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The Layers panel in New V-Ray Frame Buffer provides a new powerful workflow for making adjustments to your rendered image. You can bring out render elements and compose them together with individual color corrections in the panel's Composite mode, or deconstruct light contribution in the scene and fine-tune each light individually in the completed render using the VRayLightMix mode. You can also color correct the final render just like you were able to do in the previous version of VFB. For more information on how to work with the Layers, see VFB Composite courseware page.

 

 UI Path: ||V-Ray Frame Buffer|| > Layers

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Layers are applied from the bottom to the top, where the bottom is the background (BG) and the top is the foreground (FG) of the composite.

Opacity – Controls the weight of the layer. A value of 0 means no effect and a value of 1.0 means full effect.

Blend Mode – Specifies how the layer blends with the result from all layers below it:

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When adding a new layer, it is placed on top of the stack and it is considered the foreground (FG).

The result of all layers below it is considered the background (BG). Layers are applied from the bottom to the top.

Where darker and lighter pixels are mentioned below, it is in relation to mid-grey.

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The V-Ray Masks are used to refine only selected parts of the rendered image in the New VFB. They can be applied to Color correction layers, the Lens Effects layer, the Denoiser layer and also to Folders in the VFB layers tree.

When one or more masks are applied to a Folder or Color correction the same folder or layer, a mask icon is placed in front of it in the layer tree to signify its presence. The parameters of each mask are available in their own separate tabs to the Properties of the masked layer or folder.

When a folder or a color correction layer has mask(s), the Show masks' preview option is available in the Parameters Tab of the respective folder/color correction layer. This option shows a preview of the masks elements when selected.

For more information on masks, see the Masks page.

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Display Correction

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The Display Correction layer specifies the color space, in which the image is displayed. You can choose between sRGB, Gamma 2.2, OCIO and ICC or select None to return to a linear display.

The ICC correction allows you to apply an ICC profile to the image, so that (for example) it matches the appearance of the image in Adobe PhotoShop. This is a display correction that is only applied when the image is viewed in the frame buffer. It is not applied when the image is saved to a file.

The OCIO correction allows you to apply color corrections from an .ocio color profile to image colors. When this correction is enabled and no specific .ocio profile is specified, it attempts to read the OCIO environment variable and apply the profile specified in it.

Save RGB primaries conversion to image – This option affects only 32bit format images like .exr and .vrimg formats. For it to take effect, you should use sRGB Display Correction. When enabled, it converts the color space (RGB primaries conversion) set in the Color management to sRGB linear and save it to the output.

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Normally you would specify the ICC file for your calibrated monitor here. Programs like PhotoShop display images using your (primary) monitor's ICC profile automatically. However (at least for the moment), Maya is not a color-managed application and you must manually load the monitor ICC profile into the V-Ray frame buffer in order to match the appearance of your images in PhotoShop.

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Input color space – Specifies the input color space for the image; normally this is a linear color space as V-Ray internally works in that space.

Display Device – Specifies the device on which the VFB with the image is displayed.

View Transform – Specifies the viewing transformation.

Save in image – Saves/bakes the OCIO effect along with the image. This does not affect multi-channel images (such as multi-channel .exr).

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ICC

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ICC file – Specifies the full path to the ICC file.

Profile cached – When loading an ICC file, this checkbox indicates whether the file is smaller or bigger than a given threshold of 64k. If the file is smaller than 64k, the checkbox is enabled to indicate that the ICC file is directly embedded in the scene. If the loaded file is bigger than 64k, the checkbox is inactive, which indicates that you have to set the correct path to load it.

Rendering Intent – Specifies an ICC color replacement scheme. You can choose from Perpetual, Relative colorimetric, Absolute colorimetric, and Saturation.

Back point compensation – Enables back point compensation.

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The Source layer determines the input of the layers stack. It specifies if you work on your rendered image, composite or light mix.

RGB - The rendered image is the source.

LightMix - This mode allows you to adjust the intensity and color of your lights during and after the render. Changes can be transferred back to the lights in the scene. To use the LightMix, add a VRayLightMix render element before rendering.

Composite - You can add Render element layers in this mode and start compositing your image from the render elements rendered with it. For example, you can do a simple Back to Beauty compositing of your image in this mode. See the VFB Composite courseware page for more information.

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LightMix Mode

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LightMix needs to be added to the render elements for this mode to be available. Alternatively, LightMix can be added inside the VFB. Click on the Add LightMix to the scene option. Start a new render to apply the changes.

When the Source is set to LightMix, you can enable/disable lights and adjust light intensity and color during and after the render. The modifications can be saved as light mix presets and reused. Start a new render and VRayLightMix automatically creates Environment and Self Illumination render elements. See the LightMix page and the VFB Light Mix courseware page for more information and examples.

 

 

Reset – Resets all changes made to default values.

Save – Saves the changes as light mix preset.

Load – Loads a light mix preset.

To scene – Applies the current VRayLightMix changes to the scene. This sends all changes to colors/intensities back to the scene lights.

To Composite – Sends the Light Selects from LightMix to Composite for additional post adjustments.

Recent – Shows a list of recent light mix presets.

Checkbox – Enables/Disables the selected light.

Multiplier – Specifies an intensity multiplier.

Color Slot – Specifies a color for the selected light.

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Lens Effects

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The Lens Effects layer simulates real-world camera lens effects such as bloom and glare. The plug-in uses a fast multi-threaded technique to compute the result and provide immediate update in V-Ray VFB. V-Ray Lens Effects are applied in the effectsResult channel together with other post effects executed over the RGB rendered image. See the Lens Effects page for more information on the individual parameters of this layer.

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Background

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This section allows you to load an image and use it as a background for your rendering.

Image – Loads a file that is going to be used as a background. Image sequences can be loaded as well using the <frameNum> tag.

Stretch – Controls the aspect ratio of the image by stretching the image to fit the VFB.

Fit – Keeps the aspect ratio of the image. Enlarges or shrinks the VFB to fit the image.

Fill – Keeps the aspect ratio of the image and cuts some parts of the picture to fill the VFB.

Horizontal offset – Controls the background image position by the X axis.

Vertical offset – Controls – Controls the background image position by the Y axis.

As foreground – When enabled, the image loaded in the field above is used as a foreground. This means that the image is on top of the rendering and you are able to see the rendering only if the image has an alpha channel.

Save in image – When enabled, saves the layer to the image.

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You can add layers that affect only the Background layer by one of the following ways:

Fancy Bullets
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  • from the context menu of Background layer
  • from the Layer menu with the Background layer selected
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Constant

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This color correction applies a solid color that can be used as a constant to achieve an effect on another layer. For example, it can be multiplied by another layer.

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Color transformation – This dropdown allows display corrections to be applied to the Background layer independently.

Auto – Recognizes what the desired transformation would be based on the image suffix (_srgb, _lin_srgb, _acescg...) and sets those settings automatically.

Manual – Allows manual setup of the color transformation options. The options can be left at Auto and be determined automatically by V-Ray. The options can be set to None and apply no transformations.

RGB color space – Choose which color space to use for the color transformations. sRGB is the color space for most monitors and computer displays. ACEScg allows for greater range of color transformations in post. It has a wider gamut of colors than the sRGB linear gamut.

Transfer function – Alters the pixel values to a new range. Gamma 2.2 is the standard for most monitors.

OCIO – Allows an Input color space to be selected when an OCIO profile is already loaded. OCIO profiles can be loaded either through the Display Correction layer or through the OCIO environment variable.

Input color space – Determines the input color space for the background image; normally this is a linear color space as V-Ray internally works in that space.

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You can add layers that affect only the Background layer by one of the following ways:

Fancy Bullets
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  • from the context menu of Background layer
  • from the Layer menu with the Background layer selected
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This color correction applies exposure and contrast to the image. An Exposure value of 0.0 leaves the original image brightness, +1.0 makes it twice as bright, and -1.0 makes it twice as dark. Highlight Burn selectively applies exposure corrections to highlights in the image. Positive Contrast values push the colors away from the medium gray value to increase image contrast, while negative values push the colors closer to medium grey.

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The White Balance sliders correct the colors in the image so that objects that are white appear as pure white (and not tinted blue, yellow, red, etc.) in the final image.

Temperature - Adjusts the white balance of the image by specifying the color temperature in Kelvin. Lower values make the image bluer, higher ones make it more amber.

Magenta - Green tint – Adjusts the white balance of the image to make it greener (negative values) or more purple (positive values).

Color tint – Picks or chooses a color to be the new "white point" for the image, adjusting all colors. Use it to pick a neutral color from the image (e.g. one that should be white or gray).

Render view color picker – Picks a color from the render window. Left-click to choose a new "white point" or a tint to neutralize. Right-click to pick a tint to boost.

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Hue/Saturation

This color correction applies a solid color that can be used as a constant to achieve an effect on another layer. For example, it can be multiplied by another layer.

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Exposure

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This color correction applies exposure and contrast to the image. An Exposure value of 0.0 leaves the original image brightness, +1.0 makes it twice as bright, and -1.0 makes it twice as dark. Highlight Burn selectively applies exposure corrections to highlights in the image. Positive Contrast values push the colors away from the medium gray value to increase image contrast, while negative values push the colors closer to medium grey.

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White Balance

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The White Balance sliders correct the colors in the image so that objects that are white appear as pure white (and not tinted blue, yellow, red, etc.) in the final image.

Temperature - Adjusts the white balance of the image by specifying the color temperature in Kelvin. Lower values make the image bluer, higher ones make it more amber.

Magenta - Green tint – Adjusts the white balance of the image to make it greener (negative values) or more purple (positive values).

Color tint – Picks or chooses a color to be the new "white point" for the image, adjusting all colors. Use it to pick a neutral color from the image (e.g. one that should be white or gray).

Render view color picker – Picks a color from the render window. Left-click to choose a new "white point" or a tint to neutralize. Right-click to pick a tint to boost

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This correction applies HSL transformation on the image colors. Moving the Hue slider changes the overall hue of the image colors (grey colors remain intact). Lower Saturation values move the image towards greyscale while higher values increase the colors' intensities. Higher Lightness values add white to the image, whereas lower values subtract white from the image.

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Hue/Saturation

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This correction adjusts applies HSL transformation on the image colors. Moving the Hue slider changes the overall color tone hue of the image , as well as the tone of the dark (shadow), medium, and bright (highlight) colors. The color corrections are additive in that the All correction affects all colors of the image, and the Shadows/Midtones/Highlights options adjust the individual components in the image on top of the All correctioncolors (grey colors remain intact). Lower Saturation values move the image towards greyscale while higher values increase the colors' intensities. Higher Lightness values add white to the image, whereas lower values subtract white from the image.

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Color Balance

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This correction allows you remap the image colors with a Bezier curve. The control also allows you to save and load .acv curve files from Adobe PhotoShop.adjusts the overall color tone of the image, as well as the tone of the dark (shadow), medium, and bright (highlight) colors. The color corrections are additive in that the All correction affects all colors of the image, and the Shadows/Midtones/Highlights options adjust the individual components in the image on top of the All correction.

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Curves

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This correction allows you remap the image colors with a Bezier curve. The control also allows you to save and load .acv curve files from Adobe PhotoShop.

Controlling the View

Use the mouse wheel to zoom in and out of the curve view. Drag with the middle mouse button to pan.

Controlling the Bezier Points

Click on a point to select it.

Controlling the View

Use the mouse wheel to zoom in and out of the curve view. Drag with the middle mouse button to pan.

Controlling the Bezier Points

Click on a point to select it. Draw a rectangle to select multiple points at once. Click and drag on a selected point or its tangents to move them. To add a new point, Ctrl+click on the curve. To delete points, select them and press Del, or alternatively Shift+click on a point. Once a point is selected, you can also use the input coordinates field to modify its position. To display the input coordinates field, either press Enter or right-click on the point and then select Edit point.

Right-click on a point to bring up a context menu with additional options for that point.

 

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Context Menu

Right-clicking in the curve view brings up a context menu with additional options:

Menu ItemDescription
Zoom allAdjust the curve view so that all points are visible.
Undo/RedoUndo and redo modifications to the curve.
LoadLoad the curve control from a file. Two formats are available: native .bcurve and PhotoShop .acv.
SaveSave the curve control to a file. Two formats are available: native .bcurve and PhotoShop .acv.
Reset MasterReset the curve control to its default state.
Select internal onlySelect only the points which are currently visible in the curve view.
Select allSelect all points.
Snap to gridToggle snapping to the curve grid. When enabled, moving points snaps them to the grid nodes.
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When working with .acv files, some approximations are performed because the curves in the .acv files are described by a different mathematical formulas.

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This correction allows you to remap the image colors based on an IRIDAS .cube LUT (Look-Up Table) file.

Convert to Log Space first – Converts the Base map to a logarithmic color space before applying the look-up table.

Convert to sRGB Space first – Converts the Base map to a sRGB color space before applying the look-up table.

Save in Image – Saves/bakes the LUT effect along with the image. This does not affect multi-channel images (such as multi-channel .exr).

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Filmic Tonemap

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This correction allows you to control different types of mapping curves, make gamma correction and select a color space. Note that color values are mapped per channel.

Tone mapping space – Specifies the color space where the operator is applied. Converts the image to the selected space and back, if needed. You can choose between Linear sRGB and ACEScg. For more information about ACEScg, visit the ACEScg Workflow Setup page.

Type – Specifies the type of curves used for the tone mapping. You can choose between Linear, Hejl-Dawson, AMPAS (ACEScg), Hable, and Power Curve.

Log space – Converts the image to log space before applying the tone mapping.

Gamma – Specifies the gamma correction. It is applied before the operator.

Use blue fix – Applies an additional transformation to ACEScg primitives that results in pure blues burning out through cyan instead of magenta. Available when Tone mapping space is set to ACEScg.

AMPAS (ACEScg)

AMPAS mode applies an approximate ACES standard curve.

Hejl-Dawson Type 

Shadows – Shadow compression. Higher values darken the shadows, while also brightening the mid tones.

Highlights – Highlight compression. Higher values reduce burnout.

Hable Type 

Shoulder strength – Determines how sharp the shoulder is. Higher values sharpen the shoulder, which results in an overall brighter image.

Linear strength – Determines the strength of the effect from changing Linear angle.

Linear angle – Determines the angle of the curve at the base. Higher values increase the angle.

Toe strength – Low to mid tone compression. Higher values darken the low and mid tones.

White point – The intensity, which gets mapped to 1. This parameter scales the whole curve evenly.

Power Curve Type 

Toe length – Determines the range of low to mid tones that are compressed.

Toe strength – Low to mid tone compression. Higher values darken the low and mid tones.

Contrast – Higher values increase the contrast between low and high tones.

Shoulder length – Determines the range of mid to high tones that are compressed.

Shoulder strength – Mid to high tone compression. Higher values darken the mid and high tones.

White point – The intensity, which gets mapped to 1. This parameter scales the whole curve evenly.

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Example: Filmic Tonemap Layer

 

For the second image in the example below default values of the Filmic Tonemap layer are used. The type is the default Hable.

 

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Example: Filmic Tonemap Types

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set to ACEScg.

AMPAS (ACEScg)

AMPAS mode applies an approximate ACES standard curve.

Hejl-Dawson Type 

Shadows – Shadow compression. Higher values darken the shadows, while also brightening the mid tones.

Highlights – Highlight compression. Higher values reduce burnout.

Hable Type 

Shoulder strength – Determines how sharp the shoulder is. Higher values sharpen the shoulder, which results in an overall brighter image.

Linear strength – Determines the strength of the effect from changing Linear angle.

Linear angle – Determines the angle of the curve at the base. Higher values increase the angle.

Toe strength – Low to mid tone compression. Higher values darken the low and mid tones.

White point – The intensity, which gets mapped to 1. This parameter scales the whole curve evenly.

Power Curve Type 

Toe length – Determines the range of low to mid tones that are compressed.

Toe strength – Low to mid tone compression. Higher values darken the low and mid tones.

Contrast – Higher values increase the contrast between low and high tones.

Shoulder length – Determines the range of mid to high tones that are compressed.

Shoulder strength – Mid to high tone compression. Higher values darken the mid and high tones.

White point – The intensity, which gets mapped to 1. This parameter scales the whole curve evenly.

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Example: Filmic Tonemap Layer

 

For the second image in the example below default values of the Filmic Tonemap layer are used. The type is the default Hable.

 

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ICC Profile

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The ICC profile layer provides all options of the Display Correction ICC mode. On top of that, as a layer it can be blended with the other layers.

ICC file – Specifies the full path to the ICC file.

Profile cached – When loading an ICC file, this checkbox indicates whether the file is smaller or bigger than a given threshold of 64k. If the file is smaller than 64k, the checkbox is enabled to indicate that the ICC file is directly embedded in the scene. If the loaded file is bigger than 64k, the checkbox is inactive, which indicates that you have to set the correct path to load it.

Rendering Intent – Specifies an ICC color replacement scheme. You can choose from Perpetual, Relative colorimetric, Absolute colorimetric, and Saturation.

Back point compensation – Enables back point compensation.

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This corrections allows you to apply sharpen and blur to your rendered image, even at the same time, if needed.

Calculate Sharpen/Blur – Enables computation on the sharpen/blur post effect and automatically sets it visible when computed.

Sharpen amount – Applies sharpening to the image. Increasing the amount leads to a sharper image, while setting the amount to 0 switches off this filter.

Sharpen radius – Determines the radius in pixels used for sharpening. Higher values lead to more extensive sharpening.

Blur radius - Determines the radius in pixels used for blurring. Higher values lead to greater blurring effect.

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Denoiser

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This layer provides access to the VRayDenoiser render element (if available) from inside the VFB. To enable the layer, add a VRayDenoiser before rendering.
Alternatively, you can add a VRayDenoiser inside the VFB. Click on the Add Denoiser to the scene option. This option is active only when VRayDenoiser is unavailable. Start a new render to apply the changes.

 

 

Calculate denoiser – Enables/disables the denoiser calculation. This can be useful sometimes while adjusting your render. Disabling the denoiser layer visibility instead still calculates the denoiser in the background. Read more about this working with the denoiser on the V-Ray Denoiser page.

Update – Updates the Denoiser layer manually and also initiates a Lens Effects update.

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