One thing that seemed to be required was to change any normal maps to Corona Normal Maps rather than Max or Vray normal maps for best results.Ī very useful feature which is missing in Vray is the built in Rounded Corners function in the material settings. A few minor amendments were required and tweaking of levels etc. The Corona Material Converter (by Martin Geupel), which is a script which comes with Corona, is excellent and transformed Vray materials into to Corona materials virtually without a hitch. This also worked well for reflection maps if the brightness of the context needed to be increased. To boost the illumination of these back drops in dusk shots the light material’s multiplier was increased to suit the scene. 3ds format and importing to 3ds max as a single mesh.Įxternal environments were photographed and mapped onto planes with an alpha map in a Corona Light Material’s opacity channel to cut out the sky. Initially all modelling was done in the usual way using Sketchup for basic geometry, exporting in. Barts Square seems the perfect project being largely interior shots a large number of images and a good time scale allowing for experimentation. Our typical workflow involves modelling in Sketchup, exporting to 3ds max, rendering with Vray 3.0 and post production in Adobe Photoshop and Lightroom.Įver keen to embrace new technologies, both Iain Banks and The Boundary have been experimenting with Corona Renderer for some time but had not found a project suitable for testing it in a commercial ‘real world’ setting. The Boundary, working in collaboration with Iain Banks was provided a unique opportunity with the Barts Square project (click for gallery) to challenge our usual work flow and test something new. Making of: Barts Square project Click on the image to see whole project gallery The studio is based in London and specializes in high end visualizations. It was written by Henry Gos s, who is the founder of The Boundary together with Peter Guthrie. Let’s leave all other parameters as is.Another great making of, this time from our friends from The Boundary in collaboration with Iain Banks. Lets set Refraction color white while keeping a mutual IOR value between Refraction and Reflection. Similarly, refraction affects the visual refraction of your material. if you want to get into more specific details about IOR values, be sure to reference a proper table.
Let’s keep the IOR value as is (Glass IOR usually between 1.4 to 2.0) so default parameters work well for this exercise. IOR or index of refraction affects how light refracts as it passes through an object. Most material with reflection follows the fresnel rule, so It’s important to keep the Fresnel option checked that way your reflection is base on the angle of view. Using a color here can actually tint your reflection in an artificial way and result in a unique look.Ĭheck the Fresnel option. Lets set reflection color to white to ensure the reflection is completely visible. White color (255, 255, 255) means 100% reflective like a mirror and Black (0,0,0) means no reflection. Reflection affects the visual reflectivity of your material. Lets set Diffuse Color to Black as its commonly used when creating glass materials. Create a new Generic Material (Vray BRDF), Give it an appropriate and let’s apply to our glass panel.ĭiffuse Color effects the color of the surface, this parameter is also affected by reflection and refraction.
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