What Hilight glossiness in VRayMtl =>
Alexander, a good day!In your tree material, there is not enough information about wood reflections (maps of light and dark areas), more accurately you have reflections, but they are not detailed enough - not like real reflections, primarily because reflections are simple (pure Fresnel reflections). You put an emphasis on the map bump to give realism to the material. Yes, this card is unquestionably a lion's share of realism, but if you need a realistic wood material, then far from one bump you will not leave. I do not want to say that your wood material is bad - it's not. Many visualizers imitate wooden coverings in this way. And for most cases and distant species this is quite enough.How to make the material more realistic? First of all, as written by Anya, post higher - everything depends on the quality of textures, lighting and surroundings. But for a good realism it is necessary, first of all, to completely imitate all the properties of materials. In your case, I would add information to already existing reflections, mixing the Fresnel reflections with more reflections that mimic the map. To make it more clear about what I'm talking about, I've done some renderings of the reflection layer and a common layer to see how the maps contribute the details to the overall view of the material, namely:Map diffuse + pure reflections by Fresnel. Render time: 23m. 39c;Map diffuse + clean reflections on Fresnel + map bump (as you have now). Render time: 36m. 5c;Map diffuse + 100% reflection, simulated only by a reflection map. Render time: 32m. 17c;Map diffuse + mixed reflection (fresnel + reflection map) + bump map. Render time: 35m. 14s.Judging from the renderers, it is seen that the reflection map compensates for the missing part of the information about the material, and makes the reflections more interesting, the material looks much more realistic, rather than just with the map bump.By adjusting the power of mixing the map to ordinary reflections, you can achieve the desired result, but this draws for itself an increase in rendering time. The 5 picture shows how the reflections are mixed.The map is tuned to an intensity of 70% - this means that 70% of the reflection gives a reflectivity map, the remaining 30% - the usual Fresnel reflections. By setting different blending values, you can control the intensity of the effect. The value is selected by experience, depending on the map.In conclusion, I would like to add that we should proceed from the situation and take into account the features of the scene and decide for ourselves what is more important for you at the moment, the time of miscalculation or a realistic result. For example, if your object in the scene is very far away, then it makes no sense to complicate its material so much if the effect is still not visible. But for near angles, as a reference from your post, you need to make a choice in favor of realism, and more complex material will always look better.
Hi,For the sake of justice I note that I do not see what the material of the tree on the "standard" is much better than the tree that you made. At least on the examples given by you it is not obvious, especially as the lighting conditions are different. But we can discuss the theme of the tree and abstractly.As you rightly noted, the most important part of the material of the tree is the hi-res texture. However, you need to understand that we are not talking about the 600 * 600 picture, for example, it is banal resized in Photoshop to 4000 * 4000. It's all about a full-fledged photoreference 4000 * 4000, each pixel of which contains unique information, and not a single pixel representation of low-res images, a few pixels high-res resize. Otherwise, it does not really make sense to change the resolution of the picture in the 2d editor, it's just a useless memory, especially since 3ds Max itself does it by default with any texture. That is, if we, for example, pulled a 600 * 600px texture onto the object, and render this object with a resolution of, say, 10,000 to 10,000 pixels, then certainly the texture is interpolated on the render.In addition, any material, not just a tree, in a good way requires separate textures for bump, for reflection and even texture for glossiness.For example, the surface of a wooden table is knocked down from polished slats and the polished part is not only smooth, but also shiny. Nevertheless, even on such slats there are irregularities, notches, scrapes. And they can not be as shiny as polished patches, that is, the whole wooden bar does not shine the same. In no other way, except as a map of reflections and a blur map, such zonal rubbing is not simulated.Judging by your example, you have only one and the same, and initially not high resolution, the texture in Diffuse and in Bump slots. Of course, under such conditions, there is no question of what clogs of speech there can be.In addition, the beauty of the material is revealed only in the appropriate level of lighting conditions in the scene. For example, the same Bump is not a change in the curvature of the surface of the model, it is only a render effect that "draws" the black areas on the material by imitating the shadow. He imitates it strictly taking into account the direction of the illumination falling on the object, that is, he draws shadows "against the light." In your case, even Bump can not really be shown, because ambient illumination from HDRK, has no directivity as such and, in fact, illuminates the object evenly from all sides. In this case, the Bump algorithm simply has nowhere to draw shadow zones, because there is no directional light against which it is necessary to "cast" shadows. In other words, to compare someone's mate with their own, you must at least render it in similar lighting conditions.The last thing I want to mention is a scan. Strangely enough, even for wooden slats this is an actual topic, because the slice of the bar has a completely different texture than its main flat surface. Here, without correct mapping - not do😉
Thanks for the detailed answer. I will try everything you advised. Will show a pic of what I've got
With the clarity of the texture on the renderer, it's not so simple. The fact is that the renderer does not basically render the texture "pixel-to-pixel", by and large, it generally does not have such a thing as a pixel texture. Render - this is the tracing (emission) of rays to objects of the scene, falling into the camera and the formation of color pixels of the final rendering, depending on what "see" the rays at the point of impact. As a result, the clarity of the final image directly depends on the number of rays scanning the scene. For example, two beams can accidentally get into the same pixel of texture and do not get into ten others, as a result, the texture will be displayed on the render with loss of information, which you will see, including as a blurring of the texture. As a result, in addition to solving the texture itself, that is, the number of information on the texture itself, it is important that it be scanned in sufficient detail so that all, or most, of this information is learned. And, in fact, for the accuracy of this scan, the anti-aliasing algorithm also answers. In other words, if you want a clear surface render with hi-res texture, you need to tweak the anti-aliasing settings. I advise you to render with Adaptive Min 8, Max 16, Color threshold 0,01 and make sure that there is a tick near Divide shading subdivs. And then you will not wait for the end of the render.As for "dpi", the renderer absolutely does not care about this rudiment derived from printer printing, meaning no more than how many pixels to print on one square inch of paper, when printing a particular picture and nothing more. For 3d graphics, only the number of pixels is important. For 3ds Max, the same texture 4000 * 4000px 72dpi and the same texture 4000 * 4000px 300dpi is the same texture 4000 * 4000px.By lighting, specifically Sun or Sky is not. Any, adequate composition of the environment, lighting - will do. The main thing is that it has directions, and not exclusively to others.