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PHOTOGRAPHY & RENDERING with Ciro Sannino GC edizioni

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Page 1: PHOTOGRAPHY &RENDERING e Intro P&R.pdf · (Autodesk Authorized Publisher) and an Autodesk Certified Author and Instructor. His signature publishing style is evident in PHOTOGRAPHY

PHOTOGRAPHY &RENDERING with

Ciro Sannino

GC edizioni

Page 2: PHOTOGRAPHY &RENDERING e Intro P&R.pdf · (Autodesk Authorized Publisher) and an Autodesk Certified Author and Instructor. His signature publishing style is evident in PHOTOGRAPHY

Copyright © 2013 by GC edizioniall rights reserved

GC edizioniCorso America, 57

09032 Assemini (CA)Ph. and fax 070-8809018

[email protected]

AuthorCiro Sannino

Publishing, Graphics and LayoutGabriele Congiu

Editing and RevisionBarbara Sulis

TranslationJohanna Worton

PrintingNuove Grafiche Tipografia Puddu S.r.l

Zona industriale OrtacesusVia del Progresso, 6

09040 Ortacesus (CA) ItalyPh. 070-9819015

ISBN978-88-88837-28-4

Printing completed in February 2013

The authors and publisher accept no liability for damages of any type arising from the improper use of the program.

All brands cited herein have been registered by their respective producers, particularly Autodesk and 3ds Max, which are Autodesk registered trademarks; V-Ray has been registered by Chaos Group.

All rights reserved. No part of this manual can be reproduced, translated, copied or transmitted in any form or by any means,

without the publisher’s prior written consent.

Page 3: PHOTOGRAPHY &RENDERING e Intro P&R.pdf · (Autodesk Authorized Publisher) and an Autodesk Certified Author and Instructor. His signature publishing style is evident in PHOTOGRAPHY

contents

III

Introduction .................................................................................VThe Publisher ............................................................................................................................... VIWho Is the Author? .................................................................................................................... VIObjective of the Book ............................................................................................................... VIHow the Book Is Structured .................................................................................................... VIStyle Guidelines .......................................................................................................................... VIContents of the DVD-Rom ...................................................................................................... VIPrinciples and Methods ........................................................................................................... VIIV-Ray Certification for Users ................................................................................................... VIII

V-Ray Certified Professional ............................................................................................. VIII5SRW Certification for V-Ray ............................................................................................ VIII

Minimum Hardware Requirements for V-Ray .................................................................. IXThe Ideal Workstation for Using V-Ray.......................................................................... IX

Who Is Chaos Group? ................................................................................................................ IXWho Is 3DWS? ............................................................................................................................. IXWho Is DesignConnected? ..................................................................................................... XWho Is Arroway Texture? ........................................................................................................ X

CHAPTER 01 - First Steps in V-Ray .................................................1The 5-Step Method .................................................................................................................... 2

Details about the 5-Step Method ................................................................................... 3The Right Version ........................................................................................................................ 4 Activating V-Ray ...... ............................................................................................................. 6 What Is V-Ray RT? ........................................................................................................................ 6 How to Activate V-Ray RT ..................................................................................................7

CHAPTER 02 - Compensation Using the Gamma Curve .................9Gamma Compensation ............................................................................................................ 10

Applying Gamma to the Scene, but not to the Textures ....................................... 12Setting Up 3ds Max for Compensation ........................................................................ 12Compensation Part 1 – Avoiding Gamma on the Textures .................................. 13Compensation Part 2 – For Each New File .................................................................. 14

Exercise: How to Compensate an Image .......................................... 15V-Ray Frame Buffer ...................................................................................................... 16Exposure of a 32 bit Render ............................................................................................. 18Exposure of an 8 bit Render ............................................................................................. 19

Page 4: PHOTOGRAPHY &RENDERING e Intro P&R.pdf · (Autodesk Authorized Publisher) and an Autodesk Certified Author and Instructor. His signature publishing style is evident in PHOTOGRAPHY

PHOTOGRAPHY & RENDERING using v-ray

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CHAPTER 03 - Global Illumination and Irradiance Map .................21Introduction to Global Illumination .................................................................................... 22Irradiance Map ............................................................................................................................ 23

How to Set Up Indirect Illumination ............................................................................. 23What the Five Global Illumination Settings Mean ................................................... 24

What Are Prepasses? ................................................................................................................. 25The Metaphor of a Painter ................................................................................................ 26The Relationship Between Prepasses and Scenes .................................................... 27

How to Save a Render’s Settings ................................................................................... 28

CHAPTER 04 - The DSLR Camera in V-Ray ............................... 29A Comparison Between the DSLR Camera and the V-Ray Physical Camera ......... 30

The Basic Properties of a DSLR Camera ........................................................................ 32How Focal Length Affects Composition ............................................................................. 34The Rule of Thirds ....................................................................................................................... 35Depth of Field .............................................................................................................................. 36

Exercise: How to Simulate Depth of Field ........................................ 37Extreme Depth of Field: Tilt Shift .................................................................................... 38The Bokeh Effect ................................................................................................................... 39

White Balance in Exteriors ....................................................................................................... 40White Balance in Interiors ....................................................................................................... 42

Exercise: How to Balance an Interior ...................................................... 43All This in the V-Ray Physical Camera .................................................................................. 44Framing in Tight Spaces ........................................................................................................... 45

The Clipping Plane Option ............................................................................................... 45

CHAPTER 05 - Light Balance...........................................................47Types of Lighting ........................................................................................................................ 48

What Are Bank Lights? ........................................................................................................ 48Light Sources that Can Be Simulated Using V-Ray ......................................................... 49V-Ray Light Parameters ............................................................................................................ 50

The Store with Irradiance Map Option ......................................................................... 51The Size-Intensity Ratio ..................................................................................................... 53

Basic Lighting Scheme ............................................................................................................ 54Simulating Part of an Interior like an Object .............................................................. 55Classic Three-Point Lighting ............................................................................................. 56Chromatic Contrast ............................................................................................................ 57How to Balance Using Three-Point Lighting ....................................................... 57

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Balancing an Interior ........................................................................................................... 58How to Balance an Interior ........................................................................................ 59

CHAPTER 06 - Simulating Materials .............................................61Introduction to Using Materials ............................................................................................ 62

Reflections on Surfaces with Varying Degrees of Glossiness ............................... 64Refraction ................................................................................................................................ 66Index of Refraction (IOR) ................................................................................................... 67

General Guidelines for Analyzing Materials ...................................................................... 67The Material Editor ..................................................................................................................... 68

How to Implement the Seven Questions in VRayMtl .............................................. 69Setting Up a Material and Optimizing .............................................................................. 72How to Interpret the Material Tables .................................................................................. 73Table: Glossy Red Plastic .......................................................................................................... 74Table: Varnished Wood / Polished Marble ......................................................................... 75A Trick for Obtaining Good Chromed Metal ..................................................................... 76

Improving your Chromed Metal ..................................................................................... 76Table: Chromed and Brushed Metal .................................................................................... 77Table: Opaque Blue Plastic ...................................................................................................... 78Table: Natural Wood .................................................................................................................. 79Suggestions for Good Glass .................................................................................................... 80Table: Glass / Frosted Glass ..................................................................................................... 81Table: Colored Glass .................................................................................................................. 82Table: Gold .................................................................................................................................... 83Optimizing Material Rendering Time .................................................................................. 84

The ‘Use Light Cache for Glossy Rays’ Option ............................................................. 85The ‘Use Interpolation’ Option ......................................................................................... 85The Max Depth Option ...................................................................................................... 87A Word about Glass and Reflective Objects ............................................................... 87

Color Bleeding ............................................................................................................................. 88How to Create a Materials Library ................................................................................ 89Creating Materials for a Scene ............................................................................................... 90

Exercise: How to Create Materials and Launch a Render ...................... 90

CHAPTER 07 - Exposure ..................................................................95The Reality Button .................................................................................................................... 96Research, Visualization and Rendering .............................................................................. 96The Eye vs. the Camera ............................................................................................................. 97

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The Three Types of Exposure .................................................................................................. 98Technical Aspects of Exposure .............................................................................................. 99

Tone Compression or Color Mapping ........................................................................... 99Color Mapping: Reinhard .................................................................................................. 101Color Mapping Without V-Ray (After Rendering) ..................................................... 102Greater Compression, Less Contrast ............................................................................. 102

Exercise: How to Manage the Exposure in a Render ........................ 106

CHAPTER 08 - Exterior Rendering ..................................................111The Characteristics of Exterior Rendering ......................................................................... 112Framing ......................................................................................................................................... 113

How to Eliminate Distortion in V-Ray ............................................................................ 114Balancing Light/Shadow ......................................................................................................... 115

Elongated Shadows............................................................................................................. 116Realistic Sky/Background ........................................................................................................ 117Absence of the Horizon ......................................................................................................... 118Vegetation .................................................................................................................................... 119Considerations about Night Renders .................................................................................. 120

CHAPTER 09 - V-Ray Sun System ...................................................121Lighting in Exterior Simulation ............................................................................................. 122

Exercise: How to Place the V-Ray Sun in a Scene ................................... 123V-Ray Sun ............................................................................................................................... 124How to Set a Specific Place, Date and Time ................................................................ 126V-Ray Sky ................................................................................................................................. 127How to Control the V-Ray Sky .......................................................................................... 128

Exercise: How to Replace the VRaySky in Post-Production ................... 129Exercise: How to Simulate a Night Render ....................................... 131

CHAPTER 10 - Simulating Vegetation & Textiles ................ 135Introduction to Bump and Displacement ......................................................................... 136

Displacement as a Channel or Modifier ....................................................................... 137Considerations about the VRayDisplacementMod Modifier ............................... 138Simulating Grass and Carpets (Short Strands) .................................................. 140The Displacement of 3D Objects .................................................................................... 142How to Create a Displacement Texture ........................................................................ 144How to Use the VRayFur Function ................................................................... 145

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Simulating Ivy ............................................................................................................... 147Memory Problems? V-Ray Proxy ........................................................................................... 148

How to Create and Import a Proxy Object ................................................... 148Exercise: How to Create the Curtain Effect ...................................... 150

CHAPTER 11 - The 5SRW Method in Interior Rendering ...............153Introduction to the 5SRW Method ....................................................................................... 154

Step-1: Analysis of the 3D Model .................................................................................. 155Step-2: Light Balance .......................................................................................................... 155Environment Shadows ....................................................................................................... 158Creating Soft Lighting in an Interior ............................................................................. 160Shadowed Areas ................................................................................................................... 163V-Ray Light Lister .................................................................................................................. 167Step-3: Assigning Materials .............................................................................................. 168Parquet Material ................................................................................................................... 169Carpet Material ..................................................................................................................... 170The Light Fixture ................................................................................................................... 171Step-4: Cleaning the Image .............................................................................................. 172Anti-aliasing ........................................................................................................................... 173Irradiance Map ...................................................................................................................... 174Light Cache ............................................................................................................................. 175Noise Threshold .................................................................................................................... 176Various Subdivisions ........................................................................................................... 176Other Sky Models ................................................................................................................. 177

CHAPTER 12 - Other Lights and HDRI .................................. 179Other Kinds of V-RayLights .................................................................................................... 180

Sphere Mode ......................................................................................................................... 180How to Create a V-Ray Light Mesh ......................................................................... 181Dome Mode .......................................................................................................................... 181

V-Ray Light Material for Self-illuminated Objects........................................................... 182V-Ray IES and IES files ....................................................................................................... 183How Is a HDR Image Created? ............................................................................................... 184

Characteristics of HDRI Maps in V-Ray ......................................................................... 185Exercise: How to Illuminate an Exterior Using a HDR Image ........... 186Exercise: How to Simulate a Night Scene Using a HDR Image .......... 188Exercise: How to Create an Alpha Channel Using IBL ...................... 190

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CHAPTER 13 - White Balance and Contrast ........................ 193The Perfect Image ...................................................................................................................... 194

Color Correction and Color Grading ............................................................................. 194White Balance .............................................................................................................................. 195

White Balance using Lightroom ............................................................................. 195Exercise: How to Achieve White Balance Using Photoshop ............ 197

The Histogram ............................................................................................................................. 199Exercise: Controlling the Contrast Using Curves and Unsharp Mask .... 200

CHAPTER 14 - Optimizing Rendering Time ......................... 205Dedicating Time to Research ................................................................................................. 206Settings for Draft Rendering .................................................................................................. 207Store with Irradiance Map ....................................................................................................... 208Using the Render Region and Buckets ............................................................................... 208V-Ray Scene Converter ..................................................................................................... 209Disabling Trace Reflections ..................................................................................................... 210Global Switches .......................................................................................................................... 211Sizing and Irradiance Map for Large Renders .................................................................. 212Light Cache as a Preview ......................................................................................................... 213Render Previews Using V-Ray RT........................................................................................... 214Comparing Images Using the VFB History ................................................................. 214

Exercise: How to Compare Renders Using the VFB History ................... 214

CHAPTER 15 - SOS: How not to Freak Out ........................... 217Introduction to Technical Problems .................................................................................... 218

Splotched Walls..................................................................................................................... 218Spotty Surfaces ..................................................................................................................... 219Grainy Areas ........................................................................................................................... 220Insufficient Memory for Huge Renders ........................................................................ 221Framing in Tight Spaces ............................................................................................. 222Highlights with Jagged Edges ........................................................................................ 223Edges of Objects with Displacement Opening Up .................................................. 224Blurred Final Render ............................................................................................................ 224Images Appearing Washed-Out after Saving ............................................................ 225Mistakes when Saving! ....................................................................................................... 225Light Leaks .............................................................................................................................. 226White Pixels (the Sun) ......................................................................................................... 227Image Blurred when Saved as a JPEG ........................................................................... 227

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Gallery ............................................................................ 228

Index .............................................................................. 230

Acknowledgements ....................................................... 232

this symbol indicates the presence of a video relating to the paragraph in which it’s found

Page 10: PHOTOGRAPHY &RENDERING e Intro P&R.pdf · (Autodesk Authorized Publisher) and an Autodesk Certified Author and Instructor. His signature publishing style is evident in PHOTOGRAPHY
Page 11: PHOTOGRAPHY &RENDERING e Intro P&R.pdf · (Autodesk Authorized Publisher) and an Autodesk Certified Author and Instructor. His signature publishing style is evident in PHOTOGRAPHY

Introduction

I’ve held various workshops and met hundreds of people over the last few years. Some participants were experienced, while others weren’t at all, but everyone shared the desire to create photorealistic renders and gain complete mastery of the process and tools.

Workshop after workshop, I’ve tried to continuously improve the sequence of the presented topics to find the right order for a logical and above all informed use of V-Ray. In architectural rendering more than anywhere else, all the main concepts are derived from photography. My job has been precisely that — to put down roots in this discipline and make all the necessary connections that give depth and thickness to its practical application within the software.

Our goal is ‘Awareness’ and this can only be obtained through in-depth analysis, through asking ourselves “Why?”, and through first of all knowing the principles and then refining them into methods — all while continuing to preserve simplicity of vision.

Ciro Sannino

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The PublisherThe publisher of this work, Gabriele Congiu, is owner of the publishing house GC edizioni, (Autodesk Authorized Publisher) and an Autodesk Certified Author and Instructor. His signature publishing style is evident in PHOTOGRAPHY & RendeRInG with V-Ray, as it is in all his publications. He regards Ciro Sannino‘s first book as a practical guide oriented to all those (experts and not) who want to learn the basics for creating a photographic render using a quick and intuitive method.

Who Is the Author?The author Ciro Sannino, a graduate in Industrial Design, has been working in 3D and rendering since 1997. He’s a Licensed V-Ray Instructor, approved by Chaos Group (V-Ray’s production house), and since 2006 has also dedicated himself to his much-read personal blog: www.grafica3dblog.it.With the support of CGworld, he developed the 5-Step Render Workflow® method, which he has used successfully in his live workshops and which is illustrated in this book.

Objective of the BookThe intention of the book is to build a solid way of thinking through reasoning and application. It allows the user to tackle photorealistic rendering and to know where to start and what path to follow in order to arrive at the final outcome. All aspects, parameters and problems are sorted into a framework that not only makes studying the book easier for users, but also facilitates their subsequent phase of growth.

How the Book Is StructuredThe 15 chapters that make up the work are structured to ensure gradual learning and are aimed at using V-Ray and its relative applications in the photographic field. The cornerstone of the work is the parallelism between photography and the V-Ray software. The theoretical concepts presented in the chapters are followed by their practical application using exercises, and are examined further in some cases, through videos.

Style GuidelinesCertain style guidelines have been used throughout this book to facilitate reading and comprehension of the topics covered. These include technical notes for in-depth analysis and the author’s Considerations. Reading is also facilitated by color printing and highlighting of the fundamental words in bold. Videos are indicated inside grey boxes containing this symbol .

Contents of the dVd-RomThe book comes with a DVD-Rom that contains all the .MAX files needed to carry out the exercises, together with their relative textures. It also contains videos in .MP4 format and .JPG files of the images used in the book. These can help you to better grasp the aspects explained in the paragraphs. 3D models from designConnected have also been included on the DVD. Some of these can be downloaded for free and others can be purchased directly from the site www.designconnected.com. Finally, you will also find textures produced by Arroway Textures, as seen on their website www.arroway-textures.com.

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introduCtion

XIII

Principles and MethodsThe famous American philosopher Ralph Emerson wrote: “As to methods there may be a million and then some, but principles are few. The man who grasps principles can successfully select his own methods. The man who tries methods, ignoring principles, is sure to have trouble.”Emerson didn’t know about computer graphics but he did understand the problem with tutorials that don’t illustrate principles. Tutorials are only valid and useful if, knowing the principle, one seeks a guide to show him/her how to technically apply it.This is what we are going to do in this book: illustrate a set of rules that go beyond the software and which deal with photography, the physics of materials, the creation of a photographic set, and the proportions between objects and lights. Each concept will then be associated with its practical application, to be carried out using V-Ray for 3ds Max.To fulfill this purpose, we will prioritize the topics. There are tools which contain dozens of options, but in this book we will only use the necessary ones to make the illustrated principles concrete and speed up learning. We must keep these simple relationships in mind:

Knowledge of all parameters > Time / definitionKnowledge of Photography and design > Aesthetic quality

Knowledge of the more technical parameters of V-Ray almost always leads to better time management and the production of a clean and defined image. Knowledge of photography and design, on the other hand, directly influences aesthetic quality. That’s why we have to start thinking “outside the parameters”. Imagine yourself creating a photograph by putting together and arranging a photographic set, assisted perhaps by an interior designer who can harmonize forms and colors. The photographic world isn’t made up of Vray light, Color mapping and the Physical camera. Rather, it’s made up of Bank lights, exposure problems and DSLR cameras. This is a world of knowledge in which we can find everything we need and translate it into parameters and options that will allow us to produce photographic renders.

Considerations: The way we use the word Quality in this field can easily cause misunderstandings. The same word can indicate both precision of calculation and the aesthetic quality of an image. Let’s use the power of words to immediately begin to distinguish between two different types of “quality”, which have very different meanings. We might have an image that lacks precise calculation, but in which we can already glimpse a strong aesthetic quality. For this reason, henceforth, I will call the meaning related to the precision of calculation the definition of the image, while the aesthetic quality will simply be called Quality.

Page 14: PHOTOGRAPHY &RENDERING e Intro P&R.pdf · (Autodesk Authorized Publisher) and an Autodesk Certified Author and Instructor. His signature publishing style is evident in PHOTOGRAPHY

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V-Ray Certification for UsersThe official certificates currently available in Italy are the V-Ray Certified Professional, issued directly by Chaos Group — the company that produces V-Ray —, and the 5SWR Certification for V-Ray, issued by CGworld, a company specializing in education and processes.

5SRW Certification for V-RayThe 5SRW for V-Ray is a process certificate. It is issued by CGworld and certifies that users are able to carry out the five step process using V-Ray. Vast knowledge is required and relates to photography, lighting techniques, V-Ray software and color correction using Photoshop. The test is divided into two parts: 100 multiple choice questions

Official website: www.chaosgroup.comReference in Italy: www.vraytrainingcenter.it

Official website: www.5srwcertification.come-Learning: www.learnvray.com

V-Ray Certified ProfessionalThe V-Ray Certified Professional is a software cer-tificate. To obtain it you need to book a session and go to a V-Ray Training Center to take part in an exam consisting of 120 multiple choice questions (currently in English). To pass the exam, you need to answer more than 70% of questions correctly. Users who pass the exam will be included and published in the official list on the Chaos Group website and can display their name and surname aside the Chaos Group logo on cards and letterheads.

and a practical exam in which the participant shows he/she is able to build a scene using specific processes and meeting the standards of the 5-Step Render Workflow®.

Certified users will be officially published at www.5srwcertification.com and will receive a unique url for their certification.

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introduCtion

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Minimum Hardware Requirements for V-RayThe minimum requirements for using V-Ray AdV or V-Ray RT CPU are:• CPU 4 CORE  + Hyper-threading (i7 or its alternatives);• RAM 4 GB. 

The Ideal Workstation for Using V-Ray Providing only one ideal configuration for using V-Ray may be too limiting. However, in this paragraph we would like to direct you to a workstation that provides good value for money. We stress that, for a tailored solution, it is advisable to visit the www.3dws.net website and contact 3dWS to obtain the ideal configuration for your needs. The workstation we currently (February 2013) advise is: “Middle Range” class of workstation– Mono CPU with Xeon e5 1650, 32 GB di RAM and a Quadro 2000 video card as a minimum, or a “High End” class of workstation for creating renders using V-Ray Advanced– dual Xeon e5 2687, 32 GB di RAM and a Quadro K5000 video card.

Who Is Chaos Group?Chaos Group was founded in Sofia, Bulgaria is the second half of the 1990s. Its two partners Peter Mitev and Vladimir Koylazov worked to develop software for simulating fire. The first product they released was called Phoenix and was a plug-in for the early versions of 3DS Max 3 and 4. At the end of the 1990s they had the idea of developing a true rendering engine with Global Illumination, to be integrated into 3ds Max as a plug-in. This idea was fostered by the incompatibility of the fire simulation software Phoenix with the rendering engine in 3ds Max (Scanline). The first beta versions were released to the public in December 2001, and in Spring 2002 the first commercial version of V-Ray was presented. The Phoenix project was abandoned for a long time and only in recent years has it reemerged with the new versions Phoenix FD 1 and 2. Chaos Group currently has offices in various countries throughout the world but its headquarters has always been in Sofia and now has over 100 employees. V-Ray is Chaos Group’s product leader, having now become a standard for high level professional 3D visualization of photorealistic images.

Who Is 3dWS? 3dWS (www.3dws.net) was founded on 3rd December 2001.  The company’s goal is to support all professionals in the CG, Video Pro, CAD, and Networking environments and to advise them on the best workstations. 3dWS has been Chaos Group’s official partner for years, providing professional support for V-Ray, both from a technical and artistic point of view. Its partners also include nVIdIA and Intel.

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PHOTOGRAPHY & RENDERING with v-ray

Figure Intro-1 Some of the 3D

models rendered by DesignConnected

Figure Intro-2 Several examples of

the application of Arroway Textures in renders created

using various software programs

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Who Is designConnected? designConnected is a computer graphics company that was set up in 2006 with headquarters in Sofia, Bulgaria. It has become the main producer of high quality 3D models of furniture, lighting and accessories, Figure Intro-1. designConnected strives to perfect 3D modelling, ensure the beauty of structures, and capture precise details, paying special attention to the latest trends and design icons. At www.designconnected.com, it’s not only possible to purchase various high definition 3D models, but also to download some for free. These can be used in various projects, as long as the source is acknowledged.

Who Is Arroway Textures? Arroway Textures produces high resolution textures, Figure Intro-2, used in many fields, such as architecture, mechanics and design, in which a realistic visualization of computer graphic images is necessary. Its headquarters are in Leipzig, Germany. www.arroway-textures.com sells thousands of high resolution textures to meet all the varying needs of digital graphics professionals.