The projections help you work with the GI bounces, and generate shadows and reflections. In this case, I used the cameraMap – you'll have better results painting in the UV, but you'll need to spend more time on it.
If you want quick results, you should only make simple models and apply materials with the texture of the footage. Remember to use V-Ray object properties too; it's really helpful when using projections. I used several parameters as seen here.
Showing some of the V-Ray object properties
For this simulation, I used the Pflow particles to simulate Styrofoam being pulled into the vacuum cleaner. mParticle allowed us to create collisions between the particles, and the Data Operator allowed us to pull them together.
Settings in the Particle View window
That process covered rendering in V-Ray. Today we also have several other quality renderers such as Arnold
among others, but right now I prefer to use V-Ray. V-Ray allows me to adjust settings and make the render time slower to achieve a good quality render. This work needed to be done quickly, so I needed to render it fast.
I used the Global Illumination (GI) settings with the Irradiance Image as primary and Light Cache as secondary. Some tips for GI with no grain – If your camera has motion, you have to check that the Use Camera Path is active. Put a very low setting in the Current Preset and increase the subdivisions. You can then increase these gradually, depending on your scene. Generally, the Irradiance map generates the grain, and you can increase the value of the other settings by making the render time slow and not fixing the grain.
Something that is often confused in 3ds Max is the use of the background. Pressing the 8 key will open the Environment and Effects window, and you can put your footage in the Background and see it in the render and the viewports. In the bitmap node, choose the Screen mode to see it correctly. When you render your scene will have an overlap in your images. To get the correct preview in V-Ray you have to add a black color in the GI environment in the V-Ray rendering window. You can also replace the reflections for your HDRI – remember to disable the dome light if you use this, though.
The render settings
I always do a basic composition to test the render, and then some color correction study to integrate the model with the footage. This is very important – you'll only see what you need in the render, with the composition.
Render passes are always very cool. You can tweak many things like the specular and reflections without re-rendering the whole thing. To create a mask with perfect edges, you can make a render element with RGB.
Some of the render elements used in the compositing stage
The final video
Credits and thanks
Thanks to all personnel from Jonathan Post
and to 3dtotal for the opportunity.
Agency: Grupo Nove Comunicação
Production Company: ParanoidBR
Direction: Luis Carone
Post Production: Jonathan Post
Daniel Dias - Composition Supervisor and Color Grade
Luis Carone - Director and 3D Supervisor
Rafaela Lopez - Producer Executive
Viviane Torre - Production Co-ordinator
André Carvalho - Post Co-ordinator
André Soler - Post Co-ordinator Assistant
Caique Veloso - Composition and Tracking
Fabio Martins - Lighting and render
Fagmario Gomes - Shaders, textures, lighting and render
Leonardo Augusto - Composition
Narayani Andradre - Composition
Enio Cesar - Color Grade
Fabricio Torres - Model / Rosie
Wesley Schneider - Rigging / Rosie
Yuri Lementy - Animation / Film title: "Radio" and "Box"
Francois Puren - Animation / Film title: "Rain"
Vitor Cervi - Motion Graphics
Ricardo Mantoan - extra lighting and render
Check out Fagmario Gomes Rodrigues' website
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