3ds Max + V-Ray: Render This Advanced Architectural Visualization With My 3d Models | Adam Zollinger | Skillshare

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3ds Max + V-Ray: Render This Advanced Architectural Visualization With My 3d Models

teacher avatar Adam Zollinger, Professional Arch Viz Artist / Teacher

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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

10 Lessons (1h 14m)
    • 1. 01 Get My Model

      2:30
    • 2. 02 Set Up Basic Lighting

      8:23
    • 3. 03 Setup Vray Camera And Composition

      6:24
    • 4. 04 Basic Render Settings

      8:26
    • 5. 05 Adding HDRI And Adjusting Lighting

      8:06
    • 6. 06 Enhancing Our Composition

      7:09
    • 7. 07 Getting Ready For A Final Rendering

      5:32
    • 8. 08 Post Processing Part One

      10:37
    • 9. 09 Post Processing Part Two

      11:19
    • 10. 10 Achieving Different Lighting Situations With Simple Tweaks

      5:14
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About This Class

7e3fdfc1

Begin by going to the class project and following the links to download all my 3d models with textures!

From there, we will light the model using 3ds Max & V-Ray. Next, we will setup a camera and create a nice composition. We will then look at essential render settings. Finally, we will post-process our images the professional way.

Topics include:

HDRIs

V-Ray Physical Camera

V-Ray Sun

V-Ray frame buffer settings

Light bloom / glare effects

Atmospheric Effects

Depth-of-field

Composition theory

Advanced post-processing techniques

Photoshop

and more...

*models are yours to keep and use

Meet Your Teacher

Teacher Profile Image

Adam Zollinger

Professional Arch Viz Artist / Teacher

Teacher

 

Adam has been working as a professional (and award winning) 3d artist for over 10 years, but his expertise does not stop there.  He has also authored / illustrated a children's book, and created graphics for numerous mobile games, and has been teaching 3d graphics professionally for 5 years.  He has expert knowledge in the following programs: 

 

3ds Max

Mudbox

Photoshop

V-Ray

After Effects

Unreal Engine 4

 

Various other software programs and plugins

Most importantly, he has dedicated himself to lifelong learning, and he loves to teach others as well. 

 

From the artist: 

"I mostly work in the Architectural Visualization industry. ... See full profile

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Transcripts

1. 01 Get My Model: everybody. I'm excited to share this new little project with you. You may have seen it from some of my real time rendering courses with my advanced project in you before, but I've taken it now and turned it, converted it into a V Ray project. And so now we're gonna use it in this course for the three DS max post v ray stuff, and we're gonna generate some cool looking and dust renderings. We're gonna play around with lighting HDR I and other lighting situations. By the way, this model in this form right here is available for you to download. And it's got all the furniture inside with the materials which are also available to you and everything is there for you that you can see right here. I'm gonna add some things to it for the course that do not belong to me. And Deena downloads models and put him in, gets him each to your eyes and things and use them so you can follow along with that. But make sure and download this model first. Let's look around and see what you get in here. We have some Ah, some lounge chairs out on the patio. It got a full house, an exterior with patio pool, A couple more allowing share same ones to fully enclosed. So that makes it kind of easier to render, because then we don't have to worry about kind of background in mid ground so much. We have some nice chairs. You VW unwrapped brown leather, have some pictures, some plants and oclock chandeliers. Okay, so all this stuff, we have a complete kitchen in here, some bar stools, and we have a complete dining set and back with place settings and all that stuff. So there's a lot of models models that are available to you. If you were to buy these all for me, it would cost you quite a bit. But you guys were just getting these so you can use them in whatever scene you want. And, ah, they're yours to have a news and to practice with for this course. So right now I have taken out any the interior lighting is there and we may adjust later. And there's no exterior lighting, no sun or anything like that. Yet this is my age drive, but it's not turned on, so you won't have that because it's not mine, But we're gonna add it to the scene. And so basically, we're just gonna take this basic scene, and we're gonna set it up for some really nice dusk renderings and look at some different lighting situations, some camera settings, depth of field, creating nice compositions, all those kinds of things. So grab the model, get the resource is click on. The resource is in this course in this lecture usually appear in the top left. There's resource is but you do meet can change that at any time you may find the resource is get the download leak, download this model and then see in the next letter. 2. 02 Set Up Basic Lighting: Okay, now that we have this basic scene, let's do some basic lighting. It's kind of the fun part. And the exciting thing about a dusk shot that we're gonna do is that there's a lot more lighting considerations than a normal exterior. Because we're gonna want to do is like the interior of this house, because it's a lot of glass, so we're going to show it off. That's why everything is in there. All the models were there so we can look right through the glass, and at the same time, it's gonna be dark outside. So the showcase of our rendering is gonna be the interior of the house, even though we're on the outside. So Camera three is one of the cameras I set up that I like. And right now, let's just do a basic render and there's nothing special about this camera right now. We're going to look at it a little bit more later, but it's just a beer. A camera in this version of you a. The very camera is back. We've seen in this course how to use the three DS Max physical camera and also the very camera. Now we're using the very camera again because it has gone away. Then come back when I'm using the rate next year. So either one actually works. They both do similar things. First, I'm gonna go into my render settings and go to V Ray and make sure that environment tab the G I environment is unchecked. This is actually an override and its overriding anything we have in the three DS Max environment, which is found right here right now, there's a sky in their associated with the sun that I once had in my scene. I'm gonna delete that because that sound is no longer here. So right now, if we just render with this camera, we'll see what we get if I render a production, okay? Right now you're seeing what my scene looks like. You can see I have a bunch of lights on the interior that are lighting up this inside of the house at this little light over here, which doesn't make sense right now because the model is not there. I'm gonna put a little lamp over there, and then I have the pool being lit up by these lights. And there's nothing to the pool other than making a basic water material, which you will have in my model. And then I'm just putting a light blue material on the inside of the pool and then lighting it up under that water. So you're seeing the pool material refract through the water, and that's what makes it look kind of a little bit glowing here. Okay, so that's our lighting situation right now. Let's stop this rendering. Before we go any further. I want to show you guys one thing. That's Doc this year. This right here is something I've added to my toolbar, which may not be in my original you I but I find it to be extremely useful. If I click on it's the very light lister and it just shows every light in here, okay? And it shows the multiplier. It shows the color you can see. I'm using really, really warm light that here I'm actually setting it by temperature. So a soft white light bulb is between 2700 and 3000 and that's what we're usually used to as far as interior lights. So that's what I said it to. That's actually a really, really warm color, but that's adjusted with white balance in the camera, which we will see Okay, so you can see the values or high those values air always sort of relative to what our exposure is on the camera and all those kinds of things, so we'll look at that more as well. But right now, that's our basic lighting situation. We have no sky in here. So if you want to add the very light lister to your toolbar, you will simply need to click on it to a bar, right Click on it, go to customize, go to a bar and then here goto all commands and then going here and start typing V Ray Light lister and it should take you to the spot. And then you can actually just drag it just like this and got it to any toolbar. So see, now I have two of them. Okay, I'll delete this one, but I've still got my open, so I would recommend putting the very light lister in, and I'll show you why we can kind of adjust it in real time, and we can select any light from there and adjust it in real time. and watch its effect as we're sitting here. So that's pretty cool. But for now, we're gonna add in a very son a basic theory, son. We'll do that by going to our command panel and the create tab and then going toe lights drop down to B, relight the race on and we just drag. Let's say no and delete that we're gonna create a new layer for it, or at least drawn one that's visible. So here's my layers. Let's just create a new layer fighting. Make sure it's current by checking here, making clothes that and create it again. Gonna go from here. Would you like to automatically out of you? Risk I to environment map? Yes. So what's that do? What's that doing? It's going rendering environment in here in the three days Max setting. It's now added a various guy here that is associated with this son. So when I move that son, the sky color changes for dusk. We want the sun to be low and sky like maybe right here. Now, if we go back to our camera, which is camera three in this model and render, let's do it save first, okay, lets just render it. As you can see, it's very, very bright, too bright and weaken. Push this button here to bring up our exposure settings and things like that. But you know what? It's so burned out that we're not gonna be able to bring it back, So it's too bright. Even if we change this exposure, we're not going to get back all our information that we want. It's not bad. Okay, so what do we do? Stop this. Go to the very light lister and we'll do our old trick of turning the sun way, way down in intensity to like 0.5 and render again. And actually, if we click this thing here, if we're in the very frame buffer me, click this. This is interactive rendering. So every time we change it, it will actually show us interactive Lee almost in real time. Okay, so that's what that at 0.5 if the exposure controls completely turned off, we're still getting this So we could get this at the correct exposure like this by changing our camera exposure as we've seen before in the course. Or we can turn down the sound like we just did in turn up the sun if we want. This is where that light lister comes in handy because we can change this 2.8 And then we will get a new interactive render going on. So what we would try to do here with this beer a sky is get everything in the right balance . So if it's so, we want these lights to look correct in relation to the sky. And this is about right at dusk that this isn't gonna be glowing too much because it's still pretty light outside. If we put this down really, really far 0.1 this guy will get really, really dark like this. And then we could, like, turn up the exposure, make sure it's checked. OK, now the relationship between the sky and the lights are a little bit different. These lights are appearing a little brighter on the inside. We could go even lower with this 0.2 with sky, and we could leave it dark like this. Now it's like almost a nighttime, or we could pretend like it's a long exposure, shocked and now the insides getting really, really bright in relation to the sky. So maybe somewhere like right there is kind of cool. Okay, so you can see what you can play within this interactive rendering thing is pretty awesome , too, because we get basically instant feedback. OK, so that's the very sun. And eventually we're going to add an HD arrived for our sky, which gives this even more interesting lighting. But in the most basic sense, we can just take a very son. Pop it in there and we have a pretty nice dusk rendering already. Let's see what else we can dio. 3. 03 Setup Vray Camera And Composition: Okay, let's take a look at this camera that I already have set up. I think I'm actually going to mess with composition a little bit. I think what I'm actually gonna do here is go to render set up by clicking here and changed the aspect ratio of my scene from 2 to 1 to 1 to 1. Unlock this. It was unlocked. Already said it to 3000 now and then we have a square. Okay, so I'm gonna leave that as my composition, But let's look a little bit about how I set up this camera already. I basically just placed it in the very back corner of my scene here. And when I go into it, I'm just inside that wall, and you can see this is giving me kind of a nice shape here. You want to make sure with your camera if I right, click here and select my camera that it isn't too wide angle. So let's see what I have here. Its focal length 35.6, which is pretty good if I get into the 20 twos, you know, things start getting really skewing that house looks really, really far away. This yard looks really huge even though it's not that huge, right? So keep that in mind. And of course, we've looked at the camera before, but all these different settings, can it affect your exposure? The aperture is an important one because it creates depth of field for us. So if we look at this camera here from the top view, we can see this line here, a line here and then a line way out there. That is the area of our camera that is in focus. Okay, so that is affected by the aperture. The aperture also affects the exposure levels. Right now, in this camera, we have the exposure completely turned off because we're changing the exposure by turning up and down the brightness of the lights and then leaving the exposure fixed, we could leave the lights where they are and change the exposure here with the camera. We're not doing that. We do have depth of field checked on this camera, and that makes it so that some things are blurred in this area here, and anything that's beyond that would be blurred. Everything within these lines is actually in focus. And this is a great technique for making it so that are I knows where to focus in the image . Sometimes it looks really busy because everything is in focus. So we're actually gonna make this blur out so that we're looking at the house, not at whatever's in the foreground. So it's a good trick for improving your compositions and helping me. I focus in a specific spot, okay? And it is affected by the aperture. This F number right here. If I adjust this copy this person, I can come back to it. If I adjust this to a high aperture, you can see my area of focus is getting much bigger. If I go low, it's getting much smaller. Okay, so now only this will be in focus. Everything else will blurred. That is an extremely low aperture. That wouldn't really happen in reality, with a real camera. Two is a pretty low aperture, even. But some cameras go down like a low is 1.2, maybe even lower. Okay, so that is how you affect the area that can be in focus and with depth of field checked, it will start blurring this area and anything beyond our area of focus you can affect where the area focus is here with this focus distance. If you check focus distance on, you can then do this until it I want to focus on these lounge chairs right here. The whole house will be blurred or if you undo, then the house is going to be in focus and these launchers will be bored. So let's look at an example of this right now. The house will be in focus, and we've seen that already. If we go to the top view and change this to B here now, when we render and let's just go to render settings be race, start the Hi PR, which is the interactive render. Just start that up and we'll see how everything looks a little different. Now you'll see everything back there is blurry, but these chairs are in focus. Now let's put this back to 50 feet and everything will change. Now the house becomes in focus and these become slightly blurry. Effect isn't dramatic because our area of focus is actually pretty large. Still, if I change the aperture, though, just like on a regular camera aperture, if I change the EP number here, too. 0.2, you'll see everything's gonna go super blurry state. Think of aperture as a pupil. If it is very, very wide open, it can basically see in the dark. But it has a hard time focusing on a wide range of depth. If it is very narrow, like when you're walking around at night outside. No, when you're walking around in full daylight, it becomes narrow because it doesn't want to let in so much light. But it can focus a lot better because it's narrowing in on something. Okay, so that's kind of how you think of it. So, like I said, if exposure was checked here, it would actually be acting like a pupil and letting in less or more light as it focuses on wider or narrower areas. But because exposures on checked it's not affecting our exposure, just affecting our focus 4. 04 Basic Render Settings: Kant's and Let's have a look at render settings. I've been showing you some render settings, which are very basic, and we had the interactive render going on here. We can also go to the regular frame buffer here, see what we've got. Okay, All I'm using for these settings is the basics. And that's what's awesome about the latest Be Ray is that now we have progressive rendering , which progressively makes the rendering get better and better instead of rendering as buckets, you can still do bucket rendering, but I actually prefer progressive now because I can see my progress as I go and then really , the only settings we need to mess with. And I find myself on Lee adjusting these 95% of the time. And that's just the noise threshold and the render time today. So with progressive, it's all based on men, men and Max subdivisions. Those can remain as they are, and all we really need to do is adjust the render time and the noise threshold. There's a noise threshold. 0.5 is a very low noise threshold, and that gives you a very high quality, rendering the lowest you would ever need to go is probably 0.1 0.5 is almost always sufficient. All that does is all these settings will do is render until it gets to this noise threshold . And that's because I set the render time minimum 20 which means it will render indefinitely if I put it 2.1. It would only render for 0.1 minute if I rendered it. If I put it to one, you would render for one minute it would give me the best rendering it can in one minute. But it probably wouldn't get 2.5 because one minute isn't long enough. So you can set this zero. It will render indefinitely until he gets 2.5 You can also set this 20 and say, Render for five minutes. I don't care what the noises. I only have five minutes to render. Give me a five minute rendering, okay? And it will do whatever it can in five minutes, and then it will stop. So basically, what I'm finding is that I just leave us a zero most of the time and just say, okay, I need a draft rendering put it up 00.5 I need or or say I need a draft rendering rendered for one minute. Okay? And then when I want a high quality rendering just set, this is zero and say render till you got pointed off 0.5 and then you just depending on your computer, you get what you get. You know, that might take 10 hours, or it might take two hours for my take 1/2 an hour. But you know that at the end you'll have the right quality. Okay, on G I I'm just using brute force, which is noisier and takes a little longer. Traditionally, I've found that it works pretty well now. It's not cutting any corners, though. Brute force, it is giving you very physically accurate lighting, and so I actually prefer it. And again, we just let it render until the noise is gone. And brute force is easy because there isn't really any settings need to worry about. Then the light cash is as it's always been. You just set the light cash high enough for your resolution. So on a 3000 by 3000 make sure the resolution of my the subdivisions of my light cashes at least half of that. So 1500. That's really the only settings that I'm adjusting here. And then I just let it render. The only other thing to comment on is the render elements, which I use a lot of. And I put in. I always use the death because I find myself using it a lot in post processing Z depth. All it is is a black and white map. Let's bring up my my last frame buffer. Okay, let's look at him here. So, Z depth is this. It goes from white to black as the scene gets further away from my camera and I actually set the range with which it's go. It's putting this radiant. So I put zero is white, 200 feet away is black. Okay, so you want to make sure that range takes in your whole scene? You said it right here. So on your Z depth, make sure that 0 to 200. Okay. And then we can use that imposed to create atmosphere to create depth, things like that. And we'll look at that when you get into post processing. Okay. Very global illumination. these air all the the things that we may or may not use in post. But they're all the elements that make up a complete rendering, basically. So that's the global illumination. Here's the lighting. Here's the reflection. Here's the refraction, self illumination speculator and then the effects result is the channel that's being generated by my lens effects here. So these air turned on with this button right here. Okay, so in your view, reframe buffer. If you hit this, you will see that this effects result that's talking about lens effects. If I goto rgb color, the lens effects actually go away. So there's a hot spot, but it has no bloom or glare. If I goto effects result, it's the same RGB channel, but it has effects over late on it, which are set over here so I can actually turn on a bloom effect, turn off the glare effect, and then you can adjust the weight of your bloom effect. Right now, there's tons of bloom going on way too much, obviously. Okay, so I chose to go with a very subtle setting here where I have the glare showing up, but it's hardly noticeable, but It looks better than this, I think. Okay, so that's that last channel there. Those are all the channels I use the way I use these channels. Like, what's a very lighting if I wanted. If I was looking at my scene and thinking, You know what? There just isn't quite enough light getting on this wall over here while I could take this very lighting and put it as an add layer on top of my RGB channel and it would add this light on top of the RGB, doubling the light value of that area, and then I could turn it up and down in Photoshopped. We will look at all that when we get to post, but if there's any chance you might want to use it, render it out as a channel. Okay? The only other things to look at here are what we've already mentioned with this exposure button here or this show Corrections Control button. So this brings up exposure. Let's go back to our affects Channel. Yeah, this rendering doesn't look like much, obviously, but we can change the exposure here, make this highlight burn, bring some of those really highlights spots back to us. Okay, Here. They're kind of blown out here. They come back. So this kind of flattens out your image a little bit. So be careful of that contrast is exactly what it says. Obviously. Okay. And then there's Hue, saturation settings, which self explanatory. I think there's color valence settings. That's really what we need to worry about here. There's the white balance also. Okay, so white balance can have a huge effect. Member, I said, these air really, really warm lights. So the white balance actually comes into play here. So this is interesting. If I put it the white balance towards a very high temperature, then these lights become really, really warm if I bring it back into the range that those light bulbs are actually in, like around 3000 like I was saying. Then they become basically like white. Right now it's white light, but the sky looks really, really blue. So that's how white balance works. You can get totally different looks just like on a regular camera and get a totally different look, depending on where your white balance is at. So that's another thing to keep in mind. You can set that in camera. Or you can set it here just like you can expect. Set exposure in camera. Or you can set it here in the view. A frame buffer. So actually, like this somewhere, maybe, like, right around here, that's cool. And then maybe a little more exposure. Okay, tweak to your heart's content. But those are the essential render settings. Next video, we're gonna finally put in our hdr i and start honing in the lighting to exactly where we want it. 5. 05 Adding HDRI And Adjusting Lighting: Okay, let's add in our HDR right for that. It's very simple. I had in a v relight just like normal. So just like we have a plane or sphere Ramesh, you can set it to dome. Okay. And then you put your v Ri HD right image Here, let me show you where to get some each your eyes on the internet. So if you go to no emotion HD rise dot net There's some great stuff here since we're doing a dust shot Goto Evening hdr. And I believe I downloaded this very 1st 1 right here. It's available for you to use, so go here. Download This added to your scene The way we add it to our scene is once you've created our dome light, Turn this on. We click here on the material slot and we say v ray each dear, I I'm gonna make a copy of what I got and then I'll just walk you through it again. Okay, so there's mine right there. Let me show you how to create a new one. Let's clear this Click on it be raged here I navigate to where your hdr I is. Open it I'm just gonna put mine in here in this HD, right? You need to make sure that it's set to spherical and that's really all you need to do. You can adjust this overall multiplier and we'll get into that as we start looking at this one said at 10.5 right now, OK, in the settings of the very dome with the rain next week and do adaptive dome, which is supposed to be faster and more accurate. Okay, you can also set lock texture to icon. This is an important one. As I've shown in other courses, pH dry is by default. The light would be coming from the east right here. Okay, so this would be zero degrees. This is where the sun is in these HD rise. And so to make the sun come from over here, traditionally, you would have to go into your itch dry until it to rotate on the horizontal rotation. So you could say I wanted it about 90 degrees no, 130 degrees. And then it would be over here. Now they've made it a little easier. We can leave the rotation alone here, lock the image to the icon. And then wherever this Linus pointing, that's where the sun is going to be coming from. Okay, so if I rotate it like this, the sons will be coming from over here. Okay, so this is actually telling me exactly where that son is gonna come from. I want it coming from the left side of my house, and I put in an HD right here, and we'll see what it looks like. Okay, I haven't done anything else to it except adjust its roll multiplier. Let's again go to V Ray and starting with the I p. R. I think I want the exposure down, but everything is looking good. Okay, You can see the depth of field is working. There's a little bit of blur on these lounge chairs, and the house is in focus. We've got this nice purple hue all being cast by the HD awry. And we have this nice kind of sunset happening right over here in the left of our scene where the sky is brighter so everything's perfect. The color matches perfectly. Now, with this I p r running Aiken, go into this and say, OK, let's set the overall multiplier Toe one. See what kind of results we get. Should rear ender for us here. Here it goes. Okay, now, this guy is much brighter in relation to these lights Here. It looks pretty good if you say, Oh, that that Skye is too bright, we could go down and exposure. But remember, the relationship here is what's kind of important. So these look pretty dim now. I want that inside to glow quite a bit brighter. So I want them to be around that level. And then I want the sky to be less bright. So it really stands out. That's why I had it set a 0.5. Okay, so this is where the light lister really comes in handy. Because I can just say, uh, this is too bright in here or to orange to yellow or I want this light turned off. Whatever it is, you just bring up your light lister here and even your HD rise gonna be in here so we make sure our son is turned off. Okay, this is Rh dear I right here you could turn it to three opportunities. Should light up our whole scene. Right. So get the right balance for what you want. I would recommend looking at a dusk shot, a photograph and getting the light balances exactly how you want him. Okay, I am going to be right around in this range because I like the dark purple e sky in the dark exterior of the house with the lights really glowing inside. Okay, but any of those lights I want to just I can do it right here. I can select him by hitting here. I can also just change all their settings right here in the light. Lister. It's perfect. Now let's look a little bit. Let's use our light list or two. Rotate the H during so all we have to do. Select it, lock it and then we can right click in our view port. I can find some view port to click in right click here and say rotate and we'll start rotating it around. This is the absolute world. So let's say spring it way over here, see what happens. Actually, let's go to the top view kind of cool looking. And let's just rotate this icon here like this and then go back to our camera. You can see that's gonna change the look of our whole scene. Now, there is no sunset happening over here on the left. It's just a deep purple sky all the way around, and everything is kind of evenly lit. If we put the icon back here behind the house, we should see a sense that happening behind the house like that. Okay, there it is. That's actually kind of cool. That's not a bad shot there. So you can do whatever you want. Download different HD arise experiment. Experiment with the rotation. Get your lighting balanced with this Really nice warm for a dust shot as we want a warm interior of the house with a really cool outside sunset going on and keep in mind the H dry is creating all the color and light for us. But it's interesting to observe that all these shadow areas air this deep purple, even though the sky over here, the highlights of the sky has kind of got warm colors, pinks and yellows in it. Okay, so that's one thing to keep in mind when you're lighting, and if you look at photography, you'll see this where on the sunset you have the really warm spot where the sun is. And then as the shadows happen, you're getting very deep blue and purple, Okay? And then the inside, of course, is that that 3000 Kelvin temperature color like a light bulb. So it's putting off this very nice light again. We can adjust with white balance to if we want to go even cooler. We're warmer now. It's like really Sunset E, right? Okay. So you can get a lot of different looks by adjusting all these different things. That's pretty cool right there. OK, But you choose what you want. Yours toe look like Let's move on to the next video where we're going to enhance our composition, make it more interesting with a little bit of foliage. 6. 06 Enhancing Our Composition: we talked about how using depth of field can enhance your compositions. Now I'm gonna look at how we can add foliage to are seen to add composition. So if you look at my current composition, you can see that it's quite boring. We even we're not following the rules of thirds. Really? Our focal point wants to be right here on the porch. It's kind of right in the center, maybe slightly off to the right. If you're following the rule of thirds, this line would be more up or more down. I'm not too worried about that, though That is more of a rule of thumb. But we can still make this work without moving the camera up or down. We're seeing the things we want to see. What we are going to do, though, is kind of bringing these corners so that the focus is here and not just all around the scene. And we can do that with foliage. So I have some foliage added here already. If I turn on the layer, Okay, so you gonna see how immediately this is kind of, ah, cutting off the corners of our scene and putting kind of a frame around it, framing this house nicely so that we're looking through the trees right to this area. You can see how quickly that changes the composition. Now let's look at what I've done for these plants and trees. There isn't much to it. This is all just a matter of personal taste, kind of so you can see that right here there's one tree that's in the top view. It's kind of right above the camera. This means that these branches will just start creeping into the camera and it will blur a lot because it's not within our range of focus. And so there will be a really blurry tree just right up on the top left of the camera, which gives us another level of depth because we can see that. Okay, this trees close to the camera, this one's further away. Okay? And then these ones, these trees in the mid ground here were actually at the same plane as the house just kind of frame in the corners to make it so. We focus here because these will be darker against a light sky and the really dry in these ones. Just add a little more weight to each side of the house. The's mid ground trees, Bekir or background trees and create come in nice shape going on in here. It cuts down on the kind of negative space of the sky. So this all this black area is going to be sky. If it's too wide open, it looks like our house is just kind of sitting out in space. So these kind of also tie it down to the surroundings in the ground. And then this one here it and this one here are both gonna be slightly blurred and darker because we're looking at the back side of them all the light would be coming from over here . So this backside of these plants gonna be pretty dark. The only thing I will be getting is that deep blue environment light from her each year. I and those will serve kind of the same purpose as these trees up here where they're just kind of ah framing in the house a little bit and drawing or what are I sort of away from this foreground area and up towards this brighter area where these bright lights are turned on inside of her house. So I can't give these plants to you. Unfortunately, because thes were made by other artists, they did a great job. If you want to find some plants like this to add to your scene and fidget with in order to change your composition, you can go like I did to CG trader. Let's bring that up real quick. So you guys know, of course, about turbo squid and C g trader and other places like this. I haven't shown CG trader on here before, but if you search for, like, potted plant the I find the prices on CD trader to be excellent and the models to be excellent as well. So, look, for example, that you can buy this whole set of potted plants for $35. That is amazing. Okay, let's see if I can find the exact set that I bought. It's one of the use. It was this one. Yeah, it's this set right here. I guess it was $20. I mean, this is really, really good stuff. Okay, Comes with these wick wicker basket thes nice pots. Fantastic. I think I got mine on sale for 10 bucks, but Either way, it's a killer deal. And look how high quality of these models are. OK, so you could also search for Ivy, right? And get all these. I think my ivy on my wall is one of these ones. Maybe I don't know the exact one when it doesn't matter, because sell up to your personal preference anyway, which everyone you think we'll look good or if you even want to add ivy. But the point is, you can get models 40 and add them to your scene and really enhance it gave for the trees. I haven't ever motion collection, and it's one of their newer collections. If you go to the shop on every motion dot org's, it's these ones are miles Volume 2007. They're supposed to be city trees, so what's interesting about these trees is the shape of them is very, very good. But you can see they're pretty thin. They're intended for kind of cityscape, so that you can kind of see through them to the building. And that's how cities are. You know, sometimes the trees Aaron Shade they're not as full and lush is it would be in the forest but they're also not a scraggly and kind of all over the place. So they look nicely groomed and they work really well for urban scenes. I think they were less well for my scene because I want these super full, but you'll see when we render him they're not that full and that's OK, the shape of them. I really, really like. I wish they had a little more leaves on them for this particular scene, but for city scenes, they were perfectly okay. The only other thing that I've done to add to composition is I went to design connected, but you will also bring up. I know I've talked about design connected before, but man, they make excellent, excellent models and they're very reasonably priced. So I searched here for a lamp and what I was wanting to do. OK, search isn't working. What? This is the lamp that I got right here. That Nelson bubble lamp and what I was wanting to do with it is just kind of use it kind of fake it in as an outdoor lamps. Not really supposed to be not their lamp, but I put it in my scene right over here next to these lounge chairs, and that is to again draw I over to this area. So really, this whole area right here is where we want to focus to be. And it puts a nice reflection on this pool, which I really like, and it lights up my lounge chairs a little bit, so they're not totally a dark. Anyway, I like what it added to my scene. I like where it draws my eye. So I added it in gay so that I can give to you either doesn't belong to me. But you can add anything you want to your scene. I'll give you the base. You can add things to enhance your composition. And in the next video, we'll check out how to get it ready for a final render and just go for it. 7. 07 Getting Ready For A Final Rendering: now that our composition is what we want it to be. Let's just make sure we're ready for a final rendering. And then we will render out the high resolution with all our render channels with all our exposure levels, right? And then we can move on to post processing. But first, let's go to our I PR and we will make sure that everything is looking right. I can see our depth of field is already correct for the last time he rendered our lighting is a little different than I have done originally, but I kind of liked something, so I left it and we'll see if he stays that way. So here comes all our trees. Cool how it morphs. Yeah, I think this is looking really quite nice. So I like the composition. You can see our depth of field is working nicely. This is all blurred Not super subtly but pretty suddenly enough that it looks realistic. This is really nicely subtle over here, the blurring. You can see what I was talking about with the trees. The shape is really nice, but it could be a little more full. This is that for Gantry looking very blurry, so that will take a while to render anywhere where there's blur is render intensive. Okay, so keep that in mind. But I like the lighting. I like the age, dear. I like this more sunset. Look, that I wasn't intending. I was wanting a deep blue, but with the sun behind, I think it's actually looking kind of cool. You can change the white balance to get a different look like we have seen. That's kind of nice right there. Okay, so let's see. Maybe the exposure can go down slightly. I don't know. Somewhere around there works, actually. Okay, now, if anything, here's Here's my lamp in here. I like what that's doing. Looks great. You can now if you want to adjust your your sky up and down. If my skies looking a little too bright, I could see it going a little less bright. So in my materials, editor, just go into the age dry and turned down this. You can also go into your light lister and turn it down here on the multiplier of the actual light. Right. So that's the dome light right there. You can turn that down from one to something less than one. Or you can do it in the material editor, like we just the material editor, like we just saw. Okay? Or we could do it in both. Now the scene is looking pretty dark, almost like it got a little bit later at night. Right? And you could ingest the exposure up if you wanted. And what this is really doing is changing the relationship between these lights and though , and the skylight. Right? So when we turn the exposure up, this light is getting brighter, and so is the sky. But because we turned down the sky significantly, the relationship between these is different than what it was before. So I think we actually want these lights in the interior, the house around here, So nothing's really blown out. And now we'll get the sky outside to look right. And it does look right. Except that it's maybe a little dark over here. So let's turn it up some maybe back to one for on our light lister. I think that's about where we want to be. Okay, I'm gonna leave it about right there, and we'll call it good, so make sure you're lighting levels are right. And then when we're ready to render, just shut this down and we'll go to shut down all this stuff, Go to our render elements, make sure everything's set up properly. Here, make sure your seat up to set up here and then we'll just go to our settings, make sure we're on progressive, and I just zeroed out the render times that it doesn't come into play, and I set my noise threshold a point No. Five. I can't tell you exactly how long this rendering takes, because I actually rendered and went to bed when I originally did it. But this is not the fastest machine. It doesn't have a ton, of course. So it probably took probably two hours at least, to get to a quality that I wanted to get to. So that's low compared to most well compared to my serious work computer or lots of other computers. But it's reasonable. Okay, so I said at 6000 and then we are ready to go render game. We will sit and let that go. Remember that you're bloom effects. You're glare affects your exposure. All this stuff make sure that that these effects are at least turned on so that it's generating this effects result. But they are adjustable after the fact as long as they're being accounted for. When you render which it is, you can now adjust that after the fact that is a post processing effect and the exposure all these things over here can be adjusted while it's rendering to. So these air also post processing effects they they're not burned into the render, so keep that in mind. So as its going, make sure they're right. Before you save it out, make sure everything's right because these will save into the J pegs that you export from the frame buffer. Okay, so there you go. I'm gonna let that render I think my settings air all like I want him and you can look at him. All right, here on screen, Get yours the way that you want him render And then I'll see you next Video where we compose process this 8. 08 Post Processing Part One: Okay, here we are in Photoshopped. This is a finished file that I did that I let render for a long time. It delighting situation is a little different that we ended up with in the previous lecture . But that's okay. I'm gonna take my raw renderings and show you how they got to this point. The rod rendering, by the way. Looks like this. Okay, so we had some people in. We had a little bit of atmospherics. We changed the lighting very slightly. Really. This is dissolved. Very subtle, subtle changes going on here. OK, so it's hardly been noticeable, but it adds that little finishing touch. So we'll get to that point together. You can see that I have a lot of crazy layers going on, but it I'm gonna break it all down for you, so it makes a lot more sense. So let's start a new file. And what we always do is after you say that all our render channels, we go to photo shop, go to scripts, load files into stack, and then we select all of our render channels. So, in my rendering solder here, I saved them out as 16 bit tiffs that so I have a little more leeway with my my bit depth. Okay, Especially on the Z depth channel. We want a lot of depth there so that we can change our range and I'll show you why. So I'm grabbing these tips. All these will be loaded as layers. Okay, so they all load into here, and then we just hit. Okay. You'll see each of my render channels loading as a layer. Drag it over here. Okay? So we can turn off all of these and we want the Now there's the original RGB. And then there's the RGB with the effects over laid. So those post effects we talked about with the bloom and the glare this one has it. This one doesn't give. You want the one with it because they're nice. They're subtle. They look good. We're gonna leave him. If you didn't want to use them, you could put this layer or, like, for example, created mask your invert the mask so it's totally blocked out. But then get a brush and paint white back into that mask so that glare goes away. This glare goes away, this bloom goes away glare okay. So you could selectively include or exclude glare versus no glare. Okay, if you wanted to do that. Now what? We're gonna do what I've told you with the rendered channels. I want to keep this pretty brief because you keep it in one video. So let's use the refraction channel as an example. So we rented out this refraction channel. It looks like this shows everywhere where there's refraction in our seen. If we put this toe linear dodge, you see, that is basically doubling the refraction in all those areas. So on off. Okay, so now the pool is really bright, so and the interior is really bright. Now, if we like to that effect, we could again create a mask for it. Invert the mask so nothing is showing through, right? It's all black so that refraction channels no longer showing. But then we could take quite again and paint back in areas that we like. Okay, so say we just wanted the pool to be extra bright. Paint black over this for the mask and white over the pool for the mask. And now we have just the pool glowing more and say we want that effect to be a little more subtle and not double it. But just add a little bit to do that game. That actually looks pretty good. Now, I'm not going to use any of these other channels, but if you do want to say, enhance the speculator or something, you could put that up here and put it to linear. Dodge added on top of itself. And that's doubling the speculator in those areas. And again, if you thought I only like it right here that you could mascot everything else and paint back in so that only that is affecting. Okay, I'm not gonna go through all that. But that's how you can use those who I do. Like I do like some of this. Okay, so down here, this could be nice. Right? So that speculator kind of looks good. Turned it up and down. Okay. Anyway, you can mess with this for hours. Let me show you how to use the Z depth a little bit. So there's rz depth pass, and you can see it's going over from 0 to 200 feet. It's going from white to black. Okay, I'm going to invert it by hitting control I and then I'm gonna put it to linear dodge so you can see it's basically adding a foggy look to my scene. Now I'm going to adjust that fog. You look by doing an adjustment layer layer new adjustment levels, okay. And I want that levels toe only affect the underlying layer, which is the Z depth. And I do that by clicking here or by holding down old and clicking between the two layers. You could see this little arrow appears. That means it's only affecting the layer below it. So when it's showing me this hissed a gram, it's actually showing me a hist a gram of only this Zita player. Okay, so I want to turn down some of the effect of it by sliding the black in. Okay, so you can see that this looks like fog getting further and further away from me. Right? And all that's doing is adjusting theory. White and blacks of the Z Dept channel blow me. So I wanted about right here and then I want to turn down the effect overall and now So all that's doing is adding a little bit of Hayes to the back of my skin to screen to create a little bit of atmosphere and a little bit of depth. Right? And now the last thing I want to do to the Z depth is new adjustment layer, hue, saturation. Make sure it's only affecting my Z depth. We can put it on colorize and make it really saturated so he can see it and then just put it to a color you like for your fog. If you want a fog to be deep blue like that, you can put it there. I actually wanted to be warm as if it's catching Hayes from the sun that is over here. Okay, so that's that's the right color. Maybe this color. Okay, Yeah, this color. So it's kind of his orange. I wanted to be a little lighter, though, and a little less saturated. So maybe right around there is the right level of lightness, but I wanted to be actually less saturated, so we know we're in the right color range, but you need to also be in the right level of brightness and saturation. Okay, now, So if we just turn off this layer, you could see the difference. It makes K. So maybe it wants to be a little more subtle. Now, another thing we can do with it is jumping to new layer. Jason doubled, but we're not work actually going to use this one. This is the one with the effects still on it. We're gonna put another one on top of it, a copy of it, and then we're gonna set this one to multiply. Okay, so that's what it looks like. If I put it on normal, it looks like this. Let's leave it on. Normal as we adjust no adjustment levels and all we're gonna try and do is dark it up this foreground so that it helps frame our image even better. Okay, so this is where the extra bit depth comes in play with that tiff. Because if it was just a J. Peg, then this stuff would start getting really noisy up here. You can see it looks really bad right now, but when I kind of lock this in, it would work. OK, so let's just we just want to make this one part of my scene darker game. One interesting thing that I just finding is that if I put that layer layers adjustment on this thing, it didn't it remain kind of ah, pixelated and segmented. If I go to image, adjust levels and actually burn this in like that when I hit OK, now it's all soft and smooth again. So that's taking advantage of that full 16 bit depth adjustment there. So if we now put this back to multiply and see that it's not darkening the front of our scene, turn it on and off. Okay, so that really helps frame. So we're not focusing on anything up here, it's still there. You could still see it, and you could turn up and down this so somewhere like right there is nice. And the last thing you could do is say layer, no adjustment hue saturation. So we talked about how the highlights are kind of the warmer color, and then it's really cool in the shadows. So for these shadows up front that we're creating here, we can go to color eyes and set them to kind of a deep blue ish right around there, make sure we're only affecting this sea depth channel that's right below us and then turned down the saturation a little bit. Not too much, though. Okay, so that's adding that really helping to frame this, maybe turn it down a little bit. So it's nice and settle. Okay, There you go. So that's kind of the, uh, using the atmosphere, using some of our render channels and getting a nice image, and the next one will just title together. We'll add in a little person, they're just do some simple compositing, and then we'll call it good. 9. 09 Post Processing Part Two: okay. And then let's add in some people or one person I should say, Okay, the way I'm going to do that, let's just drag person I have from another file over here into our file right there. And something didn't work. We grabbed. We dragged it between this and the D depth. Okay, make sure that Z depth remains only affecting this level. Okay, so I grabbed his person and called person, and it's just ah, girls sitting here on the front porch. Okay, I get my people. These two d cut out people from gobo Tree. So shout out to go poetry. Let's look that up real quick. Gobo tree is a nice site. It is run by a three D visualization company that just puts all their library online, and you can have access to it for for 99 a month, starting at 4 99 a month. And if you just go to cut out people, you can categorize it, buy anything you want and grab it here. So I got a This was actually a couple. So it's two people. It's from the back and they're standing Okay, so I don't remember exactly where they are. But you can see there's a ton of people in here. So then when I grabbed was actually a couple and I painted out the guy. If I do this, you can see the guys there. Okay, so I'm asked him out by painting that right there in my mask. Now, it's just the gal sitting here and what I did, Let's turn all this off and we'll look at it. So she looked like this. So her lighting was already pretty close to the situation that I had here. Then I did a levels adjustment on her to take her a little darker because she was a little too light for the scene. The levels just looks like this. Where I brought in the black. Okay, two, right there. Remember, that's affecting Onley, the layer of the woman. Okay. And then the color balance. I used to bring her a little more into the purple bluish range like this. So the shadows I put in the deep blues, the highlights that put slightly red and yellow to make her warm color. Okay, so that just makes her match the rest of my scene. And then this one Let's recreate this one together. So create a new layer on top of this stack and make sure well done all click there so that it's affecting only this layer you can see Boom, boom, boom, boom are all affecting only the cut out layer. From there, we can set this toe overlay. Actually, leave it on normal while you're painting. So this is to add highlights and shadows. So I want to grab a color like this, Or maybe like this, this really warm color and they get my brush and say, Okay, I want that light to be shining onto this woman here. Okay, so she's catching this light from the inside. This makes her really fit into the scene. So if it put overlay now, she's got this really warm light coming on to her from inside de house. Okay, then on the back of her would be darker, obviously, like some of this purple e stuff, because let's put that on a different layer because the effect is too strong here. No, let's just turn it down in color. So put it something like around here, Okay. And then in the back of her legs, she's gonna have more of that purple. Okay, so this is just really making her fit into the scene. So what I really did was put thes kind of rim light around the outside of her with this overlay layer. If I set this to normal 100% it looks like that. Okay, so I painted that on to her to get some real nice highlights of the light reflecting off of her stand in her hair from inside the house. Okay, so that really makes her fit into the scene. The only last thing I did was add some shadows with shadows. The important thing is to remember that she'll need some contact shadows because right where her feet hit that porch or that patio, there be some really dark lines around there. Those air called contact shadows. And you wanted to be in the deep purple range like the rest of the shadows. So something like what these colors are, and just paint him in there, set him to multiply, and then turn it up and down, okay? And then, of course, they'll be slight soft shadows being cast kind of around her by the environment, light and also some soft shadow being cast from this bright light that's inside. So you can add that into actually the contact shadows. Is this layer here? Okay, so it's just that turn about right there and then this is the soft shadows coming behind her just just right there. Just a soft shadow. Okay? And that's it. That's really all it takes to add a person into your scene. You have to find the right picture. Obviously, that will work. It can't have any harsh direct lighting on it that that's too hard to overcome. Usually. So she had this nice soft lighting with kind of a warm light coming from the left, and it just happened to work. I wish he was in a different position like looking towards us, But he took what we took what we've got. But anyway, she does at scale to the scene and shows this nice little pool house, small little pool house. You can see it now with the woman standing there that it's a small little house. Cool, little quaint outdoor area. Okay, everything is looking nice. The last thing we could do is maybe do some other effects to focus our I a little bit more now that the persons in there we could do some overall effects. So if we do control all shift E control Ault shift E What that does is take every layer we've got and combines it all and jumps into a new layer. Okay, so I turn this on and off and there's no difference because it's taking all these making a new layer out of it. Control all shift E one of my favorite commands. Okay, from there, we can do some sharpening to sharpen this area up here. And I do that in kind of a unique way. Maybe Maybe it's you need to you maybe it's not. But I set this too soft light can you can see it as a bunch of contrast. And then I just on that soft light layer, just go in and do a full high pass filter. So filter other high pass. Then here is your just the high pass. You can see that different different sharpening looks will happen. Okay, this is sharpening with, like, a really wide radius. This is sharpening with a really tight radius. Okay, but it's sharpening nonetheless, and it looks good. So right there, you could do this sharp sharp focusing. Okay, Now you don't want to focus. You don't want to sharpen all your scene like that. So what? You can use this created mask again and control I to invert it and then paint in the areas you do want to sharpen. So it makes sense that since we're trying to focus here, we want to show we want to sharpen their make sure you get a nice soft brush and just sharpen here. So if we look in here, we can see that everything is nice and sharp. Turn this off and it's a little less sharp, but it's only sharpening in this area where we painted or re masked. Okay, so that helps focus r r I a little more. Now we can control shift all e again, and I like to do a lens correction filter on this one. Go to custom. You can add a little bit of chromatic aberration, which is just a camera effect. It's well, let me show you here. So if I do this turn up the chromatic aberration on the edges, you're going to start getting a fringe on some of your objects, just like you would with the camera. So there be a red sigh infringe on the outside so you can see it on this leaf right here. Just a very, very slight fringe outlining your object. So it's it puts a blur. It kind of blurs it to your eye a little bit and puts that fringe on it. You can see it right here. There's a slight red fringe on this pot right here and on this plant right here. Okay, so you want to stay pretty subtle with these things? If I do this, you'll see if exchange okay, that fringe is gone, and now the fringe is a scion fringe. You know, there's a lot of fringing going on, right? Tons of green fringed right there. It's kind of shifting the image. You don't want to go too crazy with this. It is too, too extreme, but it is creating something that we have happening in the physical world with actual cameras, right and then filter lens effects. I didn't finish what I want to do in there, so we set the chromatic aberration already. But we can also set the vignette by just doing this. So this is re creating effects that happen with riel camera lenses. Now then? Yet we don't wanna go too crazy with either. But if you keep it really subtle, it is one more way of focusing your eye towards the center where we want our right to be focused in this image. So right now, if you look at this, your eye is really focusing right in this area. So between this lamp and the woman standing here and then maybe a little bit over here, but basically all right here. Okay, which is perfect, then. Yet in can help that if we go extreme on it, then it's really looked like looking through Ah, hole in a wall or something so we don't go too crazy with that. But somewhere right around here, nice and subtle is very good. And I'm gonna call that image done. There you go. I'll make this photoshopped file available for you to use, except for the woman which is not mine. You can get that on your own, but everything else will be available for you and you can experiment with it. Or you can just work on your own. Thanks a lot. Hoping, but enjoyed this project. I'm gonna put one video after this That shows how to get a totally different lighting situation easily by just changing our HDR. I so stay tuned for that. 10. 10 Achieving Different Lighting Situations With Simple Tweaks: the last thing I want to show you in Max is just a little bit of what other effects we can get by just simple lighting changes. Okay, so what I'm gonna do is bring up my i p r again interactive rendering. And now, while it's open, I'm going to completely change the lighting situation that we have going on here just to show you what kind of things we can do. So what I'm gonna do is change the age dry to a daylight scene. Okay, Now you can see here. I've changed to a daylight seen it's turned way down, so let's put it up to, like, two. Okay, there. Now we have some light, right? Let's make sure this I p r. Is going. And it should completely change the look of what we have going on here. All these deep purples and things will go away. Well, look at that. So we have daylight now. Amazing. The difference just from changing its your eye. So obviously our skylight is burnt out. Let's bring that down. So what I'm going to do first is get my exposure to a point where I like the level of these lights, they're going to be pretty dark because it's the middle of the day, right? So in comparison to the sun, they will look pretty dark. Fact will hardly see them. So if you get the exposure around here and then turn our light on our son way up to get it much, much brighter, then we might have the right relationship that we're looking for. So let's say we put this to four for a dome light. We need to go even higher. Okay? This is actually a cool dusk shot too, huh? So nice reflections going on. I mean, this looks really nice. You could completely change. And if some of the numbers seemed kind of weird to you like, why is my V relight having to go up to 20? That's just because see, these lights air really high, too. So it's all about the relationship. Actually, that's what's most important here. So now you can see those lights on the inside barely show up because it's daytime after all . So we'd mostly see reflection on this glass and things like that. Now we're looking right into the sun, so that's part of our problem here. If we go and adjust, they're going to the top view. And remember, this is locked here. So all we have to do is do like like that. Now the sun will be coming from over there, and that's exactly what I wanted to try out. So let's go to three now. We have basically a daylight seen coming on. Now the reflection is all happening. The bright part of the skies off to the left of the screen here. So there's a lot of reflection happening on the glass. We might go in and and change that. You can see there's direct light coming from the left. So there's a lot of shadow being cast on the right side of the house here and under this chair here. So everything is working as I would expect. Okay. And we have a nice day light seen going on. If you want the daylight, the direct light to become more crisp, you can just well, one way to kind of cheat. It is to change the inverse gamma of your material here, and this is kind of like turning up the contrast like in kind of a harsh way. But if you put it 2.9. The difference between light and dark will become more dramatic. Let's go extreme just to show you so figure 2.5 on the point on the Gamma. If I look at this, you can see now we've got a lot more contrast going on. And now look at our seen. Look at that. That's amazing. Now we're getting these deep, deep purple's on the lighting. The sky is very, very brilliant Blue and the highlights are very, very bright yellow kind of amazing how dramatically that can change things. Now if I take the temperature, you know, make a total sunset scene going on here. Okay, so that is cool. That is fascinating how that works. That image is really doing all the hard work for us. The HDR I image. Okay, I think I'd want something less dramatic like around seven. And then we'd have a pretty nice rendering going on. We could post process put a lot of kind of atmospheric and here for kind of a sunny, a sunny look, sunny haze going on. So just like we post processor other when we get close process this one different. But I just want to show you that in Max we can get a 1,000,000 different looks. The sky's the limit by just doing simple things like adjusting our light levels, changing our HD right image, etcetera, etcetera. Cool. Hope you like this project. And I'm excited to see what you guys can create this particular model.