Join Dave Schultze for an in-depth discussion in this video Rendering tips and tricks, part of Rendering Fundamentals with Rhino and V-Ray.
In this final video, I thought I would share a few more tips and tricks, that didn't seem to fit anywhere else. These are all pretty simple, but of course, high quality, or I wouldn't be talking about them now. Let's check em out. I'm noticing that our penguin has got a mis-colored lower beak here. So you can find out what material is assigned, by going to the properties panel. And then, under material, this tells you what's assigned, that's not the right material. We want to have the orange material and looking at the same place, it says penguin orange satin.
So that'll help me go into the material editor and then re-assign those. However, there's a quick shortcut. So I'm going to select the material I want to change and then the same properties panel. There's an option called match. It's going to ask you to pick an object in the scene, there's the command line at the top telling you. So pick on the orange beak and sure enough, it changes and just assumes all of the exact same properties, not just the same material but the same layers, et cetera. Another thing I want to point out, is I have been able to separate objects into different materials like we see here in the penguin.
With a full view here, so this started off as one single surface and it was split into two, with some curves and projections. So that way I was able to apply different materials in different locations. And this is great for rendering. However, if you plan on prototyping, you do need to have a separate file, where everything is closed and there's no gaps or openings. So be aware of that. I've taken a lot of shortcuts which is the ideal way to render, not so much with prototyping. Let's talk about some other views here. In this side view, I've moved my camera around for another angle.
And we'll notice that the backdrop, is now visible edge. That's a big no no, so what I do is. Without disturbing all the set-ups, of the, objects and the lighting we're just going to rotate that whole backdrop. So am going to select it, best place to move it would be over here to top-view. So we'll just a simple Rhino rotate. It's asking for a center, I'm going to just type in zero, and that'll give us right at the origin. So, I can select a starting point. It's not really important. I'm just going to rotate that around, so that, I don't see either edge.
It's really that simple. The next step, I'd like to share a little more tips about lighting. So, in this front view here, you'll see we have a light on the top, which is our key, and a light on the side with which is our fill. Now, there's three separate ways. To change the value of the lighting. We've already looked several times at the intensity, this one is set at five and our top light is set at ten. So there's no new news there. But, I mentioned there's three separate ways, we could also, besides the intensity,.
Change the distance by moving it farther away, it's going to get less intense, closer up, it's going to be brighter. Additionally, in the top view here, you could scale, this light to be bigger, more light will come out and conversely, smaller lights will emit less light. So three separate ways, it all depends on, your scene and of course where you want reflections to fall. Next step I want to talk about layers. So to avoid moving things accidentally, I try to keep organized here. You'll notice, I've got different objects on different layers.
Most importantly, I've got a set layer, so that my 180 degree backdrop that we just rotated is on its own layer. All times if I'm going to focus on modeling without any rendering, I can just turn that off and the same with the lighting. There is no need to keep those on, because you will probably accidentally move them or even delete them. So we keep that on a separate layer and then they can actually just be locked. That's probably the best way to keep them out of your way. Next up is one of my weirdest tricks ever. We going to turn on this layer called render buddy. So all that really is, it's not a new 3D friend, it's just a chrome sphere. So you can see it here in the side view scene. We're going to go ahead and render this. And then, when it's done, I'll explain what is happening, and how it is becoming our new best friend. Okay, the render is complete. And if we ignore the chrome sphere for just a second, you'll notice that this is way over lit. So, something is going on, from earlier renders that looked okay. And if I study the chrome sphere, this tells me what is going on everywhere in the scene, above me and behind me. So I see a light to the front. I see a square light up above and then something else, is beyond that. Here's all the penguins and here's the backdrops. Those are as expected. Let's close this for just a second and if I zoom out. Here's the culprit, I've got a copied light, that somehow got way up in the sky, I forgot about it and it's the reason that the scene is way overlit. So I can just go ahead and delete the light or turn it off. I'll just delete it for now. We'll go back to the side view, and we'll render that one more time, just to verify everything's looking good. OK render buddy has done his job. We now have a much better rendering and this too no time at all. I made a sphere, put it in position and then just applied the chrome shiny material. Which is located in the V-RAY express toolbar under metals. So really, just thirty seconds of work can sometimes save you. An hour or two of troubleshooting and things are just weird and you can't figure out what is wrong. Finally, I want to talk about file naming, which sounds really boring, but actually can be a powerful way to learn. Every rendering I do, I just number it in a sequence, and put it in the same folder. So, over time I can track my progress and learn what works and what doesn't work. And the same goes for other files that I create. I just will call it like penguin scene 01 one or render 01 and then continue with 02 and 03 and 04 et cetera I try to if at all possible avoid calling anything final because you will inevitable run into a situation where you save final. And, oops. One more change. Let's call this Final Final. And, oop, another change. We'll call that Final Final 2. And that just becomes confusing. So everything is saved with just a name and a number. And the newest one is always the highest number. Just keep it simple, and you'll have more fun as you progress. So I hope you enjoyed my tips and strategies shared in this course, Rendering Fundamentals with Rhino 5 a V-Ray 2, my goal was to help you learn from my mistakes. And believe me, I have made a lot. Even though we're trying to make beautiful and compelling images, the software we use can be complicated and frustrating. My goal, was to make V-Ray less intimidating and help your work be more enjoyable, and even fun.
- Why use V-Ray?
- Installing DR Spawner
- Understanding 3D terminology
- Activating V-Ray
- Adjusting quality settings
- Get quick previews with the material override
- Understanding lighting types
- Exploring materials in the Material Editor
- Creating your own materials
- Texture mapping materials with bitmaps and procedurals
- Saving time with V-Ray presets
- Getting the right size for your render with output settings
- Working with environment lighting
- Strategies for working with cameras and camera settings
- Ensuring accurate color for your scene with color correction
- Rendering tips and tricks