Join Dave Schultze for an in-depth discussion in this video Setting up your perfect studio, part of Rhino and V-Ray: Rendering.
Next up, I'm going to share some of my killer studio tips. When I say, studio, I mean the entire scene, which includes your geometry, a backdrop, the lighting and the camera. Materials may be optionally applied, but this is not critical to understand these techniques. I'm going to maximize this prospective view port here. And talk about the first tip and that is a beautiful design. A lot of people forget that sometimes that can include fill its wherever needed like along these edges. Because those are the only way you capture highlights. You also want to have details including parting lines, any vents on a product, little details that will give people some sort of suggestion of the scale.
In my case I've got the bottom of the feet kind of rounded around as opposed to just going straight through the floor. It's kind of of an amateur mistake so you want this to look as realistic as possible. And that goes down to every detail on it. Let's switch back to our earlier view. This next tip is kind of nicknamed still life with fruit technique. And by that I mean you've never seen a painting with a bowl of one fruit, there's always a group. And so looking at this penguin, it's going to be pretty boring. Seeing a rendering of him completely by himself, he'll just look lonely.
So I always do is make a couple copies and I'll turn on the penguins friend layer. So these are just the same exact geometry moved, rotated and placed in the scene. So really we get three renderings in one. We've go this guy kind of close up in our face and then we can actually see how the model was done from two other views. In the same scene for no extra cost. For my text tip, I'm going to back out here, double-click on the View Port label, so we get back to the original layout. And we'll talk about lighting.
So a general rule of thumb is I have a top light. This is called the Key, and that's usually the brightest light in the scene. Because the one casting the shadows that fall underneath the object. And I have that maybe two three or four times higher than the object in the scene which is the penguins head. Let's check it's power. It's already selected. We go to Properties. Light. Looks like the intensity there is ten. Now I want to call your attention to on of the side lights. These are called fill lights. Those are typically about half as much.
We don't want to have these lights be the same because otherwise things become too even and less three dimensional. Now if we had more lights than this I would probably go to the environmental lighting which is under the options > Environment and start to lower the GI Skylight. This'll probably be okay, let's leave it at one. Just be aware of that as you work on your projects. Next up I want to talk about the backdrop. So, this is pretty critical here. Unlock it so that we can highlight it. So, in this scene it's actually functioning as both a floor and a wall with this little curving radius transition.
This is important because we do not want to see the edge anywhere. That includes the edge on the front, the edge on the top or either of the sides. So that's why we use this kind of seemless or continuous backdrop. Zoom back into the prior set up. Also, I recommend you do not apply a reflective material. The reason is, it might look good on the floor, but as you curve around this edge here, and up the wall, it starts to reflect. And especially in that little radius.
You get some weird reflections, it's really going to call way too much attention. So any backdrop that is a single piece and curving always make that a matte material. Next thing to talk about is the camera. Framing is critical for maximum impact. I always make my camera a slightly wide angle. So you'll notice I labeled this ProCam 30. That refers to 30 millimeters. If you want to change it or check it you can click on the tab here and go to view port properties. And right here in the center of this dialogue box is the lens length in millimeters.
That's why I typed in 30. Sometimes, by default, Rhino will have it at 50, which is kind of a neutral lens. I like mine a little bit wider, just to exaggerate what's going to be an otherwise two dimensional picture of a three dimensional scene. So, sometimes, I would slightly wide angle lens can really pop things out. So, leave that alone for now. Another important camera tip is it's gotta be, almost always, very low. If you'll notice here, this camera is about the level of the penguin's belly button. And it's looking horizontal.
If you want to see exactly where the camera's located. We can click on the View Port title and then hit F6, this will now make the camera show up in all the other view ports. So, we come down here to the right view port we can see that the camera is pretty close and looking almost perfectly horizontal. We have a little bit of a tilt, so that's why you see these angled lines here. So remember the camera should be in pretty close looking horizontal or slightly up. And I'm going to have multiple objects appearing in the scene. Okay, we can hit F6 again.
It's a toggle, it will turn that camera off so we don't accidentally move it. And finally, the last tip is testing, testing, testing. There's no one right way for every scene. So on a long project I like to leave at least a day or two to make lots of renders and have lots of tests, so I can dial it in. I don't want to have just like one hour to crank something out. Regardless, most people are rendering along the way so it's not that bad of a rush at the very end. Alright. We're going to do two demonstration renders here. We're going to start off with what I call the bad amateur view.
And so this will go back to shaded. Make that full screen here. So let's talk about the problems here. This light actually looks like it's too close, which it may be. But I've got it turned invisible, so it actually won't show up. But the problem I have with this is we're just, first of all, too far away. We're using 100 millimeter lens, which kind of makes things shortened. And less three-dimensional. And also, we're just way too high. These objects, all of a sudden, look like somebody dropped them on the floor. And walked away and forgot them forever.
So let's go ahead and render it, and then we'll kind of evaluate it further. Okay the render's done. We're taking a look at the amateur view, with a 100 millimeter lens. And you can see with this telephoto effect, we're not getting much three-dimensionality. Also it's kind of a weird odd view from the sky. And also it's too far away. This is very common mistake with beginners. There just so far away because they're kind of tired of the project. Or they're not noticing. So want to have the camera dynamically positioned. So that there's more impact for the first time viewer.
And that's really the big challenge. Since you're so familiar with the project. You're almost not really seeing the rendering any more. You know how it looks in your head. The rendering is not really helping you that much. Let's minimize this render. Just a refresh here. I want to show you where the view port lens length is. This one is set to 100 millimeters. I will switch back to the other view with a different lens length. Okay, so right off the bird you can see the difference. Let's go ahead and render this one. Okay, rendering's done, and hopefully you can see the big difference here. A lot of people will forget that you can have objects cropped off, you don't have to see everything every time, and if you look into the scene.
This little copied dude, we can see his feet. We don't have to see the guy in the front feet, we know they're there. Same thing with the other character, we're seeing another view. And there's kind of a relationship or dialogue between these characters. They're part of a grouping, it's like they're there for a reason. It's almost like it's suggesting a story. Finally, all of these studio tips should be considered very rough guidelines. There is no one universe studio that will work for every single project. It doesn't exist, or I'd already be using it. So, be patient as you experiment, you only get better with practice.
- 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