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V-RAY MATERIAL SETTINGS

by:
Wouter Wynen
February 2006
INTRODUCTION
The basic material settings tutorial explains almost all mate-
rial parameters of the V-Ray material. If you are new to V-Ray,
please read the basic render settings tutorial first, so you can
start this tutorial in the correct way.
The V-Ray version I used for this tutorial is 1.47.03.
V-Ray Material Settings 5
1. Set render settings

Open the render settings dialog and do the following:
- set V-Ray as the renderer
- output size to 480x360px
- global switches: turn off default lights
- image sampler to adaptive QMC
- antialiasing filter “Mitchell-Netravali”
- indirect illumination ON
- Secondary bounces multiplier to 0,85
- Irradiance map settings:
- “low” preset
- HSph subdivs = 30
- environment:
- skylight pure white color
- reflection/refraction pure white, 1,2 multiplier
- system: render region division 50x50px
2. Create a test scene

Keep it simple. A teapot is a good ob-
ject for test renders, because of its shape.
That’s why it was one of the first 3D ob-
jects out there!
Make two teapots on a larger plane if you

want to follow this tutorial as close as pos-
sible..
6 V-Ray Material Settings
3. Open the material editor

Open the material editor by pressing “m” on the
keyboard.
4. Load a V-Ray material

Press the “standard” button in the material editor and select
VRayMtl from the list. Double click or drag and drop it into one
of the material slots.
5. Rename and color

Rename the material “teapot1”. The first parameter in the mate-
rial is the diffuse slot. This is the main color of the material. The
square next to it is a map slot, you can load bitmaps or other kind
of maps here to texture the material. For now, simply make the
color swatch a light orange color.
6. Second material
I Repeat the previous steps to make a very
light grey material. Rename this material
“ground plane” and assign it to the ground
plane and small teapot. You should have
something like in the image on the left.
7. First render
Hit render! Your image should
look similar to mine, if you have
set all render properties as in
step 1. Make sure default lights
are turned off.
8. Reflections
Select the orange material in the mate-
rial editor. Below the diffuse slot are the
reflection options of the material. The
color swatch next to ‘reflect’ is the main
reflection control. Black means there is no
reflection at all, white means the material
will become 100% reflective. If you make
it red for example, the reflections will be
tinted red.
First try a medium grey color.
9. Render
Hit render. Notice the teapot becomes very reflective.
Try a very dark grey, and very light grey too to see the difference.
10. Max depth
Set the reflection color to pure white, and

set the max depth parameter to 1 and hit
render.
You will notice that many areas

turn black. The max depth con-
trols how many times a ray can
reflect before the calculation
stops. Max depth of 1 means
only 1 reflection can take place.
2 means a reflection of a reflec-
tion can exist and so on...
11. Exit color
Leave max depth at 1 and

change the exit color to red.
Assign this material also to the
small teapot.
Render again.
Now all reflections of reflec-
tions turn red instead of black.
The max depth is a way to low-

er render times in scenes with
lots of reflective objects. But
by lowering the reflections, the
exit color will likely come into
play. Sometimes it is therefore
useful to change this to another
color than black, something
more appropriate for the scene
for example.
12. Max depth
Reset the most

eter until exit color
of thetoblack
blackareas
and play with the max depth param-
disappear.
Usually you shouldn’t go higher than 10. Higher numbers will

only waist valuable render time for no visual improvement.
13. Fresnel reflections

Fresnel reflection is a phenomenon that happens on almost all
reflective surfaces. Parts of the surface that point directly at
you will reflect less than parts of the surface facing towards you
under a greater angle.
The amount of the effect is controlled by
the IOR
in the of the material.
refraction You can
parameters. findlife,
In real this
the fresnel effect is always linked to this
IOR. In V-Ray however, you can unlink them,
setting a different IOR for reflection as for
refraction. To do this, click the small L next
to the fresnel check box. The fresnel IOR
box will become available.
14. Fresnel reflections

Leave the fresnel IOR at 1.6
and hit render. Notice the
middle of the teapot has weak-
er reflections than the sides.
This is the fresnel effect.
Lower the fresnel IOR to

increase the effect. The lower
you go, the less it will reflect in
the middle. If you go really high,
it will be the same as turning
fresnel off (>25).
15. Teapot 2
Duplicate the orange material, rename it teapot 2 and assign it to

the small teapot. Change the diffuse color to a dark red.
16. Reflection glossiness

Select the orange material. Change the reflection color back to a
medium grey. Turn off fresnel reflections.
Change the reflection glossiness from 1.0 to 0.8.
17. Reflection glossiness

Hit render.
The reflections are very blurry now. This is
the effect you get on real objects from very
small bumps in the surface. To create this
effect in 3D, you could also put a very fine
bumpmap in the bumpmap slot. But by using
the glossiness parameter instead, rendering
will be a lot faster.
Play with the glossiness value to see what it

does.
Glossiness means ‘shininess’, so glossi-

ness=1.0 is 100% shiny, lower values are non
glossy or blurry reflections. There is much
confusion about this, many people will mix
up the term glossy with blurry.
18. Smoother blurry reflections The subdivs value beneath the refl glossi-
ness controls the smoothness of the blurry
reflections. Change it to 20 and render.
The result is much smoother.
Note that 8 subdivs means 8x8=64 sam-

ples, 20 subdivs means 20x20=400 samples
Doubling the subdivs will take +-4 times
longer to render!
Make sure you have the AA sampler at

adaptive QMC when using high subdivs
values! If you want to use adaptive subdivi-
sion AA,values
subdivs you can
(3 get awayThe
to 10). with much lower
adaptive AA
smooths outs much of the noise from
the low subdivs. If you have many blurry
reflections in the scene, adaptive QMC will
always be faster.
19. QMC settings: smooth the blurry reflections even more

If you want the noise to noise threshold to 0.05,
be even smoother, in- for example. Note that
creasing the subdivs will the QMC sampler set-
not always help. Don’t go tings will also affect
higher than 40 trying to irradiance map calculation
reduce the noise.

ter solution can beAfound
bet- and
ows,DOF,
etc... MB, Area shad-
So reducing
in the QMC sampler noise will not only im-
settings. prove glossy effects, but
also the GI quality etc...
Open the render set-
tings dialog and go to the For now, change the noise
QMC sampler rollout. threshold back to 0.005.
Change the noise thresh- While we’re here, go to
old to 0.001 and render the system rollout and
again. The noise will be enable the V-Ray stamp
completely gone now, (delete all text except the
but at the cost of longer render time part). You
render times. will see speed differences
better that way.
The QMC sampler set-
tings give you an easy way
to speed up test renders,
by simply increasing the
20. Highlight glossiness

You probably know ‘highlights’ from the default max
materials. Well, these highlights are nothing more
than fake blurry reflections. A highlight is actually a
reflection of a bright light source.
In previous versions of V-Ray, there was no way to

render these fake highlights with V-Ray materials. At
popular demand, the developers brought fake high-
lights to the V-Ray material.
Note that these highlights will only appear if you use
lights in your scene. The skylight will not generate
highlights.
21. Create a spotlight
To see the effect of highlight glossiness, create a max

spotlight directed at the two teapots.
Turn down the skylight multiplier to 0.0 for this test.

We don’t want any light to come from the sky.
In the spotlight settings, turn on shadows and choose

V-Ray shadows in the shadow type list.
22. Render
Render the scene.
The white part on the teapot

is the highlight glossiness, the
fake blurry reflection. A max
spotlight is invisible to the
camera and to reflections, but
with this highlight glossiness
parameter you can make it vis-
ible in reflections.
23. Highlight glossiness linked
By default, highlight glossiness setting is linked to

the refl glossiness parameter. This means that
when you use refl glossiness and you have lights in
the scene, the highlight glossiness will appear too.
24. Unlink it!

Press the L button next to the
highlight glossiness parameter.
The highlight glossiness value
becomes visible and is set to
1.0
Hit render.... the highlight is

gone!
A value of 1.0 means no high-

light glossiness (like 1.0 for
blurry reflection means no
blurry reflection).
25. Highlight glossiness only

If you want only the highlight glossiness to appear, and not the
reflection glossiness, you will have to use a little trick.
Logically you would think that

1.0 for refl gloss will turn them
off. This is true, but reflections
will still appear, only sharp. Mix-
ing sharp reflections with high-
light glossiness creates weird
unrealistic materials. Just try it.
Set highlight gloss to 0.75 and
refl gloss to 1.0 and hit render.
Although you may like this

material, it is not realistic. It is
reflecting the light source in a
blurry way, and the rest of the
environment in a sharp way!
That’s impossible in real life, as
reflections don’t make a differ-
ence between lights or what-
ever other objects.
26. Turn off reflections

So to be able to render highlight gloss only, you need to
turn off reflections for the material. This is possible in
V-Ray, but the setting is hidden in the options rollout of
the V-Ray material.
Deselect ‘trace reflections’ and render

again.
Note that now the material has only the

fake glossy reflections. This material looks
like a standard max material with some
highlights on it.
27. Map slots
Next to all reflection spotlight and set skylight

parameters is a map slot. back to 1.0.
This means you can con-
trol reflection color, refl Hit render.
glossiness, highlight glossi-
ness and fresnel value by You will get something
a map. like in my example. All
black parts of the map
For example the reflec- will be non reflective, all
tion slot. Click it and white parts are 100%
choose “checker” from reflective.
the list. Make it visible in
the viewport so you can Try the same map in the
see if it maps the object other slots too. But take
correctly. care, white for glossi-
ness means a value of 1.0,
Set all other reflection so not blurry, and black
settings back to default means very blurry (value
(medium grey, no fresnel, 0.0 for glossy).
all glossy=1.0, trace re-
flections on). Delete the
28. Use interpolation

There is one check box left in the reflection parameters that I
didn’t explain. The ‘use interpolation’ check box. This can be used
to speed up the calculation of glossy reflections. It works more
or less the same way as the Irradiance map for calculating GI.
When you check this box, you can adjust interpolation settings in
one of the other V-Ray material rollouts.
I will not explain these settings, because I don’t recommend using

the interpolation for glossy reflections. They rarely look good,
and when you want quality, they take almost as long as the stan-
dard glossy reflections.
The next section is about refraction
1. Start a new scene

Open 3D studio max and start a new scene.
- set V-Ray as the renderer
-- image sampler
antialiasing filterto“Mitchell-Netravali”
adaptive QMC
- “low” preset
- HSph subdivs = 20
- environment:
- reflection/refraction pure black, 1.0 multiplier
- system:
- render region division 50*50 px
- frame stamp: delete all except the render time part
2. Create the test scene
I suggest using the same kind of

object as I did. A max teapot is
not good now because the mesh
has holes in it, it’s not ‘water-
tight’ and you don’t want that
on refractive objects. I made
this modified torus knot because
it will be an interesting shape
to test with, because of all the
curves and thin/thick areas.
If you want, use the exact same

settings as I did.
3. Create materials
Make a medium dark blue V-Ray

material for the ground plane,
and a very light grey V-Ray mate-
rial for the torus knot and as-
sign them to the corresponding
objects.
Hit render, you should get some-

thing like my example on the left.
4. Refraction parameters
Go to the white materi- tion) of the material. A
al and take a look at the high IOR means a lot of
refraction parameters. bending, IOR=1.0 means
Refraction refers to light the rays will not bend.
rays getting bent when
going from one medium The V-Ray material has
to another. For example all options available to
light travels through air, create any kind of re-
then hits a glass object fractive material. As you
and the ray gets bent can see, many options
under a certain angle. are similar to the reflec-
Then this ray will travel tion parameters.
further through the
glass, and eventually First, change the refract
will leave it at a certain color to a medium grey
point, getting bent again. color.
How much a ray gets

bent depends on the
IOR (index of refrac-
5. Refraction color
Render the image. You will notice the object has a trans-
parent look. The grey refraction color means it’s about
50% transparent.
6. Diffuse color
Change the diffuse to black and render again. The result is pretty
straightforward.
7. Refraction color
Change the refraction color to pure white
and render. The result looks weird...
Because now the object is 100% transpar-

ent, the diffuse color has no effect at all
anymore. Theto
get refracted black
the regions are rays
environment that
color,
which is black.
8. Adjust reflections
The previous step looks weird, because usually materials with

such refractive properties are also reflective. If you set the
reflection to pure white, and check fresnel reflections, the ma-
terial looks a lot better. The material you created now is the
basic setup for clear glass in V-Ray.
9. Create an environment
The rendering looks very boring, because the only thing

to refract/reflect is the ground plane and the black envi-
ronment color.
Create a large, thin box and position it more or less like

I did.
10. VrayLightMtl
The goal is to turn this

box into a light source.
An easy way to do this,
is by using the special V-
Ray light material. Click
the get material button
and choose VrayLightMtl
from the list. Assign the
material to the box and
set the multiplier to 8.0
11. Adjust skylight
Hit render. It’s way too

bright, because our sky-
light is still active. Set the
skylight multiplier to 0.0
and render again. If it’s
too bright or too dark,
you need to play with the
V-Ray light material multi-
plier until it looks okay.
You can clearly see the

light is coming from our
big box now, and the light
source also reflects in the
torus knot. The contrast
between
and blackvery bright light
environment is
very good for rendering
glass or metal like objects.
12. Refractive GI caustics
The light coming from the refractive GI caustics. and set the preset to custom.
box is not direct light as with Change the min/max rate to
a max spotlight. It is actually You’ll see the shadows are -4/-2 to speed up rendering.
treated as first bounce GI (just much darker. The GI light is Note that the GI will be more
like
wouldtheturn
V-Ray
offskylight). If you
GI and render, now unable object
transparent to pass(there
troughare
the blurred now,itbut
only testing, since matter.
doesn’t we’re
there will be no light at all. no GI caustics). Caustics are
noting more than refracted/re- There will be more on caustics
Because of this, it is important flected light. later on in the tutorial. For
that you leave the refractive now remember that you need
GI caustics in the indirect To continue, turn refractive to enable the GI caustics if you
illumination rollout ON. Try GI caustics On again. Also go want GI to pass trough trans-
rendering this scene without to the irradiance map rollout parent objects.
13. Max depth
Increase the max depth parameter in the

glass material to 10, both for reflections
and refractions. You’ll notice a bit more
variation in reflection/refraction. In some
cases increasing the max depth really
helps to make your glass more realistic.
It doesn’t matter much here because our
environment is also black, just like the exit
color when max depth is reached. In col-
ored environments the max depth effect
will be more noticeable.
To continue, reset the max depth to 5
14. Options: reflect on backside
Go to the options rollout of the glass ma-

terial, and turn on the ‘reflect on backside’
option. This will allow the inside of the
surface to also reflect

When rendering glass, the
youenvironment.
should leave
this option turned on, it generates very
nice and realistic inner reflections. This
also increases render time of course...
To continue the tutorial, turn it OFF again.
15. Glossiness
The glossiness parameter is similar to the one for reflec-
tions. It’s use is to blur the refractions. This is one of
the most time consuming settings, render times will go
really high if you use high subdivs...
Try a value
blurry of 0.8 with
refractions 8 subdivs.
are very You’ll
noisy due tosee
thethat
low the
subdivs.
But you get the idea.
Turn the glossiness back to 1.0
16. Index Of Refraction

Set the IOR to 1.0 and render. The torus is gone! This is
because no rays get bent with this IOR value. Because
fresnel IOR is linked to the refraction IOR, this is also
set to 1.0, which means the object becomes non reflec-
tive too. The refraction color is pure white, so the rays
don’t become tinted either! All this makes the torus
disappear.
17. IOR
Unlink the fresnel IOR, so that its value is set to 1.6 again.
Hit render.
The thing you see now is purely created by reflections.
18. IOR
Set the refraction IOR to 1.1 and render again.
Each material has its own IOR value. Typical glass values
are around 1.6. Do a google search for other common
used material IOR’s.
Render a few tests with different IOR values.

Reset the IOR to 1.6 to continue.
19. Exit color

Like with reflection, there’s also an exit
color for refractions. After a ray has
refracted the max depth number of times,
this exit color will come in to play. Tick
the check box and give it a flashy green
color. Hit render. You can clearly see what
parts of the image go over the max depth
number (5).
Make the exit color black again.
20. Fog color

The fog color is used to tint the refractions with a certain
color. Thicker areas will become darker (more colored) than
thinner areas. Try a light red color for fog and render.
The material is very dark, but the thinner parts show some
transparency.
The fog color and fog multiplier are actually an absorption

control. The light looses its energy while traveling through
the material. The longer it travels, the more energy will be
absorbed by the object. That’s why thinner parts will remain
lighter than the thicker parts.
21. Fog multiplier

Change the fog multiplier to 0.05 and render again. The fog effect
is much weaker now, letting more light pass through, resulting in a
lighter material.
You should experiment with different fog

color/multiplier ratios. For example a light
but very saturated color with high multiplier,
or a dark unsaturated color with a very low
multiplier. You can get very different effects
by playing with this relationship.
22. Refraction color

You probably colored (the transparency.
think, what’s dark areas are The saturation
the use of the refractions of of the color has
refraction color the black envi- a huge impact
then? ronment!). on the look of
the refraction.
Well, set fog I usually use A very dark
options back pure white for saturated color
to default, and refract color and will look very
choose a red play only with similar to a very
refract color. Hit the fog options. dark unsaturated
render. But experiment color in the
with different color swatch, but
The glass is refract color/ it will be com-
colored too, but fog settings to pletely different
without the ab- see what they when used for
sorption effect. do. Remember, refract color or
Thin and thick dark refract fog color. Just
areas are equally color means less try it!
23. IOR=1.0 mixed with fog
Adjust refraction settings to the ones on

the right. By mixing an IOR of 1.0 with fog
color, you get a waxy kind of material.
24. Glossiness + IOR=1.0 + fog
Adjust the glossiness to 0.75 and the sub-

divs to 16 and render again. The material
looks a bit like reflective wax.
Turn glossiness to 1.0 again and IOR to 1.6

before continuing.
25. Affect shadows

An important option we didn’t touch yet, it the affect
shadows check box. It will have no effect in our test
scene because there is no direct light, only GI light.
The affect shadows options is only used with direct
light rays.
Therefore, we will replace the light box with a V-Ray

area light. Go to the create panel and choose lights,
and from the drop down menu choose V-Ray.
25. V-Ray Light

Click and drag in a viewport to create the V-Ray
rectangular light. Make the size the same as our box,
and position it in the same way. After that, hide the
box. Set the V-Ray light settings as in the image on
the right (click to enlarge). The multiplier should be
equal to the multiplier of the V-Ray light material you
used on the light box.
We now created a light source exactly the same as

the light box, but it will cast raytraced area shadows.
26. Affect shadows

In the glass material, turn ON affect shadows and hit
render.
The image should look like mine. As you can see, it

casts green shadows. This is because the affect shad-
ows option and fog color is used.
Render time increases because the shadows are

raytraced.
27. Affect shadows OFF

Turn affect shadows OFF and ren-
der again. Notice the shadows are
different now. This is because the GI
caustics come back into play. This
image is the physically correct one!
When you have the affect shadow
option turned ON, no refractive GI
caustics are computed for that mate-
rial, they are automatically turned off
by V-Ray. The affect shadow option
is nothing more than a ‘fake caustics’
option. So imagine that when using
the affect shadow option, refractive
caustics would not be turned off
automatically, you would get a fake
caustic effect AND a real GI caustic
effect on top of each other! That’s
why V-Ray automatically turns off
GI caustics for materials that have
the affect shadow option turned on.
THIS IS VERY IMPORTANT TO UN-
DERSTAND!
Use the affect shadows option when

you want light to pass trough re-
fractive objects, and you don’t want
to
whenenable
you refractive
don’t use GI
GI caustics,
at all, or or
when you’re using Max lights. Max
lights will never produce refractive
GI caustics! So if you want the light
of max lights to pass trough refrac-
tive objects, you MUST use the affect
shadow option.
The top image on the settings all over the place!

right is rendered with an Drawback is that you need
omni light as the only light to have good GI settings
source, and the affect shad- for the caustics to be sharp,
ows option is turned off. resulting in longer render
Notice the black shadows, times. Another advantage
no light passes through the of V-Ray lights or object
material. lights is that they reflect/re-
fract in your objects. Max
The bottom image has lights are invisible to cam-
affect shadows turned on. era and reflection/refrac-
There is a fake caustic ef- tion.
fect but it’s nowhere near
physically correct. So to summarize:
1. If you use only object
Note that the V-Ray light lights and V-Ray lights and
is a special light. Although you want caustics:
it casts direct light just - enable GI caustics
like max lights

produce do, they
GI caustics do
(max - useto
settings good quality
make sure GI
the
lights don’t!). Normally caustics look sharp.
only first bounce GI light
(like the light coming from 2. If you use max lights and
skylight and object lights you want the light to pass
like our light box) produces through refractive materials:
GI caustics. - use the affect shadow
option for a fake caustic
If you want real caustics effect
when using max lights, you - OR enable caustics in
need to enable caustics in the caustics rollout and play
the caustics rollout (photon with the settings for photon
mapped caustics). Don’t do mapped caustics.
this right now, these caus-
tics controls need a tutorial 3. If you use V-Ray lights and
of their own... Just remem- you want photon mapped
ber that you can get nice caustics:
caustics effects by using GI - Disable affect shadows
and V-Ray lights much easier. - Disable GI caustics
- Enable caustics in the
That is why I prefer using caustics rollout and play
the light box or V-Ray light with the settings.
over the max lights. You
simply check the GI caustics
option and you don’t have
to care about other caustic
28. Final material

Use the material settings as in the image on the right. I low-
ered the fog multiplier a bit, and upped the max depth values
both to 8.
29. Final image setup

In the irradiance map settings, change everything as in the
image on the right. Also go to the QMC sampler rollout and
change noise threshold to 0.001 for maximum quality.
30. Final image

Render the image, it should look something like mine.
Notice the nice caustics and area shadows, controlled by the

IR map settings. No caustics were enabled in hard to find
places, no time consuming raytraced shadows were needed.
31. Comparison with QMC GI

As a test, I rendered
the image with As you can see,
QMC GI instead of in the areas with
irradiance map for much lighting detail,
first bounce. QMC the QMC GI image
GI is not an ap- looks better (more
proximate method physically correct)
like IR map with than the IR map
its undersampling image. But it takes
algorithm. QMC GI 10 minutes com-
calculates the GI pared to 1 minute 24
without compromise, seconds for the IR
every light sample map version... If you
gets equal attention. want more detailed
So it’s a good test to GI with IR map, you
compare how well need to edit some of
the GI with IR map is the IR map settings.
computed.
32. Better IR map settings

This last image is rendered with optimized IR map settings. As
you can see, this comes very close to the QMC GI example,
but without any noise on the floor. I will explain how to opti-
mize the IR map settings in an upcoming tutorial.
This is a new section
1. Translucency
Transparent materials like clear glass or water will let

light travel through it undistorted (except for the bend-
ing due to the IOR). Translucent materials will scatter
the light when traveling through it. For example stained
glass, wax, grapes, etc...
Stained glass can be made with V-Ray by using the
refraction glossiness parameter, but wax or grapes for
example will need the translucent controls. When to
use the translucent controls or not, is a but unclear.
Usually translucency is used for really opaque materi-

als in which light can penetrate a certain distance, if it’s
strong enough. Examples are wax, human skin, orange
juice, milk etc... You cannot see through these materi-
als, but light will be able to go through it partially and
scatter
flashlightaround. For example
under your hand, thewhen
otheryou hold
side willaturn
strong
red
(blood!) and you can see where your bones are located
because they block the light.
2. Translucency in V-Ray
Because the translucency controls are a bit
strange in behavior, I will not try to explain
them... More technical explanations can be found
in the online documents, and I believe the V-Ray
team is working on a translucency tutorial...
You can get very similar results with extremely

different combinations of settings, but when
seen under changing lighting conditions, they will
react very differently.
The translucency controls also depend on the

refraction glossiness and fog settings. They work
together, and especially the fog color is a very
sensitive setting that will have a very drastic
effect on the material. One thing you should
never do, is using colors that have one of their
components set to 255!!!
I usually leave the translucency color pure white

the refraction color a grayscale value and then
control the material color with the diffuse and
fog color. Then with the fog multiplier and trans-
lucency light multiplier create various effects of
light passing through.
3. Skin
Here’s a skin material that you can use
to study the settings. Play with it and
try to understand what effect each
parameter has on the final look. Note
that because of the use of both reflec-
tion and refraction glossiness, this mate-
rial will render very slowly, especially
with these high subdivs values.
4. Reset all settings from the previous page

In the end of the previous page, all settings were
changed for the final image. We need to set it back to
test render values now.

- image sampler to adaptive QMC
- antialiasing filter “Mitchell-Netravali”
- “low” preset
- HSph subdivs = 20
- environment:
- reflection/refraction pure black, 1.0 multiplier
- system:
- render region division 50x50px
- frame stamp: delete all except the render time part
5. Create a chrome material
Create a new V-Ray material and adjust the settings as in

the image on the right. This is a basic chrome material
setup. Assign this material to the torus knot object and
do a quick test render. It should look like my test image.
Now change the reflection glossiness to 0.7 before you

continue.
6. BRDF
In this rollout you can
choose between Blinn, Phong
or Ward shader. The effect of
these three types is notice-
able the most when using
glossy reflections. Render
the scene with the three dif-
ferent shaders. The settings
affect how the highlights will
look like.
Ward is commonly used for

metallic materials.
7. Anisotropy
Anisotropic reflections are reflections

stretched in some direction. You see this
often on brushed metals, for example the
bottom of cooking pans. The anisotropy
setting controls the shape of the highlight.
The torus knot is not the best example, but

you’ll get the point.
Change the anisotropy setting to -0.6 and

render the image. There’s also a huge dif-
ference between Blinn/Phong/Ward here.
Try some other values too (like +0.6 for
example).
The XYZ axis option allows you to change

the direction of the reflections, or you can
use a mapping channel instead. The rotation
parameter rotates the reflections...
8. Options rollout First set anisotropy

to 0.0 again, and Reflect on backside.
also refl glossiness We used this option
to 1.0. already on page 2
of this tutorial. If
Trace reflections turned on, reflec-
and trace refractions for back facing
tions are pretty surfaces will be
simple; turn calcula- computed too.
tion on by checking
check box or off by Use irradiance map:
unchecking check if you turn this off,
box. the irradiance map
will not be used
The cutoff param- on this material.
eter is a threshold Instead, the GI on
value for V-Ray to this material will
trace reflections be computed with
any
Try further or 0,7
a value of not. QMC GI. ifThis
be useful the can
on the current im- irradiance map blurs
9. Maps rollout age. Increasing the out small shadow
threshold can speed details on certain
The maps rollout sums Displacement is like up rendering when objects.
up all different texture bump, but instead of fake you are using lots
maps. Almost all maps rendering it, the actual of reflections in the Treat glossy rays as
can be accessed in the mesh is deformed to scene. GI rays: please refer
basic parameters rollout create the irregularities. to the manual.
(the small squares next Refer to the manual for Double sided: please Energy preservation
to the parameters), but extensive tutorials and refer to the manual. mode: please refer
some will appear only examples about displace-
here. ment.
These are the last four Opacity is the same as

maps: bump, displace, you are used to in stan-
opacity and environment. dard max materials.
Bump allows you to ren- Environment slot allows

der irregularities in the you to use different re-
surface by using a map. flect/refract environment
Dark areas in the map for each material.
are ‘low’ areas, bright
areas are ‘high’ areas.
10. Reflect/refract interpolation

These rollouts contain parameters to control reflect/re-
fract interpolation. These are only needed if you ticked
the ‘use interpolation’ check box in the basic parameters
rollout. I don’t recommend using interpolation for glossy
effects. If you do want to use them, please refer to the
manual for more detailed information.
About the author
Wouter Wynen has studied product development for 5

years at the university in Antwerp, Belgium. During these
years, his interest in 3D modeling and visualization grew
more and more. In the end, it even overpowered the
interest in product design.
After graduation, he founded the company Aversis, offer-

ing 3D viz & webdesign services.
share - learn - inspire ™

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8/14/2019 Vray Material Setting for 3Ds max

©2006 VisMasters.All rights reserved.

V-RAY MATERIAL SETTINGS

The V-Ray version I used for this tutorial is 1.47.03.

V-Ray Material Settings 5

1. Set render settings

2. Create a test scene

Make two teapots on a larger plane if you

6 V-Ray Material Settings

3. Open the material editor

4. Load a V-Ray material

5. Rename and color

V-Ray Material Settings 7

8 V-Ray Material Settings

First try a medium grey color.

V-Ray Material Settings 9

10. Max depth

Set the reﬂection color to pure white, and

You will notice that many areas

10 V-Ray Material Settings

11. Exit color

Leave max depth at 1 and

The max depth is a way to low-

12. Max depth

Reset the most

Usually you shouldn’t go higher than 10. Higher numbers will

V-Ray Material Settings 11

13. Fresnel reﬂections

14. Fresnel reﬂections

Lower the fresnel IOR to

12 V-Ray Material Settings

Duplicate the orange material, rename it teapot 2 and assign it to

16. Reﬂection glossiness

V-Ray Material Settings 13

17. Reﬂection glossiness

Play with the glossiness value to see what it

Glossiness means ‘shininess’, so glossi-

Note that 8 subdivs means 8x8=64 sam-

Make sure you have the AA sampler at

14 V-Ray Material Settings

19. QMC settings: smooth the blurry reﬂections even more

reduce the noise.

20. Highlight glossiness

In previous versions of V-Ray, there was no way to

V-Ray Material Settings 15

21. Create a spotlight

To see the effect of highlight glossiness, create a max

Turn down the skylight multiplier to 0.0 for this test.

In the spotlight settings, turn on shadows and choose

Render the scene.

The white part on the teapot

16 V-Ray Material Settings

23. Highlight glossiness linked

By default, highlight glossiness setting is linked to

24. Unlink it!

Hit render.... the highlight is

A value of 1.0 means no high-

V-Ray Material Settings 17

25. Highlight glossiness only