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Adding an Extra Tex Layer in Photoshop - 3D Rendering with Vray 3.2 for 3ds Max | Black Spectacles

3,045 views · Published 21 January 2016 · 2:23 · Indexed 20 September 2026

Channel: Black Spectacles · 2016 · Education

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In this course, Jorge Barrero from Gensler will show you how to create beautiful renderings with Vray for 3ds Max.

Next we can close the grass. I don't think we're going to be needing the diffuse or the wire colors. So we'll move on to the lighting, reflection, refraction, shadows and extra tex.

So we'll start with the extra tex. This one, you know, I think there's some nice things happening here in definition. The wall, probably is not ideal, but we can mask that out. The trees, I think, have some nice sort of shadows. So I'm going to duplicate this layer. Right click on the layer. I'm going to send it to the psd file, and then I'm going to call this AO for ambient occlusion. There we go. And then I can close this. I don't need it. And then I go to my psd. And this one I'm going to set all the way at the top. I do want to mask. Let's see what it looks like, right. So the AO path, the ambient occlusion path, usually I multiply, and you can see sort of the difference. And I'm looking for things like here where the glass meets the wood wall. I think it's missing probably ammonium, but even that's giving us a nice edge around the wood, hitting the concrete. Trees are getting a little bit better, shadows, but obviously the wall areas are not working very well for me.

So you can see what I have to work with. It's simple. On this one I think we just do a quick mask, and then I wouldn't go too crazy or specific on what we need to mask. Again, this is just sort of an enhancement pass, so it doesn't have to be perfect. You won't notice these sort of adjustments too much. I don't think we want any AO on this wall, so we'll bring that back to life. Same for that zone over there. I don't think we want to mess with our building on this side too much. And then obviously right now we're multiplied 100% opacity. We don't have to be that far. I think we just need a little bit of ambient occlusion to kind of bring up a little bit of detail, and we can pump it up a little bit more, something like that, right. Just a little bit of detail in the trees, a little bit of lines there. So that's helping.

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