figure VR3-5 and Figure VR3-6 lets look
at how V-Ray 3.0 now appears upon opening.

Figure VR3-3
The Enable built-in frame
buffer option, which allows
you to produce the rendering
in the V-Ray Frame buffer, is
highlighted

Figure VR3-4
The option used to show a
preview of a render compensated
using the gamma curve

Figure VR3-5
In the Color mapping rollout the
Gamma has already been set
to 2.2 and the Mode to Color
Mapping only (no gamma)

Figure VR3-6
The recommended option
for gamma when saving is
Automatic

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Coordinated in this way, the two systems, V-Ray 3.0 and 3ds Max 2014, already produce
and save correctly compensated images, using the gamma curve by default for any output
format used.
If you have 3ds Max 2014 (which no longer allows you to change the gamma in preferences),
but havent yet purchased the V-Ray 3.0 upgrade, you can simply manually set the same
configuration that V-Ray 3.0 adopts as a default.
Lets sum up the options that have changed slightly and which are shown in Figure VR3-3,
Figure VR3-4, Figure VR3-5 and Figure VR3-6 on the previous page:
1. Activating the V-Ray Frame Buffer, Figure VR3-3;
2. Enabling the gamma preview using the sRGB button in the V-Ray Frame Buffer, Figure
VR3-4;
3. Setting Color Mapping to 2.2 and selecting the Dont Affect Colors checkbox (option no
longer exists under this name in V-Ray 3), Figure VR3-5;
4. Ensuring that saving occurs with the Automatic option enabled, Figure VR3-6.
Remember that whichever method you use to obtain correct compensation, the result
will be the same. When working with 3ds Max 2014 (or later) together with V-Ray 3.0, we
suggest you begin your new projects without changing the already perfect default settings.
Notes: In Chapter 2 of the book the classic combination is used to obtain the correct
Gamma compensation. This involves setting the gamma output in the preferences to 1.0.
The result is, however, the same.

Considerations: At first glance, having many ways to do the same thing automatically
leads up to think that one way is better or at least more advisable than the others. I
personally suggest using the default settings of V-Ray 3.0 and 3ds Max 2014 when you
start a project from scratch, and continuing to use the so-called classic setting, with the
gamma output set to 1.0, if you find this type of configuration when you open an old
file. It is simply a question of convenience.

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The Render Panel

The interface of the Render Setup panel, Figure VR3-7, (which can be activated using the
classic function key F10), may appear completely different at first. Three buttons, called
Basic, Advanced and Expert, have simply been added. By choosing one of them, you can
hide more or fewer options. If you enable Expert in all the rollouts (where possible), V-Ray
appears almost identical to the previous version. Here are a few small changes that are
worth highlighting, in order.
The Render Setup panel is basically the same it is just narrower:

Figure VR3-7 On the left, the Render Setup panel that has always accompanied the developments of V-Ray since
its inception. The new, more practical and more compact Render Setup panel is shown on the right.

Adaptive DMC antialiasing is now simply called Adaptive, Figure VR3-8. It has just changed
its name and is still set as explained on page 172 of the book, in which we talk about step-4
of the 5SRW method, dedicated to the production of sharp, clean images.

Figure VR3-8 In the Render Setup panel on the left Adaptive DMC antialiasing is highlighted. In version 3.0
this has become Adaptive. The new Progressive option can also be seen in the drop-down menu.

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For years the default system in the Color Mapping rollout has always been Linear.
Now the default Color Mapping is Reinhard, with the Burn value option set to a value of
1.0, Figure VR3-9. As explained in the book, this is actually the exact equivalent of Linear.
Officially the default setting has not changed but with Reinhard, V-Ray can more easily
manage the highlights.
For an accurate explanation of how and when to use the three main color mapping methods
(Linear, Exponential and Reinhard), refer to the book from page 99 onwards.

Figure VR3-9
The Reinhard and Burn
value options highlighted

Notes: The Noise Threshold parameter has changed positions. While previously it could
be found in the SETTINGS section of the rendering panel (F10), it is now in the V-RAY
section of the Global DMC rollout. Its function, however, has not changed.

Progressive & Render Mask

Several very interesting new features can be found in the Image sampler (Antialiasing)
rollout, including the Progressive and Render Mask options, Figure VR3-10. These two new
production tools make your work easier and significantly affect finishing and delivery times.
Lets start with Progressive antialiasing. This allows the final render to be produced, no
longer using buckets, but as a whole image. This image is initially very grainy but becomes
cleaner and cleaner as minutes pass.

Figure VR3-10
The Progressive option
and the relative field in
which to set the render
time are shown

It is a similar technology to V-Ray RT. The latter, however, implements all the functions and
also depends on Irradiance Map and Light Cache for Global Illumination. Its a very convenient
type of production, particularly when you dont have a lot of time available.

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Progressive allows you to have a finished render available at any time. It may be grainy, but
it will, however, be a complete render.
In the Render Time field we can set the processing duration or simply set the time to 0,
which corresponds to infinity, so the render will continue indefinitely and we can stop it
when necessary.
Considerations: In Figure VR3-11 you can see an image I made during the beta phase of
V-Ray 3.0 to test Progressive. This has become the testimonial image of the Progressive
function and you can also find it on the official website www.v-ray.com.
The image in Figure VR3-11 is a screenshot taken during processing. Here is some information
related to the process:
Image width 1200px;
Irradiance map: high / Light Cache: 2000.
After the first 5-6 minutes calculating the Global illumination with Irradiance Map and Light
Cache the render began in Progressive mode. The image in Figure VR3-11 is the result after
just 3 minutes of processing.

Figure VR3-11 Screenshot of the rendering after just 3 minutes of processing. You can see a
lot of grain, which disappears as Progressive continues its calculation.

The speed when using the Progressive option is more or less the same, but the way the
render is produced is different. This new type of antialiasing does most of the work in the
first few minutes and then takes all the time needed to reach a high level of definition. So we
can let it process until we are satisfied or for as much time as we have available.
For this reason Progressive really is an intelligent solution for flexibly producing renders.

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As far as the new and very useful Render Mask option is concerned, lets carry out a little
exercise which will clearly show its functioning and related advantages without mincing
words.

Exercise: How to take advantage of the Render Mask

1. Start 3ds Max and open the file render-mask_2011.max, located in the folder E-bookV-Ray-3.0;
2. Click on render and wait several minutes until it has finished, Figure VR3-12;

Figure VR3-12
The image is obtained
in just a few minutes,
showing the chair with
opaque reflections

3. Now change the surface properties of just one object in the scene, for example,
transform the chair from opaque to glossy (see Materials from page 62 of Photography
& Rendering with V-Ray);
4. Go to the Image Sampler (Antialiasing) panel and choose Selected from the Render
Mask drop-down menu, Figure VR3-13, then select the object whose surface properties
you have just changed;

Figure VR3-13
The Render Mask
option, which we
use as selected, is
shown

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5. By clicking on render youll see that the calculation is only carried out on the selected
object, making the correction in just a few seconds, Figure VR3-14. This prevents you
from having to recalculate other parts of the scene, which would certainly have made
the rendering time longer.

Figure VR3-14
Image showing the
render carried out only
on selected objects

In a way the Render Mask is the evolution of Region Render. It allows you to render very
specific areas based on a mask, a layer or as we have just seen on one or more selected
objects.
Notes: If you click on render and nothing happens, you have probably left the Render
Mask set to Selected and havent selected any objects.

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V-Ray Frame Buffer

The new V-Ray Frame Buffer, Figure VR3-15, contains new functions particularly related to
color correction and to other slight variations. Lets start with the latter.

Figure VR3-15
V-Ray Frame Buffer
graphics window
showing the buttons
for the functions Force
Color Clamping (A) and
View Clamped Colors
(B)

A
B

1. The buttons A and B, Figure VR3-15, respectively Force Color Clamping and View
Clamped Colors, have been grouped under the same button. Simply hold it down for a
few seconds to access both options, which are described in the book;
Notes: This change had already been made in the latest versions of V-Ray 2.0, but seeing
as they appear separate in the book, we prefer to emphasize it.
2. The button in Figure VR3-16 shows a preview of the effect of the gamma compensation,
which is no longer called sRGB. It now shows the symbol of a gamma curve but the
effect and meaning are still the same.
Figure VR3-16
Part of the V-Ray Frame
Buffer graphics window
showing the buttons to
access Pixel information
(C) and gamma
compensation (D), and a
box containing the pixel
information and the
Corrected colors option

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Notes: When the gamma curve button of the V-Ray Frame Buffer (shown with a D in
Figure VR3-16) is active, to measure the real value of the pixel, you need to enable the
Corrected Colors option. This can be accessed by clicking the third button i, Figure VR316 (C).
As far as new features are concerned, its a good idea to mention the Color Correction panel,
which is still accessed as in the previous versions, by clicking the first button of the VFB Show
Corrections Control. Now, finally, we are also able to change the Hue/Saturation and Color
Balance, Figure VR3-17.

Figure VR3-17
The color correction
options highlighted.
Select the checkboxes to
enable them and see the
effects they have on the
image.

For more new functions or improvements, visit the Features section, under V-Ray for 3ds
Max, on the official website http://www.v-ray.com.

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V-Ray Toolbar and V-Ray Quick Settings

By using the V-Ray Toolbar, Figure VR3-18, you can directly access almost all the functions
offered by V-Ray without passing through the menus of 3ds Max. Amongst the various
shortcuts available, we should highlight opening the Last VFB, the V-Ray lister, placing a
V-Ray Light and the icon to open the V-Ray material editor, Figure VR3-18.
Considerations: In general the orientation of the software has changed to become much
more artistic-oriented. This is precisely the intention of Photography & Rendering with
V-Ray, so I am really happy that this tool has moved closer towards those who wish to
experience rendering as artistic and photographic production. Moreover, V-Rays new
payoff is Art workflow, which says a lot about the intentions of its manufacturer Chaos
Group. The first tangible signs of this are the V-Ray Toolbar and the V-Ray Quick settings.

Figure VR3-18 The new V-Ray Toolbar showing some of the most commonly used functions. These include
icons to open the Last VFB (A), access the Quick Settings (B) or the V-Ray Light lister (C), place a V-Ray Light
(D) and access V-Ray VRMAT (E).

Notes: If you accidentally close the V-Ray Toolbar, Figure VR3-18, it can be easily
reactivated by right-clicking in the menu area of 3ds Max and selecting V-Ray Toolbar
from the list in the context menu.
The V-Ray Quick Settings, which are activated by clicking on the icon shown in Figure
VR3-18 (B), offer another new function. This allows you, through the V-Ray Quick Settings
dialogue box, Figure VR3-19, to select suitable Presets for different situations: outdoors,
interiors, VFX and Studio lighting.

Figure VR3-19
V-Ray Quick Settings
dialogue box

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From a mathematical point of view, the simpler the simulation, the more we tend to use
calculation algorithms without approximation, such as Brute Force. The more complex the
simulation, and the more it includes multiple light bounces in an interior for example the
more we tend to use algorithms that approximate reality, such as Irradiance Map and Light
Cache. However, the choice of which algorithms to use only concerns the time/performance
ratio and does not affect the beauty of the final result.
Moreover, if you perform a simple experiment by rendering the same scene using BF +
LC (which stands for Brute Force 1st bounce + Light Cache secondary bounces), shown as
Accurate, and IM + LC (Irradiance Map 1st bounce + Light Cache secondary bounces), youll
notice that the main difference is the rendering time.

BF+LC= 110 min

IM+LC= 49 min

Figure VR3-20 Two versions of Gravity rendered with two different algorithms.
The aesthetic quality is the same.

Notes: The BF + LC combination used in this experiment is known as Universal Settings

(see online guide), while IM + LC is the setting shown at the beginning of the book and
used in all the exercises.
The final result obviously has minor discrepancies, Figure VR3-20, but as a whole it is
essentially the same. The aesthetic quality doesnt change just because it isnt controlled by
these aspects, but is mainly related to the photographic approach in terms of composition,
skillful use of lighting, the matching of colors/materials and the final management of
contrast. Thats why we work with several fixed settings throughout the book.

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The fixed settings help to isolate the technical aspects so as to devote each page to the
relationship between photography and rendering and to the method made up of 5 basic
steps to drive the workflow. The order of this workflow is: framing, lighting, materials,
rendering and post-production. This is called the 5SRW method and its aim is to focus
on aesthetic quality while providing a solid tool to help develop awareness and use
photographic logic to address everything.

Production time
The aim of the book Photography & Rendering with V-Ray, of related activities such as
the V-Ray Masterclasses (supported by Chaos Group), and of the online teaching through
the Learnvray.com website, is not merely a photographic affectation. On the contrary, it
is intended to increase your productive efficacy through awareness, directing passionate
users towards drastically decreasing their production time.
While its true that on one hand optimizing settings for a specific scene can save you up to 2030% of total time, giving you a render in 2h instead of 2:30h, for example, that is not actually
the goal of these activities or of the 5SRW in general. Our real goal is to work on ourselves
so that we are completely aware of how the lights, framing, lighting and lighting hierarchy
work. This will allow us to gain total control over the process and finish setting up the scene
in 1 day of focused work rather than seven days of random attempts. It isnt about saving
30 minutes of final rendering time, but cutting away six whole days of attempts lacking a
precise goal. Improving this aspect will make the whole process incredibly effective.
Notes: In other contexts, such as animation, saving just 5 minutes can be very worthwhile.
In that case, however, we get into other dynamics concerning film production more than
photography, which is the main subject of the book.

Personal Vision
The Internet is literally overflowing with technical tutorials and video tutorials, not to
mention that Chaos Group itself has recently updated its free online guide, which you can
find at http://docs.chaosgroup.com. This provides all the functions explained parameter by
parameter and is enriched with numerous examples.
In contrast, what Photography & Rendering with V-Ray offers is a simple, solid and
harmonious vision of the world of three-dimensional simulation. Just like a photographer, it
looks at a real environment to photograph, whether it be indoors or outdoors, and uses light
as its main tool for modelling work.
Its a fresh and passionate view of photography, applied to rendering using V-Ray.
Im sure youll enjoy it!
Ciro Sannino

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E-book: V-RAY 3.0 NEW FEATURES

ORDER YOUR COPY NOW

Thanks to the great success of the Italian version of Photography & Rendering with V-Ray,
it is now also available in English and Spanish.
PURCHASE the book of your choice from the website www.gcedizioni.it

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The author Ciro Sannino also works for the online platform LEARN V-RAY and regularly holds
V-Ray Masterclasses. These are among the live events most recommended by Chaos Group.
Click on the following links to find out more:

IMPORTANT

Each individual product the BOOK, LEARN V-RAY and the

MASTERCLASSES is original and does not duplicate information. Their perfect
complementarity makes these three products the best photographic training for
architectural rendering.

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