Exterior Rendering In this chapter, we will bring certain peculiarities of exterior scenes into focus. Firstly, we will look at some typical “photographic tips” for exteriors. Then we'll explore some technical advice for dealing with the typical difficulties that this kind of rendering poses. Various theoretical considerations are contained in the chapter. These aim to increase your awareness, in preparation for the subsequent chapter, which will be much more practical, and which will be dedicated to sun-sky simulation.PHOTOGRAPHY & RENDERING with V-RAY ai a aapcicoioncmee The Characteristics of Exterior Rendering Froma lighting point of view, the simulation of an architectural exterior in daylight is one of the simplest situations. There is only one light in the scene: the sun. You just need to pay a bit of attention to the exposure, There are five typical points involved in exterior rendering: 1. Framing; 2. Positioning the light source; 3. Realistic sky/backgrounds; 4. Absence of the horizon; 5. Vegetation. Think of these five points as a kind of mini-guide that can help you to verify whether or not you are on the right track. We offen get lst in details that are irclevant to the work as a whole. For this reason, with the five main points, we don't run the risk of letting anything slip. Naturally, we mustn't think that just by following these guidelines, we will produce a masterpiece automatically. Memorizing each of these elements, however, can help you keep your compass well-oriented while you work, without taking anything for granted. A quality photographic image is always the result ofa complex combination of components, each of which does little on its own, but waich together contribute to bring our image closer or further away from realism. This again leads us to a way of thinking that we can synthesize into the following expression: | can imagine and know what | want > I'm looking for the parameter to carry it out Before commencing a rendering project, have what you want to achieve in mind and then Use the software to reproduce what you've already imagined. In the following paragraphs, we will analyze all these points, considering both their photographic and technical aspects.CHAPTER, EXTERIOR RENDERING Framing The height of the frame and the perspective deriving from its the fst piece of information we see. It communicates the size and proportions ofthe object we are framing in an instant. So, if we position a camera at a height of 30 meters, this will ead the viewer to perceive our render as a“scale model’ Figure 8-1. Figure 81 A tecered image with ‘Sente paioned at {height of 30m. This enemas the sale mel ‘ect Figure 82 ‘A rendered image with a camers postioned at hgh of 1.70 m. This eae a elt feet, We are used to seeing real buildings from our height (approximately 1.60-1.70 m), Figure 8.2, and thisis the correct position fora came’aif you want to build a scene in which the final purpose is photographic rendering, Framinga building of a certain height from the bottom towards the top, automatically means a slight deformation in the lines going upwards, This is notural perspective distortion that must be expected in such situations, end itis more and more marked the shorter the focal length is. Framing upwards with a wide-angle lens produces strong deformation. In architectural photography, it is customary to solve this problem by using a certain lens, called a perspective control lens, which corrects the effect of the perspective distortion, making the lines vertical and perfectly parallel. While it's true that many people use these lenses, it's also true that there's another whole group of people who don't use them, as they consider this type of correction to be wrong, So, what's the best thing to do? ‘There isn't one best thing — it’s simply a question of individual choice. First and foremost, you need to have a clear idea of whether youwant the optical distortion effect to emphasize the height of a building or whether it’s justa side effect and doesn't add anything to the image, but rather, creates a disturbance.PHOTOGRAPHY & RENDERING with V-RAY (i nsnsemmenssensnsemaisa SANSA A How to Eliminate Distortion in V-Ray While in reality we need to use a special lens to eliminate perspective distortion, Figure 8-3, in our case, we only need to place a V-Ray Physical camera in the scene, Figure 8-3, and click on Guess vert, Figure 8-4, In an instant, Y-Ray will calculate the right value to correct the distortion. Figure 3 Aschematic presentation of the ¥-Ray Physical eames (A) wethout elinirating dstorton and the ‘ltrs conmespoadig, image B) eA RODA OGsHaxs| ogcHass Figure 834 Phat ofthe ‘ViayPhysicalCamera commannd pare swing the deat seins igure 85 Pare of the ‘VRiyPhysialCameca ‘command panel showing the Guess vert fuetion ative andthe rele valve obtained Figure 86 Aschertie seprctenation of the ‘VeRay Physical camera (A) with disorion ciminated and the selatvecoresponding image (B)CHAPTER 8 - EXTERIOR RENDERING Sr Seen Balancing Light/Shadows Rendering an exterior in daylight is easy to do from a lighting point of view. Our primary light source (the sun) produces flat lighting and the only perceivable nuances are in the shadowed areas. These shadows are the elements we'can use to creating harmony and Undertones that give images more moverient and three-dimensionality. In each of the following examples, Figure 8-7, the only thing that changes is the position of the sun. Figure 87 The renders ABG ofa ser in alight, in which ony the potion of the primary ht Is been changed Figure 8-7 (A) was rendered with the sun fiont-on and high up. This hasn't allowed many shadows to form (which are important for trree-dimensionality) and hasn't produced a lot ‘of nuances. Furthermore, the high sun is casting a very strong light, which has surely created exposure problems in the white areas, Figure 8-7 (B) is interesting, as the sun is behind the subject and only illuminates a segment of the wall at the top. Here it's all about indirect lighting. The image is‘attractive" because of the many nuances contained in the shadows. It'a very poetic image but it doesn't say much about the building, Fora more artistic and atmospheric depiction, this image might even be preferable. We mustn't forget however, that the purpose of an architectural photo is not just to excite, but also to give information aboutthe building and the volumes itis made up of. The best and most interesting solution is Fgure 8-7 (C). The sun isa little lower and casts a soft light without excessive contrast. It $ positioned at a slight angle and hits some protruding parts of the building, This creates shadows that tend to’stretch out” over the facade, making its shapes even more evidert. Considerations: To achieve a good balanc= between light and shadows when rendering an exterior in daylight, I prefer to have more than half of the image in direct lightand the rest in shadow, making sure that the sun isn't too high and that it enters from the sides.PHOTOGRAPHY & RENDERING Figure 88 Anothes to examples of the eft of| the light source aie, Ae by Francesco Duggento Considerations: Figure 8-8 (A) Is a classic example of bad lighting. The sun is coming from behind the camera and produces a flat image, in which the roundness of the columns is indiscernible. This translates into inadequate three-dimensionality in the scene. In Figure 8-8 (B) the light is coming from the side, at an angle somewhere between 45° and 60°, making the roundness of the columns more evident and providing indirect lighting on the other side of the dwelling, Elongated Shadows In image B, Figure 8-8, the shadows capture interest. Thanks to angled lighting, they create a very interesting effect as they stretch out over the building Elongated shadows are always beautiful o lookat. They generate a wide range of hues and, also help the viewer to better understand the structure and volumes, thus increasing their perception of three-dimensionality in theimage. "Note: The’elongated shadow"effect always works very well,even in interiors. Unlike with photography, you don't have to wait forthe right time or be at a strange latitude in order to have the sun exactly where you want it. You simply need to set it up in V-Ray, as we will see in the Exercise: How to use a V-Ray Sun light on page 123 in Chapter 9- V-Ray ‘Sun System. ‘We have ascertained that to avoid flat” images and obtain elongated shadows, we just need to allow a certain angle between the camera and the light source. Infact, we often say that the two must form an anale of 30° 45° between them, and the light mustn't be behind the camera, as this would flatten the scene. Naturally, this is a reference method often used to photograph objects in a classic studio. It can, however, also be applied to exteriors, and should certainly be taken into consideration if you want to get an idea of how things work.CHAPTER XTERIOR RENDERING Realistic Sky/Background In Figute 8-9 the sky takes up a lot more space than you would imagine. Figure 89 A sender age sol neha pte ecgpound ‘The sky, Figure 8-9, takes up almost 30-40% of the picture and in other types of framing, this percentage could increase even more. The sky is therefore a very important part of the image and we must pay the right amount of attention to it. The V-Ray Sun System, which we will look at in the next chapter, automatically generates the sky (V-Ray Sky) with the right intensity and tones, all perfectly in proportion to the sun and the camera. This doesn't exclude the oossibilty of substituting it with a different sky, maybe even with some clouds, to make the whole scene more interesting. Figure £40 A rendre image showing dhe sky win. Figure 6-11 rendered mage swing the ay with at dood ha uc pespoeste onda perspective The frst render, Figure 8-10, has certain aspects that really don't add up. What are they? + The perspective of the clouds; + The color tone of the sky. In Figure 8-10 the background photo fs fa: in fact, i's a photo taken ofthe sky, vertically. ‘The clouds appear flat and lack perspective. Figure 6-11 on the other hand, was taken of the horizon. The clouds have perspective and cepth and are in perfect harmony with the scene. With the help of Photoshop, the tone of the sky should also be aligned to the colors of the rendered scene, so that everything appears wellcombined and there don't appear to be ‘two separate parts ‘The wrong sky can ruin your entire image. At the same time, a beautiful and detailed sky, ‘which i perfectly blended with the 30 scere, can make itextremely captivating, asin Figure 8-11.We will see how to achieve this kind of outcome on page 129 in the Exercise: How to Replace the VRaySky in Post-Production.118 When carrying out a render, one of the aspects that shouldn't be underestimated is the horizon. In the best case scenario, there will be some hills or buildings in the background. Trere is almost always an object within our sight. A vacant horizon falls outside of our everyday experience. Leaving an infinite plane in sight behind the object therefore diverts our attention towards this unreal landscape, Figure 8-12, taking it away from the photographic render itself. You should therefore avoid showing the flat line ofthe horizon in your renders. Cover t trees or buildings, resorting tothe tricks you consider most effective, Figure 8-13, but never show a flat and empty horizon. A tendered image wich fat hotzon A senerd imge with the sion ro by Stefano CapuanoCHAPTER 8 - EXTERIOR RENDERING Ferien ell Vegetation Anyone could confirm that vegetation makes an image more beautiful, yet the issue goes much deeper than you might imagine. There isa scientific theory called the “Savanna Hypothesis’ which states that human beings prefer open fields with typical Savanna trees to closed, complex and untidy landscapes. Regardless of one’s culture, environments similar to a savanna, that is, those characterized by open spaces, even, green fields, and the presence of waterways and trees, are preferable to other environments - even natural ones —like mountains or the jungle. ‘Theissueisseeminglyrelated toman’sevolution. Inantiquity,those who livedinenvironments like this survived more easily than those who found themselves in environments like the jungle or an inhospitable desert. In the practical world of communication, this translates into using lawns, trees and shrubs to make any exterior more attractive. The same thing goes for rendering, Vegetation is a winning formula and a true breath of fresh air for the Even from a strictly 3D point of view, vegetation greatly increases the level of quality perceived in an image, ast contributes in a citical way to increasing the detail — one ofthe fundamental aspects of rendering, Figure 14 Te enero his building fey simple (4). 1 ‘werent forthe vegetation dees world ave mach ea ‘ve Render boy Pranceseo Duggento The hardest aspect of dealing with vegetation is the fact that plants and trees always have ‘many polygons, and scenes can reach millions of polygons just because of the vegetation. At this point it becomes fundamental to be good at using layers and managing scenes, and externalizing the most polygon-heavy nodels, using V-Ray Proxies (see Chapter 10 - Simulating Vegetation and Textiles on page 148). Note: How do we obtain vegetation? Various software programs have been created for the purpose of generating trees and vegetation. Trees can be created by licking on the Foliage button in 3ds max, which can be found in the Create panel > Geometry > AEC Extended. They are fairly poor quality, but can be used immediately. The best choi to use the libraries sold at www.evermotion.org, where various kinds of vegetation have been gathered. Ivy, on the other hand, can be perfectly simulated using a 34s Max plug in, the vy ‘generator. Finally, for grass, we can also use Vray Displacement and Vray Fur, which we will explore in Chapter 10 - Simulating Vegetation and Textiles.PHOTOGRAPHY & RENDERING with V-RAY Fa NAT SNe Considerations about Night Renders Unlike in daytime rendering, where the primary light source is the sun (VRaySun), in night scenes there are various primary lights. They are artificial, usually a warm color, and each one illuminates just one part, without affecting the whole scene. There are multiple primary light sources, but they are contained. When we talk about night architectural photography, we are never actually referring to the dead of night. The preferred time is dusk, when the sun has gone down but the sky still holds a small amount of bluish luminosity. This acts as a secondary light source and gently illuminates the parts that are not directly reached by the artificial lights, showing their outlines. IFit weren't for this, some areas would be too dark and would lack detail In the night render in Figure 8-15, there are various primary light sources (artificial, with 8 contained effect), and a feeble bluish light coming from the sky. Re creating the play of warm/cool light between the sky (cool) and the artifical lights (warm), is what gives the sensation of anight image. In other words, this isthe typical light balance for night rendering, Figure 8.15 sight eee by Mauro Melis ‘Another aspect for which a daytime render or a photo, is different froma night scene, is that here the light source is framed directly. In daytime renders the primary light source — the sun — is almost always high up and outside the frame, while in night scenes, the primary light sources, lamps and spotlights are often part of the image. It can sometimes happen that an artificial light, like a spotlight, can be just as dazzling as the sun. So what's the problem? It’s the same thing again: as a result of the framed light sources, the light range of a night render s too broad to be captured entirely. If measures are not taken, its inevitable that the result you obtain will contain large burnt areas around the light sources, This isa problem that can occur both with rendering and with live shooting. How can we solve it? How can we capture the whole light range? As described in Chapter 7 - Exposure — by compressing the tones so that the excess ones are brought back in. n the case of V-Ray, we use Exponential Color Mapping instead of Linear multiply. The problem that derives from this is an inevitable loss of contrast, but we can deal with that later, during post-production.