Intro to V-Ray For SketchUp | Basics of Rendering | Leyla A | Skillshare

Intro to V-Ray For SketchUp | Basics of Rendering

Leyla A

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11 Lessons (30m)
    • 1. Introduction

      0:37
    • 2. V-Ray Workflow - Main Points

      2:23
    • 3. Producing a Test Rendering

      2:12
    • 4. V-Ray Sun & Sky, Region Render

      4:10
    • 5. Environment & Cove Lighting

      3:15
    • 6. Adjusting Rectangle Lights

      2:18
    • 7. Sphere Lights for Light Fixtures

      2:33
    • 8. IES Light for the Floor Lamp

      2:48
    • 9. Adding V-Ray Materials

      4:23
    • 10. Minor Material Adjustments

      2:10
    • 11. Producing a Final Rendering

      3:30

About This Class

This class covers the basics of working in V-Ray for SketchUp - 3D rendering software that allows you to produce more realistic images in SketchUp. I created a quick Q&A below to go over the details:

Can I take this class? Yes! Just please come to class with a working knowledge of SketchUp. If you have never used SketchUp before please take a look at the other two classes that go over the basics of working in SketchUp.

What will I learn? After taking this class you will know how to produce a basic rendering in SketchUp with the use of V-Ray. We will specifically cover:

  • How to set up V-Ray Rendering Settings
  • Adjust the Intensity of the Environmental Light
  • How to use different lights - Sphere, Plane & IES Lights
  • Use V-Ray Material Library to add more realistic materials to the model
  • How to adjust the resolution and quality of the final rendering

What project will I work on? We will be producing a rendering similar to the one below:

ce9b5121

We will be using an existing SketchUp model as a starting point. You can download the model from the Projects & Resources tab. Please also feel free to use a different Sketchup file (maybe the one that you're currently working on?) as you should be able to apply the same concepts to any Interior SketchUp Model. If you decide to use your own file, please read a couple of quick notes in the Projects & Resources section. 

What do I need to have in order to take this class? It's recommended to have a computer with at least 4GB RAM (8 GB is better), and you will need to install free trials of SketchUp and V-Ray from the links below (I'm using SketchUp 2019, and V-Ray 4.00.02. Later versions might have minor variations in interface, but you should be able to follow the class even if you have a different version installed):

https://www.sketchup.com/plans-and-pricing/sketchup-pro

https://www.chaosgroup.com/download-free-trials

I will also be using Autodesk Sketchbook at the very end to make a minor adjustment to the rendering. You can download Sketchbook for free from the link below, or if you are familiar with any other image editing programs like Photoshop for example, you can also use one of those to apply similar adjustments. 

https://sketchbook.com/

Please let me know if you have any questions and I look forward to hearing from you and seeing your projects! Thank you!

Transcripts

1. Introduction: Hello, everyone. This class is an intro to very a program that you can use to create more realistic renderings within sketch up. If you take this class, you will learn how to adjust the environmental light. Place interior lights to create cove lights and illuminate lampshades and sconces. You will learn how to use very material library, and eventually you'll produce a very rendering with materials and lights. So if that's something that you would like to practice, please continue with the class and thank you. 2. V-Ray Workflow - Main Points: in this lesson. I want to talk about some of the overall concepts that you can use to work in, very so usually wants you in stole very. You will open sketch up and see these floating tool bars, and for now we will be able to close very objects and very utilities. We will not be going over them in this class. But if you re lights and very for sketch up are those two tool bars that were will be referring to a lot so you can keep them and pin them to the top off your screen. So overall in very there are different tools and parameters and objects like lights and materials that you can add to your seen to make the rendering look more realistic. So, first, if you look at the big V that's called the very Asset Editor, you will see that there are different tamps. So the settings tab, for example, controls the render. Settings will be able to adjust the quality of the rendering, adjust the environment a light. From here, we will change the resolution, eventually etcetera. Then we have the lights tab and here you will eventually see a list off life that you'll be placing in your seat and they can be sphere, lights, rectangle, lights, I yes, lives and so on. We also have a material stab and very offers a really good material library that you could use. And those materials have realistic settings like reflections, texture, maps, bomb maps, etcetera, etcetera. And eventually you'll learn that there are also settings that you can adjust and make your custom materials. So one part of what we will be doing is placing these light objects in our scene and then changing our sketch of materials to very materials or adjusting some of the settings on existing sketch of materials, and eventually will will be producing test renderings and final renderings with materials and lights. So in the next lessons will will talk about the details of placing the lights, adjusting materials, adjusting the settings and so on. Thank you. 3. Producing a Test Rendering: If, after installing theory, you don't see very tool bars in your sketch up window, you can go to the view menu tool bars and activate very force ketchup and very lights. Then you can pin those two words to the top of your screen. Now we will be adjusting some of the view re rendering settings. To do that, we need to click on the asset Editor, the big V Aiken, on the larger toolbar. Then make sure that your settings icon is selected, and you can also expand this window by clicking on the arrow on the right. Once you do that, look at the global illumination tab and change primary raise from brute force to your radiance map. Both of those are the algorithms off calculating the lights, but a radiance map gives us a faster result with good enough quality. After you adjust us, you can go to the environment tab and check the boxes next to G I and Reflection and then drag and drop this texture from the backgrounds. Laud to the great checker boxes next to dry and reflection select. Be stas Instance, and check the boxes next to those. These are the environmental maps or the sky maps that will be using to adjust the brightness off our environmental light later. Then click the button next to material override. Right now, we will be rendering with just one green material to focus on Lee on the lighting and later we will deactivate it and we'll start talking about the very materials. Once you adjust these parameters, click on the teapot to start the rendering. This progress is good enough for now, and we will continue adjusting some of the parameters in the next lesson. Thank you. 4. V-Ray Sun & Sky, Region Render: in this lesson. I want us to adjust some of the additional settings, and if you look at the bottom off your rendering window while it's still rendering, you will see that the program is calculating passes and it will continue doing that until it fully calculates the image and refines the image based on the render settings. But it's also something that we can stop half way, especially for our test renderings, so you can press on the stop render button to stop this rendering. And now I want to adjust the background to Onley, display the sky in the background and get rid of that gray color. To do that, we need to go back to the Asset Editor and click on the lightbulb icon. Then select the sound light and scroll down on the right till you see the horizon offset. Change that number to 40. It will shift the horizon down and will display the sky on the background. We can also adjust the color of the sun. This is optional and later we will be turning the sun off. But if you want in the future, if you want to render with the sun and you don't want the sun to be so yellow. You can change the color mood from filter to override, and then you can keep the color white or adjusted further, then to bring back our last rendering when you took like on the frame buffer icon, we can save this rendering just a za progress. We can compare our progress renderings later, and then look at the region. Render button. This button allows us to render a portion off the image, which is really helpful if you want to compare different settings or if you just want to do quick tests without rendering the entire image. So to do that, you just need to click on the teapot and then draw a rectangle around the area that you want to render. Once you draw that rectangle, you can click on the Render teapot, and it will start rendering on Lee the area within that rectangle. So now you can see the difference between the background and the color off the sun. I think it looks good for our test, so now we can uncheck the region, render just by clicking on that teapot again and press the teapot for render last two rear end, earthy entire frame. And again, we can stop this rendering halfway. Now, another thing that I want to do here is to slightly adjust our image frame. To do that, we can go to the settings off the asset editor and look at the render output. So here you have image with and hide aspect ratio. But for you to understand what those ratios mean for your screen, you will want to activate the safe frame parameter. Once you turn that on, you will see the gray areas off your screen, which indicate that those areas off that specific ratio will not be rendered and Onley the area off the view port that is white will come out on the rendering, and these gray areas can be bigger or smaller, depending on the ratio. But in this case, I want our ratio to completely match the view port. So what I'll do is I will click on the wide screen and I will select match Vieux Port. These say frame parameter will be automatically great out because the frame that will get will be exactly as the frame off the view port after that. If I want to adjust the rendering or the view I can zoom in. I can update my scene. I can change the resolution if I want to. And then I can press that teapot again To re render this frame again. Feel free to stop the rendering halfway. Feel free to save your progress and we will continue in the next lesson. Thank you. 5. Environment & Cove Lighting: in this lesson. I want to talk about adjusting Thean density off the environmental light as well as adding rectangle lights. So first, let's go back to our very asset editor and look at the lightbulb icon. We currently have the sunlight active in our scene, but I think usually the easiest and the best lighting set up that I see in the renderings is when we have an overall environmental light without the direct sunlight and local interior lights. So we will be using this way off, lighting our space for this exercise. That's why I want to deactivate our sunlight by clicking on the son. I couldn't next to it. When it's great out, it means that the light is off. And now if we press the teapot to render, we will still see some light in our scene. But it's more of a skylight or overall environmental light that adding brightness to our scene to adjust the intensity of it and make it a little brighter. We can go back to our rendering settings, click on the environment and click on the Blue Checker box to open the sky map. And on the right hand side, you will see the intensity multiplier, the weekend raise. And it's something that you will be able to adjust depending on the scene that you're working with. So right now, all just boot six and I will test it and I will notice that it comes out a little too bright. So I will go back to the settings and I will put it to for this intensity is good enough because it allows me some room to place interior lights and have more off those light accents together with the overall brightness off the scene. So right now, I want to start with a cove White and I will be using erecting a light for the cove. However, I need to create a space for my kufi. So if you're already familiar with sketch up, you will pretty much know how to do this. I will still review just in case. I'm opening my ceiling group and copying one of the lines about seven inches away from its original location. The dimensions can vary, and then I take the push pull tool and they pushed this surface up again about seven inches up. And for me to have an L shaped Coover or a continuous cove. I'm going to repeat the same steps on the back. Once I do that, I can close my group, and now I have the space in my ceiling to place the rectangle light. So I'm clicking on the rectangle light icon, and I'm drawing a rectangle the way you would normally draw any rectangle and sketch up from one corner on the diagonal to the other. Then I'm going to hide my walls just to make the placement more convenient. And then we'll continue talking about the settings of those lights in the next lesson. 6. Adjusting Rectangle Lights: So here. Let's talk about adjusting the intensity off the rectangle lights. So first we need to select the light and go to the asset editor back to the lightbulb icon . So here you'll notice that I have three lights instead of two. And that's because I placed another light earlier and then deleted it in my scene, but it still kept the light in the list. So if something like that happens, you can click on the purge unused assets I can and remove that light from the list. So now I have to and will adjust some of the parameters of those lights. First, I want to make the light invisible. If you look at the preview off the light, you will see this white rectangle, which usually we don't want to see in the rendering. So I'm checking the box next to Invisible to hide that rectangle and Onley. See the light that's coming from the light source. Then I will adjust the intensity the way I work. I test render, and I adjust the intensity based on the rendering, and I just know already were after rendering a couple of times that 30 might not work well for this coop. So I am raising the intensity upto 100 and I'm running a test Render on the test render. I already see that this light is not strong enough and I will want to make it brighter. So I go back to the render settings. I raised the intensity higher and I'm using a region render to test render the light. So I put 200 at first and then I'm realizing I wanted to be brighter and I'm changing the parameter to 2 50 So it's something that you might do as you work. Adjusting intensity, test rendering and then making sure everything works. Looks good. Moving to the next step. So that's what we're going to do. We're going to talk about the next steps in the next lesson. Thank you. 7. Sphere Lights for Light Fixtures: So in this lesson, we're going to be using sphere lights to illuminate the chandelier and the sconces so you can click on this fear light. I can zoom closer to the chandelier and click on the white bulb to specify the center of the sphere and then drag the cursor outside and click again to position this fear. Don't worry about the size right now. Just approximated. It can always be adjusted. Later was your position one of them? You can go to the asset editor to the light settings, select this fear and adjust the intensity I'm gonna put 300 for. No. And then also make that sphere invisible. Same as with the rectangle lights. Then we're gonna copy this fear to the other light bulbs. That way, all these your lives will share the same settings off the first sphere so you can just snap to the light bulb or to the sphere and position it approximately how I position it on the screen. And then if you go to the light settings, you will notice that there is only one sphere light in the list. So those two copies that we made share the settings of that sphere light. So now when you adjust the settings of this light, you will be adjusting the settings off all other copies of this light. So I'm going to make a couple more copies for the other light bulbs and then for this conscious and also gonna use the fear light. But I'm going to create a new white so that that light has the settings that are independent from the other lights. And again, I'm going to adjust the intensity and make the light invisible. I also recommend to change the color off all the lights to a warmer collar. To do that, you can click on the square next to the late on the right and change the color toe a beige or light yellow. And then to make sure that all the lights have the same color, you can right click on that square press copy and then right click on the next squares and press paste. You can also drag and drop the collar from one square to another. Once you do that, you can press the render to test. Make sure that the lights are bright enough. They give enough intensity, toothy objects and if it looks good than great, we can continue to the next lesson where we will talk about a new type of flight. 8. IES Light for the Floor Lamp: So another type of flight that I like to use in my scenes is the I s light. And if you look at this image, you will see a number of profiles or shapes that you can get If you use iess lights and there are more profiles available online, you can download them source more, etcetera, etcetera. So I will be placing an I s light for the floor lamp. And I will first modify the lamp shade a little bit by deleting the top and bottom surfaces so that I can place the light inside. And then I can click on the I s light. Aiken. It's the 4th 1 from the left. Once I click on the iess light, I am going to select a profile from the folder and click somewhere on the lam shade or next to the lamp shade to position the light. Then I will want to move this I s light so that the cube that you see on top of it doesn't intersect any geometry. This cube is a main source of flight, so it always has to be visible. If it starts intersecting geometry, the light might not work after moving the light like this, I can go to its settings and first I will copy and peace the same color from the other life . And then I will check the intensity box and add a couple of zeros at the end of the default intensity. These life have to be higher in intensity toe work or to show up in our scene. And then I will just render this and I will see that there is a cone of light that's coming out of my lamp shade. You can use I s profiles to illuminate lampshades. I will also place a couple of them under the chandelier because they will create nice accents on the cheers. You can use them a spotlights. You can rotate those life. And for my floor lamp, for example, I will copy this light up and I will flip it so that the cone of light is coming in both directions and for the bottom light, I will rotate it slightly and targeted towards the cheers. So there is more accent on the cheers so you can use these lights for down lights as accents on the walls, but also as spotlight to create accents and spots on the furniture under the lamp shades, etcetera. So I hope this is helpful and you can experiment with these life and place a few and then let me know how it goes. If you have any questions, otherwise will continue in the next lesson. Thank you. 9. Adding V-Ray Materials: in this lesson, I want to go over the very materials that we can use to render. So if we go to Thievery Asset editor and click on the sphere with a checker box and then expand a window on the left, we will get access to the viewer material library. And if you click under materials, you will see different folders and different pre says that you can use to render. And in general, it's better to use very materials when rendering in theory as a boost to the defaults ketchup materials. Because very materials have settings that are looking more realistic on the rendering. For us to be able to render and see the materials, we first need to go back to the rendering settings and uncheck material override that we checked in the beginning. Then, if we ran a test renders of, for example, on this chandelier, the materials on a look a little flat. They look mostly just like collars, so I want to replace some of these materials with very materials or add very settings to existing sketch up materials. To do that, I use the pain bucket tool, and I hold out to use the eyedropper tool, and I select a material from the stem. It will highlight that color that material in the list of the scene materials. I right click on it and I press select objects in scene which select all objects that have that material applied. Then I find a new material in the very material library. So here, for example, I wanted to be metallic pain Bones and I right click on this new material, and I pressed apply material to selection. Now I want to adjust a couple of settings on this new material. I wanted to be a little bit shiny or glossier, and to do that, I need to raise the reflection. Glossy nous, Higher parameters give solid reflections. Lower parameters give Matt reflections. So here I'm just going to change your 0.8 to 0.92 which will add a little more sheen to that metallic paint. I'm also going a dark in the reflection color just a little bit to make the color of the metal a little darker as well. Once I do that, I can press the chest render and I'm using the region render And as you see the material that comes out looks more realistic. It looks closer to the rial life metal than the color that we had before. Another thing I want to do is to adjust that black material and add some reflections to it . So I start the same weight. I select the pain bucket tool, and I hold out to select that material from the object in sketch up. But here, instead of replacing it with the existing beery material, I'm going to add reflections to this particular material. To do that, I need to change the reflect collar from the default black to white or to Mid Grey. White will give me more reflections. Black will give no reflections at all. Then I'm going to lower the reflection, gloss iness to make the reflections look more like a sheen rather than a clear, solid reflections. So I'm putting 0.7 for the reflection gloss anus, and then I contest. Render that specific portion and I will see some reflectivity on that material, which is what I want to see. And I'm happy with this result. I like this little detail that we see as a boost to that flat collar that was there before and in general. Adding reflections to materials is one of the things that you mostly want to do for most of the materials in sketch. Because most of the rial life materials, even if it's a match material, they do have some reflectivity. So adding reflections is one of the first steps that you need to take to make the material look more realistic. This is great. We will continue talking about some of the additional things in the next lesson. Thank you. 10. Minor Material Adjustments: So in general, I recommend to apply very materials to most of the objects in your scene, and you can use the same concept from the previous lesson. Selecting sketch of materials by using the paint bucket tool and holding Ault, then right clicking on that material. Pressing select objects in scene, finding a new very material from the library and applying that material to the objects that were selected. A couple of notes here when it comes to materials and half texture. So, for example, here I'm applying a wood material to the floor. I can still adjust the tiling off this material through the sketch of Material Editor. You still see the texture in your sketch obscene, and it's way easier to go to the sketch of material editor and change the tiling rather than doing it through the viewing material editor. Another note I want to make is to add a realistic material to the lamp shade. You will want to use the paper lamp material from the library before you apply it. Make sure that the lamp shade on Lee has one surface. If it has a double service, as in my case, just delete one of the surfaces from the group, and then you can find a paper lamp material in the theory material library. It's a double sided material, which will create a realistic effect off the light coming through the lamp shade, and you will need to add a sphere light inside that lamp shade, and you will need to adjust theseventies of this fear light, making the light invisible using the color option. Two. Change the color of the light, positioning this light in the center of the lamp shade. You might need to adjust the brightness and play with the brightness, similar to how we were working with the lights before. But eventually, when you just render, you should see a glow coming out of that lamb shape. 11. Producing a Final Rendering: to finalize this rendering. I'm adding a couple more things here. So first I'm adding more off those IAEA's lights under the chandelier to make the seating area a little brighter. Then I'm also adding narrow rectangle lights under the shelves. I'm adding wood material to the front of my cabinets. Obviously, you can play with a design of it, and the lights and the materials can be different. But once you feel like you're ready to render, you can go back to the rendering settings. And first, I recommend to change the quality too high so that it renders with a better quality. And then, if you look under the render output, you can increase the resolution off the final image. So eventually I'm going to put 1004th E height, which will make the with about 2200 or so. And then I can press the cheap odd to render. The rendering might take a little more time because it's a higher quality, but eventually, once it's done, you can press save the rendering. Once it saved, you can open it with the odor desk sketchbook. If you have it installed, you can download it from the link in the class description. Or if you have another image editing software, you can do that, too. One thing that I want to do here is if you see my section cuts weren't rendered with the same material throughout. So I want to fix that. And first I'm going to create a new layer on the right. If you click and hold on that circle and then drag your cursor to the plus sign, it will add a new layer. Were doing that so that we don't unintentionally changed the original image, and we can always undo the changes that we make on this new layer. Then I'm going to take the rectangular marquis tools of you, click on this icon and then select the rectangular option and then also click on the plus sign on the right to continuously add rectangular selections. So I'm just drawing narrow rectangles over all these areas, and it's OK. You don't have to make it super precise because later, if you go over the boundary alot, but you can subtract those minor things. So I'm first making really quick selections like this, and then if I notice that there are certain areas that need to be subtracted. I'm changing this mood from plus to minus, and I'm going over the areas that are supposed to be subtracted. And then when the selection looks good overall, I can take the pain Bach it too. And I'm using the eyedropper tool on the right to pick the color that I like from the image . And then I'm just painting that selection with the pain bucket tool. So this looks good and then to finalize to say this rendering you can go to this icon and press export and just give it a name. Change that file to J bank, for example, and then press save. So I'm hoping that you liked those class. Let me know if you have any questions and I hope to hear from you and see your project. Thank you so much for watching and have a good day. Bye.