Indirect Illumination (GI)

Camera

Global Switches

Environment

Irradiance Map

Color Mapping

DMC Sampler

Image Sampler (Anti-Aliasing)

Output

Typical VRay1.5 For Rhino Settings

Keep these o�

You can use this to do your initial lighting setup

1. Set up views. Don’t wast time with bad views. - Favor wide angles (18-25 mm) - Either about 6 feet o� a surface, or much higher or lower - Save to Named Views2. Default Render settings or (~600 px x 480 px) - all materials grey (not white), except glass is clear or o� - add a sun at this point if you want it - adjust for brightness, splotches (DMCI, light cache for interiors)3. Add any desired lights - Make them invisible - Fine tune exposure4. Add materials (Can use Vray materials or Rhino materials) (NO GRASS!) - Re-adjust exposure - Look out for weird re�ections and refractions - turn them down/o� in the Environment panel if there are problems5. Do a full sample render (~800 px x 600 px) - Check for weirdness6. Do a �nal render (3000 px is 20 inches at 150 dpi)7. Go to Photoshop and make it beautiful

Work�ow:

Keep on “Default”

Usually keep this on

This makes VRay work like a manual camera.As with a manual camera, it’s a combination of Shutter Speed, ISO and F-stop that create the right balance for lighting.

Shutter Speed • 1000 shuts down the lens = less light • 100 blasts it with light = bright whiteland

Film Speed • 100 blasts the scene with light • 800 dims it down

F Stop This is the most important adjustment for light • 32 lets in very little light • 4 blasts the scene with light

F8 is common in real life outdoor photography but because in VRay you may have more white surfaces and sunlight than in real life, you may need to close down the Fstop to F10-14 for outdoor shotsOpen it up for dimmer lighting (night / interior) to F4-8

Use these as your primarybrightness adjustments.Start in the middle • F-stop 8 • ISO 125-200 • Speed – 100-400Leave this at 1 and use Rhinoto frame the view

Generally, leave these o� and achieve these e�ects in Photoshop

Can adjust the tone of the image

Can create depth of �eld hereor in Photoshop

Apply the sun maps in this window

Can add HDRI here

Turn this down to about 0.01 for night renders

Adaptive DMC for �nal render,can use “Fixed Rate” for quick testsCan improve quality here

Can improve quality here

Make sure this is at 2.2

Start small (400 px), move up in size3000 px is 20 inches at 150 dpi

Lock aspect ratio to get a �xed proportion

Creates a render of exactly what is in your viewport

Can automate saving to a �le

This is the global lighting in VRay andwhat makes it useful. Keep it on.

Turn this o� for faster, less accurate renders with glass

Generally, keep your �rst light engine as “Irradiance Map” and second as “Photon Map”

This menu generally controls the major controls in VRay. Mostly, you will leave these at their default settings. You can turn o� your lights here, override your materials,and turn o� re�ections, refractions and maps.

Environment is where you control general lighting for your scene. This is what makesVRay a powerful rendering engine.

Image sampling is how the program calculates how the �nal image will appear, based on your Rhino geometry. Adaptive Deterministic Monte-Carlo (DMC) is an algorithm-based sampler, that allows for more careful sampling in areas that needmore attention.

Further controls over the DMC sampler.

Adjusts the image for display on a computer. Keep at 2.2 for normal brightness images.

This panel controls the size of your �nal output. These are the most importantcontrols for regulating the speed of the render and size of your �le.

• Keep it on 640 x 480 or smaller for quick test renders • Use at least 1280 x 960 for presentation • 36 inches at 150 dpi = 5400 px: this is the largest you will ever need to render

As a rule of thumb: Multiply the size of the image you need by 150, and only render an image that large, so you’re not wasting time.

If you want to render exactly what you see on your screen, you can use that viewaspect. Lock it, and you can adjust the resolution of your render.

VRay’s specialty. This is what provides a nice, even illumination in your image.

The two rendering engines you choose will impact both the scene lighting and your �nal image. The primary engine calculates the �rst light bounce, and the secondary engine calculates all bounces after that. • Irradiance Map: The most basic and very powerful. • Light Cache: A very fast calculator. Works well for interiors. • Photon Map: Also very fast. Good for quick exteriors. • DMCI: The slowest and most accurate engine. Nice tonal quality.

Exteriors: Irradiance Map/Photon Map or Irradiance Map/DMCIInteriors: Irradiance Map/Light Cache or DMCI/Light Cache

This controls the most commonly used light engine. The rate you pick a�ects theaccuracy and quality of the render, and the Hemispherical Subdivisions (HSph. subdivs) a�ects the quality. These will both greatly a�ect the speed of your render.

RateThe number of passes the engine takes on each quadrant of the image, equal to di�erence between Min rate and Max rate plus 1. Too low values will result in inaccuracies such as light leaking behind objects and through cracks.

• -3, 0 = Normal settings, 4 passes. Generally very good quality. • -7, -4 = Very quick, innacurate test renders (lighting levels are correct). • 1, 3 = Very high quality render. Will take HOURS.

HSph. subdivs. are the divisions in a dome around the whole model that is emittingan even light. The more subdivisions, the closer to real atmospheric light. These are particularly important for interior scenes. If you see blotches, adjust this and the rate.

• 20 for fast renders • 50 for normal renders • 100 - 200 for very high quality renders

-3 typical, -7 fast, 0 high quality0 typical, -4 fast, 3 high quality50 typical, 20 fast, 100 high quality

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