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vray difference between bump and displacement on demand

Chaos V-Ray for 3ds Max is the world's most complete 3D rendering software objects with normal displacement appear smudged with on-demand mip-mapping;. It's minutes, more than 16 hours of on-demand videos in 97 lessons, Then we discover bump and displacement mapping in V-Ray. In this topic the difference between bump and displace is clarified and showed factors which a good quality render with displacement depends. GAMBA OSAKA VS SANFRECCE HIROSHIMA BETTING EXPERT PREDICTIONS

However, the rendering time gets longer. When all options that can smooth the low-resolution texture are turned off, the rendering time drops with the texture resolution. In this case, sometimes you may need to trade off some extra rendering time for smaller RAM usage. It allows you to save images multiple times, or convert them back and forth between uncompressed and compressed formats without losing the quality of the image Examples: DEFLATE.

TIFF Lossy compression — Lossy compression algorithms use approximation and partial data discarding to reduce the volume of files significantly. The lossy compression can reduce the size of your textures a lot, but you need to take into consideration the loss of quality and details. Also, every time you resave the image compressed this way, the loss of quality increases. Examples: JPEG NOTE: In 3ds Max textures are loaded into memory as uncompressed images, so using compressed file formats will not reduce the memory demands that an image places on a scene.

However, it will reduce the project size on an HDD which has an impact on loading time on nodes in distributed rendering and opening it in a 3d application. As a result, the costs of rendering on commercial render farms are lower. The Metadata of a texture file is discarded during rendering, so it doesn't add to the amount of memory needed to render a scene. Photomechanic and many online free metadata removing applications also give the possibility of batch removing metadata from images.

Optimizing textures In case of optimizing textures, the idea is very similar to optimizing geometry. You should use the smallest textures which have enough quality to achieve the result you want. Some Render engines have a global switch allowing you to turn off using maps during rendering.

The only way is to remove maps from their paths in materials temporarily. If you are working this way just temporarily move your textures one folder up and your scene won't find them. Adapt texture resolution and filtering to the final resolution of the image and visibility of the texture in your scene. Usually, a texture takes up only a part of the whole rendered image. Below you can see an example of how a big part of the resolution of the image is taken up by textures depending on their distance to the camera.

The test image resolution is x Full HD. It is enough to keep the resolution of a texture in a way that pixels of the texture are represented as 1 pixel of the rendered image. You can keep it even lower, but the pixels might become visible on a given render.

If a surface with a texture applied is going to be xpx big on the rendered image, you can limit your texture resolution to around xpx; there is no need to to use xpx texture in this case. In case your texture is going to be wrapped around a round object like the ball above, it should be kept around 3 - 5 times bigger than the resolution of the final image.

It is often difficult to assess the quality of a texture on the rendered image because it is combined with other render elements like direct lighting or GI which can be noisy, or the part of the image is in the shade. In this case, it is good to additionally render a Diffuse Texture pass to check the quality of rendered textures.

Most render engines offer rendering of such passes; they can also be called render elements or AOVs. We will talk more about using render passes to optimize your scenes in Part 3 of the Optimization Guide - Rendering and Shading. Re-scaling images manually one after another can be a tedious and time-consuming task. In the second part of this guide, we will show you several methods to speed up this process.

Easily simulate a variety of cloud types and weather conditions, from partly cloudy to overcast. Render realistic stills, or dynamic timelapses. Set the scale of a dome light, and have full control over blend settings with the new finite mode. Faster UI draw times Get a smoother experience when working with shading networks. Light Mix light selection Easily access scene lights with the option to select them directly from the Light Mix interface. Texture batch load Add variety to your scene even faster than before and create shader variations in no time with the new texture batch load option inside VRayMultiSubTex.

Shading — powered up Speed up shading and create even more physically accurate materials. Enhanced V-Ray Material energy preservation Render metals and rough reflective surfaces even more accurately using the new energy compensation method. Thin Film layer Easily create iridescent materials such as soap bubbles, oil spills, and more with the new Thin Film option available in the V-Ray Material. Plus, low-poly translucent objects render more smoothly. And more! With customizable overlays, the new composition guides layer in the VFB allows you to easily experiment and enhance your image compositions.

Cosmos assets have automatic level-of-detail, accurate scale, and can be used across 3ds Max, Rhino, and Revit. Initial out-of-core Initial out-of-core implementation to handle your largest scenes. Easier to set up, without the need for pre-calculated photon maps. Multiple Additive Dome Lights You can now render multiple dome lights at the same time. Direct support in Light Mix makes it easier than ever to fine-tune the results.

This new algorithm dramatically speeds up rendering in scenes containing many lights. Instance your lights based on any kind of particle system. Easily tweak how much an individual light illuminates the environment fog around it.

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Enabling this option switches from World Space to Object Space. Used only when doing 3D Displacement. When enabled, controls texture boundaries. For more information, see Example: Texture Boundaries. Specifies custom boundaries for the displaced geometry when Use Bounds is enabled.

By default, the boundaries are limited between 0 and 1. These parameters are available only when Use Bounds is enabled. Vector displ. Interprets the texture as 0. Used to match Mudbox displacement maps. This type is only meaningful when Ptex displacement textures are used with the V-Ray PTex texture , where the texture values represent 0-based displacement in object space. If mesh information is stored in the Ptex file, V-Ray can also displace mesh deformations correctly.

When enabled, bases the displacement on a texture map that is known in advance. The displaced surface is rendered as a warped height-field based on that texture map. The actual raytracing of the displaced surface is done in texture space, and the result is mapped back into 3D space.

The advantage of this method is that it preserves all the details in the displacement map. However, it requires that the object has valid texture coordinates. This method cannot be used for 3D procedural textures or other textures that use object or world coordinates. The displacement map can take any values. Determines the resolution of the displacement texture used by V-Ray. If the texture map is a bitmap, it is best to match this resolution to the size of the bitmap.

For procedural 2D maps, the resolution is determined by the desired quality and detail in the displacement. Note that V-Ray also automatically generates a normals map based on the displacement map, to compensate for details not captured by the actual displaced surface. This value is related to the curvature of the displaced surface. Flat surfaces can use a lower precision value, and more curved surfaces require higher values.

Then, go into your maps section of your materials editor and add a bump map material. As you can see, in your rendering, you know have that bump map applied to your white material. The best way to do this is to use a texture type that actually has a bump map image associated with it. The Vray materials built into Vray have actual bump map images associated with them that help you get a much better result. What a displacement map does is actually move your geometry within your render to give you an accurate simulation of a rough material.

So the first thing to note when working with displacement mapping at least in my experience , is that it really works best with materials applied to groups of geometry. I was not able to get it working with raw geometry. Notice that when you run your render now, Vray is actually changing the location of the geometry within your face, rather than just simulating a bump with light.

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Lecture 210 - Bump Displacement and Transparency maps in V-Ray (Fall 2015)

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V-Ray 6 for 3ds Max is packed with powerful new features and improvements to help you create faster and render better than ever before.

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VRAY Sketchup Videocourse - 13 - Normal and Bump Map VS Displacement Effect, Roughness VS Glossiness

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