lights, Global illumination settings with Brute Force and Light Cache engines and shaders determining the . In the final section the camera and rendering settings are being discussed Vray render senttings for interior visualisation. Referenced ruthenpress.info render settings, light settings, and V-Ray textures to make it look realistic. . Ambient light in Vray is taken care of completely via using the Render Setup (F10 ). VRay allows two methods to be used for DOF generation. One of them is One can see how rendering times are almost threefold and how the scene has become much more realistic. Rendered images with different Center bias settings.
|Language:||English, Spanish, Hindi|
|Distribution:||Free* [*Register to download]|
The basic material settings tutorial explains almost all mate- please read the basic render settings tutorial first, so you can start this VRayMtl from the list. Hair Information Map | VRayHairInfoTex Setup · Rendering MDL These tutorials explain how to prepare a scene for rendering under different circumstances. different files according to different scenes, different render quality settings, Material editor can be pulled out from the icon under VRay for SketchUp tool box or.
Included in this comprehensive tutorial are downloads to help you follow along if you wish. Click on image to view tutorial Making of Balcony Pool — day and night by Ricardo Cossoli This tutorial is based on an outdoor day render natural lighting and a night time render artificial lighting.
The challenge I set myself was to assemble both different lighting scenes in the same model and configure all materials so they respond well in both cases both day and night.
In this tutorial you will learn how to set up a simple studio scene, how a professional photographers set up their studio lighting and how to simulate this lighting using V-Ray rectangular and omni lights. Architectural 2D to 3D visualizer and graphic artist Jonathan Pagaduan Ignas shows you how in this great little tutorial he has contributed to us here at SketchUpArtists.
Part 1 in this series can be found here. Nomer Adona continues his great collection of lighting tutorials to help you get to grips with and simplify this often complex process, with some easy solutions to this often frustrating and confusing aspect to rendering. In this guide Nomer checks out Emissve materials to help light your SketchUp models.
Click on image to view tutorial Lighting with V-Ray for SketchUp — definitive guide part 1by Nomer Adona Nomer Adona shows you how, with the basics, to create a realistic lampshade material and how to position the rectangular lights to achieve the right effect for your shade, using up to date releases of V-Ray for SketchUp.
Its a must for those struggling with lighting and those who want to know how the experts do it. There will be more to come in this mini series of lighting tutorials.
Its not about modeling or materials but more about what Steven has learned from his experience with V-Ray for SketchUp. Previously he had used 1. In this tutorial Nomer keeps it simple and gets you into the whole concept of using IES lighting quickly and effectively with the latest release of this SketchUp plug-in.
It is a technique that allows a larger span or range of luminance between the light and dark areas of an image. You can use image editing software to create HDRI images. In this tutorial I will not talk about how to create them but rather how to use them in V-Ray for SketchUp.
V-Ray works within the SketchUp environment allowing users to be able to efficiently incorporate the task of rendering within their current workflow. In this simple tutorial we are going to set up three basic pin lights.
The normal Vray material is the one you will be using most. With only this type you can create anything like glass, plastics, metals, wood, and so on. Below are a few examples of simple materials you can create by altering just a few parameters in the standard V-ray material.
First some plastic and metal materials: But also glass or transparant plastics are super easy to create and render: Besides the normal Vray material, there are some more specialized materials like the VrayLight material, VrayBlend material, Vray2sided material, VrayfastSSS, vraymaterial wrapper, Vray Carpaint, and Vray Flakes.
You can create every material you can imagine with these types or a combination of these types or in combination with Max's texture maps.
Here's an example of the VrayLight material in action. You can assign it to any object to turn it into a light source.
There's even an option to make it a real direct light source so it casts sharp raytraced shadows. Another example, this time the VrayCarpaint material.
It adds a subtle 'flake' effect to the base layer of the material, simulating the look of metallic paint. But it's also a layered material, so you can change the diffuse and reflection parameters for the base and the 'coat' layer individually. For example, note the subtle glow around the sharp reflections of the coat layer.
You can use any kind of map for the displacement, and vray will 'displace' your mesh according to the grayscale info in the map. For example black pixels will not be displaced, white pixels will have the highest displacement. This is similar to bump maps, but with displacement the actual mesh is displaced, so even at the edges of your object you can see the 'bumps'.
You can even use displacement to turn a flat plane into a rough mountain landscape! The image below shows the difference between a simple bump map and Vray's displacement modifier. Both use the exact same texture map. The fur is not heavy on the viewport as it is generated at render time. Fur can be used for thins like hair, grass, cool looking trees, rugs or even a cactus.
The latest Vray version has lots of options to create quite realistic fur, and with todays computers it's not impossible to achieve decent render times too.
Here's a quick example, adding some hair to our fish model: Vray 3. Global illumination is the simulation of how light behaves in the real world. When light hits objects, it gets partially absorbed, and partially bounced off again. Without GI, this behavior is not calculated.
When you add a light source, it casts light onto the other objects and that's it, everything that is not directly lit by the lightsource will be black. Now with GI turned on, light gets reflected from the groundplane and the fish model, and everyhting not lit directly by the light brightens up.
In Vray 3.
Calculating global illumination is heavy on the CPU, but Vray has loads of clever optimizations built in to speed things up. You have full control over the speed vs quality. And a tutorial on the Irradiance Map here. As you can see in the image below, these lights act like big light panels, as you would see in photo studio's.
The larger the light, the softer the shadows will be or vice versa. When used with the special HDRI texture maps, you can light your entire scene with only one light, and get very natural lighting and reflections out of it. The image below is lit with only one light, casting very nice shadows and lighting the model from different directions. With this you can easily setup a sunlight with a corresponding sky texture. The sky texture automatically adjusts its colors to the chosen position of the sun.
This is very usefull for architects to make sunlight studies on their buildings. This will add a lot of features to control every aspect you can control on real cameras like shutter speed, aperture, depth of field, motion blur, lens distortion, vignetting, color balance, iso, and so on