Vray learn by Ryan Marchesi

ryanmarchesi LEEDAP BD+C

SUVRAYPS

a tutorial guide focused on the setup, modeling, rendering and post production process

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dialogue this document has been created to convey one personâ&#x20AC;&#x2122;s journey into developing a system of modeling, rendering and post production that creates a consistent series of graphics. The following scene options and materials are meant to be used as a guide to your future efforts in your work, not as the means. This is one personâ&#x20AC;&#x2122;s style and workflow attitude, you may have a unique perspective workflow that works better for you. I have alternative workflow options and additions should you need them. The following pages will cover: scene setup (in Sketch-up) material setup, scene setup, options and rendering in Vray for Sketch-up and post production in Adobe Photoshop. There will be a brief introduction to Vray 2.0 and its features as well as some additional tips and tricks in PS. This document assumes familiarity with the stated softwares and will be treated as an intermediate work session dialogue for the discussed programs. Please feel free to add/ share your perspective / advice for other users. 03

right click to set new scene

once your desired scene has been created using the scene tab tool, be sure to label the scene for clarity and reference in future edits. Next , materialize the elements of your project. Example shown at right of this. corten steel light (emissive) custom perforated expanded metal glass (based on vre1-38) spandrel (base vre 1-38 w/tint) zinc flat lock panels large format masonry natural stone walk

<50

BEST setting and labeling your materials is paramount to creating a successful easy to use model. Always label the most used materials for reference and purge the model of any unwanted materials and components.

>50 NO GOOD

CENE

<15

aspect ratio

SKETCH-UP SCREENSHOT

4000 PIXELS WIDE

prior to rendering setup make sure you understand the aspect ratio and ultimate pixel output of your scene. I typically render final scenes 4000 to 5000 pixels wide. I usually output a linework image file to use as an overlay in photoshop, to bring out further detail.

SKETCH-UP HIDDEN LINE

4000 PIXELS WIDE

you can access the aspect ratio in VRay for Sketch-up in the options bar as shown in the diagram to the left.

CLICK THIS AFTER

UNLOCK ASPECT

To match your scene, check the “get view aspect” box. NOTE: depending on what tools and buttons you have open in your model will adjust your aspect ratio.

Option Setting edits System: Max Tree: 80 Mem. 500 Order: Top-Bottom Camera: Shutter Speed: 90 Film Speed: 185 Environment: GI: 4.0 (HDRI) BG: 6.0(HDRI) Image Sampler: Adaptive DMC Min:1 Color: .01 Area

DMC: .85 .004 Schlick Color Mapping: Reinhard Output: 2500x1261 Indirect Illum: Ambient Occ ON R :10 S : 25 Amt: 1.5 Irradiance: Min: -3 Max: -1 75 20

ATERIALS

BPGL BPGL2

SSB

LTR

ST-F

FLC

GLT

GLC

PRF

ZNC

Note: all of these materials and others can be found in the studio repository i have created for your use. They are all editable and can be customized . 12

BPGL BPGL2 SS SSB WD LTR ST-F FLC GLT GLC PRF ZNC LT-1 LT-2 LT-C

LT-2

LT-C

BACK PAINTED GLASS (BASE) BACK PAINTED GLASS COLORED STAINLESS STEEL (NON BRUSHED) STAINLESS STEEL (BRUSHED) SEAMLESS WOOD (BITMAP) LEATHER SURFACE (BITMAP) STONE TILE (FLOOR CONDITION) FORMLINED CONCRETE TYPICAL GLASS (BASED ON VIRACON VRE SERIES) GLASS TRANSPARENT (LOBBY CONDITION) PERFORATED METAL PANEL ZINC OR GRAY METAL PANEL EMISSIVE SURFACE - LOW WATTAGE (3500K) EMISSIVE SURFACE - HIGH WATTAGE (4500K) EMISSIVE SURFACE - COLORED

these are materials i have used and created for many scenes/ renderings. All materials present have been used in some capacity for the renderings in this package. They are all editable and can be further manipulated to better suit your needs for any further project / scene.

ATERIALS

LT-1

material setup 14

DIFFUSE

REFLECTION

all adjustments in color, uv mapping, material and layer transparency are handled in the diffuse layer. bump and displacement settings can be adjusted in layer settings and will use normal or inverse maps from the diffuse. DIFFUSE LAYER

all adjustments in the rendered appearance of reflection or sheen of any material are handled in the settings of this layer. Common settings include fresnel adjustments, anisotropy and glossiness. REFLECTION LAYER

DIFFUSE

REFLECTION

DIFFUSE REFRACTION

in addition to the reflection layer refraction adjusts the light received and transmitted in the material. Together with Diffuse and Reflection we can achieve a great material used for all types of glass materials and surfaces that have refractive properties. REFRACTION LAYER

diffuse editing 16

reflection editing 17

refraction editing 18

DIFFUSE LAYER

repository solutions loadable materials or VISMATS can be found on various reputable sites around the web if you would rather include already created vray materials. these can override existing materials by right clicking the desired material to change and importing the selected vismat from a created locale.

the material and adding it as a VFB material ID identifying channel pass for the render output will allow better image editing in post production. 20

material ID_typical output

ENDERING

clay model presets to best represent your model in clay form you will need to make some minor adjustments to the default settings of VRAY. The best method I have found lately through working with others is to use two different option settings then combine these in post to achieve a look like you see at right.

DEMOs

credits: suvarna gupta 24

HDRI imaging High Dynamic Range (HDR) imaging is best suited for image based lighting. The color rendition and general lighting is more accurate and better uilized to light the scene. Using an HDRI file for the environment yields better reflections and more accurate color rendering. You can always use a different sky for your post production efforts. When using image based lighting make sure you have the default lights box checked in the Global Switches box.

You can use any sky based HDRI to light your scene, just click on the M next to GI and BG in the environment, click txbitmap and make sure the mapping is gbl environment. Load in your desired HDRI file and adjust the GI and BG numbers to your desired brightness . 27

EXTERIOR presets there are many ways to approach the exterior, i have found the best method for me were the following settings. Using an HDRI file for the environment yields better reflections and more accurate color rendering. You can always use a different sky for your post production efforts.

DEMOs

INTERIOR presets the interior is usually the most important rendering for the project as it shows the most used space. to achieve the level of detail and the general lighting necessary to create the ambience of the interior I have found the presets shown at right work best.

DEMOs

DMC: .85 .004 Schlick Color Mapping: Reinhard Output: 2500x1261 Indirect Illum: Ambient Occ ON R :10 S : 25 Amt: 1.5 Irradiance: Min: -3 Max: -1 75 20

POST PRODUCTION by far the biggest part of the rendering post production brings the life and light to the image as well as allows you the user to create a style or styles you can use time and time again. The demo will be about organization of layers and some techniques I use to create the style of rendering i use. Everyone will have a unique approach and different styles. Have fun with it.

DEMO

BEFORE

AFTER

TYPICAL LAYER GROUPS 37

credits: adam williams credits: suvarna gupta

HOWCASE

c. adam williams

c. suvarna gupta

Option Setting edits System: Max Tree: 80 Mem. 1000 Order: Top-Bottom Camera: Shutter Speed: 85 Film Speed: 185 Environment: GI: 3.0 (HDRI) BG: 3.0(HDRI) Image Sampler: Adaptive DMC Min:1 Color: .01 Area

DMC: .85 .004 Schlick Color Mapping: Reinhard Output: 4000x2048 Indirect Illum: Ambient Occ ON R :10 S : 25 Amt: 1.5 Irradiance: Min: -3 Max: -1 75 20

10MB

Option Setting edits System: Max Tree: 85 Mem. 6000 Order: Top-Bottom Camera: Shutter Speed: 185 Film Speed: 130 Environment: GI: 1.0 (HDRI) BG: 2.0 (HDRI) Image Sampler: Adaptive DMC Min:1 Color: .01 Catmull Rom

DMC: .85 .004 Legacy Color Mapping: Reinhard Output: 4000x2161 Indirect Illum: Ambient Occ ON R :150 S : 25 Amt: 1.5 Irradiance: Min: -3 Max: -1 80 30

10MB

DMC: .85 .004 Legacy Color Mapping: Reinhard Output: 4000x2161 Indirect Illum: Ambient Occ ON R :150 S : 25 Amt: 1.5 Irradiance: Min: -3 Max: -1 80 30

10MB

Option Setting edits System: Max Tree: 85 Mem. 6000 Order: Top-Bottom Camera: Shutter Speed: 140 Film Speed: 250 Environment: GI: .2 (HDRI) BG: .3 (HDRI) Image Sampler: Adaptive DMC Min:1 Color: .01 Catmull Rom

DMC: .85 .004 Legacy Color Mapping: Reinhard Output: 4000x2161 Indirect Illum: Ambient Occ ON R :150 S : 25 Amt: 1.5 Irradiance: Min: -3 Max: -1 80 30

10MB

Option Setting edits System: Max Tree: 85 Mem. 6000 Order: Top-Bottom Camera: Shutter Speed: 125 Film Speed: 185 Environment: GI: 5.0 (HDRI) BG: 5.0(HDRI) Image Sampler: Adaptive DMC Min:1 Color: .01 Area PHOTO MATCHED

DMC: .85 .004 Schlick Color Mapping: Reinhard Output: 5000x3633 Indirect Illum: Ambient Occ ON R :10 S : 25 Amt: 1.5 Irradiance: Min: -3 Max: -1 75 20

20MB

DMC: .85 .004 Schlick Color Mapping: Reinhard Output: 5000x3633 Indirect Illum: Ambient Occ ON R :10 S : 25 Amt: 1.5 Irradiance: Min: -3 Max: -1 75 20

20MB

Option Setting edits System: Max Tree: 85 Mem. 6000 Order: Top-Bottom Camera: Shutter Speed: 120 Film Speed: 200 Environment: GI: 1.0 (Sky System) BG: 1.0 (Sky System) Image Sampler: Adaptive DMC Min:1 Color: .01 Catmull Rom

DMC: .85 .004 Legacy Color Mapping: Reinhard Output: 5000x2048 Indirect Illum: Ambient Occ ON R :150 S : 25 Amt: 1.5 Irradiance: Min: -3 Max: -1 80 30

40MB

DMC: .85 .004 Schlick Color Mapping: Reinhard Output: 2500x1261 Indirect Illum: Ambient Occ ON R :10 S : 25 Amt: 1.5 Irradiance: Min: -3 Max: -1 75 20

40MB

Option Setting edits System: Max Tree: 85 Mem. 500 Order: Top-Bottom Camera: Shutter Speed: 125 Film Speed: 185 Environment: GI: 4.0 (HDRI) BG: 6.0(HDRI) Image Sampler: Adaptive DMC Min:1 Color: .01 Area