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Working with the dome light

From: V-Ray 2.0 for Maya Essential Training

Video: Working with the dome light

The V-Ray dome light offers a tremendous amount of flexibility and quality when it comes to creating a global skylight, or even daylight effect in our renders. Again, to create it, we can just come up to our Maya Rendering shelf. We have the icon; we just left mouse click on it, and as you can see, appearing in our view port, we have a V-Ray dome light gizmo. A couple of things just to be aware of; with regard to actual translation information -- so if we just select the Move tool -- any translation we make with regard to our gizmo, our icon in the scene will not affect our lighting solution.

Working with the dome light

The V-Ray dome light offers a tremendous amount of flexibility and quality when it comes to creating a global skylight, or even daylight effect in our renders. Again, to create it, we can just come up to our Maya Rendering shelf. We have the icon; we just left mouse click on it, and as you can see, appearing in our view port, we have a V-Ray dome light gizmo. A couple of things just to be aware of; with regard to actual translation information -- so if we just select the Move tool -- any translation we make with regard to our gizmo, our icon in the scene will not affect our lighting solution.

We can place this icon anywhere we want, and the lighting solution that we get will always be the same. However, the same is not true with regard to orientation information. If we rotate around our V-Ray dome light's vertical axes, so in this fashion, then really, no effect will be made on our lighting. We can do that, and everything will be just as it was before we rotated the gizmo. Even if we have a high dynamic range image attached to it, it won't make any difference. However, rotating around the other two axes will change the lighting solutions, so if we rotate around those, we're going to have to be aware that what we get in terms of lighting will be different from our pre-rotation lighting setup.

Now, of course, as the V-Ray dome light is really just variant of the already examined V-Ray lights -- the ones we've looked out, such as the rectangular and spherical light options -- we can see, if we come into our Attribute Editor, and if we just come down the options, you can see that we get pretty much all of the same options available to us. However, there are a couple of notable differences. For instance, we've this Dome Tex option. Again, this is where we would map a high dynamic range image to our V-Ray dome light. We would, of course, have to make certain that we have checked our Use dome tex option.

The brilliant thing about the V-Ray dome light, when we add high dynamic range images in there, is that we do get important sampling as a part of the system. So V-Ray very efficiently uses the samples available to create a high quality lighting solution for us. We do also get a 180 degrees of direct light from our V-Ray dome light. So with it set up in the scene, let's just take a render, and you can see, what we instantly get is a high quality sky lighting effect. Well, maybe there is a little bit of work we would need to do with the noise in the scene.

Again, that is very easy to do. We can work with our Image sampler controls, or we could just work with our Subdivs parameter, so let's raise that to a value of 16, and take a second render. What you can instantly see in the scene is that we do get very, very good contact shadow information. That, of course, is in contrast to the way our environment skylight options were working. So the V-Ray dome light offers a very quick and easy way to create an almost global illumination lighting effect. Now, we do have to remember that GI is not enabled here. In fact, let's go and pull up our Render Settings window, go into the Indirect Illumination tab, you can see none of those systems are turned on, and yet we get an almost complete lighting solution.

Of course, we don't any bounce light on the side of these pieces of geometry, so we just need to be aware that we've not got any bounce light taking place in the scene, but as you can see, still a very, very complete lighting solution. So, whilst we do have a number of options available when it comes to creating a skylight effect in our V-Ray renders, the one I would recommend is the V-Ray dome light. It gives us a number of extremely important options, such as direct light, which means we can create caustic effects with our dome light, if we want to. It gives us important sampling when we're working with high dynamic range images.

Generally speaking, all around, it is a techniqually superior skylight choice, above and beyond our other environment skylight options.

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This video is part of

Image for V-Ray 2.0 for Maya Essential Training
V-Ray 2.0 for Maya Essential Training

54 video lessons · 2314 viewers

Brian Bradley
Author

 
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  1. 4m 28s
    1. Welcome
      59s
    2. What you should know before watching this course
      51s
    3. Exercise files
      40s
    4. Workflow recommendation
      1m 58s
  2. 11m 32s
    1. Installing V-Ray
      4m 25s
    2. Setting up V-Ray
      3m 14s
    3. Locating V-Ray's tools and features
      3m 53s
  3. 24m 41s
    1. Image sampling explained
      3m 19s
    2. Understanding subdivs
      3m 49s
    3. Using the DMC Sampler
      6m 54s
    4. Overview of color mapping
      4m 45s
    5. Understanding the color-mapping modes
      5m 54s
  4. 27m 55s
    1. Dealing with lighting problems
      9m 26s
    2. Adding a spherical fill light
      8m 50s
    3. Creating a mesh light
      2m 43s
    4. Creating a skylight effect
      3m 18s
    5. Working with the dome light
      3m 38s
  5. 44m 25s
    1. Global illumination (GI) explained
      3m 55s
    2. Understanding primary and secondary bounces
      3m 34s
    3. How irradiance mapping works
      5m 30s
    4. Using irradiance mapping, part 1
      4m 35s
    5. Using irradiance mapping, part 2
      5m 44s
    6. How light cache works
      3m 48s
    7. Using light cache
      7m 58s
    8. Understanding brute force GI
      2m 18s
    9. Using brute force GI
      7m 3s
  6. 40m 3s
    1. Introduction to V-Ray-specific materials
      2m 22s
    2. Creating diffuse color
      8m 31s
    3. Making reflective materials
      5m 40s
    4. Blurring reflections
      8m 31s
    5. Making clear and colored glass
      8m 49s
    6. Creating a translucency effect
      6m 10s
  7. 24m 15s
    1. Introduction to image sampling
      2m 56s
    2. Using the Fixed-Rate sampler
      5m 57s
    3. How to use the Adaptive DMC sampler
      5m 21s
    4. Working with the Adaptive Subdivision sampler
      7m 7s
    5. Comparing image-sampling renders
      2m 54s
  8. 17m 23s
    1. The physical workflow explained
      2m 37s
    2. Working with VRaySun and VRaySky
      7m 39s
    3. Controlling the VRayPhysicalCamera
      7m 7s
  9. 45m 0s
    1. Depth of field: VRayPhysicalCamera
      5m 45s
    2. Depth of field: perspective viewport
      5m 49s
    3. Creating a motion blur effect
      9m 30s
    4. Generating caustic effects
      7m 51s
    5. Using VRayFur
      6m 2s
    6. Setting up render-time displacement effects
      10m 3s
  10. 34m 17s
    1. Render elements workflow
      6m 47s
    2. Preparing to composite
      2m 22s
    3. Compositing V-Ray elements
      7m 8s
    4. Putting extra elements to work
      6m 20s
    5. Post-lighting a scene
      11m 40s
  11. 11m 47s
    1. Overview of V-Ray RT
      5m 27s
    2. Demonstrating the RT workflow
      6m 20s
  12. 1m 8s
    1. What's next?
      1m 8s

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