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Corona_The_Complete_Guide_SUMMARY_WEB
Corona_The_Complete_Guide_SUMMARY_WEB
www.francescolegrenzi.com
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SUMMARY
1. INTRODUCTION ..................................................................................................... 1
1.1. GENERAL ............................................................................................................................................................................................... 1
1.1.1. Author information................................................................................................................................................................................................ 1
1.1.2. Acknowledgments ................................................................................................................................................................................................ 1
1.1.3. Preface ....................................................................................................................................................................................................................... 2
1.1.4. About the book ........................................................................................................................................................................................................3
1.1.5. Contents .................................................................................................................................................................................................................... 4
1.1.6. Get the most out of the book ........................................................................................................................................................................... 4
1.1.7. Corona Renderer and the hardware ............................................................................................................................................................5
1.1.8. User license .............................................................................................................................................................................................................6
1.1.9. The book’s website............................................................................................................................................................................................... 7
1.1.10. THE DVDs .................................................................................................................................................................................................................. 7
SUMMARY - I
3.1.10. Corona Image Editor...................................................................................................................................................................................... 64
3.1.11. Progressive rendering limits ......................................................................................................................................................................71
3.1.12. Save/Resume rendering .............................................................................................................................................................................. 73
3.1.13. Render overrides ............................................................................................................................................................................................. 73
3.1.14. Denoising ............................................................................................................................................................................................................. 76
3.1.15. Render selected .............................................................................................................................................................................................. 82
SUMMARY - III
7.4. CInfo ...............................................................................................................................................................................................262
7.4.1. CInfo_NetworkRenderDebugging ......................................................................................................................................................... 262
7.4.2. CInfo_RenderStamp ..................................................................................................................................................................................... 263
7.4.3. CInfo_SamplingFocus ................................................................................................................................................................................. 263
SUMMARY - V
9.9. CoronaSkinMtl ........................................................................................................................................................................ 526
9.9.1. Introduction ..................................................................................................................................................................................................... 526
9.9.2. Parameters....................................................................................................................................................................................................... 528
SUMMARY - VII
VIII - Corona: THE COMPLETE GUIDE
CHAPTER 1
1. INTRODUCTION
1.1. GENERAL
1.1.2. Acknowledgments
In 2008 I wrote VRay - THE COMPLETE GUIDE. It was my first book and many people offered their help. I would like
to thank the following people for giving me courage and inspiration to complete my second volume.
The first thank you must go to Ondra Karlik, without whom no one would have had the pleasure of this program,
and I would not have had the honor of writing the world’s first guide for Corona Renderer.
To my beloved parents, Tomaso and Megi. Without their financial and moral support, I would never have
completed this book. Their examples of life, their union, their consistency, intelligence, understanding, and
tenacity will always be my point of reference.
To www.textures.com for its free textures and the ability to distribute them.
To www.3dsky.org for the free models.
To www.hdri-skies.com for the free HDRI maps and permission to distribute them.
To Toni Bratincevic for his precious tutorial on Anti-Aliasing.
To www.pixabay.com for their image archive.
To www.omlc.org for the radiometric exercises.
To www.coronamaterials.com for the free shaderball model.
To DeadClown (Martin Geupel - www.racoon-artworks.de) for the Open matlib v1.0 script he wrote for the book.
To www.hdrmaps.com and www.hdrshop.com for the free HDRI maps.
To toolset.mrwebmaster.it for information regarding the conversion from Hex to RGB.
INTRODUCTION - 1
CHAPTER 2
2. CORONA RENDERER
2.1. CORONA RENDERER’S HISTORY
By Ondra Karlík.
I have always been fascinated by CG. I started using 3ds Max at the age of 15, trying to create photorealistic images with
all my effort and passion ( Fig. 2.1). Initially, CG was a hobby, but I always felt it may become my future. I stopped being
a designer to create a program for the college of computer science, with the purpose of learning to code. The course was
demanding, so I temporarily abandoned the world of 3D.
Fig. 2.1
Renders created by Ondra Karlik.
Fig. 2.2
Images made with an embryonic phase of Corona Renderer. From left to right: the first render saved by Corona Renderer, the first render with multiple objects, and the
first shader with “electronic microscope” effect.
CORONA RENDERER - 9
CHAPTER 3
3. CORONA - Scene TAB
3.1. GENERAL SETTINGS
In this section we discuss the control panel of Corona called Scene, but first we should clarify how Corona “thinks”.
The strength of this extraordinary software lies in its simplicity. The engine under its hood is called Progressive Path
Tracing (PT). In 2013, V-Ray or Mental Ray users will remember wasting time looking for the best settings to achieve an
optimal render without artifacts. Often, due to lack of time or poor knowledge of the software, it was common to use
parameters found online or in tutorials (often incorrect). Other times we proceeded “by groping”, in the hope of having
guessed the correct parameters, or we used very high values sure of an excellent result at the expense of rendering times.
Thus, in the V-Ray Virtual Frame Buffer, a preview began to appear due to the biased system of the software; then, small
rectangles called buckets appeared ( Fig. 3.1). Piece by piece, the final image took shape and the software gave us a rough
time estimate, but the actual total rendering time could vary, depending on the complexity of the image.
Fig. 3.1
Example of how various
rendering engines calculated
images. Unless using the new
progressive rendering
systems, the classic rendering
engines (Scanline,
Mental Ray, V-Ray,
Final Render, etc.) did not
allow us to view the overall
image, but they proceeded
with horizontal lines or square
buckets. Moreover, it was
often necessary to modify
many parameters (of
rendering, materials, and
lights) to quickly obtain a
quality render.
Since the first Alpha versions (back in 2012), Corona adopted a completely different approach, which was then copied by
many other rendering engines. The user no longer had to set up dozens of parameters or waste time with hundreds of
rendering tests. The main parameters were optimized to achieve the highest quality in the shortest time. From the first few
seconds we had a precise idea of the final result, and it was the user who decided how long Corona had to calculate the
render ( Fig. 3.2). Naturally, the longer the time, the greater the quality (cleanliness) of the image. With the accurate
estimate provided by Corona, it was very easy to determine how long an image had to “cook” to be perfect. We no longer
had to feel frustrated looking for the best values. We no longer had artifacts, splotches, or “flying” objects without
shadows, as Corona automatically solved these problems for us. Reading this book, we will realize how amazing it is to
work with Corona.
Under the influence of Corona, many other software houses introduced a similar calculation system in their rendering
engines. Corona was born as a progressive rendering engine with simplicity as its winning card, and it is one of the most
efficient CPU rendering systems on the market.
Fig. 4.1
The three rollouts of Camera
TAB: Postprocessing,
Bloom and Glare, and
Camera.
4.1. POSTPROCESSING
This rollout is divided into four sections: Tone mapping, Basic photographic settings, LUT, and Sharpening/Blurring. By
modifying the values in the Corona VFB, those of the Postprocessing rollout are automatically updated, giving us the same
values in two different positions of the interface ( Fig. 4.2). The Basic photographic settings parameters are more
complex and are not reflected in the VFB.
Fig. 4.2
The Postprocessing rollout
with four groups:
Tone mapping, Basic
photographic settings, LUT,
and Sharpening/Blurring.
Fig. 5.1
The eight Performance TAB rollouts.
The scene in Fig. 5.2 consists of a room illuminated by the Corona Sun+Corona Sky system. The first two renders are
very different from each other due to the use of Global Illumination. When the GI processing is disabled, Corona only
calculates direct light (i.e. only objects directly exposed to light are illuminated). When GI is enabled, it calculates both
direct and indirect light, and the room will be illuminated in a photorealistic way.
Fig. 6.1
The three System TAB
rollouts: Frame Buffer,
About Corona
Renderer/Licensing, and
Distributed Rendering.
Fig. 6.2
The
Corona System Settings
window is divided into eight
sections.
Fig. 7.1
Example of render
reconstructed by combining
several layers.
Some REs extract additional
information from the 3D
scene, such as the
Depth map (Sect. 7.3.5),
Ambient Occlusion
(Sect. 7.6.10), or the
CGeometry_Velocity RE
used for the post-production
calculation of Motion blur
(Sect. 7.3.3).
The purpose of separating a render into individual elements is to modify its properties once the render is completed. For
example, if the reflections are not very visible, we will not have to recalculate the entire render, but it will be enough to
modify the reflections layer, thus saving a lot of time.
The Render Elements window is located on the Render Elements TAB. When Corona is set as the rendering engine, the
3ds Max REs disappear and the Corona REs will be displayed. 32 REs are available ( Fig. 7.2), each with unique features
capable of isolating a specific property of the image.
Fig. 7.2
After clicking the Add... button
(1), a new window will appear
to choose the REs we need
(2). In this example, the
seven REs of the
CESSENTIAL category were
enabled.
Corona Light: Corona proprietary light. Corona Light is a better alternative than 3ds Max Standard lights. Also,
Corona Light includes some tools not available in 3ds Max lights (Sect. 8.2).
Corona Shadow: designed exclusively for use with the 3ds Max Standard lights (Sect. 8.3).
Corona Sun: together with the Corona Sky map, this light source simulates the sun and controls the look of the
sky (Sect. 8.4).
CoronaCameraMod: modifier to add physical parameters (ISO, F-stop, etc.) to the Standard camera (Sect. 8.5).
Corona Camera: camera specifically designed and optimized for Corona (Sect. 8.6).
Corona Proxy: replaces a heavy geometry with a lighter version. For example, we will be able to process a forest
made up of millions of polygons without overloading the RAM (Sect. 8.8).
Corona Volume Grid: tool to import .vdb files (OpenVDB) (Sect. 8.10).
Fig. 9.1
The nine Corona proprietary
materials. In the preview we
see CoronaHairMtl, the
shader dedicated to hair
simulation.
Corona also allows us to use 3ds Max materials. Some shaders are 100% compatible (e.g. Blend, Double Sided,
Multi/Sub-Object, Shell Material, Standard, Top/Bottom, XRef Material), while others are not supported. When a
material is not compatible, the following image appears in the Material Editor ( Fig. 9.2).
Fig. 9.2
When Corona does not
support the material, the
object will be rendered in
bright red with the text
“Unsupported mtl”.
In this example, 3ds Max
Arch & Design material was
selected.
Note: the Corona Error
Message(s) window warns us
of problems with the
Arch & Design material.
Except for the Blend and Multi/Sub-Object shaders, different materials from those offered by Corona will rarely be
needed.
Fig. 10.1
CoronaBitmap loaded in the Diffuse and Opacity channels. Now the logo has four rounded corners thanks to the opacity map.
Corona provides twenty new maps ( Fig. 10.2), which will allow us to assign colors, mix maps, simulate the sky, and
much more.
Fig. 10.2
The twenty maps of Corona.
The CoronaData map will not
be analyzed, as it is only
useful for debugging and in
other rare situations.
CoronaUserProperty will
also be omitted as well, as it
is useful only for PRO users
who need to create scripts.
For a more in-depth explanation of the 3ds Max maps and how to use them in the Material Editor, it’s advised to look at
the countless tutorials on the web.
Instruction 2: ask the user if they want to view this material in wireframe.
Instruction 3: then enable the wireframe option of the selected material if the user answers yes.
Imagine this list written in a .txt file. Thanks to the 3ds Max scripting engine, it will be possible to select an object in the
scene and “ask” the software: “Open the list of instructions and run the code”. This example is very simple, but we can
understand how easy it is to handle 3ds Max. In 3ds Max there is a program called MAXScript Editor (similar to Windows
Notepad) for creating and reading scripts ( Fig. 11.1).
Fig. 11.1
To create a script, click
MAXScript → MAXScript
Editor... .
A new window will open for
creating our first script.
The image shows the
coronaConverter_v1.45.ms
script. Once executed, it will
allow us to convert a 3ds Max
file created with V-Ray into a
Corona native file. This script
is made of 4,620 lines.
The MAXScript Listener tool is another way to execute a script (i.e. an interface to run commands “on-the-fly” without
saving the script in a file). For example, let’s try to open the Listener window (MAXScript → MAXScript Listener...) and
type the following command:
Fig. 11.2
A very simple script.