It is sometimes necessary to texture meshes during composing, a particularly efficient way of swaping bitmaps files
at the last minute ! Specific V-Ray render elements rendered in 32-bits are used along with camera and meshes alembic exports, those assets must be used using raw compositing techni...

Part 2 will go deeper into photorealism with the simulation of real lens distortions in V-Ray but mostly in Nuke: Chromatic aberrations, grain simulation, field curvature an edge fine-tuning area among the topics addressed in this tutorial.

Replicate the look and feel of real cameras is often required, CG renders look often artificial because of their digital origin,We spend substantial amount of time to “degrade” the perfection of our renders. Lens and barrel deformations, aperture, focal length and sensor size simulation and vigne...

Rendering separately light sources with render elements (AOVs), then re-assemble them during compositing allow infinite artistic changes without extra rendering, particularly when rendering in 32-bits. Raw compositing allow even more massive lighting changes.
Note: since V-RayNext, light select...

For flexibility and excessive rendering time reasons, postponing motion blur and depth of field to compositing is strongly encouraged. In Nuke we can tweak to test the shutter speed and aperture to get the desired amount of motion blur and depth of field without extra rendering. Unfortunately som...

Working with non-polygonal assets such as smoke, fire, water, fog is very intimidating. This tutorial is not about their creation and animation but about the lighting, shading and compositing of the methods available with Maya and V-Ray: fog effects with the V_ray_environment_fog, dust with Maya’...

Simulating glass and transparent materials cam be intimidating, particularly when it comes to create the envelope of light rays called caustics. The major bullet points are: glass versus plexiglass, neutral versus tinted glass, thick versus thin glass, glass with gold inserts and more !
Tutorial ...

Rendering with render elements (AOVs) is a standard procedure in production, it allows massive changes during compositing and spare multiple rendering iterations.
We will deconstruct our final look into render elements and re-assemble them in Nuke. Consider this tutorial as an introduction to com...

Volumetric effects such as crepuscular rays (“god rays”). atmospheric separations. like haze or fog at a distance will be discussed in this tutorial. V-Ray solutions including world versus mesh based solution are explained and compared to Nuke solutions with creative use of the Z-pass and world p...

Ambient occlusion create contact shadows in the shade, in this tutorial we ll see how to composite the Ambient occlusion render element along the other elements inNuke, the main problem is to avoid to dirty the final compositing. Reflection occlusion could be used with shiny and metallic material...