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V-Ray for SketchUp Textbook ■ Learn Create Inspire ■ vfsBook.com ■ Resources ■ Table of Contents
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the new
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V-RAY FOR
SKETCHUP
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TEXTBOOK.
1 Textbook by Moshe Shemesh. Architect

■ V-Ray Licensed Instructor ■ © All Rights Reserved ■ Edition 071
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Globus. Vegetation by GlobePlants, Boulders and scattering by Skatter.
Copyright © Moshe Shemesh
All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means
whatsoever without express written permission from the author, except in the case of brief quotations (up to
50 words) embodied in critical articles and reviews. Please refer all pertinent questions to the publisher.
To request permission, contact the publisher at moshe@vfsbook.com

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First edition: July 2020
Current edition: 071
Edited by Moshe Shemesh

Cover art by Moshe Shemesh
Layout by Moshe Shemesh
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Technical Writing by Jacob Gries

Translation: Ohad Yadai
Photographs/Images/Renders by Moshe Shemesh and respective owners
Not an official Chaos Group literature
Published by Moshe Shemesh
Moshe Shemesh, Architect

Rupin St
Herzliya, IL 46398
vfsBook.com

Introduction
In this book, we’re going to keep pace on two parallel paths: technical knowledge and
artistic development.
Technical knowledge will allow us to better control the V-Ray for SketchUp toolset and
settings, while also understanding certain real-world processes, such as photography
optics and the physics of different materials. This is a fundamental and essential piece,
however, since this style of learning is mostly technical, it’s relatively easy to learn.
When it comes to artistic development, we’ll focus on subjective topics, like the principles
of photography and visual arts. Through this focus, we will offer techniques for emerging
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artists to develop their creative style, while also enhancing their design and criticism
capabilities.
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Quick and E cient Knowledge Base
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This is our graph for the immediate future. The graph shows two knowledge accumulation
curves: One with the knowledge in the V-Ray textbook for SketchUp and one without it.
The textbook's guiding principle is to minimize the V-Ray learning phase. Additionally,
through this book, we’ll learn about the most efficient rendering methodology within
SketchUp in a relatively short period of time, while also maximizing the efficiency of the
features in the new version.

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As part of the V-Ray ecosystem, I established the official V-Ray Training Center with my
V-Ray team. This textbook was written by a V-Ray Licensed Instructor, licensed by CHAOS
GROUP and meets all requirements.
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Among other things, the Center serves as the Authorized Certification Center to train
visual artists for a V-Ray Licensed Professional Certificate, through which an online exam
and certification application can be submitted. Graduates of our course are eligible to
take the qualification exam through Chaos Group.
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In establishing the official training center, I passed the certification exam with honors. The
exam tests for knowledge, experience and technical skill, all of which we will use to solve
issues in V-Ray for SketchUp.
Today, I am proud to serve as the head of training as a qualified V-Ray Licensed

instructor.

SO What’s on
the Menu?
There’s lots of material waiting for us in the V-Ray textbook for SketchUp!
The book is divided into several different sections that will enhance our overall V-Ray
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rendering knowledge and skills.
Chapter One: Get Started

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We’ll start at record speed, and will only increase our pace from there! By simply starting
this book, we’re taking a brave step, one that will lead us down a fascinating path that
begins right now.
Chapter Two: Composition and Photography

First and foremost, we must slip on our photographer's hat. This will allow us to
experience an intriguing journey through the world of photography, as observed through
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the V-Ray lens.
Chapter Three: Illuminate the Scene

Whether it's daylight, sunset, dusk, or just artificial lighting from indoor space, one of the
main pillars of a photorealistic render is a space’s lighting. It will always have a decisive
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influence on the final render.

Chapter Four: Materials

By actually examining different objects, we can learn, specifically, about how the light
works, the reflective properties of certain surfaces, and how everything works together.
Through this study of materials, we can really learn how real-world physics and optics
work.
Chapter Five: Advanced Geometric Elements

In this chapter, we will take a look at some of the expert tools within V-Ray for SketchUp.
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Chapter Six: Finalize and Post-Production
The final chapter will mainly touch on the photorealistic render production process phase.
We’ll try to answer any remaining questions in this chapter, while also shedding light on
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the post-render digital image processing process, also referred to as post-production.
Let’s do this!
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Forest Retreat by Moshe Shemesh. HDRI by Noemotion (check it out in our resources webpage).

TABLE OF

CONTENTS
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It’s super easy to navigate through the whole document using the
search feature in Adobe PDF Reader. Just click on any hyperlink to get
to the content desired.
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These are the main segments of the book’s structure:
Introduction >
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Chapter One: Get Started >
Chapter Two: Composition and Photography >

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Chapter Three: Illuminate the Scene >
Chapter Four: Materials >
Chapter Five: Advanced Geometric Elements >
Chapter Six: Finalize and Post-Production >

Let’s Talk
Content
Quick and Efficient Knowledge Base
About the Author
What Are the Basic Requirements Before We Start?
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What are the technical (hardware) requirements?
Supplementary Materials and Sources
What should we expect to get from this textbook?
How We Will Use the Book
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External Sources
What do we get with this textbook?
Let your curiosity flow!
Download and Install V-Ray
Initial Settings
GPU Render Setup
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What Are the Basic Requirements Before We Start?

1. We’ll need basic SketchUp skills. However, I always recommend having the
knowledge of advanced modeling techniques, including handling, and also
mapping materials on curved faces and surfaces.
2. Photoshop knowledge isn't mandatory, but it can be a significant advantage.

Editing in 2D before and after the render is an important step, and a huge
advantage when creating the render, as it affords us more creative freedom.
3. How to work with plugins, and how to install and operate.
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4. Knowledge of 3ds Max, Autocad, Revit, or other 3D software is considered an
advantage.
5. Last, but certainly not least, we must possess the curiosity to explore, study and
trace real-world processes and phenomena! 😊
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Welcome to
the World of
V-Ray!
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Before we get started, we need a few things
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A large, wide screen.
An up-to-date version of A comfortable mouse (Maybe two or more LED
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V-Ray. This can be with a scrolling wheel. 23-inch screens.) A 16:9
downloaded from This is a must! It will Ratio is recommended.
www.chaosgroup.com enable efficient
navigation within a
model.
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Motivation is
essential!
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The Journey
Begins
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Download and Install V-Ray
Either install SketchUp or ensure that you have a version of SketchUp that supports
V-Ray. Download and installation includes a few simple steps:
1. Go to Chaosgroup.com, then to the ‘Downloads’ area.

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2. If you’re an existing user, you’ll be prompted to login. If not, create a new account.
3. Go to the ‘Trials’ section and start the trial version of V-Ray for SketchUp.
4. After the trial period starts, go back to the Downloads area, then download the
latest compatible version of V-Ray as a trial.
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5. Once you’ve successfully downloaded the version for SketchUp, save it to the
computer in a known location. Click on the installation file and go through all the
installation steps. The installation will also install additional software that is
required to run this specific software.
6. After the installation process is successfully completed, you can launch SketchUp.
The new V-Ray toolbar will appear immediately after it opens.
The trial version will be valid for 30 days after the installation date.

Remember: Perfectly synchronizing these three elements will

ensure a successfully balanced and realistic rendering.
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Lighting is a decisive factor, as it affects the 3D scene’s entire environment. Certain light
reflections, color delivery, and scene visibility will all be directly influenced by the setting
and, more specifically, by how much natural and artificial global lighting is in the scene.
How many times have you said to yourself: "Wow, what dramatic lighting!" But that's
exactly it! In order to place lighting elements in a scene, we must understand real-world
lighting. We also need to be meticulous with our planning.
Both materials and texture mapping are very important elements when creating a
photorealistic render. Each material has its own DNA, a set of different properties that
emanate from the imitation of a given real-world material. Correct, accurate mapping,
combined with the geometric object on which it is applied, will offer us a true, reliable
understanding of the real-world material we want to emulate.

The new version of V-Ray NEXT for SketchUp possesses a more interactive interface than
ever before. The V-Ray interface is built in SketchUp, meaning we don’t need to use other
software to render our model. With V-Ray for SketchUp, V-Ray is a plugin, which allows
us to render away and get real-time results inside SketchUp.
In the latest version, Chaos Group engineers have done an amazing job presenting a
brand new interface. V-Ray now displays an all-in-one window with all the resources we
need: settings, materials, lighting, special geometric elements and the V-Ray Frame
Buffer. There’s also a default menu, under the extensions menu and the right-click
context tools.
In V-Ray for SketchUp, there are few toolbars that can be docked as much as this
SketchUp toolbar.
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This is how SketchUp looks when V-Ray is in rendering interactive mode:
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Tip: If we hover over any tool in

SketchUp, we'll get quick information
about it! We can use this feature in the
beginning, and while attempting to
memorize the tools we’ll use in the
rendering process.
If we look at the new toolbars together, we can do a quick overview of the new
commands and the new V-Ray interface. Currently, V-Ray consists of four different
toolbars, each with different types of controllers. At first glance, we can probably guess

Changing the UI Brightness

These days, most software allow the user the ability to change the color of the UI to a
dark or bright color scheme. We can do this in the software menu below:
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If you don’t have access to this option, you need to download and install the latest
version.

V-Ray Render Engine(s)

Now let's get a bit technical. At the start of our last practice, I tried to answer this
question: Which render engine should we choose? The answer is a bit inconclusive,
however, in this lesson, I’ll try to explain the essence of using different render engines
according to the hardware installed on our machines (PC or Mac).
The V-Ray render engines derive their computing power from two components that
commonly exist on our high-end computers: the central processor and the graphics card
processor.
The central processor, or CPU, is installed on every computer. The other is the graphics
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processor or video card. As V-Ray users, we’re considered to be very demanding
hardware consumers. Therefore, computers designed for rendering, gaming, animation or
video editing will often have a high-end, standalone video card, complemented with
high-end CPU and powerful RAM (memory).
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It’s important to remember that there are some machines that don’t have a GPU installed.
It’s better to have one, but it isn’t mandatory, like the CPU.
So this is how it really looks, in both the V-Ray UI and in real life:
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Let's Learn
about
resolution
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We’ll often find ourselves producing renders using different software.
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The graphic output will be produced for different purposes, whether for web presentation
or print, and the rules will stay the same, no matter the software.
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Click Ctrl + to zoom in on the image above, to see individual pixels.
With this information, we can adjust the render resolution for a specific purpose and
enjoy an efficient render that fits that purpose. This way we can help define the final
output of a render, and exactly how many pixels to use.
In this lesson, we will learn how to determine the render resolution based on the final
product.

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In the following comparison, we can clearly see the differences, and the result, after
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noise-cleaning.
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From this point of view, there aren’t too many important or small details, making this a
great example of a high-quality, noise-reduction operation. The clear differences
between the two images mean that the denoiser has proven to be very effective,
especially in areas with plain surfaces, which commonly exist in architectural spaces and
interior visualizations.
*
Important Topic
V-Ray has to work 3-7 times harder (in terms of time expenditure)
than it normally would for us to achieve the same noise-cancelling
results that we get when using the denoiser.

Before we begin, we need to distinguish between three basic concepts:
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Perspective: This is the sense of depth in the image, or the depth perception,
represented by how we notice differences with distance in a 2D image. We’ll also learn
about depth of field.
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Composition: This term refers to the way objects are organized in the image area,
including what is included in the photograph and what gets left out, where the most
important objects are placed, and so on.

Below is an example of two point perspective by the 3D artist David Brufau. (Note: The
left vanishing point disappears out of the frame, which is not necessarily a bad
thing!) Vanishing points reveal the height of the horizon line, which we will expand on
later. In an architectural render, we mostly want to stick to Two Point Perspective. In
Brufau’s render, the vertical lines are parallel to the frame (the green lines marked Z).
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We also need to take a look at an interior render with a single-vanishing perspective. The
single vanishing point here is at the center of the composition. In this image, the
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perspective is maintained, as all the vertical lines (Z) are parallel to the frame:
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Artwork by David Brufau / dBrenders

downloaded from hdrihaven.com. I decided to leave the TV and window material, to add
some details to the clay render.
Here is another example of a clay render, where we excluded several materials (the top
image has been captured before excluding them):
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Without Override Materials:
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Gray Override Material Color (227,227,227 = RGB) on everything in the model except the
glass and window materials.

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One of the most spectacular visualization methods is a twilight shooting method. With it,
we can produce the sunset at dusk, with a still-dim and bluish environment and artificial
light emerging from the interior space. With this type of light strategy, we’re always
looking for suitable HDRI lighting and proper V-Ray lighting and lighting fixtures.
The above example combines evening light conditions, through a combination of low-lit
HDRI illumination and artificial lighting fixtures, in the streetlights and on the inside of the
building.
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Artificial
Sub-Chapter
Lighting
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Final Exercise of the Artificial Lighting Chapter
At this point, we’ve reviewed each lighting element and their unique characteristics in our
models, so the only thing left to do is practice using all of our lighting elements.
The above example contains a kitchen scene and a small dining area, which offers plenty
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of design opportunities with our lighting elements. We already know that each lighting
element brings its own kind of illumination, creating a pleasant atmosphere in our scene.
Point lighting illuminates a specific spot, creating a sharper, more precise shade. Surface
lighting, on the other hand, delicately illuminates and blurs our space, creating blurred
shadows.
This example displays a balance between the photographic value (EV = 8) and the other
lighting intensities and shades. Feel free to use different lighting shades with each body,
to demonstrate diversity.

Materials: Introduction
We’ve already learned about the three core elements of a successful render: lighting,
photography and materials.
Implementing materials with high-quality settings is particularly important, as is mapping

such materials onto geometry. In SketchUp, we can apply and map materials, however,
there are some limitations, which is why we also use V-Ray.
In this chapter, we’ll check on some of SketchUp’s features, and will see how V-Ray can
significantly upgrade SketchUp’s elementary materials properties.
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Let’s start with a comparison between SketchUp and V-Ray
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The above screenshot is of the SketchUp UI material window, displaying the simple
interface, with no advanced features or realistic material features. In the expanded V-Ray
material window, we can see the list of materials in our scene. (We can expand the
window by clicking the arrow in the center of the window. We will then be able to see
more details about the selected material.)
The difference between SketchUp and V-Ray is similar to the difference between an
illustration and reality. With V-Ray's material interface, we are able to create a realistic
imitation of a real-world reality, with a lot of different possibilities. V-Ray can calculate

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Plugin Recommendation
Round Corners
We know by now how important our painted (with texture, shade or complex V-Ray
material) geometric element is.
Now, I’m going to introduce an important plug-in: Round Corners. This plug-in was
created by the almighty Fredo.
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But why is it even important to round these corners? Obviously, we want to round all the
geometric corners. Allow me to explain: Look around, at keyboard keys, at the round
corners of the keys from up close, at the round corners of the screen. See? There are so
many rounded corners in the real world and, except for a razor-sharp knife, there are
really no sharp corners at all! Everything around us is circular, or rounded.
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Taking this into consideration, when we design orthogonal boxes in SketchUp, we always
want to round the corners, ensuring minimal separation before our final render. By
rounding the corners, we get a realistic-looking image, successfully imitating real-world
elements. Now for the demos and graphics.
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Exercise
We can find the Geometry Importance_Round Corners model in the

Chapter 4 practice folder.

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After we’ve placed all the trees,
we can see a composite list of all
the imported elements in the
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geometry tab in the V-Ray
Resource window.
At this point we should name

each of them, to differentiate
between them (for example,
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differentiating between a tree

and a bush).

What else can we do with V-Ray Fur?
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Length = 30 Length = 30
Gravity = 5 Gravity = 1
Resembles a lawn that has been walked Resembles a more natural looking lawn
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The iconic look: Noodle-shaped grass A field with tall, hard grass
Length = 50 Length = 50
Thickness = 0.5 Thickness = 0.5
Gravity = 1 Gravity = 1
Bend = 0.2 (fur curl) Bend = 0.2 (fur curl)
Clicker = 0.1 (starts thick and ends thick, Clicker = 0.9 (starts thick, ends sharp)
looking like a noodle) Distribution → Per Area = 0.05
Distribution → Per Area = 0.05

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Artwork by Piotr Zieliński
Post-
Chapter Six
Production
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In this final chapter, we’ll learn about the photorealistic render post-production process
phase. At this point, we already know how to paint elements, illuminate scenes, choose
compositions and take amazing photos!
But what do we do after creating our image? What do professional photographers

do?
We’ll try to answer these questions throughout this last chapter, while shedding light on
the process of 2D digital image processing.

Placing a Background in a Render

While creating our render, we aspire to create an imitation of the real world.
One of the crucial elements of a render’s composition is its background, often viewed
from the horizon, or through a window or opening. A render’s background directly affects
its environment, as it can determine the render’s ultimate background space, so it’s very
important to pick a suitable background image. (We can also choose to keep the HDRI
image that covers the whole scene with light and background features.)
Remember the lesson where we used adaptive dome light to illuminate a model? We
incorporated an HDRI image, and saw how when we illuminated the model with a sphere,
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the sphere appeared in the background, creating a holistic image.
For example, if we want to place a background that will be reflected through the openings
in an interior scene, we can use a painted curved wall, and we can position it according to
the horizon line and its projected height, as this is the easiest, most common method.
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Another example: If we take a picture of a high-rise apartment in Manhattan, we’ll be
able to see a few things through the window, including the roofs of several other
buildings, different skyscrapers and the ocean (the horizon).
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An example of placing a slightly burnt background image that matches the general
render’s color scheme and perspective. Render by David Brufau/dBRender.

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Volumetric E ects
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V-Ray’s Volumetric Environment Settings

In the real world, we often witness changes in the climate around us, especially in the
early morning, late afternoon, in the winter, or at the peak of a high mountain. Light rays
pass through particles in the air, and the more compressed the particles are, the less
visible the horizon will be.
The photo above is of a coastline, taken from an airplane shortly after take-off. But the
really interesting part of this picture is the atmospheric effect. The more we look away
from the point at which the photo was taken, the more we’ll be looking through particles
in the air, which ultimately will disappear into the white horizon. (Note: This isn’t fog, it’s
an atmospheric layer.)

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Rendering a 360-Degree, Panoramic Image
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With a 360-degree render, we perform a full spatial render of all the space in a given
scene, from every direction, from a specific point in the space.
Before we begin this lesson, we need to ensure that all the space in our environment is
well designed.
In this lesson, we’ll learn how to go through a virtual tour of a typical apartment. We’ll
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view the entire model from one specific point and will create a realistic render, then we’ll
upload the rendered image to some common third-party interfaces where we can get an
interactive view, and can share it with customers and colleagues.
Let’s do this!
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Exercise
Open the H Apartment by Moshe_360 practice file from the

corresponding chapter folder.

Pack Project
There is a great feature that lets us pack a whole scene with all of its resources, including
the model, the materials, the settings, the HDRI files and more.
The Pack Project feature offers several advantages. It not only provides a full, periodic
backup of a scene we worked very hard on, but also the ability to pack a full scene that
we can share with friends. By packing a project, we can also pack all the materials in a
scene, creating a nice catalogue of materials. There are countless other advantages as
well.
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We can perform this process with
a fairly simple command:
Extensions → V-Ray → Pack

Project.
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When the process is complete,
V-Ray will create an archive file
that contains all the files that will
be ready to share, or just to
backup.
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Tip
I recommend using the Pack Project command every time we finish a

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project, to safely archive it.
We already learned that our scene loads all kinds of asset files from
our local computer, and this could go wrong when we, for example,
buy a new computer, which will create new paths for everything.
If any of the files saved in our scene get lost off their path, they won’t
load in the future. This means that we’ll have to relocate everything,
which can be very time-consuming.
By exporting and packing a whole scene, we’ll make it far easier to
save, backup and use in the future.

10 Rules for an Awesome Render

Let’s wrap things up with a nice 10-rule list that is worth revisiting during every stage of
the rendering process.
I’ve listed a few rules or tips that will help us create the best possible render. I’ve created
these rules and laws from years of training, working on projects and teaching my valuable
knowledge.
Use the image to tell a story.

We can do this by using a radical angle, and by positioning people and
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characters. Our image will be much more interesting if it presents an
intriguing situation.
PL Exhaust all of SketchUp's capabilities (photography, style, FOV).

If we start to feel like SketchUp isn't offering us enough capabilities, we
can begin to utilize V-Ray and its immense rendering capabilities.
Always (and I mean always!) use an interactive render to get

started.
The Interactive Render is our best friend, and a best friend who can
save us a lot of hours by making quick, meaningful decisions.
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Always compare sketch renders from the history tab.
We can learn so much by looking at our renders side by side. (This is
especially important in the early stages of the learning process.) It’s
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incredible how much we can improve just by comparing different

renders.
Invest in high-resolution, dominating textures.

Sometimes we can forget that the predominant texture in our render is
an old, dusty SketchUp material. Look for some high-quality textures
and maps, so that the materials will be realistic, especially when it
covers a lot of the composition, and also if it’s close to the camera.

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PL Copyright © Moshe Shemesh
All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means
whatsoever without express written permission from the author, except in the case of brief quotations (up to
50 words) embodied in critical articles and reviews. Please refer all pertinent questions to the publisher.
To request permission, contact the publisher at moshe@vfsbook.com

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First edition: July 2020
Edited by Moshe Shemesh

Cover art by Moshe Shemesh
Layout by Moshe Shemesh
Technical Writing by Jacob Gries
Translation: Ohad Yadai
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Photographs/Images/Renders by Moshe Shemesh and respective owners

Not an official Chaos Group literature
Published by Moshe Shemesh
Moshe Shemesh, Architect

Rupin St
Herzliya, IL 46398
vfsBook.com


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1 Textbook by Moshe Shemesh. Architect

Copyright © Moshe Shemesh

To request permission, contact the publisher at moshe@vfsbook.com

Edited by Moshe Shemesh

Technical Writing by Jacob Gries

Published by Moshe Shemesh

Moshe Shemesh, Architect

2 Textbook by Moshe Shemesh. Architect

3 Textbook by Moshe Shemesh. Architect

Today, I am proud to serve as the head of training as a qualiﬁed V-Ray Licensed

4 Textbook by Moshe Shemesh. Architect

Chapter One: Get Started

Chapter Two: Composition and Photography

Chapter Three: Illuminate the Scene

inﬂuence on the ﬁnal render.

5 Textbook by Moshe Shemesh. Architect

Chapter Four: Materials

Chapter Five: Advanced Geometric Elements

6 Textbook by Moshe Shemesh. Architect

PL Search any keyword using Ctrl+F

These are the main segments of the book’s structure:

Chapter Two: Composition and Photography >

Chapter Three: Illuminate the Scene >

Chapter Four: Materials >

Chapter Five: Advanced Geometric Elements >

Chapter Six: Finalize and Post-Production >

7 Textbook by Moshe Shemesh. Architect

8 Textbook by Moshe Shemesh. Architect

What Are the Basic Requirements Before We Start?

2. Photoshop knowledge isn't mandatory, but it can be a signiﬁcant advantage.

3. How to work with plugins, and how to install and operate.

PL Let’s get our curiosity into the Render!

14 Textbook by Moshe Shemesh. Architect

21 Textbook by Moshe Shemesh. Architect

22 Textbook by Moshe Shemesh. Architect

23 Textbook by Moshe Shemesh. Architect

1. Go to Chaosgroup.com, then to the ‘Downloads’ area.

24 Textbook by Moshe Shemesh. Architect

Remember: Perfectly synchronizing these three elements will

29 Textbook by Moshe Shemesh. Architect

Tip: If we hover over any tool in

44 Textbook by Moshe Shemesh. Architect

Changing the UI Brightness

48 Textbook by Moshe Shemesh. Architect

V-Ray Render Engine(s)

78 Textbook by Moshe Shemesh. Architect

Click Ctrl + to zoom in on the image above, to see individual pixels.

88 Textbook by Moshe Shemesh. Architect

114 Textbook by Moshe Shemesh. Architect

Before we begin, we need to distinguish between three basic concepts:

127 Textbook by Moshe Shemesh. Architect

Artwork by David Brufau / dBrenders

136 Textbook by Moshe Shemesh. Architect

161 Textbook by Moshe Shemesh. Architect

197 Textbook by Moshe Shemesh. Architect

238 Textbook by Moshe Shemesh. Architect

Implementing materials with high-quality settings is particularly important, as is mapping

247 Textbook by Moshe Shemesh. Architect

We can ﬁnd the Geometry Importance_Round Corners model in the