Rendering Interiors for Beginners

1. v01_Introduction To Blender: - Hey there, - folks. - Welcome to sculpting with light Render interiors brought to you by my good friends over - darker Tizer. - I'm Mike, - your instructor, - And in this class, - I'll be teaching you had a light and render beautiful interior images all of your own. - For this course, - we're gonna be using the free and open source three D software blender along with the scene - that I have modelled and textured just for this course. - So we have had a chance to download both of them and install the actual software blender. - Once you do, - let's get started. - See, - down here on my desktop, - I have folder in which I put the file sculpted with like base. - If you haven't put this into a folder of its own, - please do so just so that we have somewhere to unpack all of the texture. - You can see this file is quite big because it's storing all of the textures that I've used - to make the scene. - So we're gonna take care of that right off the bat. - But let's go ahead and open that up and let me just resize this window here for you already - . - Okay, - so here is your basic interface for blender. - If you haven't used the three D software before, - this is probably looking a little bit complex. - There's kind of menus and pallets and buttons all over the place. - I'm gonna go ahead and clean it up just a little bit. - First into this middle view where we have our model sitting here looking down in plan view - . - I'm just gonna go ahead and clean this up by dragging these pallets awakes. - We're not gonna need them for a little bit. - I'm also gonna change a couple of seconds really quick, - which I would encourage you to do with me. - So I go to file user preferences, - we get all of our settings and I'm just going to change inside of the interface. - I must say, - Click on, - zoom to mouse position and rotate around selection and inside of input. - I'm gonna change by default. - These are gonna be set to blender. - I'm gonna change these. - The three DS max. - And if you're used to blender already or if you have some experience with it, - you don't need to do that. - If you haven't used it, - I would encourage you to do that just because it will help you following along with me - because that's gonna change. - Some of the controls of how we navigate around are seen in some of the shortcuts that I'll - be using. - So if you haven't used blinded before, - go ahead and change those. - The three DS max is to help you follow along. - The reason that I do that is because I'm just more familiar with three DS max them blender - . - I spend more time there than a blender, - so I'm just used to these controls. - That's what I'm going to use. - Okay, - So inside of our view port, - if we just click with our middle mouse button, - you can see that we can pan around, - are seen. - And this is the scene that I've modeled for you. - You can see we kind of have a staircase over here with the main room with a couple of - things in it. - Or here we kind of have a lounge room with, - um courtyard around it. - And over here we have, - like a small sitting room. - So if you really want to look into this, - if I hold down the altar key and use the middle mouse button and rotate, - you can see of rotates me into perspective. - So now we can see this scene. - That model. - We have a stairway over here, - which you might recognize from the title image. - For this course, - we have a couple of objects here, - Um, - that I've modeled for you a table with some bases on it, - a mirror, - a little light. - And then over here we have some chairs and some lamps and a table. - Over here we have another lighting element and this big seating thing select things just by - clicking on them. - And if I press Z while some things clicked on, - it'll zoom into that object. - So if I scroll out with the scroll ribs in one just presidency, - it'll zoom me in so that I can see it. - Okay, - okay. - So once again, - panting, - I'm just doing just by using the middle mouse button to rotate around, - I'm using Ault in the middle mouse button and then to zoom in and out. - I'm just using the scroll wheel on my mouse. - So hopefully asking it a little bit comfortable with that. - Let's get in to rendering. - Blender has built into it a preview renderers so that we can kind of see what we're looking - at in its render view as we're working. - So if I go down here to the bottom bar and next word says object mode, - there's this little sphere by click on that I have a couple of options. - Right now, - we're in wire frame, - which is what you're seeing here. - If we go up and click on rendered, - just wait a second. - While I kind of loads everything in, - we can see we have a rendered view and I can go ahead and scroll around inside of this view - port. - You can see it's a little bit slow reacting because the computers do all the work. - It's a little bit of heart card to control panning around inside of it. - So if I want to move my camera, - it's easier to go back to a wire frame, - move my camera to where it IHS. - Let's say we want to be in this main room here, - and then I can send it back to rendered again. - Just wait for a second to update, - depending on your computer, - it albeit a different speeds. - Here. - We can kind of have a view of the scene that I have prepared for you guys so you can see we - have a wood floor texture with these concrete walls on a few other things inside of the - scene, - all of these air being defined by J pegs and images that I've created for this tutorial. - And right now, - it's packed into this scene, - and we're gonna go ahead and unpack it. - Just that our file sizes is we're saving. - Different copies of this are in is big. - So I'm gonna go up here to file external data, - unpack into files, - and I'm gonna show you what that does. - When you click on that, - it gives us a couple of options were just use the 1st 1 use files and current directory. - Click on that. - It's gonna take a little second. - There we go. - And I'm gonna re save our scene, - Um, - and actually save it as a new name. - I'm gonna save as sculpting with light and understands. - Name this tutorial. - One. - Go ahead, - say safe. - And you can see if I go back to the folder where I have it saved. - The file size has gone from 100 megs down to 17 megs, - and it's created this folder called Textures, - that inside of it has the images that I'm using to create those materials. - So this way, - when we save more, - more versions of the scene a supposed to each one being 100 megs now they're just gonna be - 17 megs of peace. - Let's get back into Blender. - Okay, - so the next thing we're gonna need to do is we're gonna need to pick a camera, - set up a camera, - so there's a couple ways of how we can do this. - First, - let's make a camera and let's actually split our view port so that we can look at both our - image and where are what we're actually looking at to render. - And we can also look at the three D scenes. - So if I hover over at the edge of the, - um, - Vieux Port here, - you can see my cursor changes to a little re sizing bar, - and I right click. - It's a split area. - I'm gonna click on. - I'm gonna drag that right into the middle. - Now you can see we have to view ports, - and over here on the left one, - I'm gonna press the letter t to go back to top view. - I'm gonna switch this view back tow wire frame. - So now we can see our scene, - and we still have our render view over here. - We're gonna need to create a camera inside of our scene. - And there's a couple of ways we can do that. - Um, - the easiest ways. - We're just going to say inside of this view, - Porter's gonna press the letter. - The, - um, - keystroke shift A. - I'm gonna get this add menu. - I'm gonna come down to camera and I'm gonna click. - OK, - where has it created? - You can see it. - Grid our camera way over here. - I have my move to lop. - Um, - excuse me activated, - so I can just pull this camera back in and I could go through and start toe Arrange this - how I wanted it to. - So let's say I wanted to have it looking down this hallway. - I could move it in here, - and then I could use the left. - The letter l to switch to my left Vieux port and then come down here and click on this - button has transformed an insulator to get to rotate. - I can also get to buy the letter e and then I can rotate it down here and then I could kind - of try to place it in the scene or the other option and to see what this is looking at - right now, - I can press the letter C so you can see right now it's looking down this hallway here. - We'll go back to my top view port so I can see what's going on. - The other option is that inside of this view port over here on the right, - I compress the key, - stroked command vault zero. - And what that's going to do is set our camera to this view. - So it's command all zero, - and you can see that the camera's gone. - Now, - wait a second. - I didn't do what I want to do. - That still the same camera. - I'm gonna go ahead and switch back toe wire frame mode. - Here. - Let's see what happened. - Switchbacks wire for a Moto impress. - T to get back to my top mode. - I'm just gonna select this table. - So if something orbit about hold on all and middle, - click on. - Rotate back in. - You can see this is our camera. - Here. - This marks up. - Let's see what's happened. - So by press control, - all zero Okay, - there you can see over here. - It's moved the camera to where this is. - And now I have a frame which is basically what this is going to render. - So if I switch back over to my rendered view, - you see that it's rendering just inside of this box and with our camera selected, - which weaken do over here. - I must look the camera over here on the right. - This is kind of all of our settings and everything else. - So in this first tab we have our scene where we've been set up, - what dimensions we were going to render at. - So let's say I want to do Ah, - horizontal image. - I could change this. - Number 2 1000 Uh, - oops. - Change the wide 1000 and you can see that it's adjusted our view port to match it. - I go over here and click 1000 again. - We go back to a square. - I'm gonna do these in a square for Max. - It fits into here a little bit easier for me. - Um, - but we can also, - with our camera selected, - go over to this kind of third toe last tab, - which is a little camera video camera icon as opposed to a standard one, - and you can see in here we have the settings for this camera. - So if I go in and change, - let's say, - um, - my focal length I'm just gonna drag us out so we can kind of see a little bit more, - make a little bit more room here. - If I change the focal length of our image from 35 down to like a 20 millimeter lens, - you can see we get a much wider angle camera. - And if I changed up to 50 it zooms weigh in. - So I'm gonna leave it down to, - let's say, - maybe 20 and why we're doing this. - You can see right now that my cameras tilted and that's a I want to keep all the vertical - street again. - Over in this right panel, - I can click on the object of my camera, - and this has all of its data. - So I'm gonna switch this number back down toe 90 so that verticals go straight up and down - , - and then we can take a quick little tour of our seen here. - So, - uh, - I'm just in this left window was going, - I can move on camera around and you can see it's a lot quicker moving around this way than - trying to do it inside of the rendered Vieux port so we can see down here. - We have this room with these kind of little punched out openings, - and we have a couple of chairs and a lamp in the table. - Come back out of that scene out of the hallway. - You see, - over here we have Ah, - this little table here, - which is actually a designed by Foster and partners, - the architecture firm. - Over here. - I have a stick light whom I'm not sure who actually designed that I've done that on lock or - saw that online and modeling for this course. - This is a mirror by Philip Starck. - We look back this way. - This is the staircase that we have from the title image. - And then if we turn it around again, - you see, - we have this little staircase here looking all the way down. - And then in this room, - we have a light designed by Ross Love Grove, - I believe, - and, - um, - and a bench designed by Ron Arad. - So that's our scene that we're gonna be working in and you can see toe light it right now. - I just left a couple of point lights which looked like this inside of our window throughout - the space. - Very kind. - Just boring standard lights. - But for this first intro, - I'm gonna have everyone make just one image just using this default lighting that we - already have in here. - So nothing special, - but we're just getting through the steps on. - We're gonna render one image out, - which, - you know, - we're almost there already. - So I'm gonna take this camera. - I'm gonna move it in here a little bit, - and I think I'm gonna straighten it out. - So again, - with the camera selected and see camera here, - I'm gonna go to this little cube, - which is kind of my object properties. - And I'm just gonna straighten that to 90 degrees. - So it's nice and straight, - and I think I'm gonna come maybe a little bit closer here, - and then I want to see a little bit higher in the screen. - But I don't want to look up, - because if I just go into my front view by pressing F and five, - rotate this which again I can. - You either grab this tool down here. - Just press the letter e and I Look out, - you can see I get all this three point perspective, - which for this image I don't want. - So I'm gonna go ahead, - undo that with control Z. - Okay? - I'm just gonna move it back in just a little bit. - And then still, - with my camera selected, - I'm gonna go back to my camera icon where I can change like the focal length and this shift - f x and Y will allow me toe if I just drag on it. - Allow me just to move the basically the viewing plane up so you can see all my verticals - are still nice and straight, - so that's pretty much gonna be my composition of the last thing to do is tow. - Actually render this out. - And to do that, - we're gonna go over to the render settings over here against the one the far left and looks - like an old, - um, - old manual camera. - And we have all these settings which some of them are already set up for you. - There's a couple things that we need to look at those so one of them is in dimensions. - This is gonna be the output size of our rendering So right now it's 1000 by 1000 which is - why we have a square format. - Like I said, - if you don't want to do a square, - if you wanted to do, - let's say, - um something super vertical. - Oops. - Switch that to like, - 2000. - And there you can see we have, - ah, - vertical composition, - which again we could work inside off and we could do the opposite. - Make that smaller than the X number. - When we get a horizontal composition and work on it, - this 100% underneath of it is that if I had, - let's say I wantedto render this in 2000 by 2000 or anything like that, - I could just type in 200% here is opposed to changing that, - and that makes sure that I keep the axe aspect ratio the same. - So I'm just gonna leave it out of 100. - I'm changed this this one, - I'm just gonna do that 1200 by 1200. - And the last thing that we need to know is the setting so you can see right up here says - path tracing out of up to 36. - Um, - and what that is is it's basically how many samples that's taking to clean up all of this - noise that we can see in the image. - And if we go down here just a sampling, - you see sampling presets right now, - it has renders at 20 and preview it six. - So preview is controlling this. - You can see it's just finished has gone up 36 to 36 still quite noisy. - Um, - if your view ports very, - very slow in updating, - you can always drop this down to a lower number and you can see now it's only going to go - up to nine. - So it'll get all way up there a bit quicker and a little used less. - Resource is, - I'm working on my desktop, - so I believe that it six for May and then this render setting is how many samples that's - gonna use for your final render. - So right now set to 20 which isn't a bad number, - it's still gonna be kind of kind of noisy. - If this is a file rendering for May, - I'd probably go up to something between 40 and 50 but that would take a couple of hours to - render on my machine. - And if you are working on the laptop, - That might take a little bit too long. - So for a modest size of 1212 100 I'm just gonna leave this a 20. - So it's done nice and quick. - Um, - but if you're trying to remove mawr noise from your image, - that's where you're gonna do it. - You're gonna raise this up and be careful, - because once you go, - if you're 20 it's gonna have a total number of samples of 400. - If you double that to 40 that's gonna go from 400 up to 1600. - So it's a squared relationship. - So you want to move it up a little by little, - um, - last with at least right now have border checks. - So that is not render on the outside. - I'm gonna turn that off just to make sure, - um, - that I'm not cropping it on my image at all. - And then last but not least, - I'm gonna go up here to render and I'm gonna click, - render image Start with a little jump there, - folks, - I just had to adjust something really quickly that I forgot to do before starting this, - but no worries. - So we're to go up here, - impress render to actually render out of final image. - And you can see when I click on Render Image we got a new image here or new frame and you - see, - appear kind of its status. - So remember, - before we're looking at 36 now we're going to go up to 400 now. - I've also left progressive rendering on so, - as opposed to rendering the image and little buckets all the way through it, - it's gonna update the whole thing. - This is going to slow down the overall image just a little bit. - But the nice thing about doing it this way is that if I get up to, - let's say, - 200 samples and I decided that that's good enough for the preview that I'm making right now - , - I can stop the rendering and save it as opposed, - actually, - having having to wait all the way up to 400. - So while this goes through and updates and starts to clean up some of this noise in the - image, - I am gonna pause it. - And once it gets to a point that I'm happy with it for this, - I will show you guys how to save an image. - Okay, - folks. - As you can see, - about seven minutes have elapsed here on my machine, - and we're up to 124 125. - It's still rendering at the moment. - Um but for this purpose is of this, - you can still see there's a decent amount of noise still in this down here. - And if I had let this finish all the way through, - a lot of this would resolve up. - But because this is just the preview introduction and for the sake of time, - for the sake of time, - I'm gonna go ahead and pause this here or stop this here just by pressing escape. - It's not unusual for final images. - This was a full resolution final image. - It wouldn't be unusual for this image to take several hours, - actually render the whole thing out of a full resolution, - and that's gonna vary by your machine. - But you can see for this this will work. - I press escape because he is no longer rendering here and zoom in just kind of take a look - at it. - And I think that's gonna work for this. - So to save this image, - I'm gonna go down to image right down beneath here and go to save as image. - And I get blenders, - save, - um function. - I'm gonna go just to my desktop and go to skill share. - And I am going to save this as tutorial one and down here on the left. - Right now, - you see, - by default to J. - Peg and said to 100% So it's pretty high quality JPEG. - But if we want to save all of the data in this, - we could save it as a tiff. - And 16 bits now 16 bits is a bigger format. - This J peg would be about two megs and size. - We're probably not even maybe a Meg. - This tiff will be somewhere around 12 or 13. - But it saves all of the data for us and Photoshopped. - So I'm gonna go ahead and save this as a 16 bit tiff. - We're getting Photoshopped in the last lecture of this class. - Then we'll go ahead and say it has a 16 bit tiff and we've got it saved here. - I'm says that save his image. - If I wanted to save it also, - as a J. - Paige, - I could do that as well just by going back into it and by default against J. - Peg and I could say to tour a one J peg and just they save his image there. - So that's it for this first tutorial. - I know we covered quite a bit in there, - and, - uh, - you're a little bit confused. - Just take your time, - maybe watch it again. - So you get used to moving around inside of blender and go ahead and play with a couple - different views and trying to find something he thinks interesting and render it out. - Um, - everyone should post their image to the Skill share website in the student work section so - people can see what everyone else is doing. - And we can help one another for anyone's having problems. - But we're going to get into the next issue, - which is we're going to set up some specific lighting and the next one we're gonna look a - day lighting. - So good luck with this. - I hope everyone was able to follow along, - and it has joined their introduction to Blender, - hopefully made an image that you're happy with. - We're trying make on even better one in the next tutorial. - So good luck, - happy rendering. - And I'll see you in the next tutorial. 2. v02_Daylighting: - Hey there, - folks. - Welcome back toe sculpting with light rendering interiors were in the second video of this - class. - In this video, - we're gonna go through and light a scene with daylight. - Um, - so let the interior is, - though. - Son was coming in through the window, - actually, - not that dissimilar from what we're looking at here with the course title image. - So I've gone ahead and opened up the scene from the first video just as it is, - and we're gonna go through and light it with day and I'm gonna set up a different camera. - I think for this so first thing I'm gonna do is I'm gonna work in just one view port. - So right where the split is between these two scenes and one of right click on it and say - join area and we can see that it it asked which way we're going to do, - And I'm gonna merge everything over here that we have this big, - and then I'm gonna sit back to my wire frame view so it's a little bit quicker to work on - and switch to my top view by pressing t So we have our camera over here, - and I think for this view. - I know that. - I'm gonna look over here at thes two chairs for this shot. - So I'm gonna go over here and I'm gonna set this camera up to kind of look straight at - these. - I think now I want to rotate it. - Look straight over at it again. - I want it. - I don't want to. - Kind of close to straight on. - I wanted to be straight on. - So again, - with my camera selected, - I'm gonna go over here to my kind of info palette properties tablet over here on the right - and click on the Little Cube, - which gives him all of my camera data. - I'm just gonna switch the Z back to zero. - And so all that's doing you see, - is it is if I put that to zero, - just seems it straight upwards. - So then I'm gonna go into my front view, - and that's probably somewhat good. - I think I might move it down. - Um, - but let's take a quick look. - So again, - if I wanted to split these screens back open, - I just click over here and say split area and I'm so put it there and I could see out of to - view ports, - then this view port on the right. - I'm gonna press the letter c, - which is gonna bring up the view of our from our camera and you can see our border again. - So cameras just a little bit high. - I'm gonna go ahead and press F, - go to the front view and just press w or use this move tool to pull it down. - I think something like that. - Probably good height. - And then I'm going to move it forward. - Let me to something like that, - I think. - And I think this is probably too wide of a lens. - So we'll go back to my camera tab now, - Is it 20? - I think I want this. - Something like that's probably good. - And then I don't want to lose the bottom of it here. - Something to go back down to my shift. - I'm gonna go ahead and move this down. - Also. - I'm gonna go. - I'm gonna say this as a new scene so that it's not overriding the other one, - so I'm just going to change that to pictorial, - too. - On Save that there. - Make sure you guys we're saving money, - so I think we're gonna do something like this. - Let's take a look at what it looks like. - Just the lighting from that first scene. - Just again. - That's just by going to rendered. - Okay, - so we just kind of have this floating point light right now just sitting up here in the - middle, - writing this scene. - I think this will work pretty good as a composition once we get some good lighting coming - in from these windows. - Um and so I'm gonna delete out of this scene the lights that I originally had and the quick - way to get to those is up here. - We have all of the objects in this scene. - If we scroll all the way down to the bottom, - we can see this Z temp point, - which are the lights that I hadn't there originally. - And I'm just going to select it and delete it. - And I'm just gonna again I'm gonna select all these. - And these are just all the lights that I left in there. - I'm gonna select it. - And over top of the view port is pressed, - delete and then confirm for all four of these. - Okay, - so now we don't have any lights on. - The only light we're getting right now, - this little bit of blue you're seeing is because in this world tab I had the background set - to blue and it's all it's. - It's like a kind of a whitish blue, - and it's not affecting the diffuse. - If I turn the diffuse on, - we'd see it gets a little bit more light in there. - But I'm not going to use. - This is a pretty inefficient way of liking the scene. - There's gonna be a lot of noise, - so let's let it stay on on glossy and transmission, - which basically means reflections. - Concede that background color. - But I'm not going to use it to light the scene like the scene we're going to create. - Ah, - sunlight and then some fill lights. - So that creates, - son. - Just keeping this open over here so that we can kind of take a look at what we're doing - over here. - I'm gonna click with my right mouse button and you can see it moves this little red and - white cross hairs. - And what that does is it's gonna specify where my next object is going to be. - I know my son is going to be somewhere looking this direction, - and so I'm just gonna click there just to make it nice and easy. - And again, - I'm gonna press shift a and that brings up our ads were gonna meshes and all that kind of - stuff. - And I'm gonna go down the lamp. - I'm gonna go to Sun. - Okay, - so now we have a son here. - You can see it's not really affecting this scene that much. - If we go into our front view port, - you can see the sun direction is straight down now because the sun is a directional light, - its location doesn't matter that much. - But its direction does because it's fired all perpendicular or parallel rays straight down - so nothing can actually get into this room that we have here. - So I am going to press B to bring up the rotate tool, - which is also thes bottom scroll bars. - You can scroll with your mouse to get two more if you can't see what I'm seeing here. - But if we scroll over, - we can see this tool is the rotation tool. - I'm gonna go ahead and just take this and rotate it towards my seen something like that. - Something just like that. - So, - um, - you can see we get in a little bit of light in here, - but it's super faint. - And so, - with our light selected over here in all of our properties Tab, - I'm gonna go over to the little son icon, - the light icon, - and we can see right now it's got a strength of one's got a white color, - Um, - and a size of three inches. - So go ahead and click. - Multiple important ST sample. - That's just gonna help us with noise in the final render. - So go ahead and click that we go ahead and take this strength and I'm gonna bump it way up - to, - like 100. - Okay, - that's probably a little bit too much. - I'm gonna cut that in half to about 50. - We'll see how that's starting to look. - And that might be about the right amount of, - uh, - of light for this scene. - I would say we're starting. - Get in. - Our sunlight isn't white. - It's more of kind of ah, - slightly oranges color. - So I'm gonna go ahead and it kind of maybe a saturated orange. - So you can see now we're getting orange light into this scene. - And so right now we have the light coming straight across here. - I think I wanted to hit this back wall just a bit. - So over here in this view port were my top view. - By pressing t, - You can also get to all of your different views from here down here on the left so I can go - to front. - Um, - and it will change, - and I can go up to top by person by clicking on that. - But I can also just use the shortcuts, - which makes it a little bit easier. - Go ahead and rotate my son this direction. - I know I'm gonna want it to go. - I think I want to go through this middle window and hit this chair. - So I'm gonna go ahead and position it just in front of that window. - So it's a little bit easier to rotate into location again the actual location of the - sunlight, - because it's just firing directional light. - It's on Leah directional parameter. - That's a little bit different than the spotlight. - And so I'm go ahead and rotate it. - So this is hitting that chair. - You can see. - It probably needs to come up just a little bit. - Some will go back to my front view. - I'm just gonna move this down, - too, - so I can visually see it. - I'm just going to rotate this up until it's hitting that chair somewhere. - A problem maybe gets the back of the chair. - So now we have this. - This chair kind of highlighted. - All right, - so this is starting to look like a day. - Let seen that say the room. - Still, - it's a bit dark, - and this shadows very, - very soft, - and you can see the size here of 3.937 inches. - If I put this down to, - let's say, - zero, - we get the super duper sharp lights and that that's the light that's coming straight in off - of this. - And if I go down to like up to like two inches, - it's quite a bit softer. - One intro quick, - so one inch. - We're starting to really see the shape of those windows. - If we go back up to like three inches or so, - we're kind of getting a nice combination. - So this is a pretty low sun. - So would have pretty soft shadows. - So I think that's looking pretty good. - And then what we need to do now is at fill light. - So in a room like this. - You have the sunlight coming in and you can see that it's bouncing around a little bit to - light up the room. - But you get a lot of fill light from the sky itself. - Just the sky, - um, - actually generates a lot of light. - So instead of using the background, - flood this image, - we're gonna create two plane lights, - uh, - toe kind of wash in some color in through these windows into this room. - So again, - in this, - uh, - Vieux port over here, - I'm gonna press shift a and I'm gonna go to mesh, - and I'm gonna say plain and you can see it's created a plane again over here. - Uh, - I'm going to use this plane throughout all of these windows, - and I'm gonna end up creating too. - But first I want to stretch it. - So I'm gonna go to either click down here to the transform tool, - or you can just press are I'm gonna scale this plane up, - so that is big enough to kind of cover all of these windows and in the front view, - I'm gonna rotate it the kind of habits normals facing in inside the room here. - And then I'm gonna move it using the w tool down here and now I'm just going to scale it up - . - Now you can see what's happened is now it's casted. - The sun can't get into the room because we're blocking it with this because we're gonna use - this as a light. - I'm gonna go to the object properties for this here in plain, - and I'm just gonna go all the way down to the bottom. - So we have our plane on the Cube all the way down the bottom for Ray visibility. - I'm a click on shadow, - and you can see now it's not going to cast any shadows, - so the sun gets straight through it. - Next thing we need to do is we need to give this light on a missive materials that it's - emitting light into the room. - So again, - over in this, - uh, - properties palette, - we have a little ball with kind of a checker on it. - I'm gonna click on that, - and this is our material palette. - I'm gonna click on new Let's just name this skylight and then down here, - we can see a sample. - So this is a standard material surface. - Be SDF. - I'm gonna click on that. - I'm gonna change that. - Always upto a mission. - And so if we put this just to kind of see it up to 20 you can see that we're adding all - kinds of light into this room. - So I'm gonna go ahead and click that on one. - Drop that down to maybe five. - Let's just see what we're getting here. - Oops. - Okay, - so I think five is good for the amount of light that's coming in. - But what I'm gonna do for this, - because this is sort of reinforcing the sun from this side, - I'm gonna go ahead and give it a bit of a warm tone on a super duper strong one, - but just a little bit of warm light coming in, - and I'm gonna have cool light coming in from the other side, - which would be just skylight. - So in this view over here, - I'm gonna duplicate this light by pressing shift D and you can see now I can drag this - light around. - Adams can go ahead and drag it all the way out of the scene. - Rotated against that's pointing down just a little bit. - And then in our materials, - I'm gonna go up and delete this material from this plane. - I'm just gonna go ahead and press x on. - This is going to remove it from this side. - And I'm a quick new I'll say cool skylight for this color and I'm gonna do the same thing I - did last time. - I'm going to change from a diff you shader toe on a mission Shader. - And I'm gonna give this a nice, - cool color former around there, - I think I think I want this to be a little bit. - Since this is alone on this side, - it doesn't have a son backing up a thing. - I'm going to give this a little bit brighter. - So just a seven. - You see, - we're getting some nice blue light coming across here kind of mimic what happens in real - life. - Have a nice warm light coming in from this side with sun low sun and over here we have a - cool skylight coming in. - So that's looking pretty good. - The one thing I'm gonna do that's not going affect what we're seeing here but will help us - with render times and render grain or noise is right next to strength where I have it sent - to seven I'm gonna click on this little dot which gives me an option of maps basically put - in there and it light fall off. - I'm gonna go to quadratic, - which is the realistic way that light falls off. - I'm gonna reset the strength back down to seven, - and I'm gonna set smooth toe one, - and that's not going to change anything here. - It's just gonna help us when it comes time to produce a final rendering. - And so over here, - we have that plane I'm gonna do. - The same thing is that I'm gonna click on the dot, - go to quadratic and for smoothing. - I will set that one. - And I'm also going to set the strength back down to five. - So it's not overly lit inside there. - All right, - now, - let's see, - what we got is it's kind of clearing up here. - I think we've got a pretty good looking lighting set up here. - You let it kind of finish cleaning up. - We have a believable skylight coming in here from the side. - We have a kind of harsh sun coming in from this low side, - and it's kind of highlighting the chair and highland bit of the lamp and I think that - that's starting to work. - Pretty good. - Oops. - Accidentally hit F 10 there, - Which is render Go ahead and escape out of that. - Okay, - so I am going to call this dump for now so you can see that we've put in a direct light to - give us these nice, - strong highlights of, - ah, - direct sun source. - We put in some nice Phil likes to kind of fill in the light of the room, - and I am gonna press render on this, - and I encourage you guys to do the same. - Um, - I've actually pre rendered this image, - and so I'll show you what I came up with in a second. - But one thing I do is that one thing I do want to show you guys is that if we press, - f tend to render or you can go appear toe render image just under here. - And we let this image start to render out and so you can see it's going through. - Ah, - all the steps that it did last time. - You see, - it's updating, - and it's working its way towards 400. - Um, - so let's say that this was our final image and we're done so I'm to cancel this rendering - for now, - Um, - and just let my computer catch up. - So sake, - let's say this is our final image and we went to goto an image save his image. - We saved at the image that we wanted there. - If we Instead it's accidentally press escaped twice. - From this, - we go back into our three d view port and we lose all that rendering that we did. - But we don't have to worry. - What we can do is down here where we have this little box on the far left of the bottom. - If I click on that, - this is all the different types of viewers that we that we can see all the different - information. - If I go up to UV image editor and click on that, - it's gonna bring up that's last rendered image. - And so obviously this isn't final, - but I don't let it finish, - but we can always get back to so again. - So if I escape out of that and end up at three d View, - which happens a lot and let's say even that I, - you know, - go through and change it to wire frame and I start doing something else. - We could always get back to it by simply pressing this button and going to UV image editor - will always bring up the last round a room You did once you closed down, - uh, - blender. - Or if we start another rendering that goes away, - so make sure you save it before that. - But if you accidentally press escape twice to stop a rendering, - you can always get back to it that way. - So my show you the image that I already rendered here pulling up photo shop. - So this is the image that I rendered ready overnight last night. - And I believe I set the sampling Teoh 40 for this and took on my computer about four hours - . - Um, - and you can see photo shop. - You're looking at it. - You can see that even though we have a little bit of noise way up close. - We got a nice, - pretty smooth image. - So I'm gonna call this pretty good rough image. - This we're gonna do photo shop in the fifth and final video for this. - But this is my final image for this. - So I've given a lot of tone kind of hope to pump up the light we're gonna learn that in our - final, - uh, - final tutorial. - But for now, - it's all about getting the base out. - So this I'd call a pretty good base for, - uh, - starting a photo shop on, - and I'd encourage everyone toe experiment around this play with some different light angles - and different light intensities to try to get a daily image. - You don't have to use a camera like this one. - You can set it up anywhere inside of this scene to ah, - as long as there is a window or an opening, - which most of these spaces have to send light in from. - So when you get done with that, - make sure you posted onto the skill share website so that everyone can see everyone else's - work and help each other families having problems. - And in the next image, - we're gonna be looking at lighting things interior early from lights and stuff like that, - as opposed to a son. - So I hope everyone is able to follow that. - If you have any questions, - please post them to Ah, - the board and I are your fellow students will try to help out and answering them, - and that is about it. - So good luck with it, - and happy rendering 3. v03_Interior Lighting: - there, - folks. - Welcome back to sculpting with light render interiors. - This is the third video where we're looking Interior source Lighting, - like is from lamps, - Um, - type of lighting or interior lighting in this tutorial. - Washington due to quick setups. - Um, - so let's get started already, - so you can see I've opened up the scene from last time. - And the first thing we do is let's say we're looking at this image, - and we want a very quickly change it over to, - like, - a nighttime scene or maybe even dust. - So we that we have some, - like, - soft, - like dark blue light coming in from the windows, - and then we're gonna light it with this lamp that we have in here. - So that's first delete out our son you're selecting. - Delete it. - So we lose that sunlight. - And now we're gonna give these, - like, - a deep blue color, - and I'm gonna give them the same material. - So what I'm gonna do is I'm gonna select this light over here, - which used to have our warm Excuse me are warm light coming in and on the right in our - materials tab. - I'm gonna go ahead and select, - um skylight. - And this is all of our materials that I have in the scene Some of the scroll until I find - that material that I have for the other, - like cool skylight. - So now we have blue light coming in from both sides. - And, - uh, - that way I can adjust just the one material and get soft blue light coming in from both. - And I think I'm gonna want this to be just a little bit deeper, - maybe a little bit more purplish, - and then I'm gonna drop it down quite a bit. - I'm gonna drop it down toe, - let's say 25. - Maybe that's, - I think a little bit too low. - We're just kind of going for that, - like, - bluish, - dusty light that you get. - So that's gonna be good for our skylights coming in. - Now we need to create a point light. - Um, - for this So let, - like, - this would admit, - most of it's like down, - but it will relate a little bit, - also coming up at the top of its open. - So over here, - let's go to our top view. - And I'm just gonna use my right click right mouse button to get this little gizmo that - target the crosshairs. - in the center of this light more or less, - and I'm gonna press shift day and I want to bring up a lamp and I'm gonna bring up a point - lamp, - and then I'm gonna go to my front view and you can see it's placed that way up here, - so I'm gonna bring it down. - You see, - as soon as we get into the room and get super duper bright, - I'm gonna go ahead and pull it down just a little bit below this light bulb. - And so all right, - so we can see that the lights coming out a point light amidst light in all directions. - So it's admitting 360 degrees. - It's just admitting light uniformly out over the entire thing. - You see, - Right now, - this is a super bright light. - So we're gonna go over to our make sure that we have our lamp selected our point light, - and I'm gonna click multiple importance in the sample again, - which will just help us with keeping it nice and clean for final render time and next to - strength. - I'm gonna click on the button and go to quadratic again, - and I'm gonna change the smooth level the one again. - That's mostly for render times. - I'm gonna drop the strength down that started maybe 15. - You can see we have, - like, - a nice light coming out. - I think I'm gonna go a little bit higher, - maybe 20 and I'm gonna give it. - I would say that's incandescent bulb in there. - And so I'm gonna go ahead and set it to kind of a nice, - warm orange color. - Just kind of we and I get some that feels right. - Go up to maybe 25 here. - I'm just kind of I'm just adjusting these values based off what I'm seeing. - So now we have kind of a nice amount of light coming up to the top and rendering up here, - and we have a decent amount coming down here. - I feel like this light would admit mawr like down than up. - And so if we just turn this light up like, - let's say we want this chair a little bit brighter, - which we dio, - I just turn this light up. - The problem is, - is that it lights down here, - but it also lights up here, - and I want to just kind of focus a little bit. - Mawr light down at the bottom. - So I'm gonna drop this down to 20 25 and I think I'm gonna give it a little bit more color - , - and then I'm also going to create a spotlight. - So I'm gonna go back to my top view by pressing T, - which can also get to hear from view, - um, - view stop and again right here. - I'm just gonna press shift a and in lamp, - I'm gonna pull up spotlight. - If I go to my front view, - we can see our spotlight. - I'm going to pull it straight down again. - I'm gonna put it right here, - right by the other one. - I'm leaving a little bit of part in case I want to separate them. - And you can see Now we have on edge here of this spotlight. - So with this light, - I'm gonna go ahead and click multiple important sample again, - which again was just gonna help us out in render time for strength. - I'm gonna go back to quadratic so that now we have smoother lights on Set that to one, - and I'm gonna go down to spot shape. - And that is basically how wide this is shooting. - So if we turn this up even higher chance of like 100. - You see that as we widen it, - we're getting Mawr like down here. - Now we're gonna turn it down here in a second, - because that's too much. - But the other thing could do is that if we wanted it to have a harsh shadow, - we could again in just a side, - just like we did in the sun, - down to something like one inch. - And you see, - this line starts to get sharper. - But I think for this one will do something, - maybe two. - It's probably good. - And I'm gonna go ahead and make the spotlight a little bit wider again that it's almost - fully coming out of here and I'm gonna take the light and I'm going to give this also warm - tone. - We don't need to give it the exact same color. - It's actually the variance between the two is gonna help us. - Um is going to help us create a more realistic life. - Uh, - and then the last thing that I think we're gonna do here this first we have inside of this - light bulb, - you can see I've modeled a little filament. - Now we can't see the filament. - So this is if we could see into this light. - This film really helped make this more believable. - But one thing we could do for the reflections inside of here is we can go and set this lamp - filament, - which is currently black, - and we're going to say, - because we're going to say, - Let's just get rid of it that material together and that's at a new one and set it to - mission again. - And I would give it a little bit of a yellowish color. - I believe the strength, - probably one, - but I am going to make it a quadratic fall off again and I'm gonna set the smooth one. - Now if we made this super duper bright if we made it 500 maybe even more than that, - since this is so small, - we see that starting to add light here. - But that's not what we're gonna do for this. - We'll leave this down at one just in case you guys air seeing into it, - and I just wanted to show you against set it to an actual object as well. - But what we're gonna do is I think I'm going to give this interior material a uh, - brightness as well. - So in my front view port, - go ahead and select this inner inner shade. - You can see there's two parts to the shade. - There's the outer part which is set to us black reflective material. - And then right next to it is an inner shed. - I'm gonna go ahead and clear the material that it currently has. - And as opposed to making it a missive, - I'm gonna make it mawr reflective so that we're seeing mawr of this light coming out of it - . - So I'm gonna click on new again. - Maybe I'll name this inner shed and then I'm gonna scroll down to where it says diffuse be - SDF. - And I'm going to change that to a glossy be SDF, - which is right here, - which basically means that now it's gonna be a reflective shader, - and I'm gonna change the roughness. - So right now, - this is basically reflecting as a mirror, - and I wanted to reflect more is like a soft material. - So I'm gonna change this roughness of 2.4 and now you can see because it's reflective and - you got these nice, - bright speculator highlights That material creates a more believable brightness and we'll - actually probably in photo shop, - make that a little bit brighter, - but Okay. - So very quickly we went from a daylight seen to a nighttime scene. - All right, - I'm gonna leave that where it is, - and I'm gonna go look at another setting really quick in this. - What I'm gonna do is I'm just pulling this camera back. - You can see now we're out in this room that doesn't have any lightning. - The super duper dark. - I'm just gonna just this camera, - just like I was before. - And what I'm adjusting it to is I'm gonna change this view port from rendered to wire - frames. - You can see what I'm looking at. - And actually, - I'll go with shaded or solid so you can see I'm looking at this Philip Starck mirror. - And which kind of set light? - Some more like that. - I think, - actually, - I'm gonna dukes. - I don't wanna be able to see all of this. - I'm gonna pull this back a bit. - I'm gonna make this camera give it a 50 millimeter lens, - maybe even a 55. - Okay? - So you can see that now. - We have our Phillips dark mirror here, - and then we have this exposed fluorescent bulb, - which currently is not illuminated. - So if we switch this to render view, - give it just a second update, - You can see we're not really getting much of anything. - We're getting a little bit of the highlight from way, - way back behind the space. - It's coming from this, - which is reflecting our sky. - But I will go ahead and select our ball, - go back to our materials right now. - You can see it as a white glass material on it. - I am gonna get rid of the way, - turn the weight class material off and give it a new material which I will name, - stick like and just like before, - I'm gonna change that to on a mission. - Shader. - So now we're starting to get some light in the room, - and I think I want this to be like a cool fluorescent light, - so I'm gonna give it a little bit of a blue hint. - Okay, - so we're starting to get it, - and I'm just gonna turn it up, - try 11th and see how that looks. - And I might go a little bit brighter, - but I'm let it render here for a second to see what we're getting. - I think that's actually not bad. - Maybe we'll go a little bit higher, - Member, - go up to 15. - I'm gonna go ahead and click on it and give it a quadratic smooth fall off again. - Set that to one. - Set the strength back to 15. - And just by making that in a mission on a missive light, - you can see Now we're starting to get a believable, - um, - kind of fluorescent light in this corner. - All right, - Now, - there's a couple things that I want to do here. - One you can see that this is starting update quite a bit slower. - And so, - even though these things were not using anymore, - it's still going through and, - uh, - updating and kind of looking for all that information. - So it helps speed up this friend arms in, - turn this back to material real quick and wait for a second from a computer to kind of - catch up with me here. - Okay. - And I'm just gonna go through I'm gonna make sure I save this seen as a new scene. - Save it as tutorial three for me. - You guys can, - of course, - name whatever you like, - and I'm gonna go through and I'm gonna delete some of the stuff out of the scene. - So I know I can't see this in the view, - So I'm just gonna go ahead and delete all that. - Believe that delete our spotlight point. - Lay over here. - I was gonna delete that stuff out, - Make this scene a little bit lighter. - And these I'll leave these in here for now. - You could delete them because we can't see them, - But just in case we decide to look over there, - I'm relieved them there, - so OK, - let's go back here and set this to rendered View three. - Give it a second to catch up with us. - All right, - so now this is starting update a slightly faster rate, - and I think what I want I think I want some light coming in. - So this is the stairwell. - Zoom in here. - This is the stairwell that's back behind our camera, - and it's reflecting in this mirror, - and I think I want some light coming in from from down up top there. - So I'm gonna go over here. - I could just create a new plane. - Or I could move one of these and actually think I'm just gonna create new ones. - So I'm gonna delete out the old lights that we have here. - I'm gonna go ahead and put my cross hairs here by right clicking press shift, - A mesh plane. - I'm gonna do just the same exact thing we did before. - So first I'm gonna scale it. - Press are, - or you could scroll over and use this little button down here at the bottom. - So I'm gonna scale it up to about the with kind of cover this opening and then in my front - view port. - I'm going to move that up. - Just so it's up on the top here and you can see again. - Now we're blocking those reflections. - So with this plane selected first, - I'm gonna go to the plane Object properties, - and I'm gonna go all of it out of the bottom, - Ray visibility and I'm gonna turn off shadow and I'm gonna turn off glossy, - and I'm gonna turn off or leave transmission on. - Excuse me. - Okay. - So turned off classics. - I want to be able to get reflections through it as well, - Which is what we're seeing there. - So now I'm gonna go to our materials again. - I'm going to wait for the update. - Here we go. - So our materials one to give it a new material. - I'm gonna call this sky plane, - Let's say and once again, - I'm gonna go ahead and set it to on a mission material. - I'm going to change the strength from one to quadratic, - just like we did for all the rest. - Room said that the 1.0, - you see, - Now we're getting a ton of light coming down set to 100 I'm just gonna drop that down to - maybe 20 See how that looks. - I think that's a bit brighter than I want it. - Let's go down to maybe five. - Still. - So we're getting kind of a soft light coming down here because I want to use a blue light - here. - I think I would do the same thing I did last time, - which was make the lights kind of oppose one another. - So this is giving us a blue light. - And so this one, - I'm gonna give maybe a little bit warm. - So maybe it's not night time. - We're just in an interior space. - I'm gonna give this a little bit of a warm light coming down. - Something like that on. - If I select this light again, - I think I'm gonna make this just a little bit more blue. - Okay, - see what we got going here? - I'm gonna go ahead. - And if you go back to your render settings where you can set your final resolution in your - dimensions and everything, - I'm a quick border, - which is just gonna restrict it, - uh, - this frame. - So it's not trying to render everything else, - and I think that's starting to look pretty good. - So those are two mawr lighting techniques you can use, - and you can use that in combination. - You could use that. - You could set, - um, - up in these little drop down stealing you could set in the side of it. - You could set spotlights to come down the side. - You could set them just coming down from the ceiling. - If you want to use a more traditional kind of lighting set up, - there's a whole lot of options that you can do with those pointing spotlights and then - setting meshes toe lights. - Um, - but for this, - I'm gonna say OK, - and I've already rendered this out. - So let me pull up what I rendered last night from this view and again I already rendered it - , - But I believe for this one. - I think I rented it out 2000 by 2000. - And my sampling setting for this was 40 or 48 I can't quite remember. - And it took about 3.5 4 hours on my machinist. - But depending on what resolution you have, - obviously the bigger the resolution, - the slower is going to go. - And the higher this number that cleaner, - the image assed faras noise, - but also longer render times. - So you might have to experiment just a little bit to get something that's working for you. - But if we pull if I pull up photo shop here, - So this is the image that I rendered out last time. - Um And you can see again. - We have this kind of blue light coming from our fluorescent tube. - That's kind of lighting this front area and then in our back area, - the stairwell. - I have just a soft light coming down from the top, - which you can see the chefs off shadows here. - And I also set in a missive shader to the front plains of these little stare lights that - I've model for you, - um, - to create this rendering. - And so I'd say this is a pretty good base. - I think it's an interesting little I really like this, - like design. - I need to find out who actually did it, - that that I saw on the Internet and then again, - after a little bit of Photoshopped really make this come alive. - I ended up with something, - looks something like that so you can see you have a bit more glow in contrast in color in - it. - But I did all that in photo shop, - so we'll be covering that in the final in the final tutorial. - But I hope you all enjoyed this and, - uh, - again look around this scene. - There's that back room that we haven't even gotten into that has another lightened there - that you could set some point lights up in. - There's a whole bunch of stuff and feel free to move things around, - whether it's objects, - what you can do the same way we're moving cameras on, - move your lights around and just kind of try to make something something that you're happy - with. - So again, - once you're finished and you have something rendered, - make sure you post it to the class website for everyone to see and learn from one another. - And if you have any questions, - make sure you're posting them as well so that hopefully I or someone else can answer it for - you. - But good luck with it. - Hope you enjoyed hope. - Everyone's able to follow along and I'll see you in the next image where I'm gonna do a bit - of the 1st 2 together in the one image and balance them out. - So happy rendering and I'll see you on the next one. 4. v04_ Combination Lighting: - Hey there, - folks. - Welcome back to sculpting with light rendering interiors. - This is the fourth video in this to tort in this class. - And inside this tutorial, - we're gonna look at a combination of day lighting and source lighting, - so that will have lights on the inside of our space. - And then we'll also have a sunlight coming in. - So let's go ahead and fire it. - Blender, - back up and get started. - As you can see, - I've opened up our, - um, - last seen here where we have looking at the mirror. - We have a kind of soft light coming in from the back. - And then we have most of our light coming from the fluorescent stick light here and this - we'll go ahead. - You can see how greening this is right now. - It actually turned down the samples and turn that back up to six. - Just here in this first have for my preview rendering that it cleans up just a little bit - more for this view. - I'm gonna take this camera, - and I think I want to move it over here to something like this where I can see back down - this hallway and I can also see this table in the front there might have to move just a - little bit. - So if I switch to the wire frame to kind of speed things up a little bit, - actually would go to solid already. - I can't actually starting to look all right. - I think I want to go just a little bit wider with this camera so I can see just a bit more - off what? - The camera selected again. - I'm gonna go over here of right and select this and then bring this out just a bit here. - I think something like that should probably work. - Pressing f there sits in front of you to adjust the height of this camera. - Okay, - I think that should work pretty good. - Okay. - And I think I also want to see a bit more of this table. - So I'm gonna go ahead and just select this. - We are just holding down controlled select multiple items. - Um, - for some reason, - this vase won't let me select it. - And if I go up here to my item selector and I find vase at some point, - had disabled this option right here, - which allows it Teoh make make a selection. - So I just click on the arrow. - Now I can select that as well. - So I'm just gonna do that. - I was going to scoot this over a bit somewhere, - I think there, - and I think we'll pull it forward. - Just a hair too. - Okay, - maybe we'll take these vases 11 to the scenes that you can see them right about there - should work. - And I think I want to move this light over here. - Let's see what we're looking at right now as a rendering. - Okay, - so, - yes, - we were still We can see some of the light over here coming from this stick light. - But I want this light to be kind of back in this corner behind it from the zoom in here. - It's like all this, - including groups, - including the little outlet socket there. - Number. - Go ahead and rotate this 90 degrees. - And to rotate it in Exactly. - United agrees. - If I go down to the toolbar down here and they're a magnet, - click on that. - I'm gonna make sure that increments selected. - And now, - as we've rotated, - you can see down at the bottom of this view port that is going in five degree increments. - So I converted exactly 90 degrees. - Fool this over here. - I want to go ahead and put it right back in the corner. - Number turned snapped back off. - So he's got putting it into your now. - This court is running out through the wall, - but because it's outside of my view port. - I'm not gonna worry too too much about it. - Um, - what I really want is for this to be back there for reflections on Differ starting to add - some lighting coming out from this wall. - So we just kind off take a look at it. - I think that's going all right. - Now we're starting to get somewhere we can see over here. - I've turned these stare lights on which down here we have. - This is kind of the middle housing for it. - And then there's also this stair like glass, - which I've given in a missive material of the slightly warm light coming in here. - And then there's also some light coming down from the top. - And that's something I put in up here for another image that I was thinking about doing. - So this kind of his down lighting in these these Ah, - these just little kind of valley that sits around this drop ceiling, - and I think for this image, - what I'm gonna do is I'm gonna have the direct light coming in through this room and coming - in here, - so I don't really need this light, - and that's actually going to compete with the direct light I have coming in. - So I'm gonna go ahead and because I might want to use these later, - What I'm gonna do, - I'm gonna find them over here in my items selected list, - and C it's just called a plane. - I'm gonna go ahead and I'm goingto make them invisible to camera, - and I'm going to hide them so you can see that those lights just went off there So still in - the scene. - If I want to use it at a later time and then over here. - So this is our back room, - which I hope some of you are doing some renderings of since I haven't rendered that yet. - Um, - we also have this glass back here, - and I want to send light straight through everything in here and this glass because it's - not visible. - I don't need that either. - And so I'm gonna go ahead and find that in here. - That's called window Door, - New glass. - And I'm gonna do the same thing. - I'm gonna make it invisible, - and I'm gonna hide it from the camera by selecting this I in this camera icon next to it. - Okay, - so now we need to create a direct light. - And so we created back here, - and that's switched a wire frame mode again. - And then I'm going to impress shift Day to bring up my my options here. - I'm bring selective sunlight in my front view. - I don't want this to be, - like a low, - like, - just kind of flooding in through this room and then all the way up into this, - uh, - into the sterile. - So I'm gonna go ahead and rotate it up there. - Animal rotated, - also in plan. - So that's coming in and connect. - You start to get in there, - and now we can see Start to see it hitting this front wall. - All right. - That's starting to look pretty good. - Now, - I do want to see Zoom in here a little bit. - I would like to see this grid for all these millions starting to come up here, - and right now we can't see them. - The reason for that is the size of that light. - Um, - so if we select this light, - pull this upsurge in C, - but turn on multiple important sample. - But more important, - to change this size from three inches, - let's try maybe half an inch. - So what we get? - Okay, - so now you can see that nice and clear really coming through. - But I think we can probably go ahead and go just a little bit. - Um, - actually, - no, - I think that's good. - If I went down to zero, - I didn't see that. - It makes just perfect squares, - and that's just a little bit too rigid for me. - So I think half an inch comes up with a pretty good solution of a nice soft is shadow, - but not to Teoh Soft. - And I think I wanted to come and hit a bit of the ground here is well, - so just gonna rotate it. - And again, - I'm just kind of doing what it feels right right now like that. - So you can see we have some light coming across the floor. - We have it hitting the wall. - We're gonna give it a nice, - warm color here like that that it really starts to play against Ah, - against the lane that were sitting up in the front. - All right, - so that's starting to come through. - But I think I want a brighter though I want I want to be more of a strong sunlight ing. - So selecting my son again and going to the lamp tab on one change that from one. - Let's try three strikeforce a little bit more. - So you have a nice, - strong light coming. - And I think that should work for us and then up front here. - Now we have our lightened back here, - and you can see this is kind of casting everything in shadow. - And I think I want to put a little bit of a fill light. - Now, - we could put an actual light in here, - such as, - you know, - another one of these air could bring maybe this lamp over. - I think what I'm gonna do is I'm just going to simulate, - um, - another light using a light plane. - So, - for a shift day and add another mess making a plane, - I'm just gonna rotate this mesh, - um, - to be kind of angled down and towards it, - I'm gonna have a kind of roughly coming from where this doorway is. - I think I want to be a nice soft light. - So I'm gonna go ahead and scale it up again to somewhere something like that. - And then, - of course, - we need to give it a shader. - So, - uh, - again in the materials tab going to go ahead and add a new shader call this one Bill Light - , - we're gonna make it a missive again. - Okay, - so now we're starting to get some nice filling here. - What kind of looks like the lights just a little bit stronger and that it's a softer light - coming in. - Excuse me. - And, - um, - I'm gonna go ahead and click on strength and add this quadratic light Fall off again. - Sit back down to about two. - And I'm gonna give this a nice, - cool light. - See how that's looking. - So now we kind of have this nice, - bright blue fill all in the foreground, - and then this warm light from the sun coming in through the back. - And as far as setting your values, - it's really kind of like a game of balancing the two. - And here they're looking pretty balanced. - At the time being, - I think this could maybe get a little bit brighter somewhere there. - I think that's looking pretty good, - actually. - All right, - so I'm gonna call that good to render, - um, - as opposed to rendering that out for you. - I've actually already rendered this image or something very close to this image, - which I'm gonna go ahead and pull up for you now. - Okay, - So here's my finished rendering, - which I rendered last night. - I think it took about four hours or so on my computer with a sample setting afford in a - resolution of 4000. - And then I quickly photoshopped it and came up with something like this for my final image - . - And in the next lesson, - I am going to, - um, - teach You guys kind of go through the steps that I took a photo shop to actually change - this lighting from this or change the field visit from this and I think a more refined - palate in color. - But in a second video in this for this section of our class, - I'm gonna go through, - teach you how to save a couple other things out of this file, - Um, - so that we can actually use something like this, - which is the depth mask, - which you can see like the closer things are black and the further things away or white. - And I also went through and saved a couple other things like a direct lighting source here - . - And I also save some Alfa channels of different objects inside of my scene. - So, - in a quick detour, - I'm also gonna show you guys how to save those out in the next video already. - So, - good luck with setting up double lighting. - Make sure you post your final image onto the skill share site and stay tuned for the next - video I teach you to say about some render elements to help us with photo shopping. - Happy rendering folks see on the left. 5. v04_Render Passes: - a folks, - welcome back to sculpting with light. - Still, - in this fourth lesson, - we're gonna look at render passes inside of blender real quick to save out a couple more - things that help in photo shopping. - So if I open a blender back up You see, - I have a scene rendering here, - and this is just for the purposes of this, - since I've already rented this out of full rez so you can see I've not this down to 50%. - So it's only rendering of 1000 by 1000. - And right now it's around 195 out of 400. - There's still quite a bit of noise in it. - Um, - but so again, - So I'm gonna stop this rendering here, - um, - by pressing escape and you see it stopped rendering again. - If I press escape again, - it's gonna leave and go back. - Teoh, - my three d view. - I can always get back to that by my bottom left corner. - Where have this box going from? - Three D view and switching to UV image editor. - And that just pulls up this latest rendering so much so you had to say about, - like, - a depth mask and a few other things from this to kind of help with our photo shop tutorial - . - Next. - And so I'm going to split this screen again. - I'm just gonna do it by right clicking split area. - And I'm gonna join me here, - so that just duplicates it. - I believe this image here so that I can see it. - And over in this left one, - I'm gonna switch from UV image editor to no end of their now. - Right now, - you can see it comes up with this big kind of wire frame. - Me? - Um, - look here. - There's a chance that when you pull it up, - you'll see something just small like this. - And if you recognize this right here, - this is our light. - Fall off. - Whoops. - This should have been at one always. - Always remember on your lights to put smooth at one for everything except for direct - flights. - Um, - but then we have a mission. - Shader in a material output in what this is showing me is I must still have that plane - selected here. - So it's showing me its material if you come. - If you see something like this, - go ahead and click down here where I have the material option. - This is telling this what to display. - And I'm gonna pick this 2nd 1 which, - if I hover over it, - is called, - um compositing nodes. - So if I pull this over so it's a little bit easier to see, - I still wouldn't be able to see this a bit. - You see, - I have this big render layers with a couple different options and all these wires coming - out of it, - and I've just set this up so it's a little bit easier for you to see what we're working - with. - And over here. - So coming out of our Z depth and Z is just the Z distance on the Z axis from the camera. - Uh, - we have a map value, - which I'll explain what that's doing. - A second and then it's giving us this nice depth masks. - And if I want to see this over here big right down here, - where it says render result. - If I scroll over, - I have one called Render layer and almost wish from render layer to composite. - And now switch that down here by dragging Move this out of the way. - This composite known was basically telling blender to send whatever it is that I'm - exporting at that out of this and send it into our image here. - And so from rz depth, - I have this map value in color ramp to give everything of black to white image of black to - white value. - On there's two numbers here that we're gonna use offset and size, - and it's a little bit of playing game and see if I pull this down too far. - It turns all back if I pull it up too high goes toe white, - but generally somewhere between negative one and negative three, - you get a pretty good value. - What I want to do is I won't try to get as close to pure white back here and black in the - very, - very front, - and you just kind of it doesn't need to be perfect. - Um, - you can also play with the step size, - which generally, - um, - I'm between, - like 0.1 and 0.2. - Okay, - that's a little bit better. - See, - now I've put this down the 0.5 and I can see that stuff a pretty dark gray up here, - which I might try to increase just a little bit, - but I can actually see the objects in this room, - which means that the depth is clipping behind those objects, - which is gonna help me. - So once I get to something like this and I'm making sure that just ramp, - we can leave just as it is. - But for the composite No, - We have to make sure this is pledging to composite, - which is why we're seeing it here and then just like the render image, - I could go toe image, - save as image. - I say this to my desktop skill share. - I'm gonna name this toot death, - and I'm going to save it as a 16 bit tiff so that there's as much information as possible - inside of it. - Save his image. - If I go ahead and pull that up, - you see to depth God had to preview that. - You see, - it pulls up this depth mask already. - Um, - so I'm going to get back to blender. - Here. - So there we have. - Ah, - say that out there. - And then if I pull this composite load down, - you see, - I have these six different passes and we can see a preview of each one here. - So if I want to save out, - So this has all of my concrete walls in it so I can go ahead and save this just the same - way Plug just by dragging from the image thing into image the little notes there I can save - that one. - So save his image. - Let's see if this a Z two walls for my alfa masks. - I don't need all the data in them, - so I'm just going to say them is 100% j pegs and then you can go through and say if you - save all of these out if you think you're gonna need them or if you just want to make sure - that you have them because once you close blender, - you're gonna have to re render to get these back. - But you can see we have to get. - This is a quick way that we can select this shape in photo shop if we want to make an - adjustment just to the shape, - the other things that we can render out if we want to. - If we go over here to our render layers and just plug some of these in, - you know, - here we have our direct lighting coming from our shadow. - A O is ambient occlusion which is basically kind of picking up all the cracks and crannies - inside of our image. - You might want to save that out. - We could use that in post production. - Then let's just have a look at some of the other ones. - This has kind of all our soft lighting in it and is diffuse Direct. - This is all of our bounce light. - So this is how things will reflect how lights reflecting throughout of are seen. - That might not be a bad idea to save some of our reflections. - We shouldn't have anything in transmission for this one. - So go ahead and play with that again. - The way I got to that was inside of my rendering. - Where rendered this out. - You know this one? - For about 14 minutes in this screen, - we go to, - uh, - node editor and make sure that we have this middle one selected the first ones a material - editor, - which is how I made all of these materials. - If I click on the, - um, - I go ahead and split this one more time. - Oops. - So if I go ahead and select this base here and click on material, - you see the material that I've set up for this just like you see the materials, - um that have set up. - So this looks like this is the concrete material. - So if you wanna look at how it made any materials, - they're all right there, - but for saving depth, - masks and stuff, - where to go to the 2nd 1 click on it looks like to have pictures is the icon. - And then for anything that we want to save, - we just need to make sure that it's plugged into this composite note right there and then - inside of where our frame rendered out, - which is a UV image node or view port. - Excuse me. - We're gonna go toe render layer composite, - and we should see it right there. - And then we can save whatever's in this frame just the same. - We have been doing this whole time at save it image. - So go ahead and have a play with that and save out some of your Brender passes. - These air called or another software. - Sometimes they're called render elements. - And in the next two Doral, - when next class next lesson, - we're gonna go over Photoshopped and go over some of the techniques that I used to create - this image from this base, - so hope everyone's doing well and happy rendering. - I'll see you on the next one. 6. v04_Post production: - Hey there, - folks. - Welcome back to sculpting with Light Render Interiors is the fifth and final lesson in this - class we're going to be doing with post production and photo shop, - which, - if you don't have you, - can download a trial 30 day trial version from adobe dot com. - And it's also believe in the cloud. - It's $20 a month, - so you can also work with that if you want to purchase it. - It's a great program. - You can use it for so many things. - It's actually my favorite piece of software, - and this is my favorite part of the entire process. - It's only fire up photo shop here and we're gonna get started already, - folks. - So here we are in a photo shop. - We have my base rendering from that last last lesson, - and I'm gonna break this tutorial up into two sections just so that we can go over things - in a little bit more detail. - But I'm gonna go over most of the steps that I used to go from this image to this image. - Okay, - so one of the things you see over here on right in my layers palette I have my base image - and I'm working in 16 bits, - which is the bigger file size. - But it keeps all the data possible in this image so that I can push it a little bit harder - . - You're working in eight bits. - No big deal is working at 16 bit. - Your files are gonna be bigger quite a bit so but you get a lot of added information to - work with moving forward. - You see, - over here, - here are on my adjustments, - so show you kind of a quick glimpse. - These are all the layers that I used to make these changes on the breakthrough go through. - I'm not gonna go through one by one. - But I'm gonna recreate these steps so that we get an idea of what we're looking at, - um, - change and then appear at the top. - You can see this folder I have called render passes, - which has all of those layers that are showing you at the end of the last lesson. - I have my depth mass. - I have a couple of different passes that I saved out that I'm gonna use. - And then I also have some Alfa masks. - So to get all these into the same file and in the right place. - You have two options. - If you have Adobe Bridge installed, - what should come with a photo shop you can go through and navigate to where you've saved - all of your renders and then just go ahead and select all of your all of your different - layers. - Let's make this little smaller so we can see if I select all of the layers that for this - project have named this image have named 03 I can go up to the tools menu and then go down - to photo shop and you can see load files in the photo shop layers, - which will put everything into the same file, - which is how I did it. - It was kind of, - Ah, - one step, - easy process. - If you don't have, - um, - Adobe Bridge, - you can always just navigate. - Open up all of these and separate windows. - Oops, - let's go back to photo shop. - You can always load them up and then drag them into another layer. - Now, - if let's say I'm zoomed in on this one and I drag using the layers palette was selected my - depth image here if I just drag it over there, - it dropped into the right place. - Sometimes it won't, - um, - and the way you can make sure that it will, - is when you're dragging from one to the other. - Make sure you hold down, - shift first and drag it in, - and it'll drop it right in the same place, - so long as your file sizes, - your dimensions air the same, - which they should be. - Okay, - so let's go through and start editing. - I did. - You can see that in my adjustments later. - I have a lot of these users masks, - and this is like an adjustment layer. - So this is a huge saturation layer, - for example, - and the reason I work this way is that if you use adjustments layers called nondestructive - editing so that I'm not actually adjusting the pixels in this base layer, - I'm actually making changes to them. - But I can always go back and change them leg later. - So down in the bottom of our layers palette, - you can see that we have a couple different options were primarily be using to which is - this 1st 1 which is masked. - Forget into a moment, - but the 2nd 1 is a circle with a little bit of a filling. - It if we hover over, - it should see adjustment layers. - And if we click on it, - you see we have all of these options. - We have curves, - which is our main one. - Brightness, - contrast levels exposure, - hue, - saturation all these great different adjustments we can use. - The big workhorse for me is curves. - I use curves for just about everything, - and we'll go through a couple of the ways that I like working with it. - Let me make this smaller here. - Let's see a little bit more So one of the first things I'm gonna do to this images add some - contrast by nature renders tend to come out a little bit flat. - And so just by clicking and dragging inside of this curves layer, - you can see I'm adjusting this white curve, - which is basically remapping the values of this image. - So I'm gonna go through, - make things just a little bit more contrast ing You can see I can keep making changes as I - go along, - and I can turn the layer on and off to see what it's doing just by clicking this. - So just this one curves layer actually works quite a bit to help, - uh, - make this image start to stand out a little bit and then we'll make another curves layer. - I could do this inside of the same curves, - but I'm gonna make a 2nd 1 and you see up at the top where RGB So this curve is affecting - all the values the red, - the green and the blue values inside of this image. - If I click on this, - I can isolate it to just one. - So if let's say I go to the red one and pull it up, - I'm making the Reds brighter or darker, - effectively adding or removing red. - That could do that for any of these colors. - Now this, - to me is just a little bit too blue altogether. - Summaries the Reds just a little bit. - And I think I'm gonna pull the greens down just a little bit just to about there so you can - see the changes that's making its a subtle changes. - Maybe a little bit to read. - It's always a good idea to kind of flick things on and off so that you can see just how - much you're changing and I could see right here. - I think I'm pushing this wallet a little bit too much. - So I'm gonna go back to my first layer that I mean, - I'll label this contrast. - I label this one color. - So if the start of pretty much every Photoshopped file, - I kind of start by trying to get it close to where I want it, - at least like in color and in tone so we can see Turn those off. - We're starting to get into a good shape here. - I think just really quickly. - Now one of the things that I want. - I want this back room back here to look quite a bit mawr sunlit. - We can see the sun like coming in here with the room itself. - Doesn't actually look warm or some it. - So I'm gonna go ahead and I'm gonna create another curves layer. - I'm gonna push this. - I'm just gonna look in this area and I'm gonna push this one way up and make it quite a bit - brighter. - And so this is just pulling in the white point up at the top here, - and I'm actually gonna lift the black point up a little bit so that you don't have any pure - blacks back there, - and then I'm gonna go and I'm gonna make this really warm. - Make it. - I'm gonna make it orange by adding red and removing blue. - So you can see now we have this nice orange, - but right now it's affecting the whole image. - And I want this just to effect back here. - So there's a couple ways we can do this. - Um, - first thing we're gonna do is just to introduce you to masks. - So right next to where we made our adjustment layers. - There's this object for masks. - Um, - and so I'm gonna add a masked by default. - I actually have. - Ah, - my automatic mass turned off. - Most likely when you made your first mask. - It just came up with a clear white one. - And a white one means that it's gonna affect everything. - So if I go ahead and just make that adjustment again, - add red, - remove some blue, - and I'm gonna make the whole thing quite a bit brighter somewhere into their okay. - So again, - it's affecting this whole thing. - Now, - with this mask selected. - So this is my adjustment there. - I'm a click on the mask. - I'm gonna bring up the brush tool over here, - and I'm going to right click which brings up our brush palette. - I'm so it's like this first brush that has a nice a soft edge to it. - And I'm gonna make it a little bit bigger so we can see what we're doing. - And then just with black in the foreground over here, - I'm gonna go ahead and paint, - and you can see that it's removing the effect of that layer from that area. - Okay, - So I could go through, - and I just controls he will undo. - So I could go through and make my brush bigger by using square brackets, - I could go through and just painted out from the area that I don't want. - You can see it over here. - I'm painting black over this whole area inside of the mask. - So I could do that so that this area is just affecting the back here, - and I'm doing it with a relatively low flow. - If you're using a mouse and not a lock home tablet, - which is what I'm using this tutorial. - I'm using this tutorial. - My mouth's not my tablet. - Um, - if you want, - you want to work with a pretty low flow because otherwise, - if I tried to do if I set that Masback toe white. - If I tried to do this with 100% 100% you can see that the edges just get really, - really harsh. - And so if I go to flow and they drop that down to somewhere between five and 10 if I just - kind of rub it over an area and just kind of circle around it will paint that toe all the - way Black. - But if I just make, - like, - a quick line, - it only adjusted a little bit. - You can see what's happening in the mask over here. - Um, - oops. - But there's also another thing that we can do, - which is used that depth mass recreated toe. - Isolate that back area. - So open up my render passes folder and I'm gonna turn it on here, - using the eyes next to it. - I'm gonna go up to my depth image. - So this is what I rendered out with depth, - and I'm gonna go ahead and next to my layers palette is my chin should be my channels - palette. - And if you don't see that you can goto window channels, - just click on that and up here, - the top word says RGB If I hold down control or command, - and click on that. - I get this selection, - which looks kind of strange. - And what's that doing that is loading the luminosity of this layer, - which means a white value, - gets 100% selected, - a black value gets a 0% selection and everything between it gets, - ah, - percentage of that. - So if I go ahead and click that and all my layer mask right now, - it doesn't have a mask on it. - If you have a mask on it right now like this, - go ahead and delete that. - And you can delete that just by grabbing the mask and pulling it down to the trash can say - delete, - layer mask, - delete it. - So let's load that selection again and I'm going to turn off my render passes, - and I'm just going toe with that selection made. - I'm just going to click on this layer mask and you can see it isolates it. - It puts that luminosity into the mask, - uses that selection so always in the back. - Now we have that getting red, - and we have the foreground getting a little to no adjustments. - If I want to see what this mass looks like I could hold down fault and click on that mask, - and then I can actually adjust this mask itself. - So if I press control, - l actually we won't use levels will use curves again. - Since we've already covered that if I press control and with this mass selected, - I get this curves dialog box and I can go ahead and adjust it just like I wasn't an - adjustment layer. - But this change is going to be permanent. - And I know I wanted just in this hallway so I can go ahead and pull the blacks in until - this part disappears, - which in the masks means that curves adjustment layer is not gonna be affecting this at all - . - And I can push forward the back so that this white is getting it fully. - And I can even pull this up just a little bit so that the hallways getting a little bit - more like some say okay and go back to our curves adjustment layer. - And now you can see it's just affecting stuff that's out there in the distance. - And so in this trial, - I'm gonna show you one more adjustment layer, - which is called a hue saturation. - There and this I can use if I wanted to make the whole thing black and white, - right, - which is one option we could go with. - I can also use it to adjust the colors, - kind of the general color tone of the image. - And if you're going to make an adjustment like this, - I would stay somewhat, - somewhat close to the center. - If you go away over here, - things far to either side things. - You start looking really weird. - So you know, - you could make little shifts in here to it. - Um, - and you can also add contrast or ad saturation to the whole thing. - You can remove it and let's say I just want to make this blue brighter. - I could also go ahead and push the saturation up on Overall, - I could go to the blues by clicking up here and just increased the blues a little bit. - And I could also inside of this mask I could paint again. - So if I wanted this only to affect the foreground, - I could just cut paint some of this out. - The last thing I'm going to show you in this part is how to make a selection. - Um, - using our Alfa channels. - So this is another one of the Alfa channels. - I saved out. - What I'm going to dio is going back to my channels. - I'm just gonna go and click on RGB and holding down command while I do that. - That's gonna load all the white values just like it did with the depth mass. - But here we only have black and white. - And if I go over here now and would turn off my render passes and if I make another - adjustment layer, - let's make another curves layer. - You can see it's loaded into it, - uh, - that layer mask again. - So if I make an adjustment with this layer, - it just affects the things that are being shown, - so I can go ahead kind of brighten things up just a little bit to make those stand out. - And if I go in, - this is also affecting these bottom stairs, - and I think that that section can actually get lighter, - actually changed the material for the scene that I provided for you. - But if if lets say, - didn't want it to be affecting those layers, - I can come over here and grab my last little tool and I can just click around to make a - selection. - And I will be careful to select just around those stairs so that inside of my mass which I - can look out again my person off click I haven't selected any of the white. - I'm just selecting around this white part and with black in the foreground I can go to I - can, - right click and I can go to fill and I'm gonna fill it with black You can fill with - foreground color, - black on color. - Anything else? - I'm just gonna fill it with black and you can see it's deleted that. - And now when I make adjustments, - it's not affecting those stairs anymore. - Because I painted them effectively out of the mask. - I could have also painted that selection out. - Okay, - so I'm a decent like that, - my person Command D And so you can go through that and, - um, - make adjustments toe all these little pieces all the way through it. - In the next two tour, - I'm gonna show you how I painted some of the light volumetric light coming in through here - . - So go ahead and try to get everything into an area that you kind of like. - And in the next tutorial, - I showed a few more tricks to really make this image pop 7. v05_Finishing: - Hey there, - folks. - Welcome back to the fifth lesson, - the second video of the fifth Classroom Lesson and sculpting with light in here. - We're going to just do a couple more things to finish our image and a couple last finishing - touches to really make it pop and stand out. - So let's get back in the photo shop and get started. - All right, - here's where we left off. - Were actually added One more layer. - That just brightens up these handrails here. - You can see that's the mask I'm using for that and just a simple curves. - It's just pushing him up just hair. - So let's go ahead. - I'm gonna group these so we can see how much we've done just in these couple of layers. - So, - um, - I just select them all and press command G on one name. - These toot adjustments. - And if I go ahead and click on this eyeball, - we can see just how much just these couple of changes go to really making this image start - to stand out. - Now, - I'm gonna do a couple more things in this image to kind of help this material here and to - bring in make this light over here really start to shine. - So first, - this material, - when I rendered this it was a pretty glossy. - You can see and see all these kind of reflections all the way through here, - which wasn't my intent originally. - So I've adjusted that material in your guys has seen, - so that's a little bit more accurate. - But in here, - I want to use one of my render passes to tone down some of those reflections. - So I go through, - um, - here, - using my render passes, - and I turn these on and I started looking at some of these. - I want to find this one. - So this is just the g I and lighting in the scene. - So, - you see, - we have these nice kind of smooth curves. - I want to use that kind of re color and smooth out, - uh, - this piece. - So I'm gonna take G I and I'm going to hold down Ault and just drag this down into my two - adjustments layer and you can see it makes a copy 03 g, - I copy. - So I'm gonna go and tear might render passes off. - So now I have this layer in my adjustments and what I'm gonna do is I need to First, - I need to isolate it just to this bottom part. - So I could go back up to my render passes and find the image that has the Alfa and load it - through channels again just like that. - But I also know that I made an adjustment to it down here below enough. - This curves layer right here is adjusting that so I can see in the mask. - It's already there. - Just like that. - I can see that it's already on this. - So what I'm gonna do is again holding Ault and hovering over top of this layer mask. - I'm just going to drag it up to this. - 03 g, - I copy and you see it copies that mask up. - So if I click on this now that's isolated to just this object. - Uh, - it's also you can see I have still in this selection, - this top part I think I'm gonna leave those glossy and just tone down the gloss nous on - this. - So using my lasso tool again, - I'm gonna just select around, - uh, - these guys and then turn my layer on and I'm just gonna fill it again by right clicking and - going to fill and making sure black is selected saying black and so you can see it goes - away. - So I'm now de select my command D And so now we have our layer past just working down here - and I want a bright Knicks. - I'd like the values of all of this, - but I think what I want to do is just make this brighter and then tone down its effect off - together. - So I'm gonna make another layer mask. - Um, - occurs, - excuse later, - master curves adjustment layer. - And I can see if I pull this up, - I'm adjusting everything and I just wanted to be affecting this layer beneath him. - So holding down fault If I hover in between these two layers at the kind of at the line and - hold down Ault, - you see, - I get this little arrow pointing down with a square and then if I click, - it was clips, - this adjustment mask to the layer beneath it. - So now it's on Lee affecting this G I layer global illumination layer that I've mast onto - just this table stand the ark table by fosters and partners. - So I'm gonna go ahead and brighten this up just a little bit. - And then I'm going to select my G I Layer again. - I'm just going to reduce the opacity up here at the top of the layer Mass. - So if I go all the way down to zero, - it's adding no effect. - And as I pull it up, - we can see that it's adding effect until it's 100% transparent. - So I'm just going to kind of find a middle point here. - Maybe I'll brighten it just a little bit more. - So about 55% for me that starts to look pretty good. - Maybe a little bit more, - maybe 65. - So if I turn this layer on and off, - you can see I've effectively removed some of the glossy nous to that material and kind of - added a little bit of shading into it so that it's more of ah, - flatter finish to it, - which I think reads just a little bit better. - And I could go back down here again to this ah adjustment layer that's affecting that. - And maybe I want Brighton that I'm just a little bit a swell Okay, - so we're going to use that that way now, - if we get to the lighting for this back room. - I'm gonna go through again up to my render passes. - And if I go to the past, - that looks like this, - which is my direct light that I saved out. - I'm gonna copy this down into my adjustments layer, - Turn off this and we can see that it's isolating just that bright light that's coming - through and what I'm gonna do. - So right now we have white of the light and then the black for everything that's in shadow - . - And I just want to make this white part get brighter effectively. - So we're up at the top of my layers sharing, - which says normal. - Click on that and I get all these options now. - If I go to multiply, - it's going to affect everything that's black. - Basically, - this first section of different types of color types of blending types is going to make - things darker. - This second set is what we're gonna use If I set this the screen and I turn it on and off, - you can see it's just making those this highlight brighter and all the black values aren't - affecting it. - Also, - screen just takes whatever value of the pixels in this layer and adds it to the left. - Everything beneath of it. - You try out a couple of other ones. - These this third set uses both, - Um, - it gets things both darker and brighter. - So I said it to overlay. - Oops, - that's a linear light. - If I said it to overlay, - it both makes the bright parts, - um brighter. - And it makes everything else darker. - It's up for this one. - I'm gonna use screen, - which is going to, - um, - just make this brighter. - And as opposed to just making this brighter, - I think I want to make it glow a little bit. - And so what I'm gonna do is to show you what I'm doing or leave it on normal. - I'm gonna blur this. - And so I'm gonna go to Filter Blur. - Gaussian Blur Looks like that. - And if I turn this way up, - you can see it's really blurry. - I don't want it that blurry. - I just kind of wanna make it something maybe like that. - So if I turn off the preview, - you can see that it's blurring. - Excuse me? - All those white values quite a bit, - and I'm gonna press, - and then I'm gonna press control em again to bring up my curves adjustment layer, - which I can also get to buy image adjustments and select curves. - And again, - this is just like a curves adjustment layer. - Except I won't be able to go back and change it afterwards. - And I'm just gonna brighten this up so that the whites white, - uh, - whites a little bit whiter. - Say OK, - no one sent this back to screen. - You can see now we're getting a nice glow to it, - and I think I'm gonna turn down just a little bit in. - The last thing is that now it's making it just whiter. - And I wanted to stay orange and so I have two options I can either I could make an - adjustment layer again. - I'm used hue saturation for this one. - And again, - I'm gonna clip it to this layer. - Let's look at this and normal just so we can see what we're doing. - Turn the 100% opacity. - And so in this you saturate a hue saturation layer. - I'm gonna go to cull, - arise and click on that and you can see now its cull arising. - This image all toe one color. - So if I turn this back to screen the lighting that I just blurred and go up to my - saturation layer that I'm clipping to it. - We can see how this effects the effect while it's going through its screen mode. - So I'm gonna pick kind of, - Ah, - nice, - warmest color. - We can see what it does. - It's going from light just ah on orangey color and then zoom out so we can see that this is - starting to help with that. - And then the last thing I want to do back here is I want to paint some light in that kind - of blurs everything, - uh, - looks like volumetric like kind of libraries. - And so I'm gonna make a new layer, - and I'm gonna use just a normal layer. - So next to our Justin's mass, - we have created a new layer, - and so that just creates a blank layer. - It almost left my brush or my brush tool over here, - which I can also get too depressing being. - And if I right click, - I'm gonna make the size a little bit smaller. - Still gonna leave the hardness down at 0% and I'm gonna go down again to my color picker, - which is this? - These two squares over here, - and for now, - I'm going to set it to just kind of ah, - almost white orange color. - I say okay. - And then to see what I'm doing. - So this just allows me to paint into this scene, - all right? - And so again, - I'm gonna turn my float down so it's a bit softer, - and then I'm going to set this lender blending mode to screen again. - What I'm gonna do first, - I'm just gonna paint in some rough streaks and because I want I don't want curved lines. - I want straight lines. - I'm gonna make it. - I'm gonna click where I wanted to go. - And then I'm just gonna click over here, - and I'm just gonna do this a bunch of times And to show you what I'm doing by click here - and then holds shift. - Click Over here it draws a line between those points. - So click and shift, - click or click and shift is all I'm doing. - So undo them. - If you need to undo more than one step, - just control Z will toggle your last step often on. - You need to undo mawr than one step. - So let's say I want to undo four things Control. - Z won't do it. - I have to press control all too easy. - Or command also on a Mac and undo them. - Uh, - so command all z will step backward as opposed to just talking your last move. - So, - with a pretty low flow, - think of somewhere. - Maybe around 27. - I'm just gonna draw kind of imagining the direction of this light. - I was gonna draw a bunch of kind of light rays back here. - I'm not gonna worry about the fact that it's going over. - So have all these light rays coming through. - And now to clip it, - I could go through and using my lasso tool, - make a selection and delete them just by select them and pressing delete. - But then we're gonna end up with a fairly rough or sharp and not convincing line on the - edge. - What I'm gonna dio is go and I'm gonna load my depth again. - So with render passes on, - I'm going to turn on my depth pass and then go to my channels and control Click or command - click on the square next, - rgb which gonna load that luminosity again? - Turn off my render passes and selecting the layer where I just drew all those light rays - into. - I'm going to just click down here to add a mask. - Now we can see at first it starts to get rid of it, - but it doesn't Totally. - So what I'm gonna do is I want this service to be black and everything back here to be - wiped again. - So when a press also and click on that love on that layer mask and then press command em to - bring up my curves palette and I'm just gonna bring the blacks all the way down until this - is perfectly black right to there and then I'm gonna bring this up so that that hallways - really getting filled, - and I must say, - Okay. - And now if we look at this layer, - you can see that these light rays don't affect this at all. - So Okay, - so now I'm gonna turn this down just a little bit, - and I would draw these in just a little bit more carefully than I did for the sake of time - . - I just did it very quickly and roughly. - Then we get an idea now of these lights coming in, - um, - which is helping sell it. - So again. - So in just this, - you know, - 10 or so layers, - we're going from a pretty flat rendering That looks clean. - But not not Teoh compelling just yet. - And now if I click on that, - you can see that really starts to come in tow Life. - So a couple things that I'm going to do at the end here just to finish it, - um and really call this done. - Okay, - so the last couple of things I'm gonna do here is I'm gonna add one mawr curves adjustment - layer up here to the top. - You see, - I've made this bigger here so I can see a little bit closer what I'm doing, - and I'm going to go ahead, - and I just a bit more contrast to this image so you can see it's I just a bit more contrast - in the one place I don't want. - This contrast to be is on this wall. - So I'm gonna go ahead and make a selection for that in the same way that I've been doing it - before. - So there's my wall layers. - I'm going to click on them and then down in selecting this adjustment layer mask. - I'm gonna go ahead and press. - Um, - I'm gonna delete that mask. - Excuse me, - please. - And I'm just going at it again so that I have this mass now. - Right now, - it's just affecting that wall. - So in a press command, - I or you go to a Justin Adjustments invert to invert that image. - Now you can see it's affecting everything except for the this wall. - And I'm going to use my brush because that wall this wall layer has the back here too. - And I was really just worried about this spot. - I'm gonna go ahead and use my brush. - Turn that back off. - And when it hadn't used my brush on this layer mask nice and big, - and I'm gonna switch these. - I'm painting with black. - Go ahead and paint black over here into this image so that this mask is just preventing - this wall from getting to blown out. - And then I'm gonna create another adjustment layer and add some vignette ing and vignette - ing is what happens in photography with most lenses. - You get kind of darker corners kind of around the frame of your image, - and it helps toe help your composition read a little bit more just by focusing the eye - towards the center. - So I'm gonna go ahead and make an adjustment mask. - I'm just gonna pull it down, - pull the mid tones down something somewhere around there, - probably. - And I'm gonna come over here and just below my brush tool. - Is this Grady in tool? - I must let the Grady and Tool and I'm gonna click up here right now. - It's going from black to white. - I'm gonna click on this and slipped the 2nd 1 which means black to transparent. - And if you have white to transparent, - if you go down here, - you can click white and select black. - Or you can click this little toggle button which switches the foreground and background - color. - So now if I stretch and draw Grady int in this, - you can see I'm drawling of radio ingredient. - If I undo that, - these air all your options If I draw a linear one, - it just goes from black to white. - You can see in the mask, - but I'm gonna take the 2nd 1 and drawing with black in this been yet ing layer. - I'm just going to use a radio. - Grady int. - I must start drawing to a couple of them just so that I start to darken the edges a little - bit, - and it's really easy to go overboard with this and do something. - It's too drastic, - I find with vignette ing effects. - The best result you can have is when you don't really notice when you look at the image. - But if you toggle it on and off, - you can see the effect that it's having so OK, - and then the last thing I'm gonna do is I'm going to select my entire canvas. - I'm gonna say control a So you can see I have my selection going around my entire campus. - I'm going to go toe edit copy merged and what that's going to do, - as opposed to just copying what's on a single layer, - is gonna copy everything going through this image to make a copy off all of these - adjustment layers together. - So if I go and then I go to edit paste or just press control, - V, - you can see it's pasted you can see in my little thumbnail icon. - It's pasted a duplicate of this entire image up on the top, - and I'm just going to go up to filter sharpen, - unsure AARP mask, - and I'm gonna go ahead. - You see, - we have a preview here. - I'm gonna zoom into this because I'm in this tool. - The way I can zoom in is by pressing space bar and holding down the control key, - which is just a hot key for bringing up zooming. - You're zoom tool. - Why, - you're in other commands. - And then if I toggle this on and off, - you can see that it just starts to sharpen some of all the highlights. - And here I don't I'm not entirely sure what it's called, - unsure AARP mask. - But if I turn it way up, - if I turned the amount way, - way up, - you can see I get all this ugly. - Hey, - lowing and your radius effects how big it is. - So I'm just gonna go down with the value of somewhere around two pixels. - I'm just gonna drop this down so that it's a subtle but just last effect. - Teoh, - help kind of sharpen this whole image. - And so I'm gonna say OK, - and there we have my finished image. - So we look at the adjustments that I made What, - about 20 layers here in about 20 minutes. - We went from that image to this, - which is should be pretty close. - How I finished. - So it's a little bit different, - but not too, - too far off. - This one's a little bit warmer in tone, - and this one's just a little bit cooler. - But those are basically all the steps that I use, - and I just did him a little bit more carefully and with a little bit more attention to - detail to make this image. - So I hope everyone's learned a lot in this tutorial. - Thank you so very, - very much for taking this class. - Please post comments and feedback so that I can help improve the next class. - And please make sure your posting all of your work to the student work sections so that - everyone can learn from one another and help each other with any problems that arise. - And we can kind of help one another to get inspired with different views, - and this scene has a lot of different potential views you could find in it. - So definitely experiment with your cameras and go ahead, - make just as many images you want and please post among up to the student works like so I - would love to see what you guys create. - So thank you once again. - Good luck with all of this and happy have you rendering take care of folks?