dominikmateasik

Hey guys, so i got a sofa that i need to put into to photo what i did - put sofa in the scene-matched perspective, put photo as backgorund image (so i can see it in a viewport), put the same bitmap with this photo in enviroment slot, now made a plane and placed it under the sofa-assigned vraytmlwrapper to it so when it renders the plane catches the shadows and are visible in the render but the plane itself is not visible....everything works,i can see my sofa place in right place in the photo with shadows underneath without the plane itself BUT the sofa itself is fricking semi transparent for unknown reason...tried loads of stuff but cant seem to find solution, anybody any advice? render in attachment thanks much

Hey i was trying to implement this osl shader by Rens Hereen but cant get it to work. I read all the instructions on the site, opening both links,saving them in the same file and then trying to load it via VrayOSLText but the problem appears when i get a message inside the shader under "compiler output" saying "shader file must be an OSO file". The downloaded files are " reflector_tex_v002.osl " and " rhfunctions.h" so no OSO format there. Im probably just doing some basic mistake there just cant figure out what for the sake of it. here is the link for the OSL : http://www.rensheeren.com/blog/the-reflector-osl/ Thanks for any tips!

Thanks for the reply Yes ai have read the article and going with 180 RGB helps in terms of realism but not helping in temrs of lighting up the scene, sometimes going over to sth like 210 definitely helps but still not enough as it is easier to get burnouts hence heavy tonemapping is needed and as a reasult washed out scenes with not so much contrast

Hey guys, this might be a pretty noobish question without any real answer but i am gonna ask anyway i am currently working on a project where the goal is to make the interior as white as possible-(all in linear workflow)white walls,high key look-the usual, basically what i would like to achieve is the look of the brutally white photos on archdaily-maximum white on walls but the furnishing still with its right sturation and contrast i have tried multiple ways to achieve this but wasnt really satisfied so far ---lets say i want to use vraysky-sun combination, i usually detach the sky,boost it on its own in material editor (with my default sun as a node in sunlight bar),add portal lights(the windows arent small) -but i always come to the point when heavy burns on walls appear-of course tonemapping comes into play(you name it-arionfx,native frame buffer,magic bullet,vfb+ which seems to work the best) but even with the tonemapper i cant go after a certain point and the interior still doesnt look "right" (and the picture is already pretty washed out etc)- the only obvious way are the fill lights which are often lifesavers(maybe some advice on that too- how do you set them,what to do and do not regarding softboxes) but would rather go without them (not that im picky) i know you could do a heavy post production on the picture but the point is to avoid making it brighter 30 percent in post and would appreciate to find a workflow with possibility to do this all while in renderer and of course -the real photographers do this all in post-the question is-should we too? or did you find a way it works for you without masking every picture-or do you have some custom tonemapping you use in post and could share? i have seen some 3d pictures online where the whites were just beautiful and thought of asking you here the question might be a bit chaotic,might be entirely silly,with no straight answer(of course)but bear with me any comments are welcome and thanks in advance!

thanks for reply nicolai uve basically confirmed my theory/experiences of vray cam settings being just about bringing in more light (when not talking dof or so) without any magical way of mixing them together pursuing somehow better outcome, i guess whats left is only the convenience when having it set closer to real camera ,the other features like general and ies lights will behave more natural with its real world settings as well. when talking about "cheating" ,this is more theoretical and broader question to answer than the previous one- how do u use the fill lights,using softbox material in vray,or simple planes,how do u deal with unwanted light from fill lights terminating shadows you actually want to keep, is there any "how to",making of,tutorial on this issue? was trying to look it up few times with no luck. or is it just good old- try and see- approach , any 2 cents on this issue would be helpfull and appreciated

This might be a generations old and universal question for which there is no exact answer but: whats your set of rules or rather some starting norm according to which you set your vray camera settings (f-number,shutter speed,iso) in order to behave like real DSLR i know what all the setting do in real DSLR and how they translate to vray and basically the problem of real world dont have to apply to vray cam (if u dont want to) but how do you approach this issue i found some rosters and theories like sunny 16 rule,f number 4 for interiors and 11 for exteriors,or stuff on wiki ,even the excell sheet with changable settings but they kinda differ from each other and therefore my question for example-you are shooting an interior against the window and you want as much light as possible to light up the scene,whats the first thing you do (f number?or source light itself) and what are the following settings and according to what you set them, some cheat sheets some rosters on internet? thanks for all the answers/suggestions

is the render photoshoped? im asking because you can see the terrace and the interior at the same time,what is your lighting,only hdri in vraydome and sun? usually the exteriors are blown out since highering the light for interior to be lit properly,how did you manage to get this result?

somehow my previous comment got lost so again: hey juro,thanks for spilling some knowledge and your approach its nice to see getting out of "boundaries" is a normal thing to do,at the end the final picture is the king. overthinking has become an annoying issue of mine lately,that i must admit. and yes i gotto agree there sipmly isnt magical plugin to solve the issues i was more curious about the workflows of you guys with possible outcome of finding the most efficiently-sufficient way to tackle this. and so i did and im really glad to see that not overcomplicating this and sticking to basics like photoshop which is as good as any other softwares, is the usual way, its for me the best outcome there could be btw, regarding whites, i stumbled upon your project Wythe Lane Townhouses-the interior shots especially the one with the blue leathered couch, i was curious how you managed to create such a (almost) homogenic white across the walls ,upping the rgb in 3d(like mentioned above), very smart use of fill lights(to make the spread of light very even) or was it a postwork(using curves or maybe masking them to separate it from the other objects and then manipulating), the contrast is very nice there and as a whole really fine project. thanks again for stopping by and sharing, always a pleasure

Nice one thanks, and Fusion is free so anybody can use it, havent tried it yet but expecting the same as Nuke,very fine tonemapping capabilities (and i guess much more), the node based system is much more likeable than the layered ones IMO too. But the truth stays, easiest go-to approach for most users is still gonna be the photoshop as Chris mentioned-it can do anything (with little bit of tweaking), maybe not the most automated one though(?)

Its actually called filmic tonemapping-plugin created for Nuke by Simon Lundberg, there should be a counterpart for Fusion as well.

Thank you francisco for your insight,i have tried Nuke instead of fusion and found it really amazing especially with the controls in filmic tonemapping,lots of flexibility and Nuke is pretty subtle in selecting the parts you need to be editing automatically, the only downside is the price and need of another software in pipeline. Magicbullet Looks or Photolooks seems the most promising atm, its shoulder and curves capability seems so naturall and flexible at the same time, zeroing in the right areas to boost the whites (or anything else) automatically. From my understanding the development for Photolooks (in PS) ends so that leaves me with Looks in AF or get familiar in saving as 16bit and going to PS with it with tonemapped highligts. What about the rest of you guys, whats your weapon of choice?

To make use of having you in this thread already,what is your go-to approach, have you found some subtle differencies inbetween the softwares or different takes on this subject? Do you usually use PS or is it sth else, would be nice to see your choices and reasons behind that.

Thanks Chris,John and Francisco. I was curious whats your opinion/ideal workflow and i have to say i agree with you, especially with the no pure whites or blacks or the point of a photographer doing the same thing- yes very true, basically i was and will be doing it the way all of you described and thanks for your opinions. Yep NUKE seems to have the most control over the subtleties i have seen so far with Cinematic, i might try that one as well,see what it does or doesnt.

I might be overthinking it,that one is true. About 180RGB,well it seems thats a "rule" for getting closer to physically correct shading but of course there is no rule...kind of I always welcome any knowledge on the dynamic range you mentioned so go on if interested- i for sure am. Curves might seem as the most straightforward approach so far,doable still in 3d, thanks for the advice,appreciated.

Hi guys i tried many approaches already but none of them is satisfactory enough, so i thought i would ask you how you go about this important--all of this using linear workflow ,32bit exr, and not using white beyond 180 RGB Your average interior scene-shooting against a window/windows, trying to lit up your scene with natural light as much as possible (HDRI,VraySky,Sun), pushing the camera in a way to receive the most amount of light possible,now getting highlight burns, and then getting rid of them using tonemapping still in 3d(vray frame buffer highlight burn option etc) or doing it in post(Photoshop-camera raw/masking, After Effects-hdr highlight compression/masking, Magic bullet-shoulder/crush/..., ArionFX-reinhard)--now you have your highlights tonemapped but the problem appears -- it took out lots of your other whites as well,making the picture(whites) all greyish without depth and detail(reinhardish washed out look) and now you have to find a way to raise those lost whites to be more white(less grey) again - how do you achieve the best results,whats your workflow usually,what have you find to be the most efficient solution for you,and what programs do you use for it (PS-curves or "whites" in camera raw,AF-curves or --is there sth like whites in PS camera raw(?),MagicBullet,Arion,VFB+) I know that masking the highligths might be the "best" solution by changing only the burnt areas but lot of times its hard to isolate them since there might be already other objects involved and its quite time inefficient when having to tonemapp multiple images, this is why i created this thread in Vray section as the most efficient way would be doing it still in 3d using frame buffer or plugins like VFB+ or some other way Thanks for taking the time and sorry for the long explanation