Architectural Interior Scene Renderings using V-Ray 2.0 for Rhino

Architectural Interior Scene Renderings using V-Ray 2.0 for Rhino


STEPH: Good morning everybody, I hope everyone
can hear me ok, I’m Steph from Simply Rhino I’d like to welcome you to the fith webinar
in series of six webinars focused on the use of V-Ray 2.0 for Rhino. In today’s webinar the importance of choosing
the correct GI soultion will be examined. Together with using a few V-Ray presets that
make setting up a scene like this more straightforward. maximising the available daylight and controlling
the horizontal illumination will be demonstrated, alongside the cotrol of exposure, and the
physical camera. additional illumination using rectangular
lights and IES lights will also be covered. The Webinar should last approximately 30 minutes
and our presenter is Phil Cook, Phil is an experienced product design professional
and senior trainer here at Simply Rhino, the sixth webinar in this series, in which
we will look at HDR light studo in V-Ray, is on Wednesday the 3rd December more details on that are on the webinar series
page of the Simply Rhino website, registration will open soon. This webinar is being recorded, so you can
watch it again, it will be posted on youtube channel, and link to that is available on our dedicated
webinar page, again on the Simply Rhino Website. as we progress through the presentation today
please do type any questions you may have and send to us, you may have an answer directly within the
chat or it may be shared with the group later. there will be an official Q&A session following
the software presentation. lastly, a quick thank you to Chaos Group,
Scan computers, and PNY for their assistance in presenting these webinars. That’s all from me for now, I’m going to hand
you over to Phil for the presentation. Phil, over to you. PHIL: Thank you, Morning everybody! MY names Phil, from Simply Rhino, in Todays webinar we’re going to look at setting
up an architetual interior scene. for those of you that ave watched earlier
webinars, you may remember that we gave a quick description of how light is calculated, not only inside of V-Ray but in a real life
situation. so just to recap on that, we have the concept
of direct light, which can either come from the sun or from a studio light source, and then the light that bounces around after
the direct light, is known as indirect illumination. and V-Ray breaks the indirect illumination
down into two seperate calculations, those being the primary bounces of illumination
that we can see here, and the secondary bounces of illuminaion that
we can see now. so that first bounce of indirect illumination
is pretty much all you need in a well lit scene, not all you need but it contributes to the
majority of the global illumination in a well lit scene. where we have a scene that is less well lit,
such as a typical interior scene, then we are more reliant on those secondary bounces
of illumination. so heres a well lit studio scene where we’re
rendering both primary and secondary bounces, and here the same scene without the secondary
bounces, so you can see there is a difference, but
theres very little difference, and indeed, if we turn the indirect illumination
off completley, we still get a good amount of illumination, just with the direct illumination. however, if we were to look at an interior
scene, heres an interior scene which is a very rough
render, but it just shows primary and secondary bounces
being rendered here, if we were to remove to secondary bounces
we’d see that we have very little illumination in the scene at all. if we were to use the same render setup that
we may use in an interior scene, you’d see that we get alot of noise in the
render, and we dont capture an awful lot of the indirect illumination. so theres a particular setup we sugest to
use when working with an interior scene. so, lets just look at our Rhino model to start
with, and what i’d like to say about the Rhino model
is, when you’re rendering, or moddelling an interior,
the idea is that you want to model the interior as corectly as possible, so in this case we have a closed volume, and
we only have appetures to let light in, where the windows or doors, or openings in
the buildint are, so dont get into the trap of removing walls
or cielings to let light in becasue the results wont be physically correct. so, just going to return to my named view
here, and I’m going to start with default settings. here we have a scene where we have some materials
applied, and if i was to first of al go to my V-Ray
options and go through some basic setup here, so im going to load the default settings,
I’m going to just uncheck ‘Override outputt’ so that i can render out my viewport size, and to save abit of time I’ll just show the
sort of visual look we would get at default settings, you can see it’s pretty dark, quite alot of
noise coming off the materials, and you just see through the windows here,
the enviroment which in the service release V-Ray 2.0 is
a HDR or an EXR image. ok so, one of the best ways of lighting an
interior scene is too make the most use of the available daylight or enviromental light, and another thing that vastly speeds up our
setup is to go into our global switches here and check override materials with a basic
greyscale colour, so that we can take materials out of the equasion and allow us to concentrate souley on lighting. so im going to add first of all a V-Ray sun, I’m actually going to use the V-Ray sun object
here rather than the Rhino sunlight, so our Rhino sun is turned of for the moment. if you remember the last webinar, we looked
at using the Rhino document sun or the V-Ray sun, so here we’re using the V-Ray sun, this brings
up the V-Ray sun angle calculator. and im going to pick, wellington, New Zealand,
and im ging to put this to about half two in the middle of august, ‘OK’ this, the cursor changes to a crosshair
and we’re asked to position the sun. so we have the direct light symbol here which
is the visual representation of the V-Ray sun. so the next thing we need to do is to load
this into our enviroment, so we need to load this into two slots, thats
the skylight and the background. so, we change the texture here to ‘TexSky’
then we choose sun1, and the sky model we’re going to use here
is the CIE clear model, we’re going to do the same here for the background, so Texsky, sun1 and OK, so now i’ve loaded in my sun into the enviroment. so, now im going to do a couple of other things, first of all im going to go to my indirect
illuminaion tab here, and im going to change the calculation type for secondary bounces, from ‘Brute force’ which is the default, to
‘light cache’ Brute force is a physically correct calculation
that just requires, essentailly, number crunching to achieve the result, because its a physically correct calculation
and not an approximate calculation the number of bonces of indirect illumination are set at 3 by default, and clearly we need
to capture many more secondary bounces of illuminatin that 3, so we’re using a calculation called light
cache, now this is a heavily approximated calculation in V-Ray, and is a proprietnry calculation in V-Ray,
and is good to use for secondary bounces in interiors, its not a calculation thats acurate enough
to use for primary bounces but for secondarires its the perfect calculation for interiors. by default, it captures 100 bounces of direct
illumination, and without getting into the setup of this
all we need to do is select light cache here, and then we can go into an interior preset
here, we can set a low quality interior and check this, and this will actually configure the subdivisions,
the sample size and all the other settings we need to set inside of light cache. so really to get started with V-Ray its a
good idea to use these presets, and of course the V-Ray express materials
that are down here aswel, it simplifies the whole setup in working in V-Ray. I’m also going to choose a camera preset here
as well to control the exposure, and im going to set a setting called ‘Interior natural
light’ just to start with. and then im going to do a test render, I’m
just going to check a couple of things in here first of all, and thats all fine, now i’m going to do a
test render. ok, so we’ll see here that this scene is a
little bright, so I can go into my camera setting here, and I can maybe decrease the shutter speed
from 1/30 of a second to 1/60 of a second, then im going to render again, and we should
see a better exposure. one of the reasons we might want to use the
V-Ray sun here, is taht on an interior scene, weather we want to actually position the sun
intuitavley, its alot easier to grab the sun object and
pull this around, render again, and move the position of our shadows that
we get and sunlight patterns on the floor. we’re using here the CIE clear model for the
sky, and the reason we’re doing this is it allows us to idependently control the
brightness of the sun and the illumination that we get from the sky. this is really quite important for controling
interiors, it also takes out an awful lot of setup problem
by being able to control these values seperatly. so, first of all lets look at the components
that we have here in terms of light, principly thats going to be the global illumination
which we could say is the sky, and the direct illumination which we could
sayis the sun. the other component of course that we get
from using the sun and sky is actually the background that is represented as a sort of colour ramp. so, to control the sky or the GI we can use
this value here which is called the horizontal illumination, and the default setting for this is 25000,
now if I set this to 0, just to prove a point, you’l see that now we have no contribution
from the sky but we’ve still got sunlight contribution. we’re only seeing direct illumination here
from the sun, and whikst we’re only seeing this lets just
look at a couple of things that we can do with that sun illumination, first of all we can control the colour of
the illumination that comes frm the sun, and we do this via the ozone value, the ozone value is set ‘here’ and really we’re looking at a range between
0-1 so if i set a value to lets say 0.1 here,
and we did a small test render area here, you would see that we have a yellowish illumination,
and if we pick another area here, and we set a higher value of say 0.9 perhaps, you would see that the colour of the sun becomes
slightly cooler. its dificult to see on this screen but you
can see that it’s slightly cooler, obviously the sun is always going to be slightly
warm in terms of the colouration that it gives. so lets set this back to somewhere on the
lines of the default, and lets now look at how we control the illumination
from the sky, or the GI, this is done, as we mentioned a little earlier
on, with the horizontal illumination, and the default value of this is 25000, and
lets just render out again here, and so lets take the sun out of the equasion
this time, by setting the intensity of the sun to 0, and now we will only see the contribution
to this scene from the sky. so, again of course, we can control the brightness
of this illumination, by altering the horizontal illumination value, and we can control the colour of this illumination
with this turbitity setting here, smaler values here give us a clear sky, so
a bluer colour, and larger values give us a more dusty or
dirty sky which tends to lead to a more yellow sky. so lets just look at setting the turbidity
to 2 here, do a little test render, ok so you can see that’s gone slightly bluer,
and lets do another reigon render here, set the turbidity to 5, and we’ll see this
is yellower, there we go. so the good thing about using the CIE clear
sun model here, is that we can control the brightness of the sky and the colour of the sky independently from
the brightness of the sun and the colour of the sun, and this makes it kind of quite fun and easy
to set up interior scenes. I’m just going to go back to something approaching
a more default setting here, set the intensity of the sun back up, and
render. ok so, a couple of other things I should mention
here, first of all, if we want to soften the shadows of the sun
without increasing the brightnes, we can basically use the size of the sun here, so increasing the size of the sun will soften
the shadows, and this is kind of scene dependent, you can see here the shadows are softening
off, if we just increase the size further, the
shadows get much softer,. and remember that we’re rendering at very
very crude settings here, so our quality is pretty low but you can get an idea. so i’m going to set the size back to 1.2 and
let’s just maybe warm up the sun slightly here in terms of the colour, and just have a look at what we get here, ok so now what i’m going to do is just look
at tyring to pick out a few more shadows here, the quickest way of dont this is maybe using
‘ambient ecclusion’ which we can turn on in indirect ilumination, I would point out that its not physically
correct to have ambient ecclusion on in an interior scece, infact ambient ecclusion isnt a physically
correct result., what it does is basically excludes light from
areas where there is a corner or a change in a normal direction, we can control the amount, the number os subdivisions
which as you know will improve the quality, and the radius of which this effect will take
place. so, i’m going to increase this a little but
to more than i would normally do just so we can see the effect of this, and we should see that on the render pass
we get some darkening happening around the bottom of these edges here, which just helps to kind of anchor the objects
onto the ground. now im just going to turn on the materials,
all of the materials are preset and most of them are V-Ray express materials, or slightly modified V-Ray express materials, and i just want to look at a couple of other
things here, so now that we have the materials on the render
starts to make a little more sense in the over colour here, and if we look at the brightness of this scene,
the scene on the interior is perhaps getting towards the corret exposure, but our windows here are very blown out. there are a number f different ways that we
can attack this problem, but i’ll just wait for this render to finish, we can examine these overbright areas just
by clicking this little button ‘here’ that will show me the areas that are overbright. so one of the simple methods that we can do, or a coupe of simple things that we can do
here, is maybe slightly turn down the horizontal
illumination, or we can use what is called ‘colour mapping’ there is some colour mapping applied by default
and sometimes, without going into an awful lot of detail here, you’l find that you capture more colour and
more of the tonalitly from these blown out areas by using a colour mapping type such
as ‘HSV expedential’ basically the idea of colour mapping is if
you look at a normal image and you imagine going from black to white, on a scale of 0-1, then with a render it is
posible to have brightness values that are above 1, and colour mapping basically pull down those
overbright colour and clamps them, it uses various methods to smooth the clamping
so that there isnt a sudden cut off in tonality of colour when we get to those overbright
values. so im just going to do a little test render
here, and we should see now with HSV expedential
employed that we just kind of get a little more tonality coming into these windows, and you’l see that the bars on these windows
are not quite as blown out as they were before. so we just basically pull in a little more
tonality. now, you’l notice theres an awful lot of noise
going on in this scene, this is a combination of the low quality render
and also the fact that the materials, and the subdivisions on the materials are not set particularly high. so, if i was just to load in a visual here
which is pretty much the same render but with more subdivisions on the floor and the white plaster material here, you’l
see how this cleans up the noise in the render. so this is the before, and this is the after. the render time when you increase those subdivisions
obviously goes up, maybe about 2 and a half times in this case, but you can see we start to clean out the
noise. ok so lets just very quickly now look at how
we can deal with interiors where we are not making use of daylight. so, what im going to do here is to just set
up a slightly different sun model here, so im going to remove the V-Ray sun and im
going to go to my Rhino sun pannel, turn this on, and this is set for this time
of year, in London, at sort of half 6 in the evening, so not an awful lot of light going on here. and once this sun is on here, Im going to
load this sun into the enviroment. Rhino document sun, and im going to change
the model here to the ‘Preetham’ model, so Texsky, Rhino document sun, and choose
the Preetham model, so the difference with the Preetham model
is that the preetham model actually darkens when the sun goes beyond dusk, you’l find that with the CIE model, when the
sun goes beyond the horizon there is still and orange colour in the sky, whereas this is not the case with the Preetham
model, the preetham model has the sky that darkens as we progres. ok, so lets
go into the camera and maybe just increase
the film speed nowjust to let a bit more light in, and we’ll just do a default render here which
should be pretty dark, there we go you can see this is incredibly dark here, all we’re getting s this tiny bit of blue
light coming in from the sky, so to get a kind of basic fill light in the
interior here is use a rectangular light, so a fairly big rectangular light that sit
behind the camera, and this rectangular light will have a very low insensity, and im also going to make it invisible aswell
so it doesnt get in the way of the camera, so you should see now that this kind of fills
in the illumination. becasue the intensity is set pretty low it
doesnt give much in the way of direct light or cast any shadows, it just start to give some ambient light inside
the room. so whilst this is rendering, im going to turn
on ome other lights we’ve got here, I put some little lights inside these litle
alcoves, and again these are rectangular light that we put in here, so again, just render a little test area here, our rectangular light are here, sitting in
the top of the alcove, and its important that with any light source
in V-Ray is that they are not enclosed in geometry, because you will not see the effect of lights. but here I’ve made the lights invisible so
we dont see the source of light, otherwise we’d see a glowing rectanngle. so you can see here the rectangular lights
are a nice way to get this kind of feature light coming in here in these alcoves, as we’ve said before when we’ve looked at
product rendering, the rectangular lights are very subtle and easy to control in V-Ray. so again, we can colour these lights, and
I think we mentioned in earlier webinars, if you have very brightly coloured lights
then these are going to create a very heavy colour cast, so we have to be careful to have a very subtle
colouration here, and then the result should be reasonably subtle. so you can see just a little bit of coolness
coming in from that light, so when you o colour the lights just kind
of be cautious, if this becomes too intense then we’ll get a very very strong effect going
on here. now, one other light type that i’d just like
to introduce very quickly, is the IES light, this is a light type that allows us to use
manufactorous lighting files so we can actually render the exact brightnes
and light pattern we would get from a particular file, the metephor for loading in an IES light is
actally a spotlight metephor and is not exactly equivalent to the type of light that we’re
going to get. but lets just have a look at how we load in
an IES light. so we go into the V-Ray light toolbar here,
go to IES light, and we’re actually asked to king od describe a spotlight here, even though the
actuall cone of the light really isnt that
relivent, this is used as just a metephor of the light itself. so im just going to go into my camera here
and just make this scene slightly darker just so we can see the effect of this light, i’m just putting this light in the corner
here so its completley out of context but you get an idea of how the light works. so, pick the light here, go to properties,
light, and then on the file option here we can navigate to whatever collection of IES
files we’re using, If I pick number 2 here, these are files that
Fernando from Chaos group gave me, so i’m not too familiar with which manufacture
they’ve come from but certainly most manufaturers would supply their settings. lets just have a little test render of this, and we should see just a little bit of light
going on here, this one is obviously some sort of uplighter
that we’ve got, you can see its putting a pattern of the cieling here, so lets just render there, you can see the
pattern on the cieling. just a tip here, if you want to just render
around a specific area, just tick the little buttom here in the frame buffer, wherever you hold the mouse is where you’l
render from. so lets just look at a second light here,
go back to the light setting and pick ‘this one’ which Fernando has helpfully named ‘Nice IES’
so there a good chance this is probably a good one, and again render the scene. now you see this is a different pattern here,
it has a nice down pattern here and we get some illumination going on here. so the IES lights are almost a complete no
brainer to use, all we’re concerned about is loading in the file, all these other settings here dont have to
come into play at all. so you can see here just in summary, that
by using rectangular lights, IES lights, knowing a little about how to control the sun and
sky, and using the correct engine to drive secondary
bounces here, interior scenes in V-Ray are very clean, very
easy to set up and very quick. so thats probably all i’ve got to go through,
so I’ll hand you back to Paul and Steph and see what questions there are. STEPH: Hi, thanks Phil thats great, we’ve had some questions come through, and
some slight issues with Paul’s audio so I’m going to hand my mic over to Paul, and he can go through the questions, but that
you Phil that was Great. I’m handing over to Paul now. PAUL: Hi everybody, and Phil, thanks for that. a couple of questions, first thing a question
from Rob, “where does anyone access the render history
window?” PHIL: ok so render history on the frame buffer
here, History is this ‘H’ button at the bottom here,
this brings up render history, and what you can do is save images into the
history here, b using this button ‘here’, and once you’ve saved them you can load them
back into the frame buffer by picking the image ‘here’ and loading ‘here’ so it’s just a case of saving them into the
history. and the idea is these images are just floating
point colour images, they are not JPEG images of limited bit depth, so the reason you might choose to save into
the history here is so you can compare one omage to another. for example of i loaded this image in here
and saved as ‘A’ and loaded this image in and saved that as
‘B’ then you can for example compare these two
images, the one were i increased the subdivisions to reduce the noise. PAUL: what happens if you close the model? PHIL: if you close the model the frame buffer
history id saved to a file, so the next time you open up your computer,
even after you’ve shut it down, all your images will still be in the V-Ray
history. PAUL: ok, thanks. on the light manufacturers and IES light files,
do you find that you can get hold of the genrally from the manufatures or do you find yourself
creating them? PHIL: these ones have all come from a particular
manufacturer, there is also a viewer program that I dnt have the name of to hand, but if anybody is interested I can give you
that information, but it actually lets you view the pattern
of the light aswel, so thats quite useful. so if you’ve got, for example, 30 IES samples
from a light manufacurer, you can use the little viewer just to give
you an indication of the pattern and the insensty of the light. but yes most manufactures will release IES
infomation, but what they wont release however, is model information about the light is in
itself, so in other words they wont release the geometry
of the housing that the light is contained within, but the light pattern themselves, genrally,
thats widley available. PAUL: ok, theres a few people that were interested
in that Phil. There’s just one more question, and it looks
like a few more coming in, ok, ambient ecclusion, support in V-Ray for
ambient ecclusion. PHIL: yes, we used ambient ecclusion to crispen
up the edges, so what was the question? does V-Ray support
ambient ecclusion? PAUL: yes, i guess, PHIL: yes, its here in indirect illumination,
and it’s just a toggle here to turn ambient ecclusion on or off, we can control the amount, the radius about
which the effect occurs, and the subdivisions, increasing the subdivisions
just takes more samples and makes the effect less noisey. PAUL: ok, thats the last question, theres been a few others brough up but I think
we’l best respond to those by email, so we’l come back to anyone else posting any
other questions seperatly. ok so, thank you everybody, I just want to remind you that the last of
these series of webinars is happening on the 3rd of December, this includes the use of HDR light studio
in this particular webinar so we hope you can all join us then. Thanks Phil, and Steph, and goodbye everybody! PHIL: thanks, bye!


6 thoughts on “Architectural Interior Scene Renderings using V-Ray 2.0 for Rhino

  1. Hi! May I ask, when you override materials, how does the sun still come in from the glass of windows? thank you!

  2. hi , see when it comes to night scene render, i did the changes u asked to, like remove vray sun and put the rhino sun and change to preetham and film speed,,,,but the output is not like urs, its totally bright…infact brighter than usual…why is this happening?

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