Adding Photographic Touches in Post-production | Photographic Rendering with V-Ray for SketchUp

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Photographic Rendering with V-Ray for SketchUp

By : Brian Bradley

3.3 (13)

Photographic Rendering with V-Ray for SketchUp

3.3 (13)

By: Brian Bradley

Overview of this book

Photographic Rendering with V-Ray for SketchUp

Photographic Rendering with V-Ray for SketchUp

Credits

Credits

About the Author

About the Author

Acknowledgement

Acknowledgement

About the Reviewers

About the Reviewers

www.PacktPub.com

www.PacktPub.com

Preface

Preface

Free Chapter

Diving Straight into Photographic Rendering

Diving Straight into Photographic Rendering

What this chapter is all about

Good composition is the foundation of photographic rendering

Materials that make us believe!

Render settings for final output

Summary

Lighting an Interior Daytime Scene

Lighting an Interior Daytime Scene

Looking at our SketchUp scene

Defining our goals

The lighting workflow

Sunlight is our key light

Skylight is our fill light

Summary

Lighting an Interior Nighttime Scene Using IES Lights

Lighting an Interior Nighttime Scene Using IES Lights

Taking a look at our SketchUp file

Defining our goals

The lighting process

Starting with a blank canvas

Adding some much-needed ambience

Layering up our IES lights

Evaluating the render with all lights enabled

Previsualizing image corrections using V-Ray FrameBuffer

Summary

Lighting an Exterior Daylight Scene

Lighting an Exterior Daylight Scene

Setting up our SketchUp file

Reference and observation

The lighting process

Sunlight is the key

Filling in with skylight

Tweaking exposure

Summary

Understanding the Principles of Light Behavior

Understanding the Principles of Light Behavior

The SketchUp files

Defining our goals

How light behaves

Understanding light decay

Using color temperature

The cause of color bleeding

Summary

Creating Believable Materials

Creating Believable Materials

Getting started with our materials

Using a SketchUp material to create our diffuse floor coloring

Using the V-Ray Standard material

Creating the wall paintings using bitmaps

Art sculpts – import vismat

Your challenge

Summary

Important Materials Theory

Important Materials Theory

Defining our goals

Light and material interaction – why objects in the real world have color

How absorption, reflectance, and transmittance work

The importance of R, G, and B in the digital realm

Light and material interaction – what is reflectivity?

Light and material interaction – the transmittance effects

The importance of energy-conserving materials

What we have accomplished?

Summary

Composition and Cameras

Composition and Cameras

Defining our goals

Deciding the shot type

Aspect ratios

The requisite maximum resolution

How focal length affects composition

Setting up scene views for final shot rendering

Summary

Quality Control

Quality Control

Defining our goals

Fine-tuning scene lighting

Cleaning up our GI solution

Working with the Image sampler controls

Improving our materials

Outputting the final renders

Determining the order of quality control steps

Summary

Adding Photographic Touches in Post-production

Adding Photographic Touches in Post-production

Defining our goals

Setting up After Effects

Importing our footage

Dealing with the lighting hotspots

Boosting the floor reflections

Adding a subtle DOF to shift focus

Adding subtle relighting

Boosting the glass reflections a little

Final color corrections

Adding a subtle vignette effect

Summary

Index

Index

Customer Reviews

3.3 (13)

5 star

30.8%

4 star

15.4%

3 star

15.4%

2 star

30.8%

1 star

7.7%

Dealing with the lighting hotspots

Possibly the first thing we will want to do here is deal with the lighting hotspots that are currently present in our image. We did say that we could have handled this in V-Ray itself by means of its Color mapping controls, which would have essentially clamped all the super bright (any brightness value higher than 1.0) at around the 1.0 mark.

Unfortunately, the color-mapping modes in V-Ray also affect other colors in the rendered image, shifting them around to a greater or lesser extent depending upon the particular mode chosen. Given that fact and taking into account that we can do exactly the same thing here in After Effects both very simply and with a much greater level of control, you will hopefully see why we are using this particular approach.

To do that, let's perform the following steps:

Over in the Effects & Presets panel, type HDR into the search field as shown in the following screenshot:
One of the options that appear in the list below will...

Visually different images

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Tech Concepts

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Programming languages

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