Learn SketchUp & Vray - Beginner to Advanced (Part 2 - Vray) | Taneesh Patel | Skillshare

Learn SketchUp & Vray - Beginner to Advanced (Part 2 - Vray)

Taneesh Patel

Learn SketchUp & Vray - Beginner to Advanced (Part 2 - Vray)

Taneesh Patel

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11 Lessons (1h 21m)
    • 1. Introduction

      1:45
    • 2. Install

      1:44
    • 3. Asset Editior

      2:18
    • 4. Asset Editor Materials

      5:02
    • 5. Asset Editor Creating Materials

      6:53
    • 6. Creating a Material

      10:47
    • 7. Rendering

      9:32
    • 8. Vray Lights

      20:43
    • 9. Dome Light & HDRi's

      7:35
    • 10. Proxies

      9:37
    • 11. Vray Fur

      4:59
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About This Class

This SketchUp and Vray course teaches you everything you need to know. We will work together to go through everything in SketchUp and Vray, then after build a house from the ground up.

The main reason I made this course is  to show you how we can apply the skills you learn to make something so stunning and give that wow factor to anybody you show. In addition its been created so don't need any knowledge or prior experiences with SketchUp and Vray.

Consisting of 4 main parts, we will go over:

  1. Learning SketchUp

  2. Learning Vray

  3. SketchUp Extensions

  4. House build

Starting off with learning quick tips and tricks is vital for efficient modelling and this is exactly what this course offers. From the beginning we will look how to do everything logically as well as learning all the unique features to each tool. Every tutorial has been carefully planned out, to make sure you know everything you need to know, so you can reach your full potential.

In the build not only will we go over the main parts to create your house (living area, office, bathrooms, staircase, doors and windows, kitchen, bedrooms and so much more) but we will also go though how to organize your model properly, import free CAD drawings, export standard and rendered animations, realistic lighting environments, realistic textures and creating 360 degree panorama images to view online as well as in VR headsets!

You will also have access to free downloadable resources so you can follow along with me in every single tutorial.

This course is for anyone from enthusiasts to professionals, you just need a passion for wanting to learn SketchUp and Vray.

I suggest watching all parts in order as the link from one part to the next!

Parts 3-4 will be out very soon!

To access the content material please download from the following link:

https://bit.ly/2IAiEOU

Meet Your Teacher

Hi there!

My name is Taneesh and I'm an Engineer and online teacher. My goal as an instructor is to provide you with the best tutorials to set you up for success. I ensure every tutorial I ever make is perfect so you can get the most out of it!

Using SketchUp for over 10 years I want to give you all my knowledge in a simple and convenient course.

See full profile

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Transcripts

1. Introduction: Hello and welcome. My name is Tunisia and I'll be your instructor for this course. I'm going to guide you step-by-step to them, one of the most widely used piece of CAD software out there, which is of course SketchUp. This course has been designed for anyone to jump right in. And then everything you need to know without having any prior experience. You'll get a set of simple and easy to follow tutorials to take you from beginner to professional. I found other courses with two basic and didn't offer the right information so that you can reach your full potential. Along with SketchUp, this course has tutorials on how to use the best rendering software, which is v array. This will elevate your designs to a completely new level, impressing anyone you show. We will go over fullname parts. Firstly, how to model in Sketch Up. Next, how to use v array. Then after a section on the best extensions are there. And finally, the main part, which is applying all these skills to build a stunning house. Or you can follow along with the techniques and design your own house. In addition, there'll be free resources available for every single teacher or that requires them, including free reference cards with preset and custom shortcuts. We will also elevate your skills further to create beads, full renders and animations. And on top of that, we will make 360-degree panoramic images, which can be displayed online on a mobile, as well as in VR headsets. What you'll gain from this course is simple. We will go over how easy it is to make these beautifully stunning models without ever having load at SketchUp or V row before. I'm excited for you to join me along this journey and hope to see you soon. 2. Install: Hello and welcome to this first tutorial impulse to where we're going to be looking at v, right? That's like how to quickly install v, right, for SketchUp. So I open a browser and such for v right? Then click on this first link here. Next click in the top right on trai, off, like VRef SketchUp. And now it's going to ask you to login with the OTAs house. If you don't have a tails account and click create account in the top prime. Remember to activate your account through your email before attempting to login heads or the download section, I'm going to click on this first one here, which is update 2.2. for v right next. Okay, so once the software is installed, let's do top SketchUp. We're going to be given bunch of tools so that it starts off by talking. In the next few tutorials will go through all the main options you need to know to be a pro at V, right? 3. Asset Editior: Hello and welcome back to part two of v. Right? Now there are fed view toolbars here for V, right? And it can seem quite overwhelming. However, it isn't as bad as it seems. That style for looking at the main toolbar, which is called V R3 for SketchUp. The fast icon in the toolbar is the assets editor. This is the main part of the extension. You will use it so it's important to familiarize yourself with it. Once you click on a popup should open. By default, when you open up the assets editor for the first time, this is what you'll see. You'll be showing the materials that are within your model. If you have any lights and the environment texture along the top, there are some more options here as well. Fast tab shows materials only. The second tab will show lights only. And then these three would leave for now and get into later or a bit more advanced. Then in the next section we have the settings tab. Here, all the options for when it comes to render time and camera output. For example, we could change our render engine to something other than the CPU. I wouldn't worry about the option to March because it's quite hard to go through them without a c will look at some of the options in upcoming tutorials in this pot. But majority of the options we'll look at when we're building our house. So in the next section we have our render bus. And if we click on this drop down, you can see the render options or render types we have. Starting at the top, we have the non-interactive render or production render. Then we have an interactive render, a Cloud render, and also exposing a v re scene file. And the last option is a frame buffer, which we will get to in our rendering tutorial. Whoever, if you click on it, you'll see another window pop up. This is where I'll render images k2 a pair. If you also look on the right-hand side of the assets at it's a, there's an arrow to expand to phi the window. Here, there are even more options. Feel free to have a look around and familiarize yourself with all the options and roughly where they are. Don't worry about them too much. We will look at them more in depth in upcoming tutorials. Again, in the next song starts like a, everything you need to know about materials. 4. Asset Editor Materials: Hello and welcome back. In this one we're gonna start to look at materials in order to change any material within VA, right? You need to open up the assets at ESA. So the first thing I wanted to mention is, as you may expect, the material section within SketchUp and the material section within V ray sync together. So as an example, if I was to paint one of these faces with a red colour, it should appear within the assets editor. And as you can see, color h five is appeared. Similarly, if I was to make any changes in V, right, it will also be replicated in SketchUp. So as an example, we know we can rename anything by double-clicking. And I'm just going to call this bread, then you can see the name and the material section has also been changed within the VA at it say you can also right-click on any material and there are a few options to play around with. For example, you can select all objects in the scene that half by color. And then it will be highlighted. Then you can go to another texture and apply that to the selection. This is the exact same technique we used when holding Shift down on our bucket to, to change all textures that were the same. These sorts of 12 bus and connects make your workflow a lot quicker. So you can change materials quickly. If we right-click, you can see even more settings such as applying it to a layer. We can rename, as we know, duplicate, save it, which we'll look at soon, deleted and use as a replacement. So what's the benefit of the vi editor? Fastly, If we were to expand the window on the right-hand side, we can see some more settings. All these options on piles of SketchUp and is what will make our scene looks so good when we render, the top image shows more or less how the texture will appear once rendered. So as an example, if I was to expand the reflection tab and change it from black to white. You can see how more reflective it will become. Another great feature is we can apply tension apps will have a look at this in a bit more depth very soon in the next tutorial. But just so you're aware, you can click on these little checkboxes, select bitmap, and we can upload and import our own texture maps. We can do this for the diffuse reflection, color, glossiness, and a few other maps such as bumps and normal maps. Then the other feature with v, right, is it comes with a high-quality built-in materials library. So if we expand the left-hand side, you can see some more options open. The first app called create, allows you to create a custom material which we will look at sued. But if we expand the second option, you can see hundreds of textures available to use for no extra cost. To use any of these materials. You want to select one of them you want and just drag it over into your materials section. And there's a couple of ways of applying it. So firstly, while the bucket tool is active and this is highlighted, we can click on a face, or we can select that face, right-click on the material and applies a selection. Now one thing you notice is that these bricks are very small. It doesn't look like it has the correct scale. You can see the material section. It tells us what size it should be, in this case, one meter. So we need to check has been set up correctly within SketchUp. If we had to the materials tab within the default tray and click on the edit option. While our materials selected, you can see the texture size head. It's currently set to 0.25 meters, which is incorrect to fix it or you need to do is change it to one meter. This is the case for every material that requires a texture size within SketchUp unites all along here. It tells us what size it should be. For example, if I was to drag in one of these concretes, again, it's set to 0.25 meters. So I need to change it to two meters. Or materials that you bring in from v, right? Have a texture size of 0.254 meters. If I'm not mistaken, you are going to need to change it for all of them. It's also worth noting at this point, you don't have to use the texture size. They say, if you think you will seem will look better if it was bigger or smaller than set it to wherever you feel like. For example, on the surface, these bricks are a bit too big. So I could go in and just change it. So i'm going to select it in my assets editor again and maybe drop it down to half meter. Ok, so that covers the basics of materials within SketchUp and V R3. And the next one we'll look at how to create our own material. 5. Asset Editor Creating Materials: Hello and welcome back. Now once introduce you guys into creating your own materials, we can create loads of different types of materials, but we're just going to start off by looking at how to create a generic material, which is what you're going to be using more often than not, first, we need to know the best place to get materials and textures. Here's a list of my favorite places. You can get them from polygon, texture haven, free, PBR, CC 0 textures, SketchUp, texture club, and shared sections. There are quite a few others out there. However, I think that these are the best because they are most realistic. Most of these sites will have free textures, but if you want to get the best textures, you may have to pay a premium. For. Now let's head over to polygon psi carefree texture and see how to implement it. So I'm going to head to a web page and search for polygon. The first thing you're going to need to do is sign up for an account if you don't have one. As i have one, I'm just going to quickly login. Once you've logged in, we're gonna head to textures. Then on the left-hand side, we're going to refine it by free. As you can see, these are older free textures that polygon offer. For this tutorial, we're going to download this marble texture. So click on it and you'll see another pop-up. Now onto the download options. So the first thing you want to set as your resolution in this case, I'm going to sell it to 4K. And then we can look at the maps. Most likely we're going to need all of these maps. So make sure that oscillated and just click Free Download. We'll talk a little bit about what they do in a second. Once downloaded had to your download folder. We're gonna right-click and extracted. Then go into the folder. We're going to go into regular and 4K. Before we go further, let's talk about the maps. So you may be wondering why there are so many different files and what they will do. As mentioned before in V ray, you can apply different maps and essentially what we will do is lay these maps on top of one another. Each map plays a different part. So as an example, we have the main color map or the diffuse map. We have a gloss map which reacts to the light. Then there's also bump and normal map which adds depth such as grooves between bricks or between floorboards. This gives a much more detailed appearance. And then there's also reflection map here which reacts to light. There are other maps available depending on the material, such as a metallic map. Now we know what they do. Let's head back to sketch up, opened the assets editor and create a material. Make sure you're on the materials tab, which is the first tab. Then in the bottom left we're going to click on the icon. Could create asset. Had to materials and select generic before applying any of the materials. Let's double-click here and rename it. Once that's done, we just need to apply the textures. So expand the right hand side and start off with a diffuse map. To apply texture, we're going to click on this little checkbox. Then we're going to select a bitmap and had to that folder location while maps a downloaded. So start off with a color map in this case, and click open. Then we can go back. Go to reflection. For Reflection color again, click on the checkbox, slag bitmap and then just open the reflection map. The same thing for the glossiness map. Click on the checkbox bitmap and select gloss. Finally, Normal or bump map, as this is a normal map that we need to change it from bump to normal. Click on our checkbox and import that again. You'll notice there's two different normal maps here. The only difference is that one of them is a 16-bit map, meaning is got high resolution. If we check the properties by right-clicking on this, you can see it's 2.5 megabytes for the standard one. And then 9.42 for the higher 16 bitmap. As it has a lot more data, it's probably got a lot more detail packed into it. If you can't, I would suggest using the 16-bit version to yield a better quality render. And once that's done, you can apply the material to wherever U1. So while it's still active, I'm going to activate my bucket tool and then click on this face. And you can see the scale isn't quite right, and we've previously looked at this before. To change it, we need to get to the materials tab in the default tray and adjust the texture size. We don't have an exact figure, it should be. So instead, we need to do a bit of trial and error until we get our desired look. So to start off with, I'm going to select one meter. That already looks so much better, and I'm happy with that. Now the final thing I want to mention before we move on to the next topic is the ability to save the material. If this is a material we want to use regularly, instead of having to create a new material and apply maps each time, we can just save it. To do that, right-click, select Save As. And I normally keep it in the same photo weather maps are. So here, I'm going to keep it as white marble and click save. Now what we need to do next time is just import that VR map file. So I'm going to quickly show you how we do that by deleting this temporarily. Then we're gonna click on the second icon at the bottom called import asset file. I'm just load in that VR map. As you can see if we expand the right hand window, all of our maps have already been preloaded. So again, while it's selected, I'm gonna use my bucket tool to apply it to some of these faces. And the only thing we need to adjust again is the texture size. Okay, so that's everything you need to know about creating your own standard material within V Ray. 6. Creating a Material: Hello and welcome back. In this tutorial, I want to go slightly away from V and introduce you to a software called materialize. Originate from the last tutorial will may apply textures within V ray. It allows us to add multiple maps to create some more realistic environment. However, at times you're going to find standard diffuse maps that you once use, but it doesn't have the other maps to essentially make it a 3D texture. What this software allows us to do is import that standard diffuse map and then create the other maps, often based on the image. Let's download it so you can see what I'm talking about. You can either had to bounding box software.com and select materialize. Then at the bottom is the option to download it. Or in the folder for this tutorial, there is already a file path that starts off by extracting. Once extracted and to the folder. And all you need to do is run the application. There's nothing else to install. So once that happens, you gain to be presented with this UI. In the middle is the main palette. This is where we're going to view our material. Along the top you have all the maps and all the settings we can adjust to navigate around the application. Use the scroll wheel to zoom in and out. Press the scroll we'll end to pan around. And finally right-click and hold to obey. So to start off with, we need to find a texture we like. As an example, I'm going to search on Google for seamless brick texture and download the fast one. Just before we continue, I quickly want to talk about seamless textures versus tiled textures. Essentially the white textures are applied is placing one photo next to the other and creating organized rows and columns. As you can see, a seamless texture looks more natural and more flow as the photos are designed to be continuous. However, with some photos such as this, they haven't been optimized to a payer seamless. And you can clearly see the images folder. This is what's known as the tiled effect. Now let's head back to the materialize application. So next we need to import that diffuse map we just downloaded. In the top-left under the diffuse map slot, click on the icon. Located the folder where that file is. And in the middle column you'll see the image there. Just double-click on it to impulse it. As we can see, is now placed on the palate. If we pan around, you can see there is no depth to this texture. To first thing to do is create a height map. So again, in the top left under the height map slot, we're going to click on the button called create. So the pilot is going to be split into two parts. On the left we have our original diffuse map, and on the right is what's our height map is Gensler quite generally the way this works is that the black parts are going to stay down and the lighter pause while the white parts are going to extrude. So if I adjust the contrast hates the max. You can see an extreme. Breaks is black, meaning it's going to stay down and the cement is Y. So that means it's going to pop out. That's not really how brick walls are full and we need it the other way round to fix that we need to do is move the slider to the other side. Now there's even more settings we can adjust. In the top we have some move sliders to find sheared and the height map, as well as some presets. Just play around with them until you get the low-Q achieve. Once you're happy with your height map, click at the bottom onset is height map. Now we need to view how a material looks like. So here we're going to click on show full material. Now if we obey around, you can see some real depth added to our texture. However, this is unrealistic as a extrudes too much. If you're unhappy with it, you can click on the Create button again and adjust some changes. Again. Once you happy click Set is height map. Then click on show full material where you can create as many of these maps as you want as long as the material requires it. For example, on this brick texture and metallic map is just not going to be necessary. But we could apply a normal map if we wanted to. So to do that the same way as the height map. Click on the Create button and then adjust the settings of the map. Once you're happy, click assesses normal map and click on shuffle material. I just any other maps you feel like you need to change. For example, I'm going to come in and with the height map a little bit. Now I want to quickly mention overlap. This links into the texture being seamless. Because we want this image to a pay seamless when they're next to each other, we need to head to the tile map options and make sure it's set up correctly. So let's enter the tile map option, which is two down from the show you fool material. Now there's a few such things we need to adjust him. Firstly proportional as the texture by assessing the x and y size. Then the next thing we want to adjust is the full slider, which is the texture toilet. We want to move out until we can see clear overlap between some of the images. Just over halfway gives a good indication. Once you've done all that, we need to fix the overlap. As this is already a same as texture. There's not too much we need to adjust. If we zoom in here, you can clearly see that the overlap isn't quite right. Just along this line here, you can see that the overlap is not correct. Since the fixed the overlap, we need to adjust the second, third slider. Now it looks much more seamless along that line. There'll be times when you can't get it perfect, but this is good enough. You can also increase this first slider, which is edge full of meaning towards the edge it will fade out and blend the next one as best as possible. In the case of this one, I want my edge to be quite pronounced being a brake texture. So I'm going to leave that as it is, which is fairly low. So once you're happy with your material and older maps, we just need to save the file. We need to do is click on the Options here on Save Project As head to the folder. And we can see, well the maps we've created. So as you can see, we have the original map we downloaded. We have the diffuse map, a height map, and the normal man. All of these we can bring into V, right, and apply it anyway. Lastly, I wanted to mention this M T Z file. This is a materialize file. So say you're not happy with any of these maps any close down the materialize application. What you could do is head to the application and click on Load project. Then select that materialize file and it's going to bring in each map individually. Then like before we can adjust them quoting later how we want an export them again. Okay, so that's how you create your own maps and textures. You can spend quite a long time on this app and create some really good looking textures from standard diffuse maps. 7. Rendering: Hello and welcome back. In this one, I wanted to have a look at the different types of rendering options that are in Viera. I have this model here, and I've also applied some random V rho materials to some of the faces. This way we can see what they look like once rendered. Now there are few types rendering, but we'll be looking at the main two, which is a production render, an interrupt to render. The other option is a cloud window. With this, you can send up to 50 renders at one time to chaos servers, and it will render it a lot quicker all at the same time. How the each render cost money or more specifically, credits. And you have to purchase those credits in order to render something. It's a good option if your freelancing, but I still would recommend saving that money and upgrading or computer specs to render faster or possibly even setting up a render farm. Anyway, let us look at the interactive and non-interactive renders. So you can activate a render from the VA right for SketchUp toolbar next to the icon for the assets editor. So the first option is a non-interactive or production render. Then we have our interactive render that starts off looking at the interactive render. So when you click on the icon is going to open up the frame buffer for us. And now you can see we have a render of the design area and it's interactive. So that means when we move around our design area, the frame buffer will also display wherever we should see. Now the interactive render options have probably not been setup correctly. So let me show you how to adjust them. Starts off by opening up the assets editor and heading to the Settings tab. Here is all the options we need to adjust at the moment they're grayed out because the renderer is on. To stop render, we can either hit this red stop button in the top right of the frame buffer. We could also click it the assets at all. We could click on the toolbar here. Now it stopped. We can adjust all the settings. So let's go through the main options. The first option is the engine. This is what piece of hardware your computer's continues to render. We have the obvious option which is CPU power. Then we have invidious graphics card options, which is CUDA and anti-tax. If you have a dedicated graphics card installed, it will definitely help you with rendering time and various becoming more and more optimized to use GPUs. In particular, the CRT accessories. After engine, we have the interactive and progressive toggle. If we timed interactive on, the progressive toggle will go. The progressive toggle was mainly for production render, so we will look at that a bit later. Next, major interactivities sets a high update effects should be set to at the end. And we need to turn on a de-noise. If you're doing an interactive renders, left the Nvidia ai. And if you're doing a production render, select the V Re D noise or the in-video option will give you a quicker outputs. So it's great for interactive. However, the quality is a bit poorer. Finally, for the options, let's have a look at the render Output tab. The first circle is say frame. If we turn this on and you can see in our design area, we now have ratio bars on the left and right hand side. This is basically the exact variation that is going to be rendered. After that, we have the aspect ratio and the pixel size you want. So standard monitor is probably a 16 by nine widescreen and has a resolution of 1920 by ten ATP. If you're doing an interactive render, I recommend keeping the resolution to around 800 by 450, so it renders quicker. If you are doing production render I tend to keep at an average of four k. So 3840 by 260, or at the lowest Quad HD, which is 2560 by 1441. Other thing I want to quickly mention is that if we keep 4K resolution, that means we can zoom in to times without any loss in quality on attend ATP monitor. Or if you were to render an 8K, you could zoom in four times without any reduction in quality. This is great for production renders because often we want to zoom in to our model. Now the settings are correct. We can rerun our interactive render. Again, you'll see the design area pop up in our frame buffer. And when we move around, it will be simulated in that frame buffer. There are also a couple more features to an interactive render. If we head back to the tool bar and click on this icon, viewport render, it will essentially time our whole SketchUp UI into a frame buffer. It can't be better as you can see him on how avail only still render in 800 by 450 pay. So increased that if you want to see a clearer image. We can also click on this icon in the toolbar, which is viewport render region. Once it slightly to drag over a portion of the screen and only that will become rented. So as you can see when we move around a keeps that region as an interactive renderings. Let's turn all those options off and head back to the frame buffer. We also have render region option within the frame buffer. So if I click on this button here and then drag over a certain portion of my screen. I lead that will be rendered. This can be great if we want to quickly check a render of one thing, or possibly if we wanted to compare changes between two different materials. Now want to look how we can set up for a production render. So I'm going to head to the assets editor and turn off how random. Once it's turned off, we're going to toggle off the interactive render, and we're also going to toggle of progressive. Next, we want to make sure the quality is at a minimum of high. And we also wanna change the denoise it to v raise. Let's next change the resolution to a 4K resolution. And now what you want to do is head back to the sketch up UI and position your camera. Why you want it to be rendered. Once you're happy with the position, just click on Render button and let v right youth work. You can see in the bottom of the frame buffer, it tells you the progress. And also if you click in the bottom right on this icon, you'll get a percentage update. So the current options we have progressive rendering turned off. This means it will do something called a bucket render. Meaning these laser buckets, you can see Mugabe around fully rendering. Each part a goes to. If we stop this render and head back to the assets editor and toggle on progressive. Then restart the Render. You'll notice there's no buckets anymore. Instead it will progressively render from the middle outward and policies like it renders probably a better option, as I found, it provides higher-quality parts of your render quicker. So finally, once you're happy with your render, to save them. To do this at the top of the frame buffer, click on this little disk icon hand. Then simply just save it to a V1. We will look at color correcting these phases later on when we start designing a house. But for now that's everything you need to know about the rendering process. 8. Vray Lights: Hello and welcome back. In this tutorial, I want to introduce you to different types of lights and all the options. So overlie options are here in this toolbar. Could VE rifle lights. Let's go through them one by one and see what they do. So first up we have the rectangle life. Let's click on him. Then you want to draw this how you would draw a normal rectangle in SketchUp. That means the first click will be the corner of the rectangle and the second click would be the opposite corner. Now this arrow symbolizes what direction the light is going in. So in this case is coming towards us. Let's start an interactive render and see what it looks like. As you can see, is simply a light in a rectangular form. The only downside of enjoying rectangular Ly is i econ, input and measurement like we can in Sketch Up. For example, if we were to draw a rectangle in SketchUp, we can enter the length and width into our keyboard. However, you can't adjust in the asset editor later, but there's a better way to still do this. You can also, just as you would any other entity in SketchUp. For example, you could move it, could rotate it. And to change the size I often scalar. In addition to this, there may be other features you want to adjust. For example, the intensity, color, and various other factors. To do this, we need to head to the assets editor. So make sure you are on the second tab here, which is all the lights in our scene. And here you can see our rectangle. We can adjust the intensity from here and the color from hair. Or we could pop open this side panel on the right and have some more settings. Let's go through the options one by one. So firstly, we have the color or texture slop to change the color, just click on it and move it to a. Next is the intensity. You can use a slider or a valley. After we have the units, normally I keep this in scalar or lumens. However, there are other options if you need them. The next bunch of parameters is the shape and size. We could change this to a circle if we wanted, and also the size of it. And finally, in the Parameters section we have directionality. This is simply how concentrated the light is. So if the value is 0, it's going to be more spread out. If you increase it to one, is going to be more concentrated. Like wood materials, any changing nature your light, you can see in the picture above. In the next section, there's a bunch of other options. For example, we can make a two-sided. This means light will come from both sides of the rectangle, not just where the arrow is pointing. One really great feature is being able to make it invisible. This helps nor an interior renders. I have this example on the right-hand side. As you can see, it's quite dark at the back here. And often you'll find when you're doing an interior daylight render, there's not enough light coming into your model from a window source. So what we could do is place that lie here and make it invisible. This will get more light into Model three, the wind type, but at the same time allow you to see the outside environment. Okay, so let's delete that light and have a look at the next one which is fairly light. So again starts off by clicking on it and then you first click is going to be the center of your sphere. The next click will be the radius. Or we could enter a value if we want. Again, like before, we can use all the other tools, such as the move tool could also scale it down if we wanted to. And as you can see is simply just disappear line. We also have the settings in the assets header. Toby can change. There's not as many settings, but still the main ones. For example, we could change the color as well as the intensity of the light. The next one is the spotlight option. So there's a few ways to apply the spotlight into RC. The first option is just to select it and click where you want it. Then we can use the tools within SketchUp to place it will be one. Now we have it where we want. Let's run an interactive render. Is not showing up probably because the incense t isn't high enough. So as unite to change that we need to head into the assets editor. Now the other main settings you probably want to adjust is the cone angle as well as the penumbra angle. So the angle is how wide the soko is here. And the penumbra angle is how much data you want around not light. So the issue doing it this way is that it's quite hard to visualize what is going on and how it's going to look on other objects. So instead, let's try a different way. First thing to do is to delete this and start again. So let's click on the spotlight. And before clicking anywhere else, they're going to hold the Shift key down on our keyboard. Then while it's still, how'd you want to place your spotlight? I'm going to put that in the Santa. So click while you're still holding the Shift key and then release your shift key. Now you can see within the design area, we have a visual guide to see where the spotlight is carrying to go. There are a few clicks to adjust the settings. So the Fast Click is going to be y. You want your mind to shine. Again, we can use reference points. If we one, then the next click is going to be the current angle. So how wide you want it? And the final option is setting the number angle. Again, how much shadow you around July. You can either have it quite tightly focused, well quite dispersed. Once you've done all of that, all that's left to do is head into the assets editor and adjust the intensity and color. If you're still not happy with some of the settings, you can adjust the current angle and Penumbra angle again here. So now the next option is an IES lie. Before we look at it, I want to talk about one IES lie is IE stands for illuminating engineering society. Basically, this is a society that has developed an IGES file which replicates and exact ly. This means you don't need to create all the settings such as the cone angle and Penumbra angle. And lots of manufacturers provide IS files for their lights. So it's great to unrealistic scenario. Hundreds of thousands of IGES files are available on the internet to download for free. All you need to do is just search for them. Let's head to the download folder for this course and gouge the General Folder. In, hey, there's an IES pack. So as you can see, it gives me the IGES file which is here, as well as a PNG. Png shows me what it's going to look like. And all I need to do is import that IS into sketch up. So as an example, I want to import this x arrow lie. Well I need to do is head back to sketch up, click on the IES light button, and locate that file. Then the next thing is to place it where u one. Now let's go back to our interactive render. Again, you'll notice that is a much intensity, so we need to catch the assets editor to increase that. When we try to increase the intensity we con, to fix this, just check this box here, then do a bit of trial and error until you find the right light intensity you're looking for. So as you can see, this is a great way to bring in lights, as I already pre-made, and we don't have to adjust any settings. They also give different styles which we can achieve with the other ones. So the next option is the Omni light. This allows you to simulate lie in all directions from a single point. So you want to click where you want that center of the OmniAuth. This allows you to simulate lie in all directions from that single point. Meaning for example, if you had a ceiling light and you wanted to admit and cast a shadow over certain object such as a chair. You can simulate that using this sludge bringing the Chae from this tutorial folder. Let's go back to our interactive render and also open up the assets editor. First thing to do is increase the Omni light. So as you can see, is now simulated a shadow souls on this. We can adjust this shadow if we want to do this in the settings on the right-hand side, increase this slider. The higher the shutter radius is, the softer the shadow is going to be. And as you can see, when it's lower, the shadows quality shop. So this option you really great to create some more realistic environments within, you'll see. Now the next option is the dotted line. We're going to have a look at this a bit later because it doesn't actually admit to lie. Instead, it creates a 360 degree environment for us. And we can put an HGRI sky folder, but more on that a bit later. So the final type of lie is called a mesh like this allows you to convert any shape in the model to a light, which is cry on a unique shape, because we simply can't apply any of the other lives. So as an example, I'm going to draw a sent into here. Now to use a mesh that we have to make sure whatever we are trying to convey is a group or component. Once it is agreeable component, we have the option to click on combat some Ashland. You'll never win is converted to a mesh light bulbs. Are we bounded in this Dash books? Let's run our interactive render again to see what's happening. As you can see, is simply just converted that whole object into a lie. Again, in the assets had is how we can adjust some changes. We can increase the intensity as well as changing the color. Now the final thing I want to go over is some tips and tricks for using these slides. First thing is you can toggle these lights on and off next to the name. If you click on the little icon, you can see it grayed out. You can also toggle it on hair and the right-hand side at the top right. Next is renaming it like anything with envy, right? You can name it, keep track of it. So I can double click on the name and change it next. So you have loads of spotlights and you're not really sure which one is which, because you forgot to name them. Well, you can do in the assets editor is right-click on the one you want to find and select objects and see. This will highlight the spotlight even looking for, and then you can rename it to avoid any confusion later. Then also a handy tip is you can copy and paste like colors to different ones. For example, if I wanted all of these Spotlight is to have this exact same blue lie. I could right-click on here and select copy. Then I can say Paste. And all of them will be converted to top blue light. Next, we can also assign all of these lights to tax. If we had to the Entity Info, you see we can drop down menu and assign a tank. This is good. For example, if you wanted to have a daylight and my time run the same, instead of constantly having to change your life options, you could just toggle off an on the lights accordingly. The last tip I want to mention is involving components. So I'm going to import one of them for this and also make some copies along this wall. So say I wanted to make just one spotlight for every light. The first thing we could do is draw an a temporary guide. Then I could activate my spotlight while holding shift Guide to the end point and drag up not light. Set my cone angle and semi-pro number and go next. I can just copy that light, so all the other lights. Now if I had to the assets editor, you can see only one spot lie appears. That means we just need to change this lie options and everything else will change. Meaning we don't have to constantly go back to each individual lie and make some adjustments. And even better way to do this is because these are components, we can enter just one of them. So if we enter the component and draw guide and again then draw spotlight holding Shift. Sets are carnassial and our penumbra angle. And as we know, any change we make to one component will adjust all of them. If I zoom out, you can see they've already been put in for me. Again, if I go to the acetate into any one appears so anyone needs to be changed. This is extremely beneficial if you have lights all over the place. Maybe some in the back of the house and some in the front, or possibly along a curved path. If we didn't have as n-component, it would take a long time to copy and paste to each one of these lights. So now that's everything you need to know about V ray lights. As quite a few options here, feel free to go back and look at some of them again. I also encourage you to have a play around with old premises and options to see what they can do. 9. Dome Light & HDRi's: Hello and welcome back. In the last tutorial, we covered all the lights but the dome light. So let's have a look at that. As I mentioned, is used to apply environments to our model. In particular, using Hayes Jewries. Before we look at HDR Ri and apply it to our model, I want to talk about what we can already do with the sunlight options. We went over shadows in the first path, but let's have a look how they work in Viera. First change to a top view so we can look at some shadows. Then expand the shadow is tab in the default tray and make sure it's turned on. If we adjust the annuity shadowy settings, that will all be replicated in our render. Let's run an interactive render and look at the environment to make sure. Let's also look at the sky environment while we have the interactive render running. As you notice, is pretty basic. With just a blue sky. We can't go to the sunlight options in the answer to that data and adjust some more settings. Make sure you're under the light-tight and expand the right window. For example, we can increase the intensity. We can also adjust a few of the things like the type of sky, maybe the horizon offset, and any other changes you want to make. You can preview these all in the interactive render or in this image here. I don't tend to use this option as it doesn't provide a realistic environment. This is where our Hey, she IRI comes in. So to start off with, let's look at some rise and see what they are. Starts off by heading to the HGRI folder, which is under the General Folder. Heads to the PNG section and click on one of these images. If you've ever seen a 360-degree photo in 2D form. This is what it looks like, is are extremely high resolution 3D images that we use to create our environment. If you flick through the images, you can see that we have different times a day, such as dusk, midday, and don't. There are loads free to download from the web. The best site to probably get them is, hey, HDR, I haven. Now we know what they are. We need to know how to apply them. Let's head back to sketch up. So the first thing you want to do is add a dime light anywhere in your model. So heads to the V ray lights toolbar and select down line. Now let's turn back on our interactive render and see what Sanford. Now if we look up, you can see we have a more realistic sky. If we head to the assets editor and goes to that dome light, we can see some more options to change. So firstly, we can toggle on and off that don't lie if we want. Well, maybe we could have multiple deadlines such as dusk and dawn and turn them off accordingly to what seeing we are trying to create. Then also light the sunlight, we have intensity. We can also see on the right-hand panel thus far the settings. The main sensing we are going to want to adjust is the texture salt. So click on this checkbox here. And by default you're going to see the v right HGRI that if we click on this folder icon, we can actually pull one of those files we just looked at. You can't import the PNG, have the HDL file is much high quality. So for this pack, I look at the PNG image and then I import the corresponding HDR. So as an example, I want to import number three. Once you've imported it, go back and we need to change the shape path is currently sets a hemisphere, but this leads to B. We also need to check this box you transform. Now if we look at interactive render, we can see our HGRI hit is very dog, so let's increase our intense detour around 50. And if we were to load the cameras orientation by clicking on this icon in the toolbar. Whenever we move the modal will it keeps the same camera position, but changes we make will shy. So I can head to my diary and move around. This will move the skies position. If this guy doesn't rotate around is because you haven't selected use Transform in the editor. Also these HDR rise Cinco de existing sunlight options in SketchUp. So for example, if you to increase the sunlight will also increase in your model. And any shadow adjustments we make will also be replicated in our model. As you can see, our motto is essentially floating in this HGRI image. This will be fixed when we get to adding on terrain, it will look much more natural. The terrain will cover up most of the possum grass ground and we will just see the sky. Stats everything you need to know on how to use demonize and apply HGRI, images to them. If you want to have a play around with some of the more intricate settings and the assets editor. And also bring in some more HDR files. 10. Proxies: Hello and welcome back. In this one we're going to take a look at proxies. Firstly, I want to talk about why you may need to use a proxy for our project. If you have a large file size and a high polygon is likely to clog up your SketchUp model and make it really statuary. I high polygon, I mean high number of faces used up to make a single component. You tend to find any issues when you open that component on its own. But for example, when you're building a house and you want to have a sofa in there with a high poly count, then maybe a chair and another chair, and finally a big kitchen cooker. It all adds up and SketchUp can become incredibly slow and at times impossible to work with. So as mentioned, you need to look out for two main things. First of all, the size in terms of megabytes, and then the number of faces or polygons to make up that component. One going to do is import the example file for this tutorial suppress. I knew keyboard and head to the tutorial folder. First thing I wanted to point out before even imposing this is the size of the file. It's roughly 20 megabytes, which isn't too bad, but it is still quite high. Generally, my house projects on average around 250 megabytes. So for just one component to be 20 is quite big. Now let's import that into our model. Now it's imported. The main thing we can check is the polygon count. To do this, we want to head to window at the top toolbar, select model info, and then go to statistics. You want to make sure show nested components on. And the figure you want to focus mainly on is faces. This component has an incredible amounts of faces, almost 100 thousand. We can also see these faces by viewing our hidden geometry. If you remember that as a keyboard shortcut Control K. So if we zoom into our model, you can see all of these faces here I used up to make this component. The more faces you have, the more realistic it is going to be. But as you can see, a cons as a compromise because there's almost 100 thousand faces to make it up. I will say more often than not, it's more dependent on the polygon count rather than size. The size does play a big factor. This is because SketchUp con handle sharing this many faces in our model. One other thing I quickly want to mention is if you are importing an object from the 3D warehouse, it tells you the polygon count as well as the size. Just so you're aware of the type of component you are guessing. For example, if I click on this chair, as you can see on the right-hand side, it has a file side of three megabytes and the polygon count is roughly 10 thousand. Okay, so now you know what to look out for. You need to know how a proxy helps. What it does is it reduces the file size greatly and makes a significant reduction in the polygon count. It recalls all of that information when it comes to render time, which is only the time when it really needs it. And it does this by storing the information in another file and then later accessing that information. Now the final steps, creating a proxy, exposing it and also importing it. There are a few ways going about this, however, I'm just going to show you the best and quickest way. So fastly creating. You can only create a proxy form a group or component. This is the components. There's not gonna be any issues have humans make sure you have your v re objects toolbar open and then select your component. Then click on the second icon in the toolbar, which is export proxy. Now you'll be presented with this export proxy settings box. We are going to keep most of these settings the same, but let's go through the main ones. Vastly, I do actually suggest changing the location of the file path. I tend to keep the original file as well as all the proxy files in the same location. Now the original file is called sofa underscore original. So I'm going to call this one so far, underscore proxy. Then click safe. You translate any file path c1 and give it any name, me one. It just makes sure that the name is unique and won't conflict with any other proxy files in SketchUp. This is because when you bring in multiple proxies, if they have the same name, V. Ray can get confused and not know which corrects materials to apply. Next, we're gonna leave the preview type as refined clustering will go over some of the options later. Next is faces in preview. This is just how many faces your proxies gains have. I tend to keep it at the recommended amount, which is 10 thousand. And we also want to check both these boxes. Then finally click export and that VRef get to work. Once they exported, the component will look like this. The last thing to do is save this proxy. So we're gonna right-click on it and click save us. Again. I'm going to call it so far underscore proxy and keep it in that same folder. Finally, to finish off the export process closest file down and don't save anything. At this point, let's head to the proxy folder and see what we got. So we have three files here. Firstly, the original one with no changes to U2. Then we have the SketchUp file, which contains the proxy, and finally the veal match file, which stores all the materials. It's also worth noting at this point that the original file is roughly 20 megabytes, and now the proxy has gone down to 3.5 megabytes, which is significantly smaller. And we also know the faces have gone down from roughly 100 thousand to 10 thousand. Now let's open a new SketchUp file and pretend it's our main project. You have the input of the proxy. The easiest way is to import, like we would any other component. Suppress on your keyboard, heads to the folder and select so far underscore proxy. Now let's run an interactive render and see what comes up. As you can see it just a paces the normal file. This is because Viera has located that VR mesh file and record all the materials. We can also have a local comes up in the asset itself. So in the materials tab, we have the standard materials that would be there in the component normally. But in addition, if we go to the geometry tab, we have our so for proxy. The great thing about proxies that we could have hundreds of these and SketchUp wouldn't be that much slower. I can pretty much guarantee if you tried to do that with the original file SketchUp with either slow down and be completely unresponsive, will most likely it would just crash completely. Ran quickly. All ones mentioned different ways we can view our proxy. So we're gonna head to the asset editor. So the geometry tab, make sure our sofa is selected and expand the Rive window. There's an option here called Preview type. If you expand that, you'll get a fad, a bunch of options. We have the default option, which is proxy preview, which is how it looks now. Then next we have whole mesh. I highly recommend against that as it kind of defeats the point of lowering the amount of polygons in our model. Then we have bounding box, which will literally make the whole thing into a box from edge to edge. And lastly, we have the option called point origin, which we'll put little marks in each corner, as well as adding some lines of whether components starts. So all of these options are only preview types. And what you will see in the SketchUp UI, once you click render it, we'll recall that whole file. No, master the preview type. Okay, then finally before we finish off, if you recall back to the export stage, we can choose a preview type and we selected refind clustering. I just want to show you a quick image of the different types we have. So we have the original file. Next is face skipping. Then we have refined clustering, which is the one we selected. And lastly, vertex clustering. Below each image is the file size. And I left the faces to 10 thousand. As you can see, there's hardly any difference in file size. And I personally think refind clustering looks at best. So I stick to that. Okay, so that covers everything you need to know about proxies. You now know why we use them and how to implement them into your model. 11. Vray Fur: Hello and welcome back. So in this video tutorial, I wanted to have a look at very far. And when it's all about, essentially allows you to create any kind of file or fluffy texture on a group or component. This could maybe be a self grass, a shaggy rug, or maybe a fluffy toy. Let's look how you may use this feature to create some grass. So to start off with less creates assembles to give the grass and more realistic effect. So we're going to draw that then use the smooth tool to make some hills and bankers and finally soften it. Okay, once that's done, make sure it's selected and you have the V ray object toolbar enabled. Then click on the second to last option, which is V Raiffa. You know, and it's been applied because you will get this dashed box surrounded with far icons on Ebola edges. You won't be able to see the far until you render as if it did show SketchUp probably wouldn't be able to deal with it due to the high polychrome. So let's run an interactive render to see what's happening. If we zoom in quite a bit, you can see all these little cone-shaped pieces of geometry, a pair and they look a little bit like grass. Next, less apply grass texture to see what it looks like. Head to the assets editor. Open the left-hand panel and select materials, drop it down and select ground. Next, let's bring in grass texture. Remember to change the texture size in the default tray of SketchUp. In this case, it needs to be 200 centimeters. Fondly apply that material to train. Now chat the renderer again. And as we can see, we have a more realistic Ross effect. It's a bit patchy. So again, we need to change that. To do this has the assets editor and click on the geometry tab. Here, you can see alpha. You can rename if you want. And you can also toggle it on and off by clicking the icon next to it. Next less open right-hand panel and you can see some more settings. Here is every single setting you can adjust with your far to have more grass. In this case, we need to increase the count. That's increased to around three. As you can see an interactive render, we have a much more realistic grass effect. There's also loads and loads of other options we can adjust. We can adjust the length, thickness, taper, which is how thin it becomes the top, and even how bendy is. There's even further options. Blood, for example, you can toggle on level of detail. What this would do is create the most amount of detail at the front where the camera is. Then in the distance, it will slowly decrease the number of strands and make them thicker. So this gives the parents there is grass towards the back. There actually isn't uneconomic to speed up your render time. As you can see, the so many options we can adjust just depending on how we want to create a, For example, if we were to create a cuddly toy, length might be a lot shorter and there wouldn't be as much Band as well as being known fall off at o. I tend to find the best way to make the most realistic far is to have a picture, maybe from Google images of what I'm trying to Cray next to me. And then I just assessing slowly until it matches that picture. Okay. So that's everything you need to know about very far and how you can use it. I encouraged you to have a flick through all these settings and adjust it to see what it can do to your model.