AADA25 Course (Part 1/4) - Introduction to VRAY for Rhino (for architecture rendering)

[Music] hello hello hello and welcome to aad25 bureau course for our lth students where we're going to look into vray right vray for i know so this course is going to be all about just giving you a broad understanding on how v-ray works and what you can do with it and as per usual we'll be doing a small project to kind of get you started with using b-ray so right here what you see on the screen is just a project that i'll be working on and and something that i'll be rendering out but before we begin with this i think we should start even simpler so i will just select everything here and i'll just hide it for a bit right and let's get started from from the scratch so actually where's my grid oh it is showing the grid so let me just see where where the hell my grid is yeah there we go um so the first thing is how do you actually get the v-ray toolbar and so on so some of you might not see this this toolbar here so let me just close it and let's just imagine that actually this needs to be here let's just imagine that you don't see anything that says very on it but you have installed the plugin it's necessary to install a plugin before you actually use the plugin so let's say you have the plugin but you don't see anything about v-ray here then what you do is you go to the render tab here in the top or render toolbox uh you get this drop-down list and you find current render and you choose v-ray for rhino instead of rhino default or rhino render right you choose vray for rhino and then um in your case it might pop up a bunch of stuff right so the only tab that you need that is going to be popped popped up is going to be called v-ray compact everything else you can just close that close down if you don't see anything popping up that's fine as well we can go to [Music] remember where i think it's here so in this top right corner you can see this gearbox icon you click on it or gear icon you click on it you choose show toolbar and then you scroll down like crazy until you see vray for rhino and here you can choose to tick mark very compact bam there we go very compact and then let's just dock it i really like to have it docked here so when you drag it it just docks to the side um right so v-ray v-ray is a physics-based render engine meaning that it's true to reality and in having a physics-based render engine you are kind of saying that let me rephrase when you have a very physics-based engine or when you have any kind of rendering rendering physics-based engine you it's much harder to break it and to make a stylized render something that doesn't follow the rules of reality right so if you're looking for more stylized rendering methods um so let's say you want to do some sort of a manga or anime style renders it is possible to do it with v-ray but it's much easier to do them with other render engines such as arnold or cycles right so vray is more about hyper realistic images so here in this toolbox very compact toolbox the first icon that you see is very asset editor and once you click on it it's going to open it up and this is basically where most of the tools in terms of most of the settings in terms of v-ray r right and then all of the materials all of the lights all of the textures can be adjusted through the v-ray asset editor and it should be adjusted through asset editor let's just kind of have a quick look at it the first thing is this row of icons right here the first icon is materials right now we don't have any materials right we we haven't created any so if i click on it it's just going to ask me what kind of material would you like to create if you have any materials already created it's going to kind of show you them since we don't it just asks us to create one um i'll do that in just a second but that's basically yeah that's a very material editor then we have lights and here when i click on lights i can see rhino document sun is being listed and it is disabled so this icon right here is grayed out if i click on it now it's on now it's off right so by default the sun is turned off right so basically what this tells me is that i don't have any lights in the scene except for the sun and even the sun is turned off right so there shouldn't be any light whatsoever and that is not going to be the case when we start like the first render it's not going to be the case we will have a little bit of light here and i'll talk about that why we have some light there in just a second but according to the lights we should have a completely black view when we render it out then we have geometry so this is like very custom v-ray geometry so v-ray can have proxies i'll talk about proxies in later stages of the project they're a little bit more advanced and it can have very clipping planes so it's basically the same thing as a clipping plane um in rhino only that it's in theory um so so you can render out something that is being clipped something that is being cut and also infinite planes so um a surface that is infinite in size that is also a part of v-ray's toolbox right so those would live here in in the geometry tab then we have layers or render elements this is basically for the output so when you output a render when you kind of save a render you can also save as a separate file you can save all of the reflections of that render within that render as a separate layer that later on you can add in photoshop to kind of increase the effect of reflections so this is somewhat helpful if you want to really go into nitty-gritty of customizing your renders but for this course i think we will be using a few but definitely not all of them it's too many we don't need to look at all of them then we have textures so this is basically if you just uh use some sort of imagery that you downloaded from the internet you know some sort of a image texture it's going to pop up here right so you can kind of look at the files that are being linked to v-ray through here i don't really use it that much i usually access the textures through the materials that actually use those textures i probably should tell you texture and material are two different things a material is a much bigger thing that actually is attached to the geometry and the material might or might not use a texture it's anywhere okay uh so texture is just a small part that makes up a material but the material has much more information incorporated in it and it is something that is directly linked to the geometry right so you can think of it as stages of of of probably complexity for the lack of better word um then we have settings so these are all of the rendering settings that that you will see um and these settings kind of talk about uh what kind of quality do you want to get out of your render uh what kind of camera settings do you have what kind of size of the render do you want to have and so on and i'll come back to settings really quickly um but not just not now just bear with me for a second last two items here are render with the icon i will right now i don't really have anything in the scene so let me just do a box real quick so that we can actually render something out if i click on this render icon here wait a bit it's going to render out the box for me right and remember when i said that there shouldn't be any lighting and there is lighting right it should be uh we don't have any lights and the material is not glowing so why does it render out with lights um well and also there's a gradient in the back well the reason for that is because the environment tab here under settings environment the environment tab is using a texture for the background and that texture shines light in our scene so i can kind of show you the texture but before we do that let me just kind of explain how things work in bury so you can see here background is black and the intensity of the background is set to one so one is like the default intensity so you might think that the background should be black right because it's the color that that's black but no this icon right here that is blue means that there is some sort of a texture that is being used instead of the color right so if i were to tick mark this or untick this that the texture is not used right so this tick mark means that the texture is not going to be used if it's not ticked then the background is going to be actually the the black color right so it's going to use the color instead of the the texture so now if i render it again i can see that my scene is completely black right there's no light whatsoever so the only thing that shine the light was the background i can show you the background here i i have tick marked this i can show you the background here by clicking on this icon wait a bit and it's going to kind of show me what kind of a image is being used for the background so this is what's called the hdri image a 360 degree image that is wrapping around our scene right so it's this kind of a you can think of it as a sphere as a spherical projection right that is shining light and are seen from all of the sides so that gradient that we saw was from um yeah it was from this image uh if i render this again you will actually see so see this gradient here so this is like a portion of this image maybe somewhere here or something like that that is being stretched out to wrap around the scene right and that this is how it works um right so that is basically it oh by the way um there are these two icons here this icon right here and this icon right here that expand the tool set to to the sides i will talk about those in just a second just know that they are here and you can expand or contract them right going back here so that's the background right that's that's basically how it works uh for this particular example and and continuing working with this i will be probably disabling the background and just using like completely black color so that we start with no lights whatsoever because i will want to explain how the lights work and and so on so in just a second we will begin doing that okay so let's start with the lights that's the first thing that i'm going to do well actually i'm lying the first thing that i'm going to do is create a very generic material so when you don't have any materials assigned to the geometry it's going to be rendered out as completely non-reflective let's say not shiny and completely white right so this like texture that is currently assigned to this box is completely white texture right so i don't really want a completely white texture usually you don't want completely white color or completely black color on your materials because there's no geometry out there or in reality no materials in reality that are completely white or completely black so instead let's do a gray material and to do that i will just close this render box here and i will go to materials i'll choose the generic type so the generic type of material is basically um 99 percent of the materials are can be created through generic type material one percent will need to be like a massive two-sided uh subsurface scattering and so on so one of these we will kind of look at into this in a bit but for now let's just do a generic one right so i create a new material generic by the way afterwards the next time you want to create a material it's going to be right here create asset materials and here you choose generic so that's when you add another one but basically we have generic material here i'll double click on it on its name and i'll rename it to box one whatever box one right so this is our our material that we have created and i will select it oh sorry select the box right click on the material and i'll choose apply to selection that's it it has been applied and the the thing is that we can't really see what kind of material we have which is not nice but this is where these handles on the left and right hand side are come in handy so the right hand side handle when i click on it it will expand the properties of the selected material let me drag it down a bit and it will show me all of the different settings that i can change so i can change the diffuse which is basically just the color i can change the reflection which is the reflection refraction is basically basically transparency but the difference between reflect uh refraction and opacity is that uh refraction actually changes the direction of the light when um when light is passing through it so you can create lenses and stuff like that with with refraction while opacity is just this kind of a ghostly you know ghostly transparency close ghostly effect so refraction is physically accurate transparency uh and then you we have code opacity and blah blah blah we'll we'll talk about these a little bit later so color right let me render out this the scene again you can already see the color here right so the color changes and if i change the color to red and render the scene again i can either click here or here this mirror it's going to turn red right so that's easy but notice how i constantly need to click on the render button to get a new view well you can automate this and the way you do it is if you go to settings in the top if you go to settings and you choose render here here you can you can see you can see that i want to use interactive rendering rather than regular you know typical rendering so interactive is used for um adjusting the scene and kind of making changes and seeing in real time how do do those changes affect the scene so let me just turn it on i've flipped the switch by the way you can only turn it on when there is no rendering running right so so you need to stop the render before you can actually do this and then you can see that the icon changed here so there's like a figure or the arm near the teapot and there's the whole story why the rendering the render icon is the teapot it comes from 3ds max don't worry about it it is a teapot okay so you click on it and now it seems like it's the same thing but if i rotate the scene my render will automatically kind of follow follow along and i can really see now the environment that i'm dealing with right okay so now let me go in here in the environment and turn off the background yeah so this is completely black and i don't see anything so i will just stop the render for a bit no need to look at the black screen uh i just know that when i turn off the background there's no more light left and i can kind of continue working on on the scene in rhino creating lights so let's do that well actually red is a little bit obnoxious so let me just do like middle gray something like that okay lights so lights are created not through the v-ray asset editor so i can close it for a bit but rather they are created through this toolbox here and here in this in this toolbar if i were to go through it from left to right we have the v-ray asset editor so the big boy where everything is kind of all of the settings live here all the materials live here then we have the render icon and since we i have chosen to do interactive rendering this is going to be interactive render icon if you want to do like a proper render you can expand this and choose just the proper render icon here just the teapot without the arm then we have batch renders this is when when you want to render out multiple cameras at the same time you don't we will not do that in this course so don't worry about that part the v-ray frame buffer is basically that window this is like the fourth one yeah that's basically that render window so if you accidentally closed it you can always open it up here so then there is a light generator window uh if you have an older version of very you will not see this if you have a new version of yuri you will see this i will talk about this um in in an hour or so but for now let's skip over it and then you have the rectangle tool the sorry rectangle you have light rectangle tool right so this is like the default v-ray light if i expand this i can see all of the different variations of how the light can be created some of them are useful some of them are not so the one that i mostly use is the rectangle light tool uh sorry the most the one that i mostly used for product rendering as well as for the interior space rendering is the v-ray light tool but in some cases you kind of want to use like sphere light and and whatnot so i will kind of show all of them um as well but let's start with the rectangle tool right a rectangular light tool i'll create it and it's going to ask me to just draw draw the rectangle right so i'll just draw it like that just makes a rectangle which has a arrow sticking out of it and that arrow shows the direction of the light right so i can come on and rotate it move it up maybe we can have it vertical so you work with it just like with any kind of a geometry in rhino something like that should should do the trick and now if i hit the interactive render icon here i can see that the light is indeed shining on on my box it's nothing too fancy oh by the way you can't see the back side of the light light source you can only see the front side that's just i think that it does yeah so so it does work um there are settings that i can change in terms of the rectangular light if i go to v-ray asset editor and go to lights i can see this main rectangle light tool appear here and i can choose to rename it so i can name it as focus focus light focus light i can expand this uh right hand side part and here i can change a bunch of settings uh of the focus light so i can change its color to something like pink i can change its intensity to either higher it or lower it depending on what what i see here right and in the render tab so if i'm currently rendering it i can change the intensity to 500 and now it's a nuclear explosion or i can change it to five and now it's super like dark right usually you want to stick around the 100 intensity and instead of changing it here changing the light intensity itself you want to go into settings go to camera and change the exposure value of the camera rather than changing the the light intensity think about it this way if there is if you have sunlight right in your scene so sun is shining on your model and you want to go in there and change and then let's say the render is too bright and you want to go in there and change the the brightness dim it down you don't in reality you don't go and change the intensity of the freaking sun you change the exposure of the freaking camera right so that's exactly what how we're going to be doing it uh here with uh in in theory how we're going to work with it so if i change the exposure value to something like 8 i can see that it becomes much brighter if i change the exposure value to something like 12 come on 12. it's going to be darker right so this this number right here corresponds to um to exposure um exposure compensation so you can mess around with the brightness of the scene here under settings camera exposure value all right coming back here let me stop the render for a bit so we have one light source what if i want to do another one right another one of these well i can just create another rectangle rectangle light like so i can take it i can rotate it move it up go to settings find it call it uh flash or not not flashlight but um how do we call it um goddammit there's a rim light rim light you can call it that i can give it a little bit of a bluish color here so i can either change the color here or change the color here doesn't matter and i can give it intensity of 200. or maybe 150 maybe this one can be 75 and that that is 150 so much more intense than the focus light i can click on render again interactive render again and now i can see i have two two light sources right uh so that that's another way of how to create uh light not another way but that's how you add more lights you just keep creating them you can do what you can also do is you can take this light and just copy it either by using copy command or holding down the alt key and dragging it you can make a copy of it and let me just rotate it so maybe drag it out here rotate it like so so you can you can make a copy of it but keep in mind that this and this will be treated by viri as the same light so you can see here focus light is still uh there are still only two lights here that are being registered in v-ray asset editor even though i made a copy here so these two will share the same settings right so if i render it out and kind of take a look at it so there's one light here and one light there and both of them are going to be kind of this pinkish color um and and both of them have the same settings so if i change both of them like intensity to 10 both sides change at the same time to fix this what you can do let me stop the render what you can do is you can select the copied light go to properties to its properties and here there will be an icon that says well if you don't if you only see this then click on this light icon here like that so this is the light properties and here you can hello oh no no no did i mess it up that's a bug yeah that's definitely a bug made of booboo that's fine and that's also fine anyway so don't mess around with those that that is bugged but just if you select the light source and you go to properties it will give you the v-ray settings of it and then you just click on make unique um and it's going to kind of make this into a unique light and now if i go to asset editor i can see that there's focus light number one so a copy of it created so i can see focus light um the second whatever right and i can change this to let's say 25 and give it also like let's see a more aggressive blue color render this out and now i can see that there's pink here there's blue light coming in from from the copied one and that then there is this rim light coming in from the back right so i have three lights okay so that is done that is done um we have three lights let's make more cubes so i'm just going to take this cube and kind of scale it down a bit and make a few a few copies of it maybe grab one more uh create one more cube here as a table something like that just kind of messing around with it getting some sort of a testing place working hit the render button this is how it looks like right so you can see that since i have been copying these cubes here uh they inherit the material from the original right so all of them have the same material while the one that i've created the bottom one is pure white right that's because it doesn't have any material so i can create a material for it and since we're not dealing with materials right now i'll just use the same material the same gray material so i'll just apply the box one material two at the bottom and now all of these have the same same material here okay um so that is rectangular lights let's look into more options so the next one in this uh lights drop down list is sphere light so sphere light tool basically once you select it you just need to draw out a sphere right it's going to create this little guy here i can move it around as a sphere and basically when i hit the render button there there's my my sphere light right so nothing nothing too fancy but i can go into settings lights or or acid editor lights find the sphere light and i can change it since its intensity to like 500 now it's it's an explosion i can change its color to green like something beautiful green and now it's kind of shining horribly oh by the way when green is when green light is over exposed it shifts through the hue colors to become yellow that is a little bit more advanced but it it it is how it is it is how it works right um so that's the thing that's i think that happens um let's come back to intensity of 100 maybe even less 50. we have our green green sphere floating and shining light there's not much to do about it um one thing that i haven't talked to you about is these rectangular lights maybe you don't want to see them right maybe they're in the way so you can indeed hide them uh in the render if i go to focus light for instance and i go to options here in the bottom of the focus light there's a bunch of options that i can change for this light but the one that you really want to take care of is the invisible invisibility so if you tick mark this you can see bam immediately disappears if i untick it it's back here so invisible means that it's not going to be rendered out in your scene same thing here options invisible rim light options invisible and i can do even do this with sphere light as well invisible so so no lights are being shown so actually i want to see the sphere light that's how it works close that stop that move that and maybe place this somewhere here so that it's not too much in the way more lights so the next one is a spotlight and this one is actually something that i constantly well i don't struggle with it but it's something that has an additional setting that i constantly need to change and i have no idea why is the other setting not default you'll see what i mean so spotlight basically works as if you were drawing out a cone shape so if i click once then it's going to ask me to draw out a circle okay and then it's going to ask me yo where where do you want your top of the cone to be right so i can kind of i'll just click anywhere it doesn't matter it it's going to lay the cone flat that's whatever i'll just then select this this light tool here hit f10 to get the control points or you can type in points on and then i can mess around with it and kind of place it uh anywhere i want so let's say first of all it's going to start from let's see here this matter and then i'll just grab the center point here and just move it to the let's say to this to this box here something like so maybe higher up something like so right so that's our spotlight and now if i hit render i can see that the spotlight doesn't work right it doesn't shine light and this is uh why we need to change one setting about it to make it work i'll go to very asset editor spotlight i'll select the go to light spotlight tool expand it and here you can see it's super narrow like and then super like you barely can see it that's because of the decay so over over distance in millimeters it decays by a proportion of inverse square by default meaning that when you are super close to the light source it doesn't well it does shine light but even if you move away by five millimeters from the light source it decays drastically so it reduces the intensity drastically if instead of inverse square we just use inverse then this is much better and we can can kind of see it here but not really so let me just increase the intensity to like 500 and now you can definitely see it right so this is something that you need to be mindful of when dealing with spotlights then there's also a few more things about the spotlight so there is this circle inner circle here in the base which kind of talks about the hot spot so this is where the light is 100 focused and then there is another circle so this is the fall of edge so basically this is 100 this edge is zero percent and it creates a gradient of intensity from a hundred percent to zero right so it kind of tapers off and you can kind of see it happening here right from something that is quite intense to a fall off to zero um to fix that or not to fix that but to work with that you can change the cone angle and pin number angle so the cone angle right now is nine so if i say that the cone angle is actually one or well one you can't really see one uh let's do five you can see that the inner hot spot becomes much much smaller let me go to wireframe view so the inner hotspot becomes much much smaller with five degrees of angle for the light i can change this to back to one and you can see that now the hotspot is super small in contrast 50 will make it super wide right so i'll just do like 10 and that's fine and then p number is something that is added to the hotspot so this this angle right here that's added and it's five here but if i change this to one it's super shallow right and super hard edge if i change this to [Music] 10 it falls off for quite a while right so it's much softer so these are like two two settings that you can mess around with and then change to your liking usually spotlights i don't really use them that much but sometimes you need to in this case well in this case i'm just going to delete it and not not work with it um next up we have ies light tool forget about it no no no no not for this course then we have point light tool point light is [Music] it's basically like a sphere light only that it's uh infinitely small so i would suggest using sphere light instead of point light yeah don't use that dome light uh we will be i will be showing you the dome light tool in later stages it's basically a light that wraps around your scene just like the environment that i've shown you it's a light that wraps around your scene and kind of uses an image to project light into your scene so you can have some sort of a hdr image i'm going to talk about hdri images later on um that shines light um later later convert to mesh light this is a pretty cool one so let's see let's do something something about this um i will just grab a curve tool and i'll just kind of do some some sort of a weird thing here something like that maybe grab these plug them in pull them in rather like that pipe this uh i'm sure one by one yeah so i have this pipe right i want it to glow a neon pipe i want it to glow and be all neon and stuff oh and it even crosses the box we'll we'll investigate what happens when it crosses the box so i will select this pipe i will go to my lights i'll choose convert to mesh light click that's it it's done now it's a light so that means that the settings for this pipe can be located here where it says mesh light i will just rename it to pipe or well pipe doesn't really pipe light i applied and i will say um neon pink of course intensity a hundred of course we want it to glow like crazy and let's render it out bam neon pink glowing thing um the intensity of it is not that great so let me make it a little bit bright yeah that's good so if you make it a bit brighter it's going to have larger intensity because dark colors don't shine light that well that's just the basics of it so we have our neon light and it does work with intersections quite well as well um so that's that's cool i guess that's cool um blah you can also kind of make it invisible and whatnot if you want to you know in the in the render right a bunch of lights what's next sun okay sunlight uh let's do sunlight once we are going to start doing the actual building uh rendering out the actual building because sunlight in this scene is going to be ridiculous it's going to look stupid and directional light is basically sunlight but with more control you don't really want it in this case directional light is useful when you're trying to render out like a the moon for instance you know some some sort of a environment in the moon uh then directional light is actually quite quite useful and you can do some some really cool stuff with it but but for a year whatever so those are lights let me just grab some coffee i'm choking here with using just rectangular lights sphere lights and mesh lights you can light any kind of scene well okay spotlights are also quite useful in some cases but with these three you can light almost any kind of scene in any way you want really really nice the only thing is simulating sunlight and for that we will just use rhino document sun but that's that's layer okay okay materials let's jump into materials right so i'll go to your asset editor and let's we have so many boxes here okay let's let's start working with materials so first things first you can have how do i explain this you you can have a material library and you can use a default material library so when you're in the materials tab and you click on this icon here uh there's this left hand side icon here and expand it it's going to open up a material library for you which which has materials you expand those and these are all of the different kinds of materials so you can find you know stuff that you might want keep in mind material library is quite shitty and in its quality it's not that that good it's good for kind of basic checking uh of you know how the thing is going to look like but for final renders i dislike it quite a bit it's much better to create your own and i will be showing how to create your own materials but for material library the way you work with it is basically select a box or or not don't even select a box just go to let's say carpet sure let's do carpet carpet drag it in here now now this is kind of loaded into your materials slot and select the geometry on which you want to apply the carpet apply to selection you have your carpet click the render button carpet is applied here and you can see that the tiling of it is of no is is bad right uh it's it's way too big the the texture is way too big so this is where we kind of start talking about um using the correct uvw mapping or the geometries and this is a big thing uh so just focus up a bit if i select this shape right now and i go to its properties and i choose texture mapping here i can see this uh list here of stuff that i can change in terms of its texture mapping how a texture is applied to to this particular box and here are all of the different kinds of ways of how a texture can be projected on my shapes right so in most cases in architecture you use box mapping which basically just takes your geometry takes a box uh imaginary box and it just projects the texture from the size of the box onto your geometry so it wraps your geometry with a texture as if it was projecting it on from a box that is surrounding the geometry so that is going to be box mapping i can uh i still have this selected right so i can click on apply box mapping here like that it's going to ask they start asking me questions right so the way i like to work with this is i like to just hit enter until it stops asking me questions so enter enter enter that's it three enters and and you're good to go so basically to quickly explain what three enters did was with the first enter i said that yo i don't want to draw a box that's whatever just give me a bounding box of the shape right just just give me that right that was the first enter the second enter was uh yeah the second enter was okay rhino said that i am going to give you a bounding box shape how would you like it to be roti oriented and basically i just said yeah oriented according to world xyz coordinates right so it's it's what it's done right so the the bounding box is located or rotated around the the coordinate system of the world and the third one was is the box capped so does it have a top and the bottom yes yes it does so that that was the third enter so now we have like this imaginary box imaginary texture being shown uh or or imaginary box that projects the textures on our shape and here we have a bunch of settings for it so type is box yes projection closest point whatever we don't really care about most of these what we care about is the xyz size these three icons right here and what i like to do is i like to lock lock them or wait yeah i what i like to do is i like to click on one one one which basically let's call it it zeroes it out right to to the default settings i like to then lock it and change one of these to the size that i want so think of it this way if i go to my carpet here there is one image this image right here that is going to kind of be repeated over and over um it's not an infinite image right so once the image ends it's going to be repeated over and over so with uvw mapping it with the size here what we say is how big in millimeters is the image in real world right so here i have a pretty damn small model um it's just let me just check distance 71 millimeters right seven centimeters so of course the texture is going to be too big by default that's that's natural but what i can do is i can kind of lie a bit and i can say yo okay so the texture that you have can you just repeat it every uh 35 millimeters so i just write 35 here and since it's locked it kind of applies to all of these um and then if i hit render you can see that the texture becomes uh tiled properly well not properly because it's now way too small according to the reality of how things are but it is styled um in in in a correct way and on the other hand i could say yo tile this every meter because that's um i i know that the size of this image is one meter because uh v-ray um v-ray materials have these this uh the text this text by in the names of of the materials so that you know um how big the material actually is so 100 centimeters a meter so i could say okay actually it's a thousand so this is how it looks like you know in reality when you have like just a seven centimeter square of a carpet that's bad let's come back to 35 all right so that's that's how it works uh and that's the texture uh let's just find the better one because god damn the carpet is is a bad example um i'll just use concrete i think oops concrete concrete flooring sure yeah let's just use concrete flooring this guy right here drag and drop it in apply to selection and the tiling is going to be like we didn't change anything about the uvw mapping so the tiling we we don't need to do anything else with it it's going to take now that the concrete texture is going to tile it instead right this works this is fine that neon tube i will need to delete it though it's a little bit in your face for these tests okay so you have concrete here let's create a few materials for these boxes here and actually one of these boxes i'll just delete and create a sphere instead just so that we we have some sort of a different behavior in in in the geometry in terms of the geometry so first things first let me show you how to create materials rather than just get them from the library because again the library materials are kind of crappy you saw the carpet and i'll just delete the carpet as well uh so i choose create asset i go to materials and i'll choose generic material because that's where i want to investigate more generic and this one i will call um reflective black right reflective black and who's going to be my test subject this box this box is going to be reflective black i will expand this material and i'm not rendering i don't really need to render it right now i will apply the material apply to selection so it's right now these are kind of connected and i will work on the material by looking at its preview here rather than the render because this is enough for me to kind of get the basic understanding of how the material is going to look like the first thing is black reflective black right so color i'll change the color to black no not really remember what i said before pay attention it can't be black right i need it to be almost black right so this is black this is almost black if it's pure black it's not gonna be accurate there's nothing that is like like the vantablack the blackest color that humanity has ever made is not pure black right the the closest thing to a pure black color is actually the sun if you don't believe me read up on that um in reality like that sun as as a as a star that that's the thing that's closest to to being black a pure black color it's just that it's very very hot anyway reflection so we have almost black color and then in reflection i can work with these reflection settings to make it glossy right so the first thing is reflection color so let's talk about this for a second uh if reflection color is black it's the geometry is not reflective at all or the material is not reflective at all if the reflection color is white the material is fully reflective right if the reflection color is red the material is coated in a special it's either a uh metal that has this kind of a um reflection or it's coated in something that has this kind of that has this kind of reflection for instance think about it as glass toys right those are those have that kind of coat to to get nicer colors but most of the materials out there they don't have a color to their reflection except for metals and glass right so i'll just say reflection color pure white you might think if it's fully reflective why is this not a mirror and that's a good question the reason for that is because this is using what's called the fresnel reflection module um and and to explain it really bluntly every material out there and you might notice from physics every material out there has an index of reflection as well as index of refraction that index is basically at what angle does the light leave the material when it's bouncing off of it right so by default this is set to be 1.6 fresnel and 1.6 is basically glass kinda but it's definitely not mirror mirror is uh i don't even remember the mirrors ior because there's a much better way of how to make a mirror and it's basically just saying yo would you not be physically accurate and not kind of calculate friendly reflections and just kind of give me a full on reflection so you untick this and it's a mirror that's how you do it um let me take a ticket back and show you one more way of how to do it so if renee reflection is turned on i can still go to metalness here and i can turn on the metalness of the shh shape why are you not why are you no working working hello metalness wait sorry just oh yeah with metalness i still need to mess around with that yeah with the ior ah never mind never mind ignore that so metalness is zero it's just fresnel if you want to fresnel turned off if you want a mirror yeah that that's a faster way of of of doing it uh one more thing so when you don't have um when you don't have a fresnel turret off there there is like a 1.6 glossiness which is close to glass um reflection not glossiness reflectivity that is close to glass reflection glossiness this this parameter right here um tells you how how blurry the reflections are going to be so here you can see that it's super sharp right if i turn down reflection glossiness to 0.6 0.6 now it's closer to being matte or this kind of shimmery shiny material right if i turn this to 0.9 [Music] it's somewhere in between right it's a little bit blurry but not too much so this is reflection glossiness in reality you don't really have materials that have reflection glossiness lower than 0.5 um i mean if i do 0.6 it's going to be like this this really weird thing right here which is kind of almost mad but not really matte and it's all weird so usually you work with something between like typically you work between 0.6 and 1 right in that range um in some in some cases you work with 0.5 but that's really niche um so i will just change this to 0.8 something like that so it's a little bit kind of glossy um and then kind of talking about metalness if i turn this on this will behave like a mirror metal if i turn this off this will not be like like a metal um we'll talk about this a little bit later but for now this is uh this is what kind of material we have and this is applied here so let's just render it out and see what how it looks like yeah that it looks exactly like we expected expect it to look actually just to make it a little bit nicer let me apply it to the sphere as well because you know spheres are nicer like the reflective material the reflective materials look nicer on spheres there we go so that is done and if i try to keep it for for longer it's going to be better and better but it's never going to reach a high quality render level because this is an interactive render it's not meant to make high quality renders it's meant to show you what's up what you're doing interactively so that is our reflective black let's create one more material generic and i'll call this one reflective or refractive let's let's do refract refractive blue so i want a material and it's going to be our sphere as well i want a material that is like glass or let's just call it glass blue that's going to be better glass blue i want a material that is glass and it has a blue tint to it right so the first thing that i do is i turn the color to completely black so remember when i said that you shouldn't have a color let's just apply to selection just in case uh where you don't ha where you never use a color that is completely black here i do so what joking they're the reason why i'm using the black color here is because it doesn't matter because glass is going to be fully reflective and fully refractive right that's why it doesn't matter so let's go into reflection and make it um fully reflective done so you just change the color from black to white and it's now fully reflective and maybe the glossiness i'll just bump it down to 0.95 just to give it a little bit of shimmery right nothing nothing is perfectly glossy so 0.95 i think we will give it some some nice effect uh so once that is done it's not a metal uh 1.6 iors is great we don't need to do anything else here let me expand the refraction tab and here i need this to become refractive right well i just make this white that's it you have glass you have successfully made glass if i render this out that's how it looks like and it's let's just find a nicer angle is there like a nicer angle and i just kind of look at it from the top yeah that's good enough so it's basically like a glass ball right and reflect a reflective kind of refractive kind of cat catching catching a bunch of stuff inside of it it's nice it's just a nice little little ball um but i said that we want it to be blue right and this is not blue this material is not blue so how do you make it blue well that's the fog color you just change the fog color so the way i do it is you just choose you click on the box here and you find the color that you want and probably something like this and by the bing bada boom it's blue maybe it's a little bit too blue so i just go to fog multiplier and i change this to like 0.1 so 10 times less and now it's slightly blue i click to render render it again it has a small bluish tint to it now so this is how you make uh how you add color um okay important thing i know what you're thinking oh my windows will be a little bit blue no no no they won't please don't windows don't have a fall color even if they do you use something like 0.02 like almost no tint right but but they they shouldn't have any any color because it's gonna look super weird when you look through the window and everything outside looks blue um okay they're they're very very subtle in that regard so that's our glass uh break time actually no uh let's let's continue i don't i don't want a break um so we have glass we have reflective black material let's do metal so notice how i'm not dealing with textures yet and i'm not dealing with uvw mapping yet that is on purpose when you don't use an image per se or any kind of a texture that needs to be tiled you don't need to deal with uvw mapping and there's like a whole whole workflow out there where you can create any kind of a you have it here just a second where you can create any kind of material without actually using textures and i think i have it just bear with me for a second yeah for instance this uh this car project right here so um this material here um that that i used didn't use any any textures so basically when when you look closer into it all of this is just generated automatically in v-ray without needing to use an image right so so these bumps and this rust and these scratches all of this is just basically noise automatically generated noise rather than rather than a texture but this kind of oh sorry i lied so there is the dust is a texture but the dust is only on glass but this kind of approach requires you to do a lot of um let's let's call it next it is next level that that you would need to take to actually not work with textures and and in most cases the time that is needed to create a material that doesn't use textures but rather generates a texture automatically is much longer than just getting a texture and getting the uvw mapping right so there's there's a trade up there let's create metal so open up the create a new material again generic double click on that metal uh copper let's do copper so metal copper right for this i will actually need to go in here ior table that's not table index of refraction table i'll open up here well probably that that's probably gonna be fine oh my god um gold gold is 0.47 that is weird steel 2.5 oh this is alphabetical i'm stupid copper 1.1 but that's weird 1.1 is super small uh four four four for a metallic piece well let's let's try it let's try it out either way one point one so metal copper uh you will be the the copper guy um expand that this is not metal copper there we go so color of it how does this work now i'm thinking i think the color of it is going to be super dark and close to being kind of brownish brownish color something like this then reflection of it is going to be full on reflective like that so it becomes just kind of weird it looks weird metalness of course it's full full on metal reflection glossiness point nine i think this is just uh like the that point nine part is not important uh reflection color though is is the thing that is important uh so i since this is metal and it's copper if we take a look at how it looks like uh copper [Music] so it looks like that right that's that's copper so brown and it does have a brownish orangish reflection right something like this so that means that the reflections here will never be white it's going to inherit the color of the material so i will go and choose [Music] i think it's warmer no no it's not now that's bronze that is closer to copper and this one needs to be a little bit like that i'm not going to spend too much time on it but it's something closer to this and then ior i think copper was 1.1 right something like this so that is copper right and it ah you know if i had more time it would be nicer but basically that's copper um then i think i have already applied it i can render it out yeah that's that's a that's a copper block right there so we have like three uh three different materials here there's there's more than that that we can work on um but i i think we need to move into action the actual project and it's gonna be nicer to work with the materials in the actual project rather than in our test bench here so finishing thoughts in in this regard are um i think finishing thought rather singular not plural if you have a bunch of boxes and you're trying to render them out and let me just uh delete and delete the sphere and instead of the sphere this guy has the freaking um glass so you have one box that is uh reflective black one box that is glass one box that is copper and you have a bunch of lights and then what not going going to town i'll delete the sphere light so only three lights are not only but three lights are shining on it um and i render this out this will look super fake in that regard and actually this this could be less glossy now when i think about it so let me just apply the box one material not the concrete flooring but box one material on it yeah this is not gonna look that great to say the least right it's not gonna be that that nice and that's you know reasonable uh that that it's it's not great so how do you make it great well the one thing that is very important to understand is that in reality nothing has perfectly sharp corners here nothing has these kind of edges that are perfectly sharp everything if you look at your table edge or any kind of edge it does have a small fillet or a small chamfer one of those so if you let is rounded chamfer is straight straight cut but it's never like a perfectly sharp edge even um edge of a blade is never perfectly sharp because it would uh always chip off you know if it always came kind of came down to one atom and i would argue that atom also has a diameter meaning that it's still not a singular point anyway so these boxes are not physically accurate let's say it like that and how do you make them physically accurate well you just use chamfer edge casually chamfer edge uh you choose what's the next chamfer distance so i will click on that next chamfer distance and i'll say well here the boxes are super small right these are like millimeters and if this is seven centimeters these are like one centimeter big boxes so i'll just say my chamfer distance is going to be like 0.1 millimeters like super small it's all it's all proportion based then i select all of these hit enter enter again and it chamfers them and the chamfers that i see here are a little bit too big still so let me undo that and do chamfer edge again 0.05 twice two times smaller like that make sure that all of the edges are selected enter enter okay so this is better this is what i want to see so you can see that it made this kind of chamfer here right now if i render this out it's a little bit better because you get this bling on the edge right so those chamfers start catching light and as i'm rotating around this well okay that that that's a bad angle right there come on catch light oh my god just catch catch the freaking light man oh yeah okay got it so the reason why i'm struggling with this is because this is super intense while the other ones are less intense so well you can kind of see it here so it's catching the edge is catching the light and it's slightly glittering so this becomes a little bit more accurate what the hell is going on with the box here with this guy here you're being weird let's investigate delete everything except the box take a look at it nah that's fine that that is correct that's just freaking out because there's not not much geometry to to reflect so it it's all weird and stuff either way that is a small little thing a small little detail that is easy to add that really helps you with with your rendering i will delete everything now stop the render here show so this is my building thing proposal project and we are going to render this out and we're going to make it nice so for for those of you who are lth students those of you who are loon students the the task for you was to find a movie that you like analyze the the scenes for it and uh get an understanding or rather get an aesthetic direction that you want to take with your renders in my case i will not be doing that because i i don't want to let's say i choose blade runner right and i do this this kind of a blade render aesthetic on this kind of a building then in my experience half of the students will will do freaking blade runner right and it's i understand that now i mentioned blade runner and all of you who thought about doing blade render will not be doing blade runners so please still do blade runner if you want to um it's a slippery slope it's always a slippery slope anyway i will not be following a movie aesthetic just because i don't want to [Music] influence the aesthetics that you will be making so i'll be making kind of a default style you know realistic render from from this a little bit about the model so everything most of the things here are just nurbs services policy services and whatnot i have everything in layers why are you layer two no objects okay okay so i have everything in layers and those layers are color coded so i have the base layer which is this guy right here then i have the exterior landscape layer which is this guy right here i have paths zoom in here i have the terraces i have the glass so glass panels uh one thing that i didn't note about the glass is this will not work if if you just have a glass as a single surface without any thickness glass will not work it needs it needs to be um let me just show you let me just show you so i will start rendering all right we need light uh light light light light light let's just do a quick little rectangular light here just a big boy looking down there we go light um and let me just do planner surface create a planner surface lop it in here um just bear with me for a second you don't need to follow along for sure so that light i want it to be invisible so that it's not in the way options invisible there we go and for the surface i'll use the glass blue material that i already have apply and i'll just kind of try to take a look at it and you can see how up how messed up it gets right so this is because it doesn't have any thickness but if i now take the surface and use either extruder offset doesn't matter i'll use extrude surface to give it thickness well just a little bit let let's say uh 10 millimeters so one centimeter of thickness and delete that and now i need to apply the material again of course now this is glass right you can barely see it how can i show you freaking glass come on you can kind of see the shimmering here can you [Music] the shimmering here that that belongs to the glass oh my god i didn't think this true anyway thickness matters thickness really really matters so um please if if you're if you have any glass elements thicken them up make sure that it's closed boxes so back to here i have my all of my glass uh elements um in this layer here and let me just create quickly create a new layer and call it helper just so that i can have it somewhere here uh let's just move it up so that's going to be my other step is going to be located in this layer so glass roof oh by the way speaking of roof if i zoom in here you can see the chamfers i i'm hoping that the reflection will kind of create this kind of shimmery effect for the roof so that's why i'm kind of chamfering it through and through um so that's roof then we have walls we have railing like here railing we have beams we have slabs we have furniture which which was disabled but this is basically the furniture uh i'll show you how to get furniture from from the internet so don't worry about that but this is just basically a few meshes that that i've got furniture uh stairs just a stairway nothing too fancy but this is like the focus of this uh this render is going to be exterior not interior we are going to do an interior render as well of course but we will not be looking at the stairs too close so the detailing level is absolutely fine for for this particular purpose and they are correct in the way they are made then frames that's the window frames the last thing is doors oh no not the last thing but the doors and then we have the shed as well so this is like just a additional structure uh for the cars and i believe a ping-pong table is going to be here if i remember correctly and it even has a nice slope here so that's a nice nice little detail for water flow anyway so that is what we how the layers are are done i really suggest you do a similar thing with your model uh just to get all of the other steps running quite quite easily so now let me set up the light so okay no not the light yes the light no not the weight god damn it um so the way you work with with the model there are like three steps there is light material and camera right those are the three main ingredients to making a nice render so the question is what happens first what happens next and what happens last um the way i work with it is usually i first create the light no sorry i first create the cameras the views then i create the if i create the cameras i mean find the position of the camera or for for the different views then i create light and only then do i start working on the materials because light is super important and when you don't have light in your scene and you're working with materials and then you add light the output might be something that you don't don't really like the you don't really want um oh camera camera is dying wait in your second year ah come on don't die on me eos webcam utility so we are going to start with with the with the camera speaking of which right we are going to start with with the camera rather than the light and then we will move on to creating the light later on uh please work it does work please work yes okay so cameras the way you create cameras is by using uh named not named sections goddammit i can't write uh named view named view command enter it will open up this uh box here where all of your views can be placed so i'll just kind of anchor the box here down here just for now so this is where all of my views are going to be located and right now what i'm going to just kind of do is find the nice nice views that that i can work with and for that actually uh i do need to see the render right the overall image of the render because this might not have the correct proportion so there are like steps in in in creating proper starting views so i'll go to v-ray asset editor right here i'll go to settings and the first thing that i'm going to change is the proportion of the render so this is the first decision that you make about your what kind of renders you will have at the end so it's under render output and here you can see image size in pixels right so width and height and by default it's locked to aspect ratio of 16 by nine which is the aspect ratio of your average screen bearer screen so for instance 16 16x9 is used by youtube vimeo by most of the tv shows out there and so on movies on the other hand use aspect ratio of 3.225 sorry what am i saying 2.25 by one uh or what was the other one 2.39 by one one is called anamorphic camera i think let's see um anamorphic anamorphic lens yes anamorphic lens format it's a 35 millimeter lens and the format for it [Music] is now that's gonna take too long i'm not gonna not gonna waste time basically uh cinema aspect ratios like that like that and you find here uh that's a very crappy one here there we go uh so we have like um 16 by nine so this is like the hdtv uh proportion and then we have one point eight five by one that's the widescreen version and then we have two point three five by one that's the cinemascope version and the one that i said the two point uh two five by one is the anamorphic lens version so my suggestion would be not to go full ham and go 2.35 by 1 because that is a very broad aspect ratio but 1.85 by 1 i think this is pretty pretty nice it's a little bit wider it's a little bit nicer so using that i think is it's gonna be pretty cool uh but it's up to you you can do four by three you know the old old tv proportion as well so the aspect ratio is changed here under aspect ratio if you drop down this you can see square picture landscape so these are like the the basic ones but you can use custom and that's the important one so if you choose custom here you can change the aspect width and height so i can say let me show you 2.35 by one right and click render oh right i i can't i can't show you because we i deleted the lights goddammit but the proportion of it is going to be like this and it's a little bit too white for my taste so i'll turn it down to 1.85 by one so the proportion is going to be like like this and it's a bit better right um let me actually go into the environment tab and turn on that texture that we used right at the start remember i'll turn on that texture and click the interactive render button uh just so that i can see my geometry right and i don't need to mess around with the [Music] with the lights for now at least so i get this kind of image here this kind of preview of what what i can expect and i don't really need to see this what can i can expect and now what i'm going to do is i'll just rotate around my my view here and try to find a nice uh nice composition for this to work so i'm not really looking at the site itself sorry at the 3d model itself i'm looking at the render when i'm trying to find a nice view something like that maybe so it's going to take a while as you can probably tell right now but i think this kind of a composition is fine maybe there's one thing that i want to kind of show you how to change as well um and that that thing is called camera lens angle or not the angle the millimeters so camera lens millimeters the one that i have here actually i can show you with this damn there we go oh beautiful i can show you with this so this camera lens is between 18 and 55 millimeters right so if i if i do this oh my god no no if i do this this is 18 millimeters if i if i do this this is uh no sorry this is 18 millimeters so it's zoomed out and this is 55 millimeters let's not look at my neck anyway uh so that is a lens that goes between 15 and 18 and 55 millimeters by default if you don't have anything selected here in your rhino scene and you go to properties the default lens length here is 55 millimeters right so the difference between lenses or lens lengths is the higher the number here the more of a axonometric view you will have less distortion you will have but also things will be zoomed in much more the smaller millimeter like amount you have the more things are going to be zoomed out but more distortion fish eye lens effect you will have so for instance if i change this to 15 super zoomed out right while the camera i didn't change the position of the camera i didn't zoom out right it's just the lens that is much more you can even see the fish fish eye effect here if i kind of look at it it's all kind of super perspectivey right on the other hand if i change this to what's the lens that i have that's the biggest i think i have like 120 millimeter lens oh that's 230 120 millimeter lens and for that i need to zoom out quite a bit see how axonometric this looks right so so that is 120 millimeter lens and it looks super super axonometric in that regard right so in doing so you can kind of find the balance that that works for you um for this i will use something like 70 millimeter lens i think i'll just find continue searching for a nice nice angle usually you want to be you want to be close to the eye level as if you were standing on the ground that will make it more realistic um let's see this is one third this is one third i think that's and that's like half uh maybe we can kind of do something something like this up yeah i think that's that's gonna work right so this is this is what i'm going to be working with in this view right here so once i have the view kind of focused on i can just go to named views and click on the save as icon here and just type in view or i'll call it x1 exterior one hit ok and now i can see that my view here has been renamed to exterior one it has been saved here perfect so i'm going to kind of continue on working with this and i'll find more views right i'll find more views so for instance for this guy right here i want the lens length to be like 30 millimeters and this to be much more much more pronounced right much more in your face type of render so i'm using like exaggerated perspective for it uh let me render it out to see how it looks like and i love i know it right now looks like complete garbage but there's no light there's no materials there's no nothing it's gonna look better eventually it's going to look better so we have something like that that we can work with maybe the lens length could be 22 and we zoom in yeah center central composition all of that is good but notice how this line here as well as this line here they're kind of tapering upwards too much uh this happens because there's like a third vanishing point in the top because of the fish eye lens effect i can fix that and the way i fix that is by going to projection here and choosing instead of perspective choosing two point perspective and then i of course recalibrating everything so what two point per perspective will do is it will force all of the horizon uh vertical lines to be vertical right um that's just what it does but you might end up having some some issues with it later down the line um the issues usually arise i will show you first i want to find a nice angle here are you in the center i can't tell if it's in the center it looks like it's in the center yeah yeah looks fine maybe we can kind of take a take a look at it like so even further yeah something like that oops okay that's that's fine that's good enough uh i can adjust these views later but that is going to be my exterior too and these are like two views that i'm going to kind of work on for now and we will kind of because right now i'm focusing on the exterior of of the render or of the building so i will be creating new views for the interior later on right so for now it's just the exterior and this is how it looks like i think that's that's fine so those are two views let's do one more let's do one more view and this one is going to be done with uh just a regular perspective uh lens length 50 millimeters that's perfect and let's just look at it from the side maybe two thirds now let's do a side side render start rendering it out i just want to see if this will fit hopefully it will not really this this will not fit so i'm going to take a look at it from from here and we're going to make something something nice with with this little building here maybe something like that one more thing that you can do is if here you kind of want to get into nitty-gritty of the camera placement you can type in camera and you can choose to show and then your camera is going to be shown well it's going to crash apparently [Music] there we go your oh yeah that's that's why it's crashing it's it's trying to show too many things your camera is going to be shown in every view so that means you can take the camera and you can kind of move it around and it's going to update here right but i would suggest not kind of doing it too much because you might mess it up quite a bit i think this is fine i think this we we can work with this so i'll just stop the render make sure that you are by the way in the correct view um i will just click on the save icon and i'll change the name to exterior 3. and if you want to get rid of the camera now you can just go to the correct view by the way exterior 3 type in camera and choose to hide and now it's going to be hidden in every other view okay we have three exterior views let's start dealing with the light and with that we will call it a day for for this particular tutorial we'll move on to more settings and more cool stuff in the next tutorial so light for this particular lighting scenario i'm thinking about here i'm just going to show you rhino document sun because that's something that we skipped and i will also probably show you dome light so first of all rhino document sun the way you enable it is you go to sun you type in sun hit enter and you turn it on that was easy right you turn it on and then what i like to do is i like to turn on manual control rather than controlling it through the geography so manual control and now we have two handles here the position of the light the sorry not the position but the how high is it above the horizon and where is it shining from so let's start with exterior one right oh by the way in named views i can just now double click on the different icons and switch between the views that's the nice thing about it so exterior one right i have the sunlight turned on and i'll click the render button interactive render button and now look at the pretty nuclear explosion that we're gonna get just white you know it's it's super over bright so there are a few things that i need to change first of all this has nothing to do with sun right the the environment it's just gray environment so i need to change that texture to be re to be a sky texture that reacts to the position of the sun seems difficult is actually really simple also i need to make this much much darker so there are two things that i need to change first of all let's make it darker so i'll go to camera and exposure value i'll change this to wait uh let's do 14 for now hit that render button again or maybe i should just kind of keep keep rendering um stay in the interactive render so this is with 14. right you start seeing the the shadows appear and so on right but it looks like the freaking moon right the sun sunlight in the freaking moon the reason for that is well first of all we don't have the the sky so there's no blue in it but it's only half of the truth the reality of it is and this is very important so again listen up reality of it is the students where the freaking sun is warm light so it produces warm light right and this kind of orange orange light the sky in our case is filled with gases ozone layer all of that jazz so when the the sun when the sunlight is bouncing off from the ground back into the sky and bouncing back from the ozone layer back into the ground um those gases make it look like the sky is blue right which means that the light that bounces off from the ozone layer back to the world back to the ground level gets a cold tint a blue color right which always balances out the shadows right so we always have the sunlight that is orange well to a certain extent it's orange it's warm warm light and we have the shadows which receive indirect light just from the scattered light from from the ozone layer which receives that indirect light and that scattered light is called it's blue if you look at any kind of traditional painting except for a brand because he liked candles and indoors but except for him for outside traditional outside painting you will notice that the color color range that the painter uses in traditional painting very important to note is warm for parts that are being hit by the sun by the light by direct light and cold for the parts that are in the shadow this is to mimic that this kind of behavior in our case in our render we have sunlight that is warm but we have no environment that would scatter the cold light back into the into the model right so it's just warm over warm over warm so everything looks orange right so here under environment tab in the background i have this texture slot right and it's using that that ugly texture that we had which we don't even see anymore because we changed the camera exposure value so the texture is too dark i am going to get rid of it so to get rid of it you just right click on it and choose clear easy clear now it's gone nothing really changes because it was too dark either way now it's using the uh the black color i could kind of say well just use the blue color now and be more aggressive right and like i could kind of balance it out this way but this is super stupid so let's not do that let me default back to how it was instead we will use a texture right and not any kind of texture but a generated one a one that rhino automatically or very automatically generates from the position of the light so i will click on this check checker box icon here i'll choose sky in the texture list sky there are different things that you can kind of plug in here but sky is the one that you want bam that's it now you have the sky and you have the sunlight and the materials are all pure white so it still looks like crap but at least now it's uh an accurate crap if that makes sense so there are a few more things that i need to change right now this is fine uh i i could kind of go in here and change the exposure value to like 16 to make it oh no no no no no no no no 15. to make it a little bit darker but i don't care 14.5 let's let's go this is fine um instead i want to actually see where the windows are because that's uh i feel like that is going to kind of dictate quite a bit uh the angle of the light that i will want for this scene uh so i'll stop the render for a bit i'll go to my layers and this is why i have everything in layers i'll go to my layers and i'll choose glass i'll right click on it and i'll choose select objects so all of my objects that are in in the rhino file that are in glass will be selected and then i'll go to very asset editor open up the materials tab and i'll already have glass blue here but let me just create a new one i'll just kind of let me actually delete all of these so i'll just kind of keep i'll just delete all of the ones that we use so far just so that it doesn't get too cluttered playing blink blink okay create new materials uh generic double click glass i'll be faster and faster every time when i and i'll say less every time i create like material that i've already shown so just slow it down if you need a refresher uh slow down the the video if you need a refresher so that's that's my glass and the fall color i will not be messing around the fall color maybe the glossiness can be like 0.98 a little bit glossy and i'll just apply that glass material to my selection and now if i click on the render again real-time render i mean if i click on that again compiling trying its best there we go so there's glass here right glass here so we can see what's what's happening inside that's nice that's nice so we can now work with the light in a little bit more accurate way because we'll see how much light is being shined inside of the of the space so now i can uh when i have the if you close the sunlight toolbox don't just type in sun again and have it opened you can even dock it somewhere here for instance doesn't matter i usually just like to have it floating around and if i need to i will i close it if i need to i open it up again um so sun position let's mess around with it i want maybe evening and it comes from the west does it come from the west i don't know it looks fine if it's coming from the west but maybe the angle so i'm looking at mostly at stuff that's being uh lit up by the light inside it's inside of my model so what happens if it comes from here it crashes it doesn't crash but it's not updating so let me stop the render re-render it again all right now why are you doing this to me are you like this there we go okay so now it's it's working back to light uh west west north well maybe not north east east so east looks bad south is that a way uh so west is something that we we will want to work with and my thoughts are maybe a little bit lower a little bit something like that and a little bit more towards west oh a little bit less an altitude could be like 23. you can use numbers as well and 230. so this will receive a lot of light but that's fine that's that's okay we will balance it out with the materials so this is uh you know the the light that we get for for this particular scene and i can see 230 by 23. so each scene will have a different light angle so what i'm going to be doing is i'll take a piece of paper and i will write it down so i will write down e x t 1 that's my camera has sunlight of 230 degrees comma 23 degrees that's it so i i just write it down i have it somewhere here every time when i'll be working on the scene i know the angle of the light let's continue stop that find another and now i'm going to be faster right with this so exterior 2 uh sun hit that render button this one i kind of want to have in the shadow uh probably so let's see what what kind of a nice shadow we can we can get oh that's actually nice now i don't want to change anything about this okay so exterior 1 and exterior 2 comma 2 are going to have the same angle uh so that's good that saves time and exterior three render so you need to stop the render when you're changing the views and start the render again but that's not the problem so exterior three i'm just writing it down with with my pen has this kind of angle and it's not that bad but i think we can kind of make it a little bit nicer if we change it up to something like this maybe so that there is a bunch of light coming in from from the corner here um let's just use full numbers 120. so maybe that's gonna be nice because it will catch a bunch of light here and there's gonna be this kind of shadow i think that's that's gonna look good so let's do this so it's going to be 120 degrees comma 23. so it's going to have the same height but it's going to be the morning light right because it comes from the east and the other ones come from the west so exterior three is morning exterior one and two is evening i also like to write write that down just just to kind of know what what what kind of feel i'm i'm aiming towards so we have the lights here then let me show you how to um how to do it in a different way and some of you might want to uh some of you might not i personally like using this technique i i think it's great uh but there's also another technique which incorporates uh an hdri image so an hdri image is basically hdr stands for high dynamic range it's basically an image that has multiple layers in it which are which have been shot with different exposure values with the camera so if i look let me just show you um hdr image [Music] like a like an example of it uh come on just give me an really no no well that's that's pretty close that's that's pretty close to what i want to show so kinda can you see it here see how this is brighter than this right this image is brighter than this this uh all of this is the same image right it's it's one big image but it has information on color uh color behavior when you change the brightness and that is why it's high dynamic range right so these are like the layers that make up the hdr image um that's a long way of saying it but basically what it enables you to do is enables you to have an image that contains light information and then from that light information you can shine light back into your render so if we go to hdr haven or hdri haven not heaven haven dot com and you go to hdr eyes here we can kind of find uh a nice one so for instance uh skies let's go for skies and let's just find uh something that that we might use so there's like foggy ones there's like daytime ones and whatnot cloudy ones so i'll just use sunflower sure whatever i'll just use this one um and here when i scroll down i can see what kind of size i will download it download it at so never do 16k that's stupid don't just don't uh either 4k or 8k will do the trick for sure i will be using 4k because my computer is not that fast so i can't afford to do 8k hdri lighting if your computer is pretty beefy pretty strong you can work with 8k but i don't see any benefit of it i mean if you're a beginner in v-ray there's other stuff that will screw you over rather than not having enough resolution for the hdri image anyway i haven't downloaded it download that it's right here sunflower is 4k i'll just go to desktop and i will probably just paste it here or rather let me go to my to the folder where i have my uh my file so this is the file that i'm working on or either this is the file that i'm working on and i'll just create a new folder and i'll call that folder hdri just you know to to keep keep things clean and paste it here so now i have i know where where it lives right where i have my image let's go so let me turn off oh sorry so now to shine a different kind of light i have written down the sunlight and i'll be using that but to shine the scene with a different kind of light the hdri one we will turn off the sun so that is turned off and we will go into the settings background and we will turn off the background texture so we turned off the sun and we turned off the sky right so now it's going to be if i render it it's going to be completely black again right because there is no light so we start from scratch in in that regard right even though it's going to be yeah it's black even though it's going to be very easy for us to turn it back on if we need to either way um to use an hdri image you go to uh the v-ray lights and you choose dome light dome light right here choose that and just uh i usually like to just kind of have it placed somewhere near near my my model so you just click on any kind of snapping area near your model uh wherever it snaps um it doesn't matter where it is placed right it's infinite the the dome light is infinite in its size so it doesn't matter where you place it on your scene so i just placed somewhere near my model the only thing why you even have an icon for it is to access its settings right so you sometimes want to kind of just click on the on the icon in the in the view right and then you will access its settings and you you can change things quickly uh other than that it's an infinite thing so it doesn't even need an icon it doesn't matter where you place it okay hdri um once you place it it's going to ask you to give it um give it an image immediately that's that's what it's going to ask so you just find your your downloaded image hit open and it's going to kind of use it here so oh you can't see it let me place it somewhere else where you actually can so it's going to create this kind of a view here and let me um which view will we sacrifice let's sacrifice the right view i'll change this to perspective so that i don't need to mess around with the with my camera views here perspective zoom into this zoom selected it looks like that you know it's it's a dome light and i'll probably make it bigger so you can make it bigger as well like that just so that it's easier for you to select it so i'm holding down the shift key and just kind of scaling it up but it's basically just an icon um so we have that right we have this little guy here and why is the just the second c planes world stop there we go um so you have this this little guy right here and it has that texture so let's see how it renders out so i'll make this my active viewport i will hit that render button here let's see and it's black and the reason why it's black oh okay it's not that black but it's pretty black uh the reason why it's pretty black is because the the light uh is is too dim from the hdri so it's it's really easy to fix you just go to camera settings um like your asset there are settings camera settings um and here exposure value let me just write it down what i had before exposure [Music] uh 14.5 okay so then you mess around with the exposure value 14.5 nah let's do eight let's not do it let's do 10. yeah okay good so this is uh this is an hdri that is lighting our scene and the way we work with it is you can't change the height of of the of the light of the sun because it's it's just an image that is being wrapped around right so the height is locked but what you can do is you can kind of rotate the image around the center point of your scene so you can go in here let me close that you can go in here to this icon hdri icon and somehow select it there we go and then you can rotate it right and once you rotate it it's going to rotate the sun here well it's going to rotate the whole damn texture and the sun will follow of course the texture right so this is how you work with an hdri image some people love it uh i don't mind it it's fine to work with it is just that i get more flexibility when i use uh very very document sun uh rather than hdri and adding clouds if you really want clouds and so on later and in photoshop it's super easy to add them so don't worry about not having clouds right now it's going to be very easy to add them um so yeah so that's that's the choice that you have either hdri or sunlight make that choice now much better to kind of to to be done with the choices in terms of lighting before you move on to the next step so let me turn on the sun and options open those up um sun is turned on let me go back to settings turn on the environment and change this to 14 the exporter value render it out to double check to make sure that it's fine yeah that's fine so so that that looks okay that looks a okay we'll make it nicer i promise later so hdro one more thing hdri from the get go hdri produces a more natural looking light than the very document sun but that is something that we will be able to fix and adjust later down the line i will maybe make let's say it like that so exterior three this this view right here i will make it with the hdri image just so that uh i'm a little bit more pedagogical and showing you both ways of how to do it um so that is going to be hdri and i have already hidden the hdri so let me show no uh i haven't hidden it i deleted it so let me undelete it so it's it's right here as it was and so this guy right here will be done with hdri and we will be using exposure value of 10 was it not why are you not rendering hello please render this render there we go uh so 10 for now i will probably probably switch it to something else uh later down the line so our hdri will look like that but i kind of want to want to have it rotated a bit more and why am i struggling with selecting the freaking hdri dome there we go um a bit more please because i want it similar to what i had before with the sunlight yeah that's that's good that's good okay so something like this uh something like this will will definitely do the trick okay that is that so the task for after day one of our tutorials the task for you is to find the angles from which you are going to render out your building um to and to start implementing the sunlight the direction of the sun how you want that the shadows to flow what kind of a dark versus bright composition you want to have and all of that once you have done that then in the next tutorial we'll move into materials we'll move into materials and start assigning different kinds of materials to your model you're done and for now start working bye [Music] you

Channel: Gediminas Kirdeikis

Views: 17,401

Rating: 5 out of 5

Keywords: vray, tutorial, architecture, architectural, rhino, rhinoceros, student, lecture, free, weninar, webinar, rendering, render, visualization, visualisation, visual

Id: 2PLfti43TV4

Length: 130min 49sec (7849 seconds)

Published: Sat Feb 13 2021

Reddit Comments

[u/masmiester]

Wow great videos!

[u/bloatedstoat]

Awesome tutorials! Have you released part 3 and 4 yet? I could only find the first two.

[u/UmJoalheiro]

Nice vídeo

[u/FatFaceRikky]

Really nice series. More indepth than most vray tutorials on youtube. Cool would be more on how the new uvw randomization in vray works, and how you made the dirt/imperfections on the car. Vray docs are a bit terse..