step 1
in this tutorial, we’ll be using real units, so the first thing would be to open the menu “customize > units setup > us” and choose “standard > feet w/decimal inches” as the unit.
在本教程中，我们将使用现实中的单位，所以，首先是要打开菜单“自定义>单位设置>选择美国标准>英尺/英寸分数”为单位。
step 2
when you are trying to get a photorealistic quality it is very important to make sure that your object scale is accurate. this will play an important role in achieving a good render. also, as you can see the scene is quite simple… just a small lobby (mostly modeled with boxes). note: it is important that it is a closed room, and there are no openings for the light from environment to enter.
当你想要得到一个翔翔如生高质量的作品时最重要的是要确保你的对象尺寸是正确的，这将是实现一个重要的项目。此外，你可以看到的一幕很简单 ，只是一个小门厅（大部分是一个盒子模型）。注：这点很重要，它是一个封闭的房间，并没有从开放的口进入环境的光线。
step 3
press f10, and from the “assign renderer” tab choose “vray”. this will enable “vray” as your renderer, and also enable vray materials in your material editor
按f10，然后从“指定渲染器”标签选择vray的。这将使“vray ”成为你的渲染，同样你的材质编辑器使用vray的材料。
step 4
assign a simple vray material to all the objects in the scene, and set up basic scene lighting and render settings. this is to finalize the lighting and render settings and save time, since a plain material renders much faster than reflective and glossy materials which will be added later.
给场景中所有的物体指定一个简单的vray材质。并设置场景中基本灯光和渲染设置。完成灯光和渲染设置是为了节省时间。因为，在添加一个普通的材质呈现的比加了反射和光泽将要更快。
step 5
now to work on the lighting and render settings to achieve the final result.
现在工作，对照明和渲染设置，以达到最终的结果。
step 6
add a vray physical camera to the scene by going to “create tab > camera > vray > physical camera”.
添加一个vray物理相机，进入“创建”选项卡>照相机> vray的>物理相机“一到现场vray的物理相机。
step 7
the settings for a physical camera are:
•type – determines the type of the camera. set it to “still”.
•film gate – specifies the horizontal size of the film gate in millimeters. set it according to your scene.
•focal length – specifies the equivalent focal length of the camera lens.
•f-number – the width of the camera aperture and (indirectly) exposure. if the exposure option is checked, changing the f-number will affect the image brightness.
•vignetting – when this option is on, the optical vignetting effect of a real-world cameras is simulated.
•white balance – allows additional modification of the image output according to the color or preset chosen.
•shutter speed – the shutter speed (in inverse seconds) for the still photographic camera. for example, a shutter speed of 1/50 s corresponds to a value of 50 for this parameter.
•film speed (iso) – determines the film power (sensitivity). smaller values make the image darker, while larger values make it brighter.
为物理相机的设置：
•type- 制定摄像机的类型。将其设置为“still“。
•film gate -指定毫米胶片水平大小。根据你的场景进行设置。
•focal length-指定的等效焦距的镜头。
•f-number-相机的光圈和（间接）曝光的宽度。如果曝光选项被选中，改变f值会影响图像的亮度。
•vignetting- 当此选项开启时，一个模拟真现实中真实的光学渐晕效果
•white balance- 允许其他修改的图像按颜色或预设选择的输出。
•shutter speed- 快门速度（相对秒数）静止摄像机。例如，1 /50秒快门速度相当于50这个参数的值。
•film speed (iso) - 确定胶片的权重值（灵敏度）。较小的值使图像变暗，而较大的值使之更亮。
step 8
now to place the various vray lights. lights 1-4 affect the scene directly, whereas light 5 has been placed in a downward direction, and will affect the scene in an indirect (in theform of bounced light).
[next]现在把各种vray的灯光。场景中灯光1-4是直接影响，而灯光5已被放置在一个向下的方向，并会对场景产生间接影响（在形成反弹光）。
step 9
the basic parameters of the vray lights are:
•color – the color of the light.
•multiplier – the multiplier for the light color. this is also the light intensity determined by the intensity units parameter.
•invisible – this setting controls whether the shape of the vray light source is visible in the render result. when this option is turned off the source is rendered in the current light color. otherwise it is not visible in the scene.
•subdivs - defines the samples, or the quality of the light. 8-10 should be used for test renders, and 15-20 for final renders. increasing the samples will significantly increase your render time.
vray的灯的基本参数：
•color -光的颜色。
•multiplier- 控制灯光的倍增。这也是光线强度参数确定的强度单位。
•invisible - 此设置控制是否光源的vray的形状是在呈现结果可见。当这个选项是关闭的来将对场景产生影响。否则就不是在现场可见。
•subdivs - 定义采样，或质量。 8-10应该用于测试渲染，最终渲染和15-20。增加采样将大大增加你的渲染时间。
step 10
ies stands for “illuminating engineering society”. the photometric data is stored in these files. a photometric web is a 3d representation of the light intensity distribution of a light source. web definitions are stored in files. many lighting manufacturers provide web files that model their products, and these are often available on the internet. we as artists can use them to replicate the real life phenomena of light in 3d.
go to the “lights” tab, choose “vray” from the drop down list, and create a “vray ies” in the right view. then instance it below all four steel holders.
ies所代表的“照明工程学会”。光度数据存储在这些文件。web的光度是光源是种光强分布3d表示。web定义存储在文件中。许多照明设备制造商提供网络模型文件，他们的产品，而这些往往是在互联网上公布。我们作为艺术家可以利用它们来制作出真实的三维光照。
进入“灯光“标签，然后从下拉列表中“vray”并在在正视图创建一个“vray ies"。然后，载创建四个灯如图所示。
step 11
the main settings for the ies lights are:
•browse button - click it and browse for the ies file that you want to use.
•color mode – if you choose this option, you can change and affect the light intensity through the color picker.
•temperature mode – allows you to accurately change the light intensity through the color temperature.
•power - determines how bright the light will be.
ies灯的主要设置：
•browse button -点击它可以浏览你要使用的ies文件。
•color mode- 如果您选择此选项，您可以改变和影响通过颜色选择器的光强度。
•temperature mode- 允许你准确地通过改变色温的光线强度。
•power- 确定如何明亮的光线会。
step 12
through the following steps, you will configure the rendering settings in vray. press f10, then under “global switches”, uncheck “default lights”. this will cause the default lights in the scene to be switched off. for the image sampler type select “adaptive dmc”, and “catmull rom” as the filter. also, change the min and max subdivs as shown.
lastly, change the “color mapping” type to “exponential”. this mode will saturate the colors based on their brightness, and therefore, will not clip bright colors, but saturate them instead. this can be useful to prevent burn-outs in the very bright areas (for example around light sources etc).
通过以下步骤，您将配置在vray的渲染设置。按f10，然后在“global switches“，取消选中“默认灯光“。他可以把现场的默认灯关掉。对于图像采样器类型选择“adaptive dmc”，并把“catmull rom”作为过滤器。另外，更改最小和最大细分，如图所示。
最后，改变“color mapping”类型为“exponential“。该模式根据色彩饱和改变变亮度，因此，不会影响到鲜艳的色彩，但他们，并不是饱和度。这可能是有用的，以防止在非常明亮的区域过曝（例如周围的光源等等）。
[next]step 13
under the “indirect illumination” select “irradiance map” and use “light cache” as the primary and secondary engine. also, change the preset to “high”, “hsph subdivs” to 50, and “interp samples” to 20.
•irradiance map – computes the indirect illumination only at some points in the scene, and interpolates for the rest of the points. the irradiance map is very fast compared to direct computation, especially for scenes with large flat areas.
•current preset – allows you to choose from several presets for some of the irradiance map parameters.
•hemispheric subdivs (hsph. subdivs) – controls the quality of individual gi samples. smaller values makes things faster, but may produce blotchy results. higher values produce smoother images.
在“indirect illumination”选择“irradiance map”和“light cache“作为主要和次要的引擎。另外，更改预设为“高”，“hsph subdivs“为50，“interp samples”为20。
•irradiance map-计算场景中的一次间接照明，并加用插值的算法。相比 irradiance map 计算是非常快的，尤其是一些空旷的场景。
•current preset- 允许您选择irradiance map一些预设的参数。
•hemispheric subdivs (hsph. subdivs)-控制细节gi的质量。较小的值渲染的过程更快，但可能会产生斑点的效果。较高的值产生更平滑的图像。
step 14
with a light cache, the light map is built by tracing many eye paths from the camera. each of the bounces in the path stores the illumination from the rest of the path into a 3d structure (very similar to the photon map). in the light cache put 1500 for subdivs and 8 for no of passes.
the subdivs determines how many paths are traced from the camera. the actual number of paths is the square of the subdivs (the default 1000 subdivs mean that 1 000 000 paths will be traced from the camera).
随着 light cache，light map 的建构是从摄像机的方向追踪许多眼睛路径。在存储路径中的每个路径的衔接部分形成三维构造（非常类似于photon map）照明的反弹。在 light cache 中只能是8到1500的细分级别
该细分决定了有多少路径是从相机追踪，而实际细分数量是路径数量的平方（默认1000细分意味着1000 000路径将是从摄像机跟踪）。
step 15
your settings for the test render are done. if you hit render now, you should see the same image that was shown before. now all you need to do is apply the materials, and increase the irradiance map and light cache samples for the final render.
进行完测试渲染后。如果你打算现在渲染成品，你应该看到类似的的图像，结果表明。现在可以应用所有的原有的材质，并增加irradiance map和 light cache的采样渲染输出成品 。
step 16
now to texture the scene (actually it’s quite simple). the basic parameters that will be used in materials are:
•diffuse – the diffuse color of the material.
•roughness - can be used to simulate rough surfaces or surfaces covered with dust. •reflect – the reflection color.
•reflection glossiness – controls the sharpness of the reflections. a value of 1.0 means perfect mirror-like reflections; lower values produce blurry or glossy reflections. use the subdivs parameter below to control the quality of the glossy reflections.
the shader for the tiles on the base is a simple vray material with a de-saturated texture in the diffuse and a noise map in bump.
现在纹理场景（其实它很简单）。将要在材料使用的基本参数：
•diffuse-用来控制漫反射颜色。
•roughness - 可用于模拟粗糙表面或灰尘覆盖面。
•reflect – 用来控制反射颜色。
•reflection glossiness – 控制的反射清晰度。值为1.0意味着完美的镜子般的反射，更低的值产生模糊的反射。使用下面的细分参数也控制的镜面反射质量。
对于在基本的瓷砖的材质需要一点一点丰富漫反射纹理，并在凹凸通道放一张简单的噪波贴图。
step 17
the wood rack is also made of a vray material with slight reflections and glossiness
[next]木头架也是一个略有反射光泽度vray的材料。
step 18
the material for the wall is again just simple cream and black colors with no reflections.
为墙体赋予一个简单的奶油色并把反射弄成黑色的无反射材质
step 19
the shader on the wall on which the paintings are hanging is made of steel and white wall. the wall part also has a grainy texture assigned to it.
关于在墙上的挂着的画和背景墙是钢和白墙材质制成。隔离墙的一部分也赋予一些木纹的纹理给它。
step 20
your scene is now textured! you can add any other props or objects you like to fill up the scene. the above rendering settings are good for test renders, but for production quality you will need to increase the samples for the image sampler, light cache, and irradiance map.
目前你的场景只是更新好纹理！您可以把材质添加给场景中任何你想要赋予的道具或对象上。上述渲染设置测试渲染是好的，但是渲染的质量，您将需要增加对图像采样器，光缓 存和光照图的参数。
step 21
here is the final result! hope you learned something new!!.
这里是最后的结果！希望你学到新的东西！
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