V-Ray 5 for Rhino Basics

all right guys so uh this is gonna be a very bare bones you know uh only basics kind of quick start video for uh v-ray five or rhino um before we start i just wanna point out that the chaos group kind of website be ready for five for rhino help right if you make a account with them and log in um all these resources are here right so if you kind of need help i need a guide for installation or what some settings mean lights materials like there's a lot of documentation here particularly user interface where things are you can find all this here all right they do have some [Music] coursework but these are kind of for earlier versions 3.0 three-point x and v-ray next which is basically v-ray four so the newest version read five uh there's some videos but they're not like uh set in the coursework kind of format just yet it's mostly in kind of like what's new uh kind of webinars so uh i'm going to discover some of the basics and mostly i would say the differences between the newer version and the older version so if you have viewer installed you should get these toolbars i usually don't use these separately just kind of you can close these smaller ones just have this v-ray all right floating around somewhere um if that's kind of more convenient or you can just use things down here from uh the pull down menu right these are the same if you ever lose these two bars you can right click anywhere here go to show toolbar scroll down probably to the very bottom and you'll find all of the array toolbars and you can bring them back by right clicking on the tick marks right okay all right so uh first uh the main thing you're interfacing with in the array of of course is the v-ray asset editor when you bring it in it should look like this just kind of remind you that there are two pull-out arrows like pull-out tabs on each side there are tiny little arrows right here and here that you click on to pull out all the optional uh settings okay um [Music] when we come in uh they should be kind of collapsed right and generally uh this is up the top these are the kind of different panels that you'll be working with this is the frame buffer uh which is the window right in which v-ray renders this is the render button there are several options here this is the normal right uh standalone single frame render this is the interactive mode right which basically renders in real time what you're seeing in your viewport right so if you change things you move around this will update vray cloud or chaos cloud if you're going to render it up there or um export it as a scene file so kind of ignore that um the other things here like you have textures in the scene and this is where it would show up if you have or we'll kind of talk about this a little bit later render elements that you want to add these are material id passes or z depth passives that get rendered at the same time uh geometries these are v-ray specific geometries and lights okay that's kind of mostly it this is for creating new materials all right most of your stuff is going to happen here now out of the box by default if you open this file which is provided to you right on canvas by default if i just do a normal cpu render this is kind of what it looks like right gray weird uh bitmap background okay now um this is still running right and you'll see that i have several options here but you guys will have to kind of choose and decide or kind of see what options are available to you depending on your laptop or your computer right the basic everyone should have obviously is the cpu render if you have a nvidia graphics card i think amd as well then you have the cuda option you have a newer amd graphics card that supports ray tracing right so these are the these are the gtx's these are the rtx's that supports ray tracing then you will have a ray tracing option uh the little dots actually allow you to choose graphics cards or what you're using to accelerate things as well as up here under vray uh somewhere here tools probably gpu device selection if you click on that it will run a little script and will show you is the whatever gpus are available right on your computer now many of you have laptops that have the discrete gpu right and a on-board gpu like this that's kind of part of the cpu make sure that you're using your gpu the bp one right something like this in this case mine is a 30 70. okay make sure it's using that because the onboard graphics aren't going to be worth anything in this context okay all right now i'm gonna do the first couple tests i'm going to do it by cpu right but eventually when i move to larger renderings i'm going to change to uh my rtx because it's going to be a lot faster but just to kind of show you what the cpu experience might be like i'm going to do this um quality down here uh for test renderings i would just do something that low plus right just we're just trying to get a sense of like what it looks like without looking too much at details so i would change this for now but for production renderings i would at least go to medium if you think you have time you can go to medium plus or high but these will drastically increase the render time right so in most cases unless your geometry is really intricate or you're seeing weird errors pop up medium probably is going to be fine for the most part make sure to turn on the denoiser uh this is something that's really helpful in making the renderings look smoother if you have a cpu then you'll be stuck with the v-ray version uh if you have a gpu and your your you have cuda and rtx kind of options available to you then i would change it to this the nvidia ai because this will be faster as well camera we'll talk about later but make sure render output right keep these small so right now um render output i'm the image size i'm just using 800x450 which is 16x9 widescreen if you want you can match it to your viewport size as well just so that like whatever viewport you're looking at is actually what you get um in your end renderings okay so there are some options here that you can kind of change all right um so as we can see here right now it's kind of like that and so what i want to do here uh is let's say we're looking at this from uh exterior point of view uh is to one thing first here environment right now this is a concept that's going to be tricky at first to understand that here in the array right the environment right now besides being the background for things also illuminates the scene okay there's a second thing here where your rhino documents on which is kind of in here by default also will change the scene lighting okay now i'm gonna go back here and change my rendered mode into interactive so you can kind of see what i'm talking about so interactive mode does this right again if i change move my viewport then you know the rendering uh updates okay so i'm going to set this back to the exterior view here right so it updates right now i i will go over here to the lights tab right and i turn on the rhino documents and you'll see it brings in basically a second source of light right this light is coming from the rhino document set if i turn this off that disappears okay i go back to my settings and go to environment right and if i uncheck this turning the environment light off then it goes pitch black right so these are kind of two separate light sources right so i turn this on you'll see okay there's no background whatsoever right there's no environment background or lighting so this is all coming from the sun so this is the kind of thing that often catches people off guard right like these two light sources exist kind of simultaneously all right i don't like this background because it's a weird bitmap right so i'm going to click on this little checkerbox texture slot which will bring me into here and this is actually the bitmaps that's being applied as a dome right in my environment right now right so it's in in a kind of like 360 view um there are a lot of things you can do here but for now right if you click on here on the very left where the checker box is replaced with new texture then you'll see i can i have a lot of options right and just to kind of show you i can change this for example to color right again because the color is black so it becomes pitch black but i can click here in the color box and change the color and so i can make it something more close to white here then you'll see right it starts to illuminate the scene again right and this is white pure white so it's a little gray you can kind of use uh sometimes for lighting right i instead i use this kelvin meter right the color temperature meter down here and you'll you can go from warmer colors right or to red right to more bluer colors right to use that as a way to kind of control the color temperature of your lighting right so that's if your background was a solid color fill right and again right um i can go into the environment right and kind of turn this off it goes away or you'll see here there's a under here there's a gi sub which is global illumination right the global illumination slot here also will control um this color right so again like this and what you'll see is this this right and this is the point one is that my texture background that i my bit map or some color background i did was blue right but my gi here global illumination slot here is red or yellowish right and that's why the things that are in the scene right are b are kind of taking on the yellow color right and this is separate from the background color right these are different things if this slot is enabled then these are different things okay but if i disable it and then it's actually just using this this blue color that i picked right as the illumination color okay all right now uh i don't want to do a color i actually want to be a bit more realistic so i'm going to click here right and out of all the different options i'm actually going to just pick the sky so the sky is actually going to use a sky actual sky model right and at first it will look really blown out right it will just look like a white so what you do is you just bump down the intensity to something like 0.1 or so it doesn't have to be super accurate but 0.1 whatever and you'll see that in the refresh in the interactive rendering it's such a kind of okay you know there's a there's a sort of sky there's a sun etcetera etcetera right uh you can play with the different sky models that kind of give you slightly different looks uh this improved sky model is the newest v-ray uh this this model it's new in v-ray five so you might you can play with that apparently it kind of works uh pretty well with a lot of different situations so you can play with this and you can tweak the intensity right to see how bright uh in this case for now i'm really just looking at the background right because right now i'm just really tweaking the background knowing that i'm gonna possibly bring in the sun later right but if uh the kind of rendering look that you want is like this right and if i kind of zoom in you'll see the shadows kind of more diffuse right um then i would basically kind of adjust this multiplier to a point where like the lighting and the scene is kind of what you want right um and that's the rendering right um this is kind of more diffuse style right of rendering um another thing to remember is besides that to come back into the camera right and tweak your exposure value for this and you'll see this basically uh similar to exposure and cameras right changes to the light sensitivity right and so this is also a second way right besides changing the light source itself which you know typically once we develop a scene for lighting then we just want to leave it there right we don't want to have to like tweak light all the time and so the exposure value is the thing that uh the single thing that you would change right to kind of make your renderings generally brighter or darker so um [Music] in this case let's see for example you know 11 is a little dark 10 kind of okay you know nine too bright so maybe 9.5 okay and i will call that right for a diffuse rendering right um pretty decent okay um again i can let me uh set my view back to the sort of exterior view like this right and if you say okay well that looks uh okay and i want to kind of see what the final rendering looks like then you can stop the interactive render right and uh change this to the normal render okay but before that i'm going to switch to on my rtx so it's going to be a little bit faster right and i'm going to click on the render with v-ray all right now usually the first time you run an rtx rendering like there's gonna sometimes right there's gonna be a startup phase where it says it's kind of compiling um sort of optics kernels and that'll take a little while maybe a minute or two that's fine right both of these options the cuda and rtx option have an initialization phase for the very first time but once it's done then it runs through this really quick right second thing that was a quick one so i'll do go down here to the render output and change this to 2000 pixels and run that again so now you'll get a bigger screen preview and you'll kind of see how it kind of progressively works through right to render out the image if you're on the cpu then your buckets your little kind of buckets are gonna be a lot smaller right um if you're on a gpu then it might be fast like mine and depending on the speed of your gpu um it's still kind of going through a pass-through right although it looks like it's kind of almost done it's still kind of doing the details and kind of doing the ai smoothing with their cereal and now i think it's close to complete now it's done all right so this is render. in the vray frame buffer you can kind of change the size zoom in zoom out right check details things like that whatever okay and if you want to then you just save right the current channel right now there are different channels like rgb and alpha channel which allows you to use this to cut out the sun or the background if you want to on the sky and slide in your own right so these can be saved separately so that's why these operands are here save all image sample channels to separate files save to single which means that you when you bring this into photoshop all of these channels will be in the same file which can be uh very useful okay so i'm gonna turn this on right if you want to save current channel and just save it as a jpeg or whatever kind of file format right pmg these are all formats you can kind of save as okay all right that goes through kind of saving uh images in the v-ray kind of frame buffer or the vfb as we kind of call it all right now um [Music] so uh that was kind of showing you guys uh the difference between the environment channel and the gi that the environment channel kind of brings in but let's say i want to use the rhino document sun all right so i'm gonna again uh switch back my render output to something smaller like 800 like before and switch it back to the interactive rendering okay so just like before and make this window a little bit more manageable here so we can kind of see things side by side okay so uh all right the backgrounds the using the sky as the background right again when you click in you can kind of change these things right um you'll see this custom orientation thing here um in some ways it's kind of not that useful uh in in the background you can kind of change the orientation of it which means like the bitmap kind of gets spun around right so you'll see the background color change a little bit if you like for for whatever reason like the sun just kind of there or you can kind of change the this which actually kind of changes the the height of the sun and the intensity right so the bitmap up here gives you a kind of decent sense of what's happening okay but um for a background image like i usually don't kind of really um use that too much um this is much more useful uh for the sun okay so again um if i go to the sun the rhino documents done and turn it on then you'll see uh actually one thing here noticed with this sometimes is that you want to try to manipulate this into a place where it's not trying to resolve all the time so i'm gonna mess with this a little bit or uh if that happened just kind of redo this thing change it to color and then bring back the sky again okay yeah sometimes that'll happen that it'll just like continually you know kind of try to resolve and resolve resolve and you know so if that happens just kind of redo it um okay all right now uh [Music] again let me tweak this really quickly because uh my sort of intensity for the background is a little bit too high i want to kind of bring it down so i can kind of like you know see right the sky that i have improved okay and these actually you can change that these kind of change like fogginess and you know all these are things that modify the way the sky looks so you know i'm not going to go too much into that right now uh lights so let me turn on the rhino document sun and you'll see okay this version right uh with the sun is uh with basically kind of really sharp shadows right so click on the rhino documents that right click here click on the rhino documents on clicking here activates or deactivates it these are kind of sharp shadows right now this here um again you can play with the intensity right to see kind of how bright how dark it is right so this is more useful here orientation here then starts to dictate right the height of the sun as well as the orientation the direction of the shadows right so changing these will kind of change the scene now you will find that as you change this right you may have to come back into the settings here right and change the exposure value right to kind of bringing it down if you if you get this continually then just kind of stop the uh interactive rendering and you know for now i'll just kind of maybe go back to the cpu version because it usually has a little bit less issues with that and it's yeah for for a preview rendering it's like just as fast okay uh here and so we'll look at that um you know if i as i kind of adjust this right and you can see the orientation change in the shadows right so i can kind of maybe uh tweak this so the shadows are kind of what i want right in this sort of view right again you can kind of change the intensity but just remember that changing the intensity you have to kind of balance it off of the exposure value right that we're setting up here so that's kind of maybe too bright 11. that's kind of maybe okay 11.5 right something like that right um that reflects a little bit the color of the sun right right now this is because the sun is low so it's starting to take on a little bit of like reddish orange tinge if you don't like that look of course you can kind of play with these um these will kind of all do slightly different things clear overcast and again these will blow it out so you have to change your [Music] camera exposure value again okay so let's say uh you know that's kind of okay uh i want to point out one thing here um is that i in this file what you'll see um if i kind of hide these temporarily what you'll see is that i have a giant disc here right and it's on a locked layer this is a ground that i usually kind of sometimes do for this kind of stuff right now if this isn't here uh what you'll see is like it's kind of floating right in the middle of nowhere um and this is actually literally um let me try to get a good view of this this is actually literally the wrapped uh bitmap of the of the environment that we have in here right so that's literally this right that's why the the bottom is brown like this the top is like that right which is the blue sky okay now there is uh if you click on geometry okay there is a rhino document ground plane that you can bring in right which is essentially an infinite ground plane okay so in some cases this might be fine right like this basically would be a ground plane the only difference is that um the infinite ground plane here uh the rhino document ground plane which actually is the same thing as the v-ray uh infinite plane that you can put in as well we kind of do the same thing um is by default white um and you can't apply any textures to it so in a case where like oh i actually need my ground to be asphalt or texture then i use something like this right which is this big disc right which kind of gives you a very similar horizon line you just have to make sure it's big enough right so that you don't see the curvature right and in this case then i can apply a kind of like a material to it right or give it a color as opposed to just being white which is what the infinite ground plane would be okay so that's just something to kind of keep in mind i'm going to turn it off so i'm just using my uh ground plane here right uh second thing is that when i bring uh when we brought in uh the geometry or basically this is rhino right um i kind of had rhino materials already applied to some of these things right and so it does kind of respect the basic colors of rhino materials so things that you bring in that already kind of have rhino things applied to them it will use them okay but uh for efficiency honestly for most materials you will want to apply a native v-ray material i'm not gonna touch on that in this video we'll have a separate material video but just kind of understand or know that look at the glass all right this is the default rhino glass right 25 is just blue glass from rhino okay now v-ray has a lot of glasses and i know glass is something we're going to use a lot one very very very important point or caveat here i want to say is that you want to avoid generally most of these glasses the fancy glasses that we have has because they're kind of meant for small objects like glass vases and things like that to calculate really complex refractions and reflections and so they're very computationally heavy so they'll take a lot of time to really calculate for our purposes for architecture right and for buildings and basically generic plate glass right the two you use is the basic glass and the glass window neutral these are the probably two that i would suggest you use and you can work off of this or even like the glass window these right these are generally tend to be simpler glasses if you need a color any of these you can modify as well right so generally for glass we just need kind of need a sense of a plane there right and another note uh besides that and actually i'm just going to add this to the scene right so it will come in behind my geometry tab again color you can change here you click on this and change then this entire thing will change color right so all of these are actually very very similar um so this this uh i can uh click on things for example these are my glass panes in the rhino right so i can click on it and right click here apply to selection right you can also apply to layer and just apply it to the glass layer for example okay now one thing about glass and v-ray though is for generally for these glasses to operate correctly they need to have thickness if you have a single surface that you're using as a glass plane what it'll what it'll do is it'll render out black right because i think it v-ray uses this to kind of calculate refraction and so everything glass surfaces need to have thickness for the rear fraction to work otherwise it goes into a single surface and never comes out it's like a black hole okay so glass if you're using these materials need to have thickness just remember that so this again i'll just apply to layer to my glass layer so the v-ray material is now applied to that and you'll see in the rhino layer uh kind of display right you'll see it now has that window neutral material on it too okay so change the look of our windows right and so this is a bit more realistic or big bit more kind of uh uh closer to reality um in in the sort of glass simulation so v-ray materials are always going to be better than rhino materials in terms of accuracy and adjustability so there's so many things you can change here right that i won't get into here right so i just want to kind of like touch upon that make sure uh and these generally these guys i'm kind of on the bottom the polycarbonate glass these glass window ones are ones that are will calculate faster for you in general particularly for buildings where there's a lot of glass okay all right so we're let's say you know kind of uh happy with this right you can see your sharp shadows um with the v-ray sun or with the rhino documents on right the size multiplier basically makes the shadows fuzzier so make this kind of really really big it should right although it kind of depends on these kind of geometries don't show it as much unless you kind of have a lot of fine geometry um it will make kind of the edges fuzzier essentially but you know you can kind of play with that a little bit okay so i'm happy with this right so let me stop right here i can stop the rendering here and change go back to my settings uh change this back to 2000 for example right i'm going to activate my rtx and do a normal render medium settings okay great so maximize that you'll see it's kind of running pretty fast right and so this is kind of virgin right where um is sharp shadows right not diffuse for next year running an exterior rendering generally like it's finished if your rendering generator will run really quick right um just because you know enough light the more light there is the faster these renderings resolve okay right save it blah blah you can do other sort of stuff okay switching back to gpu cpu uh now that's external right um and you know the part of the um assignment here uh as well is to uh make a uh sub d right sculpture um of your own and plop it in here so i'm actually going to take one of these uh wire networks that i made beforehand for those and copy paste it in here oh that's a little small so i'm going to kind of pull it out and reselect this and i'm going to scale it up by whatever do something like that maybe slightly larger all right that feels maybe zero point 3.8 slightly smaller okay don't take this kind of pop it in the center somewhere and multi-pipe it uh i don't know radius let's see i'll have to try something i'm not too sure about the scene scale here happens um oh that's way too fat so let's see three two okay so that's my sub the sculpture right i can maybe rotate it so it looks like it's sitting a little bit better but you kind of get the gist okay and you can of course modify this uh play with the sub d things that we've been kind of learning a little bit all right and let me set this viewpoint back to exterior so it's kind of in the foreground right now uh another material so part of the kind of premise here is that i want you guys to find and try perhaps uh some of these pop car paints apply this to the subject sculpture and kind of see what it looks like uh let's maybe play with this a little bit and you'll see let's say it's really fast and kind of easy to uh experiment with so i'm going to start the interactive rendering again so you'll see the sculpture in there all right and let's uh just select it let's play uh for example i like this sort of red this one right so i'm going to add this to the scene you can also i just directly apply to selection right because i have it selected right now now if the vray frame buffer disappears click down here like it should have its own window right here so you can see directly right away right that kind of taken effect okay or um you know some maybe something a bit more glossy so you can try uh the metals here right so some of these metals polished these are brushed blurry right so you can kind of try some of these let's try something pretty shiny steel polished silver polish all right apply to selection check oops check the v refrain buffer right so it starts to come out over there okay yeah so just kind of play with these uh find one that you like um and just apply it as a very shiny material to it if you want to do gold or actually copper polished applied to selection right now these are just previews um when you kind of do the actual rendering you'll see that it um the quality of the reflections and everything will you know get bumped up a notch right but you can kind of really easily just and applying materials uh you can actually just like say okay you know this one right uh you can actually drag and drop them onto geometry in the scene like this as well right or you can drag and drop them into layers and let go but it will i'm not going to do that because it's going to kind of replace some of those layers all right so both of those methods actually will work the reframe buffer okay so um i'm gonna go with one red i'm gonna stop the this and go back again right change this to something bigger two thousand all right activate my gp rendering and just render that again so this is a 2000 render so you'll see right the shinier kind of specular highlights of it of the sub-d sculpture right so this is exterior right this is kind of what what we're asking you for finish all right save that and that's it that's that great now uh now i'm going to kind of switch to uh the interiors which are trickier um but um just going to show you a couple of shortcuts so if you switch the view to the stat view interior one all right um this is kind of what it's going to look like and i usually for this i have to change this to wireframe so we don't kind of like accidentally still appeared stuff when we kind of do things and again right um the rendering's done um come back here change this back to something small for test rendering purposes change this to low if yours your computer is you know slower minus fine at medium and do an interactive rendering all right so what do we see here um i actually accidentally in this case um sort of tweaked our orientation just right so like the sun is actually coming in but that may not be your case um if i try to put these side by side and let me turn off this just so it's not in the way um is that kind of change some of these things so you'll see for example uh hold on and why the v-reframe buffer keeps going into the background but let me see if i can do this okay anyways um [Music] so the interior scene actually looks sort of my scenario reasonable at the moment like just because i kind of happen to get the orientation right but if you're kind of changing the line of documents some orientation then that's kind of what i would be looking at um let me see if i can minimize this so you guys can see this i've been working with it right now it's not cooperating okay so here that's maybe a little bit better okay so um as you can see screen real estate as a pre is at a premium here um so as i change this uh particularly the orientation right let's say this this kind of angle i was at but if i'm changing this to something like let's say over here manual document sign you'll see that right for example and i'm going to go back to cpu sometimes it just does this okay the gpu is faster but sometimes you can run into weird situations um here you go so if you have your son in the wrong orientation like this right you'll see like in this interior scene that's really dark none of the light is coming in right so if it's that angle or let's say this this angle for example right like the sun is basically behind us and none of the diffused light is well none of the directories are coming in it's only diffuse light right so there's not much light really coming in and it's very dark and you'll see it's very grainy because it takes a long time to resolve right we're interesting like this and we don't want that right so part of it is also just saying okay well let's try to adjust the sun angle right so you get some light nice light coming in and you can kind of tweak the height right this way interactively to get a pretty good sense of okay i have enough light coming in right um and it's starting to bounce right off the the sides of the walls right so that's kind of part of the battle right now if you're going to rely on this slowly right um the rendering is gonna are going to take longer right and things are kind of pretty dark of course you can come over here to the exposure right and tweak this right so that's dark if i make that then i can make the interior brighter but we'll see that it will blow out the window right the window is gonna the the scene outside is gonna blow out just like it would in a normal camera now some people will actually do this where they do a um exposure rendering at this exposure level and then do a rendering at this exposure level and combine them just like as a high denim hdri a high dynamic range image right and to kind of keep this like outside right now i would show i'm going to kind of show a sort of shortcut here um in terms of dealing with this so i'm going to push this back to let's say 11.5 and see what we get 10.5 okay that's fairly bright outside okay so i'm happy with this okay and uh what i will do is actually uh over here in rhino let me is go to v-ray uh v-ray lights and put in a rectangle light okay so i'm gonna roughly click here drag it to the right click here and make it roughly right just like the ballpark the height of the window okay and coming over here what you'll see is this there is an arrow right this object this v-ray light has an arrow direction saying that oh that's the direction the light is shooting okay so i'll kind of move it up and you'll see there's a big bright light there right rotate it 90 degrees so it's facing inwards okay um and kind of just like move it in so it's just outside um and i might switch to a top view i kind of really see this so it's just outside the pane of the windows right there okay just barely outside you can kind of change its location a little bit go to this sort of front view and scale it so it fits a little bit better so i'm going to move it into the center and use the scaling grip to generally like it doesn't have to be super precise but just kind of generally try to scale uh it a little bit better so it fills the window essentially okay all right so that's in place now um kind of one funny thing you might see here is that it's a black thing right because it shows up now all right that that light actually is this black thing um so under the settings for the rectangle light right here um if you go to the right under the options we can make it invisible so it will disappear right the light is invisible right now it's kind of filling it right there we'll tweak the intensity here in a little bit all right i'm going to switch back to set view back to my interior view and you'll see whoa we're kind of being blinded right by the light in here so i'm going to put this down to something like 30 maybe still too high 20. five right and just gonna progressively go down until you start to kind of see this resolve a bit more reasonably maybe it's 10 right and the goal is to kind of get a sense and see if you can get basically kind of like an even right smooth lighting situation for the inside right so i'm just kind of playing around right getting a feel for it okay so maybe it's something like this right um this kind of gives you a lot more diffuse like to light up the interior right without and kind of maintain a sort of sense of like the secondary bounces the light that is kind of bouncing in from the inside from the outside so let's stop that and see what that looks like again change this back go to 2000 uh actually maybe before we do that well actually the sculpture is outside so we can see it but we'll do another one on the other side where it's dark and uh 2000 rtx normal rendering [Music] so let that run and resolve now these interiors will take longer um just because the darker the scene the longer it takes to resolve okay now you might get a little bit like slightly unrealistic in the edges here where like the light is kind of brighter there right on this edge where the sun so it's sort of a balance right trying to tweak the that like rectangle light so that uh it doesn't you know overpower the actual sunlight but brings enough light into the scene but as you can see it's finished as you can see like you get you're getting kind of nice to a few shadows lighting up the interior right um so this is kind of a shortcut or a trick let's say right to simulate enough light coming in to kind of light in an interior just so that it doesn't get overly dark okay all right so that's that um on the other hand let's say i'm going to so i have another side of this room right and uh i'm going to switch back again right so change this back to 800 smaller preview changes back to cpu and interactive rendering right activate that all right so i'm going to set my view to uh interior 2 over here now interior 2 uh you might have to scroll forward just one tick uh just a little bit um this this view i think by default got kind of semi set in the wall right so just like move forward um and you should be in a view that you see basically kind of some of the light from the other side coming through this wall but it's mostly pitch black okay so what we're gonna do is actually go through uh just like just to show you right not really kind of do anything too much with them just show you some of the other lights that have so under v-ray lights will have things like a spotlight which i can plop in so no sorry not the spotlight let's start with the uh and these all have their icons here i'm just used to looking at this uh point light which is a infinitely small point and it will come in it's omni-light you'll have to go like probably add two zeros to the end of this intensity for it to kind of really show up right so you'll see that's kind of invisible right it's infinitely small but it just casts light in all directions okay and you can change the parameters the color intensity all this sort of stuff how does it how does it decay if there's no decay then it will be really strong right basically there's if there's no fall off in the light then it just kind of keeps on going and illuminates so if you really wanted to to get a very even lighting in the scene that you could do this right just no decay and do like one you know something like this you would get something that looks like that right but you'll see these shadows coming off of it right i tend not to use these omni lights too much uh again a lot of these options you can actually deactivate shadows so it doesn't cast shadows right so as an option to really just illuminate but no decay is very um kind of unrealistic right it looks it will look a little fake like typically you're working with inverse square right so it will look like that there is a uh where is it sphere light which you can kind of set how big it is so these are kind of good for uh let's say you know hanging pendants right lights that actually have a physical presence and can change the color so if i change the color again i tend to use the kelvin meter here to change colors for things right so if you it's kind of more a yellow light then that's what that would look like so for sure you can change it make it invisible just like the others but these options are all you know kind of there right it's size you can also change the size make it bigger smaller here right so you know you just can play with some of these options all right now you'll see uh in the scene we have these kind of right wall washing lights right so here what i'm gonna do uh and this is why i changed the wireframe so i can kind of see this a little bit better uh as i'm gonna do some uh spotlights so spotlights first is the base of the cone so where we're shooting at i'm just going to roughly kind of do that pick a size and pick a direction and i'm actually going to try to snap to the center of this so i'm going to turn on the center snap try to snap to the center of this cone okay and don't worry uh i'm gonna we can adjust this afterwards so by clicking it you'll see that there is a target point so if i drag this target point then the cone follows it right so i can kind of get to maneuver to a position where like okay this is kind of roughly my implant roughly where it is and i can manipulate this in section so it's sort of like maybe washing directionally like looks like it kind of is in the direction of the light fixture roughly right so that would be kind of what that looks like all right so now that's a probably a little dark and i think sometimes like this happens if it's not showing up right uh you might have to just like move it slightly outward right now it's kind of embedded inside the cylinder geometry so just move it out a tick just like that okay and let's uh play with the intensity here a little bit let's see if spotlight shouldn't be that dark okay so i'm adding two zeros to the end of that just to kind of get it to show up a little bit better right now this is something we can change of course okay so that's kind of the wall washer lights right and what i'm gonna do is actually to select it again and kind of go into a top view you can switch to the top view if you want it might be easier okay oh and so you can kind of see this is slightly on an angle so let's maybe uh target point and just like slide it so it's more parallel okay all right select that uh alt drag so hold down the alt key and drag using the green arrow to duplicate these so i'm gonna do a bunch of them like in series two [Music] best i can it doesn't have to be super accurate right we're just doing this all track alt track drag okay so that's one whole row now what's really nice about this is that you notice that we've done a bunch of lights but there's still only one spotlight meaning that these are all clones so if i change the parameters for one all of them change together i don't have to go through and click them one by one okay so i'll go back let's take a look so now you can see we have a wall right with these wall washing spotlights great again let me go back to the top and actually maybe the side and just select them all together right again just select them all together and i have another row on the other side right so again i'll just alt drag these guys over here uh rotate them 180 basically flip them around and then pull them roughly right these are slightly offset so roughly into into position where there would correlate in plan and kind of double check my work here right so same thing on the other side okay very easy all right set view interior two uh again i'm gonna have to like slide forward scroll forward a tick just to get into the inside and then we kind of look at this and say okay well let's tweak this right now it's still a little dark overall um and again like sometimes like what i'll what i'll do and we can kind of run this just as is right sometimes what i'll do is actually again use the rectangle electric for these um so i'll come out um add another v-ray light rectangle light and make this one basically kind of like the ceiling roughly the size so horrors go horizontal first and then this direction this is going to be kind of facing upwards in this case right you'll have to kind of see what happens with yours right but so flip this 180 so it's shooting downwards and you can kind of see this probably better in this section and you just slide it down just enough so it's just below the ceiling plane of the roof so it's there okay set view interior two scroll in a bunch okay so now obviously this has blown it out completely so this second rectangle light i'm not actually just going to do one don't forget to make it invisible and you can kind of change this right change this value based on like how much of this how much kind of like overall lighting right you want this to get right so this should be a pretty low value it doesn't have to be too high right now another thing is that it looks like a grayscale image right now because um the lighting is just you know black and white you know so i would definitely change the color value uh the color tone or the temperature for these so let's say for the rectangle light i'm going to click on this color temperature and like move it a little bit in the blue direction a little bit like that okay so this will come out a little bit cooler tone like uh you know fluorescent lights you know um and won't look so monochrome okay and then for my spotlights i change this into kind of more yellow ish tone like this right so you'll get that okay so you'll see like you know if if your lights are perfectly white which is very difficult but perfectly white they'll look kind of unrealistic you need to kind of give them a tone right which is why the other renderings from the sun and the sky all have like different tones of blue or red or yellow to them right so this will work that way okay uh as a final thing i'm going to copy this guy make a copy scale it down [Music] i don't know 0.5 make it smaller and stick it in here somewhere as well uh set view interior two i'll keep on forgetting to update this view oh that's in the ground so let's move this uh sub d guy up so i mean you can kind of use a maybe use a side view to make sure that it's uh above ground something like that barely touching okay so that's that endurance right and if i wanted to again like go to my materials oh no [Music] texture go to my materials and change this into on silver polished apply to selection now the silver doesn't stand out as much although the reflections might work pretty well or maybe uh the copper let's try the copper oh yeah okay there you go [Music] all right interior two slide forward here okay so i think i'm maybe relatively happy with that so i'll stop my rendering right go back to my options tab change this to 2000 you know normal rendering rtx normal so it will start to render this interior fully interior shop with wall washer lights like a gallery now you can turn off the rectangle light and kind of see what it does just because like you know sometimes this will look a little bit more unnatural and things are floaty just because there's so much like ambient light that the the invisible rectangle light gives right but it does kind of light up the scene much better overall right but you get a lot less kind of highlights and contrast right so you know feel free to kind of play around with options just like darker scenes will take longer to to um to render so this is finished so we might as well kind of play with that let's see um if i go to my lighting and let's see if i disable this rectangle light that i had earlier right and we'll just see how that works out so you see like the the tone of the scene right completely changes but it would be a little bit more realistic right so like it will also kind of take a little longer just because these bounces are coming off from you know the bounces of these wall washer lights that are bouncing around the scene okay now my walls are kind of default rhino materials so these would actually pick up better if it was a v-ray white material but you know i think the scene also kind of reflects the overall uh brightness of these lights as well so we can kind of tweak that so maybe these guys don't have to be ten thousand let's say five thousand let's see how that updates now as long as your renderings are running this fast right then i think um you know there's no problem but you just like tweak the settings so that when you're doing test renderings like it doesn't take forever you know okay um but honestly you know in this case some of these cases i kind of like having the rectangle light in there because it does you know set a slightly kind of different tone to things so i'll just restart that with the rectangle light activated right and if it's really over bright i can come come back and kind of just like tweak this exposure value a little bit right like if i feel like that's getting kind of too overbright then i can just come back and i'll play with exposure values so [Music] nine it's too bright so i should probably go like 12 right now you just have to kind of with some experience you'll kind of get a sense of like how it uh clears out uh when you actually do the final rendering like how the noise wants to clear out okay um but yeah i think that's kind of uh that's kind of generally you probably could put a spotlight on top of this uh to light this thing up uh but that's kind of generally it um let me try that really quick [Music] spotlight something around the base here so again like these points can be changed um fairly easily the target point can move it around you can also change the the cone itself as well here so this this cone angle if i highlight it you'll see for example the cone angle uh number angle gets bigger smaller right the cone the spread right can be controlled here right [Music] let's see just for fun view [Music] okay so i need to i forgot to bump that light up a bit and it's probably clipping into the ceiling at the moment let's see yeah so i need to move this down enough so it's not in the ceiling i see let's do right so you can kind of adjust these to make this wider so kind of light that up it depends on kind of how strong you want it to be with these like different fall offs and shadow radius all these sort of options blah blah okay maybe i'll make this really bright [Music] okay there you go so that's kind of maybe a bit more exaggerated you can see that you can see this shadow here in the center right so okay and let's try to render that at full size i will probably move this so it's not doing that on the ceiling basically uh because the the cone is so wide that it's hitting part of the ceiling but i'll probably move that so it doesn't do that but basically kind of looking for this kind of effect here okay i think that's it that's the kind of gist of this um so uh we're just asking you for right um an exterior render and interior render like this right or you can give us all three right all three kind of scenarios that i just showed and that's that's it

Channel: Lee-Su Huang

Views: 2,977

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Id: TRUjij_pxwU

Length: 67min 6sec (4026 seconds)

Published: Thu Mar 25 2021