3ds Max + V-Ray Masterclass | Everything You Need To Know To Create Photo Realistic Renders | Jake Denham | Skillshare

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3ds Max + V-Ray Masterclass | Everything You Need To Know To Create Photo Realistic Renders

teacher avatar Jake Denham, 3D Artist | Official V-Ray Mentor

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

57 Lessons (6h 56m)
    • 1. Introduction to 3D Rendering with 3ds Max + V-Ray

      2:26
    • 2. Installing 3ds Max, V-Ray Render Engine, Corona Renderer and Photoshop

      4:57
    • 3. Studio Rendering a Product with 3ds Max and V-Ray Render Engine

      20:26
    • 4. Using 3ds Max Scripts to Speed Up Workflow

      11:48
    • 5. Setting Up Plans and DWG Files in 3ds Max

      6:54
    • 6. Modelling an Interior Room in 3ds Max

      9:07
    • 7. Adding Windows and Doors in 3ds Max

      2:48
    • 8. Creating Wooden Floor Planks and Tiles in 3ds Max

      12:41
    • 9. Sourcing V-Ray Furniture for 3ds Max Scenes

      6:53
    • 10. Furniture for our 3D Scene

      2:45
    • 11. Adding Furniture Part 1

      7:13
    • 12. Adding Furniture Part 2

      5:36
    • 13. Adding Accessories Part 1

      7:38
    • 14. Adding Accessories Part 2

      8:02
    • 15. V-Ray Fur in 3ds Max

      3:55
    • 16. Fix Missing Textures in 3ds Max

      3:53
    • 17. How To Use Layers in 3ds Max

      4:52
    • 18. Introduction to the Material Editor in 3ds Max

      5:56
    • 19. Metal, Brushed Metal, Plastic and Glass V-Ray Materials in 3ds Max

      8:45
    • 20. Wood, Fabric and Colored Metal V-Ray Materials in 3ds Max

      11:48
    • 21. Create a Material Library in 3ds Max

      2:50
    • 22. V-Ray 5 Asset Library in 3ds Max

      1:44
    • 23. How to use the UVW Map in 3ds Max

      5:47
    • 24. How to use Real World Scale in 3ds Max

      2:32
    • 25. How Multi Sub Materials Work in 3ds Max

      4:19
    • 26. Unwrap UVW in 3ds Max

      4:45
    • 27. V-Ray UVW Randomizer Map

      2:53
    • 28. Create a Painted Wooden Door V-Ray Material

      16:16
    • 29. How To Create a V-Ray Wall Material

      14:46
    • 30. How To Create a Wooden V-Ray Material with Multi Texture

      5:50
    • 31. Create Tiles in V-Ray and 3ds Max

      9:43
    • 32. V-Ray5 Updates

      6:14
    • 33. Where is the VRayHDRI Map?

      1:03
    • 34. V-Ray 5.1 Updates

      8:42
    • 35. Using a HDRI (High dynamic range image) to light our 3ds Max and V-Ray Scene

      12:00
    • 36. Building an Exterior in 3ds Max

      12:50
    • 37. Camera Composition and V-Ray IES Lighting

      7:53
    • 38. Adding a V-Ray Light in 3ds Max

      11:50
    • 39. Depth of Field with 3ds Max and V-Ray (Create a Detail Shot)

      5:31
    • 40. Lighting a Bathroom and Adding Glow to Lights in V-Ray

      12:37
    • 41. What is Global Illumination?

      5:51
    • 42. Light Mix in V-Ray 5 for 3ds Max

      3:17
    • 43. Rendering images in 3ds Max and Rendering with V-Ray Cloud

      14:25
    • 44. Post Production in Photoshop

      14:07
    • 45. Why use 32 bit images?

      3:25
    • 46. Using 2D People in our Images

      2:06
    • 47. 3d People in 3ds Max and V-Ray

      3:56
    • 48. Adding 2D People in Photoshop

      12:05
    • 49. Bonus Lecture: 3D into Photography

      13:31
    • 50. Bonus Lecture: Fast Exteriors

      13:47
    • 51. Bonus Lecture: Five 3ds Max Tools You Don't Use

      2:02
    • 52. Bonus Lecture: 4 V-Ray Frame Buffer Tools in 3ds Max

      3:52
    • 53. Bonus Lecture: Camera Mapping in 3ds Max

      8:36
    • 54. Bonus Lecture: Edge Distress Workflow In 3ds Max

      5:08
    • 55. Bonus Lecture: Physics In 3 Minutes MassFX Tutorial

      3:05
    • 56. Bonus Lecture: Improve Your Realistic Interior Rendering

      4:43
    • 57. Bonus Lecture: 4 Quick Tips To Increase Photo Realism with 3ds Max and V-Ray

      3:54
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About This Class

In the class, we will learn how to use 3ds Max and V-Ray to create photo realistic renders. This is a project based class so follow ago and create your best renders yet,

Ever wanted to create professional computer-generated images? Join Official V-Ray Mentor Jake Denham (of Luxury Visuals Academy) as he shares everything you need to know to create remarkable renders.

Starting out with no knowledge of 3ds Max and V-Ray? No problem. This class will walk you step by step through the key elements of 3D rendering with the V-Ray render engine.

Meet Your Teacher

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Jake Denham

3D Artist | Official V-Ray Mentor

Teacher

I am a 3D artist and Official V-Ray Mentor who is passionate about helping aspiring CGI artists. Most of my work is done at Luxury Visuals - a site I created in 2011 to share my experiments in becoming a more effective CGI artist.

Originally from Cambridge, England I trained in Video Games and received a Masters in Digital Design from The University for the Creative Arts. This took me to Monaco to work for the yacht designer Palmer Johnson Yachts. From there I began working from my laptop and travelling the world. I hope you enjoy the courses and I look forward to seeing what you create!

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Transcripts

2. Installing 3ds Max, V-Ray Render Engine, Corona Renderer and Photoshop: Hi guys. In this video, I want to go over where we can get free DS Max v Ray Corona Photo shop. They all come with trial periods, and if you're a student, you can also get a heavily discount and even free versions of the software. I'm also gonna go over how I sat in my free DS Max once we have installed. So I'm gonna provide all the links in the resources. It's the first let's head over to, or a desk where you can download the free trial by clicking here. Next one, install Very. We can go over to the V ray trials and select free Rafer Feed. Yes, Max, click download. Here. We're gonna also install Corona cause it's hand if we want to convert models and materials And it also comes with a 45 day trial. And finally, we wanna install photo shop, which you can find here, get all of those installed on. Once that's done, come back to this video, open up for DS Max and I'll see you in there. Okay, so if this is your first time opening up three DS max, it should look something like this. There's some basic instructions on this welcome screen. This, um, useful woman. It startup movies here. But if you want to stop seeing this welcome screen at startup, you can just until this box and close it. If you do ever want to get that back for whatever reason, you can go to help and welcome screen. If you installed Corona and V Reagan, it's CDs to tour bars here, and these tool bars basically provide shortcuts to commonly use buttons. So you can always right click on any of these dotted areas at the end of the toolbar to find out which toolbar A is. So this one's V Ray. If we click over here, we'll see that this one is Corona and we can always just move them around. So I'm gonna put these at the top here and now I wanna talk about freeing up some space in Are you? I Your Max might start with the modified panel as just one column wide. I'm gonna put it out so it's too. I find that really useful when we are modifying things, so I'm just gonna shade so we can see everything that's in here. If it's only one column wide. Then there's a lot of scrolling we need to do to find stuff. So I like to have that two column white. So Max is quite big program, and there's so much stuff even doing here on a lot of the stuff we're not going to need at the moment. So, for example, this track bar, this is for animation, and we won't be doing any of that for a little while so we can go to customize show you why , and it's hard to track bar. So now we've already got some more room. There's also a couple of bonds up here that I hit by mistake. This order's gallery never never visit so we can delete that bottom the rendered to Cloud. I'm in the elite that, as I don't use your desk cloud and I also don't really use this graphite toolbar enoughto warrant. It actually taken up this amount of room so we can always just pull that off on Click This X to get rid of that. And honestly, I don't really use this pupil tab as much as it warrants the spaces shoes. I'm gonna close that, and now you can see that compared to our original max, we have quite a lot of room, a really important part of achieving realism in our work. It's having things to the correct scout, so we must always create things to the real world scale. So if a table is 76 enemies high, then when we model in three D space, it needs to be 76. Enemy is high this way. Materials and light will act the same way as they do in the real world, providing us with more realistic results. For example, if we draw a box, we can see that it only has generic units here. So it's 20 foot. Let's call it 25 25 something. So what we need to actually do is go to customize unit set up and let's make sure we got metric turned on and sent me is and system units out they set out to send to me is as well . So now if we hear okay, it's 25 centimeters high, and this will keep consistency with all of our sayings and models materials. So now we have our free DS max up. Let's save our custom. You I so we would like to customise save custom. You I scheme. Andi, I just put Jake after my file. Name and hit. Save it. Okay, if you've already, but it saved now. Each time you open up three ds Max is gonna open up with how we've set it up. 3. Studio Rendering a Product with 3ds Max and V-Ray Render Engine: Alright, so the first thing I'm gonna do is create a render as that's what we're all here for. I want us to get the ball rolling, publishing images online and gain feedback from one another, as well as building up unfairly eyes. So if this is your first time using 3DS Max or you want to become more familiar with the basics, you can check out some stuff videos here. If this doesn't pop up, the noise, go be here to help and guide to welcome screen. And it's the last one here. Or alternatively, you can always check out the introduction 3DS Max course. So in this video, I'm gonna demonstrate how to render products in SGA scene. And we're going to cover how to create studio environment, how to render using the ray interactive. And we're going to look at some of the postproduction tools within the freeway frame buffer. And if you haven't already, make sure you download the resources for this lecture. So having a 3D studio is great for testing materials and rendering products. And it's a great way to show a few models and start building your online portfolio. There are a few key elements for this. We have our backdrop, which is essentially R Studio, and then we have free lights and a product to render. And then I normally use a main overhead light, and then I use lies either side to soften up our image and add highlights. So let's take a look at how we can sap orange TDI seeing a will go over how to set up your 3DS Max in a later class. But there's only two things we need to do here. We need to go to customize and unit setup and just make sure this is uncensored me is, and make sure your system unit is on centimetres. And the only other thing we need to do is change our render engine to V Ray. For this demo, I'm going to use this Barstow, which are used in a recent projects. And if you have your own model, then, now's a great time to use it. If you don't, then you can always head on over to 3D sky. And I found this is one of the best places on the internet to get decent models. And you can go over to one of these categories, chair for example. And you can purchase a model or you can always go to the free section, and these are all free models. So if you just want to test that what we're doing here, then you can always do that here. And we need the need scraped countless free. And if you are using a model from pretty sky, just make sure that it is a V ray model. And you can just hit download here. And once you have your model downloaded describes File, Import and merge. And then heads where you downloaded your model. And here open, you can click on your model. And here I can say that that has been brought in. And you might get a pop up saying missing textures. And if you can just take cancer because I'm going to show you how. So that now. So if you just go with the file reference asset tracking Togo, you'll see all the files in your scene and you see that the files are missing. So what we wanna do is just click the top one hour shift. So you selected a more, I'm gonna right-click on it and go to set path. And that path, which is going to browse to where we downloaded our model. And you should see the text is in there, the state use path. Okay? And you see that these are now really linked and the status is okay. And you can see there are now textures on model. So now we've gone model in. I just want to move the pivot because they can see it's in the center of our object. A good practices to have it always grounded on the floor so that when we move around or rotate in a is always on the ground. So a quick way to do that is just a hierarchy effect pivot. And I'm just going to turn snaps on by pressing S. I'm going to right click up here. And instead of grid points, I'm just going to change that vertex. And in options we're gonna go to enable access constraint. And this is going to do is snap to texts of the model. And this, I will ask you to just keep it locked in z. Then you can see I'm pulling my pivot point to the ground. So maybe in front view, I've just pressed EFT guys in the front view. You can see I can now snap certain areas of the object. And we just want to on the ground so we can turn that off. I back to perspective. And you can see that we now grounded. I'll show you how to make a script to speed that up and in another lesson. So let's just go to our front view again. And what we wanna do is just make sure that that is facing forward. And I'm going to zoom out a little bit. I'm gonna go to the Create tab. Let's start by creating a box. I'm just going to click on box, click and drag in April. And it doesn't matter about the dimensions because we're going to type them in, say here, 1300 centimeters by 2500. And I'm just pressing up and down to go between these dialogue boxes. And then we're gonna go to the Modify tab. And in the drop-down, and I'm gonna go to Edit Poly, I'm gonna name box backdrop. Okay, so now under the Modified tab, we're gonna select edge, select this back edge, and we're gonna go to Shambhala and click on this sense dialog box. And let's change this to 200. And I'm gonna change this to 20 segments. And here, Okay, if I press F4, you can see that we've added a nice gradient here. And I'm also going to just select this face. And now I'm going to delete this face. I also want to pull this backdrop forward. I'm just going to go out of this election and pulled out this way. Then we're going to add a v, a material to this backdrops and then press M on the keyboard. And if your material it looks different, e can go to compact or slay in modes, would She's compact for now go into slightly run. And I'm going to click on physical material. And we want to change this to a standard material, which is here and v raise you, just select that and hit OK. And that's going to change that to a generic view or material is true that backdrop. And you just want to make sure you defuse is on 128, which is quite a neutral gray. And I'm going to click on the backdrop. And here assign materials selection. So now we have a gravy raw material on our backdrop. I'm going to close the Material Editor. And we're gonna go through the top view by pressing T. And in the top you express S to turn off snaps. And I'm going to create a physical camera. So I click on that and click and drag. And then I'm gonna go to the left by personnel. And I'm going to select the camera holding control. I'm going to select that camera target as well. And I'm going to pull it out. I'm gonna go back to the top view. And that is create some lights. I'm gonna go to Create and lights which is here. And in this drop down we're gonna go into V ray lights and just create a theory light. So click and drag. I will stop here. And we can move this the center as the cherries. By right-clicking on these dialogues, these dialogues will move your objectives selected. You can also use the gaze mice, but this is more accurate. So you could move this to 0. We can right-click on these up and down arrows and it will move it to 0. And then we'll go back to the left year. Let's pull this up above our chair. And back in a top view, I'm going to create two more lights, right? Oneness side. I'm gonna make this 11 meter by one meter. And I'm going to write am. You can see as we rotate that, we can't actually rotate it very accurately. Armenia is quite hard to snap it. So I'm going to undo Jackie's and control zed. And I'm going to click on angle snaps. You can right-click on this and just make sure that your Angular snaps is on five degrees. Tonight on an MME data that's going to hit 90 degrees. And I'm actually gonna turn this on target. So we can see we've got a target and it's now on the chair. So when I move this light is always going to be targeted in the chair, which is useful. And now I'm going to make a copy of this over this side by holding Shift and clicking and dragging. And we wanna make sure this is a copy. If it was an instance, then everything we did to this slide would reflect onto this slide. So if we made this light blue, this will become blue and we don't want that. We want these to be separate lights. So I'm gonna make that a copy and hit OK. And I'm going to pull that back around here. Now if we press C on our keyboard, we are gonna go to our camera view. And F3 will change this into our shaded people. And I want to open up our render set up. And by pressing Shift F is gonna show us our safe friends, which is essentially what's gonna render. So you can see that we have our output size set here. And if I set this to 20052 thousand is now square. And we can zoom in here. And using the middle mouse button, I'm just dragging around. We can use the obit camera as well as put a camera up a little bit. Pull that back down. I'm going to move that to one side. I'm actually going to rotate it. And I'm gonna make a second chair in the back. Make that an instance is I'm not going to change materials if you change your materials. So for its Make that a copy. And I'm going to write say. And when you're working in this view, can be hard to use the Axis Constraints on the gizmo. So you can also use the dialog box is down here. Side, Alex, okay, for now. And one other thing I wanna do with the camera is you can quickly select your camera if you click here and select camera. And in the perspective controllers, I just want to turn on OTA overt till and more or less going to do is show that as straits ever click that, you'll see what happens and it just makes a nicer image. I'm going to pull that out and touch. Now we can go into V, right? And I'm going to stop the interactive render. And we can say that is really overexposed. So if we click camera here and turn on, overexposure v array will automatically exposed image, which is really handy and really quick way to stop rendering. So I'm just gonna move this around. It's really nice that we can see what's happening to our render as we change things in the viewport. So I can see he's backed chairs actually Benford curve. So we're going to want to move everything forward. So that's all our camera back. Select out to objects. And let's put them forward. So you're going to want to move the lights around a little bit, perhaps the objects. And the best way to do this would be in the top view. So if we went to the top view, you see that our render would change. So let's go back to the camera and change our viewport to two viewports. And you can see which he puts active by the yellow box around it and it's highlighted. So I'm going to select the one on the right and hit camera. So now that's rendering. But if I want to move an object in here is going to change back to render in the top view. So let's go back to camera, open up our renders out. And let's lock this camera view so we look in this active you in ice that damn. Now when I go to talk to you, is gonna continue to render our camera. So this now means that I can make adjustments in the top view, made lights around, and we're still rendering in camera view. So we can take a look at how powerful each lie is using the V ray light LR. And this is a list of all of our lights in our scene. So you can turn them on and off here and see what each line is doing. So this overhead light around it. I'm going to bring that down to six. The one on the right, like number two, let's put down 50. And like number frame, let's put down 60. And we can see like it's really dark here because the Lycee quite close if we pull that back in, see what that's doing. And so it's really nice eases interactive render to light your scene. And you can also go into the front view. Pulleys up. Perhaps you can move the target if you want. So if you right-click, you can select the light target. You can pull that up. Probably pull this up a little bit. And you pull that in. Los wanna see some highlights on the edge of his chair. And she gonna rotate its chair around a little bit more down and really want to see the light and this edge. Great. So something else we can do is add some color trees, lights. So what would be cool is have some warmth coming in in this side and perhaps some blue to make the temperature cooler this side. And through that we can change colors in here. But more realistic effect is T is temperature. So if I pulled like to down to 5,500, you see that the lights become more orange. We can pull that right down and you really start seeing effects predominate like 3 thousand for example. You see that as really orange. And we can do a temperature online free, which is this one over here. And say we put down a thousand, you really going to have a clash of colors, but we don't want anything too extreme. I suggest five thousand, five hundred and seven thousand, five hundred. So we can close are like this and now we're happy with the lights. And I'm going to show you some of the colour corrections we can do in the viewer_iframe buffer. You may have noticed that if you pull the frame buffer size around, it will resize and start rendering at that scale. And I'm going to open up, show color Corrections. I am going to first show you how to delete color Corrections NBA next, if you're using the array five, then it's going to look a little bit different. And if that is the case, then feel free to skip to around the mini 18 for him. But I'm going to show you the same kind of corrections using the viewer_iframe buffer. Now instead of exposure, and you should be able to guess what that does is gonna make our image brighter so you can partner up. Color band will get rid of some of the overblown areas, but that's going to come at the cost of contrast. What balance is the temperature of your image ever turned on? You can make it warmer or cooler. And now we can just leave that as is. What we will use is levels. And we can put in a little bit more brightness. And let's add. Curve as well. So I'm gonna put a little S-curve on it, give it some pop. And we can see what that's doing there. So I ran a second, quite nice. Just make sure you've got composition that you wanna use. So I'm just going to make that be smaller, hunger hide. That's I've got more room, my desktop. And perhaps I can just zoom in a little bit more Stan unsafe frames by pressing Shift F and just get these nice. So I'm going to stop that, interacts the render Render Settings. And I'm going to change our renderer from progressive bucket. And I'm gonna hit render. Okay, great, so this is finished rendering. So we can save this out. Oh, hey, save up here. And we'll call this render dot JPEG and hit Save. I've already saved it, but save it to your destination. So you see that the verify frame buffer looks a little bit different way works very much in the same way. Over here we have our color Corrections. And instead of them already been there, we actually add them as layers. And this is a really powerful new way of doing a color Corrections. So we have the same tools down here, so we've got the exposure, we can make it brighter. The highlight burn is going to help get rid of some of them overblown areas. But at the cost of contrast. We also have to white balance here. And we can change the temperature so we can make it a lot warmer. But we don't need that for now. And as you can see, we can actually turn on and off these ladies just with this eye icon over here. And we can also delete them if we're not using them. We can also add a curves and add a small S curve to make the image a little bit. And the, some of the really cool stuff in here that will take look at later on. But for now, that's looking quite nice. So once we're happy with that, we can go back to our Render Settings and less changes the bucket. And we'll hit render. Once that's finished rendering, you can just click the Save button here. And I'm just gonna call this one studio V ray five. I'm going to type dot JPEG. Or you could always select your format down here. And I'm going to hit save. And there's your first studio, Brenda. 4. Using 3ds Max Scripts to Speed Up Workflow: Now I want to show you how we can make a copy and paste script. Often I need to grab objects on material that I've created in another scene or from another project and take it from one MAX file to another. So for example, I want to grab this bed and I want to put it into a new scene. So if you've ever used actions in Photoshop for repetitive tasks, and this works in a similar way. What we're gonna do is record a sequence of events and then add it to a keyboard shortcut. So efficiency is really all about how many clicks you do per day. The less clicks you take to do something, the more efficient you are. So if it takes you one minute to complete a simple task five times a day, that's five minutes per day, and over a five-day work week, that's 25 minutes a week doing a simple task. And if you can reduce that down from one minute to ten seconds, then it's only 50 seconds per day and it's only four minutes per week. So you're improving the SPD a workflow by 84%. So this does sound a little too good to be true. And obviously there are some upfront cost of writing the script. But once it's done, it's going to save you time in the long run. So let's run through an example. So I'm gonna select my bed. I'm gonna go to File Save Selected. I'm going to say they're as bad. I'm going to hit save. And I'm going to go into my other Maxine, We're gonna go File Import, merge. I'm going to browse to our folder. Select bad, hit open, select the bed here, OK. And there's our bad. And now I will use script. So I'm going to select our bad. I'm going to hit chief say I'm gonna go to our other sane. I mean, he can chose shift Fe and theirs are bad. So let's take a quick look at how these two scenarios work. So we select our object, we go to File Save Selected, we navigate to the folder. We name the object, we save it. We go to the new Maxine. We go File Import merge. We navigate to the file. We click the file, we click in poor, and we select group, and then we import. And what we really want to do when we write our ion script is Selector object. We want to hit control shift c and then we wanna paste it will control shift T. So this is basically select object, save selected. And in the new scene, we want to merge our Copy Paste file. So let's have a look at how we can write script to do this. So the first thing I want to show you is the MAC script listeners. So Guide to scripting and manuscript listener. And in here, we want to enable the macro recorder. And what that's gonna do is basically record everything that we do with scripts. So this is really what's happening behind the scenes in 3DS Max. So we can delete all of this and we create teapot. And we copy this and paste it here. Let's just delete the current teapot. And then when I hit Enter on NES, it will create that teapots. So this is the code to create the exact teapot. Let's say we wanna create that tea pot, but we wanna make it bigger, spread down here and in the radius, let's change this to 50. Okay? And it's creativity pop up with a radius of 50. So if we want to repeat this task, we can just copy, just gripped, paste it here and hit Enter. And the same thing will happen again. So this is quite powerful. Lets say we want to change the color of this table. We can select it and we can go here and let's change it to red. And if we copy this, it basically means wherever selected to wire color will be red. So if I select this object, Enter, it's gonna change our teapot to read. So this is kinda the behind the scenes and we can copy and paste stuff together to make some pretty quick scripts. Now Max script can be a lot more in depth than this, but this is how I quickly make scripts to streamline your workflow. So let's delete all of this. I'm gonna get rid of all of this. And let's just create a box for now. And just to keep things clear, I'm in late that I'm going to go to File, Save Selected. And I'm gonna go to New Folder. And I'm going to call this copy paste. And here. And, and I'm going to save this as copy paste. So we can see that to save our selection as copy and paste, this is R code. So if I copy this down here and paste it in, and before he enter on that, I'm going to open up our desktop copy and paste folder and we can see the file we just saved here. I'm gonna delete that to make sure this is actually working. I'm going to hit enter and it says, okay, so let's go back to our folder and there's, I'll copy and paste folder. So we've saved a few clicks there, so that's pretty good. And now what we wanna do is merge this voter in. So let's just write merge MAX file. And let's just copy this path. Here. I'm gonna delete this object. And let's see what happens when we run this. There we go. The file we saved is now been merged em. So basically these are two scripts. So let's take a look at how we can make keyboard shortcuts for days. So I'm gonna go to script him. I'm gonna go to New Script. And I'm going to copy over our cocky. Script. Now there's a couple of things we're gonna wanna do cuz we're gonna wanna save these as macro scripts. So we're gonna put a line above our current script. And we're gonna type macro script. And I'm gonna call it copy. And you can see the copy is currently in blue because max actually thinks that that is a command. So I'm just going to underscore that makes sure as black. So that's the title of our script. And then I'm going to write Kat, sorry Kat, a caret. And in quotation marks, I'm just going to call this luxury shows. You can call this whatever you like, your name, for example. And there's one thing we need to do, and we just need to put our script into brackets. And then we can go to File, Save As, and I'm going to save this as copy. And then I'm going to start another new script. And I'm going to copy over that first line. And I'm gonna call this one paste. And we'll keep it in the same category. You'll see why in a moment. And I'm going to copy over our merge script and make sure that that's in brackets as well. And this guy is File Save As. And I'm going to call this one paste. Now in each of these I'm going to get tos evaluate all and evaluate o. So we can close this down now. And now we can get to customize. So first I'm going to demonstrate how to do this in 3DS Max 20-20. And then I'm going to show you how to add them using 3DS Max 2021 and beyond. So if you're using 3DS Max 2021, then feel free to skip to around the nine minutes, 40 mock customize user interface. And the keyboard, we're going to click this category drops down. And that's why we added a category. And we're going to scroll to luxury visuals and you see copy and paste here. So I'm going to select copy and I'm going to assign control shift C to this as the shortcut. And he assigned and on paste, I'm going to hit control shift they, and I'm going to assign that. So now if I select this object and I hit control shift, say you say they quickly saved. And if we go into a new Maxine and her here control shift, they that's our object. So if you are using 3DS Max 2021, very much the same thing here. We're going to copy script guided tours, evaluate all. And I'll pay script tools evaluate o. Difference is under Customize. Rather than going into the user interface, we're gonna go to the hockey editor. And when we open this up, it's going to look a little bit different, but nothing to worry about. And we could scroll to see for copy, or we could just type it in here. So I've typed in copy and we can see our categories Dan aside, there's luxury visuals and there's our copy script. So I'm just going to click that. I'm gonna press control shift c and assign that. And let's search for our pace script as well. And there's our pay script. And let's assign control shift j. And then we can hit done. And yes, you want to save them? And said these as hotkeys. And now I'm going to select our books, control shift C to copy that. And then if I delete that box and I press control shift T, you'll see we've pasted in our object. So let's take a quick look at how this works. In a biggest scene. Let's let this side table control shift c. And we're going to another saying Control Shift. And as object and light before because we've made changes through user interface, should guide to save custom URI scheme and say that over our version. So as you can see, scripts in and create an actions is a really powerful way to speed up your white flight. 5. Setting Up Plans and DWG Files in 3ds Max: So this the mood board for interior scene we're gonna create. I also have a d w g for the layout, and you can download this from the resources. If you're creating your own render for a client, they will usually give you a two D plan on. More often than not, it will be for more iChat or similar software, so you can always ask them for a D. W G fall and then import that into three DS max. So we're gonna get this model in section done as quickly as possible. It's not the most exciting part of seedy I, but it certainly is necessary. So if you already know how to model an interior shell, then feel free to skip ahead. You can also download the finish model in the resources, but you never know. You might pick up some tips from the video When starting project. It's important that all of our files are in one place. It can be easy to get into bad habits where some things could be on the C drive. And when you come to render on a network, you're gonna have missing textures. If you're working in a team you're gonna want to know where files are. So one saying is, start with the end in mind. Andi, if we have all of our textures, lights and max files in one place, is is gonna be much easier if we move machines. Or, as is often the case, went into archive scene at the end of the project. You I keep all of my projects in a project folder called Projects. And in the project folder folders with project names on before the project name. There will be a number, and that depends on what job number is for me. So if this is your first project, called it 001 underscore interior is utilize Asian and then within free DS Max, Let's go to file project Andi, create default and go to your project folder. And this is where you're going to start building up your library projects on within interior visualization, double click and select folder. Now, if we open up that folder it in When those explorer you'll see that it's now created a set of folders. So you've got auto back so freely s Max incrementally backs up the faux you're working on every 5 to 10 minutes. So if it does crash, you will have a recovery point. And you can put your downloads in here. Scenes is where we'll keep our for DS. Max files on previews. Congrats, client. And then you got your final render outputs here. So we'll be using This is our file structure for the project. If we go to import, this is where we want to put our DW Jeez, or our image files for our plans. So if you've downloaded them, then paste them into here and you'll now see if we go Teoh file Import Import by Defoe We're going to go to our import folder. So let's select interior visualization And here open on let's keep all of our defaults and we'll see that we now have a cap plant. So I'm gonna select our plan. I'm gonna rename me, I'm gonna call it Interior Plan and I'm also going to right click, go to move and then you'll see down here. This is where we can move gives my If we just right click on that and this will work on any spinner with these up and down icons, that's, uh, plan on 00 zero's if I hit said resume to see that our interior plans and now center of our Maxine. Now we need to just check that are dw G's are to scale. So the best way to do this is in the top view suppress t on the keyboard and per assume to zoom extents. And I'm impressed, g to get rid of all grid. And I'm just going to quickly create bucks and see how wide this doorframe is on. We can see it's 85 centimeters, which sounds about right for our adore with so we could delete that box. Now I'm gonna hide this and I'm gonna show you what to do if you only have an image file. So I'm gonna create a plane, and I'm just gonna have one in both the lymph on which segments and let's click on our plan image opening up. So this is what it looks like. I'm gonna right click on it, go to properties and details and I can see the dimensions here, so I want to keep our proportions the same. So when we're scaling it, it's not have wax. So you see what I mean? if I just go back into Max press F free to see this as a solid go back to our import folder and drag and drop of plan image onto it. I'm gonna turn off really well, map size, and we can see that now we have, ah, plan on a plane and you can see there's no correlation with the image. So we kind of just map in that randomly, which we don't want. And we want to put in our proportions from our properties, which is 11 85 by 836. So I'm gonna plug that in here and now that's the same as the image show these proportions should be correct on. We can also see that our image isn't really showing up to clearly. And we can fix that over here. Configured view ports on dunder texture maps. Let's just put in 10 24 we hear apply. You see that? We can see that look better. Something here. Okay. And now we want to do the same thing. This build a box and let's just see how why this is. And I believe I said the other door frame was 85. This just judging on that And this isn't such a scientifically accurate method, but just scowled up to make sure that we roughly have the right size. If you're modeling from an image, it's not going to be exact anyway, so I'm just re scaling that on. I'm gonna delete that reference box and then selecting our plane. I'm gonna move that 2000 again. 6. Modelling an Interior Room in 3ds Max: So going forward we're going to use this CAD plan. But the concept is the same if you're using the image plan. So what we're gonna do now is build these balls. And the way we're gonna do that is create splines which aligns around these walls and we're going to extrude them up. And then we're going to build a ceiling and a floor. When then I'm going to bring in some windows and doors, place them, and build a wooden floor and also some tiles in this room. So let's get going. I'm gonna go to Create shape line. And I'm going to turn off this keyboard shortcut override. I'm not entirely sure why the switch is on by default, but we don't need it on. I want to right-click on snaps toggle, and this is currently on grid points. I'm going to turn that off and change its vertex. And I were in options. I want to turn on snap frozen, which will allow you to snapped frozen objects and enable access constraints which will constrain of that text and axis. So we'll close that. And when I turn it on, you can see there are Kazaa now snaps the vertex. You can press S to turn this on and off as well. So let's click, click and just draw around the walls. Don't worry if you're not completely accurate here. You can always tied him up layer. So you could go into modifying and grab one of these birds if they're not lining up. And you can snap them to not want to make sure they're strain. If you miss a vertex, say for example, we forgot that in later refine. And you can click here and you create one, and then you can just click and drag that into position. So I'm going to turn off the vertex guys create lime and just draw this other side out. And we'll close that spline as well. I'm going to right-click to stop Cray in line. And I'm going to name this walls. And I'm going to go to extra rates. I just clicked the modifier less acts to extrude. And the average height of the wall is around 240 centimeters. So let's plug that in. And then I'm going to press page guides perspective, view. We've created some wars. Now what we wanna do is create the walls over the windows and the doors. So the first thing I'll do is create Box as reference and click and drag that. And I'm gonna make that 200 high as that's about the height of a dole. Now, if you've been given elevations, which aside, CAD plans, basically you'll be able to use them as reference, but for now we're just eyeballing it with averages. So that's my reference books. I'm going to click our walls and press F4. Now show a wireframe and over modify. I want to add an editable Pauline as a couple of ways to do this, you can click the Modify list, and that's Edit Poly by typing ED. And you can also create some buttons here, which are essentially bookmarks or shortcuts. And to do that, it is clicked down here, can figure modifier sets. He said how many one. In this case I've got two. And I've clicked and dragged LA poly IBA. And also I use uvw map. So you can find anything he max in less by just typing in or you're looking for. So I'm just pressing you on here. And as uvw map, and you can click and drag and drop that here, okay? And then just click here and show buttons. And then you've got you show cards here. So I'm going to add an Edit Poly. And I want slight edge and this edge and this edge and hit Ring. And that's going to select all the parallel edges. The reason I selected one here, one here is because they're not attached. So if I had selected that and hearing, you don't get them ones. So I'm gonna hit control and that side and hit run. And now I want to connect. And here I K on that. And because we've still got snaps on, we can pull that up and snap that to the top of our books or reference books. So I'm going to close the edge. Select our reference books again. And now I want to change that 60. So that's going to be the high of our window. Select r balls again. And the same things like these two edges and he'd ring. Let's connect them. Hey, i k for these down and snap to the window reference. We can close that. And let's just delete our reference box. Now. Let's select our moves again. And select polygon. And I'm going to select these two faces, delete them using our own rotating. I just wanna jump in here and let you know them rather than deleting the face and then selecting the border and bridging, you can actually just select the face and the face opposite and bridge the two faces together. And I'm going to delete these two. I'm going to select border, which lets only open edges. You can see I'm just clicking and dragging and select these two top ones and hit bridge the bridge the gap. And the same here as bridge that gap. And it's like polygon again and the same for the top of the door. Late dies. Select border and here, bridge. And we also want to do over here. But first we need to create some new edges. Edge, click and drag to select all of those. And we're gonna hit Connect. And okay. And as you can see, the outer edge is not in line with the enter, and that's because of this edge here. So you guys on a medium between it's a, so I'm just going to select these edges and I can snap them to the interior like that. And loop will select that loop. And then I'm going to click and drag and line them up. And then select here rings like this time. Hey, connect. And tried to interposition selected desired faces. The late, select the two borders and bridge. So got a wolves in quite nicely. Now. Now let's build a ceiling and a floor. So I'm gonna go to top you. I'm gonna go to Create. And same again, I'm going to select line and I'm just gonna draw around our whole object. Close the spline. Guys modify at an Edit Poly. Once again change the color of this so we can see it better. I'm going to go to the front view. And you can see we've got a plane. We want to add some thickness to this, that is time unless you just Shell modifier. So just type them as hate. And let's put our ten centimeters. So that is our ceiling. So let's name it. And then I'm going to hold shift and click and drag that down to the floor. It's making a copy. As cooled it floor. Hit enter. And this time let's change the outer shell. And this man came in and this guy bats perspective view. And you can see that we have a ceiling and a floor. 7. Adding Windows and Doors in 3ds Max: in the resources folder. You're gonna find a windows and doors file on. These are objects have already modeled for you, so we can copy and paste these induce in our script. So let's select these two objects on control shift. See? Copy. Andi, There's control, Chief. Eat paste, ease in And I'm just gonna hide. Are selling and wars. So now I got windows and doors. So what you want to do is line up your doors, moved its window out the way I'm gonna turn off snaps now. So that s And if you want to increase the width of the door, for example, you can just select over this side and make it bigger or smaller on the same with the height and you can see here on the cat, the door opens this way. So we're gonna have a handle their andi holding shift. I'm gonna click and drag that cross. I'm gonna make this one a copy and call it far from door. And we actually want a hand, do the other side so we can mirror this in the UAE. And then let's move our window into position. Now I'm gonna right click Unhygienic all on. We want toe line this up with our war. So I'm gonna hold control, select the wolves, use, isolate. And then we differ, Tex less pushing parties into position on That's, like in about right gonna pull that in a little bit as well. So just small overlap on the interior off the war. Let's on. Isolate on bond. Select the ceiling. Right Click. Hide that. Let's just make sure these doors lineup okay so they can find looks good as well. To now go all windows and doors in. 8. Creating Wooden Floor Planks and Tiles in 3ds Max: now, I'd like Teoh. Add some wood floor and some toes in the bathroom. So to add the wood floor on the tiles, we're gonna need a plug in a cord floor generator, which we can get from CD source. So let's go to software floor generator and there is a free version, which is basic, and then with the paid version, you get to make some more advanced floors on dure. Gonna need a profile here, so sign up if you haven't already got profile. Once you're signed in, you'll be outed. Download the standard version here, and while we're here, let's also download multi texture, which is gonna help us for materials layer and also unique material. I d. Download those free and back in our projects. Photo. Let's go to downloads on well paced them in there. So wherever you've downloaded them, copy and paste them into down lines here. So just we're just keeping everything together for this project, and you can start by unzipping these. I do believe when there's 10 comes with its own on zipper. I used rimrock just hit extract to okay, do that for each. Now let's look at installing them so we can delete the files and we're open up floor. Jen on. You'll see. In this read me file, we want toe copy and paste this into our max photos. So which want to find plug ins? So select your max version. In this case, I'm using 2020. I'm gonna click on there and copy. Now, when you use him, Max, people are often going to refer to the root folder, which will be on your C drive program files or a desk and the version of Max. So if you follow this path, you should be out of fine plug ins in here, and you can just right click and paste and multi texture that goes into plug ins as well. So we'll copy version 2020. Copy. Um, pace that him and continue. It's close that So we're gonna need to restart Max. So let's save our work and make sure you save in scenes. So, in your project folder scenes and I'm just gonna call it's modeling for now. So I opened up Max again on and in the top. You I want to draw around where we want our wooden floor. So let's create a sublime and we turn snapped back on and Lester straw a rectangle here and I re modify going to go down to floor generator. Intend that on and you can see what that's done that's created some wooden planks, so I'm just gonna change the color of this for reference. And they're rather big. So let's change the max length Teoh six hundreds and with 15. And you can also rotate the planks in the general dialogue section here. So in direction you can rotate them. So let's put in 90 and I'm gonna go into perspective. You just to see how this is looking okay, was not on the ground on also, when we drew a rectangle, it wasn't lined up. So in the modify step wouldn't go back down to the line he used show and result. You can turn it on and off to see how this is gonna turn out. I'm gonna select off attacks and I can see that it was this straight vertex I'm selecting that. Go to move on. Let's just snapped that said it'll flat and then we still got snaps on. So I'm just gonna pull it down and snap it to our floor. It's going to front view, and I can see because of that. For Tex, being misaligned are pivots in the wrong place, so that hasn't actually grounded. So the way to fix this would be to go to hierarchy, affect pivot, and I want to snap that to the bottom of our object, turn off effect, and now we can snap that to the floor. So it's quite thick and it's actually stopping this door from opening. So in the extreme has changed at 0.35 this guy into perspective, Andi, I can see that bevel is far too much as well, so I'm going to change that like 0.5 and turning off the wire frame. I can see that the grout lines as well with you thick so we can change that there. 2.2 asses well, and there's a wooden floor. It's looking quite nice on. Let's do the same for the bathroom. So in the top you, let's draw a line around up, offer him 10 snaps back home. If he isn't already draw that this time, let's make sure it's on the ground before we begin back in perspective. You. Let's add flow generator change the color you can see. We can bring this up to the edge of the door. I just got back down to line and we can select a segment and we can put it around. And it actually all Natalie updates, which is a really handy way to do this. Now. This time Robin Wooden planks. You want tile? So let's make them 600 by 600. It's very 60 by 60 Senate. Me is I don't want any offset. So if I change that to zero, you can see that now they're all lined up. So that's how you do your you off saying, And there's our tiles on the floor Now. If I want them on the wall, I convey to very tape holding shift. I take this and you see that it's no snap into nineties. It's really hard to choose. 90 Selous Cancer. That and it's right. Click on angle snaps tool. Make sure the angles, not some five, and let's click on angle snaps, which is a on the keyboard. Old and shift you can see now were retained by increments off five degrees. Make that Co p cool. It will tile and will snap it to this war. Let's pull it up. Lining up. Got that down to the line. Put show and result on Select that top edge and snapping visitors to the reef. That's right. Status again. Nine c. Make it copy brew for tile. Let's change that to snap it to the wall. Pulled out across lining up. It's looking pretty even, but let's just make sure that snapped. That's right. Take that one. I e like Kobe, take over to the other wall Now, later on, when we're doing the materials for this, we can always change off grout size if we want, depending on what total we're gonna use. And I'm gonna write eight this one by 1 80 And let's snap that over a swell. And now, obviously, we've got doorframe here, so it's a solved that we could go to line. I'm gonna turn off our show and result. Andi only select Vertex on Refine Onda. Let's put of Vertex in here and here and then we can just select this one aunt snap it to here Now when we go back to floor generator, you say that we've cut out the door. What we want to do is, well, is make sure that these grout lines lineup is that that's how did be in real life. So you can see that the side ones haven't lined up. Nor is this one. So we can easily do that using the offset tours here in general. I can see that there No, actually, all the way to the wall. Let's go back to the line segments. Let that just make sure that that is going all the way. You don't want any gaps? Same on the other side. Great. There's our toes for a bathroom. It's now I'm just gonna unhygienic Oh on going to say that as modeling. Yes, I want to replace it. And that's our model in section completes. I'll see you in the next lecture. 9. Sourcing V-Ray Furniture for 3ds Max Scenes: Let's take a look at source and some furniture and props to add to our scenes. If you're working on a client, project will normally get given a brief from the plan on. They will specify furniture and finishes. Andi. Here's an example of something you might expect to receive. Sometimes you'll receive more. Organized brief. Maybe you'll have pictures and links and furniture names. It's gonna very a lot. The format you receive it in could very might receive. It's a flat image like this or you might receive it is a Pdf or it could even be a list in an Excel spreadsheet. So to find the items, they might come with a name so we can just google it out if there's a link. Obviously we just follow that link in crime and find piece of furniture, and then we can find the specs. If we're gonna model this, find them here. There's also some more reference images that we could use. But if you end up with something like this and it's just an image of the chair, if you've got it as a PdF, you can always right click and save is an image on it and then Mrs name lecture. And if you say you've only received it as a image file, then what you can do is open up your image file. I use something called Green Shop, which is linked to print screen. So when I hit that, I can actually slept certain areas. Or I can select a whole frame and I can choose to copy it. I can open in the editor. This is what I like. This is why I like it. I can add annotations and text to something on, save that image point things out. So I really recommend checking up green shop. But what I'm gonna do is quickly captured this image and again I'm going to save it. And this time I'm gonna save it is chair spring. So whichever way you received your brief, he's a two ways to kind of extract that image out of it. And now what we're gonna do is open up new Web browser Onda We can go to our followers, saved them on whichever one you want to use, it doesn't really matter, can just drag and drop that into crime. I'm gonna right click and search Google for image. We can see lows, variations come up, but we can see down in the search that this is a bow concept sung in a middle mouse. Click here on that wiped out in a new tab. This techniques also good. You can see that the resolution of this image is quite low. If you ever need to search for high res images, this is a good, good way to find them. As received. This image is actually 2000 pixels wide so we can see a bigger version of it. And it's called, Charlotte insisted. A different color, sis. Pretty clever that Gu can actually find it even in a different color. It's Bibeau concept, and we can see the product details down here. There's always worth checking down here because sometimes the manufacturers actually have the freely model. If you can't find a model, then it's always useful to have the dimensions and the product sheet. But now we know the name of this. We can copy this on this go with Afridi Sky, so the reason I always go to freely Sky first is because the cost and the quality of the models are the best that I found online around $6 model. It's really a no brainer when you think about how long it would take it actually model with something like this so we can see how many times these models have been downloaded. So the way the arts makes money is that they will sell it multiple times. So we conceded this subject sold for 30 times in search up here. Let's said Charlotte, chair by concept and we could see quite a few have come up. I'm gonna Middle Mouse clicked. Open this in there. New taps. That's pretty handy. You can open any links with the middle mouse fine in a new tab, and what I'm gonna do is put the side by side so we can compare the models. So what? I'm looking to purchase a model with a few things I'm looking for. Firstly, the quality off the images so we can see that they're both pretty good quality models. This one's got a couple more angles on. It's always useful to check for comments. Normally, if there's a problem with the model, someone will comment down here. There aren't any comments on even these, so both seem good divorce. I got ratings here. So few people, A few more people rated this one over this one. Another thing we want to look for is the render engine. So this one's actually Corona. And this one is very and corona. So as we're rendering in V ray, preferably, we'd have a very model. If a Corona Modelo is where you can get them, we can actually convert it. But just for ease of use is always bad just to have the same renderers. And finally, the date of publication is always interesting. So we can see that this one was published in 2000 and 19 and this one in 2020. So this one being more recent, I would prefer it just to avoid any compatibility issues. So based on the quality of these images, there are any comments were working in V ray. So I prefer to veer a one, and also that this one was published at a later date. I think we found our model on it would be this one. There's a couple of things before I wrap up. If you're really struggling toe idea product, then firstly are supplying Andi. If that's not possible. Then you can always ask on Facebook or Twitter and he's saying Apart hosted a few years ago pretty bad photos. But I got some good feedback and managed to find what I was looking for. If you're struggling to find a model in Freddie Skied and also check out design Connected on and tabai squid, these both have pretty good quality models. And finally, if you can't find the model you're looking for in any of these marketplaces, then you can always do a Google search. So I begin with product name and type three DS max. That would always be my first search and go to image search on bond. There you can see how freely sky model. And if that didn't car where any results, then I'd go to free D and see if there was anything available in a different format that I could potentially convert 10. Furniture for our 3D Scene: Okay, so now we're gonna take a look at adding some furniture in props. If you've been following along so far, you can have something that looks like this. So now we're gonna have some furniture to our rooms. I've chosen these pieces furniture, as they gotta love nicely with our mood boards were keeping with that mood on. We've got this bed here, these bathroom accessories, more buffering fixtures cut and and also toilet Thies to have free models and these free are paid for on I'm going to download with these. And you can do that by here, in here, So it down like them. Great. So now all of these have downloaded. What I'm gonna do is cut them on and paste them or into our import folders in that project folder. We've got this project and import. I've just pasted them in there. So what I'm gonna do is create folders for each of them and unzip. Um, so this is the bed. So in here I wanted to new folder is called his bed and just drag and drop that into there and let that one is it. And here we go. Bathroom set, say, same again. And most this one is the So I left turns. Finally, please, a bathroom. Accessories. So now we can delete aces. They're just taking up space on a computer. And these are all our models we're gonna want to import. 11. Adding Furniture Part 1: So let's start by opening up this bar from set folder and see what we've got in here. So we've got a Corona an aviary version. Let's fire up the beer. A version, and from this model or we really want is this sink area on and the shell. So they are conveniently grouped as that, as I can see on the shower. You know, we want to bring in that Flora's well will be not them slippers. So I'm just holding control and selecting all of these. In fact, I'm gonna slept these two objects in this group them called him shower. I'm gonna use a script from earlier control shifts, see a copy, and then we'll open up our main scene file on and just place them in using control. Shifty Nana. So in a top view using T, I'm just gonna move these into position and rotate them. And I'm gonna have that shower in the corner there, holding out the selecting that just moved that into position as well. The sink. Make sure that's up against the wall and in the front view 1% free, so you can see fruit and just make sure that that is all lined up with the floor, which it looks like it is. I'm actually just gonna bring it up a bit. So it's on top of the tiles rather than until are based on something a bit more like that. Pay perspective and you can see we've got sinking shower in there already. It's the next. Let's bring in the curtains. Open up our folder and we'll go back to import curtains. This open this up. The first thing you notice when opening up these cartons is you're gonna get Corona era on . That means that these were creating Corona. So now is a good opportunity to show you how we can convert Karan and Wonder was to be Ray at the beginning. This class I mentioned to install Corona you don't even have to activate it for the conversion toe work that you should have installed anyway. So we'll close that dialogue on day. We're gonna guard here and change our render engine to be Ray. So this is in the render set up changing to be right next. Andi, Ideally, we would right click here and they used to be a convert to V ray, but in here, but in newer versions, it doesn't seem to show up. So I'm gonna show you now how we can find that fear a convertible. So we'll go up here, we're gonna right click, customize you I and just make sure you go to quads, which is this right click. But in here and in this category, drop down, Let's go down to be right. And these are all the options we can add. So these are divided lines and these tools we've currently got in there. So under this beer, a menu we want to go to convert all seem materials to be raw materials. And I'm just gonna put into the bomb about stack. And now, when we right click, we can see the racing come by here so we can close their customers. You are right. Click and convert seem, we'll just take combat. And now these They're gonna have the rain materials applied. So that's control shifts. Seeing copy. Um, and we'll put into our main scene on we can see that the scout these air the's huge kinds. I'm gonna just right. Tell him one i e. And bring them closer to our window. and they're also quite wide. Before I Scalise down, I'm actually gonna move the give it because it's gonna be easier to scale him from this point. Then from the middle, you'll see if I scan them from the middle, then we have to keep moving it down and re scaling to get it aligned. So be easier if I just go to the hierarchy effects pivot. And I'm just gonna move this down to the bottom, can actually use snaps, snap into the ground and you're seeing now when I scouted subject, it's gonna scouted a ground so I can really get that right. And then I'm gonna go back to the top view on. I want to scout this by about 50 on this. Move that closer to the window on just going to my perspective. You to take a look at this? Yeah, they look pretty good. Maybe a little bit flat. So let's just scare him out again a little bit. Make sure they're not touching the wool. Andi, they look all right. So let's open up our toilet model now, Robert, and keep opening up new Maxine's. We can actually just drag and drop them into ones we currently have open. So let's go back to the toilet. I'm just gonna drag and drop it in there and just open the file. Don't save changes on again. We consider this is a Corona model. So I'm gonna go to render South change it to be Ray and right Click and be racing. Qambar. Convert that. And then again, I'm going to copy it and paste it into our main scene. We're going to talk to you and grab that. Rotate it by nine e. That was a bit of a wid place for its pivot. So let's go to effective it. Send it to OK, let's fix that. Lets now move that into position against the wall around here and we'll go to the front view on. We can see that it's not actually the correct height, and it's going through the ground. So it's just build a reference books off the ground and in the high. I wanna have this five centimeters off the ground. I'm time no snaps with the s key. And I'm just gonna pull that up around here and there. We have a toilet in 12. Adding Furniture Part 2: Now let's open up the bed model. And this is such a nice model. We're gonna just copy. Place that into here. You can see how useful copy and paste script is at times like this and how much time it's saving us. So let's go to the top. You this word tight, This moving into position, we can see that this is all one group on groups of great because they keep or these things in one place. I'm gonna want this bed up against the wall. But then that means all these photos have gone through so we can open this group animal press f free and we can see what's within it. So these photos, they can move over here on Let's just make sure they're against the wall music cult to de select that one. Just push it back sets leaning up against the other photo, the other picture. And then I'm gonna move these bedside cabinets on the accessories on, um, bit classes in the bed on report It's one back to the wall on, closer to the bed again on I don't think there's any room for this. It's stolen the end of the bed so would delete that on. But that's looking pretty good. Finally, let's get the bathroom accessories in and from here, we want to get this story. Roll this group that on, We're gonna grab this bins brush. In fact, they describe these guys and we really group them as well. Quick, tell around. And we should Kotis throw unless you're so crap these hooks No, Call them hooks as she described these hooks instead. So we'll group this on the court. We're gonna take these hooks this time around this robe in, uh, brush. I think that's about it. So let's copies on this government about seeing we're gonna go to the top you And here's a rough stuff. So here hooks for the back of the door and you're probably thinking, Well, we're not going to see the back of the door. Oh, you know, some of these things might seem minor, but we do have a mirror here, so it's gonna reflect that we've also got, um, a little reflective chrome in here, and it's just important to build house set just because of reflections. I just want to quickly show you this image, and this is done for Grundig. Andi, you can see if I zoom all the way in that the reflections on here we've actually built all of this behind the camera just pretty much for those reflections. And it's those kind of things that are really gonna at the realism to your image. And although people only soon it there, um, I wonder if we could see some of the stuff in here is world reflections. This stuffs all really important. So that's why we just build the whole set. So with that being said, let's put these on into the bathroom door. I was compress F four so we can see where when that coincides with that. Now this craft, these go back to the top, you for this and just bring him in. And this police taro over here, it's be rotated when i e. It's just position that I think we have a bathroom on by just gonna move that up straight in front of you. Great stuff 13. Adding Accessories Part 1: So let's close up this bed group to clean things nice and neat and mrs looking cool. We've got Riel full set. There's still a couple of things that we need to add on. I think light switches here. Plugs. I think we need to add a curtain row in here. We also need to add some spotlights to our ceiling. So first the curtain. Well, I'm gonna go back into the top view, and I'm gonna build a box. I'm gonna click and drag, make that about the length of the Kearns and pull it up. I'm gonna make the height two centimeters on limped to its enemies as well. Let's make this a nice round number just to keep things clean. And then I'm gonna isolate this selection using this button here on in perspective, I'm going to go to the bottom of it. Adam is for Polly. Select these edges on. Slipped over with ease. It is here on hit connect. Let's connect him twice. And I'm just gonna pinch these out to about 90 A. I expect to consider is one here and one here. And then what I'm gonna do on a precedent force organ Cibao, select this face on. If we select ring is gonna select all the parallel edges on, let's connect again. This time I expect we don't need it to be 90 a. Maybe something more along the lines of 56. Andi, I'm just gonna select that interface on I want to extreme. I want to pull that up so you can see what we're doing. We just add in basically a small shadow gap and let's put minus 1.5 in there, okay? And then in the top few, it's just moved that desk, that is to rouse gonna make a copy, and I'm gonna attach them together and then in front view, Let's bring that up. So it's the ceiling, which we can't see. But I know the ceiling comes to here, so but that perspective you you can see now go coming around, See that these hooks air coming through the door just pushed them forward a little bit on. And now let's take a look, see if we can get ourselves some light switches and plugs. So I found these switches and thes spotlights on day are both free models, which is great, But if you did wanna purchase something like this is great. I mean, needed last your lifetime, Andi, you could just use them over and over again. But for this demonstration, let's just use the spotlights which look pretty good. So we're down like these. And also, the switch is a great I think we're gonna use these in the bomb left here. So we're down like those as well on once these air downloaded, we're gonna move them to our import folder on I've just extracted him here. So again, let's name these switches, which is something like that. And these will be spotlights. So first, let's get e switches in. So I'm gonna open up the V Ray version. Mr. In a far we've already got open. So I'm just gonna drag and drop that in open, but said changes and we've got loads of lights, which is here. So go to top. You impress shift F 10 and say friends off. You see what we're doing? A little better. No, it's these bottom left. Ones that we wanted. So these are all part of a big group, so I'm just gonna, um, group that and basically just keep selecting these until I un group right down to the bottom layer, which would seem quite deep, very good. So there's quite few parts of this well to this one. Certainly there's instances. So what I want to do is just collapse that and a touch. That's just one object and let's go that light switch and then I'm going to select all of the's hide un selected, select one piece of this, collapse it or and we can attach them individually. Or there is a dialog box here, so everything that's visible should sharp here. If you can't see it, you've probably got one of these un selected, so make sure that these RL blue and we'll hear attach. Now that's all one object. So I'm gonna call that plug now if we can hide everything These there are two objects who want the rest. We don't so we can select them both and hit control high. And that's going to select the inverse and I'm gonna hit, delete, and there's a light switch on our plug. Select these Both copy, Um, and it's paste them into our main sea, and you might get a stupid cut material and what it's saying is that there's two materials now in this scene with this name. So what I'm gonna do is use renamed merge material on That's just kept them to materials as different materials. So here are switches. Assume in. I'm gonna write tape days. I'm rotating by 90 and this is positional switch first. So I'm gonna do that. Talk to you. So we need one. When we come in, the room here looks pretty good, and we'll need one for the bathroom as well. So make that an instance, and we'll put that by the bathroom door. That's great on. Let's also put some plug sockets, I'd say, under the lights, which will be fine. They will put another instance over here, and this is check the heights, which are off this movie's up. Actually, they're a bit high, said pulled him down to the ground 14. Adding Accessories Part 2: Now let's get some spotlights him. So we'll go to spotlights and we're driving drop days in. And we only really want one of these for start. So this is all the group again. So this group one group we could relate that delayed this one on this group. All in this together more bullets spotlight. And just for a copy and paste that in, I want to change to pivot on it. And I want to change it to where it's gonna interact with Syrian, sometimes snap some with s and snap the pivot to about here. And now we can copy it. I'm well placed into a scene on in the top view this. Grab it. And I think we're gonna want six lights in here, probably for in here. So this position, knees holding shift, and I'm gonna make these an instance. Actually, before I do that, I'm going to create a cylinder around it. I'm gonna use that cylinder as a shape to cut out of the ceiling on, but it's probably not the best explanation, but it will become clear once we have placed the spotlights what we're doing. So I'm gonna make a cylinder about as big as the spotlight. Let's give it a least for two sides on in the front view. We only need to have one height segment to it, but we do want it hired and that make it about two centimeters no more. Three centimeters on, and I'm gonna bring that down into spotlight. In fact, it needs to be 3.5 centimeters. Great. So let's let by for days and not the rugs. I mean old piece like that on. Let's bring that up to the top police, Selim. So we can snap that top there, you see, it's gonna come in quite nicely. So in the top, few hold shift and drag and moved ATCross. It's making an instance on. I won't select this other spotlight here owning shift. Drag these two to the middle of the bed instance. And this time, let's I had a number copy. So we got two copies in here and you'll see let's create another set of lights. I really side, which is great. I'm going to de select this spotlight. Hold shift on, move these into the bathroom return of snaps cause it snap into tiles. I am is one over here. Make an instance on control. Select that spotlight. Use oak to de select the floor on, then shift drag position thes booklets and make him an instance. So now we have our spotlights positioned so the's cylinders own selected more in the quickest way to do that would be controlled. Que and control Q Is a great shortcut to know it selects all similar objects, so we now have all of our cylinders selected. So with that in mind, let's unhygienic or slept our ceiling on. We're gonna isolate this selection and why I want to do is select this first, Celinda, I want to make it unique because we instance Immel thes Airil instances of each other. And that's not what we want. Added it is, Polly, and I'm gonna attach all of the cylinders, not the ceiling. So let's select that Celinda holding shift. Select all of those he attached. And now these are all one object and what I'm gonna do is removed the cylinders from the ceiling. And for this we're gonna use a tool called boo lean. Andi, to be honest, is no one of my favorite tools because over the years it has tended to crash free DS max, but in more recent versions it has become a bit more stable. I'm just gonna pull these cylinders down a little bit, select the ceiling, go to create compound objects, Belene, subtract and then we're gonna add surrenders to these to this list and you can see that that has removed our spotlight hose. So if we unhygienic Oh, and that's hard, these walls so you can see what's going on. We can see now there are spotlights. Are there less? Delete those cylinders Now on. There's our spotlights. We can see there nicely interacting with the ceiling as well, and I think we're going to need to do that. We've our plug sockets in the wall. So let's let these to plug sockets on. Heidel slept the walls quite un selected on Let's create. I mean, we can just use a box on these, so go to create standard primitive box, please, or great as well. Then we can draw on this war. It is useful, this position that so you just keep in mind whatever we're creating is gonna be removed. So let's just make this deeper. F ready to see how far this guy's something like. That's great. Hold shift and moved Atcross as a copy and this attach these to objects Gonna select the war. And again this guy's compound objects lane subtract. Unless at these at those two boxes we created now we can see the dustbin cut out of the war . So let's annoyed a lot. That's the leaders boxes. Andi, There we have it. We've got a scene modeled. We've got everything in. So if you've been following along, you have got yourself quite a nice really seen, So I'll see you in the next lecture. 15. V-Ray Fur in 3ds Max: Hi, guys. In this lesson, I want to talk about theory for you may have noticed that the rubber we brought in with the bed model has something called the Wraith are attached to it. Now, this is actually attached to the rug, and it produces for So I'm gonna open up our studio seeming we create in the earlier lesson . So he refers it all. We used to create phone for DS Max on. Differ isn't actually in the scene. If we were to model for or Hair, for example would take up a lot of geometry and a lot memory, the for is actually only generated dream render time. So it's a great very for we need an object to apply it to. So if we create spear this, just make it 57 meters. I was gonna move it out to here. I'm gonna go over to the right, Andi, refer to as soon as I turned it on. You can see we're now, but for on our object, you can also use this button here to quickly create. For it would do exactly the same as with the very first it just make sure you haven't object selected and we can see already s great. Some really nice looking for Let me just hide this. So the gator looks pretty nice. Let's take a look at some of the settings we can use. So here on the Lemp, this is gonna dictate how long each strand of hair is. So as you can see, that's made it a lot shorter. And then fitness. We could make it really thick. And, you see, it has turned into a more of a carpet looking for and then the gravity is gonna dictating which direction this for fools. So perhaps if I make this Glemp oil, just make it 20. So we can really see was going on on this move. Dis gravity Teoh zero, for example, is just gonna go straight outwards. And if we put it plus free is gonna go up. So this is kind of dictating the gravity, and we've also got bend and you can see what that does plays a role with the gravity. So we put a gravity to zero. Then we put the Ben one to fire on. And then we also got Taper. So what that's gonna do is it's gonna make the tips off each strand thinner. We can see that in here. So the thickness is the same of the base, and then it gets thinner. Next this distribution control. So you got per face so you can see that's now distributing per face. If we turned up, you'd get more per face. Her area seems to be the way to go to put on one. We're gonna have a lot more going up. And then if we put out on 0.1 is gonna be a lot less down 2.1 There's a lot less. You also got cold here, so? So you can co each strand has changed area back toe one. Andi just want to show you that if you create another object you can actually selected for and in the modifier you can change the sore subject. So now it's going to apply to the box and then you comply back to the sphere. So essentially war rug has in our sane is this firm on fire attached to it? So it's always worth adding organic objects, the visuals, things such as plants, cloths for what really well to soften up. The scene on just really pushed the realism of the render. So that's be right for 16. Fix Missing Textures in 3ds Max: So now I want to talk about Lincoln Textures because we've brought in models from various places. We need to make sure that we keep all the external assets in order. And these could be image files that we use for textures, I s files that we use for lights or even hated er images that we used to like our environments. So up until this point, we've only used images for textures and we can see when we open up our file, we've got missing external files. So let's just take continue. And we can see what fires a link to in our asset tracking window, which could be found in file reference asset tracking dialogue. And we can see we have a lot of file missing here. And that's because these textures are linking or their path is to a path. There isn't actually on my computer. So a way to fix this is to select board of these bed Texas, for example. Right click set the path and we'll click these dots here and we'll head to our project folder and ah, motto is in the import and we'll go to bed. We're going here. Maps on our textures are all in here. So we hit use path here, Okay? And we'll see that this will update, and it should say, Okay said these paths are now all okay, so our textures a link correctly. So there is a quicker way to do this. And that's using the script called Reeling Bit Maps, which we confined here. There's a link in the description as well. So head over here and download the latest version. Make sure it downloads is an M, said p file. I know some people have had trouble within an Explorer, and it downloads as something kills. So if that is the case, then you can just rename your file. And I am back in Max, this guy Teoh scripting and run script Moorehead to where it's downloaded and open. And you see that reeling bit Maps is now installed so we can go to customize customized user interface and just make sure you're on tour bars and go to Colin Scripts. And there's our tool. So let's make a new tube of on call it whatever your name is. So I've called mind Jakes toolbar and I hit OK, and you're seeing my tool bars. Now here, I'm gonna drag reeling bit maps onto it. And just like the V Rain Corona ones, we can now place thes wherever we like. So I'm gonna pop that over here, and if I hit the button, he's gonna open up reeling Bit maps. Now, if you use this tool a lot is worth Don't a in and he'll get rid of this pop up for you on we can see order missing bit maps over here on this side Weaken Set past that. We use the short cuts over and over. But for now, let's just go to browse. Well, guys, for a project on all our father in import. So I'm gonna hit select folder and there's a great option here. Search sub folders. And that means it's going to go into all folders within that folder. So if I hit re link now, you can see the Progress bar, and it's gonna find all of our textures so we can close that. And if we refresh asset tracking, you'll see that everything's OK now and everything linked to the correct place so we can close that and to see what effect that's actually had. If we take the roof off will now be able to see all the textures on our models 17. How To Use Layers in 3ds Max: something else that's important in free DS max and when you're collaborating are layers. So if we got here, there's a button called Toggle Layer Explorer. If you click that and turning on, you can dock it over here on the left, grab him. So this is quite important when you're working with complex sings. Probably more complex than this, but it's good practice to do anyway. It's good when you're collaborate with other members of a team, and it's also a quick way to turn on and off certain objects, such as the ceiling. So most of our assets have been pawned the default layer, So I'm gonna just turn off the ceiling. Onda. Let's take a look in the bathroom and what I'm gonna do. Select all of our assets in the bathroom and I'm going to right click and say, Add selection to new Layer and then I'm gonna click on that layer right click and rename it . I'm gonna call it zero to frame, I said, and you'll see why I've called it zero to. I'm gonna call cameras and lights 00 and then I'm gonna call the shell zero once a day. They will be sorted by numeric order here. So now if I turn off the bathroom assets, you can see we can easily turn these on and off. And if I want to add them spotlights, for example, I can select these four I can, right click and say, Add selection to and New Parent and pick. So I'm now gonna pick bar from assets and they're going to jump into that layer so I can now turn all of that on enough. So keep that turned off and again and towels on the back. This at those something right Click. Add selection to the parent and select bar from assets. I'll do the same with the bedroom assets. So the bed I select these spotlights. I've missed them and I've selected the floor some. He's an old to de select. Select the curtains Onda curtain rows, right click. Add selection to new layer. Andi. Click on that layer, rename zero to bedroom. Pass it, animal. Turn that off and then we can also select our cat plan. We're gonna have to unfreeze all, and then we should be able to select him on. Let's right click on it. Add selection. Suing new layer on rename this very easy right from the school plan. He's been on the school. Close that and hide it. And in the rest of these elements Ah, the show. So I'm going to right click Add selection to new layer. I'm renamed this Sierra one from the school show. We can turn that off. So now we have nothing in default apart from ceiling, which I'm just gonna drag and drop into shell. And now the focus is empty and lost him here. Let's create a new layer. Click the new layer, right click 00 camera on and it's great. One more rename it. Here's their school life. Andi, this is how we're gonna structure. Are layers going forward? So that's layers in three DS max. 18. Introduction to the Material Editor in 3ds Max: So now let's talk about materials. Most materials can be created using the standard free rein material, and you can create up from the browser. So in here we just click here and go to be Ray on Vero material, which is here, and that will change this to a very material. And as we can see currently, everything's a physical material and we can actually change all of them using something called default switches. So to switch off three ds max to be rate as default, we can go to customize custom, you and default switcher and select Max free right here and it's set. And here, okay, and then we want to restart free DS Max. Okay, So once we've restarted that, you see that they will have changed some of the stuff in Are you I so we can go through Just do what we did earlier on. Go to customize. Just hide the track bar and save some room. Portis out. And I had my V ray in Corona tool bars down here, and in fact, I had him the other way around and I'm just gonna hide retinas. Well, so now when we open up our material editor and let's go back, Teoh Compact. Now all our materials in here are Vero Materials. So there are two material modes in free. S. Max. You got compact mode, which has been around since I can remember. And then Slate Material editor is the newer off the to the slate meteoroid. Uh, let's see a lot more of what's going on within our materials so we can right click in the canvas and create material is quite quickly. We can pull out off the diffuse, for example, Andi at a map, and we can also create a map and pull out of it straight into the material so we can see what's happening a lot bad. And if we were in the compact material editor, you have to flick through all of these to see what's happening beneath the surface. So for that reason, we're gonna be using the slate material editor going forward. So to start up, let's open up our studio scene and we created earlier. You'll also be able to find this scene in the resources on Let's open up the material editor and press em to do this. That's the short cup and this created very material and see what we have. So we're gonna double click that and we'll see that the V ray material parameters will come up here. You can also create material by just dragging and dropping it into the canvas. But I found the quickest way is just to right click and create from here. So for that reason, we can go under tools and just close that until we actually need it. I'm all about trying to free up much real estate as possible so we can see more of what we're actually creating on in the top. Right? You're seated navigator on this kind of works like in photo shop. If either of these debts and was gonna create a an instance over here used in shifting dragon and we can see that on the navigator. This is where we are for that down on them. And then we can actually use that to navigate course. Our campus, if we need, you can zoom in and out using the middle mouse bun, just scrolling in and out. But again, I don't really use that enoughto warrant it taking up this amount of space. So I'm just gonna place that we can always bring it back over here. And there's also short cuts here, and P and I, we want to keep the primera that are open because this is where we're gonna be doing most about work. Another thing to be aware of is that these campuses air tapped so we can right click up here and create another view on start great materials in here and then jumped back to our view one. And you can also jump around using these to get around your tabs, and you can always right click on him on delete that view as well. So I'm just gonna shared a screen with all of you, pull and create an object in here, and I'm gonna double click on our material, and I'm going to apply it to the selected object. So it's now applied to this box and you'll notice that now we've got this box selected. We have these white triangles on the outline, and that means that this selected material is on the selected object. If I don't select that box, you'll see that they've turned to just an outline of a triangle. And that means that this material is used in the scene, but not on the selected object. And then if we do leave this subject and this material is now applied to know objects in our scene, there is no try and go out line. 19. Metal, Brushed Metal, Plastic and Glass V-Ray Materials in 3ds Max: So let's get into Crane. Some basic materials in our studio seen. So to start with this creates fear on we're gonna make it 50 centimeters radius on. We'll just move it into the center of our seeing and in the top few just get that in the middle toe back to a camera view person see, on the first material gonna make is a chrome. So the first thing we're gonna do is Neymar material. So I'm gonna double click on our material. And I'm gonna name a crime if we don't click on Ah, some now that will make it bigger and you can also close up ordered the maps here if you need more room on one other thing we can do is turn on the background. So if we have reflections, I'll quickly show you that we can now see something's reflecting it. If we didn't have this pupil on, we were about to say it's reflect him. So let me just turn that back to how it was for the crime we're gonna have. The diffuse is black soon as it will have no color. Something to remember is in reality, we never have fully black or fully white that cereals. It's just not realistic. So I'm just gonna make that just off of black. And in the reflection, I'm gonna make that as wide as I can. Just a couple off of 32 55 on Let's run an interactive render and see how it looks. So I'm gonna open up. Ah, frame buffer. Now I'm gonna hit interactive here. I'm just gonna close that Onda. Let's make sure we got that applied. Tow her object so here will see for now, reflections on day. What the for now does is the amount off reflecting. It's based on the view in Angle said a basic rule is used for now on everything except for metal. So with that in mind, let's turn for now. Off we can see that are chrome is reflecting nicely. Okay, so I'm gonna stop that on going to select our material on, do seem a little bit and holding shares to click and drag that across. And if you're Previ doesn't update, you can always update here, should or update automatically. Another bug I've noticed in Max is sometimes you won't be able to delete something, so it looks like this material hit delete. Sometimes that won't delete Onda quick, great itself. That is just to go into a view pull on kickoff of that material. I may be clicking again and then when you hear the late you're about to delete it. I haven't banished to replicate a in this example, but if you do come across that it's worth nine. So this material, we're gonna corded brushed crime and you guessed that we're gonna make a brushed crime. And the only thing we need to change here is the glossy nous. So you can see what it does say, let's say let's pull it down 2.2 on this. Applied this and run the interactive Brenda. When you see what it does say, if I pulled up 2.5, you see is no fully reflective. So let's leave this on something like 0.65 and we can see it has made quite a nice brushed crime metal. Next, let's make a plastics. I'm going to right click material V ray on Vero material on. I'm gonna nine this plastic and you'll notice that the for now is on by default. So we have to do in here is changed the plastic color. When you turn on the background, I want some reflections. So let's turn this into like a mid grey and let's apply this to object. So we select it. Scientists election, and we'll run the interactive on. We can see that's beginning to like plastic, but these reflections of Really Chris probably a bit too crisp. So let's bring this classiness down 2.7 on day. I think we've got quite a nice plastic material down. Okay, so let's take a look at saying a little bit different now and let's make some glass So I'm gonna create a new the right material on Rename it Glass. Now there'll be no diffuse color. Let's just make that black. And because glass is transparent, we are gonna use the refraction so it works in the same ways reflection so fully black will be transparency. Mid grey will be semi transparent on what will be very much full transparency. So this opponent background, we can see what's happening here. Let's turn on some reflection as well. So I'm pulling that nearly all the way to what and this apply that to our object and assigned to selection and run the interactive. We can see we've got a nice last material there, and we can quickly change this to frosted glass using the refraction glossy nous. So if we just pulled down the refractive classiness, you'll see that that's now become more of a frosted glass. It's for really bad demonstrate if I draw something behind the object, so there's, Ah, clear glass on and are frosted glass. Now we can also make a glass colored, and we can do that by using this folk color. So is currently on what on, Let's say we want it read. We can add just a touch like like one in the saturation. It's really, um, exaggerated. So we can now move this color slider along, and it's been create different colored glass. I mean, if you wanted to great head like re headlight glass, for example, you could use a really strong red. But that's how we can add color Teoh glass as well, and just going back to that bug. You will see that if I stop this render and I tried to lead this glass material, I'm paying dearly, and it won't delete and I found that you have to just select interview pulling off again, and then you'll be out to delete that material. So if that happens, could be quite annoyance, so that's how to fix it. 20. Wood, Fabric and Colored Metal V-Ray Materials in 3ds Max: Now let's take a look at some would. So let's create a new material, the right material. This rename it would so we can use textures in our materials, and textures are what we call images and taste. Is it basically images that we plug into the material so you can use the wood texture that I and you can use the wood texture that is in the resources for this class? On another great place you can find textures is textures don't come and they've got a massive selection of Texas you can use. But for now, I'm gonna use the wood texture have supplied with the class. I'm just gonna drag and drop that end. That's a really quick way of getting a bit map into zero editor. You could also right click go to Maps, General, did it matter and then load it up from this dialog box. And then I'm going to just drag and drop onto here and plug this into the diffuse and you'll see that we now have a texture in our diffuse slot rather than a color, and you can see that represented by this M here. Now let's apply that to object. I'm gonna change our view. Pool to show shaded by President of free Andi If I hit show shaded material in view pool, we can now see this on our object. One thing to check is that you have real world map in turned off here in the sphere and also in this bit map, it could or might not be turned on and off. And this is to do with mapping. And I'm gonna talk about that in another lesson. So let's run an interactive and see what we've got at the moment. It's already using attack. She looks pretty good, and some other things we can do is in reflection. We can add a mid grey, and we conceded, that's looking really shiny. Probably too much. So. I bring down this bossiness to your point, and for me, that's still too shining for this type of wood. It lives quite rough, so let's try 0.5, and that probably too much as well point to probably do it. So another thing we can add to this texture is a bump map. Andi. A bump map can add depth to your material, using a texture without adding a lot of render times. So in the same way that are reflections and refraction za based off of black, white and gray if we have ah, bump mapping is a dark area in it. So it's black. It will add depth. And if it's white, it will push it out. So a rough ready way to do this. I know exactly the correct way. But it is. How did it to get quick bump maps Would be to select a bit map on bond, drag a map out of it on selected general color correction on double click on that so we could go into the promise. Anything we click in this canvas, we can go into its parameters. So this is our main material. So all of our very properties I showed you earlier. And then this is the map properties on. This is our new color correction that we're gonna use and we're gonna use is to turn our map to black and white so we can turn on one a crime, and I'm just gonna plug. In fact, let's have a quick look at it has made it black and white. So these dark areas are gonna at depth. Andi, Liar is they're going to get pulled out. So this isn't exactly a Noyce, but map bill would do to demonstrate here. So I'm gonna plug that into the bump. If resume in, we can see that that's added some depth to our material and back in arm material. We can go to maps and turn up the bump. So leave returning to 90 we'll see that the effect gets quite extreme. You can see it here. We probably wanted a lot more startled than that. Let's leave it on. 30 said a bump map is a quick way off. Add in some more detail to your materials. Now let's create a fabric so we'll create a new material and I'm gonna coat it's fabric. And again you can go to Texas. Don't come and get your own material. I've got this jeans material. We're just gonna drag and drop him. It's gonna make sure real well is ticked off, and I'm gonna plug it into our diffuse and this applies to objects and show shading in vehicle, and that's gonna show our texture. So we conceded Texas quite large. So what we can do in the map itself has changed a tiling. So if we change this to to, this image will be told twice. Which gives us a better scowl on Let's add a bump map the same way we did with the wood. I was gonna click and drag Andi at a color correction and change it to come on a crime. And I'm gonna plug that into the bump. And as I said earlier, you should probably use a tool like Photoshopped to get more accurate bump maps. But this will suffice for now in the fabric material. I'm gonna go to maps and I'm gonna turn a bump map up to 50. Just add a little bit more depth and texture to the fabric, and something that happens weave cloth is that as it curves away from you, it gets lighter. So to stop the fabric looking flat, it's a good idea to add a fall off man. And we can do that by clicking and dragging our world bit map going to maps general and fall off, and we'll plug down to map one. Now don't worry about how many maps there are. You'll soon begins. Find your way around and you start using some of these, I probably use 20% off the maps in here, so don't worry too much about it. Then you're overwhelmed by it. Let's plug or fall off into the diffuse and we can see that we've got ah texture in the middle. And then as it falls off, it turns toe white. So there's our texture and it's turning into white on the fall off. And that's a bit much. So I'm gonna plug in our texture to map to which is here. But I'm gonna add a color correction and plug it in. So now we'll go back to a zit was before cause thes two are exactly the same at the moment . But in the color correction, I'm just gonna go to advanced and change this to to make it bright up. And now on the curve, this texture is gonna be used on on the inside. This darker texture will be used so we can see against loya on the car and we can increase this effect by going to the fall off mixed curve and just right clicking and changes to busy a corner. I will create an s curve Yeah, on That's looking pretty good for urging material on one last dear own A look at is colored metal. So let's great a fine will be ready material for now and I'm gonna call it gold. So those two ways, we can create colored materials The first way is the same way as we created the crime And thats boy telling our diffuse to black turning off our for now reflections, he's gonna turn on our background here on changing the reflection to pretty much what? And then we can pull the bossiness down something like Point I Andi there we have a metal on. If we wanted to add a color would actually add it in the reflect. So if we had a gold ish color, we can see that's how you can create gold is in this method on now on. And there is a new away Teoh great colored mill and it's using a property called metal nous . So just shift and dragged across this material. I'm gonna call this gold to Andi, exchanges reflection back to why, and we'll turn there for now back on and then this time we're gonna turn metal nous order wait a one and we can see because our diffuses black this is now black. So let's change this to a more gold color and here, okay? And we can see that's the other way. We can make metal, so let's apply that to object. You can also click here and drag onto objects to apply to an object, and you can see we've got quite a nice gold material. 21. Create a Material Library in 3ds Max: So it's great that we now have an understanding of how to create these basic materials on something else we can do is save all these materials into a library so we can access them in future scenes. So, for example, if you need a plastic, you could just open it up and then going to here and just changed the diffuse. For example, if you needed an orange red plastic and you could change the classiness here is well to change some of the parameters. You could also change the reflection, but it's always a good starting point for you. So to save a material library, let's open our material map browser on. We can just right click in here and this. Close up some of these drop downs. I'm gonna right click here and start a new material library on this new material library will go to your material libraries. Hold it within your project folder. So let's call this basic cereals and it's safe and we'll see. We've now got this basic materials library here, So if I select using control, all of our new materials do we want to add, I condemn right click here on get selected materials and you'll see it's now added these materials to the library. We can change how we view these by right clicking display material, libraries, medium icons. And then we can see our materials here. So if you ever need him, you can just click and drag them in and then applying to your objects. And you can do this in any of your scenes. So now you need to do you see there's a star here that means they hasn't been saved. So if I right click on it and this is where it saved too, and I'm just gonna hit safe So it's now saved on we can close that material library. Now, select out of these and delete. Um, I'm just gonna go right click here, Open material library, open my basic materials and they're all here. So now I can just grab that and select the object. And I could just apply this to the selected object. So it's a nice, quick way to reuse these materials in future scenes. So that's basic materials 22. V-Ray 5 Asset Library in 3ds Max: Earlier I showed you how to use the 3DS Max Material Editor to make material libraries. In the ray five caste group of added the asset browser and material presets. You can open up the asset browser from the VA right tuba. And this asset browser is like the 3DS Max material library I showed you earlier, but I knew if hundreds of materials ready to use, the library itself is pretty straightforward to work out. So on the left we have all the types of materials. And we also have the option at the top here, T is real-world scowl or try plane and mapping. And to add the material you need to do is right-click and add to sane or add to the selected object. Something else that you may have noticed has been improved is the material previews. And these material previews are much closer to what we will see in the final render as the previews or using a much nicer lights up. So as you can see, you can gain a lot of time and learn a lot from this material library. I encourage you to explore these materials, test them out, and play with the settings. As we go on to the materials in our scene section, I'm gonna show you how to create the materials from scratch. As I do believe it's important to know how to create materials from scratch and understand how their bill. And then this knowledge can be transferred to knowing how to materials in the library or Bill and Intel. And you'll be able to update these materials. 23. How to use the UVW Map in 3ds Max: Okay, so now let's talk a little bit about map in and specifically UV mapping on duty mapping is how it texture is projected onto an object. And it's called UV map in Because of the two axes we use in two day, I'll call U and V, whereas when we have free access in Freedy we have ex boyfriend set. So I've opened up our mapping studio Steins start and this is what we have got a few elements in here to take a look at. So the first thing I'm gonna do is create checkerboard material. So in our material editor, I'm gonna right click, go to General and create Checker on. I'm gonna plug this into the rain material into the diffuse. And I'm just gonna make this checkerboard 10 by 10. We can see what it does there. We just get a lot more squares to view. I'm gonna select our sofa, and I'm going to apply this texture this material Sorry on I'm going to show shaded in view pool so we can see that are checkerboard has been projected onto this sofa just gonna turn up to say frame to go to this perspective you and I'm gonna isolate everything of then the sofa so we can see There's some strange edges here on these squares are not square on. And the name of the game here is to make sure we get older square square. So now I'm gonna add a U V W map. You can find that in the modifier list down with you or if you've created. But unlike earlier, you just hit that. So what's happening here is our texture is being projected onto this sofa. So I'm moving this gizmo around by slipped and gives my from the drop down one on the keyboard. Water allow you to select that and you'll be out to move this around. So essentially, what's happening is our checkerboard is being projected down onto this sofa. So currently it's a plainer I'm gonna change it the box, and then I'm gonna change this book's Teoh 101 100. But 100 centimeters is, and now we can see that one of these squares a square and that's because are 10 by 10. Checkerboard is being projected onto this sofa from all angles. So to demonstrate its fervor, I'm gonna create texture she's a bit map. And when you install three DS max, it comes with some textures and you can find them in program files boy desk free DS Max maps. And then within that Maps folder, there's a few different folders, and in here we can open up this fabric and I'm gonna plug this into our fall off fabric from earlier. So I'm just gonna drag and drop that in, and then the late or days and then just plug these into here. We don't need a bump map on it. Now, put background on Andi. Nicely. Tip is we can actually pull out of here and we can add a color correction what we have down here. But we can actually change to here to change the color off this map could be useful, can also pulled a saturation down if you like, and you can also brighten it up. Now, I've never had much luck with this brightness. He always just seems to blow out the texture. So in advanced, we can actually use the gamma instead, and it produces better results, in my opinion. And then we can plug that into here and into our fall off map, and then we've got a yellow creamy fabric robin and bright red. So now with this fabric material selected, let's apply that to our sofa. Andi, let's take a look at what we've got so we can see that this has now been applied quite evenly. If I just turn off this UV map, you'll see how that would have looked if we didn't have that applied. So we're projecting this on on detection. We've plugged in, is projecting at one meter by one meter, 100 centimeters by 100 centimeters. So again, if I select this gizmo on a right click and scale, this could be a quick way to get our scaling nice on our sofa on. We can also move this gizmo around to say we wanted these edges to line up. You can then move these into position, so that's quite a quick way to line up textures. 24. How to use Real World Scale in 3ds Max: So now let's see what real world mapping is. Someone's gonna hide everything again. Andi, I'm going to select its back war this time. And let's just isolate the back wall on this. Open up our material editor again, and then in the resources for this lesson you can. I've been up the wallpaper, Mac, and this is a seamless wallpaper that we're just gonna plug into a beer. Immaterial will plug into the diffuse in this time in texture. You'll see there's a real World Scout Take books here, and I was gonna put 50 by 50 on what this means is, if you go into a manufacturer's website and you see a sample off wallpaper, for example, and it says that the tiling is 50 by 50 it means that this image in real life has been photographed at 50 centimeters by 50 centimetres, so we can actually put that into free DS max. I applied this double sunshine of vehicle. We can actually apply this at 50 centimeters by 50 centimetres, and to do this we can do a few things. We can just turn on real world map size here, so there's two places you need to turn on real world map. Size one is in the material itself. Inside the texture and term real world maps go on. And that's where you did tape how big his texture is. So if he was one meter by one meter, that's how it would look in real life. So most objects when you create and will have generate mapping coordinates and real world map size Onda se. You have manipulated that object and you're no and them options unavailable. You can add a U V W map on. Then you can add. We're a world map size, and this is now projecting on at the same size is in the real world, so that could be really happy if you've got the textures dimensions. 25. How Multi Sub Materials Work in 3ds Max: Now let's take a look at Moe s up materials. So I'm gonna select, are safer again and isolate it. And that's just open up our It's here where it's, huh? On and create a multi sub material. And you can see there is numbers along here and we can actually plug materials into these sluts. So we've been making materials and applying to objects when we can actually now put these materials into a multi sub material. So what mommy sub material does is allow you to apply multiple materials to the same object . So if we wanted apply different material to each one of these cushions on the sofa, there's two ways we could go about it. We could add and edit Polly, and we could detach this pillow on Open up. The material editor Andi was just deployed a bull paper in this example. And remember, that needs to be, um, real world scowl. Andi, Now that's got different material on it, but it's a different object. So if we wanted Teoh keep this is one object and apply different materials, we do something called a multi self. I was gonna deal with this. So this is a one object again. And now I'm just gonna change the number here. Two for three or four different materials. Then I'm gonna holding shift Jupiter fate basic theory material three more times and plug these in. So currently all these materials of the same So we can go in here and change the diffuse so we can make this one red, for example. You can go through and do it in order. Diffuse is or there's a quick way in the multi sub. You can actually change the diffuse here so we can make this one purple on blow sin Alice like that and apply it to our sofa. You say that the whole thing's coming is red and we can actually select by element. So now we can select each of these Christians. We can actually change our material. I d. So if we change that 1 to 2 press F two on the keyboard to see through, see, when we select an object, it highlights ready? If you press f two, it was still highlight, but you can see for it. So I'm gonna select discussion, put material really free, and this put material i d four on. So this is a well, still one object. It's got different materials applied. So just following on that example, if I plug in a few various materials here, we can see now this has these various materials on so that is multi sub materials. 26. Unwrap UVW in 3ds Max: and finally, let's take a look at U V W. Unwrap him so the unwrap U V W modify lets you assign mapping, um, or texture coordinates to an object. So it's fine. If we wanted. Teoh applied his checkerboard to the subject on we can see is projected or on this subject . But if we wanted Teoh, add unique faces to each side, for example, with Who Wanted to Make a Dye? And we only had one dot here on two dots here would actually have to tell the object where we want this texture projected on. That's where unwrap U V W comes in. So let's apply a unwrap U V w open up to you The editor. We're gonna select all our faces. So control a press F two to make sure you've got everything selected, and we're gonna turn on Fox map less isolated to make things a little easier. We've got books map turned on, but it's no mapping at the right angle so we can hit box map. Unless just red tape. That and it fit now in our edit, you VW's, we can go to mapping unfold mapping The defaults will be fine in here. Okay, so now we can see that this is unwrapped by Turn off Boggs mapping. And just let this stop face this talk face is here said this square is this square. Now what we can do Just go to tools, render u v w template and just run to that out. And I normally hit Copy on we concurrently open up fire shop and I show you how we can use a u V w template. So, in fact shop, if you have a copy, anything and it's on the clipboard in go to new and it will have to clipboard side. So we rented out at 10 24 1 10 24 So I was gonna hit control v paste that on. And now this is this is our projection. So I started new layer, and I'm just going to Denver using controlled by been involved are U V W map. I'm just gonna paint on our dots of the die. So this is just, like, unfolding the dice. These dots could be painted on La Nina, but this is just for the demonstration. I'm gonna turn off our template because we don't want these purple lines to show up and I'm gonna save as and I'm gonna save this you dice texture. I'll save it as a J pic and then back in free DS max. We can close that and in our material, that itself. Let's bring in on new texture. So general bit Matt, there's a nice texture. Plug into a deer, a material into the diffuse. Apply this to object. Close our material editor. This. Just make sure it has show shaded in people, and there we can see our dice has this texture mapped onto it. So these are all unique faces, and we've managed to map them on to the correct positions. And if you go down and reset texture list, you'll be out the cheese now the dice texture, and we can see how each of these correspond to a texture. So that's U V W. Mapping quite simply, with a cube 27. V-Ray UVW Randomizer Map: Very five has also added some powerful maps and worth knowing is the v re bitmap, which you can find on the maps. They re and be re bitmaps. You can also find the IV here on the left. And this fever, a bitmap was previously called Viera HGRI. So if you're looking for the right HGRI map, then use this instead. And it works in the same way. It looks very similar to the v re, HDR imap. So really you can use this map instead of the general bitmap in 3DS Max. So to load up an image, you loaded up here. Uh, do you think a drag and drop function would really speed things up, doing it this way. It does take a little bit longer. And I'm just going to hold shift and duplicate this and load up the bump map. So these are both images from texture.com just to demonstrate what's new with these maps. So what I want to show you is a new map called the re uvw randomizer. And you'll see one of the reasons to use the V ray bitmap over the general map is we've actually gone input here and we wouldn't be able to plug that into a general bitmap. So I'm just going to plug that into days. And if we open this up, we will see that we have the tiling here. So back in our general bitmap, if we wanted to change the tiling, let's change that to 22. We'd have to go into our bump map. And they the same, change that into. Whereas using this v re uvw randomizer, we can actually change it to here and here, and you say is updating both of them. So a really nice time-saver there. Something else that I think is really cool is stochastic tilings. I'm just going to plug these in. And let's turn up our tiling to five. And you'll see that that tiling is pretty uniform. Now if we turn on stochastic tiling, we'll see that it randomizes and it's just going to look a lot less tower. And this is another really powerful use of this v re uvw randomized map. And this just saves a lot of time. It means we don't have to jump into Photoshop and try and tile things and pain in variation. So it's definitely worth knowing about this fee, right? Bitmap and the uvw randomizer map. 28. Create a Painted Wooden Door V-Ray Material: Okay, so the first material gonna look at in our scene is the doors. So what I'm gonna do is grab this door, use our script, our copy and paste script that she's copying. Andi, I've got our God basic material studio seen open as well. And I'm just gonna paste the door and over the top view Let's just move this into position underneath on like and straight in front about camera. And I was just gonna make this camera about so we can see our door. Yes, open up, Far Material editor. And using this, I drop it all. We can pick materials from the object so you can see that this currently has a physical material on the door. And we don't want that because we using V ray. So first thing I'm going to right, click on, create a very material, select that and apply it to our door. A selection. So the door is gonna be wooden. It's gonna be painted white. So let's make a diffuse just off of why something around there on I'm going to show background on Do make that preview larger, and we're gonna want some reflection. So this ad have a mid grey ish. We can kind of see that slightly coming in around here. But if we change the glossy nous start, see that effect and say somewhere around there will work. We don't want it to glassy so I want to use a would bump map to add some depth to the wood . And I'm gonna use textures dot com to source Are would Andi, if you haven't already, you consign up for a free account, Andi. Each day you'll get 15 credits, which is usually enough to do well I need So let's go down and go toe would. And in here we can go to find would And we can take a look for see if there's anything we can use. I think this could work well, so I'm gonna download the biggest we can for we've all free account. And we can actually drag this straight in to our material editor. We will need to do a resource collector later on. So a bump map is black and white so we can pull this out and in maps, go to general on color correction, and we can turn this on to mono crime. So Now it's black and white, and it would be cool to add some more brightness to it. But, as I mentioned earlier is quite difficult with that brightness. So I'm gonna turn this up to free in here, and we can plug that into a bump map. We can see that we start to get some details on this would. So let's apply this. So let's change off you thought by personnel free Andi. Let's show shaded in people and we can see that this isn't Matt correctly. So let's add a U V W Matt, and we'll make it a box that will make it 101 100 by 100. And you say that's mapped a little bit better. We can see where the edges me, that they're awesome, that they're awesome. Seems something press one on the keyboard, or you can always use this drop down and gives my on just bring them up, that it seems there I'm gonna scale it in and also make it a little bit longer. Just manipulating our texture a bit, I said. That's what we want. So this is all good for the verticals and for these horizontal was we actually want Change the wood green so we can do that by using a police left on a police elect is pretty much a edible Polly just stripped back. So if I go back to edible Polly, you see all the options we have in there on with pretty select. It's a lot. There's a lot less going on, so it's going to use a lot less resources. So I'm gonna select polygon and I'm gonna click and drag select all of these faces and holding out get rid of these two main panels And now these air their faces that I wanna rotate the u V W one. So have a press f two. You see that we can now still have these selected, but we can see what's going on with our maps, and I'm just gonna copy and paste that you ve above and again selecting this gizmo in the now right click and rotate. We're gonna rotate at 90 degrees. So just make sure you put your snaps on up here to rotate that correctly and we can say the l word. Crane. It's now facing the right way, so I'm just gonna collapse everything in this looking pretty good. It's running interactive render press play on the keyboard to go to perspective. I'm just gonna zoom in a little bit so we can really see the bump working here as you think that's a little bit too much. I'm gonna go into our material and pull that bump down by about half. So under maps, bumps currently for a 15 in yes, much bear A lot more. So, Andi, obviously the door handle in here. We don't want that to be would so less cancerous interactive. So if you still have your material library open, you'll be out to right. Click and you'll see basic materials and you'll be have to create your crime from there. And that's what we're gonna use him a door handle if you haven't still but that open. You can go to Material Matt browser and just right click down here and go to open material library and then open up your basic materials on in there. You'll have your crime material. So what we're gonna do now is create a multi sub object. So we have multi sub material, which I showed you earlier. Andi, we can just right Click materials, general? No, he said double click on that. Its name the store. We only need to sub materials in here. And I'm gonna plug the wood into number one on a plug A crime into number two. So now if we jump back in, you know, edit sport, Polly, Select element Select. Oh, first, I'm going to apply the moment sub. So double click on that. Apply to selection. Andi in the polygon material today will change a lot of them toe one, and I'm going to select a door handle. I'm gonna change at 22 So now we've got a crime on there. We've got a wood. So if we run an interactive, let's just make sure that that's all working and that's looking good. That's reflecting our studio, and there's not a lot in there. So that's what kind of looks black, but that's gonna work nicely in our scene. Andi, you know, at the moment is gonna be quite hard to see these details in our studio seen whilst running interactive. But when we do render at high rez days of the little things, they're gonna add that extra layer of realism. So something else I want to show you is these hard edges. So when we really zoom in, we can see that because of the way this is built, this is just one hard edge. So it's gonna look quite cg quite a hard edge. And we can actually, rather than go in on on the model Sham Froggies edges and make him softer. We can use a map on that map is called Vera edge textures map. So back in armed zero ETA, it's close. That makes him more space. I'm just going to stop this interactive on and just make sure history has been working. So it's there. So I'm gonna compare this to before and after in a moment. I'm just gonna put out scream because we don't have all with that a man of real estate on this one screen, and I'm going to right click, and I'm going to create a V ray map on that map is gonna be to the right edge texture. So now if I apply this into our bumps, slop and run the interactive, we can say that we have a lot softer edges. We can kind of see him here I'm just going to stop it and do a comparison with the one before you can see these edges have become a lot softer, which is great, but we have plugged into the bumps lot, so we're not getting our texture in the bumps. Look. So what we need to do is combine this very edge on and this color. Correct. So to combine these, we're gonna use a V ray comp it extra, which is in maps, Pierret theory context. And we can see we got source a source B and the operator is adding these two together. So this plug our edge texture into a and I'm gonna tug a bump map into bay, and then I'm gonna plug those into the bumps slot. So now if we run the interactive, we can say that we have are soft edges on our door, and we also have a bump map working for the wood grain. So just comparing the two now you can see it's just that looks really seedy to me. Very hard edges. And this has just added a nice soft edge to our door. So I'm gonna call that material done. So you gonna copy our door and placed it back in our scene and position it so when we bring it back in is going to say it's a deeper cut because there's already adoring here. So I'm just gonna remember this door mat on it, Madge, that I'm just going to rotate that and put that into position. Basically, just replace these two doors so I can isolate them on that, suggesting to top you. We line them up, say that one. Now select the original door. Delete that holding shift brought across on. We could probably get away of making this an instance. Actually, instead of shift dragging that let's use the mirror up here, we can see what it's doing. Come basically mirror it in any of our XX. So the Y axis will make an instance. So now it's two of them, and here okay, we can drag that across and it's also flipped over. I'm just gonna do this in the top. You kind of eyeball that into position. Select the original, and I'm just clicking on top and I can see up here when the name changes. That's when I've got the original buffering door selected so I can hit, delete, and now we have to doors with material in our state 29. How To Create a V-Ray Wall Material: the next. Let's talk about the walls at the Syrians and how we can create a nice painted wall effect and not just have, like, a plane diffuse color, which isn't gonna look that realistic. We're gonna add some details in. I mean, we could just add a very material with a diffuse color and some reflections, but that's not really what's happening. If I open up my mood board, you see, like there's quite a lot of texture on their and even these blank walls. You can see different areas where the lights reflect him more, and it's absorbing the light even on these really plain walls. So we're gonna want to add some variation in the walls. So let's go over to our studio and I'm gonna delete the door. And there's two things I want to keep in mind when building this material. One is detection. The war, so add in a bit of variation to the actual texture on another is to glossing this. So when the light is hitting its not uniformly reflecting, it's kind of quite patchy, so we're gonna create two textures and combine them, So let's get the first bit unless the texture off the wall. Now first. So let's create a box. And this is just a kind of this is about the same height as our wall. And this is just a demo, and I'm gonna open upon Mitzi. Write it, sir, I'm gonna create a new material, the raw material, and I'm gonna call this. Whoa! I'm gonna make it that quite dark gray and I'm gonna apply. You can apply up up here or you could just drag and drop it on on. And let's add some reflection. Not too much round up. It already looks quite a lot. But when you when you pulled the glass in this town whose stuff looking more like it and then back over in Texas, Who's that set for stock? I and we're looking for a nice texture. Seamless map on this looks great. So that's down like this, and we'll drag it in. Don't Material editor in this Plug it into a bump man and that's already looking greatest already added some texture. So let's show this texture in the view pool. It's rather large toilets at a UV W met putting on books make it 100 101 100. I think that's gonna be too big. So we can turn that down to 50 by 50 by 50. And I'm just hitting shift there to jump between these dialog boxes, you can press up and down as well. That's a quick way. You're quickly dialing in numbers. I actually still fingers too big, certain for a faster way to go with this. So I'm gonna run an interactive Renda. But before I do that, I'm gonna turn off or exposure, which we've turned on in our camera. Andi, that's because I actually want to control the explosion now, because we're tryingto matchup colors. Andi, this turn of history and you see well, exposure, it's rendering out like this. Turn it off. It's gonna get overblown. But if I select our camera, actually manually said the exposure 8.5, that's rendering better. And I can actually see what's going on that there without the the over exposure. And I'm also gonna turn our forties color corrections so we can see some texture in there already. So I'm gonna zoom in on its right a little bit, and we can see we've got some texture. It's quite out to sea on interactive, but we've definitely got more texture than if we didn't have a bump map in here. Andi, the bump might be a bit too much again. I'm gonna put it down to 15. That's looking cool. Zoom back out. This show sky number of our people not in my mind. And now, the second part I wanna create kind of like a cloud, um, glossy nous effect. I'll show you what I mean in a minute and stood up We're gonna do them first shop on This is so our reflections aren't so crisp and obvious So over in flash up I'm gonna make the second part is material which is a texture Teoh dictate how the glossy nous will reflect So I've created a new campus on and it is 3000 by 3000 pixels. Andi, all I'm going to do is go to feel Andi render and clouds and has been greatest clouds effect. And I'm just gonna zoom out with controlled minus by just clicking on that padlock in control, T Teoh free transform. And I'm holding out and just pulling that out. And I think something like that. Well, it will be fine. I'm just thinking of this. In terms of our wool, I think something like that will be fine. I'm gonna go to file save as on going to save it as walk loss, And I'm just going to save it as a J pic. And I'm gonna open this up right click, General. It's bit map load up our glass, and I'm gonna plug that into a glossy nous. And now run the interactive render. You can see that That's tiling so much so I'm gonna show that, you know, if you pull and you can see was going on here, um, it's tiling as much as this one. So in our texture itself, we can change the tiling 0.1. That's much better to kind of just want these dark patches where the light won't reflect as much. You can kind of see him in here, but it's a patch here. And if I come in and anger, we can really see it. And it's almost perhaps a little bit too much. So I want to make this effect more so you can really see it here. Um and I could do that down in the map. So this is kind of like 100% in a minute. So if I bring that down to 20 then 20% of the bossiness Matt will be dictated by our cloud texture on then in our reflection color, that's what 80% of it is made up of. So if I turn it right down to be really reflective in, turn it back up there so you can have a play around with that, I'm gonna leave it like that for now on, I'm going to copy and paste this into a scene control CFC. I'm back in our scene. The pace that him and why I want to do is grab that u V W in a right click and copy it and also opened up on Material Editor and using the eyedropper tool. I want to select our war material so we can actually to lead that books. And what's happened here is our seen is currently a boy desk are renderers. So this just close that on. We need to change our render engine to be ray on the latest books now and with them or selected, I am gonna assign our selection on I'm gonna paste r u v w map on so you can copy and paste VW's from one object to another. So currently, all of our wars are this dark, full color, but I want to have our future. Will was dark. And when I see it in his wife and then I want the rest of our wars like this mid gray color . So I'm gonna create free variations of this wall. So I'm gonna use our multi sub again. I'm just holding shift to make free copies off this. And that's name um, Ceiling told his mid war on this will be dark wall. It's a materials general credit, multi sub doing any free in here. Okay. Plus, he's him on. Just changed it. Diffuse and our ceilings white. But no, not to what? Something like that said as our free times. And now we can employ the money sub toe our wars, so I'm actually gonna cut that, and I'm gonna convert this to inevitable Polly. And then I'm gonna paste Devi on, and then I'm gonna add and edit Polly on top, and I saw a select our feature War faces. She's gonna be like those five Andi, I'm gonna hit control I and that's going to select the inverse on an under slept And then I'm gonna set all the material ideas to to So now that's the dark Cool. That's gonna be number two on. And if I don't hide everything, this lake floor sort of sailing, and I'm going to apply that so I can actually just select ceiling and apply that this put its collapse it on Well paced D v w on. And I'm gonna make this floor dark wood based on So now we have all of our wars. 30. How To Create a Wooden V-Ray Material with Multi Texture: Let's take a look at this wood floor. Someone in control shift. See? Copy that on. Let's put it into our material scene on dinar top view. I've moved that camera around quite a lot, so I'm just gonna move that back. So it's facing straight on, and I'm just gonna maybe around in this view port using the middle mouse button. So obviously, with these wood boards, we can just at the wood material we made earlier. We can right click based materials would, um but the issue with this is it's only one texture. This is a really annoying bug in Freedia smacks of the bit map flies off over to the left quite far, but yeah, I mean, that texture is going no look very good when we apply it, this kind of stretched and there's there's no board. So what we're gonna do is use something called movie texture, which we installed earlier Onda CD source, where we actually downloaded the tool from have some great multi textures that we can use and essentially what these are boards broken up into different textures. And then we can load them in using our multi texture. You actually need to buy credits to get these. So I would recommend using these. But for this example, we're going ahead to Matt. Get a site and check out this fantastic tutorial made by my friend Patrick Andi. He's also known as Viscount. Freedy is a fantastic Artis. Andi in this making off, he actually gives away. Yeah, she gives away the wood textures that uses So if you just scroll down wood floor texture, you can download him here. So you click on this and gone Loadem. Once they're downloaded, you can unzip them and then back in free DS Max, we can right click. We'll go to maps, General Andi movie texture. And then this is CG sources. Onda told it. We downloaded earlier on just a za warning. Don't try and plug anything into this as it will crash your free. Yes, Max, You need to go to manage textures at bit map and wherever used downloaded the wood panels that you've just downloaded. Just hold shift, select all of them. So I got nine here and he opened and you see, they're all open up here. Andi, They've also plugged into that multi texture. But don't mess around with these because they will crush your C. So now we can just click and drag on and put that into our diffuse. And I'm also gonna plug that into a color correct to make our bump maps so you can see once you've made a wooden tear, you can quickly great of variations about too much hassle on within this multi texture. You can see that we have some color adjustments, which is great so we can add like a random gamma survey, just crying that all the way up, we'll see what that's doing in here is changing the gamma on various boards randomly, so that's kind of cool, but we don't need it that high. Even 0.5 is too much of your point. Five will be the way to go to just slight variation in here on the boards. So let's name this wood planks and take a look at how that's looking, You know, seen Zoom in on this. You can see in the do you pull. It looks like it's not map correctly, but she when we render it, is nothing. That's something to do with the plug in and Max. So yeah, that's looking pretty good. That's used up is a wood texture. So many use control. CFC to copy it up. Fact I should really stop interactive rendering. And I'm gonna put too much pressure on this appear and I am back over in our main scene. I'm gonna select on delete original floor and in control Szefc our material floor there is . 31. Create Tiles in V-Ray and 3ds Max: so we needed there. Let's have a look at these bathroom tiles. So I'm gonna copy that over and take into a studio scene. Secondly, floor material seem a bit on gun control. Sophie, our tie was in, and I'm gonna bring them under here as usual. I'm going to select it. Bring under here. I can also tell that that is facing the wrong way by the bevel Celeste, the outside edge. So I'm gonna rotate that one e, and I'm gonna pull camera, pull out a bit. So far, tiles have actually found the exact ones I want to use. So let's say that our client has sent these over. These are the ones they want. Andi, we've made our toes. I think that was 60 by 60 Said these are the ones we're gonna use so we can click to enlarge. So we want to get a texture out of this. And luckily, there's four samples here that we can use, so I'm going to click to enlarge, and I'm going to right click and copy the image. Andi, I'm going to go into free shop and great a new canvas at 1000 by 1000 and then I'm gonna pasty seem to control V on. And this texture comes with a border. So we're gonna just got ourselves a texture here, and then we're gonna save them out individually. I mean, we can probably get a couple of textures of this by through protecting the lack control day . Andi just rotating around, holding shift to rotate by an angle snaps Kind of like we did in Max. So we kind of already got two. Why was there? So I think we can get eight out of these if we go for in larger co p it well placed it in troj, right? A it. These are quite obvious lines. And now I'm not sure how that's gonna look into render, but we'll we'll check it out nice on the last one here, Cho pd image paste it here, getting a variation place in that way. Now I'm gonna go for and safeties or individually his J pigs. So Buffum toe one by from time to I'm probably gonna fast for with this because it is no. The most riveting video to watch. Cosell's now saved a variations on that material. Andi in zero Editor. I'm going to create a new material, a very material. And I'm gonna name this toast. I'm gonna create a multi texture map from General. I'm gonna plug it into our diffuse on within here. I'm gonna load up all about tiles on. We can do the same little gal, intricate at a bit of variation. I mean, maybe maybe you don't want it. This is something we can refine when we start rendering. We're definitely gonna need to refine some of the materials with the line and then back in , uh, tiles. Let's add a little bit of reflection. Dark gray show backgrounds. We can see what's happening on its Bring this Glossing this down about halfway says a beer shine on there. I supply well show shaded in people If your always save comes up like always dust from me quite nicely Just here exit. If it's an inconvenient time on this showed up material in the view poor. Let's run an interactive and that's looking very cool. Listen, had that been a bump map as well to this, So I'm just gonna part actually, just put that directly into the bumps. Slop. Soon as it's pretty much black and white Andi assuming a little bit of a camera and see how this comes out. I mean, we could do with orbit in the camera a little bit. Sure. Why, My God, it was going so nuts. But a little bit of bump will set itself quite nicely, But I'm happy with entitles. For now, I think we could probably at him a little bit more when we start rendering but days with data job. So I'm gonna copy this on over in our main seen with our tile selected. If I select controlled Q, it's gonna select all similar. She's a great little tool, Andi. That means now I've got a lot of these selected so I can paste in our wall tile called its wartime on open on material editor. And with our I drop, it'll grab that material from there, and I'm just gonna delete. And I'm just gonna apply that to our wars. Andi Late then, my whoa! And now we can say we have our bathroom tiled and there's one last texture, which is this one should be quite easy. It's a crime. Someone's gonna right click. And in our basic materials I'm gonna use and she's out Brush crime. And I would apply that to the selection. So now Ah, whole room has materials on it. We can save this. And there's actually one last thing I want to do before we saved this on that is to re link all of our bit maps. So if you've got any missing final in here, sit and browse to probably your downloads folder or you're working folder and just make sure you've got all of these collected. So find the folders hit re link and all of your textures should start showing up. And then over here, I want you to use the resource collector again. If it's not there, you can find it under all which is here and distract and drop it over here. Select resource collector. Browse, Browse to our project folder. Seen assets on images. This is where we're gonna keep one of our textures. It used path updating material, so that's gonna update the paths within the material editor. We're gonna copy in my va and we're gonna hit begin, and that's gonna move all of our materials from all over the place into one folder. So we're kind of keeping this organized as we go. So now we've done that. We can hit save and we saved on material scene. 32. V-Ray5 Updates: All right, So let's start by taking a look at the beer. A frame buffer. So the addition off light mix is huge on those of you familiar with Corona will be aware of light mix, basically like mix lets you create a lot of different writing scenarios from a single render. So you just hit render Once on bond, you can create all these different lying options. You can pay your lights in post and you can see here. And I mean, you don't really have to think too much about where you're placing lights and how they're gonna affect the scene. You just kind of put me and where there are gonna be lights and you can kind of deal with most of that in the frame buffer. Now, I've also found this useful for creating animations for certain projects where we wanted lights timing well enough, you can rent a once, and it takes steel frames from the light mix. So from a single render you gun great. Very different light scenarios. You can change the time of day to day tonight and you can turn certain lights on and off, and this gives you massive creative flexibility and you can see here of create a couple of variations of the day on a nighttime shot as well. So the ability Teoh save presets. You save him in one folder, you can just click from here, which is a great addition, and you can change it like colors over here to sell. Black mix is really simple. You can just open up your render sections and over and render elements at a light mix element in and then just hit. Render Onda down here, select light mix from your source. Just remember that these values of multiply it so they actually multiplying the light value these and not the values of the lights. So just keep that in mind. A small but useful addition to the frame buffer is search history so you can search for previous projects in here. So I've typed in balloon to find the balloon project I was working on before. So a nice little touch your nice We also have this picture information at the bottom now, rather than having to right click on this red border, indicates that there is more image to see so we can see that assumed in and it's not there again, not massive, but it does show the folder has gone into this release. The Render region is now much more intuitive to use. You can resize it and you can move it around again. All these things sound really simple, but they we just weren't used to having him before. Something I love about this releases these layers and a great one. Is this filming tone map. There's a few options to choose from down here, and they just add a really nice finish to your images. Andi. Some of them come with very minor on controls on power curve. You can do quite a lot with. So all my stewing away with the camera raw info shop or these layers have got capacity so you can bring it down so it's more subtle, so I'm moving on to materials. The new material manager looks fantastic. I find the free DS max way of handling materials horrible, and I loved what Corona did with theirs but very have done saying very similar, and I believe with the next hot fix will be out of the save and find our own materials. So in that update, there's gonna be a away from now generator. And you also notice that these render a preview images are much nicer and look a lot more like what we will see. You know, Final render up. These options up here look great as well. So in this asset browser is over 500 pre made materials and they're gonna significantly help us get a head start on material Gration on the very material itself now comes with a preset over here these away. Have the index of fractions already set up, so you don't need to go searching for them anymore. There's a couple of other options in the figure and material one of them being coat, which would move. Find here, and you can see that that adds a varnish. Finish to your material, so that's going to save you. Add in a blend material on. There's also a shame here, which is more for fabrics, but it's going to apply a fall off now moving onto textures. The beer a U v w randomizer has been added, and I love this because when we plug this into mobile bit maps, so using the V rate bit map, we can plug this in as source. So we used to have to change the tiling here. Well, now we control multiple movies with one map. So if I change this to 10 10 you'll see that both of these maps have updated, which I think is wonderful. And now, because we have changed at 10 by 10 we can see that it's repeating. It is a seamless map, but we can see the repeat on it quite heavily. Well, with the addition off stochastic tiling, this is gonna add a random tiling to our texture. So even if you're taste re seamless, you're gonna you may get repeats on with this time Dawn. We can see that it's random izing tiling. So that is a massive addition. One thing I would love to see is the ability to drag and drop textures in as a very bit map Robert, than just a default. Freedia smacks it met. Another thing to note is that the V ray hdr I is now beer a bit map, so just load your HDR rise into that very multi sub texture is a new addition as well and anyone familiar with CD sources. Mommy Textual understand the power of this map. You can have random by elements selected on Andi. Let's just render an interactive. We've got two textures plugged in here. And then we can change the random Hugh and we'll see what goes on, you know, interactive. And with just two takes his blood, Then you can get a decent amount of variation from just two boats. 33. Where is the VRayHDRI Map?: tons of you are asking where the V ray HDR eyes gone on and how to add a HDR right now to divvy red light. This on the right is an old version of Max on DVI Ray Onda We can see we've got a very hatred all right here we could drag that in, and then we'd plug that straight into our light Onda over in Vero five Thievery HDR I has gone and it's actually been renamed were a bit map. So it works in exactly the same way we can load it up from the be rain maps and plug it into our light source. You can see that the premises are exactly the same. So it's just been renamed. So going forward to use the rate bit maps for your hatred, er, eyes. And if you load an old seen in Vero follow, you'll notice stay will automatically update to a very bit map on. We can see that here is a very big map over here to the right age deal, right? So if I was to open this scene in this version of Max and very it would open and have a beer a bit, map 34. V-Ray 5.1 Updates: Guys group had a premier video on YouTube and a grave on Tolkien and wondering what the announcement would be and they didn't disappoint alongside rebrand, what was most exciting to me was the VRA five Update 1. And this update included access to chaos cosmos. So the chaos cosmos is a content library that can be used across all the right packages. So df is going to work in VA for, for 3ds Max is when SketchUp, for example. Alongside cosmos, we've got improved materials in the viewports that are going to look a lot closer to and how they're going to look in their final render. We've got advanced material override Maschine into v re frame buffer. The ability to have multiple Dome lights in one render is going to be massive so we can switch them off with the light mix. And we've got a auto translate physical materials. So you're not going to have me asking have you convert it to be re we've got batch camera rendering forecast Cloud, so we can just submit one scene and choose what camera angle we want to use. And there's also a new camera list up. Let's take a look at how we can get this installed and what we've got first being head over to Chaos Group, go to Download and download the latest version of the nice new logo there. I'm on 2020, so I'm going to download that and I'll jump back in once you've downloaded it and installed it. So we can see on the VRA Toolbar we've got some new buttons and some changed buttons as well. So the submits cast Cloud rendering button has changed a little. And we've also got this fee rate camera list. And now, and if we open this up, we can see that we now have a camera LR There is organized by type of camera. And it also gives us the ability to make changes to our cameras. And this is going to save a lot of time rather than having to select them from here and making the changes in the modify. Well, we can make changes in any of our cameras. So the carbon has been updated. And now when we submit to the Cloud, we have the ability to render different cameras rather than having to submit them individually. So you'll see what I mean when we get over into our chaos Cloud. So now we can select what cameras we want to render. Previously, we'd have to select the camera and then send it to the Cloud and then select the other view and send it to the Cloud. So this is another massive time-saver. And now on to what I'm most excited about, which is this cosmos browser. So we can just open up and we can have a look for assets we like, and basically drag and drop them into the scene. So make sure you're signed in. I found that when I wasn't signed in, it took a little longer to load. You can also show assets that you've already downloaded over here, which is quite useful. And you'll also be able to see assets that you have downloaded with a taking the top-left. And finally, there's a search bar. So you can search for certain objects, which is really good. I mean, organized and assets. It's always been a bit of a mission with 3ds Max and keeping everything organized. So this is. A massive help. So obviously if you are working on mobile screens is going to be Asia. And then having this isotope of your 3ds Max UI, let's take a look at bringing some of these models him. If we go over to furniture, Let's kid's bedroom. And if you haven't already downloaded and I am, you can just click here and it will download and it will let you know when it's ready. So you can just drag and drop objects in. And that will load up. I have found that when you drag and drop in and can be quite hard to select. And I think the reason for this is because it's a proxy. So you can see like I'm having a hard time clicking that kind of click and drag. And I think the worker, and this isn't for all models. Once you have got it selected. Okay, so I'll select it by clicking and dragging and then they select him. And if you change this to show whole view, then it actually becomes a sari help show whole mesh. And it's actually a lot more selectable. You could probably use bounding box, where it would seem that if you just change the display and then back again is going to be easier to select. So that's pretty handy tonight. So you can just drag and drop these in and position them. Let's bring this bookcase m. And again, is quite hard to select until you select the whole object. And let's just change this back and forth. Now we can select it. And I'm pretty sure that that is going to get ironed out pretty quickly. So I'm going to position that. And we'll say is well, we have Lai in vehicles. Also the staff vegetation, which again is huge. I mean, in a lot of the tutorials we do show you how to find assets, download and prep them, and then bring him in. And you can just imagine how much time this is going to save it. And we jumped on camera and we can bring objects into the scene just using this green button and choosing which version. If you've got multiple versions of Max open, which one you want to bring into. So that's in progress. And as our asset. Now we can move that into position. And I've got a feeling that this is rather big, so I'm going to scale it down as well. And we're also lucky enough to have access to people as well. I think these are from random people. Said I some really good assets in him. Down I did. Janna. Yeah. So I'm going to drag and drop tiring position. She can be looking at a window and you can see how quickly is now to populate the same. And another really cool thing is the HDRI. So I've done, I do fray and I'm just going to drag and drop these into our scene. And while we can de, make sure you've got light makes enabled by guns, you render setup and in your render element at, in a live mix render element. And now if we go to our camera view, we run an interactive render. Our light mix that we have the three different light sources. So we're rendering with free HDR eyes on and we can just turn everything off and what I really like now. So if I hold Alt and take the other leg, and we can see these different lights in our eyes. These are free different HDRI is, this is one render. And so we can select what HDRI we like using 0. If we didn't have it all, then obviously it's going to turn on or free, which we don't want. And say we chose this light, this HDRI. Then we could go ahead and light the rest of our scene. So that's another massive update, V Ray. And if you haven't downloaded it already, then I don't know what you're waiting for. You can find a link in the description. And thanks very much for watching. 35. Using a HDRI (High dynamic range image) to light our 3ds Max and V-Ray Scene: Hi guys. So now we're on to one of the more exciting parts of the project and that's lying. Arsine and light are same. We are going to use a HGRI, which stands for high dynamic range image. And these images are showing panoramic, so they're free 60 images and they can be used in freely programs to illuminate the scene. And in my experience, they create the mice realistic and natural-looking lie effects. So how they work is a photographer will take free 60 images at various exposures. And then they combine them into one image and they save it as a phi 2B image. And a great place to get HDR is HGRI haven. And this is a project that is based on donations. So if you wanted to support projects, you can click here. And I found a couple of HARs that I wanted to use. I've used this one and this one and they give very different results, as you can tell, they look very different. And I'm going to use both of these to show you the difference. And if you sell Bly in and you're not happy with it, you can always try different HDR rise. So I'm going to download these. And a k will be good enough for what we're doing. And once the downloaded, I'm going to copy and paste them into our scene assets images folder, and jump back in 3DS Max. So in here, I'm going to create a lie. And it's going to be a very light. And I'm just going to click and drag to create that anywhere. It doesn't matter where we are going to turn that into a dome. And then we're going to open up our Material Editor. And in here, I'm going to right-click and go to maps V Ray. And I'm going to load a v re HGRI map. And I'm going to load our NHGRI into here. And I'm going to start with some flowers. We say that slide it in and also want to change this mapping type to spherical. And in our light where it says no map, I'm going to click and drag and drop that into here as an instance. Minimize that. And I'm just gonna click up bad. I'm just gonna right-click to get out of the red light to say I'm not crying. I'm going to select the bed HIPAA in Zen to the Remem. Now we're kinda zoom in around this area. I'm going to place our veto in here and unhide oh, sorry, our ceiling is now on. And I've just realised that we don't actually have a material on our window. So let's quickly fix them. Josephine, we got too many curtains. So I'm going to first ungrouped and select these two curtains. I'm just going to scatter across I fills the space that's left. I'll close that group and hide it. And yet we've got nine materials on NES. So if we open up our material editor again, and what we can do is select out door, which has mommy Sorbonne, which has word and Chrome, which is quite handy. We're gonna warn that would for our wind iframe. So let's apply this Mao itself. And we're going to add another slot to this. So let's change that to free. And this third one, we're going to load up one of our basic materials. And that's going to be the glass assembling deadly standard ones in there. Then plug this into number three. And in the Edit Poly, when I select that glass, I can see that it's flipped. So with that selected, the element is going to flip that. Then he control I select the inverse. And I'm gonna change that to only sub-one, as that's our word. And I'm not sure why. That is plugged into novel, movie texture, delicious, fix that as well. Delete that's now got crime as number two. So our door materials now looking like Word, Crime and glass. And then we've got the word and glass applied here. And now we can unhide. Oh, and now because we've got a glass window end will be out to get some light through. Seminary zoom into here, selecting bed and zooming in and kinda zoom in until we're inside. And I'm just going to run an interactive render. We can say that lights now coming through that window and it's attempting to lie are same. So I think the next step is to put a camera in here and set up a vivid view. Say for the moment, let's codes cameras, physical camera. And I'm gonna go to the top view. And just click and drag that across here. And then in the front view, select our camera and also select our camera target. And just pull it up. And then pressing on the keyboard to see through this camera. And in the Modifier tab, I can click here and select our camera. And let's change the focal length to 24. And this product down, this isn't going to be our final camera view. I just want to use it for lying. So again, this is run an interactive render. And I'm going to stop willingness exposure down until it looks like again enough lie in nasa, I think an exposure of 0 is working and we can see that we're really again some lie in and you can see the color of that NHGRI. If we take a look in the sunflower, greens and yellows, and n is really coming through in the image. So in our history, they should save automatically. If it doesn't make sure you've got a history turned on him. And I'm just going to load up the HGRI to compare it here. Now if I run an interactive render, will see the difference that just changed the NHGRI makes. And you can see the color tone of each change. And I'm more happy with this. But this is really blowing out so we can look at fixing that next. Just going back to the HDR eyes as well. If you've got a HDR that you like, you can route and keep changing them. You can also rotate them using this horizontal rotation. And this will change the position of the sons. I say the sun's over here. You can actually rotate maybe around here by just holiness HER horizontal rotation around. So now I'm going to keep it on 0. So that is really blowing out. So in the Render Settings we can be re column mapping. I'm going to stop rendering access, killing my computer. And I'm going to get to v re column mapping. And here we can see band value. And what this does, this will avoid burn out like this, but it can also affect the contrast of the image. So just be aware that I'm going to bring that right down to 0.1. And I'm just going to select this region, render interactive to show you the difference between the band values. So let's prove it down and is better, but we can't really see what's going on outside. So I think we can take a look at this, share material and see what's happening now. I'm going to use the eyedropper tool to select it. And it's a double-sided material or two-sided. What I want to do is bring down the refraction. So if I make this bigger and we put background on it. In fact, stone interactive rendering as well. And this refraction is what's dictating. How safe are you, the sharers? So if I bring this down to quiet light, just off why? We can see, we can see for a lot better. And now if I run an interactive, it's going to, number one, a lot more lie in. And number two, we're going to see more of what's going on outside. So looking better and brighter in the same, which is nice. So if I turn off the region render, we can see again a lot more lie over here and it's bouncing around the room. So that's looking much better. 36. Building an Exterior in 3ds Max: It still seems strange that it's just pure y out there. So there is a trick that we can use without adjusting our HGRI even more. So I'm gonna stop the Interactive. And I'm going to select our light and easy way Slater light when you got a lot of windows guy and on Normally I would work on two screens, so it'd be easier. And we could say, Well, we're doing more on recording on just one. By do recommend working on two screens. You can open up the lightly Stan. And this will list all of the lights in our scene. And we can actually select them from here as well by clicking here. And something I want to do is in Options, I'm gonna make this light invisible. And what that's gonna do is still push lie into our scene. We're just not going to be able to say the HGRI image. Not that we can say anyway. But now if I open up our environment by pressing on the keyboard, we can find it under Rendering and environment. And what the environment slot does is we can put a map in here, or for instance, is black at the moment. So if I hide our share and just run an interactive render, you've seen the light still coming in. An equal value is still lie in our scene. But the background is black. And then when I turn invisible, back on or off, you can see that the HGRI map, you can just about see it in there. And if I pull the exposure down in our frame buffer, you'll be able to see the HGRI image here. So I'm going to suggest is we make our HGRI invisible. And then we plug in the NHGRI, a copy that into here. So I'll show you a meme is open up our Material Editor and holding shift. Make a copy of this. And I'm gonna call this one son. And we'll call this one environment. And I'm going to drop this one into our environments. Map. Make that an instance, and make sure to use map is ticked on. So if we render this now is going to have exactly the same effect as if invisible wasn't turned on because this is the same map. But what I can do is start bringing down this overall multiplier and the random multiplier. And without affecting any of the line being purchased by the sun in the lie where just affecting the environment. So we can now see our background. So now I can unhide dukkha and, and we probably won't be able to make the out to well, they still hints that there's something more out there. And in that same vein, I think it's gonna be worth adding some trees and freely external 3D objects out here. And that's going to help with the light coming in. If we have some trees kind of blocking the lie is going to make the light coming in a bit more varied and it's just going to look a bit more realistic than flat. So I'm going to stop rendering. And if we go over to visit people, they have a fantastic free Models section. And they've got these treason here, which are brilliant so you can download them here. And once that's downloaded, I'm going to extract into impo folder within our project folder. So I can delete. The zip folder is probably taken up February room. And in here we can say or the models. So I'm gonna open up the first one. Just hey, I K on older days and there is our tray and it's looking pretty cool. And I'm also was I've got this scene I'm open. I'm just going to drag in the second one and match that him. And they all use the same materials. So I'm just going to use the same material. Place that. So we've got two trees here and select them both. And using the corrosive C, I'm going to copy this and paste them into R seem. So let's jump into the top view and control shift a, paste our trays M. Now these are pretty big, so I'm just going to scout and down them. Just outside our window. Maybe another one here. Scatter down a little bit. And I'm going to rotate that to add some variation. It can be Ernst instance. I'm just gonna move that and from then in our front view, obviously pulleys down a little bit somewhere like that. And I want to block the whole thing is gonna kinda have days just hinting at some outdoor foliage to ever go back to our camera. So we scrapped that one, put it down here a little bit more. With this one across. Yeah, I think something like that looks all right. So we've got some foliage out there and something else I wanted to add was a building. And if you look in the resources section, you're going to see this picture that I took when I was in Venice. You can use this or you can download one from Texas.com, or you can always use your own. So what I'm gonna do is right-click and go to the details. And I see that this is 8 thousand by 4,748. So in the top view, I am going to create a plane. Only needed to have one segment each side. And I want to keep those proportions that we had up, which were 8 thousand by 4,748. And that's really huge. So I'm just going to scale up, right down. And then in our Material Editor. And then drag and drop this in. And I've also, you see the one with a, that's the alpha, which is my pass a map. So basically anything why on this show and black one. So this guy, wine shine. And then I'm going to create a very material. Plugged this into the diffuse. And I'll plug this one into a passi. And now when I apply this to our plane, I'm going to need to show that in people as well. And it's actually got the proportions wrong way around. So if I just copy this and paste it in here and Emperor 8 thousand in here, then we've got building him. And I'm just going to rotate. This will press F4. So in C, where is scale it down a little bit more. Just kind of put that here. In camera VA. We can kinda see, hey, Moody's kinda Hinton building out there. You know, we're gonna really see it that well. And I also think we're going to have one along here just to break up the horizon line. And there I told that it can be an instance is fine. It's the same same building. And I'm just going to have that and pull it down. Ca, you can barely see, we can use these dialogues to move around as well. And one last thing I want to do is change these planes. Both of them are gone by selected under right-click. That's Object Properties. And I'm going to turn car shadows off. So if I didn't have their own, then we'd have these buildings casting shadows and I don't really want any light blocking. This window is is our main source of lighting. So I'll just turn car shadows off on those two. So now let's run an interactive render. And we can see that it's just things being hinted at outside. And if we take a look our mood board, or even, let's take a closer look at our mood boot image. We can see that there's a few things just kinda game in it outside is still really quite bright. There's something we can all say in post-production is played by highlight burn and would be able to pull that back in. Would I? I can see that our leaves it not come in when I'm pulling a highlight band down. So I'm going to run a really bitmap on this project folder, select the folder and relink and issued disappear. And now if we re-render yeah, I can I can see the green already out there on the trace. So we've got a bit of a backdrop. We can attempt to bring that later on back in post. But for now, I'm quite happy with how the NHGRI is lying are same. So the next step is to Cal camera position nicely. 37. Camera Composition and V-Ray IES Lighting: So now I want toe position. This camera, Onda Nice little trick we can do is I'm sure you've all heard of the rule of thirds and we can actually use are safe frames to show the rule of thirds. So the first thing I'm gonna do in common is plug in our resolution, So it's gonna be 5000 by 3000. That's normally how big girl render images for publication. So if I close are run this up and press shift f that is how image is gonna turn out. So, toe, activate the rule of thirds. We can go to configure view ports and go to, say frames. And if we turn on action safe on title safe, Turn this lock off. Andi, change horizontal off to 66 and called zero and horizontal here 20 and turn on action. Safe and title safe and apply. You'll see that these lines have appeared. Andi, we've broken up our image into thirds, so we can now use this as a nice reference for the rule of thirds. So I'm gonna use this to positional camera and I'm gonna turn off snaps because when I'm using this orbit till it kind of snaps the orbital. So be turned off. We had to navigate around a little bit better. And I also want to select our camera and turn on the auto till so in perspective control. This auto vertical tail will make all your Burkle's straight, which we want to have. I kind of want this edge of the bed to be sent up, and I think that that looks pretty good. Become position. Let's take a look. You're nice. That's looking good. So next out, let's get some I yes, lights in here. So I yes, files are the Lion files that manufacturers used to demonstrate the distribution of light in, and it's essentially a text file, but we can use them in freely applications to create accurate representation. Zoff lightbulbs. So if you head over to Leo Moon, they actually have a free like pack that you can download so you can download it here, and once you've downloaded it, you can paste it into the project folder seen assets Biometric. I was gonna paste zip into their and I'm going to extract it. And in here we can see all of the different types of light that we can get from these I s files. So this define spot. We'll work in our case, But feel free to try any of these out. So to load these up well, we need to do is create a be ray. Yes, which is here. I'm just gonna go, Teoh. I'm gonna turn us safe frames off. Go to our from view percent free and I'm just going to click and drag. Oh, yes, back in perspective. You see, we've done there so I can right click and select like target and then holding control Select the I s like And then in the top view, I'm just gonna line this up with our spotlights that we modeled. And then in the modifier tab with the I s file, I can click here and we can navigate to where Ah, yes, Bo is, uh, so defined Spot is the one we want to use. That's the No, we take a look at this in the left. You we can see that that has changed the shape of our light and it's just moved out quite close. We don't want it to overlaps or somewhere like that is great and I'm gonna select the light target again, hold control and select our life. And then in the top few position Or did these lights like them instance? And here I can actually select lights from the selection. And that means I can only select lights now. So now I've got to light selected. I can help shift and drag that into position. Make an instance on Do the same again yet. So now if we interactive render, we should see our yes, lights in action, and they are very, very powerful. So I'm just gonna slide one of them. They're all instance. So any changes I make in here are gonna update on all of them, so the intensity is far too much, so I'm gonna bring that right down to Let's try 10 to start with. That's better. Maybe you could get away with 20. And also I want to change the Alamo to temperature temperature. You always get more realistic result because this is based on Kelvin's, and I'm going to bring that See 5500. This is a warmer light. So we've got blue light coming in here and then we got warmer light coming from our Ah yes , foes. So low spotlights are looking very cool. I mean, if we turn them off as before and this is them turned on. So that's cool and what you can do with lights. Let me just turn off history so we get more more space in Turn off. This is well is if I select the target and I just moved this around, we can kind of dictate where that light's pointing, which is quite nice, so we can highlight specific areas. So in this case, it would be nice to highlight this picture over here, and then the middle one say this like target. I can just select it here it because it's just pointing over two pillows to kind of highlight them. So have a play with where Euro yes is a landing, so you can really kind of dictate the viewer's eye with this technique, 38. Adding a V-Ray Light in 3ds Max: and finally less at a light to this lamp. So I'm gonna stop interactive in a moment and go to create and let's just create a beer, a light press that free to go back to shaded, click and drag this on. I just want to change this to a sphere, and that's a really big sphere to be using for this lamp. So I will make that radius to Senate. Me is, there's gonna basically represent a bulb and position it within the lamp. And I want this to be a warm lamp, so temperature, and I'm gonna put that on 4500 so you'll see that the lower ago of this is gonna become orange and the higher is blue, so cooler. So if you want to kind of, it's always nice to have cool light coming in from outside and then the artificial light so the I yeses and lamps are gonna be warmer, and sometimes it's come make a nice kind of crime make aberration effect. So let's put down to 4500. I've got a feeling for you, for the intensity is gonna be a lot. Let's check it out. So When you render an interactive, you can always pull these regions over and you're less That's really bright. So I'm gonna bring that down to 10. That should work nicely. It's just a little hint at these pillows over here. UNESCO. Something that I've noticed is that are you V's look like they're stretching on these wooden planks. And I believe that is because our wood texture is actually a lot sure. Then I've made the planks, So let's stop the interactive and I'm gonna go back to Shaded, made and make sure that we can select our boards by having all and our plans is 600. I think on our material. Just don't think these planks are that long. So I'm gonna pour these right down under, didn't run an interactive and see how they look. Yes, that's better, but they're still stretched. So I didn't think maybe 1.5 day is today is gonna be long enough for each of these planks. So what we're doing is actually changing the lengths of each model off the plank, and we're not changing anything in the material on that's looking much better. I also think it's kind of to oversaturated is there's too much yellow coming in from this would, so we can update that in the material editor, and we can just be saturate material. Yeah, I just want to show you sank in the material. It s so this is a bug in max, which is quite annoying that everything comes far lying over to the left with move Children selected. You can actually select our word and select everything that's attached to it. So this is the parent and everything below it is a child off that parent. So if I turned that off now, I can drag and drop and poured out all him and in the Mohe texture in overall, we can actually bring the saturation down a And now we can see that that has pulled saturation down off that would just sing looks better than the yellow wood. A couple of the things I've noticed is the for on this map isn't really working that well. I think that's just a scaling. If you if I stop this render and actually run Robin an interactive run, a full size render, we're going to sit with much more detail. The issues in the middle mouse button as well. Here to kind of zoom in and out of our frame buffer. You can kind of see these tiny little strands of fur Come here for this map that's really know what we want. So let's cancer this render on. Let's select the for and referring back Teoh earlier lesson off. We know that we're gonna want more fitness to this for, and we're gonna want more for per area. So let's open up the bed group and let's change this fitness. We want him, like a lot more like 0.5 point 75 and let's take a look at what that does. Okay, that's ridiculous. Ridiculously big. So this cancer, that and can we might get 0.7. No point no seven. See what happens there of hit Interactive of habit. But maybe we'll be able to see that was going on. Yeah, it's still no thick enough. I'm going to say 0.5 9.25 rendered out. Okay, that fitness still too big, I'd say so. It's just do 0.1, and we're gonna up the area. Just put down to 10 so we're gonna get a lot more distribution. That's much better. That looks a lot more like a the rug sentence running interactive and just see how that's affecting the whole scene. Yeah, I can already tell us looking much bad down there. All right, that's working on. The last thing is just thinking if something needs to go but this bed on, I know that we've got to picture frames over here. One is not even in the scene. So I'm gonna move the picture frame, but from over here on the left, two above the bed. So in the top few, let's grab this picture frame and move it. Now the pivots over here. So in hierarchy effect, Pivot sent it to object. I'm just gonna pour that over to the bed. I'm just gonna push this back towards the war again. The pivot is off on this. Mysteries pulled up to there. I was. Ah, frame him. Let's get that into the middle of the bed and above it. Then I'm going to rotate it moment, turn angle snaps back on and then in the edit, Polly, just gonna make it longer. I notice. Bit more of an abstract. Um, picture in there so I can kind of get away with with this? Um, yeah, I think that looks better. Maybe we can make it smaller. Yeah, unless quickly. See, Alice looks with our new picture. Yeah, that's much better. Something Someone who look above the bed. Great. This is looking good. So next I wanna show you how you can create a depth of field shop, and we're also take a look a like in the bathroom. 39. Depth of Field with 3ds Max and V-Ray (Create a Detail Shot): So now I want to show you how we can do a close up detail shot. So let's go to the top view percent free. Onda, I'm selecting our camera holding shift on dragging two. Great. Another camera. I want to make sure it's kind of straight on and it's gonna be a copy on this. Call this one detail shop and hit. OK, You can always right click and select the target or select the camera depending on what you've got selected. Oh, control And select that. I'm gonna do a detail short of this bedside area we're lining up around here on. I just want to keep in mind that using Whitney's debt fulfilled on this camera, so wherever this target is is where our image will be in focus. So I want this area to be in focus to just keep that in mind when you're moving your cameras around and if a press see well, camera selected, we're gonna go to that if you and I also want to make this view portrayed So in a render set up that's changed his wit to free 1000 and we'll put the high at 4000 well, 5000 Chris Shift F turn on our say frames and I actually think for thousands gonna work nicer here. All right, so if I turn on shaded, this camera is far too wind for what we want to do. So I'm gonna click on on camera here and select camera on this changed its lens to 70. That's better. And I want to zoom out a little bit more but you can see we're going for a war for show you in top view was going on all cameras going for this war. So what we can do is turn on clipping, which is under miscellaneous turn on enable on you'll see with near we can pour this in and out in this red line appears and this is what will be clipped Just a note that you can hold control to speed up Tuggle of this. So we'll go back to camera Unshaded. I'll show you without any clipping and as I gradually start adding this is clipping away at the war. Now we can kind of cut for it walks, which is a massive advantage off being a virtual photographer. So let's run an interactive and take a look at what we've got on our detail shop already feels a bit too bright over here, so I'm gonna bring our exposure. Uh, I even think to free and something I've found maybe to something I found is you're better off rendering a scene under exposed and over exposed. If you blow out, an image is quite hard to bring it back. Whereas if is over exposed, you can always make things brighter in post production. So I'm gonna do it as with an exposure of two on Weaken, See that this is looking quite nice as a detail shot. But what I want to do is add some depth of field and that's quite easy to do with the physical camera and just gave in on these foreground as this is gonna become blurry and this targeted area will still be in focus. So all I need to do is enable debt fulfilled, and it's got used target distance, which is the target off the camera. And you can see here that is become out of focus. And this as a real nice neorealism toe our image. So I want to move on camera a little bit before called out dumb. I just want to rotate it up a little bit. Preps up across, perhaps even zoom in just a touch. And I'm quite happy with how that image is gonna turn out. 40. Lighting a Bathroom and Adding Glow to Lights in V-Ray: Great, so that's looking noise. Now. All that's left is like buffering. And ten of safe frames tie to the topiary, f rate guy to wireframe. And in our selection, select lights. I'm just going to grab this IS lie and shift drag and put it into the bathroom. And I'm gonna make this a copy, and I'm going to call this buffering IES one. And here i k. And then I'm going to position IS and the reason I'm making them different. Bedroom is we've got nine natural light coming in to above frames that we might need to change the intense a. And I don't want the changes in intensive days lights to affect these lights. So let's grab this cameras and we need to go back to o. And I'm going to hold shift and just pull that back to make it cheap, Luca. And it's making a copy. And I'm going to call this buffering. Ok. And I'm going to right-click select the camera target and bring that side is facing this back wall. And then I want to bring this camera back as well. Say it can be inlined that select the target as well. And Podeh across. This guy to our camera VA, offering just prescient cable shift f CRC frames. And I'm going to want to change the lens camera sandals selected. And let's change this to 28 mill. We'd say is a lot more of the bathroom. And let's position s. So I'm going to have the middle mouse button and just pull it up or down a little bit. You know, say changes to shade it so we can see them better. Cmm, return of the angle snaps as I'm doing yoga because it's not really helping to much. I also want to turn off the depth of field on here, the GCD. These kinda slow motion lag on when we're moving the camera and that was because the vehicle is trying to update. With that fulfilled. Let's just move this into position, keeping an eye on our role. I think something like that. We'll get less run an interactive render on that. And it's pretty dark. So I'm going to slightly camera. And let's make our exposure 0 again. So I'm just right-clicking on that dialogue. And that's much bow. We can see what's going on in buffering. And in a similar vein to painting with light in the bedroom. I'm gonna move somebody's targets around the highlights and stuff. So I'm going to push it towards this moves is going to kind of highlight this, this side with a towel. So in the top view, I'm just going to push. This IES is well, select the light target and it's gonna push, dive into the corner a bit more. Guides buffering. And that's looking pretty good. Something I've noticed is that we need to see billion Plug sockets because the trials are coming through. O boolean, should I say? And something else I want to look at is adding some glow to these lights. I looks like that turned on. And this is looking a little bit too intense. So let's go about that. Let's fix the towels first. Sang a ton of shaded at say, frames. Select these tiles. And it moves agonists like the war, because I think we're going to need to kind to them. And I'm going to isolate that selection implies that for a moment. And we can create a box. And we owe a great turned on. I'm just gonna click and drag and create a box here. Pull that down, make sure it's taken up. When I'm Plug sockets Who Bay. And that's gonna go into the world. So I'm actually gonna hit Control V and make a copy of this. So now we've got two boxes on top of each other. And you'll see why we need that. Because we need to, number one, Berlin, these tiles. So I'm gonna collapse all of this. And I'm just gonna make this afterlife environment have a towel selected. And we're going to create a compound object. And it's going to be berlin. Then add an operator which is here. Match, you want that on subtract. So we've actually subtracted away from them tiles. And actually we don't need the second box because we don't need to go into the wall because that seems to be close enough. So back in our bathroom view, say frames on, I'm gonna unhide. Oh, and I want to add a global effect to our slides. And we can do that in the frame buffer by turning on Blum and glare, which is down here. And we can switch that on. And we can see what that does, adds a noise glow to our lights and be careful not to overdo it. This is far too much on here. That's because it's light is too bright. But to enable these lights to work, we're going to have to put some bulbs in there. So let's go to create LY and V ray lights. Turn of say frames go to the top you. I'm just going to create a spear line. And I'm just gonna make a sphere. And the radius is just going to be one centimeter, is literally just the just the beat em beyond. And I'm going to put that into the middle of our spotlight. And then in the front view, make sure that that is inside our line and see where we have cut out spots. So we're going to need to make sure it's in there, but not coming out of the bond. So that should work fine. And I'm just going to move this to all of our spotlights that are gonna be instances. And I'm also going to move these into the bedroom as well because it would be nice if we can turn the lights on in the bedroom. So it just might take a minute. So bear with me. Just holding Shift and instancing these across. Could probably hold control and just select that like and then how can try and select this one to speed things up code. So 40 spotlights now have bulbs in him. So if I run an interactive render, Actually it's better to run a full render when trying to work out the bloom and glare. And I do think that this size has something to do with the size of the render. So I'm just going to render four reds. Alright, so this is still rendering that we can do the bloomin glare on a kinda needed tiny off and on is something that I've realized. You see this crane really nice effect here in these lights. This slides too powerful, but we'll deal with that and amendments. And really we just want to focus on the spotlight and we can bring this size down to five. You say That's just lighten it up. Perhaps the bloom down to 0.2 and the intensity 0.05. and something else I want to do is turn on these lens scratches and dust and you'll see what that does. It kind of. Firstly, changes are aperture preview that you can see here. So its enemies on. We'll add some variation to this. And then we can just rotate this by 90. And I think that looks pretty cool. So I'm going to stop this render and I'm just going to change the intensity of this light. So I'm gonna make sure we have all selected, select our mirror, press M to open up our Material Editor. And using the eyedropper tool, I'm just going to select the mirror. So it's umami sour object. And this is our light material being plugged in. So if again to our light material, we'll see this is on 50, which is way too high, and bring that down to eight. And I'm just going to render this collection again. And that's looking much better. So I'm really happy with how this image is turning out. So now we can look actually rendering our final images. 41. What is Global Illumination?: And first up boys global illumination. I'm just going to open up off frame buffer to demonstrate here. And I just want to show you this render. We've got some lights in this thing and they come in from the right here, and there's one on the left. And when light hits an object like the ground, it doesn't just stop. It actually bounces off objects and imbalances onto another one. And then bounces off and bounce zone another one and it just keeps on bouncing. And this creates indirect illumination. So if lights just stops when they hit an object, could end up with something like this. And there is no light bouncing up here, for example, the lights or just stop him when light hits an object, it doesn't just stop. It bounces off of that surface and it keeps on bouncing. So the light picks up color information from the objects is hit in and it keeps on bouncing. And this creates indirect illumination. So if the light came in from here and bounced on this surface is bouncing light under here and it's lined this up. And if it just stopped, we'd end up with an image like this where the light is hitting the surface and just stopping. So these areas wouldn't get lit. And that isn't very realistic. As a V or a five, it's recommended to use brute force. And brute force has traditionally been higher-quality IEP slower than the irradiance map. But as b Re, as sped up over diversion so has brute force. So now the default is brute force and like caches are secondary engine. And this is the best in terms of quality and speed. And if you want to reset your set and you can just switch from V Re to any other engine and then just jump back to the ray and it will reset all descends to default. Now another reason to use brute force is like mix. If I go over to the render elements and add the light mix render element. And I'll run an interactive render. We'll see that we have access to like mix and we can make changes to our image from here. Whereas if I change our primary engine to irradiance map and rendered and interactive, we'll see that we don't have access to like mix. And it says please add light mix to render elements which we have. So really this is a sign that brute force is being focused on in the future. And I wouldn't expect irradiance map to be developed anymore. So now it's probably a good time to start using brute force as your primary render engine. And the same goes for light cache. Some really good options only work with like cash. For example. If we go over to the camera, we can actually, I'm just gonna render an interactive. We can actually use auto exposure and bowtie white balance, which are great tools. But if for any reason we wanted to use brute force and brute force for example. An example of why it is this is in an exterior and you had a really good machine. But now, when we go over to the camera, will say that these are grayed out and we can't actually use them. So again, it's just worth sticking to these defaults of primary engine as brute force and secondary as like cash. But I do understand that brute force isn't as fast as irradiance. And in some cases you might want to use irradiance map and light mix. And a way of getting around this would be to interactive render with light mix on and then you could make your changes. So let's say like one, which I've got selected over here on the right. Let's say we double the multiplier. So if I put two in there, it's just stop the render and I'm going to push out to the scene. And yes, we'll see that that actually doubled because we times that by two. And then if we jump back to irradiance map and run the render is the same. So we can do is make your life makes edits using brute force. And then if you did want to use irradiance map for the final render, just push it to the scene and changed the primary end into a ratings map. And here render. And the same can be done with delight cash. If we select our camera and we put auto exposure on and auto white balance, it's not looking too good near, but say that ascends we wanted to use, we can actually hit transferred to camera. So now the sands have moved over into the camera. Which means if we put this on brute force as a secondary engine and we can't select these anymore. These ends have actually moved into the scene and you'll get the same result. So what you're really doing is moving Light makes sense to the lights in the scene and you move in the camera sends to the camera and the scene, rather than keeping it in the frame buffer. But going forward, try to use brute force and like cache as much as you can. 42. Light Mix in V-Ray 5 for 3ds Max: Just before we jump into rendering, I want to talk about light mix and light mixes nu to be very five, and it lets you change the color and the intensity of your lights after you've rendered a scene. And this means that we can create multiple images from just one render. In this example, we've got a day and a night scene, both from the same image, just using light mics. We've managed to change that into a night scene. We can make this change very easily just changing the lying to a nighttime scene and hit save. And before like mixed the workflow for this was much more work. To enable lie mix is fairly straightforward. Just head over to render elements and hit Add and select line mix and hit OK. And now when you render on the source, you'll get this light mix. So here's a list of all our lights and this is our default. So line we set up earlier and you see that everything's on one. Now it's important to know that this is a multiplier. So that means that wherever the intensity of our light in the scene is, for example, if it was eight, this would then be a multiplier of the eight. So this isn't the intensity, this is the multiplier of the light. And this is also important to note for the color. So if you are going to use light mix, it's recommended that all the lights in your scene is set to white. And then you do the colors here, because again, this is a multiplier. So if you had an orange lie in our scene, and then over here we changed it to green. You're gonna get the orange and the green, multiply it and you'll probably end up with saying undesirable. Another cool thing is once we make R changes. So in here, I've turned off a few lights. I've brought the environment right down and I've made it a bit bluer. And the same with this exterior lie of made it more blue and really boil down, but we can still see outside because of the Moonlight. I didn't wanna switch that completely off. And we've kept the interior lights are same and added some orange just to make it a bit warmer. And then you can hit save. And you can save your life mic. So we'll say that as night. And if these are both in the same folder and we hit save, then we can quite easily flick between these light mixes. And then we just have to hit the save button. And we've got to 2.4.1 on our renders there. So the ability to create a variety of lighting set ups can be really useful when working with clients. You can create many lighting options and send them all over. And just make sure you save your presets. And then whatever option they come back with is just a matter of loading now up when you render the final image. 43. Rendering images in 3ds Max and Rendering with V-Ray Cloud: All right, so now let's take a look at rendering our cameras. So when it comes to rendering a yeast to be a bit of a confusing arts are balanced the render times and the set ends and the image quality. But as of the ray next, I found that the default settings work 99% of the time. So there's really no need to change anything unless you're having really big issues. There's only a couple of things I want to do in the render setup. And that is to add a couple of render elements. So I want to add an ambient occlusion, which is going to help our objects look grounded in the scene, is going to add some more depth to the shadows. And I also want to create a wireframe color element. And what that's gonna do is create a almost a clown mask. And we'll be able to select different objects in Photoshop. And I'll show you what I mean now. So backing common, let's, let's go back to our first camera. And let's change this to 5 thousand by 3 thousand. And something I noticed is that on our bed and just gonna isolate this, this actually has a terrorist move on it that isn't applied. And you'll see that we've got a few artifacts here. So if we turn this up, I'm gonna put it on to two. It's gonna add a lot more police, but it's gonna make the object and lots mover. So make sure you do that if you're using this model. And I'm just gonna unhide everything. In fact, I'm going to click here and isolate everything. And let's add two elements here. The extra texture, which we're gonna put our ambient occlusion in. And also the V ray via color, which is here. So I'm going to hold control. So I've got them to selected and we've added him here. So what the wire colored does is it's going to render a pass. And you can see this floors go green, or when I select it, it's got a green color and the color here. So the curtains of blues that are gonna render fully blue. But all these objects l grace and is going to be no difference between them. So what we wanna do is just change the color of these objects to something other than the color behind them. If that makes sense. So go through slight individual objects and just make sure we don't have any colors that are close to each other, next to each other. So you see why? When I do render this. And also make sure that the map and the object are the same color. And that should do the trick. And then in the extra texture, we're going to want to create a material. And it's going to be a very light material. And in the VA, extra texture, we're going to create a map and it's going to be a B radar map. And you don't really need to change anything in here. I'm going to pull this down to two centimeters. It's basically the distance of RIO or ambient occlusion. And then I'm going to drag and drop this into our extra texture here. And I'm gonna make that an instance. In close that down. And when I render the finals, i'm going to change that to bucket. But for the moment of these progressive and I'm going to open up the frame buffer. And in here you see like a percentage resolution and we can use this to test renders. So currently, oranges at 5K, which is quite a lot. And if I just pull that down to, say 10% is going to render a 500 pixels wide instead. So if I run a render now, we see that the window size is 500 by 300. So we can test our render elements. And now this is dyed rendering. We can take a look at our passes. So this is our ambient occlusion pass. So that's looking fine and our white color. And as you can see, this is what I meant when they should all be different colors because if we were in face shot, we could use the selection tool and select these objects. But these two are too similar. So let's change the greens in here. So I'm going to start rendering. And I will select this cabinet. Let's make that orange and most, I mean, the bed is not touching the floor should be fine in grain. So that's already to render now. So all that's left to do is set some output paths, which we'll do in frame buffer will separate these render channels. So it's gonna render out all of these passes individually. We also want to change this to image and render elements so we get the glow pass. Which you can't really see in here as a separate elements. If we need to control that layer, we can. And back here, this is under frame buffering V Ray. I'm going to create a path. And it's going to be in our project folder. And I'm going to go to Render output. And in the render output, I'm going to create free photos, were going to have the bedroom shot. We're gonna have our detail shop. And we're also going to have a buffering shell. So this is the bedroom. And I'm just going to type in a bedroom save as a JPEG and hit save and keep the quality at full. And now the last thing I wanna do is change this from progressive to bucket. And if you're rendering locally, you can hit Render and you'll have to wait for some time. And you can render these individually. So you'd hit render now. And you can leave this for a couple of hours and come back and it should be done. And then if you go through and do the same with the other views. And when you're rendering the other views, just remember that you have to change your path. Otherwise you're gonna end up overwriting your previous render. So for example, if you due to buffering next, change that to bar for him and put it in the buffer and folder and save as a JPEG. And also make sure you change your width so it's pulled traits. So if you're doing the detail shot and the bathroom shot, change it to 4 thousand by 5 thousand. But if you want to use vivrai Cloud, which is a render service from V ray, which I've been using recently. And it's fantastic. It's a real game changer for me. It means that I can send things to the cloud and just keep working and I get notified when the renders complete. So if you're new to the ray cloud, you can click the button here. And you'll probably get brought to this page. And you can try it for free and you can get started with 23 credits. So just sign in and hit get started. And then once you signed up, you'll go to a cloud dot chaos.com and just make sure you download the client app so you can download it here, installed at and then back in 3DS Max. When you hit this cloud, you'll get submit to chaos cloud rendering. And you can run and allies. And you'll see there's no errors. If you do get any errors, then check out the VA cloud documentation and they've got some really good help files on there. So just to confirm our output sizes, correct. We've got the render channels and we've got a path in there. So we can hit submit. And then the cloud will analyze the same. This is your project name. So I'm going to rename this rendering bedroom or just rendering for now. Resolution match scene. So as is, as is bucket and this is all great. So we're going to submit it and then it's going to upload. And I've tried quite a few render farms in this uploads pretty quickly. And then we can go to view job. And this is going to start rendering straight away. And you see I've got a few credits up here. So now we can just leave that and we can submit our other views. So I'm gonna go to d tau sharp presidency, go into detail. And in common, change this to 3 thousand and this one to 4 thousand. And I'm going to change our output path detail and hit save and OK. And I'm going to send that to the cloud again. And finally, let's send our bathroom shot. So if we check, our queue, will see free renders going on here. They're uploading and probably run in the initial passes, so we won't see much going on at the moment. But what I'm gonna do is leave this rendering and when it's done, we'll jump back in. So after a few minutes here we've weighed like four minutes. You'll start to see the image rendering. And I mean, you can say watch this if you like. But I'm going to switch off the recording now and I'm going to jump back when we finish rendering. 44. Post Production in Photoshop: Okay, cool cities have finished rendering, and you can see this took an hour and 1/2 and took about $7 worth of credits. Andi, these guys took two hours, 45 minutes and about $12 on the details. Shot probably took longer for and 1/2 hours and took $16. So if you did use the 20 free credits, keep that in mind, so you might have to bring your render size down to maybe 4000 or 3000 pixels if you need. But once he's have finished downloading in, click here on Hit download and it's going to download a zip of each of them. So download each by clicking here and download Andi. Then and then I'm going to extract each one into their folders. If you rented locally, then all of your images are gonna be in the individual folders anyway. And let's start with bedroom shop and I'm just going to right click on it and open with fish up so it's rented out really nicely. Was going to bring in this effect. Results on top, and you can see the ask our glow on the turn that off. That's how it rendered and we've got glow on this image. If I press control zero, it's gonna feel our screen And I'm gonna bring in our II and hit Enter bring in our wire color end And I also bring in Blair certain CR exterior there as well It's gonna turn these off. I'm gonna leave the effect result wonks. I want this glare here and I'm going to turn on our and being a collusion mask and change that tomorrow play. And if I flick that on and off, you can see what I still in is quite heavy. But it's really and in some depth to these areas on Dad in some contact shadows, but it definitely doesn't need to be on that highest. I'm gonna put on 25% and that looks pretty good to me. And I was gonna bring this glare pass on top and turn that on and turn that screen on. This just gives another extra boost on that glare you can really see on the lamp on around here and on top of our spotlight here. So that's looking nice. And finally we have our wire color and what we can do that with the magic wand, we can start selecting certain areas of our image. So, for example, if I select this floor, I can turn this off. And even if you have it turned off and you have this last selected, you can still select certain areas. So I'm gonna select this floor, Andi, I can use the levels on it. So I say I wanted to brighten up that floor. I can do it like that, and you can see this only affecting that floor. But I'm quite have you had at floor looks, so I was gonna delete that layer. But this is how you can go through on individually edit certain areas of our objects. You can see we can quite easily select areas. If you turn of contagious, you can select all of that color. And you can also bring the tolerance down. So ever bring that to 10. We should just like that bed. But I'm not gonna need to use that because I think renders come out quite nicely. You can use it even to change colors of things. Um, I won't go into that now. I'm gonna select all of these layers, so I select the top one and hold shift, Select all of these controlled J to make a Jupiter and control E to flatten the object. And I'm just gonna call that flattened bedroom I'm going to right click on it and create smart object. And the reason I've turned into a small object is any adjustments we make on this. We can reapply if we need to change anything underneath Andi. It makes it really easy to copy adjustment layers, two different images which I'm going to show you in just a moment. So we've are flattened bedroom, less selected. I'm gonna go to Filter, and I'm just gonna add a camera raw filter on. I'm gonna hit auto in here, and that's gonna automatically decide on the best adjustments for us so you can switch it on and off here, and that's kind of cool. But I wanna do a little more, Andi, I just gonna make it a little bit cooler in here is quite warm over here. And I just wanted to be a bit cooler over here. And three exposure is looking fine in the contrast. Thes highlights. I quite like the glare over here, so much you can pull them back. You can see that's how we can pull some more of that exterior in So, somewhere around there on the shadows if you hold out, you can click and you can see what I'm. Shadows are really, really dark. So if we did that, you can see that the darkest areas and this really dark. Um, I'm gonna leave that on around 20. I just thanking them what's really need changing. And the blacks are fine on. I really like using the clarity in C what this does if you go ive away, Um, are you just gonna put down around six and vibrance? I really like. It's much bad and using saturation. And if I pumped up because this is quite a monochrome seen, there's no love color in it. We can really afford Teoh pump this up to make this area really born. But I am quite happy with what that Camero is doing is just a couple more things I'd like to doing here. There's a lens correct. Which kind of adds, um well, photographic effect is kind of like if you were using the camera lens, so I'm just gonna put down minus one to add a bit more officially in the middle here, and you can add vignette here. But I actually prefer to add in the effects on I'll show you Why, why I bring that in. Maybe around minus for team. You can see we're still getting have been yet on these highlights of what we can do. He's pulled out right up. Um, and if I pulled that down, you'll see that we'll get vignette here when I put on 100 in the blown out areas. We won't get the vignette, which is a bit more true to life, but we don't need to heart of in yet, and I'm gonna be okay. So if I hold O on this eye, we can see War Image came in like and then I can click again, and that's all finished image and it's looking pretty good. So I'm going to save that. Firstly, is a faux shortfall and once has finished saving up here and go to file savers. And I'm just going to save it as a J. Beck and let's go to his bedroom final. And here, okay, and next up, let's have a look out detail shop, so you'll see that we don't actually have any lights in here, so we don't actually have any glare or glow, so we don't need that. We're just going to use this detail image, press control zero to make that full scream. And I'm gonna bring in the Ambien inclusion. We can bring in the wild color, but I'm no use it. I'm gonna put this onto a multiply off 25% and then I'm gonna control J Control, eat flat in this and make it a small object. Now, what we can do is actually grab are flattened layer, and I'm gonna hold shift and just drag and drop it into this image. And because this is a small object and this is I can hold out on the adjustments and just drag and drop him onto this image. I candidly our bedroom and you'll see that I supplied the same effects as we've applied in here so we can keep a nice consistency across all of our images. So it's is quick. Is that? And if you watched any of the other on the previous versions of this course, you'll know that I used to spend quite a lot of time on place production. But I think now if you can get it all done in Freedy, you've got a lot quicker workflow. So finally, let's take a look at his bathroom image. I'm gonna bring in our base control zero and I'm gonna pull being inclusion on let's put onto a screen ABS area, multiply 25 And that really helps our image in somewhere like this. And let's add ah, it affects on I'm just gonna put out underneath far and being inclusion and you can see when I put them in occlusion over the top of this effect in city i o coming for over the top of delights which we don't want. So what we can do is add a mask and with a paintbrush and a soft paintbrush and black selected, we can just paint out thes two spotlights. So I hold Oh, and click. That's basically our master the black area you can't see and what you can. So our ambient occlusion is affecting everything apart from them spotlights. So I'm gonna hit control J contro, eat flat in them and convert this to a small object on. I'm gonna add a Camero. Been a hit auto. See what first shot things we should do. And it looks pretty good. I want to make the image a bit cooler. All of our lights in here are quite warm because we made them warm in Orender. Sorry, I'm gonna change the tin as well. I think that's too bright. I just want to be a little bit more. A little bit brighter. Um, them shadows. I kind of want this room a little bit dark and moody. So something like that, the whites don't need to be pumped up too much and the blacks of flying. I'm gonna pull that clarity, ox. I want some more contrast in there. Andi, that's looking quite cool. So less did the same of our lens effect. Bring that to minus one. And then let's add some vignette ing, which is here. You can look quite nice with some quite strong. Been getting Andi There we have it. Said it saved that. And there you have it. That brings us to the end of this section. Andi, I really hope you've learned a lot and you can start applying these skills straight. away. I'd love to see your images. Andi. I'd really appreciate it if you enjoyed this class. If you leave a review and you can check out the other classes on Also have a look on YouTube for of videos and you can join the Facebook student group and ask questions. So thanks a lot for the supporter, and I really hope you enjoy this class. 45. Why use 32 bit images?: In this lesson, I'm going to show you why some people prefer to save their rent output as Fe to be images. So EXL for example. And I've saved our last render as an ESR and as a JPEG. So if we go to image mode, you'll see that this is a fake image. And if I jump into the JPEG version and go to Image Mode, you will see that this is 8-bit. And also, if we compare the file size, you can see that the JPEG example is a lot smaller and then fade to bit has a lot more information in there. So if we go down in the FE 2 bit version down here, we can go to Fe to be exposure and we can pull that up and down and we can see what we can do. And this is an actually enabled in the JPEG version. And he works if a 2 bit. So what I'm gonna do is add a exposure adjustment layer. And let's just pull that down by free. And let's do the same thing in our 32 bit version. And you'll see straight away that the JPEG version is just blown out in this window. And that's because the information isn't there. And if we add a levels, we'll see that audio information ends here. So if we take that, sorry, if we take the exposure off, we can see that it's basically just crushing or this information up here. And if we go into the Fe 2 bit image and add a levels, we've got more information up here. So basically the fade to be image has a lot more information about what is in the really light areas and the really dark areas. So if we adjust this levels, say something like this. And we'll do the same. In our 8-bit version. We can see the difference and we can see that the FE 2 bit image is much more powerful because we can bring back highlighted areas and really dark areas. So if we jump back down and make a copy of our faith to be image and we want to make an adjustment to it. We'll notice that not all of the adjustments are available. Whereas if we go to our eight-bit image and make a copy and we want to make some adjustments to this layout. We can see that everything's available. But the best workflow would be to bring in a B2B image, get your exposure i and make sure if you want to see out there, for example, that that's correct. And then you go to image mode, and then you can bring that down to either 16 or eight bits. So that's the difference between fe to bear and 8-bit images. 46. Using 2D People in our Images: Now let's take a look at adding some people to our images. Add into the people is one of the most popular ways of adding people to our renders. And if it's done right, it can look great, but if it's done wrong, it can look awful. So using freedom people is becoming more popular now as the models are becoming more realistic. And what's great about using 3D is you can get the shadows, reflections, and proportions, correct. And then increase the realism in 2D. And often add in people is an afterthought once the render is complete. But if you can go into your render knowing who and where you want to place your people, it can significantly improve your images. Today I'm going to show you a hybrid method that I use when working with clients with very specific models. So take a freemium model and use it as a place holder. And this is the method I use when we're shoe in live models in a studio. This was a project where we put in freely place holders and then shot the model and replaced a freemium model with real photographed one. And having the 3D model in the scene help massively with scowl and, and how the light would hit the model. First, it's important to know who we want in our scene. And I'm going to use assets we can get for free so everyone can follow along. But honestly, if you want your images to improve, you really need to invest and build yourself a library. And life gets much easier when you have a library and you already have an idea of what assets you want to use in your renders before you even start. So viz, people who have some great 2D people and lucky enough, they have a free section. And we're going to use the sample images. So click here to download them, extract them. And then you'll see that these are the various people that come in the sample pack. And this is the lady I want to use. I want to sit on the bed looking out the window. So let's jump into Friday and see what we can do in there. 47. 3d People in 3ds Max and V-Ray: Although not directly related to Photoshop, I am going to quickly show you in 3ds Max, you can use any free package you like. It's not essential as this is not freely class and I don't want to go into too much depth here. But when placing a 2D person, you're going to see it's massively helpful to have a freely place holder in our image. So 3ds Max, since the update from VRA five to 5.1, cosmos is a really useful way to add assets to our scene. And it's not only useful, but it's fast and it gives you access to a great amount of assets. So lucky for us, render people have included some people in here. So if we go over to people and we scroll down, we'll see that we have a lady saying which kind of resembles the 2D paths and we want to use. So you can click download. So if you haven't downloaded something that you can click this blue arrow minus downloaded, just click the green one and it's going to bring it into our scene. So the closer you can match your character and the posture, the beta and the four cosmos, I would use a break to character from random people. So his wife hadn't I behave. You have specific poses you want to use. So these characters are rigged so you can download them and bring them into your scene. And then you can manipulate the skeleton into the position that you want. So that can be really helpful too. So you can close cosmos. And let's go into the top view. And as position, our character, we can actually change to multiple views. So I'm going to right-click and show you polis tab, which is opened up off screen. But let's just put it over here on the left. And I'm going to split the screen. So on the screen on the right is perceived on the camera. And I'm going to turn on safe frames. And then I'm going to use the top view to position our model. And I'm also going to turn off the gradation. And that's going to stop things turned into books, wireframes. So let's take a look again, lady. And that isn't too bad. Maybe she wants to rotate, right a little bit more like that. But again, this is just reference, so don't get too into it. Just going to zoom in. I'm actually let's just check that. Have feet on the floor as well. And yeah, she's looking gauge is same like in the bed Kobe. Something also worth noting is that this lady is actually smaller and her posture is different to this one. So almost like she's leaning forward a bit, but we don't want to mess too much with a motto is just something to consider when we are bringing in, into D. So I'm quite happy with the position of this lady. So we don't need a full render as this is just reference. So let's run an interactive render. So I'm going to click and hold on Render and go interactive. And I'm going to let this render out for a little while. And I'll save it. And we'll jump back into Photoshop. 48. Adding 2D People in Photoshop: All right, So back in Photoshop, I've opened up the image we've been working on. And I'm just going to drag and drop in our reference image that we got to have 3ds Max a minute ago. And it's gonna be a lot smaller than rendered out full size. So you can just snap to the document bounds. If that's not working, that's going to be up in few. And just make sure it snaps is on and you go to Document Bounds. And then we should be added. Just click and drag and snap that to the same size. So it's a lot less. A by a is just a reference. And then I'm going to go to our downloads folder and bring in the lady, the 2D lady, and just scale it down a bit. And then not exactly the same, but I'm going to just try and position is. Now know that this lady is going to be a little bit smaller. Now a position somewhere like that. Let's make our Person reference. Let's just make that red so we know not to leave that on. And I'm just going to add a mask and start painting out sections of our TD person that we want. So I'm going to use a black soft brush to begin with. And I don't actually want her writing in her diary. She looks out the window. It's actually using hub brush. She can just have a hands on our lap. And also we're not going to see her fate. And also I'm going to try and keep some of these wrinkles in the cloth. Kind of help us be better in our scene. There we go. So we've masked out quite a bit of her. And that's looking pretty good. We jump back to our reference, turn that on. And you see that the shadows on the back, but the light coming in from the window and the top back of the head is a little bit darker. And we're going to be brought her here on the legs. So we're going to be Bri Here on the face, back of the head. You can see these kinda, hey, lovely effect. We want to get rid of that. Make this back darker, and it's also going to be cast in some shadows. If we take a look at the bed three instance and this Perri, somewhat bad like the pillow. Here, we can see the shadows being cast. So a quick way to add that would be pressed Control J to make a duplicate of our 2D lady. And I'm just going to press Control L to bring up the level of adjustments. And I'm just going to bring that all the way from left to right to make it for black. And then Control T will add a transform. And then how did the control button, I'm going to click this anchor point and just bring it down and back. And we want to keep in mind where the sun is coming through the window. So I think somewhere like that could be good. You can always say as fine. And then let's add a filter blur, and we'll add a glazier number. And we can see what SUN as blurring the pixels. Say somewhere around for a looks quite nice there. And we're also going to need to come back in. And I'm going to use a soft brush just to paint out any areas that are either on the woman or that we don't want. And in fact, let's bring that underneath our model. I'm just going to click, don't show this again. And all that saying is that a small objects on that layer. Yeah, I think the position is quite nice on that. And what we can do is control J, make another layer. And I just want to move it across over here to help ground are a little bit more. That's looking pretty good. I'm going to mask out some more of that shadow using a soft brush. But you can see it's just adding some shadowing around here. And the cool thing is that we can just bring down the opacity, a touch. And we can also paint out the distance. So if I'm guess soft brush this quite large, it's going to fade out that shadow. So again, belly nice things, but I do make a difference in Schein where she's saying and I think now is probably a good time as well to start naming our layers 2D lady. And it needs to shadow. So I'm actually going to put them into a group. Who would m 2 D, lady shadow. And now let's add a tone. Or a contrast and a auto color. Now just try and help us fit this into our scene a bit better into, into our image. And I just want to add a levels adjustment and only apply it to her. As on the wrong layer, put it down one. That's quite nice. What we're trying to do is just match these time's up. So another thing we could do is just create a new layer and grab a color from here. So this gray and I'm just going to paint splotch of it here, put it onto color, and just grab that mask. He's in control and selecting that fund now. And we'll bring down the opacity of that. And I'm just going to make that only affect our lady. And then I'm going to select these three layers that make up the TD lady Control J to make a copy Control E to flatten them. So let's call is to the lady flat. And what I wanna do here is just paint in some shadows and some highlights. So we can use a tool here called Dodge and Burn now. And we'll make things darker and Dojo make him liar. And a good way I've found to remember that is burning. You're going to burn something. So it's going to tend to ash and make it dark. So if we want to make some areas DUG, we can select the bone tool. The reason we've made a new layer is this is destructive. So if I paint on is going to make the shadows darker, but it's directly onto that layer. So that's why I've put it on here. So then we could actually bring down the opacity or mask areas out. So I'm just going to undo that. And let's just change this to mid times. Now if we go to our Person reference, we can see that we've got more shadow on the back quite obviously and, and in these gaps. So we have a smaller brush exchanges exposure to 20. And that's just slowly ease out some of these shadows. You don't wanna go too hard, too quick on these. And you can also do the same with the shadows if you want to make the shadows darker, ground the bottom here. And then we'd wanna make this leg lighter. So let's switch to dodge mid times. Let's make that 20. And again, like make this knee bit brighter, closer the shadows think is going to feel that their shadows darker. And also this face is kind of in the sun. So Brian, now and then we've got this kind of halo on the back of our head. Whereas like if we can get rid of that using the and and have any on highlights. So we're going to make any highlights darker. So just painting in that edge decisis better against that current. And we can see what we've done. We've changed the line almost on them. 49. Bonus Lecture: 3D into Photography: Today I'm going to show you how you can add freely to photography and make any car advert in under ten minutes. Did you know a whole lot of advertising is actually 3D. Cgi isn't just the dinosaurs and spaceships anymore. 75 percent of the Ikea catalogue is free day. And they're even using a free influencer in their latest ad campaign. If you stick around to the end of this video, you'll be able to create any car as you want, grow your portfolio, and get a piece of that CGI advertising action. So the first thing I'm gonna do is fire out cosmos. And I'm going to bring in a vehicle, and I've already downloaded some so you can switch downloaded on here. And I'm going to add this electric car into our scene. And while I'm here, I'm gonna go to HDR hours. I'm also going to add a HDRI to light our scene. I'm also going to add a v right plane. And this is going to act as our ground. If I go to Render Settings, go to V Ray camera and I'm going to turn off my exposure and white balance on and go up here to start IPR. We can see that we already have a pretty nice looking car in here. So we already covered how to make full CGI images in the last video. This time we're going to look at how we can add freely to photography. Location is backdrop has been sent over by the client. If I press O on the keyboard, this is going to open our background set ends and go use file and load your image file, make sure match rendering viewport is on and apply it to active view. And you can hit Okay, in Windows file right-click on the image and go to properties, will be able to see the dimension. So it's 3000 by 1561. So we're going to want to change this in our Render Output. And this will avoid any distortion. And I'm going to lock that press Shift F time on safe frames. And you can see that if we change this viewport, That's the size of the image. So now let's add a camera. And we can add one quickly up here, just by clicking that. Thanks, flat O. And I'm going to crank that up to 65 just to add a bit more depth. And then using these controls in the bottom right, I can move our car around in the scene. So now I want to match the lightened up with our foe. And obviously we haven't had the opportunity to go and shoot a HDRI of this location. So I'm just going to open up the material browser, the select your life. You can move to texture, drag and drop it over into the Material Editor. And then in here, I'm going to replace the HDRI with our back play image. I'm just going to flip that horizontally as well. Okay, So options and make the backplane and visible and less run and interactive render. You can see the lions much more in line with our image. We can also add a background image. Again, let's use the image we downloaded as our background. And then we also want to select our VRA plane. And we went to China into shadow catcher. And that's going to make sure we get some shadows underneath the cuff. Say now's a good time to turn off the way white balance and the OECD, a V Ray camera and it's 10. These both off and let's select our camera. And a quick way to do that is just to click on the array camera and select camera. And I'm going to pump our ISO up to 1000, the spring, the f-stop down to see more in line with the image lighting. So now I want to add some headlights to it, turn on some lights. I'm going to turn show how mesh on. And then I've tried important is mesh and it comes through fascinated. So found if you add an Edit Poly and collapse or turbo smooth on top, that's the best way I've found. If anyone knows better way, I would be happy to hear it. Now, one gone this Edit Poly, we can see down here in polygon material IDs. Id1 is the pain. So each of these IDs is referencing a material in the material library and safer press M and eyedropper. The car is going to show us a multi sub material. And this is showing us all the different materials on the cup. So I'm just going to press P and zed zoom in and we can hide headlight. And then I'm going to select these bulbs now I don't know exactly how Tesla headlight set up, but I think something like this would be fine. And what I'm gonna do is make this material if Dane and I'm also going to do to bogs down here. I also do the other side as well. Set to 15. And then we can unhide all. So glass comes back on top in the material I'm going to add not all add 15. If I clear this and add a ray light material, we go back to our camera person C, from an interactive render. We should see these headlights. Now turn on. And there we go, That's cool. Just one thing I directly likened being pure white. So just going to click on color as the eyedropper and select a white from us sane. And you can see that that is not pure white. Something else that's cool, we can add is some bloom and glare now. And I'm going to turn on this lens effect enabled bloom and glare. And I quite like turning on lens sketches. That's a little bit of variation. You can see what's happening already here. And if we just crank up the intensity for a minute, we can see what's going on. And it's quite nice to rotate this. I kinda wanna make them look a little bit like light travels. And that's looking pretty cool. Now it doesn't need to be that intense. Going to bring that down to around here. And you can also play with the size. No, So rather than 90 eighties slides, because I read an article that over was going to have flying cars in the next couple of years or 40 might be worth making our cow add a flying car. I think we'll probably be making flying in our lifetime. So let's prepare. And I'm not gonna go too hard on the modelling, but I'm going to select all of the wheels and just roughly select those elements. And then using our de-select, why don't need and I'm going to detach detach just one of the wheels and its front one. And then with that front wheel selected, I'm just going to change into hierarchy effective sentence object. And then I'm just going to rotate around. And let's add a nightmare. Essentially changed that to a double-sided. Alright, so I'm going to pick a color from our scene again. And also crying. Like say you now let's lift this car off the ground. It's going to select everything, deselect light so we should get the car. And it's bringing up the ground a little bit. It would be cool if we could add some smoke and the will to create helper. And I'm going to get to atmospheric apparatus. And I'm going to build a cylinder. Is my, and again, kind of put it roughly around our, we'll center that will look cobe. And now I'm going to add a fire effect. And you can go back to our camera. Render series does. Well, you'll see that it's fireball effect underneath. We can click on it and I set up. And it will just start with not the environments in effect. And then I'm just going to again choose a green from our scene and just copy that over. See the smoke now becomes green. Nato VMO saturate. Let's draw again. And now I have maybe actually make their inner layer. And you can change the density in here and you can change the higher bit. So we get a bit more smoke coming through. Let's go. And then intensity. Yeah, it's pretty sweet as you're going to copy this color and put it in our lives well. And then I can select the wheel, cylinder and light, and group them and then move them into the same position as the wheels, basically replacing them. Smokey and instance. This code near the o road wheels that would press a on the keyboard and go into the environment and affects a fire effect. And it's only on gizmo. One side you pick is my should now have four in this drop down. And then when we render they should all have fire effect underneath. The next thing I wanna do is add someone in passengers see, sorry, in the back. And the thing this little guy like looking up for all is going on in its position, him in the back. And I think it'd be cool to have light coming in here to really highlight face. Let's create a main light. Now I'm going to make it targeted. Select that target. And that target onto this face. And this kind of code or this coming on top here. And I don't need to be too big. And that our work, I'm going to make this visible reflections that I want to reflect him in the car. And let's just crank this up and take it again from the same yeah, that looks pretty cool. I also want to bring him in as you get into layout. All right, that's looking pretty cool. Now to render the final, I'm going to add an AI. So you can just go to Add and an AI atmosphere and the noise. And then OSA in the frame buffer. Um, I've added a few other things I've adjusted to do and saturation. And it is so much time matt and I put down power. So now you can hit Render and I'll jump back in. When that's done. Then I've saved out our images as PNGs. And I'm just going to drag and drop in the noise version. And I'm just going to make a copy of that background and add a glazing and blur names like to know I can do is add a mask and just paint out areas that I don't want it separately around the flat brush. I'm gonna make another copy of this background. And I'm going to pull it to the top of our image. And now I want to blur this image as much as I can. Just crank that all the way up and this gimmick, unlike an average color. And if I then hold out and attach it to our car and put it on color, it's gonna kinda colorize our car to match the image. And I just find this because sit there in the same. So we can bring that down to about 20. And we prefer the IO on as well. And if you put it on multiply, find this just gives a bit more depth, some of them areas like in here. Then we'll contrast as well. My favorite possible it is Blab, and I'm gonna put down screen. See what that does. That just adds a really nice globes, these light gas at UK it make that more intense. And then obviously if you wanted to mask and paint out certain areas if they were too bright. And I'd like to add a small amount of fog as well. Say if we create a new layer, phil, Render Clouds of, let's make this black and white fast. Render clouds and put those on screen. There is selfie. And I'm actually going to paint out enjoying that. And finally, let's broaden the atmosphere. And I'll put ounce grain just to highlight those a little bit more. And that's to finish saying. So I hope you guys had families tutorial. Remember you don't need much crore, some great images just for AI techniques I showed you in this video. 50. Bonus Lecture: Fast Exteriors: Hi guys. I'm going to show you today how we can quickly proceed together using Chaos cosmos and the asset browser that comes built into latest version of V Ray. To begin, let's open up a new scene in 3ds Max. And the first thing we're gonna wanna do is create a light. So we can go to traditional way and go over here, but now we can actually use Cosmos browser. And I'm going to go to page DRIs and I've downloaded a few. So you can download them by clicking on one and hit download, and it will download. Once they've downloaded, you'll see a green button here that you can click to bring it into your scene. Also go down here and say show downloaded only. So I'm going to bring in this daytime and I'm going to bring into untitled scene. I'm also going to just make one big viewport so we can see what's going on. And next up, let's add a freemium model. So let's use a vehicle, one that I've downloaded, so this SUV. And is that car. And the next thing we're gonna wanna do is create a plane which is essentially is the same as a plane based infinite. So rather than just making a plane here and then rendering the V ray plane is actually infinite. So if we go down to p ray and add V right plane here, this is actually going to go off all the way to the horizon, which is going to help. So if we've got some and it's bouncing, it's only going to bounce on this plane. Whereas if we had an infinite plane like this is going to bounce and bounce light back up. Just a more effective way to add ground. And that's gonna go all the way to the horizon. So we can actually take a look at that if we run an interactive render That's really overexposed. So without adding a camera quick way just to turn on my exposure is the camera under our V Ray settings. And we'll go to 0 exposure. And we can see what our plane does. It goes all the way to the horizon. So as I'm moving around and we can see our car, and we can see that that HDR is doing a really nice job of light in our scene already. So we actually wanted to get some ground material on here. And rather than making it ourselves, we can now take advantage of the VRA material library browser. And if we go down to ground, and we'll add something like this. So I believe I've got the V ray plane selected. And tell that from here. And I'll right-click and apply to selected objects. And we can see that it's applied. Now let's take a look around this scene. If I select the car and press said, and make sure we're in perspective, view to P, we can kinda zoom around the car and start looking for a nice angle. So something like this looks kind of cool. We can add a camera now, so we'll go over to the Create panel. Camera, will go to V Ray and a physical camera. If we just click and drag and drop it anywhere, it doesn't really matter where. And then hit Control C. That's gonna move the camera into a viewport view. And then if I press C, you'll see in this top left that this VRA camera is now selected. So we're looking through that VRA camera and we can change our camera settings in here, but we're not going to look at that just yet. So now we want to populate the scene a little bit. I will open up cosmos browser, cosmos, cosmos. And we'll go to vegetation. And I think some rocks. So there's loads of stuff in here you can choose from, which is really handy again for like demo and scenes like this. If I put show downloaded only on, it's going to show you the ones I've downloaded, which I've already had a little play with it. So I'm going to bring in these two rooks and to our untitled scene. And we can even see them already coming in to the interactive view here. So I'm going to stop this while we kinda scattered these rocks around. Let's go to two views. And to change our viewport from four to two, we can actually right-click and go to View Layout tab and change that to to yours might already be opened over here. I close it because I don't think it warrants the space like I'll just open out when I use it. So let's go to our camera view here. And I'll press Shift F to turn on, just say frames. And we can see what's going on in our scene here. And we've got two rocks over here. And I'm going to pull them off saying, and what I'm gonna do is paint with them. So for this, we want to have graphite toolbar open so you can go to Customize, show you, I, uh, make sure the ribbon is open and object pain is what we want. So click on that. And now let's let these two rocks. And we want to paint, we've selected objects, paint on. And it's just have the grid cell is going to be the ground. I later on we'll go through how we can paint on two different objects. And we're a lot more this does. But you'll see now if I click, we can start clicking and paint in these rocks on. And obviously this is very uniform, so it's not ideal. But what we can do over here is start playing with some of the randomized sense. It's a fast if we put random on, this is going to randomize the scowl. And we want this I named Max now 110% down all the way down to 20 percent. And this is the rotation. So this is going to write AR object around and again, like our space him. So we're just trying to randomize this a little bit more. And the spacing here, so it has to move. And if I turn the spacing up, you can see that's looking a little bit more realistic. And you can spread them out. And that's a really quick way to kind of get a bit of an environment going on. And then we can turn itself. And we can individually select these rocks and they're all different shapes and sizes. So if we actually run an interactive now, should see a lot more environment GYN on. And of course we can move these around individually to sell seem to have, we want to show more of the car here. Now let's look at bringing in a tree and some foliage in open out cosmos. Think is cosmos of cars because mice, cosmos, cosmos will go to trees. And I'll bring this English OK. And we'll just use this to frame. I'll car they obey. So just have it kinda coming in on that corner. There are some really fun things you can do, like add melt modifiers and then kind of animated trees grown and stuff like that. But we can talk about at another time. And let's also bring in these junipers. This tree is also massive. I don't know if it's going to cause some shade. Let's take a look on the interactive render. So I'm going to scatter it down a little bit. Maybe like 75. And I'm going to hide that for now so I can make selections a little bit easier. So these are our free brushes. So I'm going to select those. I've got four, I've got rock here as well, but that's fine. And I'll pull them over. So I'm kind of using this section over here just as a bit more of like a pallet of what we're going to paint with into our scene. And just keep things organized if I ever want to paint again with them, because these are all going to be randomized. These are kinda like our main objects. And so I've got my free brushes and we're going to paint, we've selected, and we're going to paint onto the grid. And we're away. And we were using the same spacing as we create with that rocks. So if we wanted to make some bigger Bush's we can do. That's looking pretty cool. Now, I'm just going to kind of organize our scene a little bit better. Like person bushes in the foreground. And I'm just holding Shift and rotation to make a copy of that. And have that dare. And also scale on in the foreground then. And obviously you can go to town like you could add some of these smaller plants and there's even like little Stein's that would go nicely behind the car. Anyway, this unhide 0. So we can see our tree and running the interactive render. So if you are interactive rendering and you want to move into the top, you're going to notice that it will go into top view in the interactive render. So quick way to solve that is in the render settings. And you can look the camera to that view to render. Now when I go to the top view, it's still rendering our people. Alright, and I want to tighten up some of this scene. Perri, make some of the rocks bigger. And we can do in the VA camera, if you select it, is showed a horizon line. So that black line there is this horizon line and this kind of a bit of a giveaway. It's not going to be dead straight. So because he kinda made the rocks bigger for that horizon line. And also remove some of these bushes. They're kind of hiding the car, slip this lab. How now how these let the camera and then holding Shift copy of this rock over here, and then we scale it up. Finally, we can take a look in this frame buffer. Let's add an exposure. And I'm just going to pull down that highlight burn. And you can see like we bring him back more of this guy, which is nice. We can up the contrast a bit because they're highlight band does take away some of our contrast. Starting to look nice, we can turn on this lens effect. So if we enabled a bloom and layer, you can go into this, but I think the defaults look nice as nice little bit of glare on that on the back of the car. And yeah, you can play in here and you could add a vignette to the camera as well in the camera settings. Maybe put a saturation down, a touch. And these filmic time maps are really cool as well. So perhaps per power curve on there, I quite like that one. And you can kind of flip them on and off to see what each one's Dan. But I think that is looking kind of cool if you didn't want to render the final render. So we've just been using interactive this whole time and it looks pretty nice. But I would recommend in the render settings, if you go over to the render elements and add a V rating noisy, you'll see currently like de-noise or is unavailable. So every stop this render, render like a production render, just let that run. You can also change the size, so this is only 640 by four A0, but you can change that under common. And there's an area like put HD or something. But what this is going to do is progressively render. And then that's going to de-noise as well. Ba, you can see that the noise in this early stage, it's gonna kinda make it look a bit blurry. But you can always turn it on and off or bring down the opacity on it. So really, really quickly they're put together quite a nice scene. So I look forward to seeing what you guys can do with that. 51. Bonus Lecture: Five 3ds Max Tools You Don't Use: Here are five awesome tools in three years max that you probably aren't using. Number 1, transform toolbox. And you'll find that hidden under Edit Transform toolbox. And in here are loads of handy tools, things such as rotated by 90 degrees, and this is based on the viewing angle. So just be aware that if I'm doing it like this, it's going to spin it on that axis. You're also going to find a line pivot in here. So we can say to many are pivot is in the center of the object. And if we hit zed, it's going to ground that object. Next tool which is let him place. We can select out here and just click and drag. And that's going to place our table saying onto our table. Also, we can just hold shift and move these around, select both of them, move them across our table and use our rotate. The third tool is the substitute modifier. So if we wanted to change this placemat to the strawberries, I can go to the Modify tab, find, substitute, pick objects, change it to the strawberries, and we changed them all to strawberries. And the fourth TO in this list is object paint. And this tool is ideal for painting foliage. For example, if I wanted to spread these lemon trees across this terrain, paint on, we can change that to same-sex, going to paint on everything in the scene. And we're going to paint we've selected. And now when we click and drag is going to paint onto our terrain, obviously, the spacing needs to change so we can turn that up. And let's just turn that into a 100. And we can also change these scarcer in the EU. And we have all these tools you can hover. And it will show you a quick little video if you want to go deeper into these. And the final tool is the search function, which is X on the keyboard. And say you just want to build a teapot. You can just type tea pot and lift and drag and go to T four. And then say you want to add an Edit Poly to that. You can just type in edit and add an Edit Poly. And then you can type symmetry. And you've got to add a symmetry modifier. So we're using any of these tools are ready. Let me know in the comments. 52. Bonus Lecture: 4 V-Ray Frame Buffer Tools in 3ds Max: Here are four excellent tools in the B re-frame buffer that you don't want to miss. So number one is depth fulfilled in our frame buffer? Turn on that fulfilled, and we can start an interactive render. Now for depth of field, you want to tell the camera what you want to be in focus. And you could do that manually in the viewport, or you could use Alt click and let V Ray work out for you. So I'm holding out. And if I click at the back here on these dials, you'll see that that area is now in focus and here is all blurred. And if I click on, let's say, this doll at the front, you'll see that this is all in focus and it's blooded a back. Now, if you want to increase or decrease the blur amount, the thing that controls this is the f-stop number. So the load is goes the more blurry the image will be. Say if we turn this down to four, we're going to see that the image gets blurrier. They also gets brighter. So you could manually try to adjust the ISO or the shutter speed to compensate for this. Or again, you can let me re due to hard work for you. In the eraser ends. We can just turn on or exposure. So now we can see that that is really blurry. And that's how we can really quickly control the depth of field within the frame buffer. Next up is bloom and glare. And just by turning that on, the lens effects, that's going to look pretty sweet. But there's so much more here that you can do. You can turn it on and off using this eyeball, the size and the intensity do exactly as they say. And the bloom is blends, the glares alert is goes, you're going to start seeing these streaks. But what's really cool is down here in the aperture shape, we can turn on peripheral grading. And this is a real-world lens effect. And you can control the settings in this length down here, so you don't want to pump out too much, but you can see what that's doing. And I'm also a big fan of the lens scratches. So if we turn that on, you can see what it's doing and we don't have to stick with that. You can actually change the patterns here. So stripes is pretty cool. And you've got square and hexagon and you can change the density here. And just like the lens scratches, you've also got lens dust, and that just adds some dust to the lens. And you can also change the pattern here so you don't have to stick to the standard bloom and glare. You can customizing it some really nice effects. And did you know you could actually do your composite in within the v re frame buffer. So I've already added a couple of elements and rendered out this image using bucket as the crypto Matt will only work with a bucket render. So if we go into source and we go to composite, we can start adding our render elements as we would in Photoshop. So we've got the RGB color on the bottom. And then I'm going to add a number render abdomen. And we can choose our V Ray ambient occlusion, which we can change this to multiply. So normally I go into Photoshop and add this. But you can see we can just add it in frame buffer now. And we can do the same with a reflection unless choose to be a reflection. And if a turn that on and off, you can see what's happening on this desk. And what's really great about this is that if we move the headphones, for example, this is organ update as well. And we can use masks as well. If you want to use mass, I can first shot we have to render a Crypto Map render element if we go to our composite and let's just add a color balance, for example. We can just crank that up to read and see that it's making the whole image read. But we can actually use this Crypto Map mask. If we click on pick and we pick the object, we want to change the color of. We can see that somebody's headphones have gone red. And you can actually turn on Show Preview when selected. And then we could add, say a number, hue and saturation. And again at the Crypto Map mask and pick this. Then in the properties we could pump up that saturation. We can even change the hue and make it whatever color we want. 53. Bonus Lecture: Camera Mapping in 3ds Max: Want to make your visuals and Papa owes him money, colleague. Or today I'm gonna show you the techniques to do just that. The first thing we're going to need is a back plate. So I grab this one off of Canvas and we can hit O to open up our viewport configuration in here, let's choose File and let's load up our image. We hit Apply to active view. We can see that it's now in our viewport and we can hit, Okay, let's just quickly change our render output. It's an HD because I know that this image is HD, which is 1920 by 1080. And if I hit Shift F, It's going to show us say friends. So that's all in proportion. Now we're going to need a boat, cosmos. Here's the yacht, bring that in. I'm going to roughly line this up and this bone a little bit smaller than this one. So just keep that in mind. The scaling is not going to look exactly right, but for the sake of this example, it should be fine. Add a, B or a physical camera, change the focal length to 18. As I saw in photo information that the focal length was 18. And let's zoom in. And when trying to line this up, show horizon line is also really useful tool. So you can see this black line. Now of course here what we wanna do is line our horizon, line up with horizon of our image. Something that we need to do is go to the front view. So press F on the keyboard and the boat's actually grounded from the lowest point. Don't actually want we want it to sit in the water. You see in the left view. So where that black line is, is where the borderline obese. All right, so now we're going to need some light. So lets just grab one from the chaos cosmos and just make sure they're roughly resembles our image. So I'm just going to bring this m being dome light we have locked to texture on. And this will mean when we rotate our light, the sun will rotate with it. So now if I run an interactive render and I start rotating our light, we can see that the sun is moving and you can see from the shadows in our image, the light is kinda coming from behind the boat. So I think somewhere around 120 in the zed is going to look about right? And now for some magic, which is camera mapping. So think of it as the camera has a built-in projector at a b ray plane from what we're gonna do is to project some water onto this plane to give the boat something to reflect. So I'm going to quickly hide our boat. And I'm just going to create a clear. And if you've watched any of the earlier videos, you will know exactly what it is transformed toolbox is. And what I'm gonna do is open up the material at Earth's I M on the keyboard and I'm going to make a very quick chrome material and apply that to our sphere. And I'm going to make another, just be reading material and just make sure it is. It's like a mid gray. And in the diffuse this meat grain material, I'm going to add a map and it's under general. And it's good the camera map per pixel. So let's add that. And for camera, we want to add our camera so we can select it, the camera and select our camera. We'll jump back in pregnancy. And for texture, we're going to load up our bitmap of our background image. And let's apply yes to the right plane. And we'll run our interactive render again. Come now we can see that we have this projected onto this plane, but I'm just going to turn on or exposure sound the V Ray camera, I'm just going to turn on exposure. Okay, so we can see if we go to our camera, that the image looks correct. But if we move to perspective and start moving around, we can actually see the image is actually mapped from our camera. So everything else will get the steward. We can delete our sphere and we can unhide of boat. And let's run the interactive render. There's a couple of materials that I want to change. What we can do, pressing M on the keyboard to open up my material editor. And let's open up the video material browser. And in the glass, I want to replace our current glass who'd like a tin with black gas? And say this one for example, if I select a new slot and use the eyedropper tool and select our boat. We're going to see all the materials in a multi sub. I can see that we have a clear glass material here. So I'm just gonna drag and drop this black glass into that slot. And that's just going to replace all our glass with the black 10 eat glass. And so I want to replace this white material with this car paint. Flakes white will look good, and there's also the chrome on the anchor. So let's go to Mel, weathered metal material. We'll call, we'll put it over Chrome and let's run our interactive again. I don't really like this black material being by the anchor as well. So what I'm gonna do is grab that white car paint and just drag and drop that over the black material. And that should make this white paint. And before we render, I'm just going to add a couple of render elements that are going to help us out in the post-production Render Settings. Go to run the elements and I'm going to add a v, right? Which is ambient occlusion. I'm going to add a reflection I want to color and we can also edit the noise there as well. And I'll hit Okay, Sing else. We can have a quick look at before we render our layers over here. So what we can do is add a background and in here, load up your texture so we can actually see the background. What was also useful is you can click on foreground. You can kind of switch between the two to see how they line up boat looks a little bit more green from the reflections. A really quick way to sort that out would be to add our white balance, add a very slight green tint. But again, a saint we can read do in Photoshop. So all that's left to do now is hit Render. And we'll save Audi separate render elements as PNGs. And then over in phase shop, I've got background open and I'm just going to drag and drop our effect results on top with the spot healing tool. And we'll use that as best we can. So I'm gonna go back to our back plate and just work out somebody's areas and see what Photoshop can do about removing them so they can do a pretty good job. But we're also going to need to use the clone stamp, which means we can just hold Alt, select certain areas and just brush them out. And it will say down here, it's quite good when you got to her. And what horizon is also quite good when you go ahead and help. It's also quite good when you've got a horizon and you can hold O and select on the horizon line and just move that across there. So, so bring on this wire color. And I'm gonna select that fear, a plane that we put in. And let's add a mask and Control I to invert that mask. So what that's done is get rid of that shadow. And then we can use a soft brush not too big, and just paint in some of these waves and you can press X to like bring back seven sections. Might also want to try the splatter brush. Things could be quite small. Spend some time on this and spend a lot more time on it. Then that something else that I find useful to do is grab that background Control J and just bring it to the top. And I am going to fill up and glacier on blur, lazy on Gausian. Gaussian Blur. Just pumped out to 1000. And we're going to do is kinda like average out the color. But down to color. And holding O, apply it only to our yoga. So it's just kinda added a color tin and just bring dance like 10 percent. And finally, let's add the AO since the ambient occlusion is just going to add some depth, put it on multiply. And we're also holding Control. And I'm just going to still the mass from your layout and apply that. And finally, there's Fred reflections on you want to crank them up and we'll do same. Grab the Mask using control from below. And I'm just gonna put down to like a soft line. We'll just have down by 50% 54. Bonus Lecture: Edge Distress Workflow In 3ds Max: Today I'm going to show you how you can distress edges of materials with him for 3ds, Max cleanse curvature is a mixed maps. What does it all mean and how does that help you become better freedom, as you're about to find out? We're going to start in a studio scene. And all I've done is bring in a piece of furniture from Cass cosmos and zoom in to a section. So you can really see this effect in action. So distressing worse idea is you get an object, you paint it, and then you sand off the edges and it comes out with this distressed look. And we're going to use materials to do this. So let's open up our material at just press M on the keyboard. And I'm just going to use the eye dropper to grab the material that's currently on our object. And this is the word we're gonna be focusing on. So what I'm gonna do is just grab all of those hold shift and make a copy. And let's plug this copy into multi sub. And I want to make this look painted. I'm just going to add a color correction. Plug that into our diffuse. And in the color correction, Let's just change the color. What was I going to make it a little bit lighter than the gamma. And we can see we have kind of painted this object. But now we want to show the original material underneath. So for this we're going to use a blend material. So if I right-click materials, be ray and be re blend, lets plug our original word into the base and he instance. And we're going to put our blue word int 1. And if we take a look at this material, we can see that it's a 5050 blend of the two materials together. And the reason for this is it's blending based on this color. So if I make it all the way black is going to be the original color. If I make it all the way, white is going to be this blue color, but I'm going to put that on Black. And I'm actually going to use a map in here. It's going to be a general and it'll be a bitmap. And I'm going to use this distress texture, which looks something like this. You could also use a procedure if you wanted. And now we have that in our blend amount. Let's plug that into a multi sub here, interactive render. And we can see that now we have the distress showing fruit. And we can customize some more if we want more distress than we can up the tiling so we can put it onto. Or if you wanted to stretch out the distress, you can put it on one and then two and it's going to stretch. So that's called, but we want to dictate where distresses happen in, and this is usually going to be on the edges. And in previous videos we've used data channels and additional plug-ins, but I believe the method I'm about to show you is probably the best yet. For this, we're going to use a VRA curvature map. This texture is similar to the V rate depth map and he's really useful for detecting mesh curvature. So we can right-click in the sleigh Edit and go to V Ray and V Ray curvature. And if we plug this into the blend amount instead and run an interactive, we should now see the blue coming through on the edges. So we actually want these the other way round back in our Material Editor. If we drag and drop this, the blue word onto the other word, we can hit Swap and it's going to swap them over. So let's take a look at this curvature map. We can turn the output color up to five. And that's going to make the word come through even more. And if we want to tighten this up, we can use the scale. So if we bring the scale down to the same 0.1, going to be really tight on the edges. So playing with these two settings is how we can dictate where distress will be. So you can play with these and play with the scale. So there's put on point to this curvature map is based on the model. So if you go really big or really small model, you're going to have to play with these settings a little bit. So that's cool. We have our edge is mapped using the curvature and we have our distress dictating the distress. But now we need to mix the two. And we can do this for a mix map, a mixed map. Let's right-click a map, a general and choose mix. And if we plug the mix into the blend amount, you'll see that we have black and white. Black is going to be blue. And if I put out all the way to 100, this is then going to become the base word. So if we actually plug in our curvature to the mix amount, which is here, we'll see is acting exactly the same as before. But now for the magic, if we plug in our distress map, we can see that is going to change slightly. But what we need to be aware of is that black is not going to show and white will show. So we actually need to invert this map. And easy way to do that is just inside the map. And we'll up, we now have the distressed effect only affecting the edges of our object. So you can see it's slightly here, but we're going to want to pump it up. So we can definitely add more repeats to add more distress sections. And we can also customize the curvature. So we could bring the scale up to 0.5 for instance. And you can crank up the max output color. So just have a plane here, see what you come up with. 55. Bonus Lecture: Physics In 3 Minutes MassFX Tutorial: This looks rubbish. This looks good and this is silly, and this is not. Today we're going to use physics in 3ds. Max is super-simple and he's going to add in more realism to your images. First up, this is a dead giveaway in 3D. And if it's our job to convince a view at it, this image is a foe. Then we can use a built-in tool called Mass Effects. And you can open that up by right-clicking in the toolbar, mass effects. Now I'm going to stack these plates up. I'm just going to move one or two of them off to the side, just a touch. I'm going to select them all. And then in our mass affects toolbar and set selected as dynamic rigid body, we open up the toolbox being guided simulation and they called, and what is this going to do is keyframe our animation. So we can actually just slide through where we want to keep. And it wasn't just delete all the other keyframes. First one, you can actually delete that one as well. And now plates a stack. So going forward you have no excuse to have straight edges like this in your visuals. We can also use mass effects to fill up jars and bows. So if we want to put these lemons in this glass jar, we need to make this a static rigid body. And this basically means it's not going to be moved in. And this meshed has come up is what these lemons will acknowledge. So we actually want to change this because it's concave and I'm going to hit Generate and it's going to generate a new mesh so our lemons can fall within the job. Now I can already tell that that's not going to do it because you can see lines coming across. So what we need to do is improve the fit in and hit Generate again, and it should now cave to the object. Grab our lemons, bring them on top of I j. And we're gonna make these guys dynamic rigid body and this plate that in, and now we have our lemons in our job. So there's no need to be putting these in one by one, moving and rotating them. So gravity is cool and all. But what we want to add support into our physics, but we can do that over here and forces. So if you wanted to add some wind, for example, and just make sure to us in front of the lemons. And also, I noticed this when is really powerful, so I'm going to fit no 0.1. Then all we need to select our lemons, made these guys dynamic rigid body and will go down his forces. We're going to add this wind. So now when we run this simulation, these lemons should flow across our screen. So you can reset your simulation here. If we zoom out this time, we can actually bake the simulation. So it's going to keep the keyframes and there's our lemons blowing away. Finally, let's add another force. And this time we're going to add a T bond. And all we need to do is position that where we want. So this is where the full school comes from. We're going to change the start time because of what's going to kick in at phi, which is too late. Let's just put it on one. I'm just going to put this on 0.5 as a dominant flying absolutely everywhere. I select all of these lemons, make them dynamic rigid body. We're going here and add a force. And this time we're going to add the p bar Baikal. And let's see what that can do. All right, that's pretty good. If you post a motion blur on this, it will have free coal as well. So there's some really easy physics and 3ds Max. So there'll be a lemon and don't be a lemon. Use physics. 56. Bonus Lecture: Improve Your Realistic Interior Rendering: Job in 3D graphics is to convince the viewer that what they're looking at is real. We modern day magicians just, we have a whole lot of tech and computing power, but attack and the power alone won't care. So let's take a look at a few tips to convince your viewers that your visuals are real. The most obvious giveaway that an image is Friday is it looks too perfect. And in this image you can see that the pitchers, chairs, and tables are all dead straight. And there's no way you could really do this in reality even if you tried. So I think we should do is turn off snaps and we'll go to rotate. And what we're gonna do is just rotate everything very slightly. And it can be whatever he want, nothing too crazy, just a little so and we're also going to move these chairs in and out just a tiny bit. And I'm going to do the same on the table, just a slight rotation. And the same in these pictures. I'm just going to slightly move these around and put very slight rotations on and, and I'll just quickly run an interactive render to see what we've done. Okay, this was our original image, and this is the image we worked on. And it's all very, very subtle. But these are the kind of subconscious things that your mind will pick up on when you're looking, renderings. If you want to explore this more than checkout physics video, where we're going to look at stacking objects using gravity and wind and explosions to randomize the placement of objects. So using the same model was cool and all. But when you have a feared ys lined up, you're going to start noticing that they are exactly the same. And in this example we can see that the wood grain is going to repeat. And if say you have like five of these chairs lined up, you're going to really notice that these are exactly the same wood grain on each chair. So this can easily be solved even if the objects are instance. So if we go into our material browser, which is M on the keyboard to lead them are wood material we want to use is a freeway uvw randomizer. And these will plug into VBA bitmaps. So I'm going to do is plug this into all of the wood textures. And then we can randomize by name. And what this is going to do is offset that would, depending on the name. And something else I want to do is change the UV rotation to 0 as I don't want it rotate n. I just want to offset in left and right and up and down, which we can do in the u and the v. So now if we render, we can see that the wood grain on each of the chairs are actually different. Another giveaway that something is freely is the hard edges. When we build in 3D, edges are hard by default, and we can overcome this a couple of ways. Number one is the chamfer modifier, which you can find in the modifier list. And we can just add that to our object. And let's just bring that amount dance like 0.1 and add two segments. And we can see what difference that makes already in making that feel less CGI. So the second way to do this is by using a material. So let's delete that chamfer modifier. So let's open up our material editor, grab the eyedropper tool, select our material. And I'm just going to right-click, go to V Ray. And we want a V Ray edge text, which is here. And you can see it's got rounded corners. And all we're gonna do is plug that into our bump and I'll start the interactive render. So there's our chamfer versus our materials. So there's not a lot in it at all, but compared to our original, it's much better. So nothing in life is really flat, so nor should your models and add some variation. You can use a noise modifier and use that. We're actually going to want to add some more quotes to our mesh. So it's due that we can just add the quadrate phi mesh. And that's going to add Some more quads to our table top so you can make more at ease. And then all we need to do is add a noise modifier on top. And I'm going to change the strength to centimeters. Can already see that moving around. And if we bring the scale down, that's gonna make it more and more varied. So let's just put that on 50%. So try not to overdo this one. You don't even want to know, is it like all of these? They want to be very subtle, or maybe even no point to five. So this is without our noise and this is with it is the same we started with. And here's the scene we finished with. 57. Bonus Lecture: 4 Quick Tips To Increase Photo Realism with 3ds Max and V-Ray: Today you will learn a few more tips to increase the realism in your 3D renders. I will read them. I'm with V rated for 3ds Max, but most of these tips are going to apply to any software partner. Reason that Friday is getting more and more realistic every year is due to more computing power. So everything in freedom is made up of polygons. And the more computer power means we can render more polygons than ever before. More polygons may more details and more details make more realistic, objective. Years ago, organic objects such as trees, plants, flowers, pillars, and fabrics were really hard to make it look realistic because we had so few polys The play with, but now we have more than enough to make things look as real as real life. So taking a look at our scene, a tree and I'll say in is really adding to the realism of our image because these are organic objects. So we can always add and are used to place toads put out on top of a table. This for as well, we soften up our image. And this is going to require a bit more than just painting on the table. And you can always add an FFT modifier to this. It just quickly shape it. And luckily we can't see on that. So for both we work with, we spent a bit more time on this, or you could create your own cloth and use the cutoff modifier. So what we can do is add a pillow. And I'm actually going to import this as a mesh because I'm going to add the cloth modified to it. So let's select our editable mesh version. I'm going to delete this other one. And I'm going to move that just above our sofa. If you hold out and right-click, you can change to local. Now when I rotate is going to rotate locally. And if I add a cloth modifier to this, all right, So the object properties. And we want to make this objective cloth, and we'll just use the column preset. And we're going to add another object. And that object is going to be the sofa. And we want to tell for 3ds Max that this sofa is going to be a collision object. And we'll hit, Okay. And now we can hit simulate. And you can find a nice position for that in the simulation. Once you find what you want, you can set and it will stay and arrays and simulation. And now that pillows in position. And I just find that this works a little bit nicer than just positioning the pillow with the move axis. And so here's our same move. A few more organic objects added. Keeping things RU is important if you want to make your images look real. And these guys for lights, materials and cameras. And the closer to reality to our virtual world is, the more realistic it's going to seem. And this is why it's a good idea to keep materials on real-world scout. And you'll notice whenever you create an object, you're going to have real-world maps size on that. So if you have that ticked on and you apply material, then it's going to shop at real-world scale. And the same goes if you have a UVW map and you turn on real-world scowl is going to come in and real-world scout, so you don't need to mess around with your uvw maps. So this is a really good habit to get into as you're gonna save loads of time by just keeping everything real world. And it's also going to make your images more realistic. So what real world means is in here we have our coordinate, so we've got real world scowl on. And it's 100 centimeters by 100 centimeters. And what that means is, we're telling for yes Max that this image we've input is 100 centimeters by 100 centimeters and that's going to reflect in our sink. And this goes for models as well. If you bring an object in and it's not to scale, and you just bring it in and start trying to overlay the chances are you're not going to get it dead on. And these are the kind of things that are gonna give away your images as free day.