mental ray Architectural and Design Visualization Shader Library

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96 4 Camera- and Exposure Effectscrush shadows = 0.2 crush shadows = 0.6The crush shadows parameter deepens the lower end of the intensity curve, and we getsome very nice contrast. However, since this image is already near the “too dark” end of thespectrum, it tends to show an effect of darkening the entire image a bit.This can be compensated by changing the exposure. Lets try a couple of different shuttervalues, and prevent overexposure by further lowering our burn highlights value:shutter = 50, burn highlights = 0.1 shutter = 30, burn highlights = 0.1The final image is pretty good. However, since so much highlight compression is going on, wehave lost a lot of color saturation by now. Lets try to finalize this by compensating:saturation = 1.0 saturation = 1.4Now we have some color back, the image is fairly well balanced. We still see something existsoutdoors. This is probably the best we can do that is still physically correct.However, remember we were using the portal lights for the window? These have a non-physical“transparency” mode. This mode is intended to solve exactly this issue. Even though theresult we have so far is “correct”, many people intuitively expect to see the outdoor scenemuch more clearly. Since our eyes does such a magnificent job at compensating for the hugedynamic range difference between the sunlit outdoors and the much darker indoors, we expectour computers to magically do the same. Using the transparency feature of the portal lights,this can be achieved visually, without actually changing the actual intensities of any lightgoing into the room:
4.1 Tone Mapping 97A transparency of 0.5 in the portal lightNow the objects outdoors are visible, while maintaining the contrast indoors. The light levelindoors hasn’t changed and still follows the real world values (unlike if we had put actual darkglass into the window, which would have attenuated the incoming light as well).Now this is a mid day scene. What if we change the time of day and put the sun lower on thehorizon? The scene will be much darker, and we can compensate by changing the exposure:7 PM With shutter 1/2 secondKeeping the same settings (left) with the new sun angle makes a very dark image. On theright, all we changed was the shutter time to 2 (half a second). This image has a bit of ayellow cast due to the reddish sunlight, as well as the yellowish incandescent lighting. Tocompensate, we set the white-point to a yellowish color:
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mental ray Architectural and Design
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Table of Contents1 Introduction 11.
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Table of Contentsix3.8.3 Examples .
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Chapter 2Architectural Material2.1
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2.2 Fundamentals 52.2.1.1 A Note on
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2.3 Features 7Hence, when using GI:
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2.3 Features 9The rules are as foll
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2.3 Features 11In the real world
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2.3 Features 13Used alone, an AO sh
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2.3 Features 152.3.7 Performance Fe
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2.4 Quick Guide to the Material Par
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2.5 Detailed Description of Materia
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Page 55 and 56: 2.6 Tips and Tricks 49• For extre
Page 57 and 58: 2.6 Tips and Tricks 51Diagram for g
Page 59 and 60: 2.6 Tips and Tricks 53There is one
Page 61 and 62: 2.6 Tips and Tricks 55• Glass-Liq
Page 63 and 64: 2.6 Tips and Tricks 57Enjoy the tro
Page 65 and 66: 2.6 Tips and Tricks 59Many small ad
Page 67 and 68: Chapter 3Sun and Sky3.1 Introductio
Page 69 and 70: 3.4 Common Parameters 633.3 Importa
Page 71 and 72: 3.5 Sun Parameters 65• saturation
Page 73 and 74: 3.6 Sky Parameters 67light"sun",# T
Page 75 and 76: 3.6 Sky Parameters 69• sun direct
Page 77 and 78: 3.8 Sky- and Environment Portals 71
Page 89 and 90: 3.9 Photometric Lights 833.9 Photom
Page 91: 3.9 Photometric Lights 85• When i
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Page 96 and 97: 90 4 Camera- and Exposure Effects4.
Page 98 and 99: 92 4 Camera- and Exposure Effects1,
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Page 109 and 110: Chapter 5General Utility Shaders5.1
Page 111 and 112: 5.2 Environment Blur 105replaced by
Page 113 and 114: 5.2 Environment Blur 107But what is
Page 115 and 116: 5.2 Environment Blur 109Glossiness
Page 117 and 118: 5.3 Light Surface 111An example of
Page 119 and 120: 5.3 Light Surface 113the other two
Page 121 and 122: 5.3 Light Surface 115Complex geomet
Page 123: 5.3 Light Surface 117Another exampl
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mental ray Architectural and Design Visualization Shader Library

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