Beginning Lighting and Rendering with 3ds Max and V-Ray

V-Ray Sunlight Repositioning, Ambient Occlusion, and V-Ray Light Objects

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This segment focuses on repositioning the V-Ray sunlight, adding the ambient occlusion, creating a V-Ray light object.

Keywords

  • V-Ray Sunlight
  • Ambient Occlusion
  • V-Ray light

About this video

Author(s)
Jamie Cardoso
First online
21 December 2018
DOI
https://doi.org/10.1007/978-1-4842-4403-6_6
Online ISBN
978-1-4842-4403-6
Publisher
Apress
Copyright information
© Jamie Cardoso 2019

Video Transcript

[Audio starts]

In this segment, we’ll focus mainly on the repositioning of the V-Ray sunlight, add ambient occlusion and create a V-Ray light object. The first step is to add the final tweaks to the glass settings; reposition the V-Ray sunlight; add the ambient occlusion in the scene; and correct the V-Ray light object. The index of refreshing is a bit too high. Normally plain glass is 1.1. Next we’re going to select the sunlight and reposition this blue line seen here. We can also click by name tool bar and pick the sunlight target from the list to help align the sunlight direction a bit further. Let’s do another test render. As you can see, the light is now coming down the atrium around the windows and hitting that column. The next thing we’re going to do is enable the history there so we can compare renders. The overall lighting is beginning to look a bit more appealing now. The next step is to ensure the connecting shadows are enabled as it adds more def to the scene. Before enabling the connecting shadows, let’s quickly go over the frame by face preview. So when you enable the history there, it allows you to just compare renders just by double clicking there. Here’s before, after. To enable the connecting shadows, let’s first open the render setup dialog by clicking on this button. Under the GI tab, enable the ambient occlusion function. By default, the ambient occlusion radius is set to 10 meters, which is a bit too large. Let’s check the units display first. Most connecting shadows after 300 millimeters in diameter maximum. So let’s type in 300 millimeters to change it. As you can see, even though the display units is set to meters, just by typing in mm after 300, 3ds Max was able to change it to the intended value automatically. Now, if you were to do another test render, we would definitely see the connecting shadows. We can now compare before and after render with the connection shadows generated by ambient occlusion. The next thing that we’re going do is to start adding lights to emulate these square lights in the ceiling. We’re just going to select the first one there, the light fitting, the big one. Isolate it, go to the correct panel under lights. To create a V-Ray square light, first click on the V-Ray light button. In the top view port, click indirect created. While the light is still selected, open the Modify panel. Zoom in closely in a front view port and move the light under the object. Also rotate and move it to match the position of the object. To align objects properly, simply click on the align selection tool first and click on the object you want the light to be aligned with. Each dialog should be prompted. Choose the center option from both current object and target object group and click OK. Under the modify panel, adjust the left values to fit the object like so. You can move down obviously. In the light options group, enable the invisible option so the light will be invisible to the camera only while affecting the scene. You can set it to a factor reflections specular diffuse and so on and the light color can be changed by clicking on this color swatch and adjusting its values and make it a bit warmer if you wish. Let’s name this slide as ceiling. It’s always good practice to name the lights according to their functionalities. Now we can exit the isolation mode there. This segment is now concluded. While it’s paramount to position the sunlight accordingly, it’s equally important to create the complimentary light such as V-Ray light object.

[Audio ends]