Rendering Interiors for Beginners | Mike Golden | Skillshare

Rendering Interiors for Beginners

Mike Golden, Visualist at dbox

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7 Lessons (2h 8m)
    • 1. v01_Introduction To Blender

      23:23
    • 2. v02_Daylighting

      20:32
    • 3. v03_Interior Lighting

      21:16
    • 4. v04_ Combination Lighting

      14:40
    • 5. v04_Render Passes

      10:01
    • 6. v04_Post production

      17:01
    • 7. v05_Finishing

      21:31

About This Class

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In this class, we will be going over various lighting strategies and techniques for bringing an interior rendering to life! You will learn all the tools you need to make dynamic and evocative interior renderings in multiple lighting conditions and setups.

What You'll Do
We will be working in the open-source, and free, 3D package called Blender. I will also be providing a fully modeled and textured scene for the class. So if you've ever felt intimidated by the technical hurdles of getting off the ground in 3D softwares, this is the perfect place to start.

This class will cover all of the tools you need to bring your interiors to life with no previous knowledge or experience necessary. So whether you are considering trying out 3D rendering, or looking for ways to bring your own designs to life, this class is for you. 

What You'll Learn

  • Intro to Blender – We will open the supplied Blender scene, learn to navigate within Blender and set up a camera, and create a rendering with the default lighting.
  • External Lighting – We will set up a camera within the supplied Blender scene, set up a direct light for the sun and fill lights from the sky, and render a day lit scene.
  • Internal Lighting – We will set up another camera inside the supplied Blender scene, set up lights within the scene such as point and spot lights to emulate interior lighting, and render an image illuminated from within.
  • Combination Lighting – We will set up a final camera and light the supplied Blender scene using a combination of the techniques already covered, balancing the exterior and interior lighting, and render an image with both ambient and point lighting.
  • Post Production – We will open our renderings in Photoshop and go over some basic color correction techniques, along with some tips and tricks to make our images pop.

What You'll Make
In this class you'll make a series of 3D renderings that cover the basics of different lighting situations:

  • A rendering with default lighting
  • A day lit rendering
  • A rendering lit from within
  • A rendering with a combination of light sources

Happy rendering!

UPDATE: I've posted the images I created while putting together the tutorials, you can see them by clicking on student work tab.

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We launched Architizer in 2009 to make architecture and interiors accessible to everyone. Now it is the largest platform for architecture and design online hosting projects uploaded by the designers themselves.

Empowering architecture through sharing and transparency. Visit architizer.com to explore, collect and source architecture & interiors.

Transcripts

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?