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V-RAY

Compositing V-rayRender Layers inPhotoshopby Ahmed Fathi 15 Jul 2011 79Comments

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In this tutorial Ahmed Fathi takes a look at how to composite together V-rayrender layers using blending-modes and masks in Photoshop. Oncecompleted, this process allows you to change or tweak any aspect of yourimage in seconds without having to re-render a thing! Ahmed also covers afew extra post production techniques such as Chromatic Aberration andDepth Of Field, as well as how to emulate a Cross-processed look.

Republished Tutorial

Every few weeks, we revisit some of our reader's favorite posts from

throughout the history of the site. This tutorial was first published in July of




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2010.

Additional Files/ Plugins:

Download the Project Files for this tutorial

Step 1As this is a compositing tutorial, not a lighting/rendering tutorial, I'll assumethat you have at least a basic knowledge of V-ray, and that you are able torender out your own scenes already. We're going jump straight ahead intosetting up the different render elements for the compositing process.

In order to make V-ray render out the different layers, we first have toenable them in the V-ray Render Elements tab within the Render Settingswindow. Once in the tab, we want to enable the following render elementsas shown :

VrayDiffuseFilterVrayMtlIDVrayObjectID

http://cdn.tutsplus.com/cg/uploads/legacy/184_VrayMaxPS_ArchVis/Assets.zip




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VrayRawGlobalIlluminationVrayRawLightingVrayRawShadowVrayReflectionVrayRefractionVraySpecularand VrayZDepth.




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Most of these elements don t need much work to get them right, but weare going to need to take a few steps to set up the VrayMtlID, VrayObjectIDand VrayZDepth layers.

Step 2We'll start with the VRayZDepth element. The ZDepth layer is a black andwhite map that is used to tell Photoshop how far each object in our scenesits away from the render camera - the further the object is from thecamera, the darker it will appear in the Zdepth layer. Typically the Min valueis used to tell the compositor which objects will be in focus.

In order to correctly setup a Zdepth map, we have to adjust the Min & Max




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distances that V-ray should calculate, and therefore what appears as white(the Min value) and black (the Max value) within our scene. Select theVRayZDepth item in the elements list. At the bottom you'll see the zdepthmin and zdepth max values we need to adjust.




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Step 3To get a sense of what values you should use for the min and max values,you should use a tape helper object to measure the distance between thecamera and your closest and furthest objects.To simplify things, let s say sphere #2 in the image below is the closestsphere we want to be in focus, whilst Sphere #6 should be slightly out offocus. We would use two tapes to measure those distances and put themin as your Min & Max Values.




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Step 4Here' s what the VRayZdepth render for this composite looked like after




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setting the Min to 20 and Max to 70 meters




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Step 5The VrayMtlID render layer creates an image with a different solid colourfor each material in your scene, and to use it, we need to adjust yourmaterial IDs. In your material editor you will find an icon with the number 0on it (as shown below.) If you click the 0, a grid of numbers from 0 to 15 willappear - this is your material ID. Go through your scene and apply adifferent number to each material you want to have a different color in yourMtlID element. As we have 16 numbers, we can have 16 different materialsappearing in our MtlID render layer.




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Step 6Here 's how your VRayMtlID element would look like after setting up theID's for each required material. Your result may have different colors, butthe important thing is that they are separate from one another.




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Step 7VRayObjectID element is just like material IDs element mentioned above,but it outputs a different colour based on the different objects in your scene- the Materials are irrelevant to it. To set this up, right click your desiredobject, select Object Properties and give each object a different number inthe Object ID field in the G-Buffer section.




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Step 8I only needed to use the VRayObjectID element in order to make selectingthe cars and the surrounding buildings easier in post. Here 's how it looksafter rendering.




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Step 9




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The last element we need to add in is the ambient occlusion layer, but asyou'll remember, this wasn't added to our render elements list in V-ray. Weactually need to render it separately after your initial render has beencompleted, but don't worry, there is an easy, fast way to do it!

Apply a VrayLightMtl to your entire scene, and then add a VrayDirt mapinto the color channel. You'll then need to go in and tweak the dirt mapsettings until you get a good, clean result result. For this scene, I got a nicelooking AO map with a Radius of 2 in my dirt map settings.

Note: if you use a V-ray Physical Camera in your scene, (which I highlyrecommend,) you will need to turn off your Exposure and Vignette optionsin your camera settings in order to render the AO pass properly.




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Step 10After a couple of trials with the dirt map radius, I ended up with thefollowing AO element. I also increased the dirt map subdivs from 8 to about64 which helped to smooth out the final render, and it still rendered outrelatively fast.




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Step 11Just a couple more steps and we'll be ready to fire up Photoshop and startcompositing! But first, how do we get all of these elements out of V-ray?For starters, there is the obvious way of saving them to file one at a time,however there are infact two techniques used for saving the differentchannels to disk and we'll cover both of them in the next few steps.

The first method is really helpful, especially for those who use a LinearWorkflow, and that is saving all the render elements out into a single .EXRfile. To do that you should first select Enable built-in Frame Bufferfrom theV-Ray::Frame buffer menu, and then turn on the Render to V-Ray Rawimage file option below. With that done, we can click browse.




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Step 12Browse to the place where you want to save your file, and enter your filename making sure to add the .EXR extension onto the end of it. Thenselect All Files(*.*) as your file type. This will allow you to save your renderas a single .EXR file that contains all your different render layers.

If, however, you try to open your new .EXR file in Photoshop, you will onlysee the first render layer. To see the others, you'll need to install acommercial Photoshop plug-in called ProEXR, and that is why I prefer thenext method!

Note: EXR files burn in any gamma correction as it assumes you'll be usinga linear workflow. If your image appears washed out in Photoshop, go toImage > Adjustments > Exposure, and set your Gamma to 0.454, which isthe inverse of 2.2 (calculated by dividing 1.0 by 2.2).




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Step 13The second method (my preferred one) is to save all your elements outmanually as .TGA files. I prefer TGAs to JPGs as they are 32-Bit, and canhold much more color Information than the normal 8-Bit JPG file. Anotherbonus is that they support having a built-in alpha channe.

Note: if you have never used the V-Ray Frame Buffer to render outelements before, you can find all of your elements in the top left drop downmenu that says Diffuse by default.




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Step 14Now that you have finished our 3Ds Max and V-Ray Part, fire upPhotoshop and let s start playing! First a small tip to help you get all of thedifferent files into layers in one Photoshop document. It is a script built intoPhotoshop that will stack your files as layers and arrange them inalphabetical order. Go to File > Scripts > Load Scripts as Stack, and thenbrowse for your files, select them all and click Ok. Some people preferbringing in the elements one at a time, however I do prefer this methodmyself.




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Step 15This is actually your first step in compositing! We'll start by turning off thevisibility on all layers except for the Z-Depth. Select all of the contents ofthis layer (Ctrl+A), copy them (Ctrl+C) and then switch to your Channelstab.Some people prefer adding a little bit of Gaussian blur to their Z-Depthbefore using it, however as most of my clients hate DOF, thinking that it's aneedless loss of detail, I do not do this! In the end it is a matter of personalpreference.




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Step 16Once in the Channels tab, first check to see that your original Alpha layer ispresent. If it isn't, open up the Diff.tga file seperately, switch to it's Channelstab, and drag and drop the Alpha channel from there onto our Z-depthimage - an Alpha1 channel should appear. You can then close the Diff.tgafile.

Now, click the Create New Channel and paste your Zdepth render into it.You can then switch back to the Layers tab and delete your Z-Depth layeras we don t need it anymore.




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Step 17To follow along with me in the next few steps, first arrange your layers inthe order shown. The RGB layer at the top of the stack is the raw render,straight out of V-ray. I've kept it there so that we have something tocompare to at the end.




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Step 18First, duplicate your Diffuse layer by right clicking it and choosing theDuplicate option, and then move the copy under your RawLight layer asshown.




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Step 19Turn on visibility for your Diffuse layer and your RawGI layer. Set your RawGI blending mode to Multiply.




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Step 20Next hold down the Alt key and click between you RawGI layer and yourDiffuse layer (the cursor will change into this two circles and an arrow iconwhen you're in the correct place). This little bent arrow that appearsindicates that this layer (RawGI) is only affecting the Diffuse layer. This iscalled a clipping mask, and you can find out more about it using a simpleonline search. There are tons of tutorials out there!




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Step 21Using the same technique that you learned in the last two steps. Enablevisibility for both Diffuse Copy and RawLight. Set the blending mode forthe RawLight Layer to Multiply then use it to only affect Diffuse Copylayer (Alt+click between the two layers).




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Step 22For the sake of better organization, group both the Diffuse & RawGI layersinto a group, and the Diffuse Copy & RawLight layers into a different group.To create a group you can click on the small folder icon at the bottom rightof your layers (I should say sorry for people who actually know all this basicstuff. I am just trying not to let anything pass by for beginners too!)




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Step 23Change the blending mode the of Diffuse + Raw Light Group to Lineardodge (Add). This adds the information contained in this group to theinformation contained in the group below . The image should startlooking more natural now.




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Step 24At this point things look much better, but you may be asking yourself -

why is my glass black? Well, most of the glass information in the finalrender is contained in the reflection and refraction passes, and we haven tcomposed them just yet.

So, enable visibility for your Reflection Layer and set it's blending mode toLinear Dodge (Add) and see the difference. One of the main benefits ofhaving a composite like this is that, for example, on this reflection layer youcan paint/paste in any reflection you want to appear in the windows.

Note: I should explain a little bit what linear Dodge (Add) blending modedoes. It adds the color information of the pixels to each other. We know thatfor example Pure White is 255 and Pure Black is 0. So adding pure blackadds 0 whilst adding pure white adds 255. Therefore, pure black (0) + purewhite (255) = Pure white (255), Mid grey (125) + Mid grey (125) = White(250) and so on. That is why when you use this mode you no longer seeany of your black, because it s a zero-value color.




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Step 25To illustrate how easy it is to edit any of your elements (color correct it,adjust exposure, etc ) I will assume that I now want to change the reddishcolor of my stone texture. If we hadn't used this multi-pass compositingmethod, we would have two options:

1. Adjust the texture itself in Photoshop and then re-render, perhapscompleting a dozen test renders before you were satisfied with theresult, and could render a HQ render. This obviously takes a lot oftime and patience!

2. Using selection tools in Photoshop, we could select the texture andapply the desired corrections to it. The first problem with this is thatselection is really a very tedious job, and when you come to add colorcorrections, you 'll be affecting all of the image - your shadows andhighlights will look odd and overall things won' t look that good.




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Step 26Well, remember that element called MtlID that we rendered out? It is timeto enable that layer. The only use for this layer is to create MUCH fasterselections with only a couple of mouse clicks. Using this layer we will easilyselect our stone texture in no time at all.




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Step 27With the layer selected, go to Select > Color Range. Then use the eyedropper tool to sample the magenta color on our materials layer thatrepresents the ID of the stone texture. With that done, press OK and youhave your selection.




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Step 28Now turn off the visibility of your MtlID layer. Then while keeping thatselection active, add an Exposure adjustment layer. This will create theadjustment layer and automatically add a mask so that it only affects yourStone. It doesn t matter where you have this layer now, we will move itlater on.




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Step 29In the Exposure adjustment layer's settings, set your Exposure to +0.80 tobrighten it up a bit.




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Step 30As we want this layer to affect our diffuse only, you will have to place it rightabove the Diffuse layer (remember that one inside the group?) Move it intoposition as shown and remember to Alt-click between the layers to make itonly affect your Diffuse channels.

Just as a side note; whether you add it to your Diffuse layer or yourDiffuse Copy Layer shouldn t make a difference at all. Some

corrections might require you to place them on both Diffuse layers though,and it s just a matter of trial and errors until till you fully understand it all.




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Step 31Take your Refraction layer one step down so that it sits right above yourReflection layer. Enable both and set their blending modes to Linear Dodge(Add). I've added another Exposure adjustment, with the Exposure valueset to +0.80, to my Refraction layer as I wanted it to appear a little brighter.

Note: Editing the Refraction layer is one of the best ways to adjust the tintof clear glass in interior renders.




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Step 32Enable your Specular layer and once again change its blending mode toLinear Dodge (Add).




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Step 33Duplicate your Specular layer (Ctrl+J) - notice it still has Linear dodge(Add) as its blending mode - and then with the copy selected, goto Filter >Blur > Gaussian blur.




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Step 34Set your Gaussian Blur Radius to around 2.5 pixels and press OK. Set yourlayer Opacity to around 65%. This should help create a specular bloomeffect around your specular highlights.

Note: These values are not constant numbers as they depend on yourresolution, and of course your taste. Just don t over-do it!




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Step 35Enable your RawShadow Layer and invert it (Ctrl + I).




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Step 36You might be surprised that your shadows are bluish but this is in factnormal, they always are during the day because V-ray's GI has a brightblue sky. Set your RawShadow layer's blending mode to Multiply and it'sOpacity to around 20%.




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Step 37This step is not a must but I like enhancing my shadows a bit as it gives theimage a bit more contrast. Add a Color Balance adjustment layer,making it only affect the RawShadow layer, and with the Tones value set toShadows, give your shadows a reddish tint. Set the opacity for thisadjustment layer down to around 20%, although again, this is just a matterof personal preference.

In other scenes when I find my shadows a little too sharp for my taste, Iadd a small radius Gaussian blur filter to the shadow layer, which helpssmooth out those hard edged shadows a lot.




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Step 38Now enable your Ambient Occlusion layer. Set its blending mode toMultiply and its Opacity to around 10%. Ambient Occlusion shouldn' t betoo obvious in your final render, as it just helps you enhance the look of thelittle details in your final image.




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Step 39At this point, we are pretty much done with the compositing! To sum it all uphere 's a simple equation that I used until I memorised the differentblending modes. If you follow it through, you'll see it exactly matches whatwe've done in this tutorial!

Step 40




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The only thing missing now is a sky with a few clouds, and that 's what weare going to add next. You can also use a bluish gradient or, if you prefer,you can cut out the V-ray sky from your original render and paste it behindthis image. To do any of these things however, we first need to access ouralpha information.

Go to the Channels pane and Ctrl-click on your main alpha channel' sthumbnail. This will make an automatic selection of your image ignoringany transparent pieces so that we can easily add in a background image.




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Step 41Invert your selection (Ctrl + Shift + I) so that we only have the skybackground selected.

In my original render I used a cyan-ish gradient with some stock clouds.However as I don t have the rights to redistribute those we will have tofind another image. Using Google images search the words sky field orclouds field or something similar. Set your search options to Large Imagesonly so you get high resolution pictures only. I found this one on the firstpage.




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Step 42Save the image and open it in Photoshop. Select all of its contents (Ctrl +A), copy them (Ctrl + C), and as we still have that selection we made usingour alpha, use Photoshop' s command Paste Into (Ctrl + Shift + V)command. This should automatically add a mask to our new sky layer.Rename this new layer something like Sky BG.Note: In Photoshop CS5 this shortcut changed to (Ctrl + Alt + Shift + V).




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Step 43Using Free transform (Ctrl + T) adjust the size of your sky until it fits theimage. Remember to hold Shift while resizing to uniformly scale.

Then add a Color Balance adjustment layer over your sky BG only(again using the clipping mask method) and play with the settings untilyou're happy with the result. I liked mine with a bit of a cyan tint to it.




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Step 44We are now done with the compositing! Now I'm going to cover some postproduction tips like adding motion blur to cars, adding DOF using ZDepth,and adding chromatic aberration. You have come a really long way, solet' s compare our composite to the original V-ray output (the RGB layer).

As you can see, apart from the skies, they both look extremely similar, theonly difference being that in our composite, anything can be changed ortweaked without having to re-render anything.




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Step 45Now begins the fun part - post production! There are many differentworkflows for this part, it all just depends on your own personalpreferences. I will be showing you some of the techniques I use, to helpyou get started.

First make sure you have the look of your render exactly how you want it. Ifyou want to increase reflections or refractions, add more specularhighlights, now is the time!

Now merge all your visible layers into one single layer by selecting the top-most visible layer and pressing Ctrl + Alt + Shift + E. This will paste amerged copy of all your layers into a new layer called Layer 1 .




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Step 46Making sure you've got the new Layer 1 selected, use the same selectcolor range technique we learned earlier (steps 26 & 27) but this time onthe Object ID layer, to select the cars.




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Step 47We want to create a new layer containing only the cars, and to do this wepress Ctrl + J. Rename the new layer (initially called Layer 2) to CarsMotion Blur then delete the merged Layer 1 .




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Step 48With the Cars Motion Blur layer selected, go to Filter > Blur > Motion Blur.




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Step 49Alter the direction of motion so that it matches the direction of the cars, andthen choose a medium Distance (I used around 25 pixels). Click OK tofinalise.




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Step 50Lower the Opacity of this layer to around 30%. The motion blur is complete!




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Step 51Now to add some chromatic aberration. Please be advised that CA is aneffect that should be used as little as possible, as too much can cause yourrenders to look blurry and ugly. Before attempting to use this effect on yourown renders I suggest you read more about this phenomenon, so that youknow where and when CA should appear. When done right however, thiseffect can really enhance the realism of your picture.Use the same shortcut as before (step 45) to merge your visible layerstogether, and rename this new layer Merge .




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Step 52Making sure the Merge layer is selected, go to Filter > Distort > LensCorrection. We will use this filter again in a moment to add a vignette, soremember where to find it!




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Step 53Deselect Show Grid and then experiment with the values for FixRed/Cyan Fringe and Fix Blue/Yellow Fringe (I used +5 & -5) until youget a suitable, subtle effect. Then set your Edge mode to Edge Extensionto prevent your picture from having transparent edges, although if thisissue is visible, you've likely set your values too high already!

Although this is the native way of adding CA in Photoshop, There are manyother ways people use. Some people use three different layers with thered, green and blue data and shift them manually, other people use plug-ins. I decided to show you the native way as almost all the plug-ins arecommercial.

Some of the greatest commercial plug-ins for photoshop post-productionare Magic Bullet Photolooks , 55 mm Digital Film Tools and Knoll LightFactory . One of my favorites is Nik Software: Color Efex Pro . If youcan afford these then by all means they are worth it, but if you can't younow know how to add the effect manually!




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Step 54Now that you have completed your CA effect, it's time to add some DOF.Remember that we pasted our ZDepth render element into a new

channel? We will use that now! Start by going to Filter > Blur > Lens Blur.




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Step 55In Source choose your Zdepth channel (in my case Alpha 2) and enablethe Invert checkbox. Radius controls the amount of blurriness, soexperiment with that although don t over-do it! I chose a radius of 4 andthen pressed OK.

As a rule of thumb if a filter/effect is really noticeable, it is too much!(Unless of course it is some kind of an artistic approach). Maybe take sometime to surf around in the CG forums and see how the pros use DOF intheir images. Try to learn the best ways to add it in without hurting yourown visualization. Also, remember that some clients hate DOF, so becareful with it!




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Step 56Another effect that looks really good on some pictures (and awful onothers) is cross processing. Cross processing is basically playing with yourcolor curves to achieve a more dramatic look. So add a Curves adjustmentlayer on top of your Merge layer.




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Step 57Go to the Channel drop down menu in the adjustment layer, and adjustyour curves individually by selecting them one at a time. Here' s the Redchannel curve that I used.




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Step 58Here 's the Green channel curve.




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Step 59Finally, here 's the Blue channel curve. Remember that this is just anexample; hundreds of looks can be achieved with this method, and yourcurves will very likely vary from one shot to another depending on the lookyou' re after.




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Step 60I felt the final effect of this adjustment was too much for my taste, so Idecreased the Opacity of the adjustment layer to around 65%.




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Step 61The final step is to add a vignette to your render. Some people preferadding a black layer with an oval shaped soft mask, however I actuallyprefer adding it using Magic Bullet Photolooks. For this tutorial, we'll stickwith the built-in tools, so let s add it using the Lens Correction Filter.

First we have to merge our Merge layer with the Curves adjustment layer.To do that use the shortcut Ctrl + Alt + Shift + E as before, and then, withthe new layer selected, go to Filter > Distort > Lens Correction.




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Step 62I used an Amount of -20 for this render, however it's important that youdon' t over-do the vignette, as it just won' t look that good!




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Step 63With that, your image is complete! I really hope you enjoyed this tutorialand learned at least a new trick or two. If you have any comments,questions or criticisms please go ahead and post in the comments below,and I' ll be more than happy to answer you.




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About Ahmed Fathi

Hi I'm Ahmed Fathi, an architect and freelance CG artist from Cairo, Egypt. I have been into CG for nearly 4 yearsnow, and I specialize in architectural visualizations and simple walkthrough animations. I learned most of what I knowfrom online tutorials on sites like this one, so I would like to thank everyone who has helped me with anything along

the way!

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cgi tutsplus com tutorials compositing v ray render layers i (1)

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vray render elements

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