Finally set the Shutter speed to a value of 10 and 4. Now we are ready to set up the main V-Ray render settings. All rendering settings dialog. Scroll down to the V-Ray:: Frame bufer selection area. In here are literally hundreds of combinations of render set- here we want to check that the Enable built-in Frame Bufer tings for V-Ray.

I have included a cheat sheet paper for the is enabled. Here is how this section should look 4. I have also included an explana- V-Ray:: Global switches.

Under the subheading Lighting, tion of what each setting actually does. Also uncheck Hidden lights 4. Render Setup: V-Ray Adv 2.

V-Ray:: Camera With your lighting and camera set up let us inalize the scene 4. Render Setup: V-Ray Adv 2 3 0 0. Size: 4. Make sure that the checkbox is 4. Make sure your settings match these 4.

We can avoid burning like this in the V-Ray:: Color map- 4. In here we want to set the type to Reinhard from the drop down menu. In the Burn value input area, type in 0. Over to the right, select Sub-pixel mapping and Afect background.

I also like to clamp the output at level 1. Back to the top of the F10 render dialog box, the next tab along is the Indirect Illumination one 4. V-Ray: : Authorizatio n he following changes you are about to make will have a sig- V-Ray: : About V-Ray V-Ray: : Frame buffe r niicant impact on how long your render takes to complete.

Clam p outpu t Clamp level : 1. Gamma : 1. Rende r Setup v Adv 2. Omr Contrast base 0. Below you Secondarybounces should see a subsection named Primary bounces and Multiplie r 1. Keep both multiplier values set to 4. Here is how your settings should look at this point 4. Options In the calculation parameters area, enter a value of in Show calc. Make sure the Show calc. Here is what you should have at this point 4.

On Scale: Scraen Radus: I usually like to render a high-quality image so that Check sample visibility Calc. In the Common tab scroll down to Output size. From A new irradianc e map is created for each frame. I have personally printed A3 moving objects. Don't delete Auto save: Browse Now you can go ahead and render your scene by pressing F9 Switch to save map on your keyboard.

I am going to highlight both. Remember that you have two Processing Overall mult: 1. Render mult: Interpolation Default 4. In this particular case we can see if like ours in reality. HDRI iles can span degrees mak- the image would appear more realistic if it were in a shaded ing them ideal for numeric adjustment to achieve alternate spot in the woods. With one simple numeric adjustment to moods with the scene.

Do not forget to of the whole scene. Here is the erties under the subheading Mapping. Here is the result 4. Also notice some quate amount of light to make the image look realistic. We can rotate the image out of 20 minutes 4. In the real world if a photographer takes a picture and the We can achieve this in our scene by adjusting a number of image appears too dark or in fact too light, then a whole settings.

Select the VRay Physical Camera and open the set- range of settings can be adjusted. Further down set the shutter speed to 4. Guess horiz specify focus 4. Change this to and produce a test White balance Daylight render 4. Usually the higher this is the more grain you will see in the scene. We need to make shutter angle deg It is entirely your choice whichever method you choose to adopt.

All that matters is the inal result. Finally, one more beneit in setting up your scenes utilizing the extreme versatility of HDRIS is that you can use these scenes for a 4. Take the image on the left for example 4. Using the same scene I have made a copy of the original camera with the same settings.

I have focused speciically on the table lamp and enabled depth of ield. IES or through features such as highlights, relections, and shadows. Illuminating Engineering Society is the ile extension we will be using for our exercise scene. We use these iles to make IES lights are preset lights in 3D Studio Max that allow a sure the artiicial lights in our scene are physically accurate. We will cover IES lights by manufacturer and performance type.

You can ind the in this section. Not only do interior evening scenes require a signiicant Attention to detail in surface materials is paramount in in- amount of work to set up architecturally in terms of the terior scenes. How do these materials absorb artiicial light 3D model, but they also demand the application of artii- and not natural light?

I do collect as many reference material cial lighting in great detail. Interior evening scenes also need images as I can and tend to show the client what type of look rigorous planning in terms of materials in order to adhere to can be achieved upfront.

Whenever I am asked to produce these types of scenes, here are two types of interior evening scenes. One is a scene one of my foremost thoughts is light. What type of light is that only contains artiicial lighting and has no environ- required and where am I going to get it from? Bathroom scenes can be tedious. Balancing the light levels here are many resources online from lighting manufactur- for a set of lights is something that needs to be worked out ers such as ERCO, Philips, AEL and more.

I have included prior to opening 3D Studio Max. Average illuminance information can be gathered from a For more information on this topic, please visit variety of sources. When preparing a model for an evening render shot you have Normally a lighting consultant will have designed the space to make sure that you take the time to detail your model you are visualizing and you will have access to the lighting correctly. Simple textures that are applied to sheer surfaces speciication sheets and can simply input the data into Max.

Although IES iles are readily available for download, so you need to adjust your worklow to maximize on the actual models of light ixtures are not that easy to come by. A huge tip is to go old school. Make your own with the use When you think of wall tiles in a bathroom would you of a template. I have added one for you in the scene, here is a simply add a V-Ray shader to a plane? Would you feel that section of how I model mine. It is precisely these kinds of details that need to be upheld throughout your scene to add the level of realism you need to aim for.

Why model a toilet? I have seen the worst visuals in the world with toilets and urinals that are not the right size, scale or even in the correct positions. Start now and build your own library. Finally this is a lifestyle shot, so the correct placement of the camera, its focal depth and settings will need to be planned.

Build your scene around your view. I have witnessed this Applying the correct materials for the relections in this light literally thousands of times, and in part have been guilty of ixture will give you the creative edge you need for your it myself: getting carried away with your model. If you are images to stand out and be unique. Putting the shape and form of the bathroom scene to one I have seen full buildings modeled with brickwork and side, there are a number of peripheral elements that we stonework and beautiful details all for a partial interior shot!

Hours and hours wasted that no one will ever see. If you can use your time wisely you can achieve truly professional Bathroom furniture, sinks, taps and shower heads etc will all results. VRa y Photometric You will now see that a new group of lights has loaded.

From Standard this selection you need to choose the VRayLight. Parameter s Genera l Just a little further below, in the control panel, you will see On Exdude Type : Dom e the options section. Make sure your settings mimic these 5. Enable viwport shading Intensit y Finally we want to enable the Texture selection option : Defaul Units t image Multiplier : 1.

Go ahead and enable Texture : : Colo Mode r the checkbox labeled Use texture. We want to also enable Color: Use texture the light to cast degree light so from the Dome light op- Temperature : Non e Size tions, enable the Spherical full dome option.

V size: 0. Again it does not really matter Double-sided where you place the light as it is environmental and as such Done light options Invisibl e Ignore ligh t normal s will not afect shadow casting etc. Here is a preview of Affect specula r Photo n emission : Affect reflections the ile 5. With your VRay dome light selected, navigate your way to the Modify panel on the right- hand side of your screen. Drag and drop the HDRI 5. We have high-quality HDRI to act as the viewable evening back- the secondary lighting set up.

I say secondary because the ground. In an empty material slot go ahead and create another V-Ray In the top viewport expand the view so that you can see the HDRI shader and load the backdrop HDRI ile into the loor plan as large as possible.

In this loor plan you will also empty slot. Make sure the Mapping type is set to Spherical see the ceiling detail and the main downlight positions 5. Your settings should resemble this 5. We want to place the high-quality he photometric light creation tools can be found in the HDRI evening backdrop into the environment map slot Create panel.

Choose VRay from the drop down menu and 5. Instead keep the source point around 10—15 mm from the Try to align your lights correctly as per the ceiling layout. In ceiling in the Z direction. You will ind a sample of my align- Now we need to adjust the properties to match real-world ment overleaf 5.

Go ahead and click this slot so we can load an IES ile 5. From the project folder load the IES ile named As soon as the ile is loaded notice the emitter icon of your light change to match the settings of the loaded IES.

Now we have a master IES light source we need to copy this around the room and correctly align it to the remaining light 5. You must take into consideration the balance between natural light what remains and artiicial light. Having photography experience or understanding the basic functions of a digital SLR camera is certainly beneicial when using V-Ray Cameras.

Taking dramatic nighttime interior photographs can open your scene up to all sorts of alternative lifestyle shots for you to create. In reality if you take a photograph in a dark room it is a dead cert that your camera will pop up the lash and lood the space with direct light, creating strong shadows and thus an overall dull image.

Finally set the color temperature value In this case we will be creating a camera set up for long expo- to a value of For us this means the balance between shutter speed Now we have the lights set up we can go ahead and set up and f-number is an essential combination that we need to the cameras.

However this may with as much as I can. It helps me to see alternative ways to produce a darker image, but this can be balanced out by shoot scenes and helps me to apply old and new techniques alternating the shutter speed value. I highly recommend reading Cinematography, heory and Practice by Blain Brown Focal Press, , as he main objective here is to achieve a realistic light level well as Painting with Light by John Alton University of that highlights the detail within our scene and one that the California Press, Select your camera and navigate your way to the Modify One inal element to this scene with regard to camera cre- panel on the right-hand side of your screen.

DOF is a byproduct of focusing the In the Basic parameters section set the f-number value to V-Ray Physical 5. Cameras will act like real-world cameras and put a slight blur on the background while maintaining a sharp focus on Just below this group of options there is a button with the the foreground and vice versa.

Notice how all of the vertical lines in your scene are we can put all the above to practice. From the Create panel on the right-hand side of the screen Another incredibly important feature to V-Ray Physical click the camera icon to reveal the creation choices.

Cameras is the ability to set the white balance. White balance From the drop down menu choose VRay. Choose VRay physical camera from the creation options and Basic parameters place the camera in your scene.

Simply placing the camera in the middle of the fov We want to zoom factor 1. In an efort to maintain the render times to complete within one hour, the V-Ray render settings will relect this as will Underneath this option is the shutter speed.

Change this the quality of the inal image. We can dialog. From the tabs at the top navigate yourself to the V-Ray tab Now we need to focus on the V-Ray system settings. In here we need to check that the Enable built-in Frame Bufer is enabled. Over the page is how this section should look 5. Now scroll down to the next selection of settings labeled V-Ray:: Global switches.

Under the subheading Lighting, make sure that Default Lights option is selected as being Of from the drop down menu. Also uncheck Hidden Lights 5. V-Ray:: Image sampler Antialiasing can be found below as our next collection of adjustable settings.

Defaul t light s off Max trnsp levels 50 Hidde n light s Transp. Indirec t illuminatio n Raytracin g Don't render final image Secondary rays bias 0. Make sure your settings match those shown 5. Antialiasing filer On Catmull-Rom A 25 pixel filter with pronounced edge 5.

Over to the right, select Sub-pixel mapping and Afect In here we want to set the type to Reinhard from the drop background. I once more like to clamp the output at level down menu. In the hese settings are also incredibly pivotal. We need to inform Burn value input area, type in 0.

We can alter this to suit V-Ray how we want our scene to be calculated. From the V-Ray:: Indirect illumination GI rollout you will see there are dozens of selectable options. Below you should Type: Reinhard Clamp output Clamp level: 1.

Gamma: 1. In the Primary 5. Common V-Ray Indirect illumination Settings Render Elements he following changes you are about to make will also have V-Ray:: Indirect illumination GI V-Ray:: Irradiance map a signiicant impact on how long your render takes to com- V-Ray:: Light cache plete, bearing in mind you have multiple light sources.

You 5. Go down to the V-Ray:: Light cache rollout. In here we need In here you should set the HSph. Just below in the Options area, simply enable the Show calc. In the Calculation parameters area, enter a value of in phase. Here above right is how your settings should look at the Subdivs.

Make sure that the Show calc. Overleaf is what you should have at this point 5. Almost there! V-Ray:: Light cache Calculatio n parameter s I usually like to render a decent quality image so that archi- Subdivs: Store direct light tectural details are enhanced. Sample size: 0. Use light cachefor glossy rats Interp.

I have personally printed Mode: Single frame Save to file A3 and even A2 presentations from this size output and they have been perfect for presentations. Stay focused; it is an exciting and equally soul-destroying. Execute another test render; it should only take 25 minutes In the VRay Physical Camera properties you can adjust the assuming you have the DOF function temporarily switched color temperature to a custom value to further match the of. Here is the result 5. We can further improve the tone of the image through the We need to establish a neutral reference point to match the lighting controls.

In this case it is the bluish he IES iles can also be adjusted to suit the scene. We want twilight tones. Candlelight for example has a color need a value of around — K.

Select one of the IES temperature of — K. Clear sky on a sunny day has lights and change the color temperature to Execute a a color temperature of — K. In our scene we want to aim for a temperature of around See how there is such a dramatic diference between the — K.

In scenes containing multiple illuminants with varied color here may be an occasion that justiies the adjustment of the temperatures, such as our IES lights for example, normally IES power value. Sometimes directly importing an IES ile photographers can leave an automatic white balance on their without adjusting the power value can result in very dark camera and it will calculate an average white balance based scenes.

In our scene I suggest increasing the power of the on all lighting information in the scene. IES light to 30, You can view the result on page 86 5.

We require additional control, because we want to empha- he result remains nicely balanced but I am not content with size the warm lights against the cool exterior HDRI light. Go ahead and ramp up the power value of your IES For this we must enter our own values based on the neutral lights to 45, You uniformly adjusting the light levels throughout the whole may not be so happy so keep trying out the settings to see scene.

Be warned, this will take longer to render. I am often asked the question, why is my scene so dark? I Scroll down to the sampling settings.

Always make he depth of ield option is not essential but nonetheless sure you work to a scale. Even if the SketchUp model is adds realistic depth to the scene. I with that in mind I will explain a simple way to work out also try to make sure that the IES iles I am collecting for use how you should set your camera up to utilize DOF. We need to change this low amount and slightly In terms of photography DOF can take a while to igure decrease the efect.

Go to V-Ray in relatively simple in order to create rather interesting results. In here change function. It should be to highlight a speciic architectural, the Burn value from 0. Save your ile. Press F9 to interior detail or product. Yes we are using Mr. Turtle again. He will be your primary focus object in the scene. Now you can reposition the turtle in your scene and practice alternating the focal depth of your camera in order to see the results.

Here is the render output from the initial position. Remember that enabling the DOF function can increase render times signiicantly 5. Most of these shoots involve artiicial design in a simple and fast way. I usually use these scenes for commercial furniture mock- Mockup scenes signiicantly reduce the need for any auxil- ups. For this scene I modeled the timber paneling in SketchUp Work smart not hard! Your scene then becomes a matter of which took around ive minutes.

Here is a snapshot of the model so that you can see the I tend to ind that the more interesting HDRI iles you have amount of minimal geometry involved 6. We can have an incred- ibly fast turnaround with scenes like this if we are strategic in the way we set them up.

For me this takes too long to set up and takes too long to render. In your Renderer dialog box, F10, set V-Ray as your produc- tion render engine 6. Now we need to adjust the light properties. With the light still selected click on Modify in the panel to the right. In the Parameters section, set the type to Dome in the drop down menu. In the Intensity modiier make sure that the multiplier is set to 1. In here make sure that your settings relect those shown see over 6. In the Sampling settings set the Subdivs to Next in the Texture options enable Use texture.

Set the Resolution to Affect diffuse Press M on your keyboard to bring up your materials Affect specular Editor. Affect reflections 6. V-Ray PowerShader V. With this in mind make sure that the Invisible option in your V-Ray Dome Light is unchecked so that the textures in the scene will pick up the relections of the light source 6. Options Cast shadows ouble-sided D Invisible 6. One of the main beneits focus distance. Name and Color shutter offset deg latentcy his is the type of scene where you can really maximize on file speed ISO Just below you will ind the Guess vert.

Place the camera anywhere in your scene. I have taken the usual eye-level height of around mm in the Z direction. We can select a Neutral white balance for now. Here is what you should have 6.

Render settings so we can create some output renders. Here is how we will achieve this. V-Ray is already enabled so we can go ahead and key in the main settings. Make sure that Get resolu- Preset: Render View: 6.

Champ output Clamp level: 1. In the Head down to the V-Ray:: Color mapping rollout. In the Lighting section, make sure that Hidden lights is checked Type dropdown menu select Reinhard.

Set the Burn value and from the drop down menu Default lights are set to Of to 0. Clamp output options are enabled 6. Just underneath you will ind V-Ray Image sampler. Turn On the antialiasing ilter and select Catmull Rom from the drop down menu 6. GI , make sure that the On option is checked. In the Primary bounces selection area choose Irradiance Usually I use the other settings in here for animation pur- map. Now in the Secondary bounces area choose Light cache from In the V-Ray:: Irradiance map rollout in the Built-in presets the drop down menu.

While it seems that we are using these choose Medium from the drop down menu. Chaos Group two methods a lot I do explain the other methods on the did a fantastic job in creating presets that are built into companion website. In the V-Ray:: Light cache rollout enter a value of in the Subdivs area. Finally make sure that the Show calc.

Choose the DOF camera. We can also go one step further in this scene by adding his particular camera has been set up to show you the depth of ield to the camera. Due to the space being rela- alternative life style shots you can produce in this scene.

Of course rendering with DOF does take lon- If you right-click your mouse button anywhere in the scene ger to complete compared to a camera without the function you will be presented with a pop up menu, in here select enabled 6. Unhide All 6. Manage Scene States If you have designed the scheme, then that is a bonus as he selection of the background lighting source is incredibly you will have a clear vision of what look and feel you require.

It must be high quality, sharp and relevant to your scene. A fundamental understanding of how light works is essential if you want to achieve realistic results.

Light is everywhere, If I use a low dynamic range HDRI then the shadows will be sounds simple enough, but light also bounces. Light also afects the way that colored surfaces and materials bounce color around Collecting the resources for architectural scenes is incredi- a scene. What is truly nice about exterior scenes is the mix of bly important. Wherever I can create my own textures and rugged materials with slick, polished, almost conformative model my own elements I do.

Understanding how light works will enable you to will need to rely on other resources that are available seamlessly mix the two. Created materials such as aluminum, enthusiast to strategize when creating exterior renders is glass, wood, grass, soil, chrome and related industrial materials location, location, location. If you are creating getting paid! Items you place furniture in the interior space. I have listed many of these on Glass is opaque; if you can make the spaces look occupied, the companion website.

With the care- ful placement of external furniture combined with depth of ield, truly realistic results can be achieved. Another concept is to photo match your building into a pho- SketchUp is an essential tool for exterior scenes. Simpliied tograph. Using camera tracking methods can be tricky, but modeling techniques enable you to think about detail with- if mastered can be a very efective medium.

On the other out being overwhelmed with the sheer amount of work that hand I know that often designers do not have the time for needs to be done. HDRI lends itself particularly well to scenes that require certainly read the remainder of this chapter if you want to a seamless integration of subject matter and a photographic boost your skills!

I ask this Understandably you are going to ind it diicult if you want because another of my pet hates is seeing architectural to mimic the lighting in Turkey and you live in Kansas City, renders spoilt by what can only be described as miserable you cannot go and shoot a custom HDRI ile for your proj- lighting. One would assume that the very notion of creat- ect or coursework. It would be incredibly beneicial to take their cam- begin to render, apply materials and iddle with cameras, is eras and shoot an onsite HDRI.

We want beautifully brightly lit scenes with the correct physically balanced lighting. What time of day are we rendering? Why is this even impor- tant? As the sun rises on a clear day it casts beautiful fuzzy he geography of the site in question plays a crucial part in shadows complemented with warm sunlight onto objects. If for example the site is on a level On the other hand the sun can barely cast directional shad- plane and has no foliage surrounding it, then you are going ows at p.

So we have to be stuck for additional realistic elements such as relec- to make a decision so that we can match the direct sunlight tions in your glass. I always ind it useful to take a look at to the HDRI ile to cast accurate shadows. Google Earth, see what surrounds your site. If your project is theoretical then choose a site, factor in some real-world All of the above needs to be pondered before you begin to scenarios; this will not only give your project additional even open 3D Studio Max.

VRay Sometimes when using trees in your scene you can experience slow graphic user interface feedback, or slow regenerating ObjectType viewports. Alternatively you can utilize On Exdude Units: Default image the import overlay method of merging iles. I do the same Type: Dome Multiplier: 1. Place the lighting anywhere in the scene, preferably so that it Further down you should see the Intensity section.

In here is easy to select in your future camera view. Also keep the Multiplier set to a value of 1. In the Parameters section under General, switch the Type to Dome from the drop down list 7.

Scroll down to the Options section. In here are all the attrib- utes that dictate the behavior of the light. We want the light In doing this we are instructing the light to act diferently in to cast shadows so enable Cast shadows. Leave Double-sided terms of its distribution.

Cast shadows Sampling Double-sided Subdivs: Here is an overview of what should and should not be Invisible 24 Shadow bias: 0. Ignore light normals Cutoff: 0. Affect reflections 7. Some people leave these settings low to try and achieve a lower render time. I would strongly advise people not to using two HDRI iles. We will return to this later on in this do this. For now make sure that your settings resemble this 7. In the Texture options enable the Use texture function.

Just underneath the Texture options is another small group With this selected we are instructing the light to not emit of settings labeled Dome Light options. In this case it will be our looked and makes a world of diference if enabled. Insert a value of 24 in the Subdivs section. I suggest not going more If this is not enabled when we come to render we will see a than It can afect the render time. More importantly we will have zero light emission from be- Set the Resolution to , which is the highest value you low the horizon line.

Enabling this means we are able to use can go to. Some people may say this is insane, it will take the whole HDRI lighting ile instead of 50 percent. Opposite forever to render. Well, those people may only be using one is an example of not utilizing this option 7. In this case I would agree and lower the value, but we are actually So make sure that the Spherical full dome is enabled. If your Materials Editor appears as the annoying new igating to Rendering, then choosing Materials Editor and Slate mode, and in fact you are rather partial to being old choosing Compact Materials Editor.

Choose a blank material and select the Get Material icon 7. Within here v. It will load a small black box into your 7. Contained within this 7. I mentioned above that some peo- ple use only one HDRI ile and apply it to their scene. We will be using two for two reasons. First, one HDRI is for the outdoor background which will be rendered in the inal scene, so in this case the quality of the image needs to be rather high, otherwise there will be a V-Ra PowerShade v.

Second, using this high-quality HDRI ile as the light emit- ter will signiicantly increase the render time. So instead we will use a slightly blurred version of the ile. In the Mapping options select the drop down menu which 7. Leave everything else as is 7. In the Materials Editor and drop it into the Texture slot within here scroll down to the Texture options section 7. Like this 7. Now we need to load the large HDRI ile into our scene to act as the background image.

As before, select a blank material and import the large HDRI ile from the same location. Make sure the Mapping Type is set to Spherical.

Press 8 on your keyboard to open the Environment and Efects dialog. Under the Common Parameters Section you will see Background. Check the Use Map to enable the texture rollout slot. Here is the backdrop HDR ile we are using 7. When the Instance Copy Map pop up appears, be sure to select Instance. We now need to create a light source to act as the sun. In your top viewport to select Instance and press OK. You can also change the Shadow subdivs to a value of 5.

Finally reposition the VRay Sun in the Z direction so that you are achieving a nice angle in order to cast shadows. Remember lighting is just one part of this process; none of the above will even matter unless we can place cameras in the scene with the cor- 7.

So we have to adapt and conigure the camera settings to deal with a whole range of he other relevant choice you must make is what size of environments. You may have a client who requires a rainy day 35 mm, then we will have render issues with the inal render scene, or overcast scene, so you have to be prepared.

Luckily output in terms of composition. In my opinion you should check www. Again we must be process-orientated and match our camera settings to the HDRI ile as much as possible.

Enabling this feature will increase the render time signiicantly; how- VRay ever it does produce phenomenal results. Object Type When it comes to creating cameras for external scenes, there are literally hundreds of combinations to achieve a ay Dome Came well-balanced image. When people think of outdoor pho- 7. Add Time Tag As with the interior scene earlier in this book, we have to 7.

Place the camera in your scene where you deem it. In the Basic parameters section adjust the f-number to Do the same for the camera pointer. Setting up our cameras for external scenes with the As this is a daytime scene the camera values will obviously worklow we are using enables you to place a camera any- difer from the interior scenes in the previous chapters.

Manual photography during the day can be tedious. Well, this is far V-Ray:: Environment from the truth. As I am showing you my way of creating V-Ray:: Color mapping V-Ray:: Camera scenes, these are the settings that best perform for me and my requirements in order to successfully deliver a quality Preset: Render View: Quad 4-Top product to my clients.

We will be efectively following the previous methods of ren- V-Ray is already enabled as the production renderer. Make sure the Get resolution from MAX is afect the overall render time so be warned when you are enabled 7. Next open the V-Ray:: Global Switches rollout. In here un- With the project exercise still open go ahead and press F10 check Hidden lights. Select Of from the Default lights drop on your keyboard to bring up the Render setup window.

To do this we will be using the Catmull-Rom Antialiasing Filter. Why is this so important? I cover each of the settings and what Antialiasing filter they do on the companion website. For now go ahead and On Catmull-Rom A 25 pixel filter with pronounced edge enhancement effects.

In the V-Ray:: Indirect illumination rollout make sure that 7. Scroll down to the V-Ray:: Color mapping rollout. Multiplier: Affect background Burn value: Don't affect colors adaptation only In the Type selection area choose Reinhard from the drop Gamma: Linear workflow down menu. From the drop down menu choose Preset: Medium.

As a general rule, keeping in mind we need V-Ray:: Irradance map to stick to fast render times, in the calculation parameters I Calculation parameters set the Subdivs to equal 50 percent of my output render size. Fifty percent of this is , so we can enter a value of Sample size: 0.

In this case you can input Keep the sample Number of passes: 8 Use directions only size set to 0. Reconstruction parameters Pre-filter: We want to instantly see the results as the render screen Use light cache for glossy rays Interp.

Mode Mode Single frame Now we have the majority of the base settings set up. You can now start rendering your scene to see what kind On render end of inish you are presented with. I do or so. Your scene should produce an image that resembles believe however that we can achieve a richer image by adjust- the following, depending on your chosen camera position of ing the camera settings.

Go ahead and change your camera course 7. Keep the f-number set to Change the shutter 7. Finally change the ilm speed ISO time try alternate camera settings, render them, print them to a value of Now press F9 and render the scene again out and pin them up. Involve the team so that you can unify 7. As with every- render time.

Try and keep your foliage numbers down as thing in design, it is opinion that counts, so if you have the well as trees and vehicles. You should always model to a scale. I create all of my scenes In this chapter we cover the essential elements to be able to in metric, speciically millimeters. It is a very straightfor- scenes even if you have started in inches and want to use the ward worklow.

In order to successfully create detailed renders you must start Use layers where possible. When you import the SketchUp from the beginning. You need not export a 3ds from SketchUp.

I cannot emphasize enough how important it is to have Utilizing all the information available regarding a speciic detail in your scene. In this particular exercise you will see design scheme including speciications and yet again refer- that the apartment has an external aluminum cladding ence imagery is pivotal. Instead try and model the sections of cladding such as repetitive textures visible on brick or concrete sur- with the correct nominal ofsets etc.

Using this to your advantage rather than treating with photographic textures. In this exercise scene there is a vast amount of glazing. Contributing factors to the level of realism come from items In this scene you will see plenty of furniture and artwork.

You can conigure the lighting to calculate the see what we have to play with. Here is a preview of the scene 8. VRay Dual aspect means signiicant glazed areas on both sides of Object Type the building. As you ayAmbientLig VRaySun will have noticed by now, the worklow in terms of setting up V-Ray environment lighting is starting to become second nature.

You will soon be able to do this within minutes. In the Parameters section under General, switch the Type to 8. In doing this we are instructing the light to act diferently in terms of its distribution method.

Zip down to the Options section. In here collectively are Just below you should see the Intensity section. Keep the the controllable attributes that dictate the behavior and per- Units set as Default image. Also set the Multiplier to a formance of the light. We want the light to cast shadows so value of 1.

Leave Double-sided unchecked. Navigate your way down to the next group of settings named Here is a preview of what should and should not be enabled Sampling. With this selected we are instructing the light to not emit Sampling just a color but also a texture.

Insert a value Shadow bias: 0. Cutoff: 0. No decay None Skylight portal Make sure that the Spherical full dome is enabled. Resolution: Store with irradiance map Adaptiveness: 1. Choose a blank material and select the Get Material icon 8.

Within here scroll down to the Maps section and select the Standard from the subsection. Leave everything else as is 8. In Mapping here scroll down to the Texture options section 8. Mapping type: Angular Horiz. Mapping type: Spherical Horiz. Go ahead and import the 8.

Cutoff: Use texture Almost there, stick with me it will be worth it! Instance Copy Under the Common Parameters section you will see Method Background. Check the Use map to enable the texture rollout Instance slot. Creating a light source is simple; drag and point. Try to align your lights correctly as per the ceiling layout.

In the front and right viewport align the light vertically so that it points straight down. Here is my alignment 8. Be sure to instance copy the light otherwise In the Modify panel you will see a group of settings that you will have to manually adjust every single light individu- allow us to adjust the light.

Go ahead and click this slot so thar we can load an IES ile 8. Now we have the lights set up we can go ahead and set up the camera. As soon as the ile is loaded notice the emitter icon of your light change to match the settings of the IES. My answer is absolutely. Following this space which we want to emphasize with the camera.

Your renders will be accurate and of a picture irst, so our emphasis on the interior space in physically balanced, requiring minimal post-production. Try to place the camera so that you can pick up a portion of Evening and nighttime HDRI lighting iles however are much the environment around the building as well as capturing more delicate.

What does this mean? I am going to share with you some fairly straightforward Well, it means as the HDRI environment is pretty much set, camera settings typical for nighttime photography. We can we have to be creative with the camera values to achieve a adjust them later if we do not like them. When the camera ISO is adjusted from a value of to a value of , these light emitters will afect the Go ahead and set the f-number to a value of 8.

Set the white balance to Daylight. You to adjust the other critical camera settings to even this out. Guess vert. Guess horiz. Frame Bufer.

Make sure that the Get resolution from MAX In fact we do not need to deviate from the previous work- is enabled 8.

With the project exercise still open go ahead and press F10 V-Ray:: Authorization on your keyboard to bring up the Render Setup window. Select Of from the Default lights drop down menu 8. To do this we will Furthermore the more you reduce the value of the Bright be using the Catmull-Rom ilter.

You can choose this from Multiplier the more you reduce the performance of the arti- the drop down menu 8. So as you can imagine balancing the image Scroll down to the V-Ray:: Color mapping rollout. Make sure map.

From the drop down menu choose the Indirect Illumination tab 8. In the Options area just below make sure that Show calc. In the V-Ray:: Indirect illumination rollout make sure that the On is enabled. In As a general rule, bearing in mind that we need to stick to here we need to input suicient settings in order to render fast render times, in the Calculation parameters I set the a quality scene. Subdivs to equal 50 percent of my output render size. So for example the width of the render we will produce is Keep the sample size set to 0.

We want to instantly see the results as the render screen builds so enable Show calc. I always like to render an exterior evening shot with and without artiicial lights.

Like everything in design, when you are replicating reality in It is a nice efect. You can see that the HDRI is really efective, a digital format, there are always tweaks to be made. More Now you can proceed to the rendering stage. Try the same for ding that wraps around the external envelope of the space, the f-stop and shutter speed.

You can also use the guide in acting as a bufer between natural and artiicial light. C4 advert on television. I was blown away with the realistic lighting and materials applied to the transforming car.

As my career has progressed I have become increasingly In this scene I have provided you with one Pontiac Solstice. In this section of the book I want to open your minds. I want you to see the potential you can achieve using V-Ray and the built-in materials and lighting tools available to you. On the other hand there are those of us out there who can- not dedicate the time to build such realistic and accurate 3D models, so we look elsewhere.

Check the companion web- site for links to these resources. Here is a quick snapshot of the scene 9. We will now go ahead and create three V-Ray plane lights. I have created a backdrop In the lighting creation panel drag and drop a VRay Plane to simulate a canvas if you will. Mimicking realistic light levels is essential otherwise the prod- uct will not be correctly displayed in all its glory.

Place each light as Half-length: shown 9. Half-width: his scene would look pretty lat if Options we simply made all the light emit a Cast shadows white color of ,, The idea behind the method is selecting a pair of search strings that stay consistent on the Web page, and using the locations of the words as pivots for pinpointing the actual Hyperlink elements to download.

The selection process can be saved as a reusable Macro. Free YouTube Downloader. IObit Uninstaller. WinRAR bit. Internet Download Manager. VLC Media Player. MacX YouTube Downloader. Microsoft Office YTD Video Downloader. Adobe Photoshop CC.

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