mental ray Architectural and Design Visualization Shader Library

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76 3 Sun and Sky3.8.3.1 Without Portal LightsTo clearly demonstrate what is direct and indirect light in the scene, we here show the scenewith portals, GI and FG turned off:The direct lighting of our sceneThe above image shows the isolated direct light. This means that this result is what FG will“see” - an extremely high-contrast scene consisting of complete blackness, the hotspot of thedirect sunlight on the floor, and the very bright sky, and sun-lit ground outside - a sub-optimalinput to the FG algorithm.If we turn on FG on relatively low settings we get:FG with 50 rays and density 0.1This image wins no beauty awards. It is splotchy, the shelves seem to “float” away from thewall, but most surprisingly, it’s very dark. Why is that?
3.8 Sky- and Environment Portals 77The reason is the high contrast input. FG contains a filter that is intended to avoid a speckledresult if some stray FG rays hit a single extremely bright object, so the filter removes thebrightest rays. But our scene really is high contrast, and we actually expect some rays to bemuch brighter than others.Using FG filter = 0In our case the filter actually is fighting what we are trying to do. We can turn off the filter,as in the image above, which helps our light distribution some, but not the splotches, nor the“disconnect” of the shelves to the wall.Since we are using mia material, we have a built in ambient occlusion to help in exactly thesesituations. However, turning that up only helps partially:Adding AO - helps a bitThe lone solution available in the past was to simply increase the quality of the FG settings.And naturally, we are using very low settings, so the bad quality is not surprising at this stage.Lets turn up the knobs:
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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 31 and 32: 2.5 Detailed Description of Materia
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 81: 3.8 Sky- and Environment Portals 75
Page 89 and 90: 3.9 Photometric Lights 833.9 Photom
Page 91: 3.9 Photometric Lights 85• When i
Page 94 and 95: 88 4 Camera- and Exposure EffectsAl
Page 96 and 97: 90 4 Camera- and Exposure Effects4.
Page 98 and 99: 92 4 Camera- and Exposure Effects1,
Page 100 and 101: 94 4 Camera- and Exposure EffectsTh
Page 102 and 103: 96 4 Camera- and Exposure Effectscr
Page 104 and 105: 98 4 Camera- and Exposure EffectsEv
Page 106 and 107: 100 4 Camera- and Exposure EffectsS
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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