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Improve your V-Ray Textures using these 5 top tips!
We are often asked for guidance on how to improve the quality of V-Ray textures, so we want to give you our 5x top tips which will supercharge your workflow and boost the realism of your work!
1. Never leave the reflection colour as black
Reflections are visible in almost every material – there are very few exceptions to this in the world around us.
Consequently, as CGI artists, we need to represent this within our work and ensure that our materials are always programmed to reflect light.
As you can see, when we have our reflection colour set to black, we do not see any reflections…
Whereas when we set our reflection colour to white, we see really intense reflections.
Note the difference between reflection intensity and reflection glossiness
What good is the intricate Architectural modelling or realistic textures when the quality of the vegetation completely lets down the CGI… we’ve all been there. Read on to find out how to create realistic vegetation using SketchUpand V-Ray workflows.
Throughout our years in the ArchViz industry, this is a common question asked by CGI artists all over the world.
How do I create realistic vegetation using SketchUp?
We must consider what we can do differently to improve both the quality of the 3D vegetation models and also how they are distributed within our scene.
The best way to do this would be to go through the process step-by-step, and show you first-hand how we ‘vegetate’ our scenes!
Initially we must plan out our landscaping. We could do this by using landscaping PDFs or simple annotations (very simple in my case!)
A preference is to then begin resolving larger pieces of vegetation first, moving down to smaller planting with each step.
We held a webinar recently with the guys at Laubwerkwhich ran through the process from start to finish… more on this collaboration later…
Trees
First and foremost, let’s talk about sources. For us, there are two sources which account for most of our realistic vegetation models, the first is provided by our friends at Laubwerk.
Based in Berlin, Germany; Laubwerk offers an expansive library of render-ready 3D vegetation models where the worlds of botany and 3D modelling overlap.
Using the Plant Library Browser, simply select the desired species, and then chose where to place it within the scene!
When in our SKP file, we notice the characteristic green blob – this tells us that this is a render proxy.
Proxies are better to add to our scenes because they contain less geometry than the full model, which keeps our files optimised and generally more operable.
At Archilime, we have used Laubwerk plants to create realistic vegetation using SketchUpfor several years, and for some key reasons:
Each plant has multiple variations. This helps us to reduce the ‘copy-paste’ effect that is visible in some CGIs.
We often asked by our clients to add specific young or older variants of a specific plant/tree into our scene. The Laubwerk plant attribute editor allows us to do this.
Need to change your scene from summer to autumn? Using the season attribute within the Laubwerk interface, this is straightforward and painless!
Download your free Plant Kit from the team at Laubwerk here!
Chaos Cosmos
Another source which we use on a daily basis is Chaos Cosmos which is a powerful new feature of V-Ray 5 for SketchUp.
Simply use the filters and select the vegetation tag to view a large selection of V-Ray-ready plant models provided by creators such as Vizpark, Maxtreeand DesignConnected.
As we are adding larger plants first, we can select the Tree filter to show us the list of available trees that we can add into our scene.
Select a species that you like, and hit the Download button. This will save the file onto your PC, and once this has done so, you can then import this directly into your scene.
Like with the Laubwerk plants, Cosmos plants are also imported as proxies to keep the scenes lighter.
Bushes & Hedges
Now that we have placed our larger plants into the scene, we can do a similar thing for our hedging & bushes.
I’m looking to add some nice box hedges into the planters here, so I’ll use one from the Chaos Cosmos…
After downloading and then importing this into the scene, I can then go about filling the desired planters with this 3D model of vegetation.
This process works great when working with larger plants, however when I want to place smaller variants of a bush en-masse, placing each one manually is not time efficient…
The first step is to add the Host grouped surfaces which will have the plants scattered onto them.
After adding all of our hosts, we can see how they have been added to the list, and some strange red lines appear in the chosen areas…
We can adjust the density of these red lines by modifying the appropriate parameter within the distribution section of the Skatter interface
These red lines are going to be swapped out for the bushes, by adding the bushes as my Scattered objects. In doing so, we then see the red lines change to red boxes, which now represent our bushes!
As we can see, these are still in a grid pattern as the boxes are aligned to the axis…
To remedy this, we head down into the Random Transformation section and turn on the Rotate option.
After hitting the big, red Regenerate button at the top, this will then confirm the Skatter setup for us.
A great thing about Skatter, is that we have the option to edit pre-existing setups, and we can do so by right clicking on the new Skatter group, and go to Edit Skatter Group.
It is possible to adjust where the vegetation has been scattered – we do this by adding a Clipping area as shown.
We then paint onto our model where we would like the scattered plants to appear by adding a paint area, and unticking use surface boundaries as include area.
As we paint our model, with Live Preview turned on we can see how our plants appear where we have painted… a very satisfying process!
This is useful when working to specific views – we can very easily control where we need to see vegetation in accordance with the chosen camera angles within our scene.
For grass lawns, we use two different approaches…
V-Ray Fur
At the drafting stage, we recommend using V-Ray Fur.
This is a feature which comes with V-Ray 5 for SKP, and allows you to grow strands of fur from grouped surfaces.
We have lots of control over the density, length, thickness, taper and bend of this grass, so it is perfect for the early stages of a project.
A great feature of V-Ray Fur is that each strand takes on the material of the image painted onto the grouped surface – a technique which allow us to simulate mown grass effects.
Grass is easy with V-Ray Fur – simply adjust the attributes and run an interactive render to test!
Skatter grass
For the final image stage, we recommend using Skatter grass for a realistic result.
Let’s now open up the Skatter Library, and pick one of the cut grass options.
We are asked whether we want to import the full geometry or the proxies – we will opt for the latter to keep our SKP file lighter and more optimised!
Once we hit the Load button, the same Skatter window that we saw previously pops up.
As you would expect, this is the point where we would select the lawn areas as our grouped surface which we want to be the base for our grass. Once done, we then hit the Regenerate button!
We can adjust the Distribution settings in exactly the same way as before to make the patches of grass appear clumped closer together or more sparsely distributed.
Again, we want to ‘paint on’ where our grass will appear by using the Clipping Areas section of the Skatter window, as this enables us to remove excess plants that are not visible!
Finishing Touches
I highly recommend going away and looking through the Laubwerk, Chaos Cosmos and Skatter libraries to find other objects which we can skatter within our scene…
I’ve added some more planting from Laubwerk alongside some boulders and daisies from the Skatter library.
Hey presto – here is our finished scene!
What’s next?
We offer one-to-one training over Zoom which teaches the concepts discussed here. These bespoke sessions are tailored to suit your needs and target specific areas of your workflow that you want to improve. Lots of our delegates like to book these short sessions to receive support from us on their live projects, giving you the confidence to increase the quality of your offering to your clients knowing that you have us alongside you to help you every step of the way.
For those of you that want to step up your rendering skills, take a look at our Access into V-Ray for SketchUp courses. This 3-day course, run at the end of each month, covers the basics of material generation, how to light your scenes using our unique lighting approach and covers render management skills to get you comfortable creating CGIs of consistently high quality.
As I said; we love hosting free webinars and having that open discussion with our community. Sign up to find out how to book your seat on the next one!
Have you ever wondered how to create a photomontage, completely from scratch?
Going from this…
… to this
Well – we’ve got you covered. Here’s how it is done.
Firstly, what is a photomontage?
A photomontage is a mix of two different media. A computer generated image (CGI) is overlaid onto a photograph to show a new design superimposed into its existing surroundings.
Whilst traditional CGI allows us to model the surrounding environment; photomontages offer us the opportunity to view the real-life surroundings as captured through the lens of a camera, which is often required when trying to win planning permission.
What is the recipe for a successful photomontage?
In it’s purest sense, we can break down how to create a photomontage into four fundamental steps…
Step 1: The photograph.
The photograph that we are to use for the photomontage can be considered as our ‘base’. All subsequent work depends on the initial photograph that we would like to stitch our CGI onto.
As a result, we need to ensure that it ticks all of the boxes before we progress…
The industry standard for photographing Architectural forms dictates that all of the verticals must look vertical within the image – ensure that the camera is not tilted up or down!
Consider the lighting conditions, as this is something that we will aim to copy within our CGI. Clear blue skies or a flat, overcast day – the choice is completely up to you.
The resolution of the photograph is important. We want the highest quality possible – we like our photographs to be 5000 pixels along their longest edge.
In terms of the composition, we need to remember that we will be overlaying a CGI on top of our photograph, which means that we need to ensure that we leave space within the frame to do so!
To maximise the quality of our final product, ensure that we can save out our photographs in RAW format.
Step 2: The SketchUp model.
Now for the fun part… let’s get modeling using SketchUp!
Once we have ourselves a detailed model, we need to roughly match the SketchUp camera angle to that of the photograph.
This is the perfect time to think ahead to our CGI and try to match the resolution to our photograph (remember to ensure that safe frame is ticked!)
A key part of this process is ensuring that we match the Field of View (FOV) – this is akin to ensuring that we make sure that we use the same lens within SketchUp that we did for the photograph in real life.
Within the metadata of our photo, it often tells us the focal length of the lens that captured the shot…
Within SKP, we then head up to View and then choose Field of View…
Here we type in our FOV value in mm, followed by enter – note how the camera within SKP changes.
The next step is to reposition the camera to match the photo. We do this by adding our photo as a watermark within the Styles panel of the tray as shown.
This image overlay acts as a guide as we adjust the camera so that our model sits perfectly within the photo! Hit ‘Add Scene’ to save this angle!
Step 3: The CGI
We now have a SketchUp model which is aligned to our photograph – let’s prepare our CGI using V-Ray…
The first step is to develop our materials within V-Ray so that they look realistic. If you are new to this, check out our blog on creating realistic textures.
Matching the lighting in the CGI to the photograph is important, so we need to ask ourselves the question…
Are we going to use the V-Ray Sun or opt for a Dome light?
Our recommendation would be to use the V-Ray sun if your photo was taken on a sunny day.
Whilst interactive rendering, we can move the position of the sun manually as shown below to match the shadows seen in the photograph.
This technique allows for a great degree of control, enabling you to truly match the lighting conditions as you see fit!
If your photograph was taken on a day with no direct sunlight – we recommend using a dome light.
Typical examples of this would be for cloudy days, photos taken at dawn, dusk or even at night.
Check out our blog on dome lights which explains how we go about adding these into our scene.
Pay attention to try and find an HDRI that matches the lighting conditions in your photograph!
Final render
Before pushing the button on the final render, ensure that we tweak our exposure to roughly match that of the photograph (we can refine this later).
For more info on how to improve the quality of your lighting within your CGIs, check out our blog on the topic here.
Step 4: Marrying the CGI with the photograph
Now that we have the raw materials, let’s bring these into our image editing software – we highly recommend Adobe Photoshop.
Overlay the CGI on top of the photograph.
Add a vector mask, and begin removing sections of the CGI which we do not need
It is possible to use other render elements to help with this masking process – we coach artists on this topic on our tailored Top-Up courses.
At this stage, we also look to match the tones of the materials within our CGI to those seen in the photograph.
Et voila!
We hope that you have enjoyed reading about our process to create the perfect photomontage, from start to finish!
Keep an eye out for next month’s blog on how to scatter realistic vegetation in our scenes!
Well, grab a brew and open up V-Ray – we want to show you how to create realistic textures using some common examples to help improve your texturing game within the V-Rayfor SketchUp Proworkflow!
Basic Principles
Textures (see also; materials) are painted onto faces within your 3D modelling software, and these can be flat colours or image-based.
The process within SketchUp to import images to use as textures
In our first example, we are going to begin developing a wood floor texture – and so we need to find an appropriate image to use here.
We recommend Poliigon or Extreme Textures if you are looking for high-resolution images to use as materials, whilst SketchUp Texture Club is another source with an extensive library.
In this example, we are importing Extreme Texture’s Antique Oak into SketchUp as a Texture, which will allow us to paint this onto a face.
How to import images to use as textures within SketchUp
Now is a great time to check the scale – within the Materials panel of the tray; use the global size settings to ensure that our boards are scaled appropriately. To help me do this, I like to draw a guideline that equals the desired width of the board, so that I have something to reference.
Using a guide line for reference, we resize the texture globally using the material panel within the tray.
Here we can see how important it is for our material to be seamless. There is a vast collection of seamless materials available from the sources mentioned above!
We now have a high-quality, seamless texture applied to our model which is the correct scale.
Virtual textures can be broken down into three maps.
As covered on our Access into V-Ray for SketchUp courses; most solid materials can be divided up into three maps; diffuse, reflections and roughness.
The diffuse texture is what we see within our SKP model. This can be considered our ‘base’ texture and defines predominantly what the material looks like without lighting or roughness effects applied.
A diffuse map defines what our texture looks like. Texture map courtesy of Extreme Textures
If light bounces off an object and is not absorbed, then one sees a reflection. V-Ray has the ability to control the intensity and glossiness of reflections of materials within the scene by using reflection or specular (see also; spec) maps. For example, areas on a texture where one would see a glossy finish would show up as white on a spec map, whilst matt areas appear darker.
A specular map dictates where on the material we will see glossy or matte reflections. Texture map courtesy of Extreme Textures
Not all materials are as flat as a mirror; for this, we use a bump or normals map. Areas on a bump map that are darker are shown as depressions on the surface of the material when rendered, whilst the opposite occurs for lighter areas. Be careful with the intensity of bump or normal values – anything above 1 is normally not required.
A bump map is used to give the texture some 3D depth. Texture map courtesy of Extreme Textures
Adding Complexity
Hold on… how does glass work?
Refraction colour dictates how much light ‘refracts’ through a material.
As we can see, the lighter we make the refraction colour, the more ‘glass-like’ our material becomes.
We can deduce that the setting to use that controls the transparent properties of glass is called refraction. Like with the reflection glossiness, we also have the opportunity to create frosted glass by adjusting the refraction glossiness value!
Refraction glossiness enables us to define shapes on the other side of the material.
What about fabrics?
Depending on the qualities of the fabric in question, we would advise taking a look through the preset textures within V-Ray…
V-Ray offers plenty of preset fabric textures
Once a similar fabric has been chosen, you can edit the colour and tones of the diffuse, by right-clicking on the bitmap slot within the Diffuse, and wrapping it in a Colour Correction. Here you will be able to modify the hue, saturation, brightness and contrast, to your liking.
Textures can be re-coloured by wrapping the diffuse in a Colour Correction adjustment.
Fabric textures now benefit from a new feature in V-Ray 5 for SketchUp where you can add a translucent layer for extra realism.
V-Ray 5 for SketchUp now offers the opportunity to add a coat to materials for added realism.
What if my texture seems to emit light?
One can add emissive layers to all materials within V-Ray as shown…
Emissive layers can be added to most materials
You can also copy your Diffuse into your Emissive bitmap slot…
Diffuse maps can be added into the emissive texture slots
Now that you know how to create realistic textures; Wrapping is a term we give to the application of a material to multiple faces within our model – much like the wrapping of a present with wrapping paper. We cover this in great detail on our Access into V-Ray for SketchUp courses.
Learning how to improve the lighting in your CGI is not rocket science, but there are techniques that we use. By understanding a few key lighting concepts I want to illuminate you and show you how to better your CGI, but before we do; let’s talk about why the sky is blue…
Let there be light.
Under intense and unimaginable pressure, hydrogen atoms are forced together in a huge release of electromagnetic energy, of which visible light makes up a small portion of this energy.
This is the beginning of the journey of a single photon from the centre of the burning ball of gas that we call our sun until it reaches our eyes.
Light is formed as a by-product of nuclear fusion
After its tumultuous birth, our photon then takes, on average, 6 minutes to leave the surface of the sun and fly across the vast, 150 million kilometers of hard vacuum until it reaches our atmosphere.
Light then scatters through the atmosphere, turning the sky blue during the day and redder at dawn and dusk.
As our photon passes through the big air bubble that surrounds the earth, it bounces off and passes through nitrogen atoms which make up nearly 80% of our atmosphere.
Our photon is a package that contains all of the colours of the rainbow – it just so happens that light on the bluer end of this spectrum scatters through nitrogen most effectively… which is why the sky is blue.
On a physiological level, we have evolved not only to love light but to need it.
Light is the key component that enables us to see, gives us security, and stabilises our circadian rhythms which helps us to sleep deeper and more restoratively.
It improves our moods, decreases depression, and even increases cognitive performance such as reaction time and activation.
On a fundamental level, we have an innate and primal relationship with light that can be traced all the way back to the roots of our shared evolutionary tree.
“I sense Light as the giver of all presences, and material as spent Light. What is made by Light casts a shadow, and the shadow belongs to Light.” Louis Kahn, American Institute of Architects Gold-medal winning Architect
Louis Kahn’s National Assembly in Dhaka, Bangladesh
Lighting in CGI.
Modern render engines and most real-time game engines calculate lighting in a way that aims to emulate reality.
By definition, rays are traced (note: ray-tracing), from light sources as they then travel through 3D space and bounce off or scatter through surfaces.
Ray tracing software determines the number of times that a ray can bounce off or through a surface – the bigger the number of bounces, the harder the PC has to work, but generally the more realistic the result.
As experienced and industry-leading producers of CGIs, we wholeheartedly recommend V-Ray as our ray-tracing program of choice.
We use this in conjunction with SketchUp and have done so for nearly a decade now.
Feel free to take a look at what our CGI production team is getting up to using this software combo!
These lights have to come from somewhere though, right?
Whether it is the sun, a light bulb, or a candle; it is the job of the 3D artist to add these light sources to the 3D space and program them to emit light realistically.
A rendered preview from PG-Skies.com of a scene lit by a dusk HDRI.
Check out our article on how to use Dome Lights to create night-time CGIs.
As humans, we respond differently to different environs and lighting plays a big part of that. Anything that we see has a direct link to the subconscious, and this is what CGI artists tap into when working with lighting in a visualisation.
How do I put this into practice?
If you have read this far, you already understand the power of lighting within a CGI.
We need a structured workflow to better enable us to generate realistic and emotive lighting setups within our work…
Day two of this three-day course is dedicated purely to lighting.
We explore what light sources that we have available to us, and how we go about adding these into a scene.
We then explore the concept of ‘Three-Point Lighting’, which gives us a fail-safe method of programming the lights within our scenes to work together in a photorealistic way.
If you already have a good foundation, and simply want to improve the lighting in your CGI, look into our Top-Up courses – the premise is simple:
You pick what you would like to learn
A bespoke, coaching session will be designed by us and then pitched to you before you commit to anything
Once you are completely happy with the custom learning material on offer, this is when we schedule a coaching session – we book these out in half-day blocks, to ensure that you have ample time for study and information retention.
The session is held online and is screen recorded – which means you can watch it back when practicing on your own.
Upon completion of the course, we extend a helping hand by offering an after-care period of 30-days, whereby as you take this knowledge into professional practice; you can come to us with any questions that you may have.
All of our courses, now taught online, aim to give you the tools to consistently advance your visualisation skills and improve the lighting in your CGI.
When extrapolated for the full working day; the everyday SketchUp user may spend upwards of 10 minutes simply searching for the correct tool to use.
Introducing Hotkeys.
Also known as shortcuts, hotkeys are a defined as:
A key (or combination of keys) which give you quick and immediate access to a particular function within SketchUp.
The particular function that the definition above refers to would be different for each SketchUp user – meaning that we need a way to manually assign certain shortcuts to assist us with very specific tasks.
Head over to your preferences window, and click on the shortcuts tab.
Simply search for the tool that you use frequently, and tap the key (or series of keys) that you would like to assign to activate the function.
A simple concept – but within a week, we guarantee that this will make you feel more fluent within SketchUp.
If you would like to hear about other ways that you can feel more fluent within SketchUp, why not try our Access into SketchUp course?
2. Components
The second of our 5 time saving techniques for SketchUp or Vray is, in our opinion, components are THE best way of advancing the quality of your 3D scenes in the most time-effective manner possible.
How do they work?
Right-click on one of your groups within your scene, and ‘Make Component’
This simple process now gives this entity new editing properties. When you make copies of this component, you will notice now, that editing one of them enables all of the others to be edited simultaneously!
The sky really is the limit when it comes to the applications that this offers us.
How do we use them?
Vegetation.
Make loads of copies of a piece of vegetation; randomising the rotation and scale as you go…
Here, we’ve used something called a V-Ray Proxy – which explains why our ‘vegetation’ looks like a box! When rendered, this box in-fact looks like a small patch of meadow grasses.
As you can see, the same principle still applies – an edit made to one of these affects each and every other instance!
We cover components in great detail on our Access into SketchUp courses, which tend to run at the end of every month. Click on the link to find out more!
3. Parametric Modelling
Wouldn’t it be great if there was a way where, as if by magic, you could pre-program a set of rules into an intelligent program, which could generate a whole host of different modelling elements, with minimal input from the user?
Well, I’m very glad that you asked…
Rather than manually modelling, duplicating and generating profiles and components, take a look at parametric modelling plugins such as Skatter and Profile Builder.
When it comes to creating realistic vegetation, Skatter is the sharpest tool of the lot.
As the name suggests, this intuitive plugin allows you to scatter vegetation components around your model, allowing you to randomise the distribution in ways hitherto impossible using SketchUp’s native toolset.
As the name suggests, this intuitive plugin allows you to scatter vegetation components around your model, allowing you to randomise the distribution in ways hitherto impossible using SketchUp’s native toolset.
We have been using this plugin for years, and it truly is the cornerstone of our landscaping workflow, which enables us to apply and produce complex and detailed landscaped imagery.
Building complex, parametric models is achieved through Profile Builder 3‘s intuitive interface, which gives you the power to construct detailed and future-proof assemblies with labour-saving in-mind.
Download preset assemblies or create your own – we really do vouch for the efficiency of this powerful SketchUp extension!
We are often asked for bespoke training in these plugins – take a look into our Top-Up courses if you would like to know more.
4. Test Rendering
If you have done some rendering in the past, you will be well aware that this is not instantaneous… unfortunately.
That said, there are certain techniques that you can use to speed up this rendering process, depending on the quality of the output that you require.
When ultra-high quality is not necessary for the early stages of a project, using a Denoiser in conjunction with a low-quality draft enables you to understand the design without waiting a long time for the render to finish.
After running a few tests of our own – adding a Denoiser to lower quality drafts buys you time to spend elsewhere.
Another pro-tip is to use region renders whenever possible – as the name suggests, this allows you to test-render only a small portion of the overall image.
The same principle applies when interactive rendering when using the ‘follow-mouse’ technique. After pressing the icon highlighted below, the render engine will focus its attention on the position of your cursor – another very useful technique if you need a quick solution.
We cover rendering techniques in great detail on our Access into V-Raycourses, held in the middle of every month – check out the link to find out more!
5. Distributed Rendering
This time for V-Ray not Sketchup, one of our 5 time saving techniques Many hands make light work.
Imagine being able to harness all of the computing power of your office or home, enabling you to ‘borrow’ computing power from all the machines within your local area network…
Introducing the V-Ray Swarm.
Intelligent render engines like V-Ray allow the user to break-up and ‘distribute’ the rendering workload across many machines.
Depending on the number of cores within your CPU (the brain of your computer), you will have varying amounts of buckets (which are the small squares that can be seen above).
When you add another machine to your V-Ray Swarm, you will notice that the number of buckets increases – which means that your render will finish much faster!
Let’s have a look at a real-world application for this…
Whenever anyone purchases a new V-Ray license, you automatically receive a free V-Ray Render Node accompaniment.
Imagine that we have two machines in the office, one that we will work on, and the other that will act as our render node.
We then install V-Ray on both the primary machine, and also the render node.
Once we are ready to render, we then turn on the V-Ray Swarm at the bottom of our Asset Editor, and then go to add a new node. You reserve the right to name your nodes anything you like – if you are cool like us, you can also name all of our machines after characters within the Marvel cinematic universe!
We truly believe that these time-saving techniques are useful to anybody, regardless of your level of SketchUp and V-Ray – which is why we cover all of the above on our Access into SketchUp and Access into V-Ray for SketchUp courses – head over to our shop to find out more!
All of our courses are now held online, and we truly believe that the quality of the course is only improved by being able to attend within the comfort of your own home or office.
V-Ray 5 for SketchUp is here! Join us for a free two-part masterclass to learn the latest features and how they can supercharge your workflow. Ivan Kozaliev, V-Ray CG specialist at Chaos Group, and Dan Stone, Head of Operations at Archilime, will take the digital stage to showcase the new features and their specialist tips and tricks. You’ll also have a chance to ask any questions after the session. See you there!
For every attendee (one in each session!) there will be the chance to win a free V-Ray License from Elmtec along with a free 4 hour online top-up course from Archiime Academy!
Until then, why not take a sneak peak into the video from Archilime, in partnership with Chaos Group where Dan shares how these features enhance workflow in the studio.
Schedule
5 mins: Welcome and introduction from Elmtec’s Marketing Manager and MC extraordinaire – Lauren Donnebaum
40 mins: Ivan Kozaliev, V-Ray CG specialist at Chaos Group, masterclass showing you the new features he loves (exteriors on Thursday, interiors on Friday)
25 mins: Archilime’s V-ray Licensed trainer Dan Stone, showing you the new features he loves (exteriors on Thursday, interiors on Friday)
15 mins: Open forum – your chance for your questions answered from the experts
5 mins: Close – Announcing winner (one each session!) of a free V-Ray License from Elmtec along with a free 4 hour online top-up course from Archiime Academy
Earlier this year, as a result of the pandemic, many companies had to make the bold leap of faith from face-to-face training to online lessons. Quite a terrifying concept for some, especially for those whose in-person training sessions were already a huge success – why would anyone want to change this for something that seemed less personal and more disconnected? And, some people asked, what even is Zoom?
Fast forward a few months, and companies and delegates have realised the amazing benefits of online learning. In many areas, the balance has been tipped, with online lessons coming out as having advantages that can outweigh face-to-face training. However, not all training providers are as good as each other, and you should choose wisely. Look for a high quality training academy that will offer the best teaching from industry experts who will take you on a learning journey to further your skills; and offer you support over the years ahead. Find an academy led by teachers who are specialists in a specific field, rather than a generic training provider; and you’ll be in good hands.
What Should I Expect from my Training Academy?
For your experience to be relevant and worthwhile to you personally, your pre-course care should not be overlooked. This involves having contact with delegates in advance of the online course, to chat through your needs to ensure a more targeted and tailored course. Neither you nor your tutor should simply rock up, without finding out, in advance, what your current skill set is, and what you would like to get out of the course. Building up a bit of a rapport before the online learning session begins, ensures that you feel more at ease at the start of the course, and makes it easier for your tutor, too!
So, you’re all set up, laptop on, poised and ready for the Zoom session to begin: this situation is easier for some than others. You might well already be a tech whizz, or your buzzing social life might mean that you have virtually clinked a few glasses of prosecco over the lockdown period with friends during Saturday nights in. For others, this may not be an experience that feels so comfortable, and this is where delegates often feel the benefits of that pre-course introduction. You also have to remember that 2020 has got a whole generation of Grannies on the Zoom software – enough said.
Zoom’s Sophisticated Software
Using Zoom for training purposes is very different to using it to toast your cousin’s birthday at a weekend virtual gathering. Used to its full capacity, it is a very efficient, smart and sophisticated piece of software thanks to its many interactive capabilities. Being able to annotate everyone’s screens actually puts training via Zoom a step ahead of face-to-face courses where the tutor potentially needs to go round the room attending to individual delegates; possibly holding up the natural flow of the course. WithZoom, screens can be shared, regularly rotating throughout each of the delegates during the course; meaning that everyone can see what everyone else is doing. This sharing experience can also build a sense of camaraderie equivalent to in-person courses.
The ability to have easy, group interaction is a feature of Zoom that should not be underestimated, as it can bring a much needed sense of community at a time when currently many are working from home and feeling quite isolated. This way of upskilling in a social setting also offers a renewed sense of optimism and empowerment for those who can’t get to face-to-face training at this time, yet want to improve their skills and future job prospects.
Networking opportunities might be an added bonus too – as often happens when a like-minded group of people come together. Furthermore, online learning has logistical and monetary advantages, as it fits in well around tighter timescales and finances: no travel or overnight accommodation needed here.
Once the course is over, that shouldn’t mean the end of the support – personalised help and post-course support should be readily available. The online lessons can, and should, be screen recorded. Your training provider can then hand this to delegates (preferably free of charge), with other useful course materials. This post-course care is just as important, if not more so, as the pre-course involvement.
Do your Research
When choosing a course, look at both the quality of the course and tutors, as well as the after-care provision. Full support through video calling, emailing and phone should be offered, and delegates should be encouraged to utilise this service. Hopefully, this will then ward off the dreaded ‘forgetting curve’! The forgetting curve suggests the decline of memory retention in time; a graph showing that humans tend to halve their memory of newly learned knowledge in a matter of days or weeks unless they consciously review the learned material. Now, there’s no point shelling out money on a course to simply forget half of all those gems of wisdom a couple of weeks later! Therefore, these post-course materials and support are a huge benefit to your online-learning experience.
Finally, make sure you check out the reviews of any course before signing up. You should be trained by experienced, industry experts who are passionate about what they do. Find the right training academy for you, and you’ll be zooming to online learning success in no time!
To find out about the Archilime Academy and our range of courses, including SketchUp and V-Ray for SketchUp Pro, do get in touch – we’d love to hear from you! Call us on: 01364 654 267 or email: academy@archilime.com
Modelling from CAD within SketchUp – where do I start?
If you are modelling within SketchUp, you will need to know how to import and align CAD drawings. Whether your own or somebody else’s; well-aligned CAD drawings are the literal foundations upon which you build your SketchUp models.
Let us explore how to align CAD in the most efficient way possible. To clarify; the plan is for us to import CAD before tracing over it to create our 3D model. Let’s get started!
Importing…
When initially importing a CAD file (in .dwg format), it normally enters the SketchUp workspace as a completely flat group.
Next step; organisation
Organisation…
Something else that you will notice is that all of the CAD layers are visible as tags within SketchUp. We don’t need all of these so we can compress these tags down into one which we’ll rename CAD. I would now recommend creating a tag to be used for the massing of our 3D model.
When importing CAD into SKP, layers are preserved
We also need to ensure that each floor plan and elevation is grouped separately.
Grouping geometry protects it from being warped when manipulating later.
Reposition…
Now that we have organised our drawing, let’s begin positioning the plans and elevations. Take the ground floor and move it over to the origin as shown (also remember to align right angles on the plan with the red and green axis as you can see here)
Moving the GF Plan to the origin is a great way to ensure that you are modeling using the red and green guides (or axes)
The next step is to align the elevations around the ground floor plan. Pay special attention to things like window and door openings, because we use these features to resolve whether or not we need to flip our elevations.
Move and rotate your elevations to ensure that they are aligned with your plans. Remember to cross-reference to ensure correct alignment!
We can now stand up our elevations by using the rotate tool. A tip from us is to use the direction buttons on your keyboard once the rotate tool is active, as this will better enable you to lock the orientation of your rotation!
It is best to use the rotate tool to ensure that all elevations are stood up in preparation for modelling later.
Now simply place your first-floor plan over the top of your ground floor plan and lift up to the correct height as shown on the elevations. Repeat this step for each additional floor.
And hey presto you have now successfully aligned your CAD drawings!
Dome lights: how do I use them to create a night time CGI?
You may not know it yet, but a dome light is the answer to creating ever-more realistic lighting setups within your CGIs…
Let’s break it down…
In a day-time scene, we have direct sunlight to illuminate our scenes. Direct light also scatters through the atmosphere and illuminates our environment.
HDRIs from PG-Skies.net. is a great way to illuminate your night scenes.
V-Ray considers both direct and indirect illumination as two separate light sources.
To create a night-time scene, we require a technique to remove direct sunlight, whilst being able to create a night-time environment.
To do this, we use something called a Dome Light
A flattened, spherical HDRI from PG-Skies
A Dome light is a type of V-Ray light that surrounds our entire model, forcing light inwards. Images can be loaded into these light sources, which enables the user to simulate real-world environments by using panoramic HDR images.
I like to think of a Dome Light as a giant snow globe – with our model in the centre. We can choose what the sky looks like by swapping in different panoramic images.
Now that we know what dome lights are; what does this mean for you?
Select the highlighted tool to add a Dome light into your scene. Putting this into practice is straightforward. Pick out the Dome light tool from your V-Ray toolbar…
Click on the chequered box to import your HDRI…
Load in your HDRI…
Rotate to ensure that your shadows are pointing in the correct direction!
Hit render! Don’t forget to rotate your dome light to adjust the position of the sun
Over the years we have come across many different sources for dome lights…
We would like to recommend just two…
PG-Skies provide rendered previews so that you know what the sky will look like once rendered.
For variety, we highly recommend taking a look at Poliigon. Besides offering free assets; they operate a simple, subscription-type service where, depending on your package, you obtain different amounts of credits every month to spend on HDRIs, textures or models
If you are looking for top-quality HDRIs, look no further than Peter Guthrie’s shop – PG Skies. This in-depth collection of ultra high-quality HDRIs contains skies for all occasions. The handy preview renders show each of these in action, to make picking out your favourite that much easier!
