These days though, whilst we still have the fog color option, the multiplier and bias controls have been replaced by a fog depth parameter that in my honest opinion, makes the whole process much more intuitive as it essentially controls how far into the object light can travel before it produces the specified fog color.
Now it did use to be the case that if we wanted to turn this material into a colored glass, say something in the orangy red range, then all we would need to do is change the fog color, alter the fog multiplayer and fog bias options to suit and we were done. Do note here that if we still have the white balance sound hue saturation layers enabled in the V-Ray frame buffer, then now would probably be a good time to disable them. Which if we go ahead and then render should look like this. Straight away, we can give the material a make over here using the glass preset from the dropdown list. Taking a look at the fog color option first of all then, let's from inside the camp, 005 view, open up the max material editor and then sample the material from the Doug statue into the working tap, which we should find right at the front of the tap list. This being due to changes in how both the fog color for refractive effects and SSS for translucency controls work.
Well, with the 5.1 update in V-Ray things have become pretty much just as easy when using the V-Ray material as well. One of the big reasons for that opinion is down to how ridiculously easy it is to create both refractive and translucent effects with it. If I am being totally honest, I would have to say that my favorite material for general use inside three DS max has for a long time now being the physical material that was introduced way back when the art or art renderer was being tried out as a replacement for mental Ray.
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