3ds max 2019 | Arnold 5
In-order for objects in 3ds max to be rendered as volumes with Arnold, the object mesh has to be converted to a volume, and a Standard Volume material assigned to the object:
- Add an Arnold Properties modifier to the object.
- Under Volume set the Step Size to a value higher than 0.0.
- Assign a Standard Volume material to the object and set it’s parameters to design the volumetric effect:
* Note that both Density and Depth control the transparency or ‘thickness’ of the volume. (lower Depth setting creates a thicker volume)
* When Scattering is set to 0.0 the volume will have only a absorption effect
In this example an Arnold Noise map is connected to the Standard Volume‘s Density parameter:
* Note that the Scale values must be set correctly in order to actually get a ‘cloudy’ effect.
* Note that the noise color values are now controlling the Density of the volume.
Arnold for 3ds max God Rays
3ds max 2019 | Arnold 5
Adding a ‘Volume Light’ effect in Arnold for 3ds max is fairly simple:
- In the Render Setup windows > Arnold Renderer tab, under Environment, Background & Atmosphere:
- Click the Scene Atmosphere material slot, add an Arnold Atmosphere Volume material to it,
And drag it as an instance to the Material Editor to edit it’s parameters.
- Set the Density to a higher than 0.0 value, so the material will have an effect.
- You’ll probably need to significantly raise the number of samples in the Atmosphere Volume material, and also the number of Volume samples in the light settings in order to get a clean render.
Arnold for 3ds max Volume Shading
3ds max 2019 | V-Ray Next
An example of varnished wood floor material in V-Ray and 3ds max.
The material uses a VRayBlendMtl with 2 connected VRayMtl sub materials to simulate a natural wood base layer coated by a glossy varnish layer.
Explanation of the material node graph:
- The wood color (Diffuse texture)
- The wood black and white detail texture (used to add reflection detail)
- The wood bump texture (actually the same as the reflection texture just color corrected to whiten most details except the lines separating the wood planks)
- The reflection texture is color corrected to to intensify it prior to it being connected to the base wood layer material:
- The reflection texture is color corrected to to decrease its intensity prior to it being connected to the varnish coat blend:
- The base layer natural wood material with the Diffuse, Reflect and Bump textures connected to it:
- The varnish coat material with the Bump texture connected to it:
* Note the Fresnel Reflections is turned off because the Fresnel reflection is calculated by the Falloff map (8)
- The Falloff map that defines the amount with which the varnish coat material covers the base wood material,
A combination of Fresnel reflection intensity/Angle with the pre-processed reflection detail map (5):
- The final VRayBlendMtl combining the base wood material with the varnish coat material using the Fresnel Falloff blend map:
- Fresnel Reflections
Blender 2.8 | Cycles
CG-Lion Wood Presets Pack 1.0 is an advanced 3D procedural wood shader I developed for Blender and the Cycles render engine that produces consistent wood pattern on all sides of the model without requiring UV coordinates.
The shader has many tweak-able parameters for easy customization of the wood pattern, and also has built-in varnish coat and paint layers.
CG-Lion Wood Presets Pack 1.0 ships with a ready-to-use material preset library.
CG-Lion Wood Presets Pack 1.0 is available on Blender Market:
CG-Lion Car Paint Presets Pack 1.0
CG-Lion Spotlight Presets Pack 1.0
Maya 2018 | Arnold 5
An example of a basic traditional (not scanned) cloth material setup in Arnold 5 for Maya using an aiStandardSurface shader.
The shading network uses a classic angle dependent color blend to simulate the color of the cloth being washed out at grazing angle of view.
Explanation of the node graph:
- A black and white fabric weave texture that will serve as input for multiple shading channels.
* This is actually not the best example of such a pattern, and could be replaced with a much better texture.
- A remapValue node is used to set contrast to the fabric pattern (reduce contrast in this case) prior to it being multiplied with the fabric colors.
* Note that only one of the textures RGB channels is connected to the remapValue node since it’s a float (mono) processor and not RGB.
* Note that depending on the fabric texture, you may have to design different curves to achieve the right effect.
- Two colors are defined with colorConstant nodes:
A deep color as the main fabric color, and a washed out color for grazing angle view (“side color”).
- An aiFacingRatio node is used as an input for incident angle info.
* Note that in this case I checked the node’s invert option to make it behave more like other systems I’m used to (if you don’t use invert, the angle blend curve in 5 will be different..)
- A remapValue node used to set the angle blend curve or in other words, how much does the color appears washed out per change of view angle of the cloth surface.
* The longer it take the curve to become steep from left to right, the more the main color will be dominant before the washed out color will appear.
- A colorCorrect node is used in this example just as a way to convert the remapped float value back to RGB for being multiplied with the cloth colors.
* We could also connect it directly to the individual float components of the RGB colors but this way the node graph is cleaner.
- A multiplyDivide node is used to multiply the processed fabric texture with the 2 fabric colors “baking” the pattern into the color.
- A blendColors node is used to blend the 2 processed fabric colors together according to the processed facingRatio angle input.
The result is the final cloth color that is connected to the aiStandardSurface shader.
- An aiBump2d node is used to convert the fabric pattern to normal data that will be connected to the aiStandardSurface shader to produce bumps.
- An aiStandartSurface shader serving as the main shading node for this material.
* Note that under Geometry the Thin Walled option is checked so that the Subsurface layer of the shader will act as a Paper Shader rather than SSS.
* The main cloth color is connected to the SubSurface Color input.
More Arnold shading posts
3ds max 2019 | V-Ray Next
A simple way to create a snow material in V-Ray for 3ds max is to combine a VRayFastSSS2 material with a VRayFlakesMtl using a VRayBlendMtl.
The VRayFastSSS2 creates the soft translucent shading for the snow, and the VRayFlakesMtls adds sparkling highlights.
- Note that depending on the scene and view scale,
The VRayFlakesMtls ‘flake glossiness’, ‘flake density’ and ‘flake size’ have to be tweaked to achieve the wanted result.
3ds max 2016
When creating a surface submerged in sea water,
Theoretically, it’s the Volume Absorption or ‘Fog‘ of the water shader that should do cause the surface to disappear under water.
But in many cases that doesn’t work well because we don’t actually model enough extended surface under the water for it to completely disappear without seeing the surfaces geometric edges that spoil the result.
One of the oldest tricks in the book is to use a Gradient Ramp map in the surface’s Opacity channel to make it gradually disappear before the geometry ends.
This can be done in most 3d software and render engines, I’m demonstrating it here using 3ds max and V-Ray: