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Table of Contents
01. Installing V-Ray for Rhino1.0 ........................................................................... 004
016
07. Use Material .................................................................................................
3. Choose complete setup type, click next 4.Click install to begin installation
V-Ray for Rhino toolbar consists of three major tools. They are VRay Materials, VRay Options and
Show VRay Frame Buffer. You can also find them from the tab above
Use File>Save to save Options settings. It will be saved as .visopt file format. You can save any Options scheme
so that they can be loaded to another scene later. Also, when you save your Rhino file all changes in V-Ray
Options setting will also be saved.
Use File>Load to load saved .visopt Options files. It will then replace the current setting. Use Restore Defaults
to restore all settings in Options.
Open “Cups-Original.3dm”. There are 3 cups and a ground plane in the file. None of the objects have any
materials assigned to them and there is no light in the scene. Click the blue render icon and you will get this
gray tone image without changing any setting in the V-Ray Options.
1. Global Switches:
Uncheck Hidden Lights and Default Lights under the Lighting
section.
Hidden Lights refers to any lights that are either hidden or on a
hidden layer. By unchecking the Hidden Lights box, those
hidden lights will be disregarded by V-Ray. To prevent any
hidden lights from affecting the final render output, we
recommend you uncheck the Hidden Lights.
Default Lights are the lights that Rhino uses to illuminate the
model within the viewport. Users can not see or edit these
lights from the scene. If one uncheck the Default Lights and
does not check the GI below, the render will turn out totally
black.
2. Indirect Illumination:
Check the On under the GI section. That turns the Indirect
Illumination on, also called the Global Illumination. We will
explain those green dot items more later.
3. Environment:
Please adjust those three items then render. You will get the
image with Global Illumination. Compare to the image without
Global Illumination, you can see the objects don't have dark
shadow because the whole environment is now providing the
illumination for the scene.
By default objects which have not been assigned materials receive Rhino’s standard white material.
To assign materials to an object and make adjustments, we need to open the Properties tab
3. Now the objects are applied with materials, so the Edit button is selectable. You can click on the
Edit button to open the Material Editor to modify the materials
Another way to assign materials is through material editor. Please refer to page 13
Click the Update preview button to update the preview image of the selected material. This
preview is not updated in real time, therefore, it must be manually updated.
The file has already set GI environment light and background color. Hidden Lights and Default Lights
are off. Other options are kept at their default settings.
03 . Select Diffuse to enter color selections .V-Ray's default color is R-127, G127, B127. Change the
color to light gray as: R230, G230, B230 then exit
05 .Deselect the ground plane by holding CTRL and clicking on it. Then go back to Material Editor
and right click on Cup_Yellow and select Apply material to objects
V-R ay auto mati cally update s th e changes of mate ri als to th e obje cts. It is not necessa ry to apply mate ri als again.
08 . Duplicate the Cup_Yellow material and rename it as Cup_Green. Repeat 06 and set the value to
R127, G255, B178 and exit.
09 . Apply this Cup_Green material to the bottom right cup
10 . Duplicate the Cup_Green and rename it as Cup_Orange. Repeat 06 again and set the value to
R255, G94, and B0 this time.
11 . Select the cup on top and apply the Cup_Orange
material to it.
01 . Right click and hold on the Spot Light icon from toolbar above. A secondary toolbar will pop out,
select the fourth one from the left (Create Rectangular Light)
02.From Top view, follow the steps below to 03. Start from bottom left and make your
create Rectangular Light in the scene second left click to the bottom right of the
scene.
04. To complete creating the light, make your 05 Select this Rectangular light you just
third left click on the top left of the scene, created.
approximately the same distance as between
first and second spots.
09. Uncheck the No Decay. This will make the distance between the light and
objects being considered while rendering. That means the object further
away from the light will recieve less light and become darker. To make the
object brighter, you can either increase the intensity of the light or move the
light closer to the object
If you want to have a stronger shadow, we do not recommend creating a small, high intensity light. It
is better to use a different light type.
There is an Invisible option in Rectangular Light. It allows you to determine whether the light will
be visible or invisible in the image. See images below. The one on the left has the Invisible option
unchecked so the light appeared in the image. When a reflective material is applied to the object,
the light will also be in the object’s reflections. The image on the right has the Invisible option
checked. Thus, you don't see the light in the image or on the object with reflective material applied
to it
The default setting for Rectangular Light has the Invisible option unchecked. If you see any unusual
dark shadow in your rendered image, please check if your camera is blocked by the Rectangular
1
You can tell the direction of the light from the short line on one side of the
Rectangular Light. Rotate the light and you can change the direction of the
light.
The Double Sided option can turn the light direction from one side to both
side of the light. Just like creating two lights with opposite directions. Move
the light away from the floor or wall to avoid any black out area.
The Double Sided option usually used when rendering a large interior scene. It helps to light the
space without using a lot of lights. There will be more discussion about lighting and environments
later on.
The default has the Double Sided option unchecked. Of course, if you check the Invisible option,
you will not see the light in those three images on the next page.
Pay attention to the size, location and intensity of the light because it will affect the brightness and shadow
clarity of your final result.
If the light is placed too far and is not bright enough, you can either increase the intensity or size of the light. On
the other hand, you can lower the intensity or reduce the size of the light if you place the light too close. You
need to keep adjusting the size, location and the intensity of the rectangular light in order to get a good lighting
result.
Other kinds of light work the same way. Different shapes, colors and materials of the objects, and different light
types will all affect the image, therefore, the quantity, size, and location of the light need to be changed
according to different scene. To get a better result, we recommend you change only one value at a time to see
how it turns out after rendering until you get the image you want.
3. Click on Update Preview button to see the changes. The red ball becomes composed with black-
and-white squares, which is because the default is set to be completely reflective. An object with
this material works like a mirror that reflects the other object next to it. This kind of reflection is
usually applied to mirror or metal, such as smooth stainless steel.
The Material now has reflection quality with the same color on it. Notice the “m” on the right side
of the Reflection is now changed to “M”. That means there is a Map applied to that parameter
Wondering why V-Ray rendering engine doesn't have the highlight option built into it as previous
rendering engine Flamingo? The truth is that the highlight is created by reflecting a very bright
object or light in the scene. It also called lightsource.
Some rendering engines use Highlight to create lightsource if there isn't any lightsource in the
scene. But current V-Ray for Rhino version does not support this option. So you must create
Rectangular Light or other self lit object as a lightsource for the scene.
Every object has certain degree of reflection. Some are very strong, and some are weak. But this
doesn't mean we have to apply reflection to every single object in the scene because that will
increase your rendering time significantlly.
Reflection Glossiness
You don't always get clear reflection from reflective
material. Objects like matte finish metal, wood and some
plastic materials do not reflect their environment clearly
due to their uneven surfaces. This is because the uneven
surfaces create many reflecting angles for light to bounce around. So the reflections are not as
sharp if compared to reflections from smoother surfaces. The best way to create this kind of
rendering quality is playing around the Reflection Glossiness parameter under Reflection.
By Default the Reflection Glossiness is set to 1, which is characteristic of a perfectly smooth
surface. The lower the Highlight Glossiness is the more matte the material will be, but along with
that goes longer render times. Same goes to the highlight Glossiness.
Below are results from combinations of various intensities of Reflection Glossiness and Fresnel IOR.
Hope these images will help you create your ideal plastic and metal materials.
Fresnel IOR
1.0
0.9
0.8
0.7
0.6
1.0
0.8
Samples of less Reflection Glossiness
0.7
0.6
Reflection Filter
There is a white color (default) Filter located to the right of the Reflection. This is used to
differentiate plastic and metal materials. When creating a metal reflection, set the Filter color to
a brighter color of the diffuse color. When creating a plastic reflection, keep the default setting of
white color. Of course you can set it to any color to mimic the filtered lenses.
4 . Click on Fog Color and change it to the same color as the original Diffuse Color. Click the Update
Preview button and you will see the red color show up on the material this time
Image on the left is what you will get. Do the same changes to the other two colors and you will get
an image similar to the one on the right.
Fresnel IOR:1.55
Refract IOR:1.55
IOR:1.55
Fog Color:R244, G250, B230
Fog Multiplier
Fresnel IOR:1.55
Refract IOR:1.55
IOR:1.55
Fog Color:R175, G250, B0
Fog Multiplier
Please note that the changing the IOR in the refraction layer does not have an affect on the
reflections of the object. The reflections are controlled by the fresnel IOR which is mapped in the
Reflection layer. The values between the reflection layer and the refraction layer are not linked,
although it is recommended that the values be the same
Refraction Glossiness by default is set to 1.00, please refer to the images below for examples of
different refraction glossiness settings. Images below have the Refraction IOR set to 1.55. When the
setting for Refraction Glossiness remains the same, different Refraction IOR will change the
Glossiness of the object.
Refraction Glossiness
Image below shows the influence of Refraction Glossiness material to objects behind it. Objects
Images below show the difference with and without the Affect Shadows checked.
Unless you want to create some special effects, please have this option checked for the most of the
time.。
Translucent material
We've talked about changing the Diffuse color to get the degree of transparency we want to create
before. White means 100% transparent, black means 100% opaque. You can create translucent
materials with colors anywhere between white and black. But now we want to introduce a
different translucent material. It is related to special light absorption materials.
Open file Translucency.3dm? and render it, you will get image like below on the left. You will see
that colors where partitions meet the outside box and at the base of the box are darker. This is
because the thickness of the object changes and the light travel distance changes also. So the
degree of light absorption varies. To create this kind of material, you have to check the
Translucency option under the Refraction. Image on the right is the rendered result for Layer 02.
Many rendering engines use Sub-Surface Scattering (SSS) to create this kind of material. Although most of materials have
certain degree of translucency, but this doesn't mean that you have to apply this kind of material to all of them. That will
increase the rendering time dramatically. This material is good for creating things like: wax, skin, milk, cheese, plastic and
jade which all have a little translucency in it.
Translucency is created by absorbing light to the object's surface so the color of the object will show up a little darker than
its original color. If you still think that it's too dark even though the original color is set to the highest Val 255, the best way
to fix it is increasing the intensity of your light in the scene.
Open the Emissive menu. By default the color is set to white, intensity to 1 and Transparency color
to black. Click on Material Preview and you will see a completely white material ball. Render it and
you will get the image like the one on the right
Self-illuminated material can make the object become a lightsource itself. It is not limited to a
certain shape like a regular light type. Every part of the object can be illuminated and used as a
lightsource.
Self-illuminated material are perfect to create objects like: light ball, light tube, light shade,
stylish lighting, cold light and lit screen. In order for illuminated objects to emit light GI must be
enabled.
Please refer to below image chart for results of various Emissive Intensities. By controlling the
degree of Transparency under the Emissive Color, you can still keep the diffuse color of the object.
For example, when the Intensity is higher than 2, the diffuse color is washed out and become white.
To avoid the self-illuminated object become white, please also refer to the Color Mapping on page
74.
3.Under Bitmap click on the “m” to the 4. After the bitmap is selected, the “m” now
right of the File and pick a bitmap to use as becomes “M”. Click the Update button to
the light source preview the bitmap. Click Apply and you can
use this bitmap as the light source
5. Click on Update Preview and you will see the Bitmap is now on the material ball. Render it and
you will get the result as the image on the right.
Click on the “M” and go back to the Texture Editor. Pay special attention to below options as these
options are often used for controlling the Bitmap texture map
Multiplier: Controls the intensity of the Bitmap.
Default set to 1. Increasing this number will intensify
the color tone, brightness and color contrast.
Blur under Bitmap: Controls the blurriness of the
Bitmap. By default this is set to 0.15. Setting this to 0
will not have any blur effect to the Bitmap.
Override: Use this parameter to set the gamma value.
Repeat: Used to control the U and V tiling of the
Bitmap. Increasing the number will cause the bitmap
to be repeated withing the mapping coordinates
Rotation: Adjust the degree of rotation of the Bitmap.
Open file Teapot Matte.3dm? Render the scene and you will an image similar to the one on the left
with a reflection material applied to it. The Image to the right is the result of applying brushed
metal texture map. You can see clear difference between these two images.
05. Render it. Since we didn't assign custom 06.Use mapping channels to adjust texture
UVs for the texture map, it will use the object's UVS. Select the teapot first, switch to
surface UVs to render Mapping dialog under Properties
07. Make sure Show advanced UI is checked 08. Click on Add to create a new mapping
channel
Image on the left shows the mapping widget rotated 90 degree; on the right is the rendered result.
When changed to a different projection. the default size of mapping widget is set to the perimeter
of the object.
Show Mapping is used to display the mapping widget in the scene. Within the working window, the
mapping widget can be moved, rotated and scaled.
An object can be set up to have multiple mappings. This is done through using multiple mapping
channels. Click Add in the mapping properties box to create a new channel. Any maps that are
intended to correspond with certain mapping channels must be
specifed through the Texture Editor in the Material Editor.
Under UV make sure that mapping is changed to Explicit Map
Channel and then change the map channel underneath to
correspond with the desired channel.
Type ofmapping, size and position of Mapping Widget, and project direction will all affect the
projection on the object. Of course, those will also affect the final render result. Below are
examples using teapot to show different UV settings.
Box Spherical
1. Click on the teapot and open the Material 2. Select Bitmap under the Type pull down
Editor to edit the Bump map of the teapot. In menu
the Maps section of the Material Editor,
Only images can for bump mapping in V-Ray
check Bump and click on the “m” to open the
for Rhino
Texture Editor.
3. Click on the ”m” to the right of Bitmap, 4. After importing the map, if the Bump map
select the same brushed metal material as is the same as the Diffuse map, make sure
used in Diffuse for the teapot the U, V Repeat under UVW Transform have
the same value. For example, if Bump map is
using U: 2 and V: 2, the Diffuse map should
be the same. Otherwise, these two maps
will not align correctly. Also, set the
Multiplier on the left side with smaller value
like 0.1. If set the Value too high will result
an unnatural look of material
Earlier we talked about using reflection glossiness to adjust reflecting material's glossiness and
create a frosted look. If we add a Bump map to it now will make the object look even better. The
image on the left is using only reflection glossiness. The image on the right has Bump map added.
Bump maps are created using the grayscale of the Bitmap to set the high and low texture. The bright part of the
Bitmap is considered as high part and the dark is low. The Bump map is seen more clearly at the part where the
object reflects the most of the light. Using Bump map texture to create bumped texture is only a visual effect, not
the true surface of the object. Look at the edge of the object and you will still see the smooth surface.
Displacement is the way to actually change the geometry of an object with a bitmap, but currently V-Ray for
Rhino 1.0 is not supporting this function.
Transparency mapping is a method of adjusting the transparency of either maps or certain material
properties. This is used mostly for creating product logo, sticker, decals, and numbers. Depending
on your needs it may be beneficial to model the actual object in the scene (i.e. if a raised logo show
close up), but using transparency maps is a quick, easy, and simple way to acheive the desired
effect.
Open File Cup - Decals.3dm?and render it. You will get the image on the left. The one on the right is
the decal that we will use.
You will get the left image if you apply the texture map directly without transparency map. The
black background of the texture map is blocking part of the cup. The image on the right is rendered
with transparency map.
2.Click on the “m” at the right of Transparency to enter the Texture Editor. Load the Bitmap for the
transparency texture map. Make sure you uncheck the Tile first to avoid repeating this Bitmap on
the object
Use Photoshop, PhotoImpact or a similar image
editing software to create a black and white image
and save as .bmp, .jpg or .png.
3. Use Diffuse1 color to edit the color for A rendering of the object should be
this Transparency map. Click on the “m” at s i m i l a r t o t h e i m a g e b e l o w. T h e
the right of Color to add more texture to Transparency map is covering the entire
this map if needed cup. That's because there is no mapping
applied to this cup yet.
The next example is using another grayscale Bitmap as the transparency mask. Although it is not a
gradient image it works exactly the same.
The third example is adding another Diffuse2 layer, and assigning a 0 and a 180 degree gradient
Bitmap to Diffuse and Diffuse1 in Transparency. Give the Diffuse2 a third color to create this three-
color gradient rendering effect for the cup.
Our next example is similar to the Third one. The only difference is we are adding a Refraction
layer, and changing the Transparency color of Diffuse2 to white. This will make the white area at
the middle become transparent. Rendered image as on the right
The example above can not have the transparent quality at the top and bottom of the cup because
of the black color in the grayscale gradient Bitmap. The last example here is to use a pre-made
gradient Bitmap as the Refraction Transparency map. Set the Diffuse Transparency to white, and
then assign the Bitmap to the Refraction map
The reason for doing this test is to let users understand the importance between lighting and
material. Should adjustments be made to the material first or the lighting first?
The only way to improve the lighting for dark place is adjusting
the brightness! From intensify the Brightness of Environment
light and regular light, or even add more lights to the scene are
the right ways to improve the illumination. It's not appropriate to
adjust the Brightness of the material assigned to the object to
improve the illumination.
As with digital photography, in order to get the correct colors, you must to get the correct the white balance
first. V-Ray's Environment light and lighting brightness are not controlled by a specific lighting unit, so it is
impossible to find the regular brightness for white balance setting. You can only try to get the correct setting
by rendering the result to evaluate if the illumination is enough in the scene.
Open the file Cup - Illumination.3dm again. This is an easy open space example, there is no light added to the
scene and the Environment light is currently set to 1. Using the floor color to get the correct white balance
reading is better because it takes the most part of the render result.
Using the white floor color to evaluate the white balance is the first step. Make sure the color under Material
Editor is set between Val180~230, not Val255. If we set it to Val255, it will render extremely bright white
without any depth after adding lights to the scene. So it is always a good idea to set the floor color brightness a
little bit lower to save some room for more light sources later.
1. Assign the Val 230 color to floor, R191 G19 B19 red 2. Re-assign the R255 G100 B100 red color to the cup
color to cup first. and render; you will get the result as below.
From the two images above we can see that the colors of the floor and cup are rendered very close to actual
colors, which means the Environment lighting is set to correct intensity and brightness for creating good
illumination. If the intensity was too strong, it would make the floor and cup appear far to bright and would
not mimic the actual material color.
You should not adjust the brightness or intensity of the environment light if no other lights will be added to the
scene. While adding lights you should preform this test again to maintain the appropriate illumination levels.
As long as the illumination is under control, you can safely pick the colors or textures for the object.
Default setting is 1 for Environment light. In reality you shouldn't increase this number despite its location of
interior or exterior. Please refer to page 56 for “Environment light for semi-open space”.
3. Make sure you check the Environment radio button under UVW after the file is selected. Render it
and you will get the image on the right. You can see the difference between this image and the
image using only color for Environment light
source.
Understand that because most HDRs are prepared by a third party, it may take sometime to adjust the
intensity to fit your scene and lighting needs. Sometimes you may also need to adjust the HDR's Horizontal
angle to better cooperate your own lighting direction.
Although an HDR image has better control of its brightness than a normal 24 bit Bitmap, it still can not
recreate the light source and brightness in the nature. So normally it's used only for Environment light
source. Also, unless the light source is very bright in HDR image, the rendered shadow is lighter and not very
clear. You will need to add more light in the scene to get the better shadows in this case.
The three images on the right are rendered with different Bitmaps. Compared to HDR
environments, it is not easy to find where the light comes from and the shadow is not very clear.
Increase the GI Intensity to 4 and render it Increase the GI to 8 and render again. The
again. The result below is little bit brighter. result is closer to reasonable illumination.
When we begin to set up the illumination for an interior space, first we need to check how many
openings allow light in (this also includes transparent object like a window or door). You must also
determine whether you want the lighting in the final result to be from the environment or from
direct lighting because this will determine how you set up the environment.
Irradiant light
Please keep the scene that has the GI intensity of 8. It's easy to spot some blotches in those images
from previous page. This happens when indirect lighting affects the object. It is more obvious when
the indirect lighting gets stronger, and this only happens when Irradiance Map GI engine is used.
This is the result of a lack of hemispheric subdivs and samples during the process of transferring
lighting data to the image.
Open V-Ray for Rhino's Render Options and then pulls down the Irradiance Map menu. Change the
Subdivs value from default 50 to 100, and Sample from default 20 to 40.
Render again and you will find it takes longer to render but yeilds a better result such as the image
on the right.
In fact, for most cases, you don't have to increase
these values as this high to get a better result if
there is proper light and brightness in the scene.
Primary Engine
There are four options for Primary Engine: Irradiance Map, Photon Map, Quasi Monte-Carlo and Light
Cache. Default is set to Irradiance Map。
Secondary Engine
There are three options for Secondary Engine: Photon Map, Quasi Monte-Carlo and Light Cache.
Default is set to Quasi Monte-Carlo or you can select None to not use this Engine.
When switching between the different engines, the settings available will also change according to
the assigned engine.
Default settings of -3 and 0 represents four passes of render job. From -3, -2, -1
to 0. So you can see the Prepass 1 of 4 to Prepass 4 of 4 from the render progress
dialog box. According to definitions above, having the same number of prepasses
does not mean the same render quality.
If you render with Irradiance Map as Primary Engine, you can give a smaller set of numbers for Min and Max
Rate to produce faster previews of the lighting and material settings in a scene. For example: -6 and -5 or
-4 to -3. Although the quality may not be good enough for a final image, it is ok for a preview. After the
scene is finalized, then you can render with higher value to get the best final quality image.
The image on the left is showing Irradiance Map's fouth Prepass calculation of Min Rate: -3 and Max Rate:
0.The Image on the right is the final result.
The image on the left is showing the second Prepass of -4 and -3. Image on the right is the final
result.
The image on the left is showing -3 to 0. Image on the right is showing -3 to 1. Although the one on
the right has the better final result, the difference is very little.
If an image has a sufficient min/max rate (-3,0) yet still produces blochiness then the subdivisions
and the samples can be increased.
The image on the left is rendered with Min Rate and Max Rate of -4 and -3. You can see light comes
through the corner clearly. Increase the value to -3 and 0 and you will see an improvement as seen
in the image on the right.
The image on the left is rendered with Irradiance Mapping and the image on the right is rendered
with QMC. Although the one on the right looks dusty, but compare to the perfect pure color image on
the left, the QMC is more realistic.
Depending on your settings you may get very sandy looking image with QMC as Primary Engine. To
solve this problem, you can either increase the
Subdivisions from default 8 to a higher value under
QMC's control panel
V-Ray for Rhino 1.0 063
064 V-Ray for Rhino 1.0
Secondary Engine: Light Cache
Light Cache is used to calculate the light distribution in the scene. Its calculation method is very similar to
Photon Mapping, but the total opposite. Photon Map starts with a straight path from the light source and
collects light energy along way. Light Cache starts from the camera instead. Some good points about using
Light Cache include: it doesn't have many setting options to deal with, it renders quickly and calculates
light correctly. On the downside, the user has to decide the amount of subdivs. This value is related to the
resolution of the image.
The image on the left is rendered with combination of Irradiance Map and QMC. The image on the right is
rendered with combination of Irradiance Map and Light Cache.
Subdivions are the most important factor for Light Cache. Subdivisions are used to decide how many light
paths are traced from the camera to calculate the light distribution. The actual number of samples is the
square of the number of Subdivisions. With the default setting of 1000 for example, the actual number of
paths will be 1,000,000.
When the image resolution is higher, this number must set it higher as well. A lower number could result in
an incorrect solution for the image. The best way to determine what the idea amount of subdivions is, is
to set a higher number first and render. Look at the progress window and monitor the progress of
subdivisions and calculate the number according to the percentage. Say the subdivisions number is 1000
for example, when the subdivisions is half way through its calculation, the rendering window's black dots
are almost gone, that means you only need to set the number between 500~600 and you will get the
correct render result. If the process is done but you still have a lot of black dots in the window, that
means the number of
subdivisions is not enough
and result will be off. The
image below is showing Light
Cache calculation that still
has a lot of black dots in the
image.
Open V-Ray for Rhino's Render Options. Pull down Camera control menu and you will see Depth of
Field below. By Default it is off, check it if you want to have the depth of Field in the final
rendering. The most important control item is
Override Focal Dist.
How to find out the current setting of focus distance of the camera?
1 Open file Cups - Depth of Field.3dm? as menu on the right, in perspective
view, right click on Viewport Title and select Show Camera. See image below,
the narrow point in the scene is the lens of the camera, the point on the
opposite side is the Target.
2. Use Polyline tool to draw a straight line, open snap point mode, left click on the camera point
and move the mouse over to Target point. Look at the distance window below and that's the number
to use for the Override Focal Dist. In this case, 62.3724 is the number to use. Render it and you will
get the rendering with Depth of Field effect. By default the focal distance is determined by the
camera, but if you want to change the focal distance without changing the camera the you can use
this function.
The image on the left is rendered without Depth of Field and image on the right is rendered with it's
Aperture set to 1.0 The Depth of Field has already show up in the image and the focus point is at the
green cup.
Size of Aperture
V-Ray does not use f-stops to control the amount of light as normal cameras do. A smaller number
has less of an effect on Depth of Field. A larger number will make the object very blurry and takes
longer time to render, especially when calculating the edge of object for Depth of Field. So we
recommend you start with smaller number and move your way up if you need stronger effect.
Open file Cups - Caustics.3dm and open V-Ray for Rhino's Render Options. Pull down the Caustic
control panel at the bottom. Check the on button to enable Caustics.
After you start rendering, the process window will show the lighting
information. As the caustic effect in the scene first. It won't take much
time to render if the Caustic Subdivs and light setting are using default
setting
Photons
The image on the left is rendered without caustics. The image on the right is rendered with caustics
enabled. All of the settings are using the default setting.
Due to the rebound of light, the cups look brighter at the right.
If you want better control of the quality of the caustics, you can change the light settings. With the
light selected, go the light properties window and increase the caustic subdivions from 1000 to
2000. Be aware that this will increase the prepare time for render Caustic effect.
The image on the right is rendered with Caustic Subdivs set to 3000, you can see the better quality
of Caustic effect in this case.
Use Scale or Scale2D to increase the size of liquid and that will solve the problem
If you scaled the liquid down, which would be more physically correct, the image would not look
realistic.
If you don't want to have any significant deformation of the objects, try to avoid using wide angle
lens. A normal product can get the best perspective by using Rhino's default 50mm lens. Use
22~35mm lens for an interior shot.
The quality of shadow is controlled by subdivions under light properties dialog box. Select the
rectangular light and under Sampling>Subdivs change the default number of 8 to 32. The higher
number will cost more time to render, but will produce smooth shadows.
The image on the left is
rendered with Subdivs set to
8; the image on the right is set
to 32.
Point Light and Spotlight require that the user set the Decay type: Linear, Inverse and Inverse Square. The last
two will decay dramatically, so when using Inverse or Inverse Square, you must increase the multiplier. That
means that point lights and spotlights are greatly affected by the distantance from the object, so it will require
more adjustments with these lights.
The Intensity of Directional Light will not Decay at all in any distance, it usually used outside to mimic the
sunlight.
For interior, use Directional Light to create strong sunlight come in from outside.
HSV Exponential and Exponential are very similar, but HVS will keep the tone and intensity of the
color, like the image on the bottom left.
Intensity Exponential can maintain the RGB ratio, and will only affect the color intensity, like the
image on the bottom right
Note that under very strong light conditions, these three index color control will cause the scene to be
rendered darker. If under an average brightness scene, the render image will lose some depth due to the
colors evening out, especially in off white scene, you can get a totally different effect.
Under most circumstances, use default Sampler for Adaptive Subdivision can get a pretty goof result
already.
There are several size presets in V-Ray to choose from. Users can also provide a custom the size.
The unit used is pixels. The Image Aspect below is the height-width ratio for current size. Click on
the “L” to lock in this ratio. When one of the height or width has changed, V-Ray will calculate the
other value automatically according to this ratio.
Saving Output
Check the Save File button under the Render
Output and then click on the “…” to set up the
file path, and type the file name. When V-Ray
finishes rendering, the file will be saved
accordingly. Please note that next rendering
will override the previous one with the exact
same path, type and name.
The Pixel Aspect option is used to control the aspect ratio of the pixel. Please see the two images
below
01 Under Render Options>System, try to adjust the render division. In some cases a smaller value
will render faster, in others large values will. As you do some test renders change the value and see
if it renders faster or slower.
03 .Before you determine the best lighting for the scene, hide all objects except the floor and
render a big area of that floor. This will give you the brightness of the scene easier and faster.
04 . All Subdivs will affect the quality of the image. Try using smaller values before you render the
final image.
05 . Use the minimum amount of lights in the scene to save rendering time
06 . Raise those objects that sit on the floor a little bit to have better shadow quality and to avoid
overlapping geometry.
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