Bringing Digital to Life: The Basics of 3D Rendering | Mike Golden | Skillshare

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Bringing Digital to Life: The Basics of 3D Rendering

teacher avatar Mike Golden, Visualist at dbox

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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

13 Lessons (3h 36m)
    • 1. Intro: Getting Right To It

    • 2. Unit 1 - Video 1 - Box Modeling

    • 3. Unit 1 - Video 2 - Spline Modeling

    • 4. Unit 1 - Video 3 - Advanced Modeling

    • 5. Unit 2 - Video 1 - Scene Preparation

    • 6. Unit 2 - Video 2 - Scene Preparation

    • 7. Unit 2 - Video 3 - Scene Preparation

    • 8. Unit 3 - Video 1 -UVW Mapping

    • 9. Unit 3 - Video 2 - Material Creation

    • 10. Unit 3 - Video 3 - Render Settings

    • 11. Unit 4 - Video 1 - Intro to Photoshop

    • 12. Unit 4 - Video 2 - Color Correction

    • 13. Unit 4 - Video 3 - Finishing Touches

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About This Class


Ever wonder how films bring digital sets to life? Ever want to see one of your designs before you build it? Ever imagine a scene and wish you could show it to others?

If so, this class will teach you all you need to get started in digital rendering. Starting from scratch, this class will cover all the basics of digital modeling, setting up a compelling camera, lighting the scene, applying textures, and creating realistic materials to bring your image to life. It will also cover render settings and post-production tips to make your image pop.

What You'll Learn
The skills you learn and acquire in this class will prepare you for making beautiful images of any object or scene that you can dream up. You will learn the skills you need to visualize any design or scene you can imagine. We will use 3ds Max and Vray to detail and render a still life and Photoshop for post-production (all necessary software have free 30-day trials). If you’ve never used 3d modeling or image-editing software, no worries! I will teach you all the essentials you need to be creating and editing beautiful digital images on your own. And, in thirty days from the start of the class, you’ll have your first, hopefully of many, beautiful digital illustration that you created!

In Partnership with Architizer.


Meet Your Teacher

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Mike Golden

Visualist at dbox


An artist my whole life, I began studying digital rendering and image making when I entered PennDesign at the University of Pennsylvania in 2010, earning my Master of Architecture in 2013. I completed my thesis on the techniques and mechanisms of sequential storytelling as applied to the design process and architectural representation, and amongst several awards and publications, was awarded the Arthur Spayd Brooke Memorial Prize for distinguished work in architectural design.

I worked for several architecture firms, including HWKN and MVS Architects, performing visualization roles, before settling at my current employer, dbox, an emmy-award winning creative and branding agency, specializing in architectural visualization and real estate branding and advertising.

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1. Intro: Getting Right To It: - Hey there, - folks. - Welcome to bring digital to life. - The basics of rendering. - This is Mike, - your instructor. - And in this video, - in just 15 minutes, - we're gonna meet three DS max, - create a couple of objects and then from those objects, - make our very first rendering. - So let's get right to it already. - When you fire up, - Max, - you should be looking at a screen very similar to this one. - If you use the inversion other than 2012 it might look just a little bit different. - But all the functionality and buttons, - they're going to be the same. - So everything I'm teaching here is going toe going to apply. - They provide a couple of videos you can watch if you'd like on just your basic operations - and three DS max. - But I'm gonna teach you everything you need. - So we're gonna go ahead and close that. - And here's our basic interface. - Three DS Max is a very robust program for modeling rendering animating. - And you can see there's lots and lots of buttons. - Don't get overwhelmed. - This your first time in the three d modeling software or three DS max, - I'm gonna should kind of boil it down to just the things you need. - One of things you'll notice when you open it. - Your four view ports, - you have the top front left in perspective. - We're gonna deal with these a bit later. - I tend to work in just one big Vieux port and switch views is needed. - And so I'm gonna go ahead and press fault w inside of the three DS Max. - There we go. - All w just make one big screens that everybody can see. - I suggest you do the same. - It's a little bit easier with working over here on the right. - You can see we already have our create tab open and a bunch of objects that we can create - really quickly and simply. - So we're gonna start just by making something. - Let's click on box that activates the tool, - and we'll hand just click and drag inside of the View port to set the base of our object. - And they're gonna release that left mouse button and move our mouths up and down to set its - height. - And then we'll click one more time to finalize that. - That's basic operation that you can do for pretty much all of these. - We can draw sphere by clicking and dragging drawl cylinder the same way we did a box by - clicking and dragging to set that bottom releasing and then setting the height. - And you can also they also have objects like a teapot I'm gonna put in here. - You see that? - The teapot is a little bit faceted down here under parameters for this object, - we have its radius or its size. - We can adjust. - We also have its segment. - So I'm gonna jump that up just toe eight, - just to make it a little bit smoother. - Go ahead and play around with a couple of these and get a couple objects. - You like that You think you could make a little image out of and make sure to make a plane - at the bottom so that we have a base for rendering now to navigate inside of the three D - workspace. - If you click with your middle mouse button and drag, - you're gonna get a hand and you're gonna be a pan all around your scene. - If you press ault in middle mouse button click, - you can rotate. - You can use your scroll realism in and out and those your basics for moving around so again - , - Middle mouse button Japan Middle mouse button while holding down Ault to rotate and scroll - wheel to zoom in and out. - Now you can see these shadows that are updating as I rotate around my scene. - Well, - these air kind of cool, - they tend to be very processor intensive, - so I'm gonna go ahead and turn them off. - The way I'm gonna do that is up here in the left side, - where it says realistic. - Click on that I'm gonna go to shaded, - which then hides the shadows but leaves everything else pretty much the same. - It's gonna be a little bit easier on our computers. - I'm gonna click on shaded again and turn on edged faces so I can see the geometry that's - defining these objects. - Now there's four basic tools we're gonna need to create our scene. - The 1st 1 is the ability to select objects and up here in the left corner you see this - arrow with a box, - and that's our select tool. - It's like da bitches. - By clicking on them, - you can drag and click on hoops. - If you get a circle instead of a square, - just change that right there. - I like to stay on square so you can go ahead and click on these objects to select them. - Dragon Select just like multiple objects by clicking even select one and then hold down - control to select more impressed fault to de select a quick note that's gonna make your - navigating. - You're seeing a little bit easier when you have no object selected. - If you press the letter Z, - it'll zoom toe all of your objects. - And if you select one object impresses E, - it'll zoom just on that object. - Also, - when you rotate is gonna rotate about whichever object you have selected. - Okay, - so let's learn how to move some objects. - Now, - if we go to this tool with the four arrows on its select and move, - we can still click on objects to select them. - But once they're selected yet, - this widget, - which allows us to move up and down in any access. - If you click just on one of the arrows, - it constrains it to that access. - If you click on one of these squares, - constrains it to the to access ease that it is connected. - Teoh. - You can also bring the tool that tool up by pressing the letter W the next one is rotate. - Did you bring up by pressing E and that allows us to rotate around our object again? - We have three constraints to make it just on a singular access, - which leaves there's a little bit more control. - And then the last one which compress our toe access or click on this button is the scale - tool which allows us to make things bigger and smaller. - So we're a little scene of these objects. - I'm family used. - These ones used to spear the teapot, - go ahead and bring to move to a more pressing W. - I think I'm gonna have my teapot kind of blowing bubbles here, - I think. - And so we're gonna scale it down a good size for the 1st 1 I'm gonna create a couple of - these and the way that I would create a couple of these with it instead of going back and - creating another sphere that I want to be just on top of this one, - I'm gonna hold down, - shift and grab the Z axis and just drag up and you can see I get a second object. - I'm gonna make sure it's selecting copy and say, - OK, - I was going to scale this up a little bit. - You guys can use whatever you like to make your scene, - and you can arrange them. - However you like just using these basic tools. - Created another one here by holding down shift. - And the idea here is just that we're gonna make our first image of simple objects. - So create something you find a little bit interesting with enough objects to make it a - little bit complex, - but nothing crazy. - And all of these tools you can use on one object or you can also use them on multiple - objects. - So if I select all of them by holding control down and shift in drag, - be able to create a duplicate off all of those objects, - I'm also gonna be able to scale all of those objects moving on up. - Okay, - I think I want to make something with that. - Probably don't need that top on there. - So complete that. - I also think I might make, - like, - a little, - uh, - Teapot Highway here, - so I'm just gonna select all of those objects. - Shift and drag to make a duplicate off. - Excuse me. - Make a duplicate. - There making another one here. - Okay. - Caravan of teapots, - steaming away with little bubbles. - Okay, - I think that's gonna work for me. - Move this last form, - Select tool. - We have to move toward President W again. - Those four basic commands you're going to use a lot. - So I would suggest that you kind of get used to Q, - W e and R again, - the select tool, - the move tool in the rotate tool in the scale tool. - It was a little for that first. - Don't worry. - I think you're gonna get used. - That really quickly just takes a little bit of time. - The last thing I would do here is I'm gonna take my playing down the bottom, - and I make it really big senator underneath everything. - So we have a base plain for all of our objects. - Okay, - The last thing we need to create is a light for our scene. - So over here on the create tab on the third buttons, - a little light click on that. - I'm gonna click on the photo metric. - Pull down, - pull up, - veering. - I'm gonna make a beer. - A light light. - Now make sure you have planes elected in this 1st 1 I'm just gonna click and drag. - You can see we get a rectangle with a crossing it, - Move that up and you can see this arrow here. - This arrow is what is going to show you which direction our life is pointing. - I was gonna kind of rotating around here. - Just roughly point are seen when we look back a little bit from our objects kind of rotated - up, - pull it back just a little bit more. - Okay, - so now we have a light for our scene. - We have some objects to render. - First thing we need to do is assigned the view a grender, - and the way we're gonna do that appear in the top, - right? - We have three teapots and these air kind of your rendering settings. - Teapots, - kind of ah, - standard tool to represent renderings and three Softwares. - And this 1st 1 has little dialogue menus render set up. - There's gonna pull up our dialogue for all of the settings that control the rendering. - Now, - we're not going to go over most of this here. - A lot of it. - We don't need to worry about really at all, - But we do. - If we use a little hand just click and drag to go down where you see a sign render and by - default we have a scan line render or set up When you click on that I will go to veer a a - TV very advanced double click on that toe Set it up And then there's just a couple settings - that we're gonna need to change I'm gonna explain them in detail what they're doing later. - So for now I'm gonna ask you to follow along We're gonna click on the indirect illumination - tap and set it on I'm gonna set this secondary bounces toe like cash Then I'm gonna click - on a radiance map and I'm gonna turn the preset to medium I'm a cook on show calculation - phase and I'm gonna click on very ratings Met to close that again and a light cash When I - click on that, - I'm click on show couch phase as well. - Now those are the only things that were going to set in this. - And in later videos I'll explain specifically what they're doing and how we can adjust the - quality of our rendering at a later point. - So for now I'm gonna close that. - And now we're gonna sign one material, - just everything. - So up here where we had the render set up menu right to the left of it is the material - editor which you can pull it by clicking on that or by pressing the letter M. - And then in this 1st 1 where says, - 01 default, - That's the name of one material. - We're just gonna rename that base and I'm gonna quick on the standard button And this is - the different types of materials you can set. - We're gonna click on very advanced. - We're gonna go down to veer a material mtl. - Now, - we're just gonna double click on that. - I would take the diffuse color and make it just a little bit brighter somewhere around 200 - there Don't go toe all full white. - You're gonna have problems If you dio to say OK, - then almost like all the objects of my seen my person control a And then I'm gonna click on - this green button over here It says a sign material to selection and see everything turns - to this white color. - Go ahead and close that box. - Now everything has a material said to it We have a light. - We have here is a render. - If we press shift f, - we're going to see that it crops the screen in, - and that shows us exactly what Vera is going to render. - I'm going to zoom in on this light here or this teapot, - and we're gonna click on this first teapot or this last teapot all by itself, - which is render production. - I'm going to see this screen pop up and boom, - we have our first rendering. - So these are the stages of its calculation that is going through. - Depending on your machine, - you're gonna have a different number of buckets here, - and it might take a different amount of time, - But we have our first rendering and you can see that light is just a little bit too bright - . - So I'm gonna go ahead and zoom out here or close out of that this dialog boxes, - just telling you all the details that we don't need to worry about. - Someone close that as well. - I'm gonna zoom out here and I'm going to select my light. - And then on this second panel where you see this blue quarter circle, - you click on that. - That's our modify panel. - You can see, - it has a very light set up this number. - The multiplier and intensity is its strength. - And I'm go ahead and drop that down to maybe about 15. - If you're seeing was too dark, - gonna make that bigger will deal with the specifics of how you adjust it or why you just in - certain ways later. - But depending on the size of your seen how far your light is from your objects and, - um and how big you major light intensity is gonna Very so if you need to make it brighter, - make that number bigger and you'd make it darker. - Make it smaller. - If you wanna give that light a little bit of color, - go ahead and click on the color of it and you get this use of color selection dialog and - I'm gonna give my color just a little bit of warmth. - So it's not just white. - I'm not saying Okay, - so I'm gonna click on this first teapot again. - President, - Zoom in on it. - Try to find maybe a composition that I think a little bit interesting. - Make this bigger still so that the edges a little bit further away. - Which kind trying to look for a view that I think is kind of cool. - We're gonna press just under 15 minutes. - We'll press surrender one more time and there we go. - When? - Let it calculate here. - So that is my first rendering for this. - Hopefully you guys were able to follow along with that and make a rendering of your own. - Feel free to play around with that just as long as you like, - and uses many objects or a few objects is you want you can put a second light in there. - If you want to play around with that, - The goal here is just to make your first image. - So congratulations to everybody. - Hopefully you guys were able to do that. - When you get done with this, - you can click this little save image right up here in the top left corner. - And we're going to stay on this a teapot, - right way. - 01 I'm gonna save it as a JPEG. - Say save and say OK, - and there we go. - So once you get the an image that you like there, - go ahead and post it online for the deliverable for this unit so that everyone can see - where everyone's at and see what everyone came up with. - Just these basic objects and tools. - In the next unit, - we're gonna go in tow, - object creation and modeling and teach you how to make a couple specific objects for your - scene. - Um, - in a little bit more detail rather than using just these primitives so hope everyone - enjoyed that is excited about making their own objects. - And I will see you in the next unit. - Have you rendering folks? 2. Unit 1 - Video 1 - Box Modeling: - Hey there, - folks. - Welcome back to bring digital life the basics of rendering. - Hopefully, - everybody was able to make their first rendering in the intro unit and got posted online so - everyone could look at what everyone else was doing in this unit. - I'm gonna teach you a couple different modelling techniques to go from those primitive - objects to custom objects just for your scene. - Specifically in this video, - I'm gonna teach you how to edit those primitive objects like a cylinder or box to go from - just a box toe something. - I'm gonna make a serving tray, - I think for my scene you could make whatever you like, - or you can just follow along with me. - And then I'm going to show you how to add a few details to make it look even better. - So let's fire up Max and get started already. - Folks, - back in Max, - I want to start again by pressing all W to get one big screen here and first woman make - just a basic box like we did last time. - Drag it out, - put it in the center of the screen. - One of things you're going to see here is that we don't have any sizes. - We just have kind of abstract numbers. - And so we're gonna change a couple of things. - You're reading the beginning to help the modelling process. - First, - we're gonna go to customize and then go down to units set up and you can see it has generic - units selected. - I'm gonna go up here and select U. - S standard easiest for me to work in, - and I'm gonna work in decimal inches. - You can work in whatever you'd like, - whatever is most comfortable for. - You could also go into metric. - If that's a more comfortable system, - I'm gonna use decimal inches. - I'm just gonna say OK, - And now these air inches and you can see this would be a big object. - I'm gonna make a serving tray that looks something like this to start with. - And so I'm gonna make this box lets say, - two feet or so by one foot, - so 24 inches by 12 inches by two inches. - So that's gonna be my starting object. - And again to zoom in on that just presa sea. - We'll go ahead and get rid of this grid in the background just to make things a little bit - easier viewers in the press g to do that. - And then you can toggle between your shaded Vieux port, - which I set from realistic By going up here to shaded I can toggle between that and wire - frame by pressing F three and in the shade of you port I'm gonna go ahead and turn on edged - faces so that I can see the geometry that I'm working with already. - So with our box created, - I'm gonna go over to the second PAB the modified tab and you can see our box. - You can see the size that I've given it. - We can see segments, - you see, - if I add a segment, - it has more geometry into our box and that those wrapped all the way around it that - geometry is gonna be what we're going to use to edit to make our serving train. - So to edit it, - because right now, - just a box we need to add a modifier, - which is this first pull down here? - You see, - there's lots of different ways that we can edit these, - but I'm gonna go and we're gonna use edit Polly, - if we found right here and then as soon I'm gonna pull this out also. - So we have a little bit more room to see what we're working with. - Penny on your screen size, - you have to see more or less you're gonna see under selection. - We have a couple of different item modes or some element modes such as Vertex, - where you can see the Vertex is here, - edges. - We're gonna skip this middle one. - That's for when you have holes in your object and then this 4th 1 is polygons. - It's a little bit easier to see the polygons. - If you guys press F two so that it shades, - it wouldn't selects it. - And then these sub elements weaken. - Do all the things that we're doing. - The last one we can grab a couple of them, - we can move them, - I can rotate them and I could scale them. - So those that that's kind of the fundamentals of how wouldn't be editing these. - We're gonna go ahead and I'm not making anything specific here, - but we're gonna go ahead and turn that off. - You guys can play around with that with four bit, - but I think it's best if we get straight to mining a specific object. - So I'm gonna go over here to my drop down this. - I'm gonna go ahead and take my edit, - Polly, - And I'm gonna use this little trash can here, - delete it to go back to my box. - I'm gonna start with no geometry, - so I'm gonna show you how to create that. - If you didn't have it at the beginning, - I also want to rename this tray, - and I'm gonna save my scene as a 11 underscore one Trey Max does sometimes crash, - unfortunately, - And so it's always a good idea to save your scenes and to make sure you save while you're - working. - Okay, - let's go back down here to the drop down this. - Make put another edit Polly on top of it. - We're gonna go ahead and select our polygon tool. - I'm a slip this top polygon. - I'm gonna use where it says edit polygons here. - I'm a set inset, - and I'm gonna click the little menu button just next to it. - So I got this little dialogue which allows me to incident. - However much I want, - I can either just slide it to where it looks about, - right. - And that looks about right where I could if I wanted to be exactly 3/4 of an inch. - I could type it in and then just click the check marks to say OK, - and then we can move this up and down. - If we move this just straight down, - you can see I get these angled corners, - which isn't quite what I'm going for. - I want it to be straight across and then down. - And so what I'm gonna do is I'm going to use another tool called the Extreme Tool. - I'm gonna click on that to bring up the dialogue box again. - And just like you'd expect it need their extremes. - It can extreme up or we can extruded down. - So I'm just gonna extrude it down just about that much. - Okay, - All right. - So just that quickly, - we have a box that looks or serving tray that looks pretty similar to what I was looking - for. - I think I want to bring the tops down just a little bit. - And to do that I'm going to use Vergis is now I could select them all just this way going - around. - But a lot of times it's easier to look in a different view port such as the front view port - of the Left Newport with a top report to make your selections. - So if you take this cube up here, - I can click on right, - and it takes me to a right view off my objects. - I can also drag that around. - I can click on top, - see it in top form. - So now you can see all of our challenger here. - You can also change these by clicking over here. - So I'm gonna go to the front view so I can look straight in on my object. - I'm gonna click F three to go toe wire frame. - I'm just gonna select all these top objects on top lines and pull them down. - I think I want a kind of shallow tray that it is still all click in your view port, - and that will bring you in on Ortho graphic mode. - And if you press p, - it goes a perspective again. - You can do it right up here. - And you can see all the shortcut keys here for how to change your views. - So I go back to front, - zoom in by pressing Z press. - Alton, - click when I get a North. - A graphic view compressed p to go to a perspective. - All right, - so I think I want this center piece to kind of the inside a little bit and then have a - little raised platform for it. - So I'm gonna lower it down just a bit moving it. - I'm going inside it again, - but not as much as last time. - I think this time I'll just go. - Maybe 1/4 of an inch, - press enter or quick Little check, - Mark. - Now I'm gonna extrude it up this time instead of down. - And it's not quite right and one of them to say OK, - and then I'm just gonna move it down just a little bit so that we have this little bubble - here on the inside of this little kind of channel all the way around it. - And now I think I also want to make a lip on the outside here. - And so the way I'm gonna do that because I'm gonna need geometry or another polygon to - extrude, - I'm going to switch over to my edge tool or edge selection, - and I'm gonna select all these corner edges. - I can select them all one by one, - just like this, - Or I could just select one of them and go over here just beneath my selection and click - ring. - And so that selected all four of those. - I just all the way around. - And I'm gonna click on the connect tool down here and you can see that basically divides it - all the way around. - And you can do a couple of them if you want them. - I only need one. - So I'm just going to stay. - Oops. - So I'm just going to stay with one here. - I'm gonna say, - OK, - and I'm gonna raise it up just a little bit towards the top so we have it running all the - way around. - Then I will go back to my polygons. - I'm gonna select them again. - I could select them all individually or for these want this kind? - I could also select them from the front mode. - So if I press have to goto the front mood and Z to zoom in on my object and then f three, - I can select all of, - um quite quickly by there. - Now you can see I'm selecting all these objects and I only want to select the ones inside - of that box. - We're gonna change one other setting really quickly by going up to customize preferences. - And then we're gonna go right in this General tab Auto window crossing by direction. - I'm gonna show you what that doesn't just one second. - One other thing I'm gonna do is I'm gonna click on view ports and I must going to say, - zoom about maps point for both of them and that's just gonna make it a little bit easier - when you're zooming in and out with your scroll wheel. - So do that. - Set those two in the general's tap, - select all the window crossing, - and I'm gonna say, - OK, - now, - when I draw it, - drag my box left to right It only selects those polygons that are all the way inside of the - box. - If I go right to left it access it did before by selecting all of them. - So I haven't slept. - All those objects are all those polygons. - You see, - I also got the objects the polygons on the top, - so repressed t to go to the top and Z to zoom down and then I'm just going to use the same - thing just to get rid of these top ones. - Okay, - so Now I'm gonna take these boxes or these polygons. - Excuse me. - We'll switch back to my shaded view by pressing at three. - I'm gonna click on extrude again. - Now you can see that it's gonna extrude them all in the same direction, - which isn't what I wanted. - I wanted them all extrude outward. - And the way to do that is on this top one. - Where says group normals? - I'm gonna switch toe local normals. - And by that you can see now it's going out. - And it could also go in if we wanted, - But I'm gonna go out just a little bit to make my trade. - I'm gonna say OK, - so now I have a little piece of jobs. - You're sticking out a little lip all the way around, - and that's looking pretty good, - I think, - for what I want, - I also think instead of having a square shape, - I think I wanna have these corners champ furred. - So I'm to switch over to my edge tool again. - I'm going to my top view. - Zoom in, - switch to wire frame. - I'm just gonna drag from the left to the right just to select all of these corner edges. - You can see, - I have this whole thing selected. - What I'm gonna click on this champ for so champ for will make basically take a sharp corner - and either divided as it is there or we could round it. - But I think for this I wanted to keep it just like this and just put a little edge on it - just like that. - So that's looking pretty good. - Now, - the last thing I'm gonna do for this is gonna around some of these corners that they're not - so straight. - I'm just gonna sharp or soft in some of the edges. - So staying in my edge, - Tool two champ for this outside one. - I could go around and select him all but I'm not going to. - I'm gonna do what I did before, - but I'm quick on loop instead of ringing this time and you can see it goes all the way - around. - And I'm also gonna select this bottom one and this inside one, - and I'm also going to select the ones inside here. - You can see it's getting a little bit hard to see in there. - And that's when you toggle back to your wire frame mode so you can see through it and - selected there will make sure I don't have anything I don't want selected. - I'm gonna click on loop. - You can see it. - Got all of them. - The one that didn't select all the way around was this top one. - I wanted all these edges. - And the reason for that is because that stops on this polygon. - It's not officially a loop, - so that for those, - it's always good to check. - I'm just gonna have to go through and select in my hand. - Okay, - So now we have all those selected. - We don't have any of the ones we don't want selected. - If we can check quite quickly by clicking on the wire frame F three, - you can also change that up here. - Okay, - so that looks pretty good. - And I'm gonna bring back up my chance for tool by clicking on the dialog box. - You see, - it looks a little bit strange because it's chancer that way too much. - If I go back to zero and just go up just a little bit, - I can create just a little bevel on it. - I'm gonna go a little bit less than that, - and then I'm gonna go ahead and increase the number of segments. - I'm gonna go to four. - Uh, - no. - I'm gonna go up to six, - I think just to make it nice and smooth. - Okay, - so now we have rounded edges for all of our objects or for all of those edges. - And then the last thing I want to do is also champ for these inside edges. - So we'll go again to my top view, - But I'm gonna press secy zoom in F three to go to wire frame and still in my edge boat. - I'm going to select those edges and again if you do it accidentally and you on, - you go from right to left. - And you select more objects than you want to keep the undo that selection with control Z - war, - you can just hold down. - Ault and dragger cost the ones you don't want. - Okay? - And so with those rounded or those selected, - I'm quick champ for one more time. - I think this one would make a little bit bigger. - Maybe something like that, - and we're gonna go up to eight for that. - So now everything is looking pretty good. - I got all everything smooth. - Have a whole bunch of geometry that I can now render. - And I have my own little serving tray. - So hopefully you were able to follow along with that, - You create a tray in the next video, - I'm gonna teach you how to make a couple objects for going inside of the train, - so we'll see you there. 3. Unit 1 - Video 2 - Spline Modeling: - Hey there, - folks. - Welcome back. - This is the second video in the first unit. - In this video, - we're gonna cover something called spline modeling. - So instead of starting from a box and manipulating that into another object, - we're going to start by drawing a line. - And we're gonna use that line to create in this video a lie in class. - So let's fire up Max and get started already, - folks back and Max, - I'm still in the same file that we were using before, - and we're gonna make I'm gonna make in this video of wine glass to put on our serving tray - that we have here and because we will be starting with the line, - we need to make some type of reference objects for size. - So I mean, - usually just a box is gonna click and drag it out to make it here. - I know that I'm gonna want to make it somewhere around 10 inches tall, - and I'm not quite sure, - but probably somewhere around five inches wide. - So it's gonna be something like that. - It's just a reference we could always scale it afterwards. - I'm gonna make that box, - and then I'm going to click on my tray here and I'm gonna go right click and click on hide - selection. - So that's not their way. - I'm gonna click on our box and press have to go to the front view, - which again you can do either up here or up here, - and then I'm gonna president zoom in. - And that's gonna be kind of the general mass. - Four hour long lives F three to go in tow. - Um, - excuse me, - wire frame mode, - and I'm gonna click over here on modify or on create. - And instead of the first box for jam through 100 box and cylinder and all that stuff, - you click on the 2nd 1 for shapes and on this first box for line. - What that allows us to do is draws the line in our view port. - When you're drawing these lines, - if you just click, - it creates a sharp corner. - But if you click and then you drag, - it creates a rounded corner. - We're going to give that a try with just a couple lines just to kind of start to get the - feel for it. - And I'm gonna go ahead and bring my selectable You see my select tools going to this weird - thing. - If you press Q multiple times right up here, - it toggles between all of these different selection mode. - So whereas I like the square, - the circle I don't really like. - So I'm sure you had to change that really quickly. - If you go up to any part up here in your tool bars, - you can click right, - click and click on Customize. - We're just gonna change one keyboard shortcut really quickly. - We're gonna click on all of these on all of this clicking keyboard. - We're gonna go down here and here we have basically all the tools and modifiers that you do - use. - I'm gonna go all the way down to ask where I'm just going to click on s and I'm going to go - down to select object. - And so that's right here. - I'm gonna click on that in the hot Kim The Press Q. - You can see that it's already signed assigned of that smart select which was toddling - through our view ports and a sign. - Then I will close this out and now you can see if I grab it and change it to my box by - press acute multiple times. - It doesn't toggle through those. - So Okay, - so must select and delete these. - Now, - let's draw our one. - Okay. - And so again, - folks, - on my other screen, - I have my wine glass as a reference to look at while I'm drawing this line. - What we're gonna do want to give you an idea is we're gonna draw basically half of the - profile this object. - So we're gonna draw over and across and around up here and then back down in for the - thickness of it to their and then we're gonna use a modifier for it, - which is gonna take that line and then spin in the circle to make this wine glass. - So let's start drawing our line where it's quick online again. - I'm gonna click down here towards the middle. - I can hold shift down to draw straight lines on any of the up down left, - right, - north ogles. - So in the hold shift, - I'm gonna go across roughly over to there. - Oops. - If you try to pan while you're in it, - you're gonna lose your selection. - So, - like, - if you're drawing a line and then you go to pan, - it ends that command. - And so what? - You have to dio, - which I forgot to do, - right there is why you're drawing. - If you want to move anywhere, - you have to zoom. - So sleep that and start again. - Click and drag over up just a little bit Start creating So in my box you can see that this - is already a little bit off, - but it's nothing to worry about. - We're gonna edit this line afterwards, - and so what? - We just want to get here. - It's kind of the rough, - rough shape of this wine. - Glass was kind of looking over to kind of make sure that visually, - I'm getting kind of close to it. - This kind of had one glass that I'm drilling here kind of had a straight edge going up. - I'm gonna go up here and when draws a little bit over and then because glass has a - thickness, - I'm gonna go through and draw another line just on the inside. - I want to kind of try to match these points that they're kind of close, - and then I'm gonna click there and then I'm gonna middle click and ended. - So now here we have are not very Weinglass looking shape, - Bram. - This let tool and just delete this box. - We don't need it anymore. - Now we have it just kind of roughly in the right shape or right size. - And then I'm gonna click with this selected, - I will click on my modify tool is gonna come over here to our modified panel again. - I'm gonna rename this line glass and you can see it's a line. - And here we have a different set of selections. - Even though they're similar to our edit polygon selections, - we click on Vertex, - you can see all the lines that the all the vertex that just true. - That's what we do. - Is we gonna start refining these into our one glass shapes? - So this is a little bit high. - Bring that down. - These are probably a little bit low and again, - we're not gonna worry about being too to perfect here. - We're going to just kind of start to try to rough it in. - So here, - when you select this, - you can see that this line here has a little bit of a kink in it, - and I want to be smooth. - And the reason is is that this busy handle isn't in this right shape, - so I'm gonna click on that kind of just start to draw it out by clicking on this before I - do it so that both the X and the Y are highlighted. - I can move this in any direction I want. - If only one of them's highlighted that I can only move it in that direction. - Okay, - so you start working it in this line, - you can see when I select it. - I didn't click and drag for that dot that vertex. - And so to make it into a busy a handle on what's going right click while that selected and - click from corner up. - Too busy A. - And now I have my handles here so I can go ahead and edit that and again, - we're not worried about being perfect. - Just kind of want to get it roughly in the shape you're by no means confined to the object - that a that I'm looking at. - You could use this to create a goblet. - You could use it to create a bowl, - anything that's really radio or circular. - Kind of you're gonna be able to use in this and you'll see why in a second I was gonna kind - of keep everything here until it gets to a shape. - This edge this wine glass kind of had a a sharp edge to it. - If you remember, - I think I'm gonna try to emulate. - I think that looks quite nice. - Just try to get the rough shape. - And once I have the rough shape of it, - then I'm gonna go through and refine the handles just a little bit more. - Okay. - Sorry about the quick jump there, - folks. - If you saw the green change a little bit in this shape changed a little bit. - There's a problem with the screener quarter, - but I think I got back to just about where I waas when it stopped working. - So I'm just gonna finish up here editing all these handles. - I want to try to make a nice, - clean shape for us and for this inside thickness. - We're trying to get just about right here. - It doesn't have to be perfect. - What we doing to follow it? - Someone consistently, - all the way around. - That's looking pretty good. - All together. - Yeah. - So it's just really a matter of getting things kind of nice. - Now there's a couple things that will be very important. - We need this vergis e to be directly over top of this one, - I think probably just a little bit further out for the stuff. - So the way we're gonna do that I didn't go up here where you got three and a magnet. - You might have a two or 2.5 or three. - There's a couple of ways to snap or just leave it on three. - We're gonna right click on it and by default years probably looks just like this with grid - points selected. - I don't find that to be very helpful. - Were and turn that off, - turn on endpoint in mid point and then close that dialogue box. - We can activate this tool by clicking on it were pressing the S button and what this does - We grab the X handle and start moving it. - Weaken, - snap it. - The things you can see, - it turns green when it's snapping some good. - Snap it just to that, - and that means we know it's exactly over top of it. - We couldn't move it, - you know anywhere you want. - This is a useful for moving objects and arranging your scene and a lot of stuff when you - want to get things precise. - But for this. - We're gonna put it right over top of that. - They're going to go up here and clean this handle of I don't need to snap on anymore, - so we're gonna get that going. - The reason we need this right over top of this one is because we're going to spin this - shape into a wine glass. - When it does that, - it's gonna be very important that the center is touching on both women. - So this is pretty close where it looks pretty close at first. - Let's get it. - Let's go ahead and spin it with the lave modifier to get it. - Teoh, - get a better look at the shape we've made. - So we're gonna go over here again to our modified panel. - We're to de select the Verdecia by clicking on them. - Go to our modifier lists. - I'm going to scroll down to leave, - which we can also get to by pressing the letter L There it is. - When click on that, - you can see right now that doesn't look anything like a wine glass. - The main reason for that is that it's spinning around the wrong point. - And so we're also gonna have to snap the Centrepoint off this lead to the input we just did - . - So we're gonna go to the top view and over here and laid We're gonna click on this plus and - you'll see access you going click on access and zoom in. - We're gonna go ahead and move this out. - The X axis just way out. - You can see that this is the center. - What we're adjusting here is this line which is the center of where it's spinning around. - All right, - so now we have a big hole in the middle, - which is also not once I go back to the top view and we press s or activator snaps toggle - and just start sliding it over and see and feel it snapped to the center on what that is is - it's going to snapping right to that first piece of geometry there, - so presume lay in. - You can see it's snap right there And that's what we want so we can go ahead and get out of - access by clicking up on Leith. - When you close that up by default, - this man may not be checked. - Make sure you have welled core checked underneath of leave. - If you go to edit this up object afterwards. - It's important that this Vergis e break here in the center where everything comes together - at the top end of the bottom, - that they're welding that into just one. - And so Okay, - so now that we're spending it, - we can see that I'm actually quite a bit off. - I'm away way too thin here on the top and so nothing to worry about. - We can go back to our front view to look at it could go down to our line. - And we can edit this line again to try to get a little bit closer. - So we'll go back and click Harvard. - Asi is we know that all this has to come out, - so I select all that impressed me. - W tool my move tool. - I've lost my widget here. - At some point, - I pressed the letter X If you ever lose that guy excell brain back. - So I'm just gonna move it out here trying to get this shape just a little bit better if I - want to see how it's looking. - When it spun around, - I can either just disliked my points and click backup on Leith and Boom! - We're already looking quite a bit closer or while in the line. - And even while I have ver disease selected, - I can select this second button underneath of my list here, - which the show and result on off toggle. - And so that lets me see all the lines afterwards to kind of get an idea. - And I'm getting pretty close there, - but I think it's still a little too narrow up with the top. - I think this shape is pretty good. - So what we're gonna do is I'm gonna turn off the ability to see the top there. - Go ahead and move this out just a little bit. - Look at that. - That's kind of a cool one. - Glass. - You could stick with something like that there. - But I'm going to stick with what I had going earlier was gonna edit these again. - That's probably looking pretty good. - Let's take a look at it. - That's pretty good. - The only problem I see now is that I forgot to round these top corners and this bottom one - glass obviously usually doesn't make that sharp edge. - And so we're gonna go back door front view and zoom in and go turn off the ability to see - the end there. - Then view were to zoom in on these sharp corners. - And over in all of these options that we have underneath of our line, - we're gonna go underneath geometry and find the one that says, - Fill it. - We're gonna click on that and where it's gonna grab this point and just drag it out just a - little bit so that it's not a sharp corner. - We do the same for the bottom. - There were gonna come up here to the top. - Do that for these as well. - Okay, - it's too late. - Often look at her object now and there. - You can see if we turn off the lines. - We have a wine glass. - It's looking pretty close to the image that were that I was originally working for. - Could be maybe a little bit taller, - so we'll go back to my lines real quick. - It's gonna grab all these top points and just modify and pull him up just a little bit - there. - Let's take a look that's looking pretty nice. - I like it. - The last thing I want to change is the thickness of this. - Turn that off. - I think I want these to be just a little bit thinner, - but I can't go past this. - And so I've selected those three Vergis ease, - and I can actually move them while looking at the finished project. - So I selected them, - even though it's a little bit hard to see. - They're still selected there, - and I can just go ahead and move them. - See, - that's too much. - That's looking a bit better. - I think this one Vergis e here, - I think needs to come in just a little bit. - So select that by itself, - which I can do that way or I can actually look at it. - Just slide him in just a little bit, - Okay? - I think that's looking pretty good. - Okay. - The last thing to go back to our shade of you rotate around perspective. - One thing that you might be able to notice is that these edges aren't smooth. - You can see the facet right there right there. - You'll be able to really see it when I goto. - Um, - switch to this view with the lines is that that's a sharp corner. - The reason that is is that in the late tool in some of the options is how many times you - wanted to spin here. - 16. - I go down to three. - I get just a weird kind of triangle glass, - which could be kind of cool. - Would have to go in and clean up those corners somehow do something like that. - But what I want is a nice, - smooth wine glass. - And so where is it started? - At 16. - I'm gonna go ahead and looking at these. - So I get my idea of how much geometry I'm creating a quick 30 to double it. - And then you can see after zoom in way further before I notice it. - I don't think I'm gonna get that close to this one glass. - I can always change it sometime later on. - But for now, - I'm gonna say that looks pretty good. - And so you can use that to make pretty much any cylindrical object. - You can use it to make a cup. - You can use it to make a plate. - You can use it to make bowls. - Anything you can really think of. - You could use it to make a pen. - Chapstick just kind of naming stuff that I can see. - Pencils, - anything like that you could make you could make used to make a face or a wine bottle? - Um, - it's a pretty powerful tool. - So in the next episode, - we're gonna start from this tool and I'm gonna show you the things you can do once you get - to a point like this. - So happy modeling play around with this a little bit. - Try to make yourself some type of cool object using the late tool. - We'll get back to it in just a second. 4. Unit 1 - Video 3 - Advanced Modeling: - Hey there, - folks. - Welcome to the third and final video on Modeling and three DS Max. - In this video, - we're gonna combine some of the skills we learned in the first video with box modeling and - some of the skills that we learn in the second video with spying modeling to make a more - complex object when what we're gonna make in this one is a mug with a handle on it. - So let's fire up three DS max and get already folks, - here we are. - This is the wine glass that I model for. - You guys last time hopefully have something similar to it. - Whether it be a glass or bowl or anything like that for this one, - we're gonna make something that has a handle coming off just one side of it. - Now, - wine glasses don't typically have a handle on it, - so we're not gonna do that. - Well, - we could probably pretty easily turn this into the type of object that does have that. - And so you could really quickly make an object Look something like that just by taking this - object, - copping it over, - making sure copy is selected. - If we choose instance on, - we edit this one is going to change that one. - I'll show you real quick. - We go back to our line. - In this I select something and move it. - It moves it in both. - Which is why we didn't want instance. - Sophie. - Oops. - Undo all of that back to our one glass and go to copy. - And we did copy again by holding down shift and dragging on extras to drag it over and - making sure copyist selected. - But don't say Okay, - I'm gonna take this object and hide it, - just like I did for the traits. - I'm gonna use that at the end of this video. - Almost a hide selection. - So now we have just our new wine glass. - You see, - it's renamed it with 01 I'm gonna rename this in the mug. - We could. - One of the reasons that this way of working with the modifier stack is so powerful is that - I can very quickly turn this off. - Go back to my line. - Take all of these, - move them down. - Something like that. - I'm gonna delete these two vergis ease because you can see that we're have things crossing - . - I just want those two connections going to select them and delete. - And you'll see it connects these two. - If I leave that as it is. - You see, - we kind of have a little snifter, - but that's not what we want. - We want a coffee mug, - so we could very quickly just grab these Vergis ease, - pull these out, - pull this down a little bit and edit those in a second. - We're gonna go, - maybe just a little bit outside again. - I'm not worried about the busy handles. - First, - I'm just getting the points in the right position, - and then I'm gonna go in. - I'm just gonna grab these. - Move over these. - I think I'm gonna want more or less straight coming down and again. - If you're not used to these busy handles, - just keep playing with them. - You will get used to it. - It's just gonna take a little bit of time. - Then if we just adjust, - the is really quickly and just like that, - you know something that's pretty close to the base of this object. - It's not perfect, - but it's close. - Now What? - I would suggest you dio Sorry there, - folks. - What? - I would suggest that you dio as opposed to just using this object. - I suggest you find a cool mug of your own and make a new one, - which is what I did. - And so I'm just gonna go ahead and delete this because I'm not gonna use it. - What I chose, - I found this mug online that I thought was really, - really cool. - And so I'm gonna model that for you. - Now we're gonna do it in the same way we're gonna create this basic shape around the - outside of it to create this center section, - and then I'm gonna show you how to add in this handle. - So I went ahead and already modelled, - already modelled the base there, - we pull it up. - All right? - There you go, - folks. - So I already went through and did what we did last time. - I just kind of drew the profile of this mug just like this I started. - Just knew it was a little bit easier to Dio. - And then I put a Leith on it and spun it around. - We made this nice kind of goblet shape, - and now we're gonna add a hand along to it. - Now, - there's a couple ways that we could do this. - We could just go back to our spines inside the create modifier and just drawl out a little - handle and use the sweep modifier down here to make a handle. - So you can see it's all out of whack right now if we go ahead and change the radius down to - a reasonable size. - You see, - we already have a handle on the outside, - and you can use this type of technique to make a whole lot of objects really quickly. - You could draw this on the ground to make accord. - You can use all these built in profiles to make another shape. - You could use that, - say, - the wide flanges. - And if we bring all these down to smaller sizes, - we could adjust all of these parameters to the lengthen with and then maybe the thickness - to start to create a cool handle like that by just drawing a line and using this one tool. - But you can see the connection is kind of sloppy. - It's just kind of intersecting in, - so I'm gonna show you a better way to use it. - But this sweet modifier is something to keep in mind. - When you guys were building your own still life as a tool to use moving forward. - So I just want to show you that real quick. - I'm gonna delete that now with this. - What we're gonna do is we're gonna have to edit Polly modifier on top and actually model - that handle coming out. - You can see here like we had in the last one. - I have the Leith modifier set up to 32 segments to make it nice and smooth. - This is just gonna make modeling this handle bit harder. - And so I'm gonna show you a better way of doing it. - I'm gonna bring this down to somewhere, - I think. - 12. - Probably about good. - You can see it's very fast. - It's not smooth. - Aim or and we're gonna deal with that once we get the handle kind of roughly modeled out. - One of the other things I want now is that if I look at it in the front view port, - you can see I don't have a full polygon over here on the edge. - I want one of these flat edges to be coming straight out, - and actually, - I'm gonna drop this down to eight sides, - so that's an easier number. - You can go ahead and take this and we're gonna rotate it just enough so that this is - running straight up and down. - So I'm gonna put my rotate tool on the whole object. - It's your right now. - It's not in the center of the object. - It's onwards. - Pivot Point is going to use this little two boxes the diamond shapes and grab the center - one and that's going right to the center. - Now if I go and rotate it, - you can see I can rotate it by any amount that I want. - And I wanted to kind of clicked special numbers. - I want to be even numbers from under that then right next door snaps tool is this little - magnet with an angle? - If I click on that and then drag, - you can see I can, - um, - rotated and set amounts. - Specifically, - we can edited by five. - You can see in the yellow numbers by five. - So we rotate this up and actually, - no, - I don't want eight changed 12. - I want a number where it's not too high, - but you can see right here that if I rotated by 15 degrees, - I get something that's perfectly street. - Now what we're gonna do, - because we're gonna pull out these polygons and edit this handles we're gonna add on an - edit Polly modifier just like we did at the beginning. - The first episode where just like the polygon tool, - we'll go to the top of you. - And I want one from the side here, - Some to keep an eye on that as I rotate away. - I'm a select one of these McGovern Look at this to get an idea of the height that it should - be and that looks probably pretty good. - And so with that selected, - I'm gonna click on our extrude tool again. - Just extrude that. - Just make sure it goes out. - Just extrude that out just a little bit. - Go ahead, - say Okay. - And then I must switch the front deal, - and I'm gonna take this and I'm gonna model model it down around to kind of make that shape - just by using the extrude move and rotate tools. - I'm gonna kind of get it started there. - I don't want extruded again. - Say OK, - I think this was gonna come out straight a little bit. - Maybe it's gonna come up, - switch to wire for him, - move and you can switch between edges. - If you just wanna move those edges up a little bit and switch there and we'll switch back - to polygons. - Then I'm gonna with Polygons and then extrude again and say, - OK, - they were gonna start to go down here. - I was gonna rotate it around. - I'm just going to continue this until I have roughly the shape of the handle that I want to - make by extruding this one polygon over and over again and rotating it around. - Make sure you keep an eye on where you're trying to get to him, - trying to get somewhere right down around here. - And just like when we were modeling our wine glass just initially, - I'm not worried, - too. - Too much about the shape just yet. - Um, - what I am worried about is getting it kind of roughly in the right shape. - And I'm not worried that it's getting a little junkie. - They're gonna fix that in a second, - go somewhere like that when we do one more say okay should pull it back. - And if you get that, - if you accidentally select and move one of these and you start to see all your polygon, - just go ahead and undo. - You want to make sure that you're looking like this That's looking nice and clean as far as - all of your Verdecia is lining up. - So just about there, - I think that should probably do it. - Oops. - Go back in slipping polygons. - Get that right there. - And then I'm just gonna go ahead and select either edges or burgesses. - I'm just gonna select across the ones I want to change to make the shape that I want. - Which kind Do it until you get something that's roughly in the shape that you want, - then we're gonna use a new tool. - I'm a select this bottom polygon down here, - right there. - I'm gonna select this one polygon that's directly adjacent to him because we did it in the - front view port. - You can see this came out straight in line with what we were doing there with where we - started. - I'm a selective that polygon and this polygon over here I'm going to use a tool down here - called Bridge was gonna set, - collect and boom, - We have a connected handle. - Now, - right now, - you're probably thinking yourself that doesn't look very good, - and it's very, - very rigid. - Whereas this one was nice and smooth we're gonna use a new modifier from the pull down list - over here. - Someone dislike my polygons and go down and almost all the way down toe one called Turbo - Smooth, - which is right here you can click on it and could see it smooths our object out. - And the iterations is how many times so basically is taking our polygons and dividing them - by four each time. - So you don't want to click on this a lot if you click on it, - you make this number two too big. - You're gonna make your seen very, - very heavy. - So we're just do one more to smooth it out. - You see how much geometry that adds? - So now that handles looking pretty good, - but we need to just get this top little piece in there still. - So what we do is I'm gonna turn off this turbo smooth right now and again. - This is the power of working in this stack here. - I'm gonna build with this simpler geometry that's easier to work with. - That little handle you can imagine. - Here I can just work with one polygon. - If I tried to do a printed it Polly over top of this turbo smooth. - I would have to be working with all of those. - It would be much, - much messier. - So we go back to this and just select edit Polly, - I'm gonna click and select this iPod. - I are. - Excuse me. - Uh, - polygon. - Oops. - Zoom in on it. - We'll go back to wire frame mode so I could just make sure nothing's getting messed up. - Just I'm extrude this up. - Just say OK, - that's obviously way too much. - So we're gonna move it on down, - and then I must like my vertex tool just to move these ones up. - Something just like that, - then almost like my polygon tool. - And I'm gonna select just this edge polygon. - And I did that just by selecting across it. - If you're a little uncomfortable that you can always turn and just click on it and then - click on your front view port to get back to it. - And so I'm gonna extrude now this polygon you say? - OK, - this is gonna tape her just a little bit, - so I'm gonna slip by scale tool, - which we haven't used in a while by pressing our or selecting this button and just scale it - down just a little bit move it up and then I'm gonna extrude it one more time. - Okay? - Back into the place that I wanted, - I think I wanted to kind of flare up just a little bit at the bottom. - And then I'm gonna activate my vergis ease to one, - would grab the bottom ones and just move him up a little bit. - So as you can see, - it's not perfectly smooth yet. - But then as soon as we turn this turbo smooth modifier on and I have toggle enacted right - now, - we're getting pretty close. - We just have a bit of a bump that I don't want there. - So there's a couple ways we can get rid of that again. - We're gonna go back into our front view, - and I'm gonna stay on edit. - Polyana grab Vertex is now. - You can see it. - These air, - all the vertex is in this turbo smooth, - which I don't want to be looking at right now. - She's gonna make it confusing, - so I'm gonna toggle that off switch to wire free mode and then I'm gonna grab this Versi. - I'm gonna pull it back this way. - Grab this Vergis e Pull it. - This way. - And I think when I turn on my turbo smooth, - it's gonna look pretty good. - There it is. - It's not perfect. - We could refine it a bit more. - Well, - it's a pretty close approximation. - So what we were going for? - All right, - folks, - the last thing that we're gonna do here is we're gonna make one final image to conclude - This is the delivery ble for the first unit. - So I'm gonna unhygienic objects. - I've been modeling all in the same scene. - So if I goto unhygienic, - all zoom out. - You see, - I have the wine glass that I model earlier. - And the tray, - if you've been using new scenes toe, - um, - work on your project, - then what? - You can dio to get an object from one max file into another, - you have to do something called Merge. - And so I'm gonna open up a new max window. - It's brand new. - It's completely empties. - Let's say I want to get those three objects into this scene or and this works. - If you just need to grab one object or anything else, - I'm gonna go up to the Green auto desk button and come down to import and from import I'm - going to go to merge, - and that's very important to you. - Select Merge. - And then this is gonna bring up just the navigation window. - So I'm gonna go to where I saved that file and that file was called wine Glass. - You see, - I got a little preview of the last time I saved it. - So impress open and you can see it's listing the objects that are in that scene. - So I have my mug, - that trey and the wine glass on to select all of them and say OK, - and then in this, - I'm going to say unhygienic. - I forgot. - Save it after I hit everything. - So my own hide all. - And there we go. - I have my objects. - Now what we're gonna do is arranged these really quickly so we could go to the top view - port because I opened a new file or new Maxwell. - I'm going back to shaded, - and we're just gonna kind of quickly arrange these. - You can see now my train might be a little bit small. - So again I'm gonna click on it real quick. - I just went back to my head, - Upali, - and just very quickly I'm gonna get myself a little bit more room to work here. - If any of your objects came in a very different sizes, - you'll just have to scale them down. - We can kind of start to create another scene. - Remember to hold shift and drag to copy objects, - and we can kind of put them wherever we want. - And then we're gonna make sure. - So right now, - if you look at it in the shade of you, - you can see that they're too low. - So we can go and we can just eyeballed by moving them up. - Or were you in the front view port? - And we're gonna change it to wire frame so that we can see and just get just so that it - just barely touches that top lines and he's go down just a little bit more. - We moved this one up and you still make sure that's touching. - But it's not all the way through your object. - So then we're gonna go through and just set up another render file just like we did last - time. - If you need a refresher on how we set up the plane on the bottom and set materials, - go back to that for the end of that first video and just have a watch again. - I've gone ahead and already set one up for myself in this other view, - and it's pretty much the same. - So I have my plane here, - but I've gone ahead and made a go up, - and I just made a box that deleted all but two sides and the night champ with that edge - just to make a backdrop for my rendering. - Now I have two lights in the scene. - I have my main line up here, - and then I have a much weaker and blue light down here, - and I've gone ahead and just kind of arranged these objects in a cool way. - And I found a cool view for him right there. - Now, - I made a camera to save that view, - which we're gonna learn in the next time. - I'm gonna want everyone to go through and set that up again and hit Render, - and that's what we got here. - Close this Wallace rendering and just using the same process. - Only with two lights we're gonna come up with this image. - And so that's the delivery ble for this unit. - Take your favorite objects that you've modeled in this and just shoot a quick render out. - I encourage you not to use exactly what I want, - what I made here, - I encourage you to think about all the things that you could model with these basic - techniques on some of the advanced techniques and start modeling some of the objects in - your seen or what you want to make in your scene that you think a look cool. - Making those objects is gonna take you a little bit of time. - Modeling is definitely the most time intensive part of this class, - So spent some time making some nice objects. - If you're brand new to modeling, - you still find it a little bit daunting. - Just take your time and I would suggest having a look at the Pinterest page. - I post on the announcement board, - which has a couple examples of very simple still lifes that I think are very beautiful, - using only one or two objects. - Now you're free to create as many as you like and created a dense of a Sina's. - You want Teoh, - but you don't need to, - and you don't need to create a beautiful scene. - And if you want to render if you wanna have Ah, - table that this is sitting on you can go ahead and model a table using some of the box - modelling techniques. - You would have it on a circular trade. - You can do that as well. - Really. - It's all in your imagination and creativity that's living, - limiting you and how much time you want to spend modeling. - So happy modeling to everybody. - I hope you create a great scene with some cool assets. - In this next video, - we're gonna learn how toe are the next unit. - We're gonna learn how to apply some materials to this and we're going to get started with - making are still life. - So I can't wait to see what you guys see and I look forward to meeting guys and unit to - good luck. 5. Unit 2 - Video 1 - Scene Preparation: - there, - folks. - Welcome back to bringing digital life. - The basics of rendering This is unit two. - And in this unit, - we're gonna take a look at our seen how we haven't set up right now, - we're gonna make some considerations on how we should light and organize our scene after we - set up just a couple of materials so that it can make those valuations. - Let's jump back into three DS max and get to it. - All right, - so here's the scene that I've got so far. - Hopefully, - you guys had some luck doing some modeling, - and you have a couple objects that you really like that you could use to make your still - life. - Hopefully, - you guys have come up with some interesting stuff. - I can't wait to see what it is, - but I'm just using some of the things I created. - I also added this fear in here, - which I'm gonna use to demonstrate a couple of things while we're going through this. - So this is a view and see him in a perspective. - You poor? - I have a view that I kind of like I think it's pretty interesting. - I got the glasses in the background of the mugs up front, - and I want to be able to save this view with a camera so that I could get back to it after - any time I move around. - And it's very simple to do Just wire in this view port going to create, - then come down to cameras and click on Create camera from view so you can see this change - to camera total one. - I have my camera settings over here. - We're not gonna change a lot of stuff if you want, - though, - you can adjust how wide the lenses by this right here. - Let's say we wanted to go with a wider lens, - something like a 20 millimeter lens, - and then we want to move it back into our scene. - We could just zoom up, - impressed w and move that in, - but you can't really see what you're doing. - So what I'm gonna dio and you can see here for MoveOn. - I'm impressed the letter C to bring that camera back up. - We have ah, - moved it in, - but we didn't really control it. - We didn't like it. - I don't really like it that much. - So what you can do instead of as press all W which we haven't presses the very beginning. - This is gonna bring back our four view ports again. - And in this middle one set on the camera, - I'm gonna go over here to this top view important press G to get rid of the grid. - And I could move this camera until I find something that I like and we can. - This is the target for the camera. - So if I move that around, - it rotates it so you can go ahead and find yourself a good view that you like. - I just said it with a camera, - and that way we'll have a camera to go with going forward. - I'm gonna set it back camera, - have initially and move forward from there. - All right, - so I'm back to here, - and if you ask most seethe scene that I'm working with, - I'll go ahead and give you a quick glimpse of it. - All I have is two lights, - one up here, - shooting down, - which is my key light on one down here, - which has turned out much lower and is a little bit of blue. - Color is my fill light just to kind of illuminate thes size that aren't getting elimination - from this light. - So I'm gonna press, - see, - to get back to my camera view. - You can see you got my objects. - I'm just gonna render it again real quick so you guys can see what I'm starting from. - And from here on out, - I'm gonna pause the video whenever I'm rendering. - So you guys don't have to wait and watch it render. - All right, - There we go, - folks. - So we got some orange light coming in from the left, - which is our main elimination. - You can see we have just a little bit of blue over on this side, - which is coming from my secondary light. - And while you're lighting said it might be a little bit different. - Hopefully, - you've got a similar amount of brightness on this. - Since this is a white material should be pretty bright. - At least this bright. - And if not, - go ahead and start increasing some of the multiplier numbers on your lights to make them - brighter. - Once you get to hear, - we're gonna be doing a lot of test rendering in this episode. - So I'm going to show you guys has set up your render settings so that their bit lower and - So we're gonna go over here to render set up, - get all the press F 10 which will bring that up if you haven't turned on the very frame - buffer. - I'm gonna ask you to do that. - Click on veering and turn on the frame buffer. - And then over here, - in our common stab here, - we can adjust the output size we'd like. - For now, - I'm just gonna leave it like it is. - And under V Ray, - I'm gonna ask you to click on image Sampler anti Ellis ing and change it to Adaptive DMC. - This is just one of the ways that it's calculating things. - It's gonna work a little bit better for us. - An indirect illumination that should be on already with a radiance map in light cash. - It should be a medium right now. - You guys should turn it down very low and then you should go down the light cash and turn - that down to about 2 50 or so. - And this is gonna reduce the quality of our rendering, - but it's going to speed up the time, - so they want to wait as long while we're testing things. - And then last but not least, - we're going over to settings and right at the top here, - we should have the viewer DMC sampler and then noise threshold and this number we're gonna - turn up quite a bit 0.1 and this is basically the acceptable amount of noise that very well - accepted by turning it up, - we're creating more noise, - and I'm assured just what that is. - I'm gonna go, - in my view, - very frame buffer and just a show last frame buffer, - which is the rendering I just did for you guys. - And I'm gonna click up here on this little teapot with the Render Region. - And that's what led me to drag inside of my view port to select just this region of rear - enders from the press rear ender again. - You see, - it's re rendering just in this actually, - turn a noise sample up just a little bit further and make it clear she can't quite see it - there. - And so I'm gonna press f 10 to bring up this again. - I'm gonna sit this way high. - Was it a 2.3 and I'm gonna render it again. - Just that little section you see, - it goes pretty quick and if we zoom in. - We can see that the part inside of the red line is very noisy. - Now, - where's the outside Wasn't. - And most of that was from that noise threshold. - So for the rest of this video, - I'm gonna leave my settings kind of highs that you can see what I'm changing. - But I would suggest for your test renderings, - you leave your settings nice and low, - and then at the end of this unit will go back and set him back up that you can produce - another rendering for delivery. - Herbal. - So I'm gonna go ahead and change my settings back, - and I'll be right back with you after I get that done. - Okay, - folks. - And so you can see this isn't looking too bad. - All things considered, - if we're doing like, - clay model, - this looks pretty accurate, - actually, - and we're moving quite alone. - But we're gonna put some real materials on this. - When we put real materials on this, - we're gonna run into one major problem with how my scene is currently set up. - I'm gonna illustrate that to you. - Now, - close that I'm gonna bring up my material editor. - And right now it's all blank. - Because I had cleaned it out by pressing percent material under slots to get our main - material back. - When you use this eyedropper, - I'm just gonna click on one of the objects and it brings back our base material, - which is just the white material. - And I'm gonna create a new material for this sphere. - So I'm gonna click on a new box. - My name is Mirror. - I'm a click on standard. - Set it back to a V very material. - And then I'm gonna leave. - Diffuse alone is it's not gonna matter that much for us. - I'm gonna change, - reflect all the way up, - toe white and you can see in here that disappeared and the reason it disappears causes - reflecting this grace surroundings over here on the right. - This third button down inside of our material editor is our background. - I turned that on. - It gives me a color background so that I can see just how reflective the services. - So I'm gonna take that. - I'm gonna apply it to this ball by pressing the green button, - not repress. - Render again. - And I think we're all going to see what the problem is with how this scene is set up. - And here we have it, - folks, - this is our mirrored ball and as you can see most of its black because there's nothing for - it. - Oh, - reflect right now, - as I said just a moment ago. - Right now, - my scene has thes two lights here and this backdrops that has something behind it. - But when it reflects back out, - there's nothing for it to reflect. - So there's a couple ways that we can deal with this problem. - One of those issues is weaken. - Just accept it and move on. - And four, - this is a beginner issue. - That's a perfectly acceptable response. - Um, - another issue will be not toe have a smear mirrored ball in there. - Just not use that type of material because this clay is flat map material looks just fine. - That also has a perfectly acceptable response. - There's a couple of other things that we can do, - which I'm gonna get into in the next video. - But for this video, - I'm gonna set up 43 more materials to kind of illustrate potential problems we may have. - So basically, - we can think of materials in four categories. - We can think of them as shiny or mirror life like this ball we can think of them as Matt, - which is not reflective at all like this base material. - And then we can also think of them as a clear or transparent material like glass. - We can also think of them as somewhere in between, - which would be like a blurry metal, - which is reflective, - But you couldn't see a clear reflection in it. - So we're gonna very quickly set up those materials, - apply them to this object and evaluate just how big of a problem we may or may not have - someone close this frame buffer. - I'm gonna go down here to a new material. - I'm going to press seed to get back to my view in this new material, - I'm gonna name it Blurry metal Press standard. - I'm gonna go back to very material. - I'm gonna leave the diffuse alone again. - I'm gonna take the reflection value and turn it way up like we did for the mirror. - Maternal, - my background. - So we turned up way like my mirror is. - But then on reflection, - glossy nous, - I'm gonna turn that down. - 2.6. - Maybe 0.7. - Better for this. - I'm gonna take that material. - I'm going to apply it to this mug reflection glossy nous that lower the number, - the blurrier, - the reflection. - Generally speaking, - you don't want to go below about 0.6 and you're gonna start getting some noise, - which is something we deal with in a later unit. - But I'm apply that there. - I'm gonna make another material, - and I'm gonna apply it to this mug on this one. - I'm gonna make kind of a ceramic material. - And so this is just gonna be sharper reflections, - but not quite a sharp. - So I'm gonna go to this one. - I'm gonna call it ceramic. - I'm a change from standard aviary material groups. - That's not what I wanted to do. - That was a very light material to a standard material. - I want to make a kind of a white ceramic. - Someone turned up a little bit on, - maybe give it just a little bit of of ah kind of cream ish color to it. - We'll say, - OK, - double click on that so we can see it. - And then this material I'm also gonna make reflective, - but I'm not gonna make it fully reflective. - I'm just gonna put it somewhere in the middle term, - my background so I can see it, - and we'll set this glossy nous to about 0.9. - So you see, - it gets blurry, - but not super duper blur like the last one. - And I won't apply that to this mug. - And then for these three wine glasses were gonna make one more material. - We're gonna name a glass, - and I'm gonna change from standard toe aviary material. - And for this one, - it's not gonna have any diffuse value. - Someone's gonna take that and turn it the black. - It's going to be reflective as glasses very reflective, - and it's going to also be perfectly clear, - so I'm gonna move. - There were fraction value toe white. - Now refraction is they call it refraction. - You can think of this is transparency and the closer toe white of this, - the more transparent it is. - And the closer to black it is, - the more opaque it is. - For general purposes, - you generally want to be either at full black or full white, - at least in this class. - That's what we're gonna be out when you get into like, - translucent materials. - There's a whole realm of problems that you start running into, - and, - uh, - I would suggest you just avoid that So one other thing we're gonna change here is within - the reflection value glass exhibits of property called friendly reflections. - And let me grab an example of that. - Okay, - here is water, - which also has a very strong friend all property property. - And you can see up here at the top where the eyes looking pretty oblique to the surface. - It's very, - very reflected. - You can't even see some of the stones underneath of it. - Conversely, - down here where you're looking more straight down on it, - it's actually quite transparent. - And this is because of mawr, - reflective as your eye becomes more oblique to it. - And so this is called a friend all profit property. - I'm gonna press this check mark on, - and we're gonna be able to see how it changes the reflections here. - So right now it's completely reflective. - When I turned that on, - it turns the mostly refractive. - If I go ahead and turn that number up, - which I'm gonna do by pressing the l here and changing this toe three, - we can see we have some more reflections and not very much in the middle of a little bit - more on the sides. - And we're gonna leave the Iowa are in the refraction. - The same because that's how much like Ben. - So we're just gonna leave that alone in this? - The last thing we're gonna check for our blast is affect shadows. - We're gonna click on that. - And I've already applied them this glass and that we have those based materials I'm gonna - hit, - render, - and we're gonna have a look at what we have just done already. - Folks, - we can see the scene that started to come to life a little bit. - We can see that, - got different materials in here and start to get a little bit interesting. - And you can see on the ceramic material over here. - We don't really have a problem that we have a black reflection in the back because it's - just not that reflective. - And there's enough diffuse values going on that it picks it up. - It has a little bit of a problem with the blurry material, - but it's not awful. - And in the glass, - it's kind of the same. - We do have some darkness and here that I think we'd like to be white, - but overall, - it's not looking too bad. - In the next video. - I'm gonna show you how we can deal with this, - though, - if we want to fix it for this scene. - So hopefully you are able to follow with me for those four quick materials and on the next - scene, - we are going to fix them. 6. Unit 2 - Video 2 - Scene Preparation: - All right, - folks. - Welcome back. - This is video to for Unit two. - Bringing digital life we are looking at are seen set up and troubleshooting some potential - problems. - Let's head back over to Max and see where we're at. - Okay, - As you remember, - we're in the last video. - We have applied a couple materials to our scene, - and then we rendered it to see some of the problems we have with how we have something set - up right now. - I want to bring the frame buffer back up by just clicking on show last frame buffer and you - can see we have this big black reflections. - There's nothing for it to reflect behind us now. - As we said, - one solution which is perfectly acceptable for a beginner's class, - for a lot of you that are making your first rendering is just leave it as it is. - It doesn't look that that bad, - and it really only affects us on this sphere is really where it's worst. - Another solution would be to model and texture an entire room so that there's something for - to reflect back there. - But that sounds like a lot of work in a lot of text. - Oring and is a bit out of scope for this class as far as time goes. - So we're gonna go with something kind of in between, - and we're just going to make this into a small room so that there's something for to - reflect but nothing too specific. - And so I'm gonna close this down real quick and just go into my top view. - I'm gonna go ahead and go back to my create panel. - I'm create a box. - I'm just gonna drag it over our entire scene, - come back just a little bit and I'm gonna drag up to make it so you can see there's our box - , - Everything's inside of it. - And we're gonna pull up our material editor by pressing M and we're just going to assign - that basic white material to it. - And so now we go back to our camera and hit Render. - I think we're gonna find a better solution, - and here we have it. - Now, - if you guys were into that for yourselves, - you were gonna notice two things. - One has gotten a lot brighter and to that render and probably took a decent amount more - time that before the box and the reasons for those two things are one of the same. - The big part is is that now that we have everything, - enclosed light is bouncing around a lot more and so, - as opposed to hitting our objects and flying off into space, - it's hitting our objects and then hitting the walls and then bouncing back into the scene. - So it's gotten a lot brighter, - but now we can see our empty room, - which is a little bit weird, - and you're welcome to put stuff in it, - but it doesn't really bother me too much, - and it fixes the reflections on this. - And the glass looks pretty good at this point just with that basic glass material. - So one thing I'm gonna do right now and if you're following along while I do this, - I suggest you do the same is I'm just going to select my lights and turn them down and kind - of adjust them for this new enclosed room. - Which is how I'm gonna keep this scene moving forward. - And here we have it, - folks. - And now we have back more toe even lighting. - I'm gonna make one quick material, - change the press em and bring back up my material editor. - I'm gonna go to our glossy or blurry metal, - which is on this middle. - And now that we know about friend or reflections, - I'm gonna turn that on, - press the else that I can adjust it right here. - The l allows you to break the I A war between the refraction, - the reflection. - So, - in controlling the reflection, - we almost always want to change it up here. - And these numbers gonna take a lot, - a little bit of getting used to for any time you use it. - Excuse me, - but for glass, - you're usually run between. - Be between 1.6 and three, - depending on how glossed how reflective you want it for medals. - Your years will be somewhere between 10 and go up to 50. - If you wanted toe almost near mirror services for this one, - I'm gonna go with 12 and I'm just gonna re render that really quick so you can see how it - changed. - Okay, - folks, - I wanna had also changed that. - I mean, - the diffuse value bit darker and adjusted the reflection. - Lawson s a little bit, - but I think this is looking a little bit better for that kind of blurry metal material. - So and I'm also you can see this Red square in here again and again. - This is the render region tool region render tool. - And what that does for us is when that you're making all these little changes Trying to - tweak material like prevent you imagine, - renders your entire frame every time whenever you press render, - it just goes through on re renders that one section I'm gonna go ahead, - click cancel there so that we don't have to watch that render. - Okay, - So this is where we're at folks right now, - and this lighting is not too bad. - We got some nice soft shadows because of the big, - very plain likes that we're using and it's pretty well lit. - We have some speculate reflections. - Give me some interest to it. - And if we were doing in the image something like this one, - now be a pretty good light set up to use. - All we have to do is a Justin of our materials to make a nice, - clean and white, - and we'll be good to go. - You could call it today. - But before we do that, - let's look at a few other types of settings that we could use or setups Excuse me? - That we could use, - maybe create something more dramatic or just a different ambiance. - So we're going to close this close my material browser, - we'll go back to my top view now. - I'm not gonna delete these lights. - That might want to go back and use, - um, - or I might want to use them for a different type of set up. - What we do is I'm gonna click on him, - and I'm gonna go over here in my modify tab and I'm gonna turn this one off, - and I'm gonna turn this one off. - So now we have a completely black seen. - They looked like they disappeared, - but really, - all they do is they turn this dark green color which can sometimes be hard to find. - Um, - when they're turned off, - but they're still there. - And if you ever think you get fined and just select everything and boom, - you can see them and white. - And now I was gonna grab this one big like that I was using is my warm key light. - I'm gonna hold down shift and copy it forward. - And we could pretend maybe that we have a window next to us. - I'm gonna turn so it's even straight over and it turns out shooting just more or less - straight across it doesn't have to be perfect. - Close enough. - I'm gonna bring it down here. - Put it pretty close to my objects as though this was sitting right next to Ah, - a window. - Let's say so. - We just had this big light sitting next to my objects here and again, - my objects air floating because I can't see underneath. - Um, - if you have a table or anything, - that's fine. - You can really choose how you want to have that set up. - But so I'm just gonna leave that right here next to it now because I've moved it so much - closer to these objects, - it's gonna be a lot brighter and seen. - And even if Kit render really quick, - will be able to see just in the light pack like cash. - Just how much brighter it iss Oops. - Everything was all black was building its light cash. - When I copied it, - it was off. - Turn it back on hit render and you can see just here. - I mean, - that's really blown out. - Now that might be a look that you want to go for and you can go and try and play that. - But I'm gonna try to make this more of, - Ah, - a soft light coming in from a window, - so I'm gonna cancel that. - And if you're not seeing that light cash build up while you're rendering, - go ahead and press F 10 and again in radiance map in underneath Indirect illumination in - the radiance map. - And you're setting should be lower right now, - probably for time, - depending on your machine. - But make sure show calculation phases clicked on there and in light cash. - Make sure it's shown there, - too. - When you're adjusting something like light intensity, - you don't have to wait for it to finish to render You can see just a moment ago that, - you know, - like almost a soon as we hit render we could see there was really bright. - Now, - if you want to see how that looked, - we could wait for and just let it render out. - But it's gonna look pretty close to how the light cash looks. - And so I actually think that's pretty cool. - It might be something want to do, - but it doesn't look like we have just ambient light coming in from the sky. - So you press cancel on that again and I'm gonna go ahead and select this light. - One little tip as opposed to coming out in selecting this light every time and then going - back to the camera I could with it de selected hit the letter h And here you can see what's - called Select from seen, - and it gives us the name of all of our objects. - We have a backdrop. - We have the box that I created to make the room. - My camera. - My mother two mugs, - 11 number two And then we have a sphere, - which is this guy, - my tray, - which is with everything sitting on. - And then my view a lights are all down here now. - I didn't rename these and you could rename them to keep things order organized. - But I know that I want the last one that was created. - The one that's right here. - And so that's gonna be number three. - I just double click on that. - And you can see in my modified panel that selected that light. - Even though we can't see it, - I go to the top. - You can see it selected And so right now, - that one sitting at 15 your number might be different. - I'm gonna go ahead and drop that down to about five. - I'm also going to go ahead and change the color of that light Kind of a bluish color. - I think it's gonna look a little bit better if we make it kind of the color of ambient - light coming in through a window. - So I'm gonna say OK to that. - We got turned down and one other thing, - that's it. - Render real quick and see what happens. - Okay, - so we're seeing it here, - and this looks pretty good. - Received. - Got, - like, - blue light coming in. - It looks like it's coming from a window hood press pause and that this finish rendering so - we can all look at it as a final image. - Already, - you can see the finished image here, - So this is starting look pretty good here in the blurry reflection that actually looks like - it could be a window. - And the glass glass usually has these kind of strange shaped reflections. - And so that looks right. - This gives it away a little bit that we just have a light sitting there, - but not so much that it really bothers me. - So that would be a kind of cool solution. - If you're going for something like this, - this image in the bottom left here and maybe what we want to do is turn this backdrop to - black. - Let's give that a try. - You see, - I got my box going all the way around it around this, - and then I have this backdrop just behind it. - Someone take that. - I'm gonna copy the base material that's currently applied to it. - That white materially we've been using, - I'm gonna drag it over and I'm gonna call it base Black. - I'm just gonna move this Not all the way to black, - but I'm gonna move it pretty far down. - So it's a pretty, - pretty dark black there. - I'm gonna go ahead and press seem to get back to my camera. - I still have my backdrop selected. - I'm going to apply that material. - You can see it changed in there. - I'm gonna hit render again to see how this one looks. - All right. - That's looking kind of cool. - We moment put a little bit of a fill light in like we had before. - Just something coming across here But overall, - that's looking kind of cool as well. - So we want to adjust it probably a little bit. - Um but I kind of like that. - All right, - Let's see what else we could do with easier playing lights. - I'm gonna go back up to my top view. - I'm gonna grab this. - Maybe we pretend that it's backlit. - So move this over here behind my scene. - I'm an angle it. - So it's almost looking directly at the camera, - something like that. - We'll get in my left view here when angling a little bit. - So it's coming down, - move it up just a bit, - okay? - I think I'm going to scale it down to scaling down is gonna make it dimmer, - but I think it's also going to make it a little bit cooler, - mostly gonna angle it. - So it's straight, - because now we're gonna be able to see this light. - So I turn off my snapped angles there and just make it so kind of looks like it's more or - less street. - I think that should dio Oh, - that And I'm gonna go ahead and press render again and see what happens if we have a like, - just behind all of our objects. - Okay, - folks, - I went ahead and stop the render and right at the light cash. - You can see that this lights making a weird shape on the reason for that. - You see that it disappears. - Here I look at it in the left view. - It's intersecting with my backdrop, - so I'm gonna go ahead and select my backdrop in the box behind it. - I'm just gonna move that back. - I'm gonna go ahead. - And with that sitting there, - I'm gonna press render again. - OK, - folks, - this is actually kind of looking cool. - We got some cool stuff going on here in the glass because of the way that it refracts and - got some cool little highlights going on here. - But this is probably just a little bit too black. - And so maybe what we're gonna do is leave that light set up there. - It's probably just a little bit bright, - so I'm gonna go ahead from fire and drop that down to two, - and then I select my other two lights that I have and I'm gonna turn them on. - But because these aren't the primary lighting source anymore, - I'm gonna turn them down a bit. - So my turn Come by. - I'm gonna guess 1/3. - It's probably gonna take a little bit of, - um, - needlework and kind of moving things back and forth. - And testing turned on both on and we caught them both by 1/3. - So now they're down quite a bit, - and I'm gonna go back to our view press render already. - You can see we got something cool going. - I'm gonna go ahead and pause the recording and let that go just a bit longer. - Actually, - I think I'm just gonna turn this light back up. - I could see there's a little bit too much light here and not enough of a shadow coming from - this. - Our main shadows coming from over on the left. - So I'm gonna go ahead and turn this back up. - Must go with 3.5 on that one. - I would turn this one down even further and return this one down to about to I turned this - one down. - Toe one. - I'm also gonna take my light. - I'm just gonna go ahead and scale it a little bit out. - The reason I'm doing this I want that light to go all the way across Now. - I think I'm gonna just kind of reorganize, - just so it looks a little bit better here, - So Okay. - Like that, - I want this coming down. - Move this up a little bit, - set my back throughout material from this black, - and I'm gonna change it back to a white last but not least, - now that I got it's like almost exactly how I wanted. - I'm gonna point it directly at the camera. - Okay, - so now move it down just a little bit. - I'm a scale it just a little bit side, - please. - Just so that it goes from edge to edge. - I will render real quick and take a quick look at how this is doing. - But you have a little intersection here, - which I'm gonna fix. - I like how the glasses looking, - and I think we're getting mawr of the right shadows. - So I'm gonna cancel that. - I'm gonna go up above, - must select my box in my room, - look from the left of you, - and just move that back. - So that's not intersecting with this light anymore. - And I'm gonna hit render Okay. - This is kind of starting to get interesting. - Might have still probably a little bit too light. - And there's just one last two last changes I'm gonna make to this. - Seen before we switched to the next video. - And that is I'm gonna take this light. - I'm gonna go ahead and adjust it. - Now, - what I want to do is bring this down. - If I go like this, - you can see it change the shape of it. - If I go over here inside of my modified panel, - I have the height of it, - the length and the with. - And someone's gonna go ahead and take the with, - pull it down a bit. - I think I want just a little bit lower. - More like that. - Let's see. - We still got this line running across the top of its out of it, - okay? - And the other thing I'm gonna do is I'm gonna take this tray which we've left. - There's a matte material. - I'm just gonna go ahead and I want to see what happens if I take this material. - I'm gonna take the ceramic that we have applied to this mug here. - I'm gonna apply it to this to give it a reflectivity to reflect this light. - I just want to see what happens to our scene we try it making that ceramic instead of Matt - . - So now it's got a reflection toe. - So I'm a quickly press render just to see what happens. - Oops. - Wrong button. - Quickly. - Press, - render and will be able to see really quick what happens? - Okay, - you can see we have a lot of reflection going on. - Now, - down here, - it kind of creates a cool silhouette. - I don't think we wanted quite that reflective, - though. - So one last change, - then we're gonna call it quits on this lesson and go on to the final unit of this final - video of this unit. - I'm just gonna take this ceramic copy it down. - I'm gonna rename it Ceramic to. - I'm gonna apply this material to it, - and I'm gonna go down to our reflection value right now. - We have it as a just a color going to give it a friend of reflection, - turn it up to about 3.5, - and I think I'm gonna leave it sharp, - but I think I'm gonna take the material color making a bit darker. - Let's see what that gives us. - Okay. - I think that's little live being a little bit better. - I'm gonna go ahead and let that render and I'll be back after there we have it. - I wouldn't turn down the backlight just a little bit more, - and I turned up some of the front lights and he was trying to get something a little bit - more interesting, - I think, - Um, - so that's gonna conclude this video in the next video. - We're gonna go on and look at a few other light arrangements that we can use, - depending on what kind of scene set up you have, - and we're gonna get some different effects. - So I hope everyone's playing around and having a good time and making some interesting - images, - and we're gonna go ahead and look a few more light setups and then move on to more advanced - materials. - So play around some lights, - make something cool, - and I'll see you shortly. 7. Unit 2 - Video 3 - Scene Preparation: All right, folks work the third video of the second unit preparing the scene. And now we're looking a few other types of lights and a few other things to consider. As you're setting up your scene for rendering, let's get back into Max. Oh, good. Okay, folks. So you could see really quickly. Every range are seen a little bit, just kind of scattered, a couple of items around and I've removed our backdrop. So right now, I just have a couple of balls that have assigned the different materials you've already made, Teoh. And then I have moved these around and put them down on the floor. So if you want to see the scene as a whole right now, so we just have a white box when we have this two lights that we've been using for most of this time. So we're going to look at it. I could bring up the last render I did as I was sitting this scene up. It's got something going on just like this. So it's very simple. And what we're gonna do in this scene, I'm not so much setting up still lifes of this is I'm gonna illustrate a couple different lighting techniques and the types of effects that they have for you use with your own seen . So I encourage you to stick with the scene that you guys were created. And just look at some of the things that we're doing in this and consider using him in your senior try Mountain experiment. You're seen the key with lighting, I think, is that you really need to try a lot to kind of figure out what looks best. So we're gonna try a couple different things here that are new and hopefully in so doing you guys will find something worth using. Okay, so the first thing we're gonna do, someone take this light, this bluish light that I've been using and delete it that was our fill light. And I'm gonna take this, like, right now, you can see it's high above this object. I'm gonna zoom in pressing P and then Z to make sure my perspective view port resuming on this object and just render this real quick to show you the type of shadow were getting specifically from this light. Someone go ahead, press. Render already, folks, so you can see we have our core shadow here just underneath of it. But the edges of it are very, very soft. And the reason for this is that it's a very big light and so, like, pretty easily wraps around. It could be admitted from that entire source. So if you guys wanna stick with the very plain light one of things that you could dio is it was going to go ahead and make that make it camera so I can get back to this. Just my present command. See, you could take this light and just scale it uniformly make it really small, and that's gonna make it much less bright. And so I'm gonna make it way brighter. I'm gonna go up to 30. I grabbed my camera. I'm gonna render it and see if that works. It looks like it's still too dark. So I'm gonna go up even more than 30 with that light. Go off press H to bring up our select from seeing tool. That's this button. Here, select my name and I'm gonna grab the only light in this scene, which is the very light. Grab that. And that's humans still really dark. I'm going all the way up to 100 press render again. Okay? You can already see here as it's rendering out. I'm making it smaller. The shadow has become much deeper and it's going to be much quicker, quicker Excuse me, much crisper. So you can see we're starting to get a silhouette of the form. It's still pretty fuzzy once it gets further away, but it's a lot more to find than it was before and the reason for that as well. Making it smaller and smaller. There is less light wrapping around our object. But if we wanted to get really crisp shadows of very light is not the way to do it. So go open. I'm gonna delete this light. I'm gonna go over to my create tab and go over to my light button that I'm gonna click on photo metric and I'm gonna go down to a standard light I'm gonna click on Omni And just in this view, just like we created a sphere and all the other things I'm just gonna go ahead and click There's nothing to drag out with this when you can see I get this little diamond. Actually, my move tool. I'm just gonna lift it up. And from Omni Light is so all of the light from this light is just gonna be emanating out in every direction. Acts kind of like a light bulb does very similar to like. So let's have a look real quick. We just put it in the scene. So the perspective view port here. We just set this in the scene and render it. We're gonna see what happens. We could see instantly. Something's gone wrong. It's everything's were white. So there's a couple things that have happened to you. When you make a standard light by default, don't ask me why. By default, the shadows aren't on. And so I'm gonna go ahead and click on underneath of here. Uh, we're gonna make sure that very shadow is selected. I think, by default, I'm not sure what the default is, but you won't turn on very shadow, and we're gonna render again and see what happens. And we can see a little bit of these shadows now, but it's still pretty much always. The reason for that is also by default with standard lights Is that if we go under intensity color and attenuation. If we go down toe the type of decay, there's none. And if we go to um and give the settings for attenuation, which is just another way for how it decays, there's also nothing turned on there. And so, basically, that light isn't dying at all as it gets further away so you can set it manually, which are more than welcome to do or play with Rather. But instead, let's use a mathematical models. So from decay, if you click on none and go toe in verse, which means that it's basically gonna fall off directly inverse to how far goes away when we hit. Render sorry there, folks. We also turn this multiplier back down, the one just so you can see if we turn off the decay. It's still pretty much almost entirely white. You start to see a little bit of the shadows, but if we turn now and we clicked the decay and turn into inverse impress render now we can see it starting the work. But Light doesn't fall off in an inverse relationship, so this is a way to get more light on your scene. It's kind of a cheat. It doesn't look terrible. We kind of have. Ah, interesting sketch. Look here. So, you guys, there it is, folks. It's still very blown out. We could start working on that by just turning the light down some more. But what we're gonna do instead is we're gonna go from inverse to inverse square. Since it's radiating out in three dimensional space, it's falling off faster than it would linearly. We don't need to get in the math, understand it. But inverse square is the real world accurate way, accurate way for, like, two K every press render one more time. You see, it's gotten darker and less blown out, and it's starting to look a bit more realistic. I'm gonna press pause and that this render out scenario, folks, So you can see because the light is directly above this fear. We can't see it since it's just a point light. But you get all the shadows coming out. Radio Lee in different directions from that light. So this shadows pointing this way, this shadows pointing the opposite way because the lights in the middle there now these shadows you can see are very, very crisp goes according to Max. All that light is coming from one very defined point. This is kind of like the sun. The sun creates very crisp, sacked shadows. It's because it's so far away now because it's so small, obviously, but one of things we can do if we want to create a little bit of a blurry shadow here in inside of our modify. For this omni underneath of intensity and color attenuation, there's a tab called Very Shadow Parameters and I'm gonna goto area shadow and I'm gonna Right now it's a 10 inches and I will let you know you don't let that's render so you guys can see what happens there. You see already that we have very soft shadows. I'll go ahead and that this finish rendering as well. All right, folks, you can see the Shadow is still pointing the same direction, but now they're very soft because we've made this effectively a basketball sized light bulb . So and you can also see there's a lot of noise here when you get to the final rendering. If you want to get rid of that noise, you would increase this subdivision number down here in this light I'm not gonna do that now because that just takes a lot of extra rendered time. So we wouldn't change something like that until the very end. But so if we wanted to make the shadows not quite this soft, but not as hard as they were before. If we take this down, we make it, let's say one inch and V and w don't matter. Since we're using a sphere that will only matter for box, which I don't recommend you use so much changed. I don't owe one inch and press render in si are in that We have sharper shadows here and softer shadows as it gets further away. So I'm gonna press pause and that that render out. Okay, folks, And then you can see that we have salt sharp shadows right by the object, as gets further away, they start to get softer. You see up here how soft they get, especially in the clear shadow coming through the glass. And so that would be one option for lighting. And you could use a couple of these to create multiple shadows. And you could also, um, use them off, seen if used them off scene you'll get shadows that don't all run the same direction, the different directions completely. But you'll get if you put the light over here, let's say you'd have a shadow that came this way and then a shot that came this way, then shadow that came that way. But one thing we could do with this we could take this light, Put it one light I'm gonna go toe Instance. We'll take one light. I'm gonna instance it over top of them. And what instance ING is doing for me is it's making its that if I change a setting in one of those lights, it'll change it for all of them. So I'm gonna take this and turn off the area shadow now because I just made five lights where I only had one. I'm gonna decrease this. We're start just by decreasing by five down the point to go back to a perspective. You pork get a view kind of similar to what we just had. And now I'm gonna render it again. Once you start to see already is that we're getting a bunch of shadows. I'm let that render out completely so that you see it all right, folks, So they can see. Now we have five shadows coming, one shadow coming from each light. So everything has five crisp shadows, and so that looks pretty unrealistic to have five crisp shadows like that. But it's kind of a cool effect if we change that setting. Now, we select one of these lights and we go back to our area shadows, and we're gonna leave it at one inch. Like it was the last time we rendered it. Render it again. Actually turned this down 2.5. So it's gonna be even less blurry, Shadow. I'm gonna render it again. I'm gonna pause it while it's rendering, cause this is gonna take a little bit longer again. Surrender. You assume that anything blurry takes longer. You can also assume that the more light you have, the more time it takes to compute. So I'm just gonna pause it real quick. All right, folks. So that started. Look better, actually. Probably go back and bumped this up just a little bit more. I've got to click area shadowing hit render before. So I had to do it twice. So make sure that's clicked. If you want that to happen, but I'd probably go up to make it just a little bit blurry. But I can see you're getting these cool shadows now from these very simple objects that can create a lot of dying dynamic interest in your scene. Okay, so there's a lot you can do. The point likes is one more thing I want to show you with point lights. So what I'm gonna do is I'm gonna go ahead and delete 54 of these lights and I'm gonna if you go to my top deal and move this light groups, move this light over top of this ball again and I'm going to take this. I would put it right in the top of the ball, and now we're going to do two things to this ball. So what we're gonna do is we're gonna make it seem like this scenes being lit by this glowing ball. So right now, if I press render, remove this light back upto one. So it's the right brightness. We know it's the right brightness from before from the press render. It's going to totally dark because I've put that light inside of that sphere. So We're gonna do two things to deal with that right now. This light is only stay inside this fierce. We can't see it. So first, if this was some type of glowing ball when she could be a fluorescent light, it could be you comply to stop really anything. It's how I did the fluorescent lights. When I did this, I used a similar technique. And what we're gonna do is on a take over here to my material editor again. I'm a change from standard to veer and light material. I'm just gonna leave. It is white for now. You could give it a color if you wanted to go. I'm gonna sign it to that ball. I'm gonna go ahead and press render. We'll see what happens. Okay? You can see this ball is now glowing and we're getting some light spread out. I'm gonna go ahead and stop this and let it finish rendering real quick so I can explain a couple things. Okay, so this ball now you can see it is leading the ground and you can see it being reflected in some of these other objects and we're getting a little bit coming out but not doing a very good job of lighting are seen, and we have another option. We could just take this intensity number here and just pump it way up, trying to let our scene, and that would do an OK job of things. I'll go ahead and render that so you guys can see what happens. You see immediately that we already have more like That's the light cash build you can see . It's not a smooth as it usually is. It's quite a bit more Jagan. And while it's not a matter to too much of this resolution, if you try to let your scene with just very light material, it's gonna end up with a lot of noise and artifacts that you don't want. It's not gonna make your rendering look good. I let this finish room. Okay, here's our results. We do have some cool things going on. We can see this light coming through from this, which is kind of cool. We have a strong highlight here, but we've completely lost our glowing ball because it's so blown out in that and we've also created some noise. You can't really see it too well in this, we can see that this isn't smooth even though we have a smooth surface there. And so what we're gonna do to deal with that? I'm gonna turn this back down the one like we had it originally. And just for a moment, I'm gonna hide the glowing bulbs that we've exposed. This light that's in here And this latest set toe one with an inverse square Fall off and I'm gonna go ahead and move this too. I mean, about the size of that ball state two inches and make a bit soft from a hit. Render okay, that's already looking better. Just instantly. I'm let that one finished. Okay, So you can see we got nice soft shadows coming off from here. It's not too to blown out in the middle, and we're starting to get some reflections on everything. So now let's go back. Close that and I'm going to right click and I'm gonna say on hide All So now our globe's back I'm gonna right click on this object Goto Object properties And I'm quick on cast shadows And so what? By turning off cast shadows It's basically that mean that light passes straight through it , so I would say, OK, and I'm gonna press render here. All right, Now, we got something going to go ahead and press Paul's and that this finish. Okay, there we go. Now, we're still getting pretty blown out down here at the bottom. We could turn down either one of the lights to help adjust that, and you just be a matter of balancing between the two. So I'm not gonna go ahead and do that. I'll leave you guys to play along with that if you wanna go this type of method. But now I'm gonna show you one other kind of light before we wrap this up. Okay? I'm gonna right click again and going object properties, but cast shadows back on. I'm gonna go ahead and reapply. That material had just our mirror finish on that ball. Put that back on it. And then So we're back to where we were before you were a top view. I also got delete that like, and you see that light and there's a little hard to select and go all the way in. Selected the easier way. Select. It would have been just to go here and look for Omni 04 The only omni in the scene. I'm gonna delete it. We'll go back to my create tab, and I'm actually I'm just gonna go ahead and hide all of these objects for the moment. Hide selection. And I'm gonna delete this camera. We don't need that anymore. Just leave this light in here all by itself with their box or this mug There are, like, create tab and I'm gonna go to Target Spot. I'm just gonna click and drag. I'm gonna get the target right over top of the mug on this somewhere over here I go, my front view. We can see it drew it straight down. Someone's gonna lift this up just a little bit. Look, by the way they were going for because we're gonna do something kind of like this. All right, so I'm to keep this kind of low. This is a standard spot. And so when you go to our modify, we're gonna do a couple things. We have to turn on shadows again. Just like before you leave it on the eerie shadows or set it to very shadows. If it's not already there, I'm gonna turn on decayed, inverse squared and see if we need to do anything else. Shadow Peru spotlight parameters is the next thing we're gonna change. So what? This does this spotlight? This is the hot spot of the light. And this outer ring is where it's falling off too. So in this picture, this inner line would be that hot spot, and the last bit of light would be the outside where it's falling off, too. So I want to get this took this spotlight pretty close in on our light here on our object here, someone bring it into about the size of the mug. I'm also gonna want this. I couldn't even way out there. I want that to fall off pretty quickly as well. So I'm gonna go ahead and leave it there. I got my front view. I can select the target for the light hoops, and it's like to target for the light. I could move that up and down movement. Just that it's kind of and circling our mug here. That all looks a little pretty good. I'm gonna move this just a little bit lower. I think press P to zoom in on this guy I understand. Render real quick to see how we're doing. Brightness wise, not doing bad. But I can stand to get quite a bit lighter, press h and I'm going to select the only spotlight in the scene. And I'm gonna turn that up to five. Let's say render again. And that's probably pretty good brightness. I want this to be a little bit closer in, and I think I want this handle that cast a shadow over there. So going into the front view, I'm gonna grab that target again. Move it up just a bit. Is that it's hitting just before this Grab this object. That's where the lights coming. Rotate that something like that's not liking it through it angle like this. Remember, this has are blurry metal on it, and I'm gonna hit render again and you can see I'm just gonna pause it right here. You can see that we're getting kind of a cool shadow. We're getting the spotlight effect that we were looking for, but we really can't see this object besides the highlight. What? It's reflecting on the ground. And the reason for that is that right over here from this material. We have the diffuse values. Black and without anything, toe basically show up. We're only getting basically what's reflecting off it. So we just move this brighter and actually for fun, I'm gonna give it color on this one. He has a free to play around with this as much as you like. I think I'm gonna go with something kind of somewhere around there. Think that probably looks good. So we got that material. We have a nice player reflection on what? Leave everything else in this material the same. Zoom out just a little bit and I'm a purse. Render again. And there we have our spotlight. The last thing we could do for this if we wanted to, would be Weaken. Select that light again. We're gonna go down the shadow perimeters will turn on area shadow, and I think that's probably pretty good. The last little bit. Move that target up even a little bit more. Somewhere around there. Center stage is out there. Render one more time there we have it pretty cool. Had to go back and actually turn on area shadows. I've tried to click on it and I move this to five inches. So just that there. But that's another lighting techniques you can use. All right, folks, that wraps up the lighting section and hopefully hasn't found some lighting techniques in here that are interesting and found some set up that work for your particular arrangement of models and items. Don't be afraid, Teoh. Get a little experimental with how you arrange things or how you like things. Be as creative as you can and try to find something that you think is really interesting. Um, I'm not quite sure what I'm going to settle on A for a final, but I can show you here. My, uh my three kind of tentative options. So this is one option we've got going. This is the 2nd 1 and this is 1/3. I'm not sure which one I'm gonna use for my final. I might do some editing in between now and when I get there, but using my three options and the next scene, we're gonna look at this one. You can see already have a few textures applied. We're gonna learn how to do that in the third unit. So I hope that's the motivation for you. toe really kind of shake it up and mix things around a little bit and we will meet you at the next one. 8. Unit 3 - Video 1 -UVW Mapping: Hey there, folks. Welcome to the third unit of bringing digital Life Basics of render in this unit. We're gonna learn how to make some more specific materials using bit map textures to create both color and reflection and bump maps. First thing we're gonna do a specifically in this video is learned how we get those types of maps on to our objects. Once we have that figured out in the next two units will make a couple of materials using a few different textures. So let's hop back into Max. So this is the screen of the last thing that I render. Turn on the wire frame, they see the wine glasses, and that image came out looking like this. You can see some of the texture that I've put onto the mug gonna be making those materials a little bit later or in the next two videos after this one. For now. First we can figure out how we get these types of images onto our objects. Okay, So over here selected a couple of objects or made a couple of objects just for demonstrative purposes, and right now they just all have a blank material on them nothing on them. I want to make a material over here. I'm gonna call it checker. Just a viewer material. Excuse me. And by clicking on little button next to defuse, get my maps browser inside of standard. Just a couple runs down with checker. You can see that we now have a checker pattern for this protection. And within this checker pattern, I'm gonna go ahead and click on the show states associated interior on view port so that when we apply it to an object, we can see it. We turned that off. We can't see the texture. So I'm just gonna be using this checker pattern to kind of visually verify that I have a good U V W map before I put like a wood or stone or metal texture on it. I'm gonna go ahead within the checker pattern on the tiling on that before just to make things a little bit clearer as we go along So we can see on this object, which is just a plain that I made. I'm gonna hide this because now we don't need to be able to see this for a moment. This is just a plain and by default it's gonna have an option down here called Generate Mapping coordinates and it's going to be checked. Return on. We see you can see it, Return it off. Yeah, the map goes away And the reason is that three DS max and very don't know where to put that map. U V W map or generate mapping coordinates is basically generating U V w map to say, this texture gets mapped on to these coordinates. This object which was just this plane. I put Enemkpali on it and just distorted it. You could have done this for any reason. And your modeling you can see if we take if we bring our material browser backup in applied this object, things have gotten a little screwy. Now the plane still has generate mapping coordinates on. That's why we can see the texture. But because I've distorted it after the fact that generated map in court instrument was just a square plain and that I put in edit Polly on top of it and distorted it, and you can see what happened. It just messed up our whole texture. So if we were gonna fix this the way we'd fix this would be to de selector points here, we're gonna go onto our modifier list, scroll down to the use. It's gonna be just below your friendly. Move my screen up just a little bit. No, Still not enough. I think we're in the same problem running before. Let's see if we get it. No. So just beneath the second double or you is a U V W map, and it's just going to say that, and by default, when you put it on there, put your option on there, it's gonna be plainer. It's just gonna fit over the objects so you can see it actually looks pretty good now. Now it's not quite the right size, perhaps, but that would depend on what texture we're trying to go for. It is at least mapped on cleanly, and so that's just your first Met first option for plainer. You can see we do have a length and a with option, which we can change. So if we knew that that texture was supposed to 10 inches by 10 inches, we could just type that in, and then we have squares again. You can also go into your gizmo here by clicking on the plus sign of you bit of your map and clicking on gizmo. You can see I've now got the not the object selected but have the map. This object here is Are you VW mapping as I move that it moves the texture. I could also scale that and in just the texture that way. And if let's say we're doing this kind of oblong papers or something like that, and we wanted the running in different direction, I could rotate this map to fit what I wanted it to so that say, I wanted to run parallel with this line. You just kind of visually said it to run parallel to that line. That would be your basic for UW mapping a plane. Let's see it in something a little more complex. So here's a box, and it's just a basic box. Nothing on it Again. I have generate mapping coordinates. Click, which by default, should be on when I apply this texture. As you probably expect, it comes on nice and clean all the way around. This is the same exact box I just copy to go over and edit Polly on it and I beveled this down and adjusted it and pull these points down. You can see what we're looking at. And as I'm guessing you can proud, you yourselves can probably guess when I apply this material, it gets really weird. It really has no idea how to deal with the changes we made to it. And so probably most common you VW map you're gonna use. And again I'm going to U V W mapping the modifier list. You know, you can't say it again came upon plainer, which, if we look from the top view, it looks about right. But if we look at it in perspective or in any type of angle view, you can see that it's just stretching these this edge texture down the side. And so we switched the mapping type from plainer down toe box and from box. Now we're looking pretty good. The one thing that we don't want. If we wanted to be square tiles, it gave everything. It fit that box to our object. And so if we wanted to be square tiles again, just type in the size there. And so there we have a u. V. W mapped, edited Poppy again. We could do the same things as far as the Justin this size. We can also click on the gizmo here and we can move it up and down. You can scale it and we can rotate it Should we want to You go through the same type of process. If you wanted to adjust this one, you could go into the material editor and change the material. But you see, if I change one of these settings and adjusted for everything that has the material on, that I might have several objects with that material. So I want to leave that at four. And all I'm gonna do here is even though it's already mapping, I'm gonna put you VW map on top of everything what was said at the box, and then I can adjust that you, VW, and you can see I can Just whatever's on the top is gonna override anything underneath of it. And I'm gonna go ahead and adjust this one. And it's just gonna make changes for this object, and I can rotate it and everything else as well. Okay, so those are your basics, and the box is really Probably what you're gonna be using the most. But I'm gonna come over here to my mugs. Click out of the gizmo, Come over here to my mug. Isolate them. Now, these ones present a unique problem cause they're very non symmetrical object. And there's not kind of obvious form to, uh, to map to it. So you can see we made these Ah, a little while ago. We have we turn on geometry on. All we did was we made a line, Put a laid on that To make it circular I use an edit Polly to add the handle. And then I used a turbo smooth to make it nice and smooth. So if we bring up our material map, apply the checkered material to it. First off, we get nothing. Nothing whatsoever. So that means it doesn't have any mapping coordinates. We can go down to you VW map. Put that on there. So the planer one looks good from up above, but it gets pretty weird as we look at it as it stretches down. We could try box. And that doesn't all right job. You can see where these corners start coming, and that's because that's kind of the threshold of where it's not sure to map from this surface or from this surface of are you. VW MAPS. Things start to get a little weird on all of these bended turns and then cylindrical go ahead down here and I'm a quick fit. So it's all the around it. Cylindrical is actually looking pretty good because it's wrapping around it. Things get a little weird on this potentially, but that doesn't really make make anything look worse. If this had a flat top, you could go click on Cap. You can see that's gonna project a street plan on here. It's usually not gonna match this, but at least puts a texture onto it. You can see if we look down. It starts to make all kinds of problems with this, so we're gonna turn cap off, and that's not really too, too bad a lot of time with these strange objects. The easiest way to do is just get something close and work with that. There is other ways Maura advanced ways to map near materials on, but they're really outside of the scope of this tutorial. And to be honest, a lot of times there's an easier work around for this type of material. He's such a weird object with delayed now. One thing that delayed does have down at the bottom. We scroll down the bottom of the lake modifier. It does have the option to generate mapping coordinates, and so we apply this material to it. At first, nothing shows up. We'll include on generating mapping coordinates now have some gets a little bit stretched up. It doesn't do anything for our handle, cause we use that that happened in our edit Polly stage, but it does make the tops and bottoms nice and clean because it knows the janitor that it came from. So whenever you have a couple different modifiers on top of here, particularly procedural one like lathes that's doing something automatic for you. A lot of times they have generated mapping coordinates, and it's worth trying to find them because this will save you a lot of time creating clean U V W map. So to apply texture to these, like a image that we find or some anything you want put on if you have a picture that you want to put into a picture frame or anything like that. You basically go through that process we're gonna do on right now just to give you an idea . All right, folks. So here we g o we have all of our objects that we just put you VW Maps onto. We have this checkered material make one more material when changing toe of your material, and I grabbed this skill share images just off the web. It's just a J peg. We're gonna drag it from my desktop. Word saved. I was gonna drag it over top of this spot here. You can see it's mapped it roughly onto this object. And now I'm gonna take I'm gonna click on the emerald quick, the big M for the map, and I am going to apply, or 1st 1 to make that visible material. And then I'm going to apply it to all of these objects and you can see it started to map it onto it. So if skills chairman all over the place, if we want to control how it's going on here. So for this one, you see, we're not getting the full thing on any of it. A big reason for that is that this was one of the U V W maps that I stretched. And so for that we can go ahead and delete that u V W map. And now it's on every corner and icing cleanly on this one. If we delete that you VW maps, this was the one that had the problems of the mapping, and you can see it's all gotten weird. So when I put this you VW map over top of it, switch the box, You see, we got it. Now we're gonna groups select the gizmo and we can move it around. We could scale it this way. You could also adjust it in here, but you can kind of start moving it to where you want it to be. So those are the basics of how to get a texture onto an object. You should have a little little experiments with trying it out. The next two tutorials, we're gonna make a couple different materials using these, using that textures to create a more complex material than we were using earlier. So play around with this once you're comfortable with you VW maps and moving things around . We will meet you in the next story already happy mapping 9. Unit 3 - Video 2 - Material Creation: - Hey, - folks, - Welcome back. - We're in the second video of Unit three and bring digital life in this video. - We're gonna go ahead and make a few more complex materials using textures and bit maps. - So it's happen to Maxie Get started. - All right? - This is the image I made just a little bit ago. - Using a few textures working towards my final. - We're gonna go ahead and create some of these textures and show you how to put him on. - So the last episode we looked at U V w mapping of how to put objects on here, - I'm gonna go ahead and get this back to a white, - seem to share what I'm starting with. - We're gonna make a couple of textures. - Let's bring up my material editor. - Press them. - You can see I've got all my materials here. - Go ahead and reset these back toe white by signing that. - I believe this these classes is the glasses that we made back in Unit two. - I think that was looking pretty good and will leave the balls as this glowing object. - Then go ahead and clean up my material editor to make us a little rooms by going to - utilities, - reset material editor slots and you can see this gives me all new fresh blank materials if - I want to get back one of materials that I have in here I needed. - Click on material and quickly get material and scroll down to our see materials and click - on it there. - Or quite simply, - I can click on this eye dropper and click on the object and you can see it brings back up - my white object. - So I'm gonna hit, - render real quick just your guests and see where we're starting from. - Faras lighting and everything else goes with just a blank white material, - and then we'll get started. - All right, - so here's the scene in just white. - So even though this image is quite dark, - the large reason for that is the materials that I put. - There's still quite a bit amount of light on the scene, - and first and one do is I'm gonna make a concrete, - I think, - material for this kind of table slab that I have my objects sitting on. - So I've gone on the Internet and looked around a little bit to grab a reference image that - I think looks good Let's see here. - Here you go. - So you can see I'm gonna make a kind of you're kind of like this in the but bottom. - You can see there's definitely some color variation in it. - There is reflective, - but the reflections air glossy, - and they're not consistent or they're blurry and they're not consistent. - We're gonna make something like that right now on our table. - Let's bring back up. - Or Maxwell No, - close this. - So I'm gonna go to this new material on the name of concrete. - I'm going to click on box here down the bottom. - I'm going to assign that material. - And so all this is just a box. - I can't see me. - The edges. - I didn't do anything special to, - um I'm a change my concrete material from basic toe very materials we have for everything - else. - So that's this year. - And then the next thing we knew you need to do is you need to find some textures, - and so you can really find these anywhere. - There's a lot of sites that sell them in very high quality, - uh, - tiling bit maps with bump maps and everything else. - But I'm just gonna go to a website that's called CG textures, - and I recommend that you guys try this out yourself CD textures. - See, - have pulled it up here and you're gonna have to make an account. - But it's free, - and for free, - get 15 megabytes per day of downloads. - And if you go into concrete here, - you see we have a bunch of different options for types of concrete. - I'm going to click on Bear, - and you can see we have a whole slew of options and they just kind of go on and on and on. - And so I've already dug through. - All of these found a concrete texture to that I like. - But once you get through here, - if you find a texture that you like, - one thing is gonna want to keep in mind. - Is that because it's not a tiling texture like this? - Textures designed tile. - And what that means is that as it tiles, - you can see the pattern here repeating. - But it doesn't have an actual scene. - If that's not the case, - we make sure texture big enough that a we don't lose resolution and see the J. - Pigna lease inside of our image and be we don't want to see the scenes? - Mostly. - So a couple here that I downloaded from C detectors dot com and I just tried out a bunch of - old. - You're gonna have to do the same to you. - Find something that works. - I'm gonna go with this one here, - which will see here in a second. - And first we're gonna set the color. - I'm gonna do that just by taking our the image that we like and dragging it into the - diffuse lot of our new material. - And so I'm gonna move that out of the way. - Make this big. - You can see. - All right. - We got ourselves, - um, - concrete going. - You can see haven't added any reflection to it yet. - First, - I just want to get this first texture, - the color Mataric correctly. - So I'm gonna go include Oops. - I'm gonna go ahead and click on that M Say show May shade material in view port if that by - chance, - doesn't come up. - If you can't see that map there, - click on this little monitor icon next to your create and modify panel and make sure that - shaded is set to material color. - You see, - object color. - Um will eventually change this back to just the wire frame color of it. - So we're leaving all material color. - Um, - and bring this back up and at first glance, - just by default. - This isn't looking too bad, - actually. - Let's have a look at it. - In our view. - Port exit isolation mode. - Andi, - this doesn't seem to be too bad. - I'm gonna isolate it just with these cups here and take a quick look at them together and - just trying to get a sense of scale of the concrete. - And it looks like the scale of the concrete here is a little bit big. - And I'm just kind of eyeballing this. - I don't know exactly how big that texture is supposed to be, - but that just looks a little bit big in relation to these cups. - So what I'm gonna do, - I must let my box I'm gonna add a U V W map again like we didn't last time and I'm gonna - set it is a box. - Even though I can't see the sides. - If they're a reflection, - that might matter. - Someone said it is a box. - I'm gonna go ahead and just squeeze it in a little bit. - Now you can see because this isn't a tiling texture. - I'm getting some. - Seems here and for my scene. - That doesn't quite Maddox. - I don't I won't be able to see these. - One thing I'm gonna do some ago inside of my map here, - my bit map that has concrete. - And here's the location of the bit map. - I'm save you image, - which is gonna bring up this screen here and what I'm gonna do. - It's just dragging this red sun piece on the side and dragon this red piece on sites that - don't want that tiling to take place. - So I'm gonna go ahead and just crop just for fired enough to take that out and I'm gonna - say apply If I go back to my view port, - you can see it's disappeared. - So now there's still a scene, - but it's not as drastic as that other one. - Okay, - so now what I'm gonna do is I'm looking back in here, - and I'm gonna render just a test region of it just beneath here, - and I'm gonna do it to see if our the resolution of our bit maps holding up. - I downloaded all these with largest size that I could from CD texas dot com Because if we - take a little map and stretched over this image when we render our final at a high - resolution that something like 10 80 p, - we're gonna end up with seeing how stretch made that JPEG. - So I'm just gonna render this bottom section here and I'll be right back there. - We have it, - folks. - I think that's gonna work there. - So let's go about creating the rest of this material. - So you know that concrete is not smooth and the way that we're gonna give it that service - texture press go to parent to get back up to my concrete. - I'm a scroll all the way down to this section called Maps on. - Open that up. - You can see Here's my texture in the diffuse slot and we have it turned on. - Make this up here again. - Okay, - so you got this sitting here and you can see if we turn off this check mark, - it goes away, - and this 100 is the opacity. - So if I go down toe, - let's say I was to set the diffuse colored of this material to something bright just for - illustrative purposes that say it was this green color right now. - That's not affecting our seen it all. - If I was to cut the transparency of this texture down to about 50% you can see the green - starting to get through. - Is that the one quick way that you could try to color this If I want to give this just a - little bit of maybe a green or blueish tint, - I could just go to 75 I can still see my texture, - but I'm starting to get that color. - In this case, - I'm just gonna leave it at 100. - I must stick with just great Congaree. - What I'm gonna do is I'm gonna drag, - click and drag this map down to the bump map here, - and it's gonna give me a couple options. - I'm just gonna say copy for this. - You can see very quickly that it's put a bump on, - and right now it's at a 30% bump. - So if I was to do this at 100 we're gonna get this really kind of jagged material. - Most likely that's not going to render Well, - the tendency is to use bump maps too heavily, - so I'm not gonna drop this down to about 15. - I think, - actually, - maybe you've been a little bit lower. - I'm gonna go with 10. - Oops, - 10 and for you guys. - I think it's probably going to some trial and error and depend on your texture and the text - you're trying to make on the map you're using. - But I think tens gonna work pretty well. - Basically, - to understand what three s Max is doing, - it's taking this concrete map, - turning it toe just black and white internally and anything that's white, - it's raising and anything. - It's black. - It's pushing down to create this texture that we see here. - And so if we go ahead and give us a reflection now on, - we're not gonna give the time of reflection. - We're going to give it a somewhere in the middle, - and we're gonna make it a frontal refraction and reflection again so that as it becomes - more oblique, - it gets more reflective, - and I want to set that up to about 2.8. - And again, - that's something that you just gonna have to experiment with until you get a hang of it. - I'm gonna turn my reflections down to about 2.85 Okay, - then you can start to see the bump a little bit clearer. - Go back down 2.8. - And that's render that region again that I rendered last time. - See how it looks? - Okay, - we're getting a little bit closer. - You can see we have our diffuse texture and underneath of here And get your bump I think - our bumps still a bit strong I think our reflections are probably a little bit too sharp. - So I'm gonna drop is down 2.7 on Believe it 2.8 and I'm gonna drop this down again to maybe - four. - I think that's going good. - Now, - one of the issue that we're having here. - We look at our source image, - but we're starting to get pretty close to you can see in these reflections that there's not - a consistency to the reflections. - There's kind of, - ah, - noise to them as you will. - And there's also, - um, - some scratches that preventing things from being reflected. - So we're gonna take care of that with another map that I'm just gonna call grunge map, - um, - and let me show you with one that I'm going to use. - All right, - So this is the map I'm gonna use again. - This is another map that I just found in, - um, - on CD textures just by looking in their grunge section. - And where did it go? - And so you can see this map hasn't like scratches and swirls and texture to it. - So I'm gonna go ahead and grab that. - I'm a drop it into my reflection slot right here where it says reflects I'm gonna drop that - in here and I do that just by clicking on my image and dragging it over. - And if we pull up our concrete, - you can see that is reflecting the reflection quite a bit, - which I think is looking pretty good. - And I'm also gonna pull it down to where it says are glossy nous. - Now, - this is a map that's controlling this number are blurry number. - If you remember, - we have sharp reflections with blurry reflections on We have everything in between and we - can use a map to drive that. - And I'm gonna go ahead and use that grunge map by pulling it down under a reflection. - Glossy Nissen a copy it. - You see what's gonna happen. - It's changed this quite a bit, - and so now you can see over top of our bump texture and are diffuse texture. - Now we're getting a variation in the reflection as well. - Now, - this is something that takes a little bit of time to play with and getting used to. - I have a feeling this is gonna be a little bit lower so you can still see it, - especially the edges of the speculator highlights. - You see, - if I turn it off, - he's get bigger and cleaner, - go down a little bit more. - Try 25. - I think that's looking pretty good to me. - I'm gonna hit render again And I think I might call this material done. - I'm liking the way this is looking So that's a render one more time I'm gonna render the - whole bottom for you and we'll see how this turned out All right, - folks, - that we have our concrete texture. - I think it's looking pretty good. - Um, - I think we could probably added just a little bit of contrast to the diffuse texture and - the way you would do that. - You could go and edit that image in photo shop if you would like or what I'm going to dio - is, - I'm gonna go ahead and click on my bit map. - So just the bit map controlling might diffuse texture and click on that and where it's - telling you what it is up here a bit map. - If I click on this, - I get my Matt browser and then you can see up here where we found Checker American - originally found Bit map and a whole bunch of other stuff that we could put in there, - which you guys are more than welcome to play with and see what you can find. - I'm gonna go one called color correction, - though, - and I'm gonna say Keep old map a sub map And if I bring this up again, - I can click on this blue button here and in. - See here is our texture, - and I can change the color of it. - But this I can de saturate it. - I can saturate it, - which that's way overdone. - But do you can add saturation? - Potentially. - Be careful, - but you can do it. - I'm still need them at zero. - I want to do with this groups, - but I want to do it. - I want to do is down here on up the contrast. - I'll make it a little bit starker and maybe a little bit darker. - Now he's gonna render Justice Region over here, - See how that looks. - I'm gonna do that. - Very pressing my teapot guy and going over here impressing Orender. - All right. - Finished pretty quickly. - Now. - You can see I just made this more contrast. - Makes it pop out just a little bit more. - Someone go ahead and say that looks pretty good. - And leave it. - If I wanted to do the same thing for let's say it wouldn't. - Year old, - maybe I'm gonna take this concrete. - Take this concrete. - Maybe I decide that. - I want the concrete on the back wall here from Apply it there. - Uh, - where? - Material map. - Hoops. - I would take my back one here and apply it there. - And Oops. - It looks like we have switched into No, - we're still material color. - What's going around here? - Oh, - yeah, - because I changed this from just a bit. - Map to a color correction. - If I want to see it again, - I have to click on that. - You can see in here I made with the concrete on this back wall. - You can see it looks pretty good. - I could look at it from the outside or it can go back into my camera view. - The one thing I don't like. - I don't like this one seen here. - And so what I'm gonna do is this is just a box. - And so I know if I make a u v w map, - make that a box, - it's gonna look the same not to worry about the size of the actual box because it looks - right to me. - What I do want to do is I want to move this over just a bit. - Now, - there, - you can see that seem again. - So I'm gonna make sure that I can't see it. - I gotta move it over just a little bit more. - I'm gonna do that by doing it in size. - All right, - so I got rid of that line. - I've got this texture in here. - I think it looks pretty good for a concrete wall, - even though it's a bigger texture than this. - I think that's gonna work for us now, - when very quickly go through the same process and create a wood for this bottom material. - So I'm gonna go to a new slot. - My name it would I'm gonna go to standard and click on very material. - Pull up. - This would that I found again on CD textures on here, - just like a wood floor kind of texture. - But I'm gonna use it as a veneer for the wall. - So I'm gonna grab that dragon into my nephew slot. - So there you can see our material check to see how it's mapping first onto this and the way - I'm gonna do that. - Select what we got selected here. - So it was selected these guys in this and isolate them by pressing Alta que. - The real reason I want this is that I could have some sense of scale that I'm going to - apply this texture. - I'm gonna make it visible so that I can see it. - Give it a second just to update. - And there we go. - So at first, - look, - it looks way to scrunch scrunch down. - So now we have the U V W map on there for the concrete. - Now, - we don't want to keep that in case we're gonna go back to concrete. - So I'm gonna rename this by right clicking and say concrete, - I'm just gonna go ahead and turn it off and I'm gonna make another one and this one I'm - gonna use from, - I would I think it's gonna box again, - just in case. - I think the with is probably looking all right. - And my think my gut says that these need to go a little bit further out. - We're gonna go Something like that looks about right to me and again. - You just use your judgment on this. - Go back to this. - Okay? - I think we're looking pretty good here. - So let's just set up this material again. - I'm going to go through about the same way. - Now the first thing I'm gonna do I do not like how saturated this is. - So I'm gonna go click on bit map include on color correction again. - They keep old map of sub map, - click on it to make it visible so I can see it just in case I want to adjust it again, - drop the saturation that about probably there. - And I'm up the contrast which also will make it more saturated. - Someone go down and find a happy medium for cool looking would think that should dio I'm - gonna give it a reflection of white If I wanted to make it a varnished wood. - I would probably go up somewhere around four for the frontal for this one. - I'm gonna stay down. - I think around 2.1. - Time to make this not too too bright. - Drop this down about 0.8. - I'm gonna go down my maps. - I'm gonna drag this down to my bump map again. - But default, - that's gonna be a 30 so you can really see the bump. - That's going to be too much. - I'm gonna drop that down to probably five. - I think that's probably good. - And I'm also gonna drag this. - Well, - first of all, - go my color correction up the brightness of it. - The reason for this is this is how Max is looking at this for a bump map. - It's good looking at it. - And just black and white and what I want to do to make it a little bit more stark, - I think that's gonna be good. - And then the last time I do, - I'm gonna take this more black and white one that I mean, - copy into my reflection map. - Drop that down to maybe 40. - That's looking good. - And I'm gonna drag it into my reflection. - Lawson, - this again, - you see that makes a huge difference to it. - And that's a little bit too much. - Go down. - Even 20. - We changed this back up a little bit. - So this is the number that that map is mixing with. - So I'm gonna sharpen that, - and then we'll turn this up just a little bit. - So now you can see we're getting this kind of cool reflection pattern going on inside of - you can see how big of a difference that reflection of loss in this map goes, - and I think that's gonna be pretty good. - I'm gonna go ahead and render that so you guys can see it. - All right, - folks, - there we have it. - Put the ceramic texture we made a little while back onto these mugs and I think they're - looking pretty good. - I also rendered this one a little bit higher at 1600 by 900. - It took a little while to render um, - but I just wanted to check to see if I had any game peg noise from stretch of my bit maps - too much. - And I think they look pretty good. - You see, - this bump got a little bit out of hand here and So I rendered region by using this teapot - tool, - and I just dropped it down to about six. - Grab this region to region tool and did that so I could see it's still a full resolution - without having to reread the whole image. - And so that's gonna cover it for, - um, - texture creation that you can use this this technique to really make anything. - And I encourage guys toe play around with different textures and different materials and - see how you use a couple different maps and see what type of effects you get. - It's really a playing and fine tuning type of thing. - So when you get done and you have at this point you should have your model set up, - you should have, - ah, - camera that you like, - and you should have some lighting that you like. - Once you get to a point where you get some materials that you think you're working for, - you go ahead and press render, - and we're gonna post this on to the skill share site. - One thing we're gonna do in the next video and that I want you to watch before you hit - render for the final time is we're gonna go over some render settings because we've been - working at relatively low settings and there's just a few things we're gonna change for our - final rendering. - So good luck with two year old creation. - It could be a little bit confusing and tough, - but really, - it's a lot of trial and error. - So good luck with it. - Play around, - find some cool things, - and I can't wait to see what you come up with. - Talk to guys soon. 10. Unit 3 - Video 3 - Render Settings: - All right, - folks, - welcome to the third and final video for anything that we're doing with three DS Max in - this video is going to quickly cover some of the render settings you want to use for your - final image. - And so it's opened up Max and look them. - Okay, - so here's the scene that I created in our last tutorial. - I got my wood texture down here and this up here. - I'm ready to send my final render. - Let's say I might actually tweaking a few things between now and then, - but let's say this was the final render. - There's a few settings that I want to change. - He's going to result in a much longer render time, - but it's gonna create a much higher quality image. - And so I wouldn't change the any these settings until you're ready to hit Render for the - last time. - But when you are, - bring up your render, - set up dialogue, - and you can do that by clicking over here the teapot or you could just press F 10 and here - we have our dialogue here. - Now, - on this first tab, - the common Pabon see the output size for the within the height So this is gonna be the - final resolution of the image we've been working out Pretty low resolution is the last. - 1% was a little bit higher. - 1600 by 900. - And for this one, - I'm gonna send mine in 1920 by 10 80 which is 10. - 80 p. - You can go higher if you want, - But remember, - every time you double these numbers, - you actually quadrupling the render time, - sometimes more. - And so one thing to make sure before you do that, - let's close this. - You see, - in this window, - if I press shift f these yellow safe frames come up which hopefully you remember from a - while ago and this is showing me exactly what's going to render. - So when I press shift, - f it crops in the screen to the aspect ratio that I have here. - So if I unlock this and let's say I did 10 80 by 10. - 80 if I want to make a square image, - you can see it's changed my composition quite a bit. - Now you can do it at whatever resolution you're like. - I wouldn't suggest for your first time rendering at full resins you go higher than 2000 - pixels wide just cause depending on your machine and depending on your materials that you - created, - you might have to re render something if you see it full resin, - you don't like it, - and this is gonna take quite a bit longer, - even just in 1920. - So pick a resolution that you think works or, - ah, - aspect ratio they think works. - I like 1920 by 10. - 80. - I think that looks good for this composition. - And I'm gonna press this little block button here just to lock that. - That's what I've been doing. - If I go down to 800 you can see it keeps the aspect ratio the same. - So we're set that we're gonna leave everything else here. - V Ray, - we're gonna go in frame buffer. - We can set it right here. - It says save separate. - Render channels that'll save out our image. - And you can browse to a location and set it to a specific saving format. - And that will just automatically save your file when one it's done rendering. - So you hit, - render and walk away from your computer. - It will say that zones that finishes rendering it will save it as soon as it's done. - And so that's going to some stand type. - In example. - Need to pick a format for this. - And I would recommend you save your final emitted image and tiff. - And the reason for that is that tiff is a non destructive file. - So a JPEG file, - You lose some information in which we don't want to save as until we're ready to post - things out of photo shop. - So we're gonna save it as a tiff. - I'm gonna press Save is gonna give me some options about the number of bits. - This is basically how much data in it your standard images, - an eight bit image. - And for this to tour, - we're just going to stick with eight bit color. - So we'll say OK, - and then it's set to share and then or to save excuse me and indirect illumination again, - This should be on already. - We should have a radiance mapping like cash. - I'm gonna change the radiance map up to medium, - and I'm gonna go down to the light cash and I'm gonna set this number somewhere between - 1000 and 1500 my machines pretty strong. - So I'm gonna go with 1500 If you go with 1000 for this resolution, - that should be fine as well. - It's really up to you and how long you want to wait for your rendering to finish. - And if you go into settings, - this noise threshold, - which we've been using it like 0.1 or 0.5 just to keep Brender times down, - we want to make sure we put that 0.1 so you won't get all those settings. - You don't touch anything else, - just leave it as it is and at this point, - save our file one more time. - And then we did it. - Render either hit it there. - Up here it doesn't matter, - and it's just gonna go ahead and render for us. - One thing to keep in mind is that this rendering could take several hours, - depending on your models and your materials. - Um, - I haven't rented out mindful rez yet, - but depending on your machine, - especially if you're working on a laptop, - this could take a little while. - My advice is that you get it set up. - You make sure you save your file before you press render, - and then you press Renner and you go out for the day or you head home and take a nap or - whatever it might be and just leave your computer to work for a while. - I know that's what I'm gonna do and that suggest to you the same watching it just causes - problems. - And lastly, - when you're rendering finishes, - you're gonna end up with something you know, - like this where you have your frame buffer in your file in it before you close everything - down. - Um, - I would check to make sure your file save so navigate in your folder to wherever you saved - it. - And go ahead, - open that up and make sure you can see your image. - And then it looks like it. - It's supposed Teoh. - If you didn't, - why you have your frame buffer open, - go up to the same image that you've been doing this whole time and just save it again and - you can see select your format tiff and just double check to make sure it saved. - If you close this by accident, - so long as you still have Max open and you haven't hit, - render again. - You can just go back to your render centering render set up here. - You can go to be right show last frame, - buffer VfB. - And there it is. - And then you can see if it so good luck with that. - Hopefully you were able to follow along with those steps. - And when that render finishes, - we're gonna use that toe, - go into photo shop in the next unit. - But please post your Raul render file into skill shares that everyone can see everyone's - progress and comment and offer advice and help and kind of get some constructive criticism - if necessary. - I can't wait to see what everyone's produced. - I'm excited to get into photo shop in the next unit, - and I hope everyone's enjoying this. - So we'll see you on the next unit. - Good luck to everybody, - and we'll catch you on the other side. - Oops. - One thing I've got to show you their folks. - If you are using either veer a plane lights like these, - or if you're using anything with an area shadow, - there's one other thing you're gonna want to change. - If I select this light, - it's just a very light with that we've been using most this time. - Because these creates soft shadows, - they can create a lot of noise in their shadows. - And so one thing we're gonna want to change I've already changed it in mind is sampling. - Now, - by default, - this number's eight. - I've moved mind to 24 which is increased. - Render time A lot 16 should suffice if you want to go super high 24. - Is this high to wanna go? - I would go with 16 for a very, - very like. - And if you select, - if you have a light like either an omni light or a, - um or a spotlight that has area shadows turned on like this, - I will go ahead and take those and turn them up to 16 as well. - You're seeing noise in your shadows. - That's probably the best place to fix it. - Other than that press render with the settings I just showed you and wait for a bit and I - can't wait to see what pops out. - Good luck, - folks. 11. Unit 4 - Video 1 - Intro to Photoshop: All right, folks. Welcome back. And welcome to the fourth and final unit of bringing digital life the basics of rendering. We've covered a lot of ground. So far, we've gone through the very basics of three DS max from modelling to complex modelling. We've gone through lighting, render settings. Hopefully, everyone's made an image of a still life that they like objects they've created. And in this tutorial, we're going to get out of three DS Max finally, and we're going to get into photo shop and put the finishing touches on our still lifes. So let's fire photo shop and get started. Okay? Okay, folks. So here is my final rendering straight out of the race when you get into photo shop and you get your full rise rendering good to have a look around and to see if you have any issues that you didn't recognize before you got to full resolution. So just like in Max, you can zoom in and out with your scroll wheel, and when you're zoomed in, you can hold down the space bar and you get a little hand tool, and then you can pan around just by clicking and dragging You can also pull up your hand tool just by clicking over here to the little hand. This left bar has all your main tools over on the right here. I have a couple of different settings at my color picker. I have been a Justin's adjustments and layers. If you don't have these, you should be able to get the My bringing up essentials on def layers is too small. You can double click on it to make it big. If you don't see any of these, you can find all of your tool palettes up here in window so you can see the ones that I have open right now. Have a check mark on them. So if we ever lose wanted to bring it back, we want to say, Bring up brushes. We could click on that, and we'll be on our brushes menu. You can just click and drag or ex out if you get rid of extra ones. Okay, so one of the things that I like to do whenever I get a rendering rendering into photo shop is just take a quick look to make sure that I don't have any major problems anywhere I'm not seeing any at the moment. Everything looks pretty good to me. One of the things you sometimes see from V Ray and the gun hadn't just fake some is sometimes in a reflection, you'll see little dots like this and white and black, where very had a problem figuring something out. So before we get started with any big adjustment adjustments, if you have these in your scene, I suggest you get rid of them, and the way we're gonna get rid of them is we're gonna make a new layer. And over here are layers palette of very bottom. We have this little window for this little piece of paper with the corner turned up. When you click on, it's gonna make a new blank layer is gonna put it on top of it, the layers always working the way down. So if I grab my brush tool and filling something nice and dark here like this, if I drag this beneath the layer, it's not going to see it is all they always look top down. So go ahead and delete this layer by dragging into the trash can. I'm gonna make a new layer so If you have little spots like this anywhere in your rendering , the way we're going to deal with them is with a tool called the healing brush. And we're going to clean up our image toe, get it working for So over here on the left you can see a little Band aid If you click and hold on it, you can see there's a couple different options. First, we're gonna take the spot healing brush tool If you could see And my cursor is this little circle If yours is too big, you can right click You see here I have a big one I have this big giant one if I want I want to make it nice and small somewhat right click and I don't bring it down to about five pixels about four. Go five, Okay. And so now it's niceness models And go ahead and click over top of these. Now, right now, it's not doing anything, but we need to click up. Here is a sample, all layers, which means gonna look at all the layers that are turned on. Okay, and now, Now we're just gonna click and drag over top of these and you going to see it takes to get rid of them for us. If you make a mistake, you can always controls the and sometimes it it'll make a little mistake while it's doing it. But just try to do one at a time, okay? That looks pretty good. So you can see when I hadn't cleaned up all of those just on this layer. So Okay, we're gonna Since this layer is all cleaned up, we're gonna merge it down in the layer 10 could do that. My passion Command e or in the layer options going to merge down. And I got to this menu up in the top of the layers, were gonna merge it down so we can see we have a clean starting base. So I encourage you to go around and get all that cleaned up. And then now we should have a clean image to start working with. Okay? So some of the basics that you should know I was doing to that layer since I didn't actually need it. Um, one of the things with photo shop. So if we go upto image right now, I have my base render selected and don't worry about these groups up here is just for what I was working on. Before I started this tutorial, we forgot to image and adjustments. We could make a whole bunch of changes to our image and photo shops, a very powerful tool for doing so. But there's one thing we should know. If we go up to here and we make it image or an adjustment directly to this layer, let's say we got a hue saturation and pulls up this dialog box. And so we wanted to take a look at it. Black and white. Yes, we pull it down and we say, Oh, that looks pretty good and we like it. We can say OK and now in black and white image. But that change has not removed all the color data from this layer. And so if we want to get that color back, we have to go to our original file and reopen it because it's gone. Now that's called destructive editing. So what we're gonna use is a technique called nondestructive editing. And so if you press, I wanna press command Z undo that change. So we have our color back and then down in our layers menu all the way at the bottom. We have this circle with the, uh, half black, half white line through it when we're gonna click on that one too. See, almost all of you seen tools that we saw all up in image adjustments. And if you click on hue saturation in our layers panel and you can see it's made another layer, which is a huge saturation later, I'm gonna go ahead and take this adjustments tab here and pull it out. And I'm in a docket right up here on this side to give ourselves a little bit more room to work in a just things and actually let it float so that the image days I'm also going to take this mass layer and I'm gonna pull it out and I'm just gonna close it out. We don't need that. Your screen might have a little bit more room to have stuff, but I'm recording in just a fraction of my screen here. Someone try to keep it tight for you guys. Okay, so with this you saturation layer, we can go ahead and de saturated all the way. If we wanted Teoh. And so now we have a black and white image. But if we turn this layer off, you can see we still have our color image underneath. So this is nondestructive editing. And that way, if we decide we want to make changes every later on in this, we haven't put ourselves in a position where we have to start over. So go ahead. You can take a look here at the hue saturation to what we have it opened. I'm just gonna pull it over here a little bit out of our way. And as you would guess, if you pull a saturation, Danny, it black and white. If you pull it way up, you get all the colors and you could see the colors of my scene. I'm gonna leave this kind of somewhere else. There's a couple of things which switch this Hugh. You can see it changes all the colors inside of our image. And so this would be one thing you could do if you if you want to, you tend to get some weird results. Look from this. So experiment with it. See if you find anything fun. If you find something fun go with it, If not, just undo. And lightness down here tends to just kind of mess things up. So I would leave that advise you to leave that alone. And then we have also this colorized tab which allows us to make all of our image a single color. So in monochrome you can also, for any layer, you can adjust how much it's affecting the layers beneath it by adjusting the opacity. So if we kind of like this green, But we don't want to be fully green because just kind of back it off and you can see we just have a tinge of green in there. So that's kind of the basics of the hue saturation tool. I'm gonna go ahead and close that since we're not gonna do that right now, I'm actually gonna delete this layer by clicking and dragging it to the trash can. The next tool I'm gonna show you how to use. And probably one of the two most important tools, levels and curves are very, very powerful in this one. We're gonna use levels. It's a little bit easier to deal with in the curves, and you can see we get this hissed a gram, which is showing. Basically, this is how many blacks I have. And this is my brighter colors. And as it's an overall pretty, pretty dark image most of my color spectrums over here on the left. And so we dragged these little sliders down here. This is going to set the black point. So as I come up, anything that falls to the left of this is gonna be black. And if I drag this in, anything that falls to the right of the white slider is going to be white. And then this middle cider setting where we want 50% gray. So let's go ahead and slide that back. Maybe we'll pinch that in just a little bit. I don't think I'm going to go in that far at the whites, maybe one breaking it up just a little bit. And then these levels down here aren't gonna help us to too much for this. But they do come in handy and other times, and that's just setting what the absolute black is. And this is saying what the absolute white is. We're gonna leave those alone and just kind of get these somewhere where we like them. And if you ever want to see the effect of a layer, just click on the eyeball next to it and you can see it affecting your image. OK, so that's our first step. So you want to use your levels to get your image somewhere where you like it. I'm just gonna lighten up just a little bit. With that. There's another very simple tool that you guys can use, which is brightness contrast to bring it up here, and you can, if you pull it up to get more contrast. This is doing a similar things before, but with a little bit less control. But it's a little bit more intuitive and brightness. You can kind of move it through here. Now let's say we want to make it a whole image brighter, and that looks OK. It's a little bit more star. You can see I'm losing a lot of data. All this nice detail that I have in here is going away. Yes, we have two options for how we can deal with that. One of them is we can go up here to the lasso tool and we can start to cut out the objects that we want to dio. And this would take a really long time to go through and select all of this. I'm not really long time. It would take a while to go through and select a mall. So instead, what we do is we're just gonna brush away. And so we're gonna go down here to our brush tool, which can also get by pressing B. You can see we're at a decent size here. And with this masks selected over here and the foreground color down here being black, we can change just by double clicking on it. We're gonna go in and painted away. You can see now this mask now just everything except for that area. That area doesn't change it all. You won't ever see what your mask looks like. You could hold down all button and click on it, and that's what we just painted now one of the problems with how we just painted that those that if this was a more drastic change, you can see that it's pretty obvious where I painted that in. So I'm gonna go ahead and fill this mass with white to get rid of what we just did by pouring down the command key Impressing, delete. You can see my mask went back to white, and with this brush set, you can see if you right click. You have some of your brush settings. I have just a soft brush, which you can see if you go to stroke thumb. Now I have a soft brush selected, which is one of these brushes. So the hardness is all the way down and I can adjust my diameter there. I can also adjust my diameter while inside of the tool by pressing the bracket keys up in the bracket keys down. But what I'm gonna do is I'm gonna take my flow, which is basically how fast Thanks. Coming out of my brush, I'm gonna put it down to somewhere around nine or 10. And now when I'm painting, it's gonna come out a lot slower, and I'm just going to take my time and just cover over it. You can see I'm going over just a little bit. But that's all right. We can clean that up afterwards, and I'm gonna clean up, see where it's coming up up on top I'm gonna clean that up by hitting the switch button to go toe white. Or I could just click on the black and go toe white. So if I paint white into this mask, I'm gonna do just to clean up some of these edges. If I plain white into this mask, then I'm basically allowing it toe affected again. So this area where I've gone over the top you can see here, we're gonna go through and change it. We're paint over it. Excuse me. So that's the basics of masks. You go ahead and get used to playing with it. There's one of the two we should know about it, and that is the Grady in tool, which you get to by pressing G or it's right here. And so if I wanted just this side, let's say to be, uh, blown out like this is really blowing out the image that say, I want to decide to stay dark and this side just to get blown out with the masto selected with my Grady int tool. And I'm gonna go ahead and press D which brings back my default colors black and white in to my color picker, and I'm gonna press X, which changes switches them. You can also click here, but X is a little bit quicker. I'm just gonna and I'm just like this first grade it, you see have a couple kinds of radiance up here. I'm just gonna drag all the way across my image. What I've done is I've made this Grady in all the way across, and now you can see it's affecting the right side of my image much, much more than my left side of the image. So play with some of the different radiant tools and start playing with your brightness, contrast and kind of levels of your image. And in the next video, we're gonna get into a fume or complicated or refine ways of editing our image. 12. Unit 4 - Video 2 - Color Correction: - Okay, - folks, - is the second video in Unit four, - which is post production in Bringing Digital Life basics of rendering. - Let's hop back over to photo shop and go through a few more techniques for color correcting - this time for your okay, - folks, - welcome back to photo shop. - One thing I forgot to mention that first episode that's important is that say, - I was using my brush tool and I was just drawling on top of this and you're a couple lines - we're talking and then I want to undo it. - If I just press control Z, - it just toggles the last movement that I do back and forth if I want to go what they call - step backward and Photoshopped I press command Ault Z and I press that and that will - continue going backwards. - Thea other option would be to go to your window on Brand your history window, - and that has all of your last step so we can go. - Just step back to see what I've done or we can go here. - If we go a step backwards, - you can see it moving as I go back. - So just quick. - Way to know how to undo things. - In case you were struggling without a moment ago, - I'm gonna go ahead. - I'm just gonna leave that little palate there. - Put that one right next. - All right, - folks. - So let's look at a couple quick ways that we can change kind of the mood or color in our - image. - If we go back down to our adjustments tool and we bring, - we're gonna bring up photo filter. - What photo filter does is it basically applies a tone lightly over top of everything so you - can see it by default, - comes out with a warming filter. - But there's a whole bunch of options here, - and you can even set your own. - So let's just kind of scroll down to see what some of them dio. - There's a cooling filter. - Get kind of a cool blue color, - and this is usual little bit more subtle than changing things through hue saturation and so - you can go through. - And if you find something you like, - you can stick with it. - If you don't find one just by default in there that you like, - you can click on color and click on the color itself. - And that brings up this dialog, - which is our huge, - which is our color picker and photo shop. - We can use this. - You can see we have your value from top to bottom, - from black to white, - and we have saturation from D saturation, - although a de saturated to fully saturated left to right, - this bar up and down picks what you were in so we can go through and we can pick a couple - different ones you can see. - Let's see. - You can see it updating as I change colors so we could go with the bright red bright orange - and just can usually find something that you kind of like. - Like that's kind of starting the work. - A little purple color is kind of cool. - It's a little bit too bright. - Go with their. - But if we did pick a color that was to Britain wanted back it off. - We can also say adjust the density of our filter down beneath it. - That's one way you can go about kind of setting a mood or tone to your image. - I'm gonna delete that. - I'll show you another way that's a little bit more. - It's a little bit more detailed, - but you have a little bit more control. - So let's go up and pull out Color balance. - When you color balance, - you get this palette with, - uh, - three different options. - Here we have shadows, - mid tones and highlights. - And so now we can adjust each one of our three channels red, - green and blue for RGB for the shadows, - the mid tones in the highlight. - So that's saying we're going to take the highlights to move him a little bit more towards - red, - maybe even a little purple and kind of adjusted. - You won't be careful if you go too far, - you start getting some weird effects, - and so we can just move just by little bits, - I must say, - preserve luminosity X. - I don't want to just that. - Then, - instead of going to the mid tones, - I'm gonna go straight from the highlights. - Down with shadows. - You kind of pull it quickly in different directions to see that's kind of get done. - It's giving us across process Instagram. - Look, - that's gonna make it to read. - Things go a little bit green. - You pull it far, - you can go and get an idea of which direction you want to go. - If it all that's kind of looking all right, - and then you can kind of find tune as you go along. - So it's really just a game of playing once again since we're doing nondestructive editing. - If we if we make a change that we don't like, - we can always just delete that layer so you can see what it looks like. - So you can see where I didn't quite a bit of different tones and colors into it by this - color balanced layer. - I actually kind of like that. - So I'm gonna leave it on, - I think. - But again, - it's trying to blow out all of these areas so I can either drop the opacity of the men of - the whole layer down. - So it's not making this big of a change. - Or again, - I could just go in with my brush and I'm gonna select black. - And with this selected, - I'm just gonna go in with a really low flow and just painted out, - and so you can see that is bringing back these nice blue edges. - All right, - going panders a little bit more since this is a drastic change when go ahead and turn it up - . - That's pretty much bringing him back if you ever want to turn off the mask, - if you shift, - click on it, - it puts a red X over and goes over so you can see I'm kind of losing the edges here. - And when I have to activate that mask, - it starts to bring it back in. - So if I had a little bit more time in this, - I would go through that a little bit more carefully. - But I'll just leave that for now. - I think this is starting to look kind of good. - If you want to see what all of our changes look like, - we have a couple of options. - We can turn all the layers off just by clicking and dragging. - Instead of clicking on each one, - you can click and drag just like that, - or you breast all and click on the eyeball of the base render and that will go through and - just toggle everything off. - Except for that one layer. - It's kind of like the isolate selection in three DS max. - All right, - Come on, - turn down this red. - Just a little bit up the yellow. - Just a hair, - Okay. - Something in that starting to look pretty good. - I'm pretty happy with the direction this is going. - So in the same way that we just went through and painted out the mask for this from a Sure - you can also do the opposite. - One of the things that's weird here and it's a result of how I rendered is that we're - getting this thin streak of, - ah, - highlight coming down from my spears here and we're just getting a light reflection. - I feel like that should match a little bit more. - So what I'm gonna do is I'm gonna create a layer called a curves layer. - Now, - curves is my personally personal favorite tool in all of photo shop. - And it works similar to the levels command, - but with a bit more control. - So running from black to white, - we have all of our values that I pull up the mid tones. - You see, - I'm brightening or darkening the mid tones. - I pull in the brights. - I can brighten everything up just by clamping in the whites. - Same with the blacks, - and I can also really control it s curve here to really fine tune the contrast in my image - where it is and how I'm getting it. - Excuse me so I do. - Most of my corrections both color and level corrections through the curves to what I want - to use it for here is I'm just gonna You go ahead and pull it up until it started to kind - of blow out some of these highlights underneath of it. - And that's probably about good. - Close it down. - So it's not in our way. - And then with this mask selected, - I'm going to press command I to invert the mask turned black, - and so now you can see that's not doing anything. - And with my brush and with a low flow and I'm gonna press a D to get back to my black and - white and I'm gonna right click. - So I'm going to get a little bit smaller diameter. - Just something like that. - I'm gonna go through and just paint in just a little bit, - just underneath of these, - just to kind of even out some of these highlights that are coming through. - So it's a little bit less less street. - Um, - okay, - with getting blown out, - some kind of liking that vibe for this image, - you might not want to go that way, - and that's fine. - It's really a personal taste thing. - A lot of this kind of stuff is just playing around until you get a result that you like for - up here. - I think I want this light to be casting a little bit further. - If I turn off my layer mask, - you can see that this is probably a pretty good layer to do it on. - And so I'm gonna go ahead and make my bresil quite a bit bigger. - And I'm just gonna very softly oops, - that much, - very softly. - Start to paint this out. - There you go. - You can see the light starting to fall a little better these air sitting on the ground just - a bit more. - Okay, - so so far, - we've gone from this image starting give a little bit more life in a little bit of color - and tone. - Um, - one thing I'm seeing here is that this is getting really blown out, - and so I can see this this level channel that's doing it and again because we're using - nondestructive editing. - I noticed that just now, - but I can go and I can either go back to the adjustment and just bring that down a little - bit, - which is gonna help war, - I could go in and just adjust the mask some more. - Okay, - Now I'm starting to notice that this side is getting a bit more saturated than this one. - And so I'm gonna go ahead and pull up a hue saturation adjustment level again. - I'm gonna just it so that that side looks a bit better now this side. - I wanted that to stay where it waas. - So again, - I'm gonna pull it. - My Grady and Tool are pressing g or clicking over here and with black in the foreground. - I'm gonna go ahead and just paint ingredient Dragon grading across. - You can drag a straight radiant by holding shift. - Yes, - And I can see this layer which I wanted to be up with the top shouldn't move it up there. - This layer is just making that part a little bit less saturated. - The last thing I think I'm gonna do for this tutorial pull up a another curves layer bright - in the mid tones a little bit. - Oops. - You can't see what I'm doing. - Sorry. - So I just opened up this open this adjustment layer brightened up the mid tones to make it - read just a little bit more. - I really want that just to be adjusting kind of everything, - except for these circular spheres, - they're glowing. - And so again, - I'm just very quickly. - We got my brush tool, - black low flow go in and just kind of paint some of that space out. - Now, - maybe I would put a photo filter over the top of it all. - That's actually kind of nice. - A little bit too much, - I think, - on these curves. - I was gonna paint out this part a little bit. - All right, - You can see we're going from from this image to this that I think is a little bit more - dynamic, - all right? - And in the next episode, - in the next episode of Construe the last couple of things for this image that really are - going to make it start to pop, - it's kind of those last couple things that really bring it all together. - So play with some of these tools. - Try to find a color palette that you like. - If you want to go black and white, - by all means, - go black and white. - Um, - really, - In photo shop, - it's all about playing around. - Just getting something you're happy with and content with how your image is looking. - So hopefully everyone's getting used to using masks and a couple different adjustment - layers. - In the next episode, - we're gonna do a couple last things, - and then we're gonna call these images done. 13. Unit 4 - Video 3 - Finishing Touches: - Hey there, - folks. - Welcome to bringing digital life. - The basics of renderings. - Final Chapter, - this is Unit four, - video three. - The finishing touches on our image. - Hopefully, - everyone's making some progress on getting a look for their image that they like. - In this episode, - we're gonna look at a few last things you can do to give her image just a little bit of - extra pop. - So let's fire up photo shop and just finishing it already. - Folks, - here we are. - And, - uh, - making a little bit of progress. - I'm pretty happy throw. - This is Images is going. - It's right now. - Started there. - Got something going here. - A couple last things that I like to do. - I'm not doing fully, - but I can show you. - What I like to do is if I make a new layer, - I'm gonna bring my brush tool by pressing B or by selecting over here. - I like to paint in these little highlights to give him a little bit of glow. - So just if I hold down all with the brush key, - I get a little eyedropper. - Someone select the color on their first. - I'm just gonna paint a little bit and I'll go a little heavy so you can see it. - You could see him painting in here, - and then I'm gonna go, - and I'm gonna set this layer to color Dodge. - And you can see what it does is it gives us this nice little radiant of color coming across - . - And so I'm gonna delete what I just painted, - but with the layer on color Dodge, - turn this down a little bit. - Turn my brush size up there. - I like to just go in and just kind of paint some of these edges and you can see it just - gives it a little bit of a burn across the sides. - It just makes everything just a little bit better. - Do the same thing with these wine glasses here. - You want to be with this kind of layer mode with a light brush. - You don't be too too specific what you're doing, - and I'm holding down all dislike that color just enough to give everything a little bit - more of a blow. - Normally, - I would take my time doing this, - but keep moving, - so it's not a huge difference, - but you can see if I toggle it on and off. - It just brings everything to life just a little bit. - You can go ahead this blending mode. - If I was to change that, - to multiply, - you can see it makes things darker. - And all these blending modes multiply things together. - I'm just gonna kind of scroll through a moral quick and you can see that they all have - different effects. - So it's worth playing with him a little bit when you're like it looks a little bit cool, - I'd have to tone it down over there. - Maybe just a race that away using your eraser tool just like a brush. - But I believe it on Color Dodge. - I think that's looking pretty good. - Then there's a couple of things that you can do to kind of bring out a little bit more - dynamic, - uh, - imagery. - And one of those things is is I would have found some textures online that I like that I - thought were interesting. - This was one of them, - and I'm just gonna go ahead and press control all control a to select all and command see - to copy it and then coming back to the image that I was looking for, - paste it in, - I'm gonna transform it to make it big. - Just best Manti get a free transform is gonna drag it out so that it goes over all the - corners. - Then I'm gonna go ahead and click in here and just kind of scroll through using the arrow - keys. - Once you click on it, - I'm going to scroll through some of the looks that this gives. - See if I find anything I like. - And some of them look good. - Sometimes they don't. - You never know. - This is really kind of experimenting. - Stage overlay looks kind of cool. - You could turn it down a little, - so that kind of gives it a completely different look. - I don't think I'm gonna go with that. - Let's see another one that I found. - This was another one. - Now this one has a lot of picture on it. - I'm just gonna control a to copy it. - Control. - Cede Control. - Ada, - select all control seed. - A copy. - Come back over here and paste it. - This one has a whole lot of texture. - And if you wanted to add texture, - you could do it this way. - If you want to add like a paper texture or anything like that, - that would be up to you. - You have to use your own tastes. - I'm going to see how overlay looks. - I'm getting some school colors. - I don't like the texture in this. - I think it's just kind of messing up our image. - Somebody used filter. - There's a bunch of stuff you could do in here. - And I encourage you to play around. - I'm gonna go to filter, - blur Gaussian blur, - and you can see the higher the radius, - the more blurs. - And I really just want the color, - not the texture. - Some go way up, - say, - OK, - that kind of gives it a nice, - nice, - warm feel. - If I wanted to go that way, - we're going tone it down. - Just put a little bit of reds in there. - I think that's nice. - I encourage you guys to play around, - find some textures you like and, - uh, - go around and the last thing I'm gonna do I'm gonna bring up. - I'm gonna put a little vignette on this. - There's a lot of ways you could do that. - But the way that I'm gonna do is I'm gonna make a curves layer and see it Here's over top - of everything and then I'm gonna pull it down and dark in it. - You can see this is making image way too dark. - But that's OK for now, - what I'm gonna do is I'm going toe with my mass selective press command. - I invested inverted so that it's not doing anything to grab my Grady in tool again. - Make sure it's on linear Grady in. - And I'm just gonna go ahead with, - um, - white in the foreground. - I'm going to drag down. - You can see right now if we look at what my mask is doing, - there's one great. - And if I go to Dragon from the sides, - it goes white to black, - and when I want to do is go white to transparent so that I can add to it. - So I'm gonna click up here where the Grady in is all in the top left. - You have a couple different Grady INTs to choose from. - I'm gonna choose the 2nd 1 which is from foreground color. - Too transparent. - You can see what's gonna happen now if I drag down, - it doesn't draw black all the way across. - Just adds white. - So I'm gonna select all and I'm gonna fill this again with Black by pressing the Commander - control button and d select. - And I'm gonna get out of my layer mask again I got into my layer best mass by holding Ault - impressing, - clicking on the layer mask So with its selected, - though with white in the foreground and white to transparent I'm gonna go ahead and dragged - down and you can see that started putting vignette on it. - It's a little bit too much. - Now I'm gonna switch over to my radio, - Grady, - in which creates a circular ingredient and then I'm going to switch to black in my - foreground. - And I'm just gonna drag out of those areas that I don't want to be darkened, - so that just kind of frames are image a little bit. - So I think that's starting to look pretty good. - I'm pretty happy with it. - And then the very last thing I'm gonna do and this is usually the last step I do when I'm - finishing an image is gonna make a copy of everything. - Somebody goto command A or control A to select all I'm goto image or edit copy merged on. - What that's gonna do is it's gonna copied to the clipboard, - everything. - I'm looking at that so it's gonna convince all of the layers and then I'm gonna just press - command V. - You can see now I have a layer in here that is all by itself. - The full image collapsed and I'm gonna go up to filter sharpen, - unsure AARP mask What? - I'm sharp mass does zoom in And here's my little menu, - for if I turn it off this just kind of ad brings back a little bit of detail that got lost - in the rendering process. - You don't want to go too much. - You can go. - If you go too much, - you end up with all these little highlights around everything. - You could see him really drastically there. - And so that's just way, - way overdone. - All we want is just a little bit of sharpening. - Some will go down to about one of the half pixels. - I can check it by telling it on and off. - Turn it up right about there. - You can see it kind of really brings that metal life just by bringing out that service - detail that I put in when I was texture mapping it and you can see if I toggle on and off. - It also really helps this glass, - doesn't it? - You see, - it really kind of bring some of those highlights out in the glass. - And so with that, - I am going to call this image done. - Hopefully, - you guys are somewhere in a similar position that you have an image that you love. - Um, - you guys have done a lot of work in this. - We've covered a lot of ground and a lot of topics. - So I want to congratulate you all on getting to this point congratulate you on making your - first final rendering for a three D from a three D model all the way down toe image. - And I hope that you guys enjoyed the process and learned a lot along the way. - So please make sure everyone sharing their work on the skill share boards. - I know everyone wants to see what everyone else is up to and creating, - and there's a lot that we can learn from one another, - and I can't wait to see your work. - If you're having trouble, - make sure you post your questions and problems up on the board so that other people can - help you out. - If you see a question, - know the answer to definitely lend a hand. - And if there's anything else that you need just posted up there and I will keep my eye on - there to try to help you guys out. - So congratulations. - Once again, - Thank you for taking this class. - I hope you enjoyed it. - Please feel free to leave any comments or criticisms or suggestions for next time. - And I'd love to hear him. - And I look forward to meeting you guys and seeing your work. - So happy editing happy modeling and keep on posting. - Thank you again, - folks. - Take care now.