V-Ray for Rhino Manual - Rum

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Below are some images showing more example of Depth of Field. The glass cups are products of Nachtmann from Germany. 78 V-Ray for Rhino
Physical Camera The Physical Camera feature allows the camera’s reaction to light to mimic that of a camera in the real world. This means a much more natural reaction to light as well as an added dimension of control over the lighting of your scene. There are also added ways to adjust your rendered result. Type of Camera In V-Ray’s physical camera parameters you will see that there are three options within the types of cameras. The first is a still camera, and the other two, cinematic and video, are for use with animations. We will only be concerned with the still camera, as the others are used to do camera matching with existing footage. The still camera may still be used with animations, and produces great results. Exposure In the real world, exposure is the act of light affecting film or a sensor, and there are three aspects that dictate the resulting affect of the light. The first is known as ISO speed. The ISO speed refers to the sensitivity of the film or sensor. A larger ISO speed corresponds to a greater sensitivity to light. The second aspect affecting the exposure is the aperture. This corresponds to the size of the opening that allows light to pass to the film or sensor. This value is referred to as F-stop, and smaller values equate to a larger opening, and thus more light. The last component that will contribute to the exposure is the Shutter Speed. The shutter speed is the amount of time that the light is allowed to affect the sensor. A longer amount of time will allow in more light, leading to a brighter image. Adjusting Exposure Now that we know what determines the exposure how do go about properly adjusting it for our image. This can be done through either of the three parameters: ISO, Aperture, or Shutter Speed. In order for these parameters to have an affect on the exposure of the image Exposure must be checked in the physical camera settings. Depending on some of the other affects that are being used adjusting the camera via one parameter might be more appropriate than another. V-Ray for Rhino 79
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A R E N D E R I N G P L U G I N F O
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Transparency Mapping...............
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Installing V-Ray for Rhino 1. Make
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Before you start rendering with V-R
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Render Options for V-Ray for Rhino
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The image is in blue tone is becaus
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Material Editor in V-Ray for Rhino
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How to duplicate a material: Under
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Material Usage 01. Open Cups-GI.3dm
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Add Lights We didn't add any light
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Here are some images with different
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Impacts on reflective objects due t
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Material: Reflection Layer This sec
Page 28 and 29: Fresnel Reflections Fresnel Reflect
Page 30 and 31: Fresnel IOR Reflection Glossiness C
Page 32 and 33: 3. Click on the Update Preview agai
Page 34 and 35: Adjusting Refractions with Index of
Page 36 and 37: Image below shows the influence of
Page 38 and 39: Check the Translucent box under Tra
Page 40 and 41: Adjust the Intensity Default set th
Page 42 and 43: Please note that if any type of map
Page 44 and 45: 03. Click on the “m” to the rig
Page 46 and 47: Projection types and adjustment The
Page 48 and 49: Image on the left is result of usin
Page 50 and 51: Adjusting Displacement Depending on
Page 52 and 53: 1. Click on the cup and open its Ma
Page 54 and 55: Other Uses for transparency mapping
Page 56 and 57: V-Ray Two-Sided Material The V-Ray
Page 58 and 59: Environment Lighting Lighting plays
Page 60 and 61: Techniques for adjusting illuminati
Page 62 and 63: To compare, below are three images
Page 64 and 65: Environment light source for semi-o
Page 66 and 67: Choosing different Render Engines I
Page 68 and 69: Image on the left is showing the la
Page 70 and 71: Primary Engine: Quasi Monte-Carlo Q
Page 72 and 73: Another important option with Light
Page 74 and 75: Light and Shadow The quality of Sha
Page 76 and 77: Depth of Field What's Depth of Fiel
Page 80 and 81: Using Aperture When using aperture
Page 82 and 83: Sun and Sky The V-Ray Sun and Sky a
Page 84 and 85: Changin the Sun’s Appearance with
Page 86 and 87: Caustics What are Caustics? Caustic
Page 88 and 89: Color Mapping The Function of Color
Page 90 and 91: Mesh Settings In order for geometry
Page 92 and 93: V-Ray Frame Buffer Render image win
Page 94 and 95: Starting the DR Spawner Once the DR
Page 96 and 97: Chocolate Crystal Eggshell Emmisive
Page 98 and 99: Metal - Car Paint_Red Metal - Chrom
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V-Ray for Rhino Manual - Rum

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