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Creating natural daylight with the V-Ray Sun and Sky

From: SketchUp Rendering Using V-Ray

Video: Creating natural daylight with the V-Ray Sun and Sky

There are three critical V-Ray lighting elements that are already set up and working for us each and every time we start a new scene in SketchUp with the V-Ray plug-in installed. These are indirect illumination, provided by the V-Ray's Global Illumination engines; natural- looking daytime lighting, provided by the VRay Sun and Sky environment; and the V-Ray Physical Camera through which we render our scene in a photographic manner, including the use of exposure controls. However, if at this moment in time we were to take a render in our chapter 02 Daylight_start scene, we would actually see that we have a completely dark environment. This is because we have deliberately set this scene file up so that we have to manually build our day lighting system.

Creating natural daylight with the V-Ray Sun and Sky

There are three critical V-Ray lighting elements that are already set up and working for us each and every time we start a new scene in SketchUp with the V-Ray plug-in installed. These are indirect illumination, provided by the V-Ray's Global Illumination engines; natural- looking daytime lighting, provided by the VRay Sun and Sky environment; and the V-Ray Physical Camera through which we render our scene in a photographic manner, including the use of exposure controls. However, if at this moment in time we were to take a render in our chapter 02 Daylight_start scene, we would actually see that we have a completely dark environment. This is because we have deliberately set this scene file up so that we have to manually build our day lighting system.

Hopefully, this will help us familiarize ourselves with the components making up these important set of V-Ray lighting controls. Do keep in mind though that the other two elements mentioned, namely, Global Illumination and the V-Ray Physical Camera, are both still enabled, and will be at work in the test renders we make. So to build our daylight environment, we need to first of all open up the V-Ray options dialog for ourselves, so if we come up to the V-Ray toolbar, we can click on the Options dialog icon.

Once that is opened up, we need to find the environment rollout and then we simply open it up by left-mouse-clicking. Here, as you can see, we have four options that really control how V-Ray will render the general environment in our scene. The two options that we're interest in are the GI, or Global Illumination color, which will ultimately control the lighting in our scene; and the BG, or Background Color, controls. As these are the ones that we want to look at first of all, let's put a check in the BG Color box to enable those options for ourselves.

Now, as you may expect, we can set a Background color by means of our color swatch, or we can indeed use a map or an image file that will render in the background by means of our Map button. Now, anywhere that we see past geometry in our scene to the virtual environment or background-- so in visual terms, anywhere that we see the sky gradient in our SketchUp viewport--well, this is where our background color or our map will show up. The VRaySky is a procedural high-dynamic-range image that has really been designed to mimic the real-world behavior of a clear sky environment.

This makes it an excellent backdrop for any kind of visualization render. To use that, we simply left mouse-click on the Map button. In the Texture editor that pops up, we can use the dropdown, and if we just scroll down, you'll find our TexSky entered. With that chosen, you can see we get access to a number of controls that really allow us to change the appearance of our sky. We can use options such as Turbidity, Ozone, Water Vapor, et cetera, all of which will slightly change the look and coloration of our procedural sky.

We can even have SketchUp's Shadow Setting controls--that is, the month of the year, the time of the day--automatically update the appearance of our sky as we make changes to those controls. For that to happen, we would need to make certain that this SunLight option is enabled, so let's click on the button, and in the Select Plugin dialog, let's chose the dropdown, chose SunLight, and click OK. Now you can see our general sky controls become grayed out and if we just scroll down a little bit, you see that we now have access to all of these SunLight controls.

Well of course we're not controlling the SunLight as such in terms of lighting, but we are controlling how the SunLight will affect the look of our procedural sky. So all of the options for changing the sky such as Turbidity and Ozone and Water Vapor are still in here, but we have extra parameters that will update the look of our sky as well. One thing we do need to be aware of is that any changes we make to these controls will eventually be carried over into our scene lighting once we apply the VRaySky map into our GI color slot.

The system has to share a single instance of the TexSky map for both the GI and Background Color options, even though we do actually add the map to each slot independently. We won't see what a difference that has made in terms of what we get in our render, so let's dismiss our dialog, and let's go up to the Start Render icon on the V-Ray toolbar and take a render for ourselves. Now, as you can see, we get a very nice procedural sky gradient as the backdrop for our render. Of course, at this moment in time we still have no lighting in our scene.

To enable that, let's go back into our Options dialog, and this time we want to work with our GI Color control, so again, let's put a check in the box to enable those for ourselves. With that checkbox enabled, V-Ray will now give to us 360 degrees of indirect skylight illumination. Now because this is not a direct light source, we do need to have V-Ray's GI systems turned on in order for this set of controls to give us any lighting in the scene. Notice they are on by default, and as they're enabled in these particular scenes, we don't have any problem there.

Now with no map in the map slot, V-Ray will use this color swatch and the value set in this multiply spinner to really control the coloration and the brightness of the light that comes from our sky. As we want a natural-looking daylight render, we're going to want to add the VRaySky map into our map slot, so let's left-mouse-click on the map button. In the Texture Editor, again, we want to go and find our TexSky map, so let's just scroll down, select that option, and again, we get our controls. And let's just click OK, dismiss those dialogs, and let's see what we have in terms of scene lighting for ourselves.

Because the VRaySky map is, as we mentioned, a high-dynamic-range image and has been designed to add real-world levels of light energy into our environments, what we get is a very nice bright skylight render, helped a little bit of course by our current camera exposure settings. We still don't have any direct light from our sun in the scene though, so let's go back into the Options dialog and add that in for ourselves. So again, click on the Map button and we need to enable our SunLight plug-in. So let's click on the button, use the drop down to select SunLight, and click OK.

Now as well as controlling our sky, we can actually control the appearance of our sun by means of these parameters. Of course, we do need to make certain that our SunLight is enabled. Now we can set the size of the sun as it'll appear in our procedural sky. If we want to, we can make our sun invisible, in terms of scene reflections, and of course, we have a lot of control over how the shadows are looking. So again, let's click OK, dismiss the dialogs, and let's see how that has changed the look or the feel of the lighting in our environment.

And what we see is that with all of those options enabled and working together, that we really get a complete natural-looking daylight look to the scene. Of course, we can change the coloration, the look of our lighting, the look of our procedural sky, simply by updating SketchUp's shadow controls. So we do get all of this by default in V-Ray for SketchUp whenever we start a new scene. Just keep that in mind. All this has only been constructed simply as a means of really helping us become familiar with how the system is working, and hopefully will help us take full control and full advantage of this very powerful V-Ray Lighting feature.

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This video is part of

Image for SketchUp Rendering Using V-Ray
SketchUp Rendering Using V-Ray

33 video lessons · 6204 viewers

Brian Bradley
Author

 
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  1. 4m 30s
    1. Welcome
      1m 14s
    2. What you should know before watching this course
      2m 33s
    3. Using the exercise files
      43s
  2. 7m 52s
    1. Installing V-Ray
      2m 27s
    2. Locating V-Ray tools and features
      5m 25s
  3. 39m 2s
    1. Creating natural daylight with the V-Ray Sun and Sky
      7m 41s
    2. Using the Omni Light
      7m 9s
    3. Exploring the Rectangle Light
      6m 2s
    4. Exploring the Spotlight
      4m 37s
    5. Exploring the IES light type
      5m 0s
    6. Setting up image-based lighting
      8m 33s
  4. 29m 40s
    1. Working with irradiance mapping
      12m 8s
    2. Creating a light cache solution
      6m 14s
    3. Using the DMC engine
      11m 18s
  5. 23m 11s
    1. Overview of the physical cameras
      5m 16s
    2. Understanding the Exposure controls
      6m 23s
    3. Handling perspective correction
      3m 4s
    4. Setting up for a depth-of-field effect
      8m 28s
  6. 44m 59s
    1. Introduction to V-Ray-specific materials
      9m 41s
    2. Creating diffuse surfaces
      9m 44s
    3. Creating reflective surfaces
      8m 2s
    4. Creating refractive surfaces
      9m 53s
    5. Creating translucent surfaces
      7m 39s
  7. 44m 8s
    1. Using fixed-rate sampling
      10m 21s
    2. Working with the Adaptive DMC engine
      11m 48s
    3. Controlling the Adaptive Subdivision sampler
      10m 15s
    4. Exploring subdivs and the DMC Sampler controls
      5m 52s
    5. Manipulating color mapping
      5m 52s
  8. 33m 39s
    1. Adding displacement to materials
      10m 48s
    2. Using caustic lighting effects
      7m 37s
    3. Creating occlusion effects
      8m 13s
    4. Creating a non-photorealistic render (NPR) with the Toon material
      7m 1s
  9. 1m 21s
    1. What's next?
      1m 21s

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