So you can select the black, invert, and delete the sky if you want to swap it. What this is helpful for is that this is a really good mask for your sky because everything is black except for the sky. It looks like this because we are using the Vray dome, and the dome is self-illuminated objects, and this channel is picking that up. If you render with the Vray sky, this wouldn’t look like this. “Self-illumination” – this is the Vray dome. You can see where the light is and where the shadows are. “Shadow” is just the shadows information. This is useful if you want to use it as a depth of field channel or tool. The closer the objects are to the camera, the darker they will be, and the farther away they are, they will be white. You can see the file titled “ZDepth” is giving you information about how far the objects are away from the camera. So let’s look at all of those render passes and channels. And if you spend 45 minutes to an hour getting to this point from scratch, that’s great because then you can spend another 30 minutes or so tweaking it using all of these other render passes and render channels. The colors might not be perfect, the lighting may need a little bit of work, but it’s a great base.
This tutorial is part of the Black Spectacles course on 3D Rendering with Vray 3.2 for SketchUp and Rhino 5 in which you will learn how to bring a 3D model into Vray for SketchUp 216 and Rhino 5, render it out, and touch it up in Photoshop to give your final image a professional finesse.īringing Rendered Channels into Photoshop TutorialĪ good rule of thumb is to try to create a rendering out of the box that will probably be about 80% complete.
In this Black Spectacles free tutorial, you will learn how to bring rendered channels and rendered passes into Photoshop. There you go! You have set your material’s texture to have the correct scale and fixed the issue.A free tutorial from the Black Spectacles course 3D Rendering with Vray 3.2 for SketchUp and Rhino 5. The final parameter simply asks whether you want it to be capped. Therefore, you can input 2 for the width, height and depth. For a uniform texture, this would be 2mm x 2mm x 2mm, as the current scale is 1000mm x 1000mm x 1000mm. The first 3 are the dimensions of the box. The box mapping will ask you for 4 parameters. Go to properties, texture mapping, apply box mapping. This can be done by changing the texture mapping of the material within Rhino. Now we know what scale the material is at, all that’s left to do is change it. Therefore, a 1000mm wide texture at a scale of 1:500, is displayed as 2mm instead of 1000mm. The next step was then to divide the material scale (1000mm) by the scale (500). In our case, we were using a material that was meant to be 100cm (1000mm) wide. Lastly, you need to figure out what units your project is in. This is the number that we need to divide by the scale our model is. It might be something like “20cm”, “100cm” etc.
For example, inside the material’s name is a dimension. Next, for the material I wanted to use, I found that Vray materials showcase what scale they are meant to be at. Though, this caused more headaches than not so I don’t recommend doing this unless you have to. This was to reduce the file size and allow Vray fur to work correctly. For me, my studio project was at a scale of 1:500. To fix this issue of wrong texture scale of materials, I did this quick fix.įirst, I found out what scale my model was at. This caused unwanted problems in Rhino and Vray. The scale of the textures was wrong and they were either too big or too small. I noticed that the material textures weren’t displaying correctly.
I was working on my studio 6 project in Rhino, trying to create a hero shot render of my model with Vray.