Arnold for 3ds max – Render objects as volumes (volume shading)

Software:
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:

  1. Add an Arnold Properties modifier to the object.
  2. Under Volume set the Step Size to a value higher than 0.0.
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  3. Assign a Standard Volume material to the object and set it’s parameters to design the volumetric effect:
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Examples:

* 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

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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.

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Related:
Arnold for 3ds max God Rays

 

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Arnold for 3ds max – Volumetric Fog and ‘God Rays’

Software:
3ds max 2019 | Arnold 5

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Adding a ‘Volume Light’ effect in Arnold for 3ds max is fairly simple:

  1. In the Render Setup windows > Arnold Renderer tab, under Environment, Background & Atmosphere:
  2. 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.
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  3. Set the Density to a higher than 0.0 value, so the material will have an effect.
  4. 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.

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Related:
Arnold for 3ds max Volume Shading

V-Ray for 3ds max Wood Floor Material

Software:
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.

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Explanation of the material node graph:50770279_2476404922388832_853261524695777280_o.jpg

  1. The wood color (Diffuse texture)
  2. The wood black and white detail texture (used to add reflection detail)
  3. 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)
  4. The reflection texture is color corrected to to intensify it prior to it being connected to the base wood layer material:
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  5. The reflection texture is color corrected to to decrease its intensity prior to it being connected to the varnish coat blend:
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  6. The base layer natural wood material with the Diffuse, Reflect and Bump textures connected to it:
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  7. 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)
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  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):
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  9. The final VRayBlendMtl combining the base wood material with the varnish coat material using the Fresnel Falloff blend map:
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Related posts:

  1. Fresnel Reflections

Simple Snow Material in VRay for 3ds max

Software:
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.

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3ds max Island / Seashore opacity underwater tip

Software:
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:

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V-Ray – Underwater rendering tip

Software:
3ds max 2019 | V-Ray Next

I decided to do some test renders for an underwater swimming pool scene with 3ds max and V-Ray,
And happily found out that my initial geeky academic approach to the subject was actually outdated and unnecessary.
> look down at the bottom for the correct sample renders.

In this example there is a VRaySun & VRaySky for the daylight render setup and a Caustics calculation to create the light lensing effects on the under water surfaces.

The wrong way:
Having ancient habits in the subject,
I first flipped the water\air surface’s normals so they’ll point down into the water (towards the camera), And set the water material’s IOR to 0.75 ( 1 / 1.333 ) so instead of being an “air to water” material, it will become a “water to air” material.
This produced a non realistic result.
Viewed from underwater, the air surface should have a very dominant mirror reflection at most angles.Untitled-1.jpg

 

The Correct Way:
It seems that in V-Ray nothing special should be setup in terms of the water material.
You don’t have to create a special water-to-air material like I thought at first.
Its a regular water material, and the water surface is facing upwards like it should,
And when the camera is underwater it renders the water surface correctly as an air surface from withing the water.

The pool water material setup:
Note that Affect Shadows is turned off so the surface will generate caustics and not fake transparent shadows, and that Reflect on back side is turned on to produce more detailed reflections.
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This produced the following result in which the reflection/refraction look correct but the water is still too simple:Untitled-2.jpg

Improved wave deformation for the water surface, added detail using a Noise bump in the water material and a sense of depth with Volumetric Fog:Untitled-4.jpg

Finally remembered to activate Reflect on back side at the water material to add more realistic reflection detail, some basic contrast in the V-Ray VFB,
And a shark because I couldn’t help it…. 😀
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V-Ray Next’s PBR’ness

Software:
3ds max 2019 | V-Ray Next

A quick test of V-Ray Next‘s PBR workflow,
Namely designing materials while previewing them using V-Ray,
Defining the material properties using the new (to V-Ray) Metalness attribute, and using Roughness rather than Glossiness, shows good results IMO.

Results are generally consistent through Blender & Cycles, Maya & Arnold, and UE4.

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Related Posts:

  1. V-Ray Next – Metalness
  2. Metal In UE4
  3. Fresnel Reflections