Ciro Sannino

First of all I'm not a big fan of AI! 😅 But something that surprised (and hurted!) me from the first images I saw in Midjouney, is the ability that AI shows in the art of Composition. I know, the Copyright problem is HUGE and it must be solved, but for now I want to "use" these image to train myself with a quick review. AI combines images to produce results, and that means it also brings errors into the outcome. Yes, no one is perfect! Indeed it can be a great exercise to review and analyze what could be improved. In this video I analyze some images trying to identify the Compositional Structures used, and what could be improved. I hope you like my analysis. Ciro Sannino Chaos Educational Partner > > My Corona official Course / Licenses included > > My Corona YouTube Channel

Thank you very much Francisco!

A few days ago one of my students asked me abot how to render a piece of furniture in a white bright space. Then I created a lesson on the topic! The one below is the kind of image to produce: Despite its visual simplicity, the structure of lights behind this ‘look’ can be a little bit complex and sometimes tricky. The most important part of process is keeping the Chiaroscuro effect under control, but other parts of the image – such as the reflections – are really important because they transmit the sense of the weight thanks to the contact with the ground. How to keep all these aspects under control? You need a specific lighting hierarchy, made by 5 lights using Corona Renderer as a render engine. Actually, in my Corona course I have an entire module only for photographic Lighting (you won’t find anything similar) and today I want to share with you the specific scheme applied in this image: As you can imagine, each light plays a specific role in the scene. To tell you how to manage this situation I recorded this lesson. (the content has French and Portuguese subtitles, and under this video you will also find the links to the Spanish and Italian version) ESP - Link a la lección en Español https://realisticinteriors.com/demo-eng/white-limbo ITA - Link alla lezione in Italiano https://realisticinteriors.com/demo-ita/limbo-bianco/?lang=it I hope it helps! Ciro Sannino Corona Official Instructor Chaos Academic Partner ----- Official Corona Course + EDU License > Realistic Interiors Course * La seccion Inglés tembién incluye todos los videos en Español

Hi Guys, since gamma-topic is very very very hot in the web, I just published a complete free lesson about, with examples, comparisons and some detailed technical info to undestand how this option works, in depht I know there are tons of tutorials about, but I never found an exhaustive lesson about, so I did! I hope this could help: - http://www.learnvray.com/vray-news/color-mapping-gamma/ Thanks PS my english is poooor.. on the other side that means anyone can understand

Hi Anand... this is the setting Chris is telling you

Hi Trinacra, my suggestion is start finding a photoreference, then compare them to evaluate if your simulation is going on the right way it could seems a stupid-basic suggestion, but in my opinion in this that most of time make the difference. In case you already have a real photo as reference... could you post it?

Hi Jojo, I totally agree with all Juray wrotes... if I may I would add some tought about :-) Actually if you create a plastic material, you can similarly unlock "fresnel IOR" and increase it or simply increase "IOR" in the refractive area, it's exactly the same! - Few users do this test: As you can see in EX2 and EX3 you get the same result! Nothing special if you use Fresnel IOR or simply IOR. Controlling Fresnel IOR is really useful in case you create a refractive object, a diamond, for instance. Increasing the IOR its reflections will increase automatically since in nature their are linked. So in this case it really makes sense control Fresnel IOR: to let IOR affects differently reflections and refractions (v-ray allow it.. not nature!) Of course anyone can follow the way he prefers, final output is the only important thing. Personally I prefer to make these considerations becasue I love to work with things making sense, but it's just my taste Hope you'll like my contribute Ciro PS a part this theoretical considerations if your goal is creat great metals, Juray has the perfect suggestion: "you will drive both glossiness/roughness and reflectivity with custom fallof curve and ideally multilayered material."

Hi Julian, on my side I can confirm 10% render time saved in average with embree. In general there's no differences about the output unless you use particular technique that requires to disable "visible to camera" in object properties: http://screencast.com/t/6gUyJjZhL (for example for camera projection applications) Just in this case embree produce horrible artfacts... But 99,9% of cases the output is the same, just the time decrease what a great solution

In case you need to model some roof this plugin is very fast and simple! I wrote something about here: http://www.cg-blog.com/index.php/2011/10/10/3d-roof-script.htm hope this helps

Hi, I agree with Chris in points 2-3-4! I just suggest you to try also "raytrace" in light cache Increase render time, but it can avoid such artfacts Good luck

Hi Mario, at first: all lessons are progressive.. from beginner to expert. ATTENTION: when I wrote beginner/expert I'm NOT referring to V-Ray!!! I'm referring to lighting, materials treatments, post production techniques like professional real photographers do working with live interior or studio shooting. I implemented all these techinques in v-ray, using it in a simply, fast and essencial way. If you want more info check it out > http://www.learnvray.com/features/english.htm thanks

Hi JD! yes ... you got exaclty the point! Book and training are basically based on the same idea: implementing photographic concepts. Book is the base with examples, and the Training is a sort of practicle lab. About thirdy part reviews I'm NOT waiting for V-Ray experts reviewing these two products. Conversely professional photographers, with strong experience in live and studio shooting can check if my teaching correspond to the best practise in the real world. (and of course it corresponds: to achieve this goal I created book and training in collaboration with professional photographers!) I firmly believe that with a strong-verystrong preparation in photography can lead to excellent results using v-ray in a simple way. Of course this is not the absolute truth, is just a way (and I'm happy that many people are loving). I'm glad you can appreciate this way Thanks Ciro

Hi Juraj, I'm the author of the book mentioned in the quote First of all thank you for your feedback about the sell page, I agree with you: the title need to be improved I also checked your page and really appreciated your works, just great!!!! Well, I'm here just to clarify that my work "Photography & Rendering with V-Ray" it's not a book about vray. It's a book connecting photography and vray, exclusively based on photographic concepts: the focus is totally different from other books about vray. Yes... agree... every book mention photography before to start talking of v-ray.. well, in my case I talk of photography all the time, and explore some vray function IMPLEMENTING different photographic concepts. (by the way for all options we have --> http://help.chaosgroup.com/) I tried to wrote a book interely connected, page after page. Topics are always related each others and finally the reader can get an unique vision of how to apply photography with vray, simply and efficiently. Finally I consider my book.. a book of Photography, where instead of a DSLR I just use V-Ray.. it is my little contribute Ciro