Accurate. Physically based. Intuitive.
Introducing Corona Renderer materials.
You won’t find yourself having to tweak unnecessary sampling values and other confusing parameters, and can instead focus on the physical parameters that determine the look of a material, and you also won’t have to choose between 10 or 20 different material types – you can pretty much do it all using the single Corona Physical Material.
The Physical Material conforms to industry standards for Physically Based Rendering (PBR) materials. Since some of those “standards” are not actually universal, the material offers you:
Clearcoat lets you define a layer of varnish or laxquer for a material – think varnish over wood, or the final coat in car paint. It has its own independent reflectivity, its own independent Bump map separate from the Base layer, and Absorption parameters that control how it colors the Base layer beneath it.
Sheen lets you adjust the way a material reflects light, most commonly for fabrics and other materials – think satin or velvet, and how those reflect light differently from non-fabrics at the grazing angles.
35 Presets for quick starting points, or to “reverse engineer” good settings for the various parameters for the most common materials you will want to create.
Metalness Workflow which lets you specify whether your material is a metal or a non-metal. This can also be mapped to blend between the two different ways materials behave in the real world.
Edge Color for metals, which can be quickly and easily defined with a single color which will be ideal in 99% of cases – but when the ultimate in realism is required, there is the option to use a Complex IOR instead.
Anisotropy correctly affects both reflection and refraction simultaneously.
Oren-Nayar shading model which the more technically-minded among you will know gives more realistic fall-off for the Baser layer at grazing angles.
The Material Library is available in both 3ds Max and Cinema 4D (since Corona Renderer 7), and it provides more than 520 ready to use materials, each with a high quality preview. The library includes easy to use functionality such as:
Even if you have never tried rendering realistic skin before, you’ll find it easy to use and will get great results with the default settings.
The example below compares the “On Surface” mode with the “Inside Volume” mode:
In both 3ds Max and Cinema 4D, you can also load and render the industry–standard OpenVDB format using the Corona Volume Grid object, allowing you to work with the results of simulations exported from Blender, Houdini, Phoenix FD, and more. The material settings in the Corona Volume Grid lets you achieve a range of different looks and effects, even from the same OpenVDB data:
Corona Renderer also supports native 3ds Max hair and fur, and Ornatrix and Hair Farm, so that the Hair shader will work for you, whatever plugin you use.
Second, it lets you randomize UVW positioning, rotation, and scaling in just one object by dividing the UVW space into a series of tiles. This lets you avoid the unwanted repetition and patterning which can be seen even with seamless textures when they are scaled to fit large surfaces such as floors, walls, ground surfaces, etc. It even works for procedural maps too, as seen in the image above.
Corona Distance Map
This flexible map can be used with Corona Scatter to easily achieve effects like keeping paths, roads, etc clear of plants and trees, and can also be used for creative effects such as adjusting materials based on distance to place ripples around an object in water, to cause objects to start glowing as they move close to each other, and more – it really is only limited by your creativity!
In the example below, the ground (with water included) and log were brought over from Quixel Megascans. The “Corona Distance map disabled” image looks a little unnatural, as the water appears completely still.
By using the Corona Distance Map to add extra displacement around the log, blended with the original displacement from Megascans, we can give the effect of ripples specifically around the log. Best of all, since this is procedural, if you move, scale or rotate the log object in the scene, the displacement effect will update automatically.