Vray for Rhino Tutorial _ Perfect Daylit Interior

[Music] hello welcome to my v-ray for rhino tutorial today we'll be talking about day lighting and we're going to attempt to take a simple interior living space like here and render it to have this nice warm daylight glow and we want to do this without adding any artificial lighting whatsoever so we'll be taking your mom like this and in the end we'd like to create something like this so what you can see here is a well-lit space lots of glazing here light kind of pouring in but there's no artificial lighting we don't have any cans modeled or any floor lamps or anything like that we're just want to create or we want to understand our space from a pure daylighting perspective and so today we're going to work through the steps from scratch that we can do to get there so i have my model here it's just a pretty straightforward living space um some really big floor to ceiling windows not much going on here um and in v-ray i'll open up the asset editor and we'll see that i have set everything to the default settings so that we can sort of build this from scratch if you haven't seen my other global settings tutorials where i kind of run through how to set this up for working with an hdri and the sun lighting sources be sure to check those out but if you haven't so it's fine we can just we'll kind of do that from scratch here as well so the first thing i want to do when i'm setting this up is i'm going to [Music] make a few new materials and these materials are going you can see this file has a bunch of stuff for various other tutorials i made i'm going to make a few new materials that we're going to use to override everything that's in here so i'll go to create a new material a generic material i'm going to call this light gray override light gray override and all this material is going to be is simply just a light gray so i'll change the diffuse color to a nice light gray not quite white but almost there i'm going to make another color i'm going to call it medium gray that will be the same thing just like a sort of nice medium gray um and i'll explain what those are going to be for minutes um what i what i want to do here if i go to my my main settings tab if i go down to material override and drop down here i'm going to turn this on so what this is going to do is essentially override all of these materials that are already set up so i have different areas like wood flooring and brick and ceiling textures and a lot of stuff on the exterior and rather than go through every layer one by one and put them all on this nice light gray that we're going to do i'm just going to override everything all at once so my override color i'll select my light gray override so what this has done is everything in this image is going to be rendered as a light gray and so as if we remember back from the final the goal of this is just to really understand the daylighting effects on the space um and have everything be this sort of soft warm white glow um once we've achieved this effect it's easy enough to go in and just start adding in real materials to your floor your ceiling your your kitchen and whatnot just to kind of go from there but the goal of this is to really focus on the lighting aspect of it so we'll take the color out of the equation by making everything light right a few things that i don't want to be overwritten so if i go to my materials and i go to my glass this is just a standard glass that was imported from the defaults here that i'm using i don't i want to be able to see through my windows right now this is going to override them so that they're also just an opaque light gray so if i go to my material options can be overridden i'm going to actually that is typically checked i'm going to uncheck it so that it cannot be over i'm also going to go to that other medium gray override and i'm going to uncheck that as well i'll explain why in a second so outside of this model there's some pretty dumb simple context i'm going to put that context on a lay on that medium gray layer and the reason i'm putting it on the sort of like medium gray and not the light gray is just because it's going to be outside it's going to be getting hit with the direct sun and i don't want it to get too blown out so i set it to a medium gray so it'll read as basically the same light right and everything else wow i'll do that for the sidewalk as well all right so i have my all my contacts on the medium gray everything else is on a light gray except for my glass which is on the glass layer great so that's set up now what i want to do is start thinking about my light sources so as we said we're only going to be doing daylighting so the most important light source is going to be our sun so if i go to my sun tab here if you don't have this tab you can just right click anywhere and go to the drop down for sun and in my sun tab um first thing i'm going to do is turn my sign on and now i'm just going to use the manual manual control to control exactly where my son will be coming in um when i do this i like to look at my project and plan as a way to understand so when this is in plan and i'm looking at my subposition and plan i know that these are going to be the same so for example this is set to my son is going to be coming from the southeast at a 135 degree azimuth so i can of course turn manual control off and i could set to an exact city and i could do an exact time if i wanted to to really understand the true effects of daylighting in certain hours um but for this i really just want to simplify it and just i know that i want my son kind of coming in at the southwest and i know i'm going to take the sun angle a little bit lower to kind of pull that sun in as far as possible so you know we'll sort of like a winter morning sun we'll say um all right so we'll have those set up if i go to my asset editor and look at my lights you can see that that sun is right there as well we'll come back to adjusting those settings here in a minute the other light source i want to add is an hdri and while this won't be creating actual shadows it'll be giving the sort of atmospheric effects of like the warmish glow and it'll also give me a background um to go to the final thing you can see that sort of sky and trees in the background this is going to be the dome that encompasses the entire project and acts as a secondary light source so this will make more sense as i work through it so to add that we go to our v-ray tools and under our light tools under the drop down we're going to use the dome light tool so if i click there it's going to ask me to choose a location i can just click anywhere it doesn't matter where you put it as soon as i click it it immediately prompts me to choose the dome texture so what i'm going to do is use an hdri um so there are lots of free hdris online so just a quick google search you could probably find a few to use as an example i have some here that that i that i got on like a free giveaway or something for a website um i'm going to use this 105 i think it won't work well for this um so now while i can't see anything i know that essentially there's been an entire dome placed over the whole of my project and that dome is mapped with this texture of the sky and so that i know where it is this arrow points to the center of the hdri image and in this particular hdri image um which i can bring up because i think it'll be worth looking at what that looks like so we chose that o5 so we can see what that looks like this is what's going to be mapped all around so it's a pretty generic ground there's some trees in the back and just a sort of middle of the day sky with some clouds and it looks very warped because you have to imagine this is warped around an entire sphere around your project but it's super high res and has hdri it's not just a giant jpeg what it is is it actually has lighting information embedded within the file that will affect the scene um especially as in terms of atmosphere to get some some tones and colors in there but it also has a bright spot which is the sun and it's in the center of the image so if i look here at this arrow this is pointing to the center of the image so you just kind of have to remember that that is sort of pointing to the middle so if i want to rotate this dome around in space i can just rotate this arrow and so essentially i want to rotate this arrow to be pointing at where the sun in rhino is so i have this sun in rhino that is coming from the southeast and going down and then i have my dome atmospheric light that is i'm pointing to the southeast because that's where the center of the image is so both my dome and my rhino sun are now synced together um that's just to make sure that there aren't any funny lighting things that don't make sense where the shadow's going one way but you see the sun coming from the other direction and your eye will immediately catch that feels weird and doesn't quite make sense so it's always good to get those synced up that said they don't have to be absolutely perfect they just have to be generally coming from the same direction um so now that we have our two lighting sources set up let's go into v-ray and set go back to our interior view i'm just going to do a quick render just so we can see where we are again i've changed none of the v-ray settings this is sort of just out of the box v-ray um we'll see where we're at and then we'll make all the adjustments to get to where we want to be so i'm just going to click well before i do that i will change the quality just so that this renders faster but i'm going to turn that down to low and i'm going to change my aspect ratio to match my viewport so i'm actually rendering what i'm seeing here and i'll bump up the image quality or the size to 2000 pixels it automatically updates the height to 1064 which is just matching my dimensions of my screen but i haven't changed anything else i'm simply just setting it up so that it's render a quick thing and it'll render the right actual image so i'll hit play and we'll see what's working and what's not and then we will adjust it from there so as we can see the image is it's still processing and this will take a good while it's rather slow with these settings that are on here and using these render engines we're going to adjust those to use the irradiance map and the brute force rather than the light cache because one of the time that we're going to spend but also just to get a little bit more crisp clean look um but i think the thing to note here is how without even letting this entirely finish you can see how washed out we are here at the windows and we have all these hot spots and it's um there's sort of a lot of issues to work through it's sort of overly warm as well so i'm gonna go ahead and stop that and start to work through some of the changes we can do to get that better so if i kind of start here at the top the first thing i'm going to want to do is go to my global illumination and i'm going to change the the primary rays to irradiance map and the secondary rays to brute force um so this is just going to be using different render engine engines i'm also going to turn off the progressive rendering because i want to use the bucket rendering mode and not the vbf mode so this will be i think will render something like this much faster so once i have changed my my rendering engines i'm going to go ahead and see how that looks so i'll hit render again and we can see the difference all right so what we can see here is um one that rendered significantly faster but there's a lot of new problems right so one the sun is just way way too intense right it's coming in here really really harsh and it doesn't feel like a natural warm glow that you might expect for a daylit scene and two and this is a very common problem everything is very watchy i see this all the time and students ask me how can i fix this blotchiness and we also it's pretty contrasty right we have like some pretty dark spots and some really really hot spots so we're not getting a good balance of a light in here um so let's adjust a few things to to deal with these issues so the first thing i want to do is start to think about how i can control um the lighting of the scene and the lights themselves to kind of balance each other out so what i'm going to do first is turn my exposure down which will actually make it brighter counter-intuitively so i turn this down to eight which will brighten up the image but i'm also going to turn my lights way down so this time i'm going to change the intensity to 0.1 so that's significantly 10 times smaller and i'm also going to um but i'm going to make my dome light brighter so i'm going to turn that up a little bit so that i can make sure that i'm it's providing as much sort of atmospheric lighting as possible but i want to turn the sun down because it's just way too intense and it's kind of like blasting all of the light grey surfaces but so with the turning the lights down but i've also turned the exposure up by changing this from 10 to 8 that'll help let in more light so that it should read a little bit more evenly so let's take a look at what that gets for us all right so we can see we're getting a lot more of a balanced even lighting on this um nothing is we're not getting nearly as blown out here at the windows and the contrast is a lot more um uh evenly dispersed um so what but we still have this blotchiness right so let's and we also if i look here at these um shadows they're all very very fine and crisp and i kind of want to get that nice sort of diffuse blurry shadow that would come in and hit the floor and sort of blur away as you get farther from the object so let's first go to our sun and the way we're going to control those shadows to get a nice more of a soft glow is the size multiplier um so i'm going to bump that up to six which will give a nice sort of fuzzy shadow um and leave that at two let's go back to my settings i'm gonna turn my ambient occlusion on and i also want to fix the the blotchiness so if i if we look at these results this blotchiness is kind of a really a mess here so i'm going to actually just render one little section to show you how we get rid of that so back to my settings so the way we're going to control that is going to be through our subdivisions and our interpolation so these are going to control the amount of blending and interpolation of the nearest kind of neighbor light sources and the amount we subdivide for direct computation so if i kick this up and we can see that if i hover over this one is the minimum and a thousand is the max and we're down at 40 which is really low um i'm going to bump this up to 200 and i'm going to bump up the interpolation to 100. if this gets up to if the interpolation goes up too high it starts to make things a little fuzzy and like sort of blends the lighting quality a little bit too much so i like to keep the interpolation at half of what i keep my subdivisions you can see that changed my quality to custom because i'm sort of the quality is tied in with the subdivisions and the min and max rate so um i want i'm going to keep my low quality which will have a little bit of a fuzziness now for this test renderer we'll kick that up for the final but the fuzziness will be controlled by the mid and max rate but the smoothness we'll call it will be controlled by the subdivisions and interpolation so again i'll keep that up to 200 put that to 100 um the other thing i want to change here is for my render elements i want to add my material id output this will be important later as we blend two different images together um and i think that should be good to go so let's render that little section of the ceiling to make sure the fuzziness is going away and then i think this will be ready to go for a high-res rendering and so without changing the overall quality but just changing the subdivisions we can see that this spot is rendering much much smoother compared to you can see that where you know what was redone and what was not is much much smoother but it doesn't slow the rendering time all that much what's going to slow the rendering time is going to be setting the min and max rate um changing the subdivision slows it somewhat but not a whole lot um so this is pretty close to what we want i'd say it's a little bit dark but we're going to come in and do our little final tweaks with the exposure setting on the final here so that we can get the exact outputs we would like to get to our final product so let's go in and set this up for a high res rendering so if i come to my settings i'm going to put this to high so my min rate is negative three my max rate is negative one my subdivisions i'm going to bump up way to 300 and my interpolation i'll put a half of that at 150. everything else seems to be ready to go the we added that material id render elements we're not going to worry about the depth of field or any other effects right now i'm going to kick this up to we'll say 3 000 pixels wide just a little bit bigger if if i was going to do this um for a final rendering um i might even kick that up higher it's like say like five thousand i typically don't go much higher than that unless i'm printing at full scale but if it's just gonna be a digital presentation three thousand to five thousand is usually pretty good um we have our override set i'm turning on swarm to use all of my render firepower we can cover that different tutorial our lighting is good to go so and let's just go ahead and hit render and let we'll hit play and let that render all right so here we have the final result we can see all the walls look nice and clean and smooth we have our light coming in that we can see this sort of glow around the windows it's um generally a little darker than what i would like but from here because we are focusing on only being lit by the exterior lighting and we have no artificial lighting this will get us where we want to be because we can do some final little tweaks at the end here so what i'm going to do is go to my show corrections control down here in the bottom left and this sets up some sort of within v-ray [Music] just color corrections something that you might be familiar with in photoshop so the first thing i'm going to play with is exposure um so i'll put these back to sort of like the defaults so you can see once i turn this on i'm going to play with the exposure to get the room to the right level i want so i basically rendered this sort of in between um being the right amount of brightness for the outside and the inside knowing that i can increase things the exposure which you can sort of think about as letting in more light to be corrected for the interior and then i will adjust the exposure for the exterior and then the goal is to bring those two together in photoshop so that we have a perfectly balanced image so for the interior i'm going to brighten this up a little bit i'm going to turn the highlight burn all the way down to kind of help with those hot spots which i can turn this up so we can get this up to about you know maybe there feels kind of nice so the the windows look a little bit washed out but nothing is a true hot spot it still feels like a nice soft balance of white material nothing is totally blown out so once i have where the brightness that's feeling like the glow i want on the inside i will save that and i'm going to use the double save icon to make sure that it saves not only this image but it saves the material id layer which will be helpful for blending those windows back in later so i'll save this file um here i've already saved it so i'm not going to save it again and now what i'll do is i'll adjust the exposure so that it is correct for the glass itself so i'm going to bring that back down to somewhere there take this highlight burn back to about here so i'm only focusing on the glas the exterior glass now what looks nice out there so if i go too high it gets washed out if i go too dark it gets it doesn't feel like a bright day outside so i'm going to go somewhere in here and i'm going to save this image as well and i'll go to that same folder but i won't say because i've already done done it ahead of time so without rendering twice i'm just saving it twice by adjusting the exposure each time um now what i'll do is i'll go into photoshop and i will open up the window version the room version and the material id i'll open up all three of those files all right so i have the the the file we saved that has the correct exposure for the inside the correct exposure for the glass and the material id so first thing i'll do is just combine those all the one file so material id i'll right click on my layer 1 duplicate layer i'll put that in um my file number 13 pmg save close that i'll select this layer right click duplicate layer change it to also image 13 because i haven't sh because they're all done from the same view they will all perfectly align right on top of each other i don't need to scale anything um so now what i'm going to do is go to my material id layer which is made the windows yellow i'm just going to do a simple magic wand tool so that's here third fourth one down or w is the shortcut i'll just click in the middle and then i'll right click and i can go to select similar which selects all the yellow space i can turn that off and i will go to my layer 3 and now i'm going to select the inverse so i'll go to select inverse so i've selected everything but the lights and i'll do control x to cut it out um so essentially i've cut out everything but the window so i have these windows on their own layer and then i have the um the main real monitor so now i'm just going to do some simple color corrections to get these together so in my layer 1 i'll add an adjustment layer for brightness and contrast and if i by holding alt you can see when my cursor is on that layer it makes this little down arrow that will attribute this adjustment layer only to that specific layer so i'm going to play with that brightness just to give us sort of final tweak and get it exactly where we want it play with the contrast i might actually turn that contrast down a little bit sort of there so i'm at 30 and -25 and then for my windows i'll do the same thing i'll add an adjustment layer for brightness and contrast i'll hold alt and attribute that only to my layer and this is just a way to to adjust the brightness and contrast of your layer but also to have a record of it so when you come back later and you look at the file you don't know how much you adjusted it you can just click on this and see how far you've adjusted it from the original it's a it's a i find it very helpful to just know it's keeping each of my every file as its original and showing my adjustments i make to them um so this if i just start to brighten up that glass just a little bit there um trying to get to that perfect balance maybe a little bit more contrast where this is starting to feel like that nice warm day let's see you can see there's a little bit of fuzziness here from that click if i just go and do a type m for selection rectangular mask you can just go to my layer 3 and just clip that off just sort of get a little fuzzy at that edge for whatever reason sometimes the material id gets a little weird when it interacts at the corners of glass but just trim that off there we go so now um that i got the exterior to feel like it's i'm able to see through and understand the sort of nice sort of partially cloudy day the interior feels like i'm seeing exactly how much lighting the daylight the exterior lighting is providing everything has this sort of nice warm glow sort of perfectly daily scene um and then in this image in particular um you know there's generally too much ceiling and skies just from a compositional standpoint i would maybe do a crop which gets me here to the final image where that we looked at to start now we have a perfect little living room scene here that is 100 daylight and we can understand the impacts of the glazing and what that means for daylighting this space and it also is primed for potentially adding other materials and taking the seat forward but we know that our lighting is set up and of course we could always come in and add artificial lighting as well if we wanted if we wanted to change it to a different time of the day where we're not getting as much sun in and it starts to get too dark we can start to add some can lights in and work with that but from a pure daylighting standpoint and understanding the daylighting goals of the design of this space we can really understand what we've developed so we will stop it right there thank you

Channel: Source Render

Views: 10,402

Keywords: daylighting, rendering, vray for rhino, vray, rhino, vray 3, interior rendering, interior lighting, hdri, rendering with hdri, daylight rendering, vray sun, vray hdri, vray sun settings, vray settings, vray global settings, vray lighting, daylight, vray 3 for rhino, warm lighting, vray tutorial, tutorial

Id: hMWVdRN8AHw

Length: 34min 35sec (2075 seconds)

Published: Mon Mar 22 2021