@jonedvard said:
panixia - i'm trying to understand 0,01 values. is that referring to (0 for both u/v repeat) and (0.1 for both u/v offset)?
i was ferring to u/v repeat, but actually i was wrong, because text noise acts in a different way than the most other maps.. for example rock, stucco etc.. with those changing the uv repeat would work (once you untick enable "3d mapping")
also using round corner + split donuts
you may find useful quadface tools, split tools and vertex tools..
pilou, i would rather use this approach because i think it lead to better topology.
i find that intersections of similar meshes in sketchup tends to cause some problem (small faces, small segments, holes, overlapping edges, not flowing loops, odd texture mapping etc..)
try changhing both u repeat and v repeat and set both of them to 0,1 (if it's still not big enough try 0,01 and so on..)
i don't know if is that the matter in this case, but i can notice you have the red material on backfaces try to unpaint backface or to transfer frontface material to backface (i find thomthom uv toolkit very useful for this) it is always good to keep the displacement material as isolated as possible to avoid some odd behaviours..
also try to play with subdivisions or add some loops to the mesh and use tru-paint or quadface tools to map the grass texture with quad mapping to be sure the uv mapping is regular and consistent..
also check if the group's default material is the same grass material apllied to the faces, because if "keep continuity" is checked and the uv-tiling is not 100% perfect, vray creates some odd triangulated surfaces to fill the holes, painting them with the default material applied to the group..
also with this kind of bump/displacement you can try to play with some of the amazing procedural textures in vray such as tex-rock or tex-stucco..
@flatchoum said:
create a first scene which focuses on a white wall without reflection in a part of my file...Then Vray renders it twice and can start calculation of the other scenes..
i used the same once.. the only difference creating a scene inside a black cube wich is also faster than a white wall.. 
however i generally tend to (rarely to be honest) use batch for test of multiple scenes and to avoid at all batch render for the advanced/final renders, because it does not support layer changes, camera changes, visopt changes, emissive material changes, additional channels etc.. 
ok your monochrome shows up that the problem is not related to some faces being reversed.. (unless you use some style with white backfaces, so they are all reverted 
) so i guess ticking double sided will not change things.. looks like the power of your emitters is way too weak compared to the eviroment. i would try to rise a lot the power of emissive material.
usually i use this metod to adjust something like this: double the power and test. for example try increasing, say 4 if nothing changes try 8, else if it looks too bright test something in the middle like 2 or 3, test again and so on..
thank you so much valero! i will give a long hard look at this video as soon as possible..
@pjbazel said:
I found a number of tutorials on multipass comping, mostly which relate to 3ds max.
can you link some of them? i'm curious to know more about this.. i mean i must admit i never understood what reflectionn or gi channels are meant to do.. i only know how to use alpha, mat-id and z-depht, but always wondered about the meaning of all those additional channels..
also were i can find a very basic and proper tutorial about "linear workflow"? is that related to color mapping, gamma, etc?? the tutorial i found about this were always aimed to an intermediate level, assuming you know the basics of this workflow and.. i do not 
is the material applied to front face?
can you share a monochrome sketchup view of your model and also your emissive material settings to check them?
@mistro11 said:
At 50 pixels, I'm surprised at how much detail we can still achieve. I'm getting a real kick out of making bump maps to make geometry.
I 100% agree with you.. this plug-in is really nice.. and the combination between those heavy meshes and vertex tools is amazing.. i used them combined for this quite heavy old sofa.. used heightmap for tuft and golden decorations, then tweaked and welded them using vertex tools.. pretty much faster and effective results than any bump/displacement/subdivision modeling approach i can think of..
i took some sceenshoot and i'm planning to do a tutorial in the next days about how to model this sofa using such approach..
your water looks pretty heavy-poly too.. 
no. i downloaded one from whareouse at first
but was looking very poor in the render test so i replaced the components/materials one by one to achieve a decent result..
actually i think this is the easier tree ever modeling wise.. even if you want to draw it from scratch..
i know how to use selection and modifier, the only DOH part is about the change of behaviour from left/right direction
you are right! never noticed that.. maybe because i usually do this with open polylines..
just discovered a DOH feature of the selection tool..
if you drag a selection rectangle from left to right it selects only the items completely wrapped in the rectangle, but if you drag the rectangle from right toward left,then also the items wich are only touched (but not fully wrapped) by the rectangle are selected.. never noticed it before..
use extrude edges by offset from tig extrusion tools.. choose the option wich keeps the inner segments et voila.. i use it a lot to do exactly what you say here..
mmm.. the big glass surface should be curved on xy too.. you did it straight.. 
