Archviz in Blender 2.8 | Modern Bathroom | Class 4: Final Lighting and Rendering | Victor Duarte | Skillshare

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Archviz in Blender 2.8 | Modern Bathroom | Class 4: Final Lighting and Rendering

teacher avatar Victor Duarte, Learn everything you can

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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

5 Lessons (26m)
    • 1. Introduction

      1:01
    • 2. Setting and testing HDRI

      8:22
    • 3. Placing cameras

      6:14
    • 4. Setting exposure and test render

      4:32
    • 5. Final render settings and postproduction

      5:57
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About This Class

Hello everyone! Victor here!

Continuing on the modeling of this modern bathroom designed by Dibujo.Design Interiors : Large Contemporary Bathroom

In this 4th and last class of the Archviz Course we are going to study the final lighting of our bathroom. Place some cameras looking at composition, and setting the exposure and final render settings to achieve really nice results.

We will be going through different techniques such as:

  • Changing through different HDRI's
  • Glass trick to reduce noise
  • How to set the camera
  • How to set the exposure of the scene
  • Final render settings
  • Denoising image with the Blender compositor

If you want to check great HDRI's take a look at: HDRI Haven

This is the last class of the course!

I really hope you enjoy this course. I'll probably run a little contest among the best results (if there are enough projects), so work hard on it! I can't wait to see your results!

Take care and have fun!

Victor.

Meet Your Teacher

Teacher Profile Image

Victor Duarte

Learn everything you can

Teacher

Hello!

I'm Victor Duarte, a 3D artist and Mechanical Engineer from Barcelona.

As a mechanical engineer, I've worked for 10+ years in many sectors, specially in renewable energy. Mi passion for 3D art, 3D visualization and the CGI world has always kept me in constant learning and willing to improve every day.

I enjoy doing 3D related to archviz, hardsurface, sci-fi, concept art and mechanical design among others :)

 

See full profile

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Transcripts

1. Introduction: Hello, everyone. Victor here in this fourth class, this is the last class off the RXB. Scores were going to study the final lighting going through different techniques and making some architectural Glastris. Then we will place he come near us, taking into account balance compass she should and ones we have come a resting place and delighting set up who will set the exposure off the scene with useful techniques and make some render tests At the end of these last part, we will see if I know, render settings and exports the image to make some post production. These are my final results and I'm looking forward to see what you achieve Take care and have fun. 2. Setting and testing HDRI: So here we are in our scene, we have placed some details and now it's time to work on the lighting. I'm gonna try different is your eyes to find the lighting and moat that I went toe achieve for this project. So the first I'm gonna do is create that cover. I have one actually here, created, if you remember, with the clipping value, as you can see over here. So with this camera, for example, I'm going to try different, edgy a rice and if I go to rendered you and this is what we have So now it's important to check a thing here in the red, their properties before changing any azure Iot or developed lighting. Here we have reflective and refractive plastics, and we have a glass here. I'm going to open a new window here at the right site, and this is a pretty simple glass material. So here we have a little problem. When we enable reflective refractive co sticks, we introduce ah, law off nice on our scene, especially feats and interior like these one. So we will need to increase the render samples to a very high amount to avoid a little bit this noise. I'm gonna make a little trick on our glass material just now. If we say well, I'm going to disable their reflective on refractive plastics. Teoh, avoid these extra noise on our scene. We will see that our scene gets darker, so this is not a solution. So where do we can do for this kindof activities? Glass. He's a little trick and the streak will allow us to disable the refractive part off the glass and reviews a nice. So I'm going to delete these principal be as the F note on the glass material. Now, obviously, the light is not entering. And I have here a little note set up prepared, gonna play seat over here and connected. So this is just a glass be as the f shader with a transparent shader. We mix these Jew sh aiders with a maximum value between the shadow and the reflection. So what this is doing is taking this glass a disabling the shadow and reflection off this last. So now if we disable the refractive cow sticks, nothing happens. So now the glass is not providing any refractive co sticks and these will decrease the nice off our image. The reflective crab sticks, though, can be disabled. And the difference between enabled and disabled in interiors like this one is going to be barely noticeable. So now we have these lighting here, and we could go to world and place different, edgy, arise and play a little bit with the lighting to achieve the mood that we are looking for. So we have these 80 arrived that is actually is working well and for trying different, edgy, arise. I'm going to duplicate this note, connect the vector mapping here and now connect these A Z a right to the background. So we have these one saved, and now I'm going to just play some different ese arise and see what we get. I'm going to click in the little Cross icon and click open and navigato your folder where you have your edgy arise. I recommend visiting a JIA right haven. So, for example, I'm going to try another kind off environment. For example, we have these one. Now we can play with their rotation and went to said irritation to zero. So yeah, we could find another goal lighting to have a little bit more off speed on our people. We could go here down at the performance and on the view port it say's pixel size. We can. He increased the pixel size to, for example, Chew, and this will divide by true, the amount off pixels. So it will be a little bit more low resolution, but not more faster. I think I'm going to change again the awry. Let's see what we have for here. Here we have another one with a more blue sky. Let's see what we have here and play with the rotation you have here. A diabetic lighting going on. Yeah, I think this one, for example, doesn't work so well. It's not necessary to have a direct light like the sun coming into our scene. I think it's more pleasant to have a soft lighting. So I actually liked Mr Pines. This one here, let me change a little bit. The rotation? Yeah, maybe 20 degrees. I think that's nice. I'm going to place the camera over here to see what what's happening in the side of the bathroom. Let's see. Yeah, I think it's very nice lighting coming here and, for example, here if we study. I literally these shadows. We have a nice and shelf shadow, So Yeah, I like these one, actually. So I'm gonna leave these eight year, right? And another thing I want to do here is actually if I place, maybe you were here would have the background off the edgy awry. I don't usually use the actual background off the edgy awry. I think it's a little difficult to have a background that works right out of the box. So where I can do is I'm going to delete these Asia, right? And I'm going to duplicate these backgrounds. And these background will be the actual background that we see through the window. So I'm going to place here a shader mix shader. I want to mix these two shade er's. And now we need to place an input like past note and the factor off these mix shader will be the camera, right? And as you can see, we are still seeing the background. But actually we go out off the cheerier. The background is going now. This is just a color. This is not lighting our scene for you Make thes red. The scene is not gusting any red color. So what we need to do is at as well these glossy ray value to the factor. So if I plays here a converter math note, I place it here and I add the glossy ray. Now we're seeing these background, so I'm going to change again these color and going to decrease the saturation to zero, maybe a little bit bluish and something like that could work. I'm going to decrease these strains. If I praises toe one is going to be a little bit noticeable. So I'm going to set these strains to something like three, for example, or instead a color we called actually place here. A text your with trees and when all the stuff or place on actual three D trees on the outside to achieve more realism, toe the scene. 3. Placing cameras: So now we have these lighting is kind off working really nice on our scene. So where I'm going to do now is play some cameras, for example, this camera here I'm going to make more room here and go to solid view. And when I place cameras on scene, I always look for half a nice composition. For example, here we have a natural framing with these good plans here of the site and these and these window on the other side, it's always a good practice to have some foreground elements meet ground elements like the actual bath or the sick and some background elements. For example, these radiator and dis plant another trick. I'll always use these. For example, if I go to these side panel goto item, I have the camera selected and going to change the irritation here in the X value. I'm going to set 90 in the Y value, always zero. And in this case, we're looking for a straight view. So I am going to place here in this set value 90 degrees. The key thing here is to maintain 90 0 in the x and Y values and play with the X and Y shift values. For example, here either one any shift. So I'm going to place zero. But what the stats thes quotation values is to maintain. The vertical lines will perfectly vertical as well as the horizontal lights, and these are always good practices to architectural renders. Now I can move my camera with these location values and for example, I can move it in the X axes. I can move it in your Y axis, for example. Here we have a good composition and change the height off the camera. With this set value for interior scenes, I usually use values between 1.3 or 1.4 meters. Something over here looks right, and the last thing I'm gonna do is enable that feel That's a feel is one of thes feature that makes the renders a little bit more realistic. And we have here these focus objects. We can click the speaker and select any object to focus on, or we can choose the distance off the focus with this slider. Now we have here five meters, but to see better. Where is the focus here in B a poor display. I'm going to enable limits. And now we have thes crows Line Let me go outside off the camera. So if I It's like these distance now we can see where is our focal point? So I want these focal point something over here You will probably have different values here and then we have here the upper tour Remember lower values more opportune. So we will have more the focus if we want to see the effects Maybe we can make a little window here with control Be to see only peace region off the render going to change again the pixel size to one or automatic So now we have these foreground element out off the focus which give smaller realism toe our enders. It's important to don't overdo it these kind off effects. So I'm going to increase how the rivets maybe 3.2 and I think the school work. So with these streaks in mind, I'm going to place another camera I'm going to select is one shift, Andy. Now we can click these little camera I couldn't toe make these second camera d active one and then to change his name to camera Chu and the previous camera is going to be camera one . And now with walk navigation. Remember, I assigned a shortcut for Mies shift F. I'm going to place the camera over here. This is a nice position in school. I'm going to decrease the clipping and I'm going to decrease as well a little bit. The focal length, maybe 13 meters for the shut. So something over here. Now again, I'm going to change the rotation. The X axis to 90 on the Y axis 20 And now we can rotate the camera with this set value. I'm going to move it up a little bit. Something. I were here. I'll check the these times off the focus point. And I think these will be over here. Let's check the rendered view. And again, as you can see, if we have some three D trees over here, it will be very nice to see these trees on the outside. So a little bit off homework for you here, backing and solid view on going to duplicate this camera again. Click these little I couldn't to make it active or price control Zero is the same. I'm going to rename it to camera three and navigate with the walk Navigation. I'm going to place these. I think this is a cool shot as well. Something over here. I'm going to increase the clipping off these camera. Something over here again changed the irritation toe 90 in the x axis zero in the Y axis. And in this case, the taxes I want perfect zero degrees. And I'm going to change the x and Y a location with these sliders. And I think these shirt works really well. Feel free to plays some other cameras. Maybe I close shut over here are on your details. And make sure to have your cameras in place before we start rendering. 4. Setting exposure and test render: now that we have the cameras in place, I'm going to this one, for example, And let's work a little bit on the expo. Sure, off the off the scene I'm going to go to the rendered peel. And with set I can disable the overlays. Or maybe taking these little icon. We have clean, be apart. We here at the right side. I have my world settings. So now we have these background with the strength said at 12. So where it can do to check the expert. Sure, off the scene, it's goto the color management in the render settings and change the view turns for false color. So this view transform is basically saying Where is red is overexposed and greased blue is under exposed and the green values is going to be our goal Now. Where it can do is zoom out a little bit to have a better elector off our sin, and where they want to achieve is basically the more green values we have on our seen, the better is exposed our image. So with this in mind, we cool change some things here. Maybe we can tweak these trends off their background or increase the exposure here in the color management. If I start increasing the spa, sure, as you can see we're going towards the red values. And when we start to see white values here, it means that we are burning the much so where I looked, Louise leave the exposure at zero and increased this trains and play a little bit and try to have more green values on our scene. With the strength off the background going to increase, Italie revealed Maybe 14. We have more ring over here. It's nice to have some contrast between green and blue values. And now if I change again to filmic will have a nice expert your balanced on our scene. Let's take a look now at the different render settings. We have four here. The person going to change is the look on going to change it toe high contrast because blender always tends toe wash out a literally the image. So I contrast is working well for these samples in the render and going to leave it at 800 For now, we're going to make some tests off the nice in the light paths. We have a gentle off 12 bounces and for four diffuse and glow sea me, we tweak a little bit more. These values in the final renders, and it's good to have the maximum amount off bounces in transparency and transmission. And then we have thes clamping golf direct and direct lighting. I usually said the data klite into zero. So is disabled, and we don't lose any accuracy off lighting and for indirect lighting. If we said these 20 we're going to have a physically correct, inaccurate, indirect lighting on our scene. But this will introduce a lot off Nice. So it's good to clamp a little bitty indirect lighting to make render tests. I usually use a value off 10 and for final renders, I increase these two, maybe 80 or 60 for the acoustics again. I usually disabled reflective plastics unless we have a lot off mirrors or reflective materials, and I leave on the refractive plastics for the little glasses and bottles. We have four here. We don't have any volume, so it's OK. So now we can go to the Outward Properties and I have here these resolution and to do I test render and going to decrease the 50%. And as we're going to the night is the match. I'm going to enable here the normal and the diffused color. This is very important to have a proper denies. Later on our image, we will see it. So that's it. Now we can press F 12 and make a little render test. 5. Final render settings and postproduction: So they're in. There is stone. And as we can see here, we have some notice and we will probably have to increase the Orender samples to 1000 for Divine Orender. But now what we can do before make the final runners east, go to compositing and I have here another window s pleat. This is the image editor with the render result. So now Toe denies thes image. I'm going to use the filter denies between the image and the compositing. And as you can see, we deny iced our image. But we loosed a turn off details. For example, here we can see the lines off these wood planks we're going to do now is connected Normal to the normal off the d nice and the diffuse color to the al video. And with this we recovered a lot off information off our ender. Now, this could be a nice result. Bad with more samples were going to achieve more details on our textures. Another thing we can have here is a little bit off glare. So I'm going to filter glare my seat here after their denies and I'm going to change the kind off Blair too for glow Increasingly reach a threshold, maybe 1.5. Or maybe chew the blaze Here I negative value, for example 0.8. So the glare is just affecting the highlights off the image may be minors 0.6. Yeah, something like this. We have these nice glow here at the windows. So now the complexity is prepared for the final renders going to the layout again. And now, in the output settings, I'm going to set these resolution at 100%. The output will be in PNG, 16 bits off color, deft and 0% off compression. And now India render settings and going to increase these diffuse and glossy bounces to six . The difference between six and for example, 12. It's barely noticeable. So our value off sixties usually working fine when you increase the clamping off the indirect light toe 18 and we will have a bright their image, and I'm going to increase the render samples to I think 1000 samples will work fine. So with this I compress of 12 and wait for the final render. So they're Renner is known hand. We have cereal noise, nice shadows going on here, and We don't have to do a lot of things in post production. So let's see. I went to the image. Make sure you save the image here in image, save us and say Vita PNG and 16 bits and let's go to photo shop. So here in Father Shop, where going to Dewey's duplicate thes E much. So I have the original copy here and we're gonna do is right. Click here at thes Layer and cumber, too. Smart object. So now we can make some changes. And in half a non destructive workload, I'm going to filter coming up roll feeds her that the first I'm going to do is increase a little bit. D clarity. So we have more contrast and a little bit off sharpening on the much. Here we can see the before and after elegant week, a little bit temperature off the much something over here, a little bit more warmer now, in going here to corpse, I'm going to make leader Corfe here to have more contrast, So I increase the highlights. Leader weeds in the shallows a little bit more darker. I like toe fatality, much increasing these value off the curve. But very subtle. Something like this. So you have the before and after now I'm going to sharp a literate the match. I went to make a little soem over here vipers out and has, like these masking and going to reduce the sharpening effect off the much and here as well . Without again, it's like these amount off sharpening and it's very important to don't overdo it. This kind off effects. So something over here good work. Well, let's see the before and after we have alluding more off detail, decreased, literate, the amount off sharpening. Something like this could work and that's it. If we take a look, here are the before and after we have an image with more contrast and looking great, in my opinion. So So now I can go to file export eyes, G pick or something like that, and we're done. These are my final images, and I'm looking forward to see what you achieve with this court's. I hope you like it, then see you in the next one