Corona Renderer 7: WHAT’S NEW (in English)

Corona Renderer 7 for 3ds Max Released

( Official article of the Corona Renderer blog)

Author: Corona Renderer team

We’re pleased to announce the release of Corona Renderer 7 for 3ds Max (Fig. 01).

Corona Renderer 7: WHAT'S NEW - Banner
Fig. 01

With Clearcoat and Sheen in the new Physical Material, easy and fast aerial perspective in the Corona Sky, faster rendering, and many more updates, this release will give you better results, all while making your 3D work easier and speedier!

Corona: THE COMPLETE GUIDE

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New features video

For a quick overview of the biggest features in Corona Renderer 7, here’s the New Features video:

Download

Download while you read so that your installation is ready to go once you finish the blog post!

https://corona-renderer.com/download/

Demo Refresh: If you have tried a previous version of Corona Renderer and your 45-day trial has expired, then you’ll be pleased to hear that we have automatically refreshed the demo period to give everyone an extra 14 days! Simply download and install Corona Renderer 7 from the link above, and activate the demo license right within 3ds Max. Enjoy!

Quick facts

  • New Physical Material – Greater realism without any extra work from you, and greater compatibility with other software and workflows with mapped Metalness, a choice of Roughness or Glossiness mode, and more.
  • Corona PRG Clear Sky Model is the new name for the “Improved” model, and now includes Volume Effect (aerial perspective), Turbidity, Altitude, and Horizon blur controls.
  • Faster! Rendering is faster thanks to calculating passes in blocks (invisibly, in most cases), optimized opacity/absorption with multiple hits, faster denoising, and a general speed up that even affects empty scenes.
  • Faster!! There’s also faster opening of scenes thanks to loading textures and proxies in the background, which means you can start working with your scene even before all assets are fully loaded.
  • …and much more, see below for all the new features, improvements, and updates.

Company news

Live Webinar

Sometime in the 2nd half of August, we’ll be hosting a live webinar where we will discuss the new features in Corona Renderer 7, both for 3ds Max and Cinema 4D. A registration page will be going live in the next week or so, so watch out for that and sign up as we look forward to chatting with you! This is something we hope to do for every release going forward.

Updates to the ticketing and purchasing system

Behind the scenes, over the next few months we’ll be making some updates to our ticketing and purchasing systems. These changes already started last week, and they should all be as close to invisible for you as we can make them, so there is no specific list of changes – we just wanted to give you a heads up in case you spot any subtle differences. Should you have any issues, please let us know.

Welcome new team members!

Join us in welcoming:

  • Tran Thanh Tung – IT Administrator
  • Tomáš Šváb – Senior Software Developer
  • Erik Veselý – Senior Software Developer
  • Ondřej Valsa – Sales Support Specialist
  • Tomáš Nováček – Software Developer
  • Milan Dunghubel – Software Developer
  • Kristýna Heřmanová – Junior Quality Assurance Specialist
  • Aram Avetisyan – 3ds Max Support Representative
  • Nejc Kilar – 3D Artist
  • Arpit Pandey – 3ds Max Support Representative
  • Filip Jurčák – Researcher Intern

Corona Renderer 7 for Cinema 4D

Corona Renderer 7 for Cinema 4D is well under way – expect it soon (Fig. 02).

Corona Renderer 7: WHAT'S NEW - C4D
Fig. 02 - Corona Renderer 7 for Cinema 4D is well under way - expect it soon!

Major features

New Physical Material

These three words (New Physical Material) contain a whole world of improvements for you – amazing varnishes, incredible fabrics, eye popping car paints, stunning glass, and much more (Fig. 03)!

Corona Renderer 7: WHAT'S NEW - CoronaPhysicalMtl
Fig. 03 - A scene created using only the new "Physical Material".

The last major update to materials was in 2016, so it was time for an overhaul here. We’ve focused on:

  • Adding Clearcoat and Sheen.
  • Making it easier to get physically realistic results, e.g. the Diffuse model has swapped to Oren-Nayar.
  • Giving you 35 presets in the Physical Material itself to get you started.
  • Making the materials more in line with industry standards / other material formats (e.g. using Roughness by default rather than Glossiness, plus optional IOR or Specular workflow, and mapped Metalness).
  • Optimizing the UI and layout.

Let’s go through each of those in detail.

Clearcoat

Many surfaces in the real world have some sort of coat applied over them, classic examples being varnish applied over wood, or car paint. With the Legacy Material, you would have to resort to layers to achieve this effect, which was hard to control and unsatisfying in several ways.

The Clearcoat has its own absorption layer, which will affect the color of all aspects of the base layer such as Diffuse and Reflection. Again the classic example is a coat of varnish over wood as seen in the violin scene – you can see in the image above how the base layer wood looks pale, and then looks much darker with the Clearcoat due to the absorption coloring the Base layer below it (Fig. 04).

Corona Renderer 7: WHAT'S NEW - Violin
Fig. 04

The new Clearcoat in the Physical Material has its own Bump map, which means you can have a rough wood surface with a smooth varnish over the top of it, or add a slight ripple to the Clearcoat via its own Bump independent of the rougher Bump of the wood beneath (Fig. 05)!

Corona Renderer 7: WHAT'S NEW - Clearcoat
Fig. 05

If you want to experiment with creating your own materials using the new Physical Material, an untextured version of the violin scene shown above (and used in our New Features video) is available for free download (license details determining usage are included in the download).

Sheen

Many, if not all, fabrics exhibit a sheen effect, which arises due to the fibers of the fabric. Rather than resort to scattering actual fibers across the surface of the fabric, you can now take advantage of the Sheen parameters to add an easily controlled, fast-to-render effect that will bring your materials to life. (Fig. 06).

Corona Renderer 7: TUTTE LE NOVITA' - Sheen ACorona Renderer 7: TUTTE LE NOVITA' - Sheen B

Fig. 06

Greater Realism

All the changes to the Physical Material help make it easier to make sure your materials are physically realistic. The Diffuse calculations have been switched from Lambertian to Oren-Nayar, so even simple materials will look better and be more physically correct, and even the changes to the UI will give you the security of knowing that your materials are realistic.

35 Presets

Creating a brand new material was a great opportunity for us to add a list of 35 Presets, to give you quick starting points for a range of common materials. Whether you are a new user or a seasoned expert, these presets will speed up your workflow by instantly setting up the parameters the way you need them – and will also provide an easy way to learn the UI, parameters, and ways of creating materials with the new Physical Material (Fig. 07).

Note: These don’t contain any maps of course – use the Material Library for complete set ups that include specific maps.

Corona Renderer 7: WHAT'S NEW - CoronaPhysicalMtl Preset
Fig. 07

Improved Glass

We are using a new physical model for all kinds of glass created using the new Physical Material. This gives several improvements:

  • Rough glass (i.e. with a non-zero Roughness, or Glossiness less than 1) now gives more realistic reflections and refractions. This does mean that even with the same values, the new glass may look different (more correct).
  • Thin glass can now blur refraction as well as reflection when roughness is used (think frosted glass). It also correctly simulates bouncing within the thin glass. This applies when Roughness is greater than zero, or when Glossiness is less than 1 (since they are the inverse of each other).

The example below shows Glossiness values, to allow comparison to the Legacy Material which can’t use Roughness (Fig. 08):

Corona Renderer 7: TUTTE LE NOVITA' - CoronaPhysicalMtl Thin ACorona Renderer 7: TUTTE LE NOVITA' - CoronaPhysicalMtl Thin B

Fig. 08

We are using a new physical model for all kinds of glass created using the new Physical Material. This gives several improvements:

  • Rough glass (i.e. with a non-zero Roughness, or Glossiness less than 1) now gives more realistic reflections and refractions. This does mean that even with the same values, the new glass may look different (more correct).
  • Thin glass can now blur refraction as well as reflection when roughness is used (think frosted glass). It also correctly simulates bouncing within the thin glass. This applies when Roughness is greater than zero, or when Glossiness is less than 1 (since they are the inverse of each other).

The example below shows Glossiness values, to allow comparison to the Legacy Material which can’t use Roughness (Fig. 08):

Corona Renderer 7: TUTTE LE NOVITA' - CoronaPhysicalMtl Glass ACorona Renderer 7: TUTTE LE NOVITA' - CoronaPhysicalMtl Glass B

Fig. 09

  • Changing IOR from 1 to 1.001 no longer results in drastic change of look (previously it did, especially for high Roughness values).
  • Shadows from glass without caustics (“hybrid glass”) now look more realistic, closer to shadows you would expect if caustics were enabled (the shadows are darker, and more clearly defined).
Corona Renderer 7: TUTTE LE NOVITA' - CoronaPhysicalMtl Glass Hibrid Glass ACorona Renderer 7: TUTTE LE NOVITA' - CoronaPhysicalMtl Glass Hibrid Glass B

Fig. 10

With the new Physical Material, you can now have anisotropic refraction, to go along with anisotropic reflection – something that was previously impossible (Fig. 11).

Corona Renderer 7: WHAT'S NEW - CoronaPhysicalMtl Anisotropy
Fig. 11 - "Anisotropy" now correctly affects refraction as well as reflection.

Anisotropy in refraction also correctly affects the result of caustics (Fig. 12).

Corona Renderer 7: WHAT'S NEW - CoronaPhysicalMtl Anisotropy Caustics
Fig. 12

Edge Color for Metals

You can easily control the look of a metal by adjusting the Edge Color, which lets you “eyeball” the end result. This is ideal in 99% of cases, you can see the (quite subtle) effect in the comparer below (Fig. 13):

Corona Renderer 7: TUTTE LE NOVITA' - CoronaPhysicalMtl Edge Color ACorona Renderer 7: TUTTE LE NOVITA' - CoronaPhysicalMtl Edge Color B

Fig. 13

While not needed in the majority of cases, there is also the option to use Complex IORs for metals – this is much more complex to use, since it certainly can’t be “eyeballed” or “guesstimated” and needs you to look up the values to use for a specific metal online, but the option is there if you absolutely need it (Fig. 14). We have a helpdesk page for Complex IOR where you can learn more about it, and get some example values.

Corona Renderer 7: WHAT'S NEW - CoronaPhysicalMtl Complex IOR
Fig. 14 - The "Complex IOR" UI in the new "Physical Material".

Usually, using the default Edge Color parameter is more than enough to get predictable, accurate results though.

Industry Standards

  • A material is now defined as either Metal, or Non-metal. This ensures you only have access to the correct, industry standard parameters for that kind of material.
  • Roughness is now the default, rather than Glossiness. For ease of use, each individual Physical Material can be set to Glossiness mode if required (e.g. if you want to easily re-use existing bitmaps that you have set up to work with Glossiness). You can also set the preference for Roughness or Glossiness as the default at the system level (Fig. 15).
  • Although IOR is the default, you can swap each material to Specular instead to make use of Specular maps without having to convert them. You can also set the preference for IOR or Specular mode as the default at the system level.
Corona Renderer 7: WHAT'S NEW - Corona System Settings
Fig. 15 - You can set defaults for "Roughness" and "IOR" at the System level…
Corona Renderer 7: WHAT'S NEW - CoronaPhysicalMtl IOR mode
Fig. 16 - ...or choose "Roughness" and "IOR" modes individually per material.

Improved Corona Converter

Of course, we can’t have an entirely new material without having major updates to the Corona Converter. This now converts everything to the default Corona Physical Material to ensure you are getting the best, most up to date materials in your scenes (Fig. 17).
(As a note, the only benefit the Legacy Material has is “looking 100% identical to an existing scene already created using the old Corona Material” – so if you are converting a new scene from V-Ray or other engine, there is no benefit converting to the Legacy Material).

Corona Renderer 7: WHAT'S NEW - Converter
Fig. 17 - The new look to the "Corona Converter".

It adds the option to treat all materials with Translucency in the Legacy Material as materials with Thin Shell mode enabled in the Physical Material. This improves conversion of scenes where translucency effects are frequently used, e.g. with vegetation.

When reporting problematic materials to the maxscript listener, each material is now printed on a separate line to improve readability.

We also fixed a problem which sometimes occurred during conversion of V-Ray lights to Corona lights, added a better warning when V-Ray is not installed, and removed “Fix Bitmaps using Mono Channel Output” used as opacity maps” button as this now already works without the need for a specific button.

Corona: THE COMPLETE GUIDE

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Faster, Faster, Faster!

We have a set of optimizations and speed ups that will improve render times, and your workflow too. All of these will combine and add up, meaning that rendering is faster by 6 to 50% depending on the scene. For the technically curious, we’ve split out the various separate improvements below and isolated the speed improvements from just those updates.

Calculating a pass in 32 x 32 pixel blocks

This one gives you an overall 5% speedup on average, up to 15% in some scenes. We’ve also implemented it in a way that won’t disrupt your viewing of the scene – the blocks are not used at all when using IR for example, and in regular final rendering they only take effect after the 5th Pass.

When the blocks are being used, Corona will still complete an entire Pass over the whole image as before, so you won’t be waiting for one “block” to render to final quality before moving on to the next (so, this is not like bucket rendering) – it’s simply that we process each Pass in 32×32 pixel blocks (Fig. 18).

The only time you will be likely to notice them is when using DR, Backburner, or rendering via the command line, where they are used immediately rather than after 5 Passes like regular final rendering. For the curious, we’ve isolated an example below so you can see what we mean.

Corona Renderer 7: WHAT'S NEW - Buckets
Fig. 18 - The blocks are only noticeable under specific circumstances.

You can see an example of the speed up achieved by rendering in blocks in the images below – things to note (Fig. 19):

  • We left Denoising disabled, so that its speedup did not play a part in these results. If we’d used denoising, we could have rendered for less Passes.
  • The other speedups, such as Faster Transparency / Absorption will also be in effect here, though the difference should be slight (just the vegetation outside the window at most).
  • We did not convert the materials, they are the Legacy material in both cases.
  • It’s a fairly “regular” scene with nothing unusual about it, and not tailored in any way to exploit any rendering speed ups – just a scene like you might create in your daily work.
Corona Renderer 7: TUTTE LE NOVITA' - 32x32 ACorona Renderer 7: TUTTE LE NOVITA' - 32x32 B

Fig. 19

Faster Denoising

Our own High Quality denoiser shows a 20% speed ups on average, up to an 60% in some extreme cases (Fig. 20).

Corona Renderer 7: TUTTE LE NOVITA' - Fast Denoising ACorona Renderer 7: TUTTE LE NOVITA' - Fast Denoising B

Fig. 20

Faster Transparency / Absorption

The technical term is “optimization of multiple transparent hits resolving”, but what you need to know is that you can see up to a 50% speed up in scenes with opacity used in materials (most likely around 30% on average), especially where those materials overlap one another, or when absorption is used e.g. for SSS or Volumetrics.

In the example below, we rendered for a set 40 Passes – we’ve left Denoising off (since it has it’s own speed boost), and we have also internally disabled the 32×32 pixel blocks so that it has no effect on the speed up (in other words, there would be even more of a speed up if we’d used the 32×32 pixel blocks and Denoising!).

Corona Renderer 7: TUTTE LE NOVITA' - Fast Opacity ACorona Renderer 7: TUTTE LE NOVITA' - Fast Opacity B

Fig. 21

Quick note – this applies to transparency and Absorption, but does not apply to Translucency which will not show a speed up; also, transparency with Clip enabled will show much less of a speed up.

Faster Scene Opening

CoronaBitmap now loads texture files in the background (called asynchronous loading) after the scene has been opened and while you are already working with the scene. This reduces scene opening times by 35% on average, and up to 73% in some cases.

We screen captured opening a test scene that used many proxies and lots of large textures (played back at super-speed since there isn’t anything to see, but the stopwatch counters show the actual elapsed time for each).

To go along with that, Corona will also load Corona Proxies in the background after a scene has opened, which gives an average 12% speed up, up to 32% in some cases.

Both speed ups will stack, so a scene with lots of large texture files that also has lots of proxies will see both speed ups. As a note, we took these measurements from real world scenes that we have received from our users (Fig. 22) (and not from test scenes like the one in the video!).

Corona Renderer 7: WHAT'S NEW - Proxy
Fig. 22 - With lots of textures and lots of proxies, you will see a big improvement in scenes like this with the opening speed ups when loading a scene.

We’ve broken down the speed ups into the individual areas of improvement for this write up, but of course they all work together so will add up for your scenes. In a scene with heavy use of Transparency or Absorption, that uses many large textures and many proxies, you will get all of those speed ups combined with the block rendering speed up, to give the overall render speed up for your scene.

Material Library Updates

We’ve updated the Material Library to include a new category, Masonry, and we’ve updated the Metals and Wood categories to add some new materials based on the Physical Material (the materials that were there already remain based on the Legacy Material) (Fig. 24).

We’ve also converted some of the previously existing materials to use the new Physical Material in place of the Legacy Material, with the addition of things such as Sheen to fabrics, etc. These are the Carpets, Flooring, Concrete, and Ceramic Tiles categorie.

Note that this may result in a slightly different visual result when applying the new version from the Library, but that existing scenes which used the previous Legacy Material versions will be unaffected (unless you convert them yourself, of course!).

Corona Renderer 7: WHAT'S NEW - Corona Material Library
Fig. 23 - Some of the new metals in the "Corona Material Library".
Corona Renderer 7: WHAT'S NEW - Corona Material Library Esempi
Fig. 24 - Some of the Masonry and Wood materials in the “Corona Material Library v7”.

Updates to the Corona Sky

Previously called the Improved model, this now has its final official name – the PRG Clear Sky Model. To go along with the name change, it also has very powerful new functionality.

Volume Effect

With one click on a checkbox, you can enable a Volume Effect (often called aerial perspective), which will make more distant objects take on more of the sky color, as if obscured by the atmosphere. You can easily control the strength of this effect via a single value, and the effect is ideal for situations such as sweeping landscape shots, or high aerial views of a cityscape.

Previously, effects like this were only possible using the Corona Volume material, usually in the Global Environment slot – but this was more complex to set up, could have a significant impact on render time, and rarely achieved the desired look.

Below we kept everything the same and just varied the strength of the Volume Effect (Fig. 25):

Corona Renderer 7: WHAT'S NEW - CoronaSky - Volume Effect
Fig. 25 - Keeping everything the same, and varying the "Volume Effect" parameter.

As an example, in the image below we see the same scene rendered to 5% Noise (Fig. 26) with:

  • no effect,
  • the new Volume Effect,
  • a basic Corona Volume shader in the Global Environment,
  • a Corona Volume shader affected by distance from the camera in the Global Environment.
Corona Renderer 7: WHAT'S NEW - CoronaSky
Fig. 26 - A comparison of the new "Sky Volume Effect" to using a "Global Volume".

As you can see, using the new Volume Effect not only looks best, but is the fastest of all the options. Because Noise was used as the target, it is even faster than the one with no effect at all since items in the distance quickly resolve to a simple single color (in terms of rays/s, the new Volume Effect is second highest). This makes Noise the recommended target (or simply render for less Passes / a shorter Time, since the image will clean up faster).

Altitude

You can now get correct results for the atmosphere whether your scene is at sea level, or on top of Mount Everest, thanks to the new Altitude parameter, allowing you to define how high the camera is in the atmosphere.
In the example below, we kept everything the same and only changed the Altitude parameter (Fig. 27). Of course, normally you would also animate the camera height in the scene too, so this example is like the cityscape itself has been built at different altitudes.

Corona Renderer 7: WHAT'S NEW - CoronaSky - Altitude
Fig. 27 - Keeping everything the same, and varying the "Altitude" parameter.

Turbidity

The PRG Clear Sky model has been updated to include Turbidity, so you can determine whether your lighting is from a clear or cloudy sky. This works the same as in the older models for the sky.

Again, so you can see the effect the parameter has on the scene, we’ve kept everything the same and simply varied the Turbidity (Fig. 28).

Corona Renderer 7: WHAT'S NEW - CoronaSky - Turbidity
Fig. 28 - Keeping everything the same, and varying the "Turbidity" parameter.

Horizon blur

We’ve reworked this when the new Volume Effect is enabled, to ensure they work well together (when the Volume Effect is not enabled, it works just as it did in previous versions of the Sky).

Corona Renderer 7: WHAT'S NEW - CoronaSky - Horizon Blur
Fig. 29 - Keeping everything the same, and varying the "Horizon blur" parameter.

Loading scenes from previous versions

Note that while Corona 7 will give a similar look as Corona 6 with the default values for Turbidity and Altitude, there may still be some visual differences due to the overall changes to the sky model. The benefit is that now you can dramatically change how the sky looks using those parameters, for clearer or more overcast days (Turbidity), for needle skyscrapers or mountain top cabins (Altitude), and for a physically realistic aerial perspective (Volume Effect).

Side Note

The Sky is based on real physical data, and getting physically realistic results is normally what you want. For those times when you want to be purely artistic though, try turning off the Affected by Sky in the Ground Color and then adjust the Ground Color. Playing with the other parameters can give some interesting results, like below where a high Turbidity, Altitude and Horizon Blur were used along with the new Volume Effect (Fig. 30).

Corona Renderer 7: WHAT'S NEW - CoronaSky - Ground Color
Fig. 30 - If you turn off “Affected by Sky”, the "Ground Color" can give you some unusual results - for artistic use only, though.

Corona: THE COMPLETE GUIDE

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Small improvements

  • Added support for 3ds Max 2022

This was also backported to Corona Renderer 6 Hotfix 2.

  • 2.5D Displacement Improved

The problems and issues with 2.5D Displacement have been corrected. With that done and the new displacement working as intended (using less memory and giving better results than the Legacy Displacement), the legacy displacement has been removed.
Also, Fast mode is supported in the CoronaRoundEdges map.

Corona Renderer 7: TUTTE LE NOVITA' - 2.D Displacement ACorona Renderer 7: TUTTE LE NOVITA' - 2.D Displacement B

Fig. 31

Corona Renderer 7: TUTTE LE NOVITA' - 2.D Displacement arch ACorona Renderer 7: TUTTE LE NOVITA' - 2.D Displacement arch B

Fig. 32

Fixes to the "Global Volumetric Environment"

  • The Global medium is always calculated as a sphere, and this sphere is now always centered on the camera (previously, this would depend on the origin of any given ray, meaning that the result from the Global medium could look different in a refraction, reflection, when calculated from a local volumetric material, etc.).

This gives more predictable and consistent behavior such as:

  1. A CoronaVolumeGrid bounding box could be visible when rendered inside a Global Volume material. This is now much less likely to happen.
  2. A border around the scene might be visible when using a Global Volume material.
  3. The CoronaVolumeMaterial would cast incorrect shadows when set as a Global Volume material (Fig. 33).
Corona Renderer 7: TUTTE LE NOVITA' - 2.D Displacement arch A

Fig. 33

  • Fixes to many overlapping volumetrics.

Previously this could cause artefacts with just tens of overlapping volumetric objects, and this has been improved so that the limit is now much higher (into the thousands) and you should not run into this issue (Fig. 34).

Fig. 34

  • In Corona Scatter, the parameter limiting the number of instances displayed in the viewport is now colored when the limit gets exceeded (going from green to yellow to red).
  • The Corona Scatter UI was polished and condensed.
  • Enabled PhoenixFD Foam and Particle maps in the Material Editor.

The CoronaDistance map can now take the origin of any object as input (e.g. a camera)

This makes it easier than ever to achieve more effects using the Distance map. For example, in Corona Scatter you can now define the density falloff based on distance from the camera’s origin, or have automatic cutaways based on distance to camera e.g. for flying through walls and other solid objects, and more.

While the camera is likely the most common choice, the Distance map now works with any object in 3ds Max – see what uses you can come up with for this (Fig. 35).

Please note that due to 3ds Max limitations, the camera can only be added using the “+” button in the Distance map interface.

Fig. 35 - "Distance" to camera map used in the "Opacity" slot of car material

Scenes far from the origin now render correctly

In earlier versions of Corona, if a scene was set up far from the origin (that is, far from the 0,0,0 coordinates in the Max scene), this could cause rendering errors, such as refractions and reflections looking incorrect, light leaks, and similar. This has been corrected in Corona Renderer 7 – please note that “far from origin” depends on the scale of the scene, so if you are rendering a scene like a room “far” could mean 10km away from the origin, but if you are rendering some coins on a table, “far” could be a much smaller distance away.

You can see two comparers below demonstrating the difference (and yes, the Corona 7 example has both images looking exactly the same – that’s what the fix is all about!) (Fig. 36 – 37).

Fig. 36

Fig. 37

Updated the Intel Open Image Denoiser to version 1.4.1

This fixes some bugs, especially the denoiser adding “ghosts” of objects that should not be visible due to lack of lighting, fixes some crashes when Denoising certain resolutions, and brings some optimizations too.

Updated the OptiX (NVIDIA GPU AI denoiser) to version 6.5.0

This makes all the OptiX files part of the regular Corona installer, requiring no additional download. Note: This now requires NVIDIA GPU driver 436.02 or later, though this brings no change in supported GPUs and should still work with Maxwell and later.

Minor updates

  • Updated Embree to version 3.13.0 – various small bug fixes and optimizations.
  • When a Corona Light Material uses displacement, lighting is now calculated from the displaced geometry rather than the non-displaced geometry. This gives more accurate and expected results (but may lead to longer parsing times).
  • Added options for propagation to some Render Elements (Mask, ID, WireColor, ZDepth, Texamap).
  • Actions on the Corona Toolbar have been renamed and reordered so that they are more unified. This will only take effect after the deletion of the toolbar in Main Menu > Customize User Interface > Toolbars, or for new Corona installs.
  • Removed old Corona usermacros. This means that user-defined menu entries / quad menu entries / toolbar items which used those macros will no longer work. They can be safely removed from the UI and replaced by entries executing actions exported by our C++ action system (available since Corona 6), which are better integrated into 3ds Max.
  • CoronaBitmap now automatically removes NaNs and INFs from input images.
  • Added displaced primitives measure to the VFB stats TAB.
  • To go along with this, a new render stamp option has also been added for Displacement primitives, %sd, and Displacement primitives are also published in maxscript with getStatistic(15).
  • Added maxscript function to bake LightMix settings into the scene (same as clicking the corresponding button in VFB) – CoronaRenderer.CoronaFp.bakeLightMix.
  • Denoising time was added to the Render Stamp, as %ptd.
  • Added a warning when a scene previously saved in a Stable Release version is about to be overwritten from a Daily Build version.This is because trying to load a scene saved in a newer version (the Daily Build) into a previous version can cause many problems, and this warning should help prevent overwriting a production scene while experimenting with daily builds. Please note that we can’t cancel the 3ds Max saving process, so the warning offers a chance to backup the original save to another location – this will give you a copy of the scene, still usable in earlier versions of Corona (but the currently open scene will still be overwritten with the latest Daily Build version)
  • Added support for Ornatrix v7 (earlier versions are no longer supported), and added support for rendering newer Ornatrix objects.
  • Removed the VCM, VPL, PPM and LightTracer algorithms.
  • Corona Uninstaller now removes installation information from the Registry.

Corona: THE COMPLETE GUIDE

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Remember - ALL THESE SPEED UPS ADD TOGETHER!

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