Defining our goals
Now, although we have already demonstrated in our first chapter that we can pretty much jump straight in and start creating renders using the default lighting setup when using V-Ray in SketchUp, I feel the need to state quite emphatically that such an approach is in reality a long way short of ideal when it comes down to the work of creating photographic renders. Our first order of business when getting started on a project should always be to thoroughly develop the goals and aims of the project itself.
Time spent in breaking down the goals and then working out how to match our stated goals with the tools that we have available will not only save us a lot of unnecessary trial and error throughout the course of the project, but can actually lead us toward artistic choices, technical options, and even final results that may otherwise have been completely bypassed in pursuit of a quick turnaround.
Note
Of course, at times the urgency of a project may force us to simply dive straight into V-Ray and use the default setups to produce the best results possible in the time frame allowed. This, however, should be the exception and not the rule. So if we find ourselves doing this on even a somewhat regular basis, we may need to reassess the way we evaluate the timescales required for the projects that we are undertaking.
To this end then, the first thing we have to do here is define our goals for this section of the project by creating an artistic definition that outlines exactly what we want to achieve as we work to set up the daytime lighting for our interior display room.
Once we have done that, our next task will be to break down the lighting process itself, making decisions regarding which approach will be best suited to help us reach our stated goals. Of course, we know ultimately that we are going to want to produce a photographic render, but breaking this overall goal down into smaller steps that will lead us to that end result can be very useful indeed.
Next, we will need to consider which of the lighting tools that we have available are capable of producing the desired end result. With V-Ray, there is usually more than just a single option available for creating any type of lighting effect. Identifying the options available and then making some informed choices as to which we want to use will be important if we are to fulfill the aims of our artistic definition.
Finally, we will need to put all of the generated ideas and choices made into practice and craft a finished lighting solution for the scene.
There is no doubt that what we have outlined here will indeed require a fair amount of effort from us (especially keeping in mind that we are only dealing with a single lighting set up in this chapter and have more to come). Hopefully though, this is just the kind of potential learning experience that you were looking for when you purchased this book. If that is the case, then we are ready to go ahead and start lighting up our daytime interior scene.
Note
Obviously, a big part of creating any finished interior lighting solution will be the global illumination and material options that we ultimately use in the scene. Knowing which GI tools to use, how to refine the respective solutions, and understanding how to create realistic material properties are all must-have skills when it comes down to reaching our ultimate photographic goal.
For the next few chapters, however, we are going to work with just the default GI and sampling settings as this will help us focus on the lighting tools themselves, getting to grips with the various options we have available to us as well as coming to grips with how to make good use of them. However, tweaking the GI and sampling controls and refining the solutions we are getting from them will be something we take a look at later in the project.
Methods for defining our vision
Sitting down at a computer and starting to create scenes in an application such as SketchUp or 3ds Max without a clear goal in mind can be compared to setting off on a journey without having a fixed idea about the final destination.
While the idea of setting off on a mystery tour may sound exciting, we would never try to claim that such an approach, no matter how enjoyable, could be considered an efficient way for us to travel from one location to another.
In a similar way, while playing around with the tools available to us in our 3D application can at times be enjoyable and possibly even profitable (from a learning perspective), we would hopefully never claim that it is an efficient and cost effective way of approaching the production of a photographic rendering project. Especially so if we are looking to use the project to help take our CG skills to the next level.
In order to consistently produce high quality photographic renders using any render engines available to us, we really do need to take the time to define, in as much detail as possible, the end result that we want to create in every project that we work on. This definition can then realistically serve as the blueprint from which we work for the remainder of the project.
Note
The idea here is not to create a fixed goal from which we can never deviate. What we need to create, is a reference point that can be used to help keep our project heading in the right direction at all times. If we do find at some stage that we need to revise or update this project blueprint, then that is fine, as long as we once again make sure that this process is done carefully and that everything gets clearly documented.
How do we go about creating such a definition? Well, there are a number of possibilities open to us. If descriptive writing is a strength of ours, we could create our definition by making good use of words. The definition could be anything ranging from a single sentence mood description to a full and comprehensive document that breaks down everything we want to accomplish in the scene.
On the other hand, if we have some ability with sketching and/or painting, be that with either digital or natural media, we could take the time to produce color script paintings or mood templates if you like. This can be somewhat along the lines of those used by animation studios such as Disney and Pixar in the early stages of a project when they work to develop the look and feel of the film they are making.
A third option would be to compile a collection or a scrapbook of images that epitomize the look and feel that we ourselves are hoping to create in a shot or sequence. The best way to gather these would be to head out into the world armed with a camera and shoot these images for ourselves. Physically placing ourselves inside environments that have the qualities of light and the type of materials that best represent what we want to produce in our render will give us the opportunity to analyze everything about the setting on an artistic, technical, and even emotional level.
If time or circumstances don't allow us to take such a hands-on approach, we can still do a thorough job of compiling a definition by making good use of the Internet. A couple of hours searching through images by means of a few well-chosen search phrases can yield excellent results.
We may, for instance, try searches for "wood-paneled bathroom" or "Victorian kitchen", if of course those are the type of projects we are working on. Given the scene type we will be working with here, we may want to try searching for something like "small gallery interior".
Tip
Be sure to use search phrases that are directly related to the type of project you are working on. This will keep things focused and on track. Spending many hours searching through masses of images that have little or no connection to our project's stated goals would certainly be counterproductive at this stage of the process.
Of course, just dumping a large collection of images into a folder on our hard drive, no matter how relevant they are, will not in and of itself benefit us in any great way. We will need to spend some time breaking down what we see in the images, making notes on the visual qualities that we find desirable. We can also take a look at a few quick ideas regarding how we might recreate such qualities using the SketchUp and V-Ray tools that we have at our disposal.
Ultimately, of course, which method we choose to work with for creating our definition isn't really the important thing as all of the methods mentioned here can work equally well for us. The genuinely important thing is that we both have and use some method for creating an outline that covers the expectations/requirements that we have for the project. Keep in mind that without a clear goal in view at the outset, our chances of creating a genuinely photographic solution can be greatly reduced.
As there really is no time like the present to start building such skills, a good exercise at this point in the process would be to create our own definition or blueprint for the Daylight_Interior_01.skp scenes lighting solution. If at all possible, I would encourage you to try creating at least one definition using each of the methods that we have outlined here, just to test which approach suits you best.
Also, keep in mind that there is no rule against having more than one mood for the scene that you would like to try and create. In fact, trying out variations in the early stages of a project, if time permits of course, can be a great way to find something that really works well for us.
To show you how simple the definition for the artistic vision or definition on a project can be, we are going to make use of the first method mentioned and use a simple piece of descriptive writing that will consist of just a couple of short, simple sentences.
The goal for the lighting in this scene is to help make people feel comfortable and at ease inside the space, creating an environment in which they could easily spend a few hours without feeling closed in or claustrophobic. This effect can probably best be accomplished by using as much natural daylight as possible to light the space.
Note
Do keep in mind that this is a description of the feel we want to create in our final lighting solution. In photographic terms, this is not necessarily connected or dependent upon the architectural design of the space we are rendering.
For instance, film makers often create completely believable exterior lighting scenarios while, in fact, working on an interior sound stage. The trick is to use the correct combination of lighting and photography tools to create the desired final effect.