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Lighting a scene realistically is one of the most challenging aspects ofproducing photorealistic renderings.

The following article/tutorial will focus mainly in easy techniques tohelp users achieve acceptable results, even when working onrelatively bare/simple scenes.

One of the preliminary steps often taken to light up a scenerealistically, is to create a clear definition between dark and brightareas: Depth.

To achieve this, simply ensure that, theres enough distance betweeneach light in the scene.Also, test render the effect of each light created, especially when akey parameter is changed.

Photorealistic rendering:mental ray Its common practice tocreate photometric Target lights in the Left or Front viewport to setits directional point (e.g. downwards).

Once the first light had been created, go to the Modify commandpanel and set its shadow type to Ray Traced Shadows, to enablemental ray to trace shadows more accurately.Also, the distribution type is often set to photometric web, followedby locating and choosing the appropriate IES web file.

Once the light is created, one should remember to disable theTargeted function. This action will later prove crucial when copying/instancing lights across the scene.

JAM IE CARDOSO

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artist/technologist/Author/Reviewer, whose firstrate experience wasgained designing and producing worksince 1996 for a wide range of clientsworldwide. Adept at working with awide variety of people affectivelyand goodhumouredly in sometimeshighly demanding situations. Skilledat evaluating and resolving problemscreatively. Much of my work andcontributions had been featured inbooks and magazines such as the 3DWorld Magazine,3D Total,CG Society;to name but a few. I am also the coauthor of two successful booksentitled: Realistic ArchitecturalVisualization with 3ds Max andmental ray. Finally, I regularly sharemy knowledge with users byconstantly updating my [email protected]

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While it may take slightly longer to render, soft shadows arecommonly used to make the renders look more realistic. To createsoft shadows simply scroll down to the Shape/Area shadows rolloutparameters and change the Emit light from (shape) to Disc type.Its Radius controls the shadows softness: Sharp shadows= low values;Soft shadows= high values.

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by 2000 pixels (in width) to eachside using the Overscan scriptExtending the camera ...



To control its intensity, simply open the Intensity/Color/Attenuationrollout, and pan down to Dimming group, followed by enabling theResulting Intensity and increasing its value.

Test render each value tweaked to achieve the desired result.

To quickly test render, one can simply use a white override material(with its reflectivity set to 0.0) for the sole purpose of creating thecorrect amount of depth in scene (e.g. dark and bright areas of thescene).To use any specific IES light, one can choose from any of the predefined (Select Template) list; or by loading it from the Distribution(Photometric) rollout toggle. One can preview the IES physicaldistribution From the Open a Photometric Web file dialog and/orfrom the Distribution (Photometric) thumbnail.

Photorealisticrendering: Vray andmental ray : 3d imagesThe 3d Images shownabove were created

and rendered whilst at Glass CanvasProductions. To see my entireportfolio and the arch...

3D Realism: Practical& Easy WorkflowsHi All, The aboveimage is part of aproject I have finished

for a client recently. The final fileswere produced in two versions: for...

3ds max: mentalray_Converting a vrayMax scene to mentalrayAlso check this new

article in this Blog: 3DRealism:Practical & Easy Workflows**************************************************...

3d: Creatingcustomised IES weblights for vray ormental rayThe following tutorial

assumes that the user has a basicknowledge of creating and usingVRayIES and Photometric lightsparameter...

Crafting 3DPhotorealism: LightingWorkflows in 3ds Max,vray and mental rayHi All, I have just

completed my latest stepbystepbook, about 3D photorealistic renders. The bookis entitled: Crafting 3D...

3ds max: Creating a Velvet/Suedefinish with Vray or mental ray



Furthermore, users can also decrease the image Sampling Quality

After few requests topost a tutorial aboutcreating avelvet/suede fabricfinish, I have managed

to put something together. The f...

3d images: Tacklingunrealistic materialsIt is worth noting thatthe following is a fullversion of an article I

have recently contributed to. Pleasehave a look at the 3D World ...

Autodesk: mentalray_Valuable Tips 2Mental ray_Glassfritting effect Theglass fritting effect is

commonly required by numerousclients in the 3D Visualisation sector:Th...

3d images: OfficeReception Renderingwith Vray...and mentalrayThe above image is

part of a project I have finishedrecently. It was produced with 3DsMax and VRay. However, I have alsogot the sam...

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and the overall render settings to speed up the test renderingprocess.

The idea behind this technique is to prevent users from spending toomuch time test rendering the lights with all the materials andreflections enabled.Once satisfied, simply begin to copy (instances), test render and placethe lights accordingly in the scene.

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Photorealistic rendering:In Vray Users often open the Createcommand panel and choose VRay from the drop down list.

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Next, one can create the VRayIES light by simply selecting itsrespective button first, followed by clicking on the VRayIES buttonnext. Finally click in the Left or Front viewport, and drag its targetdownwards to create it.

Once the target of the light is set, go to the Modify command paneland disable its targeted function. As mentioned earlier, this actionwill enable the user to easily copy/instance lights across the scene.



Next, locate and load the appropriate IES light file by clicking on itstoggle. To preview the IES web file in the viewport, one can simplycreate a default Max photometric light, turn it off and use itsDistribution (photometric web) rollout for the sole purpose ofpreviewing the IES web file inside 3Ds Max.Alternatively, one can use the IES generator software. To help pick up tiny shadows (e.g. grass, etc.), one should reduce theshadow bias values.

As mentioned earlier, while soft shadows may increase the rendertimes slightly it will also help make the renders more realistic.

To enable soft shadows with VRayIES lights, simply do the following:

Open the notepad dialog by typing in the word notepad, on thewindows start up text field.



Next, locate the relevant IES file in your computer folder, followedby dragging and dropping it into the notepad dialog. Its numericalvalues should appear.

To soften the shadows, one should only change three of its values.These values are often the three zeros that appear after the numbers1, 1 and 2.

Change those three zeros to 0.5; 0.5 and 0.5.Its worth noting that, the suggested values work well for my scenes.However, feel free to experiment with different values, if desired.



To control its intensity, simply increase its power values.

As mentioned earlier, users should test render each value tweaked toachieve the desired result.As in mental ray, one can also use a white override VRay material(with its reflectivity set 0.0) for the sole purpose of creating thecorrect amount of depth in scene (e.g. dark and bright areas of the



scene).

To further decrease the rendering times whilst test rendering thelights in Vray, simply decrease the Sampling Quality and theoverall render settings.



As previously mentioned, the idea behind this technique is to preventusers from spending too much time test rendering the lights with allthe materials and reflections enabled.

Once satisfied, simply begin copying, test render and place the lightsaccordingly in the scene.



Test rendering each light created with Vray or mental ray will enableusers to preview their effect in the scene, and subsequently tweakthem further, if necessary; thus preventing the common mistake ofoverexposing/scorching the 3D scene with too many lights, and/orhaving the lights too close from one another.Its worth noting that, prior to lighting up a scene, most materialsand their basic parameters (e.g. UVW Mapping, etc.) should beapplied to their respective objects first.

While creating the correct amount of depth in scene will help makethe renders more believable, the light colours will also prove evenmore crucial in achieving that ultimate photorealistic look.The following examples will help demonstrate how to quickly applyrealistic colours of a photo to a light source in both Vray and mentalray.

In addition to applying IES lights to a scene, one can make therenders look more realistic by picking colour/s of a real photoreference.To do so, first load the relevant photo in the scene (e.g. Rendering >View Image File).



Next, select a light and open the Modify command panel.

Photorealistic rendering: In mental ray, scroll down to theIntensity/Colour/Attenuation rollout.

Click and hold the Filter Color swatch. Its Color Selector: FilterColor dialog should appear.

Click on its sample screen colour button and pick any part of theloaded photograph. To mix colours, simply hold down the Shift keyand continue picking



Photorealistic rendering:In Vray, scroll down, followed by selectingand holding its Color swatch to enable the Color Selector: FilterColor dialog.

Click on its sample screen colour button and pick any part of theloaded photograph. To mix colours, simply hold down the Shift keyand continue picking.

In addition to picking and using the colours of a real photo,production companies also use a blurred version of the same photo aslight source to help make the render more realistic.Its worth noting that, while this methodology is utterly effective, italso increases the rendering times slightly.

Photorealistic rendering:In mental ray, to create the additionallight/s with a blurred map, simply create a new sphericalphotometric light using some of the techniques covered earlier.

To change the light to Uniform Spherical, simply open the Modifycommand panel and expand its General Parameters rollout.

In the Light Distribution (Type) group, choose the UniformSpherical from itsdrop downlist.This light distribution type willprovide users with the numerical value to be added later in themental ray Light shader.

Next, scroll further down to the mental ray Light Shader rollout andenable its function.Please note that once this function is enabled; all the default lightparameters are automatically switched off. So even when the light is



physically turned off the light shader parameters will still affect thescene.To disable it, simply uncheck the Enable function.

To plug a light shader, simply click on its toggle, and double click onthe Light point type to choose it from the Material/map Browserdialog list.

To view its parameters, open the Material Editor dialog first bypressing the M button.



Next, drag and drop the light shader toggle into an empty materialeditor slot; followed by choosing the Instance type, from Instance(copy) Map dialog. Its parameters should appear on the materialeditor dialog.

Most of its parameters are selfexplanatory. Before plugging a blurredmap to its Color toggle, enable the Shadows and the Attenuationfunction.

The Attenuation function determines the furthest distance of thelight source from its original point.

The Attenuation Start value should always be 0.0, unless theres aspecific requirement.



Users often use the Radius values from the Shape/Area Shadowsrollout parameters to preview the Attenuation End value in theviewport, without having to test render.

VRay users can also use this value to preview the size of the lightsource; followed by turning it off once satisfied.

When using light sources to cast colours of a real photo onto surfaces,users should always place the light/s in a position where it will affectas many surfaces as possible.For instance, in an interior scene its common practice to place thelight between the floor and ceiling of each floor. In addition, thelight should be slightly dimmed to prevent bleaching areas of thescene.

Its sole purpose should be to create colour variations in the scenewith a faint brightness; and to also break up even specular patterns.

Next, locate the relevant blurred image and load it in the Colortoggle. When possible, always use an HDR (high dynamic range)spherical panoramic image. If the shot happens to be aphotomontage, one should seriously consider taking a panoramicphoto of the environment in question. Otherwise, one can simply use a standard non panoramic blurredJPEG image.

To blur an image, simply open it Photoshop and use the GaussianBlur filter. The reason for blurring an image is to avoid having verywell defined colour patterns, sharp shadows and increased renderingtimes.



Once the image is loaded, if the original bitmap is panoramic,change its Coordinates parameters to Environment type, and themapping to Spherical Environment.In addition, one can also decrease or increase its default Blur valuesto about 100. Blurring it to 100 will decrease the rendering timesdramatically.

Loading a sharp image and blurring it in 3ds Max with the Blurfunction will never yield good results. The rule of thumb is to load apre blurred image and blur it further in Max to 100, if necessary.

To control image intensity, simply scroll down and open its Outputrollout parameters.Also, increase its RGB Level value accordingly by test rendering withthe Material Override enabled.



To clearly see the immense benefits of this methodology, thefollowing images will depict examples of a very simple scene litwithout a mapped image, with a mapped image, with an additionalIES light source and an IES light on its own.



Photorealistic rendering: In Vray, to create a spherical light, one isrequired to first create a sphere primitive, with the desiredproportions.



Next, create a VRayLight object using some of the steps coveredearlier. Open its Modify parameters and choose the Mesh type fromits dropdown list. This light type will allow the user to plug a blurredimage to its toggle. See fig. 41 and 42



Scroll down to its Options group and enable the following options:

Cast shadows

Invisible This function will make the light object invisible to thecamera

Store with Irradiance map When using the light source as Mesh, therendering times will increase dramatically. Enabling this function willhelp reduce the rendering times massively. Otherwise, one candisable it.This function will only work if the Irradiance map is being used inthe VRay:: Indirect Illumination (GI) rollout parameters. For thisreason, the Irradiance map parameters should be set above theminimum required.

Affect reflections This function is often disabled to prevent havingthe light being visible in reflections.While the above mentioned settings often work well in my scenes,feel free to try different ones, if desired.



Scroll further down to the Texture group, and load the desired imagein its toggle as previously covered.

To view its parameters, simply open the Material Editor (M) first,followed by dragging and dropping the toggle into an empty materialeditor slot.



Choose the Instance copy method, and use similar parameters to theones covered earlier.



If necessary use the Cropping/Placement handles to choose specificareas of an image to be used as a light source.It's also common totweak with the "Bitmap" "Offset" coordinatevaluesin "V" and/or "U" to help target specific areas of the bitmap.

Finally, scroll further down to the Mesh light options and select itstoggle, followed by picking the relevant mesh in the scene. Itsintensity can be controlled through the images RGB Level value,or/and from the lights Physical Multiplier value.



Note: When implementing the above mentioned technique usingtheVRay mesh light, the default "Sampling" "Subdivs" value of8 mayyield inaccurate/unrealistic shadows. Tocorrect this, simply increasethe "Subdivs" to 64.



While this value willproduce realistic/accurate shadows, it will NOTincrease the rendering times due to the"Store with Irradiance map"function being enabled.Furthermore, when sendingthe finalrender, the "Indirect Illumination" "Irradiance map " values need tobe set to "Medium" or "High".

All the spherical lights depicted in the 3D scene below, werecreated using the techniques highlighted earlier, for VRay andmental ray.



Note: If the bitmap colours emitted by the sphere light are notprominent enough in the scene, simply use the "Color Correction"procedural map on top of the main bitmap; andincreaseits"Saturation" value until satisfied.To apply it, simply open the"Material/Map browser" dialog andchoose it fromits list. Thistopicwas covered in this postHERE.Alternatively, increase the saturation in Photoshop and resavethemain bitmap.

To implement the same technique to emulate interior studio lightingor a light being emitted from a selfilluminated display screen,simply create a VRayLight object.



To control its physical size, open the Modify command panel, scrolldown to the Size group and tweak with its Halflength and Halfwidth values.



To plug an image to the light, scroll down to the lights Texturegroup and click on its toggle to enable the Material/Map Browserdialog.



Photorealistic rendering: In mental ray To emulate a similareffect in mental ray (e.g. Interior studio lighting or a light beingemitted from a selfilluminated display screen), simply create a mrSky Portal object.

To control its size, open the Modify command panel, scroll down tothe Dimensions group and tweak with its Length and Width values.



The mr Sky Portal is set to Use existing Skylight by default. Thisoption only works when a Skylight object is already in the scene. Themr Sky Portal helps to redirect the Skylight rays through where themr Sky Portal is positioned (e.g. through open windows, etc).

To use the mr Sky Portal for interior scenes, one is required toenable the Custom function first, and click on its toggle; followed bydouble clicking the Gamma & Gain shader from the Material/MapBrowser dialog list.



To edit the Gamma & Gain shader, simply open the Material Editorfirst, followed by dragging & dropping it onto an empty materialeditor slot. In the Instance (Copy) dialog, choose the Instancemethod and OK to close it.



Its parameters should load up. To plug a texture/HDRI simply click onthe Input toggle and locate the relevant image.

Its multiplier value can be controlled through the Gain (multiplier)values; or through the images RGB Level as previously shown. Inaddition, one can also use the mr Sky Portals On Multiplier value(1.0 by default) to help bump up the intensity of the light.The Reverse gamma correction (DeGamma) function is enabled bydefault; which means brighter values are equivalent to high negativevalues. To reverse this, simply disable it.One can also control the Gamma values of the image by tweakingwith the Gamma values. See fig. 57 and 58



All the rectangular lights depicted in the 3D scene below, werecreated using the techniques highlighted earlier, for Vray andmental ray.

To emulate the Payless selfilluminated display screen on the righthand side; I have simply created an object with a Payless selfilluminated bitmap assigned to the object, and placed a rectangularlight in front of it to emit rays of the same image using thetechniques covered earlier.

Finally, one can also use the same approach with Skylight objects,when creating external shots.Photorealistic rendering:In mental ray: When using the Daylight



System, users often disable the Skylight option and create a separateStandard one.

The Standard Skylight object provides users with the flexibility toindependently plug custom shaders, colours and images to its toggle.



Alternatively, users can enable the Use Scene Environment option,to extract the sky data from the Environment Map toggle (press 8 tobring up its dialog). For Photomontages and film shots, users often plug theEnvironment/Background Switcher shader to its Environment Maptoggle.



For further information about this shader, please check this usefularticle HERE.

Photorealistic rendering:In Vray Users are simply required tocreate a standard VRayLight object as previously shown, and changeits Type to Dome. Dome light is equivalent to Skylight object.

As with most VRay lights, users can control its intensity with theMultiplier values.To plug an image, scroll down to its Texture group and click on itstoggle to bring up the Material/Map Browser dialog. Often someusers apply a standard image; and most professionals prefer to usethe VRayHDRI shader.



To edit the VRayHDRI parameters, first open the Material Editor (M),followed by dragging and dropping it from the Texture toggle ontoan empty material editorslot.Choose the Instance method.



Once the VRayHDRI parameters are loaded, click on its Browsebutton to locate and pick the relevant HDRI file.

While the Skylight shadows should yield diffused results, some usersprefer to turn off the VRaySun object and use the Dome light togenerate both direct and indirect shadows (e.g. diffused shadows).

Most HDR images come with a reflection image (e.g. sharp), and theenvironment image (e.g. blurred to emit diffused light). To generateboth direct and indirect shadows, one is required to use a sharp HDRI.Users often tweak with Horiz. rotation and Vert.rotation values tocontrol its position in the Material Editor slot thumbnail.

Also, the Overall mult. value will help control the brightness of thelight/scene.Depending on the results intended, most users choose the Map typeto be a Spherical environment. For acceptable results, one isrequired to have the Irradiance map and the Light cache parametersvery high.



Furthermore, one should copy and paste/ instance these VRayHDRIparameters into the Environment Map toggle.To override either the GI Environment (diffused light) or whats beingreflected in the scene Environment Map toggle; one should open theRender Setup (F10). In the VRay tab, expand the VRay::Environment rollout and use one or both of its parameters(e.g. GIEnvironment (skylight) override and/or the Reflection/refractionenvironment override).



Once the lights and colours have been signed off, one can thendisable the material override to finalize tweaking the materials/reflections/glossiness, and perhaps finetune minor light settings(e.g. boost up or decrease certain values).

The 3d images below depict some of many results I have personallyproduced, with Vray and mental raywhilst using the techniquescovered in this article.

3D Image created and rendered whilst at GMJ design ltd



3D Image created and rendered whilst at GMJ design ltd

3D Image created and rendered whilst at TP Bennett



3D Image created and rendered whilst at TP Bennett

I hope you have found this article interesting!

My 3D Portfolio

Also check:

Realistic materials

Postproduction techniques

IES lights

Selfilluminated materials

Architectural Visualisation Tips & Tricks



POSTED BY JAMIE CARDOSO AT 18:56

LABELS: 3D, 3DS MAX, AUTODESK, LIGHTING, MENTAL RAY,PHOTOREALISTIC RENDERING, PHOTOREALISTIC RENDERS WITH MENTALRAY, REALISTIC RENDERS, RENDERING, VRAY

1 5 C O M M E N T S :

Lawrence Jorge R S 20 May 2013 at 19:44Very nice work! Congratulations, thanks for share !Reply

Jamie Cardoso 20 May 2013 at 20:45Hi Lawrence,

Thank you very much for your kind comment here. I reallyappreciate it!!!

TaReply

Xavier 23 May 2013 at 04:15This is awesome, took me quite sometime to digest all.Reply

Jamie Cardoso 23 May 2013 at 04:25Hi Xavier,

Thank you very much for your input here...and I am glad thatyou have liked it!!!

TaReply

Nilesh Arakh 20 September 2013 at 23:19nice work thank you for shareReply

Jamie Cardoso 21 September 2013 at 02:05Thank you Nilesh. It's much appreciated!

TaReply

Purple Star 29 December 2013 at 13:29



Please advise on how to make urban architectural renderingas you have on your home page.

Is there a plugin for this?and.... would this aspect be covered in your book?Reply

Jamie Cardoso 3 January 2014 at 08:31Hi Marium,

Thank you very much for your input here!!!The book features a day, and a night shot of the building yousee in the book captions; and the interior depicted in thebook cover (day and night tutorials). In addition, users also have the context model of thesurrounding buildings!Furthermore, the book doesn't cover modelling as such.However there are essential tips on bringing models fromAutocad into Max; tips on creating accurate model s from caddrawings in Max; etc.All the above mentioned tips and tricks can be found inChapter 1 !!

After chapter 1, the subsequent chapters are detailed stepbystep tutorials...with further tips & tricks thrown into themix occasionally!

Finally, as mentioned in the table of contents of the article,the book covers preproduction; production and postproduction!

TaReply

x 17 January 2014 at 10:22just got your book and love it! one question though. In anexample above you use a sphere to be used as a mesh light invray. why not just create a vray sphere light and insert theblurred image into the texture channel of the sphere light? Iwould think this would render quicker than the mesh light. Isthere any advantage to using the mesh light over the spherelight?

thanks in advance.Reply

Jamie Cardoso 17 January 2014 at 19:52Hi There,

Thank you very much for your input here. It's muchappreciated!!!

The reason for NOT using the Vray sphere light, is simplybecause my version of vray doesn't allow users to plug anybitmaps to it (assuming your version of vray does? (e.g. itsbitmap toggle is greyed out by default)).



Again, thank you for your input here!!!

TaReply

Lasitha Ishan Petthawadu 19 January 2014 at 14:11I learnt a lot from your article, appreciate the effort taken toexplain in detail, Thanks againReply

thecreep 14 February 2014 at 07:52Hi Jamie,Thank you for your great blog, tutorials. I've learned a lot ofthings from you :) now I have a stupid question: You said: "Toemulate the Payless selfilluminated display screen on theright hand side; I have simply created an object with aPayless selfilluminated bitmap assigned to the object, andplaced a rectangular light in front of it to emit rays of thesame image using the techniques covered earlier."First,Can you please give me a bit detail about this subjectand second direct me to the link "techniques covered earlier".Reply

Jamie Cardoso 14 February 2014 at 10:00Hi there,

Thank you for your input here. Its much appreciated!What I meant was that, in addition to applying avraylightmtl(with the "orangy" payless bitmap), onto theobject on the right hand side, I rectangular vray light wasalso created with the dimensions of the same object, and thesame "orangy" payless bitmap was also plugged to its light"texture" group. If you read the entire article you'll see where the section ofapplying a texture to a vray rectangular light was beingdiscussed!Please see below one of many images used to describe thistechnique:

http://2.bp.blogspot.com/Wn650pIjzlE/UZrEy6HI2fI/AAAAAAAABTM/CW1JavKX7TY/s1600/Photorealistic+rendering+with+Vray+or+mental+ray_52+.jpg

Regards

Ta Reply

Kent Touchthis 29 March 2014 at 18:39Nice Work Sir!!! But can you post about photorealistic



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exterior house designs rendering? Please SirReply

Jamie Cardoso 5 December 2014 at 09:32Yes, I'm creating an article about i!

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