Hi Guys, my question is about Rendering time, i need my render time to be fast and reasonable. Here it is. A default cube of blender is exactly 2 meters. For example: If 'm planning to built a home which contains 2 floors (Ground & first floors), this comes around 20 - 25 feet (7.5m). If i model the house with the exact measuring will it make sense to reduce huge render timing? If i scale the model like if i’m not following any measurements and i’m just modelling as my wish & the model seems came like a non-proportional(like the house is now more than 7.5m eg: 25m) should i want to scale the lights or just by increasing the value of lights will it be fine??
Does My question makes any sense for this topic???
Thanks in advance
Hi. I think the scale doesn’t affect the render time… I could be wrong but I think cycles does not try to simulate lightning based on any real world scaling values. All that matters is pretty much the shape of the geometry and lightning & materials.
Yeah just scale your material and lightning settings to fit your scene.
i guess we will get more noise if we scale the scene…
Just model to the correct scale. It is not time that is a problem, it is quality. I know Lux is affected by the scale of a model. Just guessing that Cycles is not affected by scale seems kind of risky.
Fast and reasonable
Sounds like a description of Blender Internal.
Establish any correspondence you prefer between blender-units and real world measures: they’re all just floating-point numbers to the computer.
To minimize render times, build up each shot, shot-by-shot, in stages. Learn about compositing and MultiLayer output files. Here’s a thumbnail approach that works for me:
- Start by establishing what you want to be the minimal lighting-level in the shadows. Don’t let anything go completely-dark or blown-out white. World lighting is fine for this.
- Now, establish the midrange lighting that you want for the body of the scene – the midpoint light, and the lighting over “most of” the area. Look for cheap ways to do this well enough.
- Look now at what should be the brightest e.g. sunlit areas of the scene and determine the amount of light that you want to hit there and what light-power is needed to achieve that. The light through a window comes both from yellow sun and blue sky.
Now, you’ve set what Ansel Adams would have called “Zone 3,” “Zone 5,” and “Zone 7.” And you’ve given them numbers. Also at this time consider the color of the lights throughout the scene, using the color-wheel.
- Working within those three light boundaries, and checking frequently with the Histogram and the Colorscope tools to quantify what you’re seeing, carefully add lights … and if necessary, shadow-only or light-subtracting spots … to tighten the lighting setup within those numerically-quantifiable boundaries. The computer gives you the perfect “spot meter.” Measure, measure, measure.
Yes, this very much replicates the general procedure that you’ll read about in a textbook on photographic studio lighting, where it’s entirely common to create “sunlight pouring into the window” on a table on a windowless studio stage.