How To Make Vray Rendering Look More Real In Photoshop
A free tutorial from the Black Spectacles grade 3D Rendering with Vray iii.2 for SketchUp and Rhino 5. In this Blackness Spectacles free tutorial, y'all volition larn how to bring rendered channels and rendered passes into Photoshop. This tutorial is function of the Black Glasses grade on 3D Rendering with Vray 3.2 for SketchUp and Rhinoceros v in which yous will learn how to bring a 3D model into Vray for SketchUp 216 and Rhinoceros 5, return information technology out, and touch it upwards in Photoshop to give your last image a professional finesse. Bringing Rendered Channels into Photoshop Tutorial A good dominion of thumb is to try to create a rendering out of the box that volition probably be about 80% complete. It's got all the components you need. The colors might not exist perfect, the lighting may need a little bit of piece of work, only it's a keen base. And if yous spend 45 minutes to an 60 minutes getting to this point from scratch, that's great because then you tin spend some other thirty minutes or so tweaking it using all of these other return passes and render channels. And then let's wait at all of those return passes and channels. You can see the file titled "ZDepth" is giving you information about how far the objects are away from the camera. The closer the objects are to the camera, the darker they will be, and the farther away they are, they will be white. This is useful if you want to use information technology equally a depth of field channel or tool. "Shadow" is but the shadows information. Yous tin can see where the light is and where the shadows are. "Self-illumination" – this is the Vray dome. If you render with the Vray sky, this wouldn't look like this. It looks like this because nosotros are using the Vray dome, and the dome is self-illuminated objects, and this aqueduct is picking that up. What this is helpful for is that this is a actually expert mask for your sky because everything is blackness except for the sky. So yous can select the black, invert, and delete the sky if you want to swap it. Adjacent is "Refraction," this 1 has the filter and the refraction built into information technology. But yous can see it's really merely the refraction layer, then it's showing you what's behind every transparent object in the scene. Glass is actually the merely transparent object in this particular scene. So this will be not bad for enhancing the interior if it's night. "Fabric ID" is adept for selecting different pieces. So if you want to work on merely the grass, you tin can just do a selection past color. To do that, go to "Select > Color Range" and click on the grass with the eyedropper tool, then striking OK and y'all volition see all of the grass is selected. Next is "Alpha." In that location's but a tiny bit of Alpha here. The Vray dome is opaque, which is why you don't become an alpha. If you were to use the Vray sky, yous would get an alpha because that ane is transparent. The "Lengthened filter" is basically just textures and colors with no lighting, no shadows, no bounce lite, goose egg. It literally only lays the colors and textures direct on information technology so everything looks flat. Then "GI" is just global illumination. No bounce lighting, merely general ambience light paths. Lookout the video for this tutorial here:
Source: https://go.blackspectacles.com/blog/take-your-renderings-to-the-next-level-in-photoshop
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