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Isopropanol

Aiuto Materiale Vetro in Final Render Stage 1 SP2a

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Ciao ragazzi...ho provato ad ottenere un materiale vetro con Fr usando Fr Glass e Fr Advanced. Il materiale che ottengo è qualcosa che non assomiglia per niente al vetro ma somiglia + che altro a uno specchio visto che non sono riuscito a trovare i settaggi per impostare l'opacità del materiale. qualcuno mi sa aiutare per favore??? grazie mille in anticipo....

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Prima di tutto ti dico che fr-advanced è da preferire e da usare su quasi tutto. I materiali fr-glass e fr-metal sono molto più semplici e vanno usati solo per oggetti lontani perché sono stati creati apposta semplici (con opzioni base) per essere renderizzati velocemente. Ci sono altre caratteristiche diverse che ne limitano l'impiego, ma se vuoi informazioni precise chiedi direttamente nel forum ufficiale della Cebas.

Veniamo invece alla tua richiesta...

per ottenere un ottimo vetro ci sono 2 modi:

1- usi solo lo standard rollout e modifichi colore e luminosità degli slot vicini a diffuse, reflect e reflact; ovviamente l'ior deve essere tra 1.5-1.7

2- usi anche l'advanced refraction rollout;

Io uso solo la seconda ed una volta capito come funziona si va a meraviglia.

Per entrambi è molto importante settare bene il raytracing rollout che trovi nella finestra del motore di resa.

Per creare un vetro neutro che assorba la luce, ecc..., devi impostare nero il colore del diffuse; bianco il colore dello slot del refraction. Poi vai nei parametri avanzati e spunti l'absorption. Smanetta un po' col valore ma lascia il colore nero. Se usi un'altro colore avrai un vetro colorato.

Se invece vuoi usare l'opzione 1 allora: scegli il colore del vetro nel diffuse ed imposti un grigio chiaro/molto chiaro nel refraction. Se metti bianco avrai una rifrazione totale.

E' ovvio che un vetro perfetto è un mix delle impostazioni di entrambi i modi...ma ci arrivi solo dopo averci smanettato singolarmente e capito come influenzano il materiale. Anche per i liquidi usi lo stesso metodo.

Per le riflessioni è un processo analogo alle rifrazioni e quindi l'idea di controllo è la stessa.

Ti posto una parte della guida di fr originale:

Diffuse - The Diffuse color swatch lets you set the diffuse color of the object. You can also use a map as you would with any other Standard 3ds max material.

Level - Stage-1 handles HDR-Images and Non-Clamped Colors very efficiently. Changing the Diffuse color Level spinner will boost or reduce the color output in the rendering, mainly to get colors that show a much higher dynamic range into the range you desire. Values above 100 will push the Diffuse color above the normal color range.

1)

Self. Illum. - The Self Illumination color swatch defines the self-illumination color of the material. A map may also be used to control the self illumination color. You are not limited to grayscale colors to increase the amount of self-illumination. With this color swatch, you can also illuminate your materials with other colors and create unique blends of illumination.

Level - The Self Illumination Level spinner acts as a multiplier for the self illumination color. Like the Diffuse color Level spinner, this control may be used in HDR-Image or Non-Clamped Color situations in increase or decrease the overall self-illumination level.

2)

Reflect - The color swatch next to the Reflect label defines the reflection filter color. In contrast to a real world reflection effect, you can choose a different filter color for the reflected rays. These rays have nothing to do with the Diffuse color.

IOR - The Fresnel IOR (Index of Reflection) spinner lets you control the strength of the Fresnel effect for the reflection. Higher values will make the reflection less angle-dependent (stronger). Usually you will set this value to be the same as the IOR setting within the Refraction group of controls. In the images below, the refractive nature of the fR-Glass has been turned down to make the reflection more visible. The reflection color has also been changed to blue to illustrate where the effect is visible. A value of 0.0 will create a perfectly reflective material without any Fresnel distortion.

Fresnel checkbox - The fR-Advanced material implements an effect that is known as a Fresnel Effect (pronounced "frenel" - the "s" is silent). This visual effect is based on the observations that the amount of reflectance you see on a surface depends on the viewing angle. By turning on this checkbox, you alter how the reflections in the Advanced material are created as shown below

Remember that when Fresnel is turned on, the strength of the reflection will increase as the angle of the object's surface becomes greater to the viewing angle.

Blurry - This spinner controls the overall blurriness of the reflections within your material. The higher the value, the more blurred the reflection. Be careful as higher values will result in longer render times.

Samples - The Samples spinner defines the number of extra rays shot per pixel from the object's surface. True blurry reflections are calculated by shooting extra rays into the scene to collect the blurry result. This is also the reason why blurry reflections look more blurred with increasing distance to the object’s surface.

Quality - Increasing the Quality value will help you avoid the grainy look of blurry reflections that might show up when too few samples are used. This is an analytical feature that tries to automatically increase the number of blurry rays (samples) where needed. Be careful with this setting, it works in concert with the Samples parameter and should be used carefully.

3)

Refract - This color swatch determines the refracted rays' color. In contrast to the real world, Stage-1 can do things you usually would not expect from real objects. The refraction filter color will allow you to control the amount of filtering and the amount of transparency of the object. Brighter colors will make the object more transparent while darker colors will make it more opaque. To get a realistic glass effect, make the Refract color swatch the same color as the Diffuse color. You may also use a map to control the color.

IOR - The Index Of Refraction spinner controls how light bends through a refractive material. Refractive materials like Glass or Water bend the rays based on the physical properties of the matter the ray travels through. The Index Of Refraction is a real world material property that defines how much a ray is bent towards or away the initial entry point.

In the real world, the IOR results from the relative speeds of light through transparent materials. Typically this is related to the object's density. The higher the IOR, the denser the object.

Here are some examples of common IOR values:

Vacuum 1.0

Air 1.0003

Water 1.333

Glass 1.5-1.7

Diamond 2.419

Ice 1.309

Alcohol 1.329

Salt 1.544

Quartz 1.553

Ruby 1.770

Emerald 1.570

Topaz 1.610

Priority - finalRender Stage-1 implements a sophisticated new feature called Render Priorities. Transparent objects are tricky objects to render and usually need extra attention and fine tuning until they look believable. When working with a raytracer such as Stage-1, every modeling problem or inaccuracy within the model has the potential to show as a render artifact. The most problematic scenario a raytracer faces is the "Glass - Liquid" problem where you have a liquid inside a glass container. The idea behind the Priority spinner is to solve exactly this Glass-Liquid problem. It defines the order in which rays are hit.

The reason for this style of modeling is critical because Stage-1 needs to know which face it should hit, and if you model the glass and liquid so that their faces share the exact same position, it is not possible to determine which face should be hit by a ray. The results in this sort of situation would be either triangular artifacts or other rendering anomalies.

By creating the overlapping geometry and using the Priority spinner to define which face should be hit first, Stage-1 overcomes this issue. By setting the Priority for the two materials, it becomes clear to the renderer whether the user wants the ray to contact the Glass or the Liquid first. In most circumstances, the outer material should always get a higher Priority value than the inside material. It does not matter what the actual value is as long as one is bigger than the other. In the situation shown above, you could assign the glass material a priority of 23 as an example. The water material might get a priority value of 11. Now when you render the 3D objects, the renderer knows that the liquid should be inside of the empty space within the glass and not inside the glass matter itself. It will perform a virtual "crop" onto the water surface to push it back into the glass.

Fresnel checkbox - The fR-Advanced material implements an effect that is known as a Fresnel Effect (pronounced "frenel" - the "s" is silent). This visual effect is based on the observations that how the rays are directed through a material depends on the viewing angle. By turning on this checkbox, you alter how the refraction in the material is created as shown below.

Blurry - Increase this setting to get a more blurred look to the refraction. Be careful, however, as bigger values will result in longer render times.

Samples - The Samples spinner defines the number of extra rays shot per pixel from the object's surface. True blurry refraction are calculated by shooting extra rays into the scene to collect the blurry result. This is also the reason why blurry refraction look more blurred with increasing distance to the object’s surface.

Quality - Increasing the Quality value will help you avoid the grainy look of blurry refraction that might show up when too few samples are used. This is an analytical feature that tries to automatically increase the number of blurry rays (samples) where needed. Be careful with this setting, it works in concert with the Samples parameter and should be used carefully.

Internal checkbox - Internal reflections, found very often in glass objects, are calculated when this parameter is checked. This option could increase render time to some extend but the image will look much more realistic.

NOTE: This option might also produce an effect known as Total Internal Reflection. This happens when a ray bounces between two or more faces around and can't escape the object. In the real world this is not a problem as there are enough rays produced by Mother Nature. If you get into a situation where a ray bounces back and forth forever, an infinite loop would be created. finalRender Stage-1 avoids this situation by stopping the ray after the maximum internal ray depth (bounce level) is reached.

4) Advanced refraction rollout

Color - The absorption color is usually a fixed color value representing the maximum possible absorption of a ray.

Absorption - This spinner controls how strong the absorption effect is. Change this value to get a faster absorption rate by distance. The higher this value is, the faster the ray get’s absorbed by the medium.

Absorption Gradient - Besides, setting the color for the absorption values you may also set the transparency along with the color. The left-hand side of the color gradient represents the position when the ray enters the media (surface) the right hand side of the gradient represents the exit of the medium. In between, values created by the ray length are matched accordingly to the gradient color and alpha values.

Dispersion is the effect of light being separated into its specific wavelengths. A classic example is a white beam of light sent through a glass prism. Since each wavelength of light has its own refraction value, a white light beam is split into its rainbow color components as it exits the prism. Light also interacts with the molecular structure of the material it is sent through depending on its wavelength. This group of controls simulates this effect.

IOR Variance - This parameter defines the maximum IOR variation each ray should have. Higher numbers will result in much wider “rainbows”. Keep in mind that this value is interacting with the amount of samples. A more spread out rainbow needs also more rays (samples) to cover the gaps of this bigger area.

Samples - Depending on how spread out the rainbow color effect should be, you might need more or less samples to get a smooth rainbow gradient. Increase this value when you start to see grain in the rainbow color bands of the dispersion effect

Dispersion Color Gradient - This color gradient defines the material properties that influence the dispersion rendering effect of the relevant object. The center of the gradient defines the “no dispersion” area were all rays fall into the same spot. In a wavelength model you get a pure white beam of light when all wavelengths are combined.

Ciao

AsDsA

:D

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