He set the ground and greenhouses as collision objects that erase particles when they touch to keep the rain outside. The whole scene, up to the ground, is covered in rain in frame 0. The flow in the image includes 300,000 particles, -100 at the highlighted object's location, which covers the main space of the scene. tyFlow proved perfect for creating the rain. Jiří decided to light the exterior with intense cold lightning to contract the warm glow from within the greenhouse. He was happy with the day scene and decided to do a night version as well. The image was calculated via a progressive image sampler with the Noise Threshold set at 0.004. Jiří used basic V-Ray settings elsewhere, using BF + LC, and as a type for LC, he set Hash map, which is the best quality. In V-Ray 5, the VRayPhysicalCamera's new EV parameter can change settings without altering the image brightness. He set the camera's Focal Length to 35mm in the V-Ray settings, he set the camera to Fish eye, unchecked the Fish eye auto-fit box, set the Fish eye dist to 1.1, and the Fish eye curve to 0.83. He used a fish eye effect for the greenhouse interior shot, which is easy to set up, but you must change some parameters for a great composition. Jiří used a Physical Camera from 3ds Max to snap the scene. This way, it doesn't affect the scene, but you can see it in the background as the sky. Jiří left the Affect diffuse, Specular, and Reflections options unchecked on the second Dome light.
Because the HDRI Haven map he used illuminated the scene nicely, he set the first Dome light to Invisible so you can't see it, but it helps light the trees in the background. Jiří kept the day-scene lighting very simple with two Dome lights. It was all quick and easy to model, but it makes the image look far more authentic. he even created a gap with soil spilling out. To add a worn-out and old look to the flowerbeds, he made their stone edges broken and crooked. When he made the night scene, Jiří switched the dirt material for a layer of raindrops, with droplet textures from Poliigon. To achieve this, Jiří used the Perpendicular/Parallel, World Z-Axis, and Mix Curve, and he tried to create the entirety of the material procedurally for quick changes and modifications. In the real world, dirt would fall mainly on top of the greenhouse with less on the sides. He used the dirt texture as a VRayBlend mask to create this material and then masked it further with a Falloff map. It only has partial transparency and reflection, with a lowered intensity. The second V-Ray material is the same, but he added a modified texture in Anisotropy Rotation for a more realistic look. To break up an otherwise perfectly straight reflection from the sun, he used a black and white texture in Anisotropy Rotation and set the Anisotropy to 0.7. Jiří used many references to get it right.Ī VRayBlend material with three V-Ray materials helped me achieve the right look: Jiří applied a fine-line texture in the reflection and bump of the base material, which was also the most reflective and transparent. Polycarbonate has a unique look because its fine grooves give it a reflective but irregular surface. He also modeled a screw with a washer which he cloned across the greenhouse to hold the glass on. He also used the Shell and Chamfer modifiers to add curves to the edges between the wall and roof and round all the glass cover edges. Here are my randomization settings:įor the polycarbonate greenhouse "glass," Jiří used enough polygons to ensure a realistic reflection of the sun and surroundings. All he had to do was create a simple wood texture and use the VRayUVWRandomizer map on top to generate its placement on all prisms. V-Ray 5's UVWRandomizer map makes it easy to randomize textures. Jiří manually moved the UVs on every prism or used scripts for randomization, so they didn't all have the same textures, which would have stood out in the render. He used chamfer everywhere to round the edges and create nice reflections. The greenhouse, which dominates the scene, is made of prisms and joints in a modular system-so creating it was easy. Here, Jiří guides us through creating the scene with V-Ray for 3ds Max-and then how he switched the daylight off. Jiří's always looking to improve his skills, so he used a recent project involving a modular greenhouse system to see if he could plunge a serene daytime scene into a stormy night.
The freelance artist has created stunning interior and exterior renders and everything from cartoon snowmen to dinosaur skills. He reveals his secrets for creating glass, grass, and greenhouses. From sunny to stormy, and day to night, with V-RayĪrtist Jiří Matys used V-Ray for 3ds Max to transform a day scene into a dramatic rainy night.