Zero to Hero with 3ds Max + V-Ray : Master 3D Rendering | Jake Denham | Skillshare

Zero to Hero with 3ds Max + V-Ray : Master 3D Rendering

Jake Denham, CGI Artist | Official V-Ray Mentor

Zero to Hero with 3ds Max + V-Ray : Master 3D Rendering

Jake Denham, CGI Artist | Official V-Ray Mentor

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40 Lessons (3h 5m)
    • 1. Introduction To Zero To Hero with 3ds Max and V-Ray

    • 2. Download and Install 3ds Max and V-Ray

    • 3. Switch to the V-Ray Interface in 3ds Max

    • 4. The 3ds Max Interface and Setup

    • 5. Create, Move, Rotate and Scale in 3ds Max

    • 6. Viewport Navigation in 3ds Max

    • 7. Setting Up Plans and Units in 3ds Max

    • 8. Naming, Changing Colours and Creating Groups in 3ds Max

    • 9. Adding Cameras and Using Safe Frames in 3ds Max

    • 10. UV Maps in 3ds Max

    • 11. Studio Render - Your 3ds Max + V-Ray Project

    • 12. What Is Global Illumination?

    • 13. Brute Force and Light Cache

    • 14. Create The V-Ray Lighting Demo Scene

    • 15. How To Use the V-Ray Sun

    • 16. How To Use V-Ray with HDR Images

    • 17. Create the Interior Scene in 3ds Max

    • 18. V-Ray Light Types

    • 19. V-Ray IES Lights

    • 20. V-Ray Light Lister

    • 21. V-Ray Light Mix

    • 22. Camera Types in 3ds Max

    • 23. Focal Length

    • 24. V-Ray Camera Exposure

    • 25. White Balance in V-Ray

    • 26. Auto Tilt Cameras

    • 27. Depth Of Field (Interior Rendering Lecture)

    • 28. Animating Cameras in 3ds Max

    • 29. V-Ray Materials Introduction

    • 30. Metal, Brushed Metal, Plastic and Glass V-Ray Materials in 3ds Max

    • 31. Wood, Fabric and Colored Metal V-Ray Materials in 3ds Max

    • 32. Create a Material Library in 3ds Max

    • 33. V-Ray Asset Library in 3ds Max

    • 34. V-Ray Render Elements

    • 35. Post Production in Photoshop with V-Ray Render Elements

    • 36. Bonus Lecture: Fast Exteriors

    • 37. Bonus Lecture: 3D into Photography

    • 38. Bonus Lecture: Five 3ds Max Tools You Don't Use

    • 39. Bonus Lecture: 4 V-Ray Frame Buffer Tools in 3ds Max

    • 40. Bonus Lecture: Camera Mapping in 3ds Max

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About This Class

In the class, we will learn how to use 3ds Max and V-Ray. We will then use our new skills to complete the final project, which is to render a 3D product in a studio environment.

Ever wanted to create computer-generated images? Join Jake Denham (of Luxury Visuals Academy) as he shares a zero to hero process to create professional renders.

Starting out with no knowledge of 3ds Max and V-Ray? No problem. This class will introduce you to the basics of 3ds Max and then onto learning the key elements of 3D rendering with the V-Ray render engine.

It is perfect for beginners in 3d or if you want to pick up some tips for using 3ds Max and V-Ray.

Meet Your Teacher

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Jake Denham

CGI Artist | Official V-Ray Mentor


I am a CGI artist and Official V-Ray Mentor who is passionate about helping aspiring CGI artists. Most of my work is done at Luxury Visuals - a site I created in 2011 to share my experiments in becoming a more effective CGI artist.

Originally from Cambridge, England I trained in Video Games and received a Masters in Digital Design from The University for the Creative Arts. This took me to Monaco to work for the yacht designer Palmer Johnson Yachts. From there I began working from my laptop and travelling the world. I hope you enjoy the courses and I look forward to seeing what you create!

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1. Introduction To Zero To Hero with 3ds Max and V-Ray: Hello. I'm Jake Denham, and I am a CD I artist. My career started weapon in the world off your visualization and then expanded to all types of work for the architectural industry on beyond days included automotive travel illustrations, advertising and really any kind of project that uses images. Today I'm going to be talking about three DS max. The rate on these two tools are industry standard for architectural visualisation, special effects and video games. So if you wanted to get into any of these industries, this is a great place to start. Throughout this glass, I'm gonna show you step by step, protesters off How you specific tools in free DS Max, as when you first open it up. You can look a little intimidating environment. Break it down into some easy steps. By the end of it, you're gonna have your own freely studio on product images. CEO doesn't need to be intimidating on one thing. I hope you take away from this class. Is this easy to follow? Step by step methods to get professional results. As you're taking this class, please post in the product gallery. I would love to see your process and product. I'm excited to have you in the class and let's get going 2. Download and Install 3ds Max and V-Ray: So in this video, I just wanna go over where we can get 3DS Max and V Re. So go over to death. And they have a free trial of 3DS Max. Even if you have free as max is stored a previous version, I recommend using the latest version. And again, the fight a free trial down like that. And installer guy of the V Ray. And I draw a free YES, free ride for free as mass. So let's download that. Download. Install them. And I'm not for yes, Max and I'll see you in there. 3. Switch to the V-Ray Interface in 3ds Max: Now we have 3DS Max and V raised stored. We're gonna take a look at how to switch to the vivrai render engine. Go up here to customize, customize UI and default layout switch and switch that to Max, the ray and said, Now you may need to restart max to this day that quickly. So what this does is change our renderer to V Ray. So if we have enough, I'll read and set up. You'll notice that the ray is now rendered. You can change that here. You also in your material edits that these now will be re materials came up with slate material. You can change that here. 4. The 3ds Max Interface and Setup: All right, staff. Let's take a look at our preferences on the customized preferences. So the first thing I'm gonna want to do is go to General Andi. I've set my scene level was yours. It probably gonna be on 27 ones to hundreds over here. Okay. What that means is, if I start manipulating objects and I hit Control said it will go back on on the default. Want to go back 20 times, But now it will go back 200 times. So this is going to use your ram. But it does mean, you know, if you go from one and start creating things and you want to go back, you can person do 200 times, which is pretty handy. So this guy directed preferences, so make sure that's on. Another thing we want to look at is in files. Just make sure all right back is on. I usually have it on free on in four time of 10 minutes. Years might be default to five. Sometimes it kind of locks up when it's saving. What this does is if you do crash Max and say you you've been building away on and Max closes forever. Reason or your computer shuts down, You're but your free DS Max is always backing up versions of what you're working on. So you always bad to go back and find the lace modified one and open out. Just one last thing to check is the gamma. Just make sure enabled gamma rays on. Um I mean, if we turn it off, we look our materials. You see that leverage, dark and not looking very realistic. Whereas if we turn, gather on okay. And I have not interiors. That's how it should all be looking. So that's just some initial set up just to make sure that we're starting out right next. Let's take a look at the interface. So up here that the main menu I don't use this very much. Pretty much. Just use it for saving on and starting new scenes sometimes use it for grouping objects. But orginal really use it that much. Over here we have two command panel This I use all the time. Are you so much I would recommend just click and drag out so that you can have more space to play with this? This really is the home of Free s Max. This is where we're gonna create objects from within a modify. Um, you also got hierarchy motion display and utilities with these first to create, modify what we're gonna be using most. And then here we have the view ports. So that is where we see what's going on. What? We're Korean. And currently we have four view ports, so we got the front top and left on over here. You'll see that we can actually change the view port layouts, which is kind of handy again. I don't really use this toolbar very much. I normally have it just on one. People or four partially had to say that later on. Next up, we've got the ribbon. The ribbon is up here. Please respond. Just to drop it down to this is mainly just modelling tools. So we can go into that layer down here. We got the time slider, which is for animation. Andi, we've got the play button start frame by frame so that controllers here we've also got how to keep framing here on. You'll see that this this set dialogue boxes, they just move things around so we don't have to use that gives my which I'm gonna show you in a moment. But these could be quite handy. And then in the bottom, right, we have do port navigation. So this is how we zoom in and out and lived around. We don't need all of these menus order the time. So one can do is just hide some of them. Because we're not going to doing any animation for a little while. So you can just click and drag on these double guidelines and pulled him off on your see? You think Just closing here so you can just start tearing them away from closing them. And even this ribbon of them really used so we can click this button here and show ribbon. So we're gonna close that for now. And you've probably got this View Cube on which I never used, so I'm just gonna turn that off here. Show you Cube apply. Okay, So what we're doing is just minimizing the menu's Andi. Any functions that we're not gonna use this was speed up, max and also uncover a little bit 5. Create, Move, Rotate and Scale in 3ds Max: Let's take a look at the great panel, which is here on we conflict on geometry on instead, and permanence you'll see, or these objects that we can correct to standing primitives up because the really basic one so good books on a sphere. So to create an object, you click on box flake drag release, pull it up and then click again and you still being great. Nice. If I click and drag again, create another box. They were right kit to come out that on. You'll see as soon as we rightly the dismal appears Which is this x y, Is it on? This is how we move objects around, which was great for a little bit on burning select cover objects. You see, that gives more turns up. So that's how we rebuild kicks around. And if we go to the modified panel, we can see the parameters of this. So everyone changed left to something specific, like 600 we talked about in here on. This is how we have basically manipulate objects. You're also not expecting creme in you. When you do create an object, you can see it. You promise when you're crying. It so you can. They're hits and you create defect. Wash your still impression might to the right flick. And then you see, we have to go to modify. So go through Andi, create some of these objects just to see what well you go and what you could do them. So just play with Prime Minister as well. On what you've done that you'll see that there's a lot more permitted here. So go extended primitives as well. So things like oil tankers, Richard, Quite interesting. Shapes earns you go chanted books as well, just basically your box. But we're soft edges on this site. Get more realistic effects. I mean, this this box already look more realistic in this one. Um, it's got a few more parameters modify that you can play with. I am. So this Philip his figments of that code, This is in the middle mouse button here to zoom in and out. But I'm gonna go through the view port controls as well A little later. I just want to show you move my tape right now. So once you gonna get selected, the easiest way to go to move, rotate or scowl is to right click and you see mover attend scout here so you can select in . That's why generally do. But you can also use thes options up here. You got moved Birzeit and Scout. So with the move told he was about on let's zoom right knees into his Myers. You can also do this in the other view ports and you can see updating perspective. You and also you want that back on the ground. I'm just gonna right click here. These transforms does that's gonna move that so taking track here as well Hang a right click. Rotate. You see, when you recite the objects in various ways controls Daddy's gonna do so it right status how it plays Onda. We also have scale. Yes, in scaly whatever direction you want as well you can see it. We've got different opportunities. Scout Between Bizet in the water, for example Driving Scout here on the same guys removed toe You hold right there. You see that? We can unlock Teoh One access or two. So now we can move around in both d x hand. Is it 6. Viewport Navigation in 3ds Max: And now let's take a little display modes in the view port. If you hit a free, you'll see it changes to wire frame. Hit it again and it will go back to shaded mode, and F four will show the wire frame. So therefore I use constantly. Normally, I will stay in standard mode, and you also get various types of shading here that you conflict through. But I do normally keep it on default shading, and you also got stylized views here, which can give some interesting effects. But they're not really what we'll be needing. So earlier on, I said, the quickest way to navigate, to move, rotate and scale was to right click. I was actually wrong. The grease way is on your keyboard. There's cable shortcuts que will select W move. He will rotate and are full scale. So to maximize the view pool, you can see which reports selected by this yellow box. So now we're in front view, so we use perspective on Go down here. This will maximize the view port. You can also use haute W as the keyboard shortcut for them, so I spent a lot of time just in one vehicle, two pair in the view port. Just hold down the middle mouse button and pulled it around, and you can scroll in and out to zoom in. And now, and if you hold out on the middle mass bond, you can rotate Objects on where was selected will be zoomed in or rotated around. Leslie swore to know when never getting the space. Now we can hit Zed on the keyboard to zoom or with an object selected, you'll hit said. And it was Zoom in on that object. I'm just using the mouse to zoom out, and then we have cable shortcuts to move views up. Just hit El on the keyboard to go to left you f to go to front Teef atop the will bring up order view ports. So I'm just gonna hit P to go back to perspective. You and I'm just going to show you how you can select an object, right click on hide selection. You can also right click on a Heidel Andi. You can also select an object and isolate it, so that's the only object available. You can do your work on it and then click it again and you'll be able to see everything 7. Setting Up Plans and Units in 3ds Max: nothing to be aware of is the unit set up on. I usually have minor metric millimeters on this will just make sure that everything we create is created to a real world scale. Now let's take a look at how we can bring an image in as a reference plane. So this is from an exterior course on. We can see down here that the size of it is 2000 by 1000 and 88. So let's talk about him. 2000 11 Thanks. So now we have the correct my mentions. I'm just gonna drag and drop that onto our object. And now you can see that that's come in on. Do you compress it? Full toe, hide the wire frame and G to hide the grid on we move selected. I was gonna right click on each of these dialogues and now you can see that that's now center several top view. This is now in the middle of our scene. If you can't see your texture on here, you can get him on the keyboard, will click up here to open the material at a time. I used to pick material from object click here and you want to show shaded material in people, and if it's showing on, it's quite blurry. You can also go to the plus sign up here. Configure view ports. You can turn up this quality, and you can also change the texture maps to 24 year and apply, and that should make everything better quality. 8. Naming, Changing Colours and Creating Groups in 3ds Max: so I'm just gonna click and drag roughly to the plans on its 1950 by 50 by 500. So we can always go to the moon flight panel and make changes to this. We up here, we can name it. So let's name it books. And here we can also changed color. And if you press that resuming on it, you can add height segments here. So let's press therefore to see what I was doing. This is how we create segments on an object. Now we can go to the top few on. Say, we wanted to position this somewhere relative to the plans. We can do it up like this. With the move towards selected, we can also hold, shift and click and drag to duplicate and object on will make that a copy like most every name it him. Let's make a couple of copies of this box and I'm gonna help control select the over two. So we now have these free objects or selected. What we can do is go to Group Group. We can like this off the books group. What this means is, when we select him, it's a problem group on. We write eight on, they will stay together 9. Adding Cameras and Using Safe Frames in 3ds Max: another important thing when weapon move previous. Max is saving your fall so you could go to file save as you can just call this, we'll save them. Andi is important to save regularly, and now it's also a good idea to save increments. So if we hit Plus, instead of save what this is going to do, it's save a copy. So that's our original file. On a moment at the plus, you got +01 and if I did it again, it would have +02 Now, let's take a look at creating camera. So we're going to create panel. We'll go with the camera. Andi, go to the top you onboard. Drew's physical. So now we click and drag and if we go to the left, you will be up to see the height of our camera. So we're gonna wanna pulled up. So I'm just going to right click very to move and you'll see that our target is here. So we're gonna wanna pulled up as well. And if we hit, see on the keyboard and I was going to be set free. This is what the camera seem so we can go into modify and we can change the focal length. But normally faith fires no more. But down here we can Dolly zoom up the camera and no free press shift F this assure safe frames. So if we hit render now, this is what's rendered, and we can say that the top of this box is quite near the top here, but in the render its not on. That's because it's actually rendering a different aspect ratio. So shift half turns on, say, friends, which will actually show us what we're going to render. So we got to run the sets up. We can change our output sides here. So if we change this to HD TV and hit render you see that's gone wide screen on, you'll see it in the view port, which, say Friends on is actually showing us what we will be rendering rather then what's in view people to reconsider difference of this people in this render 10. UV Maps in 3ds Max: So here we have our box from a previous seem of our concrete texture on it. If I select it on, I go to modify tab and choose U V W map from our list. We can now control how this map is displayed. So the first thing we're gonna do is select box, and we can see how each one of these mapping types changes The detective. How did texture is displayed? So weaken choose books. And let's just make this 11,000, 20,000 on if I hit one on the keyboard or you can click here and go to Gizmo. You see, we can actually move this around freaking lineup corners. We can rotate this and we can also scale it. You can also choose the alignment here on that is how to quickly you've even object. 11. Studio Render - Your 3ds Max + V-Ray Project: So in this video, I'm gonna demonstrate how to render products in SGA scene. And we're going to cover how to create studio environment, how to render using v re interactive. And we're going to look at some of the post-production tools within the freeway frame buffer. And if you haven't already, make sure you download the resources for this lecture. So having a 3D studio is great materials and rendering products. And it's a great way to show a few models and start building your online portfolio. So there are a few key elements for this. We have our backdrop, which is essentially R Studio, and then we have free lights and a product to render. And then I normally use a main overhead light, and then I use lies either side to soften up our image and add highlights. So let's take a look at how we can sap orange TDI seeing a will go over how to set up your 3DS Max in a later class. But there's only two things we need to do here. We need a guide to customize and unit setup. And just make sure this is uncensored me is, and make sure your system unit is on centimetres. And the only other thing we need to do is change our render engine to v re. For this demo, I'm going to use this pastor which are used in a recent projects. And if you have your own model, then, now's a great time to use it. If you don't, then you can always head on over to freely. Sky. Families is one of the best places on the internet to get decent models. And you can go over to one of these categories, chair for example. And you can purchase a model or you can always go to the free section, and these are older free models. So if you just want to test that what we're doing here, then you can always do that. Here. We need the need scraped countless free. And if you are using a model from pretty sky just makes sure that it is a the ray model. And you can just hit the analyte here. And once you have your modal downloaded, just go File, Import and merge. And then headway downloaded your model and open. You can click on your model. And here I can say that that has been brought in. And you might get a pop up saying missing textures. And if you do, you can just hit cancel because I'm going to show you how we can solve that now. So if you just go with the file reference asset tracking Togo, you see all the files in your scene and you see that the files are missing. So what we wanna do is just click the top one out shift. So you selected a more, I'm gonna right-click on it and go to set path. And that path, which is going to browse to where we downloaded our model. And you should see the text is in there, the state use path. Okay? And you see that these are now really linked and the status is okay. And you can see there are now textures. On model. So now we've got our motto in. I just want to move the pivot because they can see it's in the center of our object. A good practices to have it always grounded on the floor so that when we move around or rotate in a is always on the ground. So a quick way to do that is just go to hierarchy effect pivot. And I'm just going to turn snaps on by pressing S. I'm going to right click up here. And instead of grid points, I'm just going to change that vertex. And in options we're gonna go to enable access constraint and was going to do is snap to texts of the model. And this will enable us to just keep it locked in z. Then you can see I'm pulling my pivot point to the ground. So maybe in front view, I've just pressed EFT guys in the front view. You can see I can now snap certain areas of the object. And we just want to on the ground so we can turn that off. I bats perspective and you can see that we now grounded. I'll show you how to make a script to speed that up and in another lesson. So let's just go to our front view again. And what we wanna do is just make sure that that is facing forward. And I'm going to zoom out a little bit. I go to the Create tab. Let's start by creating a box. I'm just going to click on box, click and drag in April. And it doesn't matter about the dimensions because we're going to type them in. So here we have seen a 100 centimeters by 2500 and just pressing up and down to go between these dialogue boxes. And then we're gonna go to the Modify tab. And in the drop-down. And I'm gonna go to Edit Pauline, I'm gonna name box backdrop. Okay, so now under the Modify tab, we're gonna select edge like this backache, and we're gonna go to Shambhala and click on this sense dialog box. And let's change this to 200. And I'm gonna change this to 20 segments. And here k. If I press F4, you can see that we've added a nice gradient here. And I'm also going to just select this face. And now I'm going to delete this face. I also want to pull this backdrop forward. I'm just going to go out of this election and pulled out this way. Then we're going to add a v re material to this backdrops and then press M on the keyboard. And if your material it looks different, e can go to compact or slay in modes would've she's compact for now go into slightly run. And I'm going to click on physical material. And we want to change this to a standard material, which is here and v raise you, just select that and hit OK. And that's going to change that to a generic view or material is pulled out backdrop. And you just want to make sure you defuse is on 128, which is quite a neutral gray. And I'm going to click on the backdrop. And here assign materials selection. So now we have a gravy ran material on our backdrop. I'm going to close the Material Editor and we're gonna go through the top view by pressing T. And in the top you express asked a ton of snaps. And I'm going to create a physical camera. So I click on that and click and drag. And then I'm gonna go to the left by personnel. And I'm going to select the camera holding control. I'm going to select that camera target as well. And I'm going to pull it out. I'm gonna go back to the top view. And now let's create some lights. I'm gonna go to Create and lights which is here. And in this drop down we're gonna go into V ray lights and just create a theory light. So click and drag. I will stop here. And we can move this the center as the cherries. By right-clicking on these dialogues, these dialogues will move your objectives selected. You can also use the gaze mice, but this is more accurate. So you could move this to 0. We can right-click on these up and down arrows and it will move it to 0. And then we'll go back to the left view. Let's pull this up above our chair. And back in the top, you are going to create two more lights, right? Oneness side. I'm gonna make this 11 meter by one meter. And I'm going to rotate em. You can see as we rotate that we can't actually write a very accurately Armenia is quite hard to snap it. So I'm going to undo that. He's in control zed. And I'm going to click on angle snaps. You can right-click on this and just make sure that you're angry snaps is on five degrees. Tonight on an MME data that's going to hit 90 degrees. And I'm actually gonna turn this on target. So we can see we've got a target and it's now on the chair. So when I move this light is always going to be targeted in the chair, which is useful. And now I'm going to make a copy of this over this side by holding Shift and clicking and dragging. And we wanna make sure this is a copy. If it was an instance that everything we did to this light would reflect onto this slide. So if we made this light blue, this will become blue and we don't want that. We want these to be separate lights. So I'm gonna make that a copy and hit OK. And I'm going to pull that back around here. Now if we press C on our keyboard, we are gonna go to our camera view. And F3 will change this into our shaded tuple. And I want to open up our render setup. And by pressing Shift F is gonna show us our safe frames, which is essentially what's gonna render. So you can see that we have our output size set here. And if I set this to 20052 thousand is now square. And we can zoom in here. And using the middle mouse button, I'm just dragging around. We can use the obit camera as well as put a camera up a little bit. Pull that back down. I'm going to move that to one side. I'm actually going to rotate it. And I want to make a second chair in the back. Make that an instance is I'm not going to change materials if you change your materials. So for its Make that a copy. And I'm going to write say. And when you're working in this view, can be hard to use the Axis Constraints on the gizmo. So you can also use the dialog box is down here. Side, Alex, okay, for now. And one other thing I want to do with the camera is you can quickly select your camera if you click it and select camera. And in the perspective controllers, I just want to turn on OTA overt till I more or less going to do is show that as straight. So if I click that, you'll see what happens and it just makes a nicer image. I'm going to pull that out and touch. Now we can go into V, right? And I'm going to stop the interactive vendor. And we can say that is really overexposed. So if we click camera here and turn on, overexposure v array will automatically exposed image, which is really handy and really quick way to stop rendering. So I'm just gonna move this around. It's really nice that we can see what's happening to our render as we change things in the viewport. So I can see he's backed chairs, actually Benford curve. So we're going to want to move everything forward, all our camera back, select out to objects. And let's put them forward. So you're going to want to move the lights around a little bit, perhaps the objects. And the best way to do this would be in the top view. So if we went to the top view, you see that our render would change. So let's go back to the camera and change our viewport to two viewports. And you can see which he puts active by the yellow box around it and it's highlighted. So I'm going to select the one on the right and hit camera. So now that's rendering. But if I want to move an object in here is going to change back to render in the top view. So let's go back to camera, open up our renders out. And let's lock this camera view so we look in this active you in ice that damn. Now when I go to talk to you, is gonna continue to render our camera. So this now means that I can make adjustments in the top view, made lights around, and we're still rendering in our camera view. So we can take a look at how powerful each lie is using the V ray light LR. And this is a list of all of our lights in our scene. So you can turn them on and off here and see what each line is doing. So this overhead lie, I don't want it so. Oh, I'm going to bring that down to six. The one on the right, like number two, let's put down 50. And like number three, let's put down 60. And we can see like it's really dark here because the light quite close if we pulled it back, you can see what that's doing. And so it's really nice eases interactive render to light your scene. And you can also go into the front view. Pulleys up, practice. You can move the target if you want. So if you right-click, you can select the light target. You can pull that up. Probably pulled this up a little bit. And the product in Laos, I wanna see some highlights on the edge of his chair. And she's going to rotate this chair around a little bit more down and really want to see the light and this edge. Great. So something else we can do is add some color trees, lights. So what would be cool is have some warmth coming in this side and perhaps some blue to make the temperature cooler this side. And theory, you can change colors in here. But more realistic effect is T is temperature. So if I pulled light to down to 5,500, you see that the lights become more orange. We can pull that right down and you really start seeing effects predominate like 3 thousand for example, you see that as really orange. And the temperature on like free, which is this one over here. And say we put down a thousand, you really going to have a clash of colors, but we don't want anything too extreme. I suggest five thousand, five hundred and seven thousand, five hundred. So we can close are like this and now we're happy with the lights. And I'm going to show you some of the colour corrections we can do in the viewer_iframe buffer. You may have noticed that if you pull the frame buffer size around, it will resize and start rendering at that scale. And I'm going to open up, show color Corrections. I'm going to first show you how to delete color Corrections in vivrai. Next, if you're using the array five, then it's going to look a little bit different. And if that is the case, then feel free to skip to around the 18 for where I'm going to show you the same colour corrections using the verify frame buffer. Now instead of exposure, and you should be able to guess what that does is gonna make our image brighter so you can partner up. Color band will get rid of some of the overblown areas. But that's going to come at the cost of contrast. What balance is the temperature of your image ever turned on? You can make it warmer or cooler. And now we can just leave that as is. What we will use is levels. And we can pull that in a little bit more brightness, and let's add a curve as well. So I'm gonna put a little S-curve on it, give it some pop. And we can see what that's doing there. So I ran a second. Quite nice. Just make sure you've got a composition that you wanna use. I'm just going to make that be smaller hunger. I, that's, I've got more room, my desktop. And perhaps I can just zoom in a little bit more Stan unsafe frames by pressing Shift F and just get these nice. So I'm going to stop that, interacts the render, Render Settings. And I'm going to change render from progressive bucket. And I'm gonna hit render. Okay, great, so this is finished rendering. So we can save this out. Okay, save up here. And we could render dot JPEG and hit Save. I've already saved it, but save it to your destination. So you see that the verify frame buffer looks a little bit different, but it works very much in the same way. Over here we have our color Corrections. And instead of him already been there, we actually add them as layers. And this is a really powerful new way of doing a color Corrections. So we have the same tools down here, so we've got the exposure, we can make it brighter. The highlight burn is going to help get rid of some of them are overblown areas. But at the cost of contrast, we also have islands here. And we can change the temperature so we can make it a lot warmer occurred. We don't need that for now. And as you can see, we can actually turn on and off these lives just with this eye icon over here. And we can also delete them if we're not using them. We can also add a curves and add a smooth as curved make the image properly o bit. And the sum of a really cool stuff in here that will take a look at later on. But for now, That's like white noise. So once we're happy with that, we can go back to our Render Settings unless changes the bucket. And we'll hit render. Once that's finished rendering, you can just click the Save button here. And I'm just gonna call this one studio. They re five. I'm gonna type dot JPEG. Or you could always lecture format down here. And I'm going to hit save. And as you first studio rela 12. What Is Global Illumination?: In this section, we're going to discuss what global illumination is, how to create some render presets. You can use them in your projects came forward and how to use the render history to compare renders and render times. So I've just opened up a scene from the resources. And first up, what is global illumination? And this can open up off frame buffer to demonstrate here. I just want to show you this, this render. We've got some lights in this thing and they come in from the right here, and there's one in the left. And when light hits an object like the ground, it doesn't just stop. It actually bounces off that object and then bounces onto another one. And then bounces off combat zone another one and it just keeps on bouncing. And this creates indirect illumination. So if lights just stopped when they hit an object, would end up with something like this. And there's no light bouncing up here, for example, the lights or just stop him when light hits an object, it doesn't just stop. It bounces off of that surface and it keeps on bouncing. The light picks up color information from the objects in and it keeps on bouncing. And this creates indirect illumination. So if the light came in from here and bounced on this surface is bouncing light on here and it's lighten this up. And if it just stopped, we'd end up with an image like this where the lights hit in this, it isn't just stopping. So these areas wouldn't get lit and that isn't very realistic. So v. Wright uses something we call an irradiance maps to calculate the indirect illumination. And we use this as the main way to feel like in our scenes. So this example shows an image without global illumination on, and this image shows it with it. Such a town on indirect illumination. Let's go into the Renaissance. You can press F2 or click up here. And the GI should be enabled by default. You can click up here to get to this tab and we're going to look at cranes and drafts. This will produce rough up the clicker results. Just quickly. Before we go any deeper into this tab, I just want to jump into V rate and make sure you've got bucket selected will be using bucket for this example. So it's changed primary engine to irradiance map and openness dropped down. And first thing we're gonna wanna do is change this to Low. And in our secondary engine we have like cash. And this dictates what happens after the light hits the surface for the first time. Like caches, COGS, it produces Prager results in a pretty quick time. So let's bring the light cached down to 300 and so we can get quick. And you'll notice that I have showed cout phase on here, and I'm just going to turn these off and show you what that does if I hit Render. You'll see is going on and we've got a final image rendering now with the draft settings. So if I stop that, and we turn both of these back home and then hit render, we'll actually see that calculation phase of the render. And this can be pretty helpful as we can see while we're waiting for the results defend the final render, we can just make sure that our cameras and behind a wall or we've got problems with the geometry. So I like to keep this on so we can see that everything is working well in the calculation phases. If I just hit render again, you see up here. And the number of pre passes is dictated by this min and max ray on the irradiance map. So we're again two passes. And if I switch this to medium and hit render, your nice, we get free passes. I'll stop that and I'm gonna change it to high and hit render. And you're nice that we go for free. And as you may guess, the more passes the bad image. So let's just change that back to I'm just going to hit Render. And these are going to be same. So we can save these. We can then load them into other scenes. So to do this, we just have to go into renders out. And here where it says presets just hit this drop down and hit save. And I'm going to save that as draft and just hit save. Now this dialogue is going to pop up and all we wanna do is save the v re. Next settings. If we start saving common and environments, we're actually gonna start affecting the way to render comes out. We just want to save the V Ray Tsang so we can hit save. And also could you wanna show you the history. So this hate down here is the render history within the V re-frame buffer, as you can see, is keeping some of the images. So to tennis on, you hit the button here. And if you go to settings, I've got mindset to desktop and you can hear, okay, and what this does is save images to the desktop. So we just rented this and saying, I'm going to hit the save button here. And you can see that renders dense, save this go some other information like the size and how long it took. So now as we change the algorithm to high, we can change the irradiance map to high. And it's changed to like cash. One hundred, ten hundred. And I say render again. You can see that render took a little longer. I'm just gonna hit Save. And we can see that 221.5 seconds. I'm just going to save the settings and the preset. So I'm gonna go down to Save Preset and coldest one high save. And just the v re saying, so it saved. So now we can access these sands whenever we like, we just had his drop-down and find it here who've used it recently. Or we can go to load and load up the science here. So now we can double-click and go through and see any of these in our history. Another cool feature is if I isolate a when I've got this one selected an MBA, unless we then got an a and b comparison. So we can then use the slider to comparative sayings. And we can see it lightly up here and down here. So that's a really nice way to quickly compare renders. You can also hold and drop that down and do an AB from top to bottom. So that is how I will illumination works and how you can save render presets and use the V re-frame buffet history. 13. Brute Force and Light Cache: In the last section, I explained how global illumination worked whilst using irradiance map as our primary engine. As a V or a five, it's recommended to use brute force. And brute force has traditionally been higher quality, a bit slower than the irradiance map. But as b Re, as sped up over the versions so has brute force. So now the default is brute force and like caches are secondary engine. And this is the best in terms of quality and speed. And if you want to reset your set and you can just switch from V Re to any other engine and then just jumped back to the ray and it will reset all descends to default. Now another reason to use brute force is light mix. If I go over to the render elements and add the light mix render element. And I'll run an interactive render. We say that we have access to like mix and we can make changes to our image from here. Whereas if I change our primary engine to irradiance map and render an interactive, we'll see that we don't have access to like mix. And it says please add ly mix to the render elements which we have. So really this is a sign that brute force is being focused on in the future. And I wouldn't expect irradiance map to be developed anymore. So now it's probably a good time to start using brute force as your primary render engine. And the same goes for light cache. Some really good options only worked with like cash. For example. If we oversee the camera, we can actually, I'm just gonna render an interactive. We can actually use auto exposure and auto white balance, which are great tools. But if for any reason we wanted to use brute force and brute force for example. An example of why you would use this is in an exterior and you had a really good machine. But now, when we go over to the camera, will see that these are grayed out and we can't actually use them. So again, it's just worth sticking to these defaults of primary engine as brute force and secondary as like cash. But I do understand that brute force isn't as fast as irradiance. And in some cases you might want to use irradiance map and light mix. And a way of getting around this would be to interactive render with light mix on and then you could make your changes. So let's say like one, which I've got selected over here on the right. Let's say we double the multiplier. So if I put two in there, it's just stopped the render. And I'm going to push that to the scene. And he yes, we'll say that that actually doubled because we times that by two. And then if we jump back to irradiance map and run the render is the same. So we can do is make your light, makes edits using brute force. And then if you did wanna use irradiance map for the final render, just push it to the scene and changed the primary end into irradiance map. And here render. And the same can be done with the light cash. If we select our camera and we put auto exposure on and auto white balance, it's not looking too good near, but say that ascends we wanted to use, we can actually hit transferred to camera. So now the sands have moved over into the camera. Which means if we put this on brute force as a secondary engine and we can't select these anymore. These ends of actually moved into the scene and you'll get the same result. So what you're really doing is moving Light makes sense till the lights in the scene and you move in the camera sends to the camera and the scene, rather than keeping it in the frame buffer. But going forward, try to use brute force and like cache as much as you can. 14. Create The V-Ray Lighting Demo Scene: Okay, great, so let's take a look at some lighting selves in V, right? So in this lesson, we're gonna take a look at creating a demo lighting scene. We're going to look into v, raise some time and date. We're going to look at using high dynamic range images to lysine. And then we're going to look at interior lighting. So first up, let's create a demo scene. So we're gonna make a testing to demonstrate various lights apps we can use envy, right? So first let's create a viewer, a planes. Let's go with the create. And we're going to go into the array. And you're gonna see the red line over here would use clay and the middle love equal. So what would be right plane does is crane influence surface. Here. It looks like it's just this big, but is actually going on for infinity. And we do this. I replicates the F surface, said light bounces and bounces up off of the skin and make this one view. And also if I right-click, it's MOOC, I can right-click here and just bringing into the center and the same, just keep things nice and tidy. And next outlets creates IPO. So you guys create again will go back to standard. And the T points here. And I'm just going to click and drag. And I am going to make one Mia. And I'm mostly going to again bring that into the center and the same. Alright, let's add some materials to these objects. I'm going to M on the keyboard and fast, I'm going to make a Chrome material. So it's data that's changed diffuse to just black. So I'm going to make that 111. And I'm gonna make the refraction just alpha 1254. And I'm gonna change to a reflective glossiness. It's 0.7. which can sound the background so you can see what was going on in one town Fresnel off as well. And then I'm going to select the table and hit plot is you do want to learn more balanced heroes didn't check out that material was plus. And I'm just going to right-click and select it and mad renames gray. And I'm just going to add that to be very plain. And I'm gonna change this to a generic caret unhide. Oh, we have our lock-down on same. So I'm gonna save this. And let's code is for your I am I saying I cannot let this file to the resources they can just downloaded there if you want to save the time on that. 15. How To Use the V-Ray Sun: So for our first lysate, let's take a look at the sky and camera. And in this lesson we're going to look at greatness fear I sum, we're going to add an environment and then we're going to add a camera. I'm always gonna take look at using the V interactive render. So fast outlets creates some. So we'll go to create the array. And you can see we are is'm. And we can just click and drag. And you say to this pop-up, come out when you say would you like to automatically add a b ray sky environment map? And I'm going to say yes. And if we hit eight on the keyboard, that's going to bring up environment effects. You can also find that under Rendering and environment. And in the environment window you've seen is added a default erase guy. So I'm just going to line this up. So I'm going to hit on the keyboard because it tells you that x and y, and we'll get to your front view. And I'm gonna pull this out. And then I'm going to go back to perspective by AMP. So now we want to add a camera. So in the gray panel, misguided cameras. Okay, right. And we're just going to add up the right physical camera and again, click and drag. And if we had say on the keyboard will go into the camera view. And then using the middle mouse button and just shouting down and panning. And you can also do that. And then using the camera here, we can zoom out a little bit. And you can use the orbit as well to kind of get an angle on that. So let's open up. I'll be very frame buffer and we can do that over here. And you can also find that in the run this out, which is np array, reframe Bertha and last frame buffer. And this bond here is tie interactives and we hit that. We can see what's happening now saying the VA re interactive gives you instant feedback on what's going on and saying. So if you obtain 0, for example, that will instantly update. So this is a really great way to get instant feedback on what's going on in the same. So this can also help position our Sun. So vacuum viewport your nicely if I try and go into the gizmo, the sun, we're gonna change our camera view. So we are going to want to change the layout so I wouldn't guys in the front view and maybe the sun around. But the problem with this is we're now rendering from view because it's highlighted in yellow. So if we go back to our camera v, we need to go back to our render this out. And due to render, we want to lock this on. And you'll see that we go quote for copyright cameras select it. So we looked at localize that. And that means when we go back to the front view, we still rendering camel view. And now we can change the ire of the sum. So the cool thing about the sky and sun is they are linked. I'm just going to right-sided camera but more so you can see more of the Sun. But there are links. So when the sun's setting, that's actually, that affects the sky as well. So we get a kind of sunset. And when it's admit that you see the shadows are harder and the sky is blue. The sky is really useful and really cool, you can say to shadows as well, they just suffer enough and get longer as the gigantism. So now we've got our V ray sky set up. So let's say this is a template. And I'm just gonna select that as your eye sky. So going forward, you can just use this every time you want to use a very SQL-like would like to say now, and this is your favorite sky template. And again, you can just damn, I descend from the resources. 16. How To Use V-Ray with HDR Images: Now let's discuss the VA HGRI. And for me this is the most realistic life set up and the one I most commonly use. So by the end of the lesson, we'll know why HDR is. And I had to South HDR I will the V ray lie. And how we can quickly test multiple lines scenarios using HDR. And also where we can get HDR images. Hgri is short for high dynamic range image. And these images are showing panoramic. So they're free 60. And they can be used in 3D programs to act as a light source to eliminate the scene. In my experience that in most realistic and natural-looking light effects, how they work is the photographer will take the free 60 images at various exposures. So we can see in this video really dark to really live their needs areas already overexposed. And then all of these images are combined to make one phi 2B image where all the shadows and all the highlights are in a really nice contrast. So you don't have any real blown out areas or anybody dark areas. So let's open up our live demo, exterior same we made earlier. And we're going to create a theory like this guy was create lights. And we rely moves, click and drag. And we can turn this into a dime. And you see texture here. So it looks like. And we want to add a v re HDR, which is here, and it's on the Maps API, right? Double-click that. You can just take cancel here and you see they will load up, but nothing got loaded. So a great place to find HTML engines is my Shun. And you can now Mishnaic And I've just clicked on the image HDR. And we can download any one of these you can choose. Dynein is well, let's go with the first one. I'm going to hit. And mode is contaminated raw file. I can coast ananas downloaded. We can just click on it and extract to who's gonna here i k. And that's going to extract into our Downloads folder, analyse extracted. It's probably wise to just copy that over to where you're saving your scenes in a moment. Ok, So back in max, let's select our live. Right, so the Modify tab. And we're going to open up Material Editor certain click up here. We can hit em on the keyboard. And we can click and drag this into a material. And we're gonna make an instance. So if you make it an instance, any updates you make in here will be reflected in here and little life. Okay? And now what we wanna do is light up by HDR into the slot. And then we can guys where we extracted our HTML tea and just say Open. And let's run an interactive Brenda and see what's happening. And I'm just gonna use our middle mass balance pan around. And we can see that that HDR is now line are saying. So there's a few things we can look at. Either hay in options. I'm just going to pull this out so you can see the options. You can turn invisible one. And what that will do is remove the HDR image. It will still lie the same and it will be in the reflections. And this means that you can actually add it back play in later on in Paris or even within three S max. You can add a background in here, but you can write in any image in here and it will show up in the background, which is quite useful. I'm just going to turn that government visible and obviously the bands down here as well. You can tell an HDR ofs and reflections. Generally I would keyboard this as is. So the way the lion looks is dictated by where the sun is. So back in the Material Editor, you'll see the horizontal rotation here. And if we start spinning around, you'll see that the sun will move. And this can have quite a big effect on the rendering itself. So you can see how that's affecting the shadows. So you can spin it around and see where you want to have your son. And then another way to do this would be in the light itself. So we've got button here that says locked to texture. And you can turn that on. So far tonight on, I'm going to rotate the light. New Zealand, nothing happens. But if we have a lot to texture on, we start retain the light. You'll see that the sun is actually moving. So that's quite useful. So now we've got a HDR exterior self. Let's save that and you can go ahead and use this issue to saints terminated save as. And when the call is one theory, HDL. 17. Create the Interior Scene in 3ds Max: grapes. And now let's take a look Interior lighting. We are going to update the light exterior Dem I seem we made earlier. So you can Eva, if you've been following along, he's that scene. Or grab like them own interior from the resources. If you have fallen along, let's open up like them I exterior Onda All we're gonna do is go to create We're gonna make a box It's gonna click and drag Put up Miss my notebooks to and help me is high Andi those numbers that friend people see how big that is on. Yeah, let's make it a And here's what I is on again a letter right click, Go to move toe and just right click or days. So again, it's a center. So we want to make this inevitable. Polian. There's two ways to do this. Firstly, we can right click on Go to convert to edit Herbal Polly. Now just gonna go to the modified panel and show you what it does. So we go convert creditable Polly and this actually convert this object into an edge Triple Polly and then you can start dating it a second way on. Probably preferred method would be to add an instable poly which could be found. Yeah, and you see that that is actually on top of the step. So with this, we can still make our edits. But if we wanted Teoh go back to the box and changing in this sense, we still have access to the original sentence. So this is more of, uh, was less detrimental works like so I recommend using this second ocean. So this guy today edible Polly, I'm gonna slipped polygon. I'm just gonna click a few times and grab that bottom face and delete it. We don't need it because you got to be very plain damn in the Bluhm. And then I'm gonna sign off faces or polygon, and I'm gonna add a shell Modify, which is down here diesel alphabetical show and then outs from out, we can put up this might get 200 and basically that's all full fitness, Every press f free again. We can see with Crate. It's on walls. So we've created really rough interior here, So let's go to talk to you on. We're just gonna quickly make a the right camera. Who's going to click and drag that here, Percy, on the keyboard. So that would take it. The people into the camera mode just pulled up here free. 18. V-Ray Light Types: So in this lesson, we're gonna take a look at V Ray lights and we're gonna look at by yes, lights as well. So India is a few options for lights. The ones I use most often are very light. And be right. Yes, we can find them over, create lights. He right. Let's start by looking of the airline. So just going to click and dry and then in front of you voice up, Yeah, on end itself. You, who will make it just under Amy's by me is on my shores center on the X and Y a camera on this one Interactive Brenda, and we can see that that's now lying all seen. But this is quite a flat line scenario. It's not very, really stick. So for me to keep game, this looking realistic is you need to place light sources where there would be light sources in real life. So, for example, if you wanted to create a strip order like around the Syrian, I'm staying there quick. They're modeling on a crate, a coating that we converse, um, lay in that service. In its perspective, you this letter wars and only on top. It's like this face on and use insert I was gonna put. I am. Why? About 4 50 before for 50 on. Then I'm gonna extremely This found about 200. So now we've made an area for all carving here and in the top, you would select the light, and I'm gonna bring the limbs down. Portends position 10 grid off using J. And you can see where we want position like that. I'm gonna poured out across holding shift. I'm gonna make that an instance. So if it's an instance if I change the multiplier value here, it will also change in here. So we want one of these to be the same. I was gonna whole shift and right. Take these two on. Now we have these lights and places. Got a camera. I'm wearing my last pair in Buffalo. This one interactive again. We'll see what life coming from these covenants. And then if we pull him out, flyer up. You see, it's producing more life coming down. And then if we move the camera around a little bit, you see, see was going on over here as well. So that's already looking more realistic to May apart from the massive still a teapot with room, Let's create another light and will run through the options. So that was to be replaying them. Got dome on the dome is what we used in hdr lie in video. Andi, this fear does exactly what it says on Tim just won in tricks for endless We see this on. I generally used these to go over lions. Just put up a smaller player and you're seeing what goes on here. They're also quite useful if you just turn him on invisible and then they could be put over bulbs. He's gonna shift this time. I'm gonna make a copy and then we'll take a look at mesh on what mesh does is. You can select a mesh. Andi will like it. So we keep pick mish, we choose the teapot. We can see that now. The teapot, but comes to light itself said we couldn't for the life that's this so we can actually turn objects into lights. I don't like that on this great one. More life, which is the disk like which I don't use very often on. They could be used for spotlights and but I would prefer to use an I s life for spotlights 19. V-Ray IES Lights: so the main line used when late in the interior is an I s light on. I think when I started using these my work Stoke coming on leaps and bounds in terms of realism on I yes, file contains biometric data about how the light will be distributed and these are often supplied by manufacturers of lights so we can actually download some My yes, Fars from Leo Moon on you down. Let them hear if you just follow this this link. So download that and extract the file on We'll create a the rate by yes, light on Just going to contract Andi, I'm gonna pull it up front view to line this up, then top you imports up quite close to walk So I want to demonstrate how the lights distributed So now if we select the light will go to Dio What a fire and versus I Yes, well, you click on None would load up this area like let's run an interactive render and when you see how that lights being distributed So now if I control click Target and I'm just gonna shift, track this across on make a copy. What you gonna make two copies. Now select this line on Let's Changed the I yes, tow path, for example. You see that light snow different and let's change this one also to Cumbria. And now maybe consuming it'll be he's yet to see. You can see that the light is being distributed in different ways depending on the I s file that selected. So really, you want to be doing this, You know your interiors and using these for spotlights on war likes etcetera. 20. V-Ray Light Lister: on. The last thing I want to show you guys regarding lights is the very light Lister is hear clicking very lightless. That and what this does is list all of the lights in the scene. You can turn them on and off here, which is quite handy, you know, Say change the more player. Yes. So how intense the lights are on. And you know the subdivisions, etcetera on also the color of the lights. So instead of kind of fumbling around within your scene, you can actually open up the light lister Andi, change parameters and turn lights pawning off in here. 21. V-Ray Light Mix: Light mixes nu to be very five, and it lets you change the color and the intensity of your lights after you've rendered a scene. And this means that we can create multiple images from just one render. In this example, we've got a day and a night scene, both from the same image just using light mics. We've managed change that into a night scene. We can make this change very easily just changing the lying to a nighttime scene and hit save. And before like mixed the workflow for this was much more work. To enable lie mix is fairly straightforward. Just head over to render elements and hit Add and select line makes and hit OK. And now when you render on the source, you'll get this light mix. So here's a list of all our lights and this is our default. So line we set up earlier and you say that everything's on one. Now it's important to note that this is a multiplier. So that means that wherever the intensity of light in the scene is, for example, if it was eight, this would then be a multiplier of the eight. So this isn't the intensity, this is the multiplier of the light. And this is also important to note for the color. So if you are going to use light mix, it's recommended that older lights in your scene is set to white and then you do the colors here, because again, this is a multiplier. So if you had an orange lie in our scene, and then over here we changed it to green. You're gonna get the orange and the green multiplier and you'll probably end up with saying undesirable. Another cool thing is once we make our changes. So in here, I've turned off a few lights. I've brought the environment right down and I've made it a bit bluer. And the same with this exterior lie of made it more blue and really brought it down, but we can still see outside because of the Moonlight. I didn't want to switch that completely off. And we've kept the interior lights are same and added some orange just to make it a bit warmer. And then you can hit save. And you can save your life mix. I will say that as night. And if these are both in the same folder and we hit save, then we can quite easily flick between these light mixes. And then we just have to hit the save button. And we've got to for one on our renders there. So the ability to create a variety of lightings apps can be really useful when working with clients. You can create many lighting options and send them all over. And just make sure you save your presets and m, whatever option they come back with. It's just a matter of loading that up when you render the final image. 22. Camera Types in 3ds Max: Our guys in this video, I wanted to have the difference between a target camera and a free camera. So when you create a camera, you're gonna see that it has two parts. Create camera, visible camera, McClinton drag. You see that? We've got the camera itself and then we've got the target. And both these acts separately to one another. So I can move this one separately to this. So this is really good if we want to focus on a specific area in a project. So let's make this into a room as it can be a little bit and try to catalog. So I'm just going to select the camera and it's currently target and camera to pad is always going to stay in focus. And saying guys for target, we can meet the target. And a pan. Er-ras is come in handy for animations or just finding, finding what you want to focus on and bringing a camera around the area. And now the other option we have is a ton of target. So this used to be known as a free camera. And we can see what happens here when we move camera. The camera moves and fill view stays the same. So I normally use this side of the camera when animating the lump spline and you take a look at that next. 23. Focal Length: Hi guys. I quickly want to about focal length or camera lenses as these canal quiet biggest set on the sense of space within the image. So in this video, we're going to compare some foods of views in camera. We're going to use wide-angle lenses to create depth in an image. And I'm going to show you at ease, click them trying to avoid unrealistic results. So what can we can say is dictated by its focal length. And you can find that under the physical camera, lens obeys head. So currently 18 million lens separate bringing stanzas 15, the angle gets wider. And in my opinion, perhaps slightly less realistic, an 18, Maryland's x like this. 2435. So as you can see with this lens, the 50 mill and the narrower the lens the image does, the flap is less text in the image. So when 15 millimeter lens, you can see that the image is and to have more depth and the images and the front and back, since I have more space between each other. So against the temptation is to have wide angle lenses in every image. And I would actually suggest that these time look at realistic. So I'll try and avoid that. Even now, I know that clients will want to show as much as they can in each image, especially if they are being charged current image. And if that is the case, I would suggest narrow lens. And what you see in this image, cameras actually outside this room. And we can show the room because you go click on planes on. So if I just turn that off camera, you can see that we're actually cameras in the wall. So really useful form, wisdom in 3D is enabled clipping plane. And what that will do AC, this red line that is actually click now, these walls demonstrate on camera. And this is our clipping. Our time is up and down. You can see they actually slips away at the image, will be there. So what you can do is pull the camera back without having to use a really wide lens. So this is a huge benefit working in virtual space. That is really something that isn't actually achievable. 24. V-Ray Camera Exposure: in this video. I want to cover a few things about very cameras on in this section. We're going to take a look at camera exposure. White balance on auto Till now, these free friends all happen automatically in the human eye, but we need to set them in a camera. So first, let's take a look at some basics. So I have our exterior hatred. Er, I seen open, and you can grab this from the resources or load up your one if you create earlier up until for yes, max 2016. There was a very physical camera, and this is fine to use if you have old scenes, but from 2016 onwards, the physical camera that can take three DS max works perfectly fine with the rate. So let's create physical camera on go to create cameras on and physical. We just click and drag anywhere in our scene, and you see that we're in perspective mode at the moment on. If we want this view to be what the camera sees, we can control the sea on the keyboard on, you'll see that the cameras moved and if we hit C will go to that camera view. So we're now looking through the camera on. That's a quick way to say you can row about having to use the controls down here to never gate. So let's take a look at some camera exposure we go to modify Tanno on. Let's have a look at the exposure tab on. Just make sure you've got physical camera exposure in stores, so just make sure that is clicked on. And let's just run an interactive Rendah. You see, we have target on here, so let's just run free where this does change that toe one. You see, the scene gets very bright and tried to free four, 56 seven A. And you can see now we're actually starting Teoh, get something that looks more really sticks or something around the 89 months looks good, so you can see what that does. That changes the exposure on the camera. So there's something else, which is quite handy. If I change that back to four, for example, it's gonna be quite overexposed on if we open up our own. The sayings thats F 10 on the keyboard and down in camera is really nice. Option called Auto exposure, and that's gonna set the camera to the correct exposure. So what's great about this or exposure is if you're doing an animation and suddenly you go from Experian to interior, the camera's gonna automatically update with the correct exposure. 25. White Balance in V-Ray: Okay, Now let's take a look at white balance, so we'll open up the exterior hdr seen again. Onda We can run an interactive rendah. So what balances under exposure again in the camera controls on. And if we go to temperature and we pulled it down, conceive it, the images getting blew up and this is orange on. What's happening is the oranges get minus two from the scene. Now this incoming handy for use in an exterior HDR on disguise Really blue is gonna give a really blue tint toe our image. So what you can do is use the white balance to control how warm or cool images I would advise wages in temperatures, robin and colors as this will keep everything looking more realistic. We can really see now the image is quite orange and with minus the love the blue. So this looks more like sunset. And then if we pull this down to more of an orange color, you see the image is getting a lot more play. And again, another cool feature and very next is the auto white balance which could be found just below or to exposure to turn that on and you can see the rays doing the hard work for us. 26. Auto Tilt Cameras: And now I want to demonstrate another useful tool in the camera settings, which is auto till so I opened up our interior scene. The I s saying that we create earlier let's create a physical camera taken drag on. I'm just gonna line up in our in Syria and I'm gonna run the interactive Rendah. I shouldn't change border of the materials to gray. I'm gonna auto exposure on never even see what's happening now in reality, if you look a objects from a from a low angle you know, I see your eyes automatically straighten the verticals So everything that's upright look straight as we can see here are corner doesn't look straight I was in photography. It does so there's an easy way to fix this. We'll go to modify will select our camera on another in the way you can select your cameras . Just click here and select camera on you go to perspective control and you can hit auto over till here and you've seen out that is straight. It's not did it manually and you can see how that works. But used your tail on that was training with That's 27. Depth Of Field (Interior Rendering Lecture): So now I want to show you how we can do a close-up detail shot. So let's guys at the top, you press F3 and selecting our camera, holding Shift and dragging, decry another camera. And want to make sure it's kinda straight on. And it's going to be a copy, an escort S1 detail shop. And K. You can always right-click and select the target was like the camera depending on if got selected. Hold control and select that. And I'm gonna do a detail shot of this bedside area. So I'm going to line up around here. And I just want to keep in mind that using, we're going to use debt fulfilled on this camera. So wherever it is, target is, is where image will be in focus. So I want this area to be in focus. So just keep that in mind when you're maybe new cameras around. And if a per se, we are camera select, hey, we're gonna go to that. And I also want to make this view portrayed. So in the render set up, let's change this width to 3 thousand. And we'll put a higher 4 thousand or 5 thousand. Shift f. Turn on our safe frames. And I actually think for thousands going to what nicer here. Alright, so if I turn on shaded, this camera is 40 wind for what we want to do. So I'm going to click on on camera here and select camera. And let's change this lens to 70. That's better. And I wanna zoom out a little bit more. But you can see we're going through a wall. If I show you in Topeka, was going on oh, camera's time for his wall. So what we can do is turn on clipping, which is under miscellaneous turn-on enable. And you see we're near, we can pull this in and out and this red line appears and this is what will be clipped. Just a note that you can hold Control to speed up the toggle this. So I heard about a camera and shaded, i'll show you without any clipping. And as I gradually start adding, this is clipping away at the wall. So now we can kind of cut free walls, which is a massive advantage of being a virtual photographer. So let's run an interactive and take a look at what we've got on our detail shop. Already feels a bit too bright over here. So I'm going to bring exposure up. I even think to fray. And something I've found maybe somehow found is you're better off rendering a scene underexposed, overexposed if an image is quietly bring it back. Whereas if is overexposure noise make thing that Briar in post-production. So I'm gonna do as with an exposure of two. And we can see that this is like him. Quite nice as a detail shot. But what I wanna do is add some depth of field and that's quite easy to do with the physical camera. And just keep an eye on this foreground. As this is going to become blurry and this targeted area will still be in focus. So all I need to do is enable that fulfilled. And it's got use target distance, which is the target of the camera. And you can see here that it's become a focus and this adds real nice. They are realism to our image. So I want to move our camera a little bit before I call that dm. And this one rotate it up a little bit. And perhaps up across. Perhaps even zoom in just the touch. And I'm quite happy we've had that image is going to turn out. 28. Animating Cameras in 3ds Max: Hi guys. In this video I want to talk about enemy in a camera along a spline. So we're gonna use a free camera, animate along spline and then we're going to refine the movement using keyframes. So let's start by crane in line. So I'm gonna go over T Splines line, and then I'm going to click and drag to make. And then I'm going to go into the camera and crash physical camera and up in animation, okay, its constraints and half constraint. And with the cameras select on any path. Now if we scrub the timeline, you can see that the camera is following the path. You're gonna wanna go to the modifier panel. And in the camera properties ton of target. Now you'll see that the camera stays the same. So really useful option on the motion is so we can see what it does here and now follows the path. So this is looking good. But we're going to want to refine it some more so we can do that with key frames. So let's let the camera and turn or a key on. I'm going to pull the slide around a little bit along the timeline. And then what we can do is rotate the camera. And okay, we'll fill in the gaps in between so we can see that we have a nice rotation on the camera. So you can go through and do that with a few of the other frames. And that's how we can create a nice camera using a spline as the path. 29. V-Ray Materials Introduction: So there are two material modes in 3DS Max, you've got compact mode, which has been around since I can remember. And then slate Material Editor is the newer the tape, the slate material, I'd let us see a lot more of what's going on within our materials. So we can right-click in the canvas and create materials quite quickly. We can pull out of the diffuse, for example, and add a map. And we can also create a map and pull out of it straight into a material. So we can see what's happening a lot bad. And if we were in the compact material editor, you have to flick through all the days to see what's happening beneath the surface. So for that reason we're going to be using the slate Material Editor going forward. So to start, let's open up RStudio scene that we created earlier. You will also be edifying, staining the resources unless I've not the material. And press M to-do list as the shortcut. And let's create a V or a material and see what we have. So we're gonna double-click that. And we'll see that the v re material parameters will come up here. You can say create material by just dragging and dropping it into the canvas. But found the quiz way is just to right-click and create from here. So for that reason, we can go under tools and just close that until we actually need it. And I'm all about trying to free up as much as possible so we can see more of what we're actually creating. And in the top right you'll see the navigator. And this kinda works like in Photoshop if either the yeast that, so I'm just gonna create an instance over here using shift and dragging. And we can see that on the navigator, This is where we pull that down a bit. And then we can actually use that to navigate across our Canvas if we need. And we can zoom in and out using the middle mouse button, just scrolling in and out. But again, I didn't really use that enough to warn it taken up this amount of space I'm just going to place that. We can always bring it back over here. And there's also shortcuts here. And p, and I want to keep the prime area I'll open because this is where we're gonna be doing most of our work. Another thing to be aware of is that these canvas is a tabbed so we can right-click up here and create another view. And it's dark gray materials in here and then jump back to our one. And you can also jump around using these to get round your tabs. And you can always right-click on him and delete that view as well. So I'm just gonna share a screen with our viewport and create an object in here. And I'm going to double-click on on material. And I'm going to apply it to the selected object. So it's now applied to this box. And you'll notice that now we've got this book selected. We have these white triangles on the outline. And that means that this dielectric material is on the selected object. If I don't select that box, you'll see that they've turned to just an outline of your triangle. And that means that this material is used in the scene, but not on the selected object. And then if we delete this object and this material is now applied to no objects in our scene, there is no triangle outline. 30. Metal, Brushed Metal, Plastic and Glass V-Ray Materials in 3ds Max: So let's get into cranes some basic materials in our CDI saying, sorry to start with, let's create a sphere. And we're gonna make it 50 centimeters radius. And we'll just move it into the center of our scene. And in the top, yea, let's just get that in the middle of my back to a camera view person C. And the first material we're going to make is a Chrome. So the first thing we're gonna do is name our material. So I'm going to double-click on our material and I'm gonna name a crime. If we double-click on from now, that will make it bigger. And you can also close up all of the maps here if you need more room. And one other thing we can do is turn on a background. So if we have reflections, I'll quickly show you that. We can now see something's reflecting it. If we didn't have this viewpoint on, we would be able to say it's reflecting. So let me just turn that back to how it was for a crime we're going to have to diffuse as black. Senior z will have no color. Something to remember is that in reality we never have fully Black or fully what materials is just not realistic. So I'm just gonna make that just off of black. And then in the reflection, I'm going to make that as y as I can. So just a couple of, uh, sorry to 55. And let's run an interact render and let's see how that looks. So I'm going to open up our frame buffer. I'm going to hit interactive here. I'm just gonna close that. And let's make sure we got that applied to the object. So here we'll see for now reflections. And what difference does is the amount of reflectance based on the viewing angle set of basic rule is used for now on everything except for metal. So with that in mind, let's turn for now off. And we can see that i'll crime is reflecting nicely. Okay, so I'm going to stop them. And I'm going to select a material and zoom out a little bit and holding shift click and drag that across. And if you preview it doesn't update. You can always update here, it should update automatically. And another bug I've noticed a max is sometimes you won't be able to delete something. So if I select this material and hit the late, sometimes that won't delete. And a quick way to self that is just to go into your viewport and click off of that material. And maybe clicky again. And then when you hit the late, you'll be able to delete it. I haven't banished to replicate in this example, but if you do come across that is worth nine. So this material we're going to call it brushed. And you guessed it we're gonna make a brushed crime. And the only thing we need to change here is the glossiness. So you can see what it does say. Let's say, let's pull it down to 0.2. And let's apply this and run the interactive render. We can see what it does say if I pulled it up to 25 is not fully reflective. So let's leave this on something like 0.65. And we can see it has made quite a nice brushed crime metal. Next, let's make a plastics. I'm gonna right-click material, v array and v re material. And I'm gonna name this plastic. And you notice that the for now is on by default. So we have to do in here is changed the plastic color. I'm gonna turn on the background. I want some reflections. So let's time this until mid gray. And let's apply this to our object. So we selected scientists selection, and we'll run the interactive. And we can see that's beginning to, they're like plastic, but these reflections are really Chris, probably a bit too crisp. Say let's bring this glossiness down to 0.7. And I think we've got quite a nice plastic material down. Okay, so let's take a look at sank, a little bit different now and this makes him Glass. So I'm gonna create a new theory material and rename it glass. Now there'll be no diffuse color and let's just make that Black. And because glass is transparent, we are going to use the refraction. So it works in the same way as reflection. So fully black will be night transparency, meet gray will be semi-transparent and Y will be pretty much full transparency. So this point of background, and we can see what's happening here. Let's turn on some reflection as well on Paulina, nearly all the way to y. And let's apply that to our object. And scientists selection and run the interactive. We say we've got a nice plasma material that and we can quickly changes the frosted glass using the refraction glossiness, safe, we just pull down the refractive glossiness. You'll see that that's now become more of a frosted glass. I'm really bad. Demonstrate if I draw something behind the object. So there's clear glass and our frosted glass. And we can also make glass colored. And we can do that by using this folk color. So it's currently on Y. And let's say we want to red. We can add just a touch like, like one in a saturation is really and exaggerated. So we can now move this color slider along and it's going to create different colored glass. I mean, if you wanted to create headlight re, headlight glass, for example, you could use a really strong red, but that's how we can add color to our glass as well. And just going back to that bug that you will see that if I stop this render and I try and delete this glass material on k in delay any wind too late. And I found that you have to just select in the vehicle and off again. And then you'll be asked to delete that material safe. If that happens, can be quite annoyance or that's how to fix it. 31. Wood, Fabric and Colored Metal V-Ray Materials in 3ds Max: Now let's take a look at some word. So let's create a new material or a material. Let's rename it would. So we can use textures and materials and textures, what we call images and textures that basically images that we plug into the material. So you can use the wood texture. And you can use the word texture that is in the resources for this class. And another great place you can find textures is And they've got a massive selection and textures you can use. But for now I'm going to use the word texture up supplied with the class. So I'm just going to drag and drop that in. That's a really quick way of Ghana bitmap into material editor. You can also right-click go to maps, general bitmap, and then load it up from this dialog box. And then I'm going to just drag and drop onto here and plug this into the diffuse. And you see that we now have a texture diffuse slot rather than a color. And you can see that represented by this M here. Now, let's apply that to our object. And I'm going to change our view pool to show shaded by pressing F3. And if I hit Show shaded material in pupil, we can now see this on object. One thing to check is that you have real-world mappings handoff, hey, in this sphere, and also in this bitmap, it could or might not be turned on and off. And this has to do with mapping. And I'm going to talk about that in another lesson. So let's run an interactive and see what we've got at the moment. So already using the texture looks pretty good. And some other things we can do is in reflection, we can add a neat grey. And we can say that that's looking really shiny, probably too much. So I'd bring down this glossiness 2.8. And for me that's still too shiny for this type of word. It looks quite rough. So let's try 0.5. And that probably too much as well point to probably do it. So another thing we can add to this texture is a bump map. And a bump map can add depth to your material using a texture without adding a lot of render time. So in the same way that our reflections and refractions that based off of black, white, and gray. If we have a bump mapping is a dark area or in it, so it's black. It will add depth and if it's white, it will push it out. So a rough and ready way to do this? No, exactly the correct way. And this is how I do it. To get quick bump maps would be to select a bitmap and Drag a map out of it and select the general color correction. And double-click on that so we can go into the perimeters, anything we click in this Canvas, we can go into its parameters. So this is our main material. So what about v re properties that I showed you earlier? And then this is the map proper 0s. And this is our new color correction that we're going to use. And we're going to use is to turn our map to black and white so we can turn on one on crime. And I'm just going to plug, in fact, lists. Have a quick look at who's made it black and white. So these dark areas are going to at depth and the lighter areas they're gonna get pulled out. So this isn't exactly a nice map bail would do to demonstrate here. So I'm going to plug that into the bum. If we zoom in, we can say that that's added some depth to our material. And backing material. We can go to maps and turn up the bam. So if we turn it to 90, we'll see that the effect gets quite extreme. You can see it here. And we probably want to allow more. So let's leave it on. Faculty. Said a bump map is a quick way of adding some more detail to your materials. Now let's create a fabric. So I will create a new material. And I'm gonna code as fabric. And again, you can go to and get your own material. Of course, these chains material, we're just going to drag and drop him. It's gonna make sure real-world is ticked off. And I'm going to plug it into our diffuse. And let's apply this to object and show shading in viewport. And that's going to show our texture. So you can see the text is quite large. So what we can do in the map itself is changed to tiling. So if we change this to two, this image will be told twice, which gives us a better scowl. And let's add a bomb that the same way we did with the word. I'm just gonna click and drag and add a color correction and change it to mono crime. And I'm going to plug that into the bumper. And as I said earlier, you should probably use a tool like Photoshop to get more accurate bump maps. But this will suffice for now. In the fabric material. I'm going to go to maps and I'm going to turn the bump map up to 50 just to add a little bit more depth and texture to the fabric. And something that happens weave cloth is that as it curves away from you, it gets lighter. So just stop the fabric looking flat. It's a good idea to add a falloff map. And we can do that by clicking and dragging our while bitmap, going to maps general and fall off. And we'll plug down to map one. Now, don't worry about how many maps there are. And you'll soon begins find your way around as you start using some of these, I probably use 20% of the maps in here. So don't worry too much about it then you overwhelmed by it. Lets plug our fall off into the diffuse. And we can see that we've got our texture in the middle. And then as it falls off, it turns to Y. So there's our texture and it's turning into white on the fall off. And that's a bit much. So I'm going to plug in our texture to map to, which is here. But I'm going to add a color correction and plugins. And now I'll go back to as it was before, because these two are exactly the same at the moment. But in the color correction, I'm just gonna go to Advanced and changes to, to, to make it brighter. And now on the curve, this texture is going to be used. And on the inside, this darker texture will be used. So we can see it gets lighter on the curve. And we can increase this effect by going into the fall off M6 curve and just right-clicking and change this to Basie a corner. And we'll create an S curve in here. And that's looking pretty good foraging material. And one last material I want to look at is colored mental sign. Let's create a final v re material for now. And I'm gonna call it God. So there's two ways we can create colored materials. The first way is the same way as we created the crime. And that's by tying our diffuse to black. Tell enough. For now reflections. Just gonna turn on our background here and changing the reflection to pretty much white. And then we can pull the glossiness down, something like 0.8. And there we have a metal. And if we wanted to add a color, we'd actually add it in the reflect. So if we add a goldfish color, we can see that how we can create gold, he's in this method. And now there is a new way to great colored metal and it's using a properly cooled metal nearness. So just shift and dragged across this material. I'm going to call this gold. And exchanges reflection back to why. And we'll turn there for now back on. And then this time we're going to turn metal miss all the way to one. And we can see because our diffuse is black, this is now black. So let's change this to a more of a gold color. And here i k. And we can see that's the other way we can make metal. Sorry, let's apply that to our object. You can also click here and drag onto objects to apply to an object. And you can see we've got quite a nice gold material. 32. Create a Material Library in 3ds Max: So it's great that we now have an understanding of how to create these basic materials. And something else we can do is save all these materials into a library so we can access them in future scenes. So for example, if you need a plastic, you can just open it up and then go into here and just change the diffuse. For example, if you needed an orange red plastic and you could change the glossiness here as well. To change some of the parameters, you could also change the reflection base, always a good starting point for you. So to save a material library, Let's open material map browser, and we can just right click in here. And let's close up some of these drop-downs. And I'm going to right-click here and start a new material library. And this new material library with guys who material library's folder within your project folder. So let's call this basic materials and hit save. And we'll see, we've now got this basic materials library here. So if I select using control all of our new materials and we want to add, I can then right-click here and get selected materials. And you see it's now added these materials to the library. We can change how we VDS by right-clicking display material library as medium icons, and then we can see our materials here. So if you ever need them, you can just click and drag them in an appliance your objects. And you can do this in any of your savings. So now what we need today, you'll see there's a star here. That means they hasn't been saved. So if I right-click on it, and this is where it's safe to. And I'm just going to hit Save As now saved. And we can close that material library. Now select all of these and delirium. I'm just gonna go right-click here. Open material library, opened my basic materials and o here. So now I can just grab that and select the object. And I can just apply this to the selected object. So it's a nice quick way to raise these materials in future scenes. So that's basic materials. 33. V-Ray Asset Library in 3ds Max: Earlier I showed you how to use the 3DS Max Material Editor to make material libraries. In the ray five caste group of added the asset browser and material presets. You can open up the asset browser from the VA right tuba. And this asset browser is like the 3DS Max material library I showed you earlier, but I knew if hundreds of materials ready to use, the library itself is pretty straightforward to work out. So on the left we have all the types of materials. And we also have the option at the top here, T is real-world scowl or try plane and mapping. And to add the material you need to do is right-click and add to sane or add to the selected object. Something else that you may have noticed has been improved is the material previews. And these material previews are much closer to what we will see in the final render as the previews or using a much nicer lights up. So as you can see, you can gain a lot of time and learn a lot from this material library. I encourage you to explore these materials, test them out, and play with the settings. As we go on to the materials in our scene section, I'm gonna show you how to create the materials from scratch. As I do believe it's important to know how to create materials from scratch and understand how their bill. And then this knowledge can be transferred to knowing how to materials in the library or Bill and Intel. And you'll be able to update these materials. 34. V-Ray Render Elements: Now I want to show you render elements and we can use rent elements to aid our post-production workflow. So render elements output from the render and they are separate. So this image is taken from an interior v re course. And these are the various render elements that got rendered out. And you'll see later on in the post-production how we put these all together to create a final image. So to set our render elements up, we need to do is go over to render this out. Go to render elements. And then we just go to Add. And we can add any one of these. And the elements are usually add is the VRA Alpha background, diffuse filter, the noise, extra texture, global illumination, the ray lighting, the raw material ID and object ID, the Vireo flexion, the way refraction renderer ID, self illumination, speculum. So lying higher color. So these will be added when ERK. And then there's a couple we want to go through and actually texture. We actually want to add our own material in here and just hit M on the keyboard. And we'll click here. And you want to add a v write data to that channel. And what this is is an ambient occlusion mass, which looks like this. And you see how to use that later on. Now not all of these we'll use the handy to have just in case. And then over in the VRA tab, go to a frame buffer, separate render channels. And you want to put an output path in here. So then you can hit Render. And in the next lesson, I'm going to show you how you can use rendered elements. If you do want to create the interior scene, then check out the interior course as well. 35. Post Production in Photoshop with V-Ray Render Elements: Okay, so now we've got our final render. Let's take a look at how we can add the final touches in Photoshop. So let's start with, let's open up RGB color. And I would hit Control J to making a copy of that. And I will convert it to a smart objects, small objects, a grey if you need to update the render layer. I'll cover that in another lesson in the business section of the course. So let's start by adding a color balance. Now I study is looking a little bit red, so I'll bring science down to about minus 12. So that's looking good. And the good thing with these layers is with that we can turn them on and off, and we can edit them later on. We'll also add a Levels. And bringing this in a bit more dense. More dense. I like to add an S-curve. So already if you hold out and go to your first image, you can see we're already making great progress. Next step, let's grab our random asked that we did. In the last lesson. We dropped down. This will make it easy for us to select different elements in the same. So you can grab the magic one tool and you can select certain areas. Just make sure your tolerance is on, a contagious is off. So we in turn now if we're going to use that later on, it's the fastest grabber, diffuse layer. Diffuse feel less drag and drop down and hit enter. That will place the object. We can change this to a soft light and we bring it down to 50%. And if there's areas we don't need it, we can add a mass down here using the brush tool and making sure I'm black and white, we can right-click and select a soft brush and make it a bit smaller. Maybe about 250. And you see by painting in black Reggie painting out the diffused layer. So let's paint on the floor. Avalanches are quite like it. Next outlets as in depth by adding the IO past that we did in the last lesson. We'll hit Enter and we'll change that to multiply. And we'll bring that down to about 40%. And you see that really gives you a bit more depth. And again, along these edges and that Marie like it so we can use a mask and paint them out. Do pass really helps them grounding the object. You can see that they're saying a lot better. Now let's add a very light next. The ray lighting, we'll drag and drop that on is actually quite noisy. You shouldn't reasoning noisy. I think I had lower savings. But if it is, we can just use the fill and noise, reduced noise. And it's put down 104525 and hit OK. And we can put down to a soft light, will have it on about 10%. And that looks pretty nice. And we'll do the same with a b Re reflection. We'll drag and drop that down and he enter will put down. So fly again. And we'll bring that down to about 55. And we can paint the areas again that we don't want. So maybe the bed scalability dot. Let us apply the mask. And using the bracket bands on the keyboard, you can make your brush bigger and smaller. And the areas that you think are maybe too dark. Okay, now we'll add the specular. We'll drag and drop that on any enter. Will put down screen. And we'll put it out on about 50. Hey, that looks pretty nice. And next we can add some color lookups. So you can just click on one of these and flip through. It went through earlier and I found a couple that I liked. Film stock was quite nice. So we can add them and put on about 50%. And we can add another color lookup. And this time is at 49. Now perfume plays in and we'll bring that down to about 25%. There are a few areas that I think are a bit too dark, so we can add an exposure tweet. Bring this out to about this D5. Maybe less 0.3 free, and then use the mass by now some of the really bright areas. So please currency, we get to use our random mask to ease madly warm. So use the magic wand and select by them by holding Shift. And we'll go back to the top. And we'll apply levels modifier. And then we can just move the middle one just to brighten them up a little bit. So we could probably do a background image in here, nothing to major. Maybe just a bit of sky. So we can do that by selecting our met random ask again, selecting the window, turn it back off and go to the top of the stack and add a new layer. And then in the color, we can select the blue sky. And with news gradient click and drag. This added touch oblivion. And actually press Control T and scaled up a little bit. And go back to our random mask. And using the medium one tool, we can select these areas. And we can actually put a mask on today's. And then using our brush this time we'll use a hard brush. Will bring the size down. And using shifted clicks, I hold down shift and click again and it will draw a straight line. Then argc soft brush again, just painted over the current. So there's just a touch of in their parish bring that down as well. So Ashbery bringing up the more of that enabled occur. And so if we eggs, that would change the brush to y. So then we can just paint it back in. So it's just a hint of sky Rayleigh. And now it's whole shift and select all the layers. And he control Jade, make duplicate, and then control eight, flatten it. Now copy everything managed. Nano per an image or I cholera. And if you hope Control Shift F. And you can actually just bring this back down and anon put on about 50% less suicidal. And unlike contrast on there. Now right leg in compared to a smart object. Then if you go to Filter and camera filter. And let's take a look at some of these. Camera sends a great OLS see what happens. Now that wasn't very good. The changes temperatures may be a big gorilla. And bring the exposure up just a touch screen contrast down allele. Wherein the highlights out. It's bringing the shadows up. And we'll bring some of the whites, damn, let's bring the blacks up. And the clarity we can actually bring down and vibrant standard level where and he, okay. And one last thing, this area over here looks a bit over saturates, means if we use the magic, one will go back to our random mask. And we'll select the level bed and back on top of the stack. Let's add a color balance. And let's bring assigned down, make it feel a little bit better. Okay, so there is, if you hold Alt and click the background image, you see what we started with. So as you can see, fashion was a very powerful tool for adding 5x realism to your images. So now let's go to File Save As. And we'll go to our master bedroom renders. And let's save as master bedroom. And we can know Skype File Save eyes ones as complain. And will choose jpeg and hit Save. And there we have it as our final image. 36. Bonus Lecture: Fast Exteriors: Hi guys. I'm going to show you today how we can quickly proceed together using Chaos cosmos and the asset browser that comes built into latest version of V Ray. To begin, let's open up a new scene in 3ds Max. And the first thing we're gonna wanna do is create a light. So we can go to traditional way and go over here, but now we can actually use Cosmos browser. And I'm going to go to page DRIs and I've downloaded a few. So you can download them by clicking on one and hit download, and it will download. Once they've downloaded, you'll see a green button here that you can click to bring it into your scene. Also go down here and say show downloaded only. So I'm going to bring in this daytime and I'm going to bring into untitled scene. I'm also going to just make one big viewport so we can see what's going on. And next up, let's add a freemium model. So let's use a vehicle, one that I've downloaded, so this SUV. And is that car. And the next thing we're gonna wanna do is create a plane which is essentially is the same as a plane based infinite. So rather than just making a plane here and then rendering the V ray plane is actually infinite. So if we go down to p ray and add V right plane here, this is actually going to go off all the way to the horizon, which is going to help. So if we've got some and it's bouncing, it's only going to bounce on this plane. Whereas if we had an infinite plane like this is going to bounce and bounce light back up. Just a more effective way to add ground. And that's gonna go all the way to the horizon. So we can actually take a look at that if we run an interactive render That's really overexposed. So without adding a camera quick way just to turn on my exposure is the camera under our V Ray settings. And we'll go to 0 exposure. And we can see what our plane does. It goes all the way to the horizon. So as I'm moving around and we can see our car, and we can see that that HDR is doing a really nice job of light in our scene already. So we actually wanted to get some ground material on here. And rather than making it ourselves, we can now take advantage of the VRA material library browser. And if we go down to ground, and we'll add something like this. So I believe I've got the V ray plane selected. And tell that from here. And I'll right-click and apply to selected objects. And we can see that it's applied. Now let's take a look around is saying if I select the car and press said, and make sure we're in perspective view to pay, we can kinda zoom around the car and start looking for a nice angle. Say something like this looks kind of cool. We can add a camera now, so we'll go over to the Create panel. Camera, will go to V Ray and a physical camera. If we just click and drag and drop it anywhere, it doesn't really matter where. And then hit Control C. That's gonna move the camera into a viewport view. And then if I press C, you'll see in this top left that this VRA camera is now selected. So we're looking through that VRA camera and we can change our camera settings in here, but we're not going to look at that just yet. So now we want to populate the scene a little bit. I will open up cosmos browser, cosmos, cosmos. And we'll go to vegetation. And I think some rocks. So there's loads of stuff in here you can choose from, which is really handy again for like demo and scenes like this. If I put show downloaded only on, it's going to show you the ones I've downloaded, which I've already had a little play with it. So I'm going to bring in these two rooks and to our untitled scene. And we can even see them already coming in to the interactive view here. So I'm going to stop this while we kinda scattered these rocks around. Let's go to two views. And to change our viewport from four to two, we can actually right-click and go to View Layout tab and change that to to yours might already be opened over here. I close it because I don't think it warrants the space like I'll just open out when I use it. So let's go to our camera view here. And I'll press Shift F to turn on, just say frames. And we can see what's going on in our scene here. And we've got two rocks over here. And I'm going to pull them off saying, and what I'm gonna do is paint with them. So for this, we want to have our graphite toolbar open so you can go to Customize, show you, I, uh, make sure the ribbon is open and object paint is what we want. So click on that. And now let's let these two rocks. And we want to paint, we've selected objects, paint on. It's just have the grid cell is going to be the ground. I later on we'll go through how we can paint on two different objects and what a lot more this does. But you'll see now if I click, we can start clicking and paint in these rocks on. And obviously this is very uniform, so it's not ideal. But what we can do over here is start playing with some of the randomized sense. So fast if we put random on, this is going to randomize the scowl. And we want this I named Max now 110% down all the way down to 20 percent. And this is the rotation. So this is going to rotate our object around and again, like our space him. So we're just trying to randomize this a little bit more. And the spacing here, so it has to move. And if I turn the spacing up, you can see that's looking a little bit more realistic. And you can spread them out. And that's a really quick way to kind of get a bit of an environment going on. And then we can turn itself. And we can individually select these rocks and they're all different shapes and sizes. So if we actually run an interactive now, should see a lot more environment going on. And of course we can move these around individually to sour seem to have we want to show more of the car here. Now let's look at bringing in a tree and some foliage in. So open up cosmos. Think is Cosmos of cars. Cosmos. Cosmos. Cosmos will go to trees. And I'll bring this English, OK. And we'll just use this to frame All Card obeys and just have it kinda coming in on that corner. There are some really fun things you can do, like add melt modifies and then kind of animate the trees grown and stuff like that. But we can talk about at another time. And let's also bring in these junipers. This trace. It was a massive, I don't know if it's going to cause some shade. Let's take a look on the interactive render. So I'm going to scale that down a little bit. Maybe like 75. And I'm going to hide that for now so I can make selections a little bit easier. So these are free brushes. So I'm going to select those. I've got four, I've got a rock here as well, but that's fine. And I'll pull them over. So I'm kinda using this section over here just as a bit more of like a pallet of what we're going to paint with into our scene. And just keep things organized if I ever want to paint again with them, because these are all going to be randomized. These are kinda like our main objects. And so I've got my free brushes and we're going to paint, we've selected, and we're going to paint onto the grid. And we're away. And we were using the same spacing as we create with that rocks. So if we wanted to make some bigger Bush's we can do. That's looking pretty cool. Now, I'm just going to kind of organize our scene a little bit better. Like person bushes in the foreground. And I'm just holding Shift and rotation to make a copy of that. And have that dare. And also scale one in the foreground there. And obviously you can go to town like you could add some of these smaller plants and there's even like little stones that would go nicely behind the car. Then you Aedes unhide all. So we can see our tree and running the interactive render. So if you are interactive rendering and you want to move into the top, you're going to notice that will go into top view in interactive render. So quick way to solve that is in the render settings. You can look the camera to that view to render. I want to go to the top view is still rendering our people. Alright, and I want to tighten up some of this scene. Perri, make some of the rocks bigger. And we can do in the VRA camera, if you select it, is showed a horizon line. So that black line there is this horizon line and that's kind of a bit of a giveaway. It's not going to be dead straight. So because he kinda made the rocks bigger for that horizon line. And also remove some of these bushes. They're kind of hiding the car, slip this lab. How now how these let the camera and then holding Shift copy of this rock over here, and then we scale it up. Finally, we can take a look in this frame buffer. Let's add an exposure. And I'm just going to pull down that highlight burn. And you can see like we bring him back more of this guy, which is nice. We can up the contrast a bit because they're highlight band does take away some of our contrast. Starting to look nice, we can turn on this lens effect. So if we enabled a bloom and layer, you can go into this, but I think the defaults look nice as nice little bit of glare on that on the back of the car. And yeah, you can play in here and you could add a vignette to the camera as well in the camera settings. Maybe put a saturation down, a touch. And these filmic time maps are really cool as well. So perhaps per power curve on there, I quite like that one. And you can kind of flip them on and off to see what each one's Dan. But I think that is looking kind of cool if you didn't want to render the final render. So we've just been using interactive this whole time and it looks pretty nice. But I would recommend in the render settings, if you go over to the render elements and add a V raiding noisy, you'll see currently like de-noise or is unavailable. So every stop this render, render like a production render, just let that run. You can also change the size, so this is only 640 by four A0, but you can change that under common. And there's an area like put HD or something. But what this is going to do is progressively render. And then that's going to de-noise as well. Ba, you can see that the noise in this early stage is gonna kinda make it look a bit blurry. But you can always turn it on and off or bring down the opacity on it. So really, really quickly they're put together quite a nice scene. So I look forward to seeing what you guys can do with that. 37. Bonus Lecture: 3D into Photography: Today I'm going to show you how you can add freely to photography and make any car advert in under ten minutes. Did you know a whole lot of advertising is actually 3D. Cgi isn't just the dinosaurs and spaceships anymore. 75 percent of the Ikea catalogue is free day. And they're even using a free influencer in their latest ad campaign. If you stick around to the end of this video, you'll be able to create any car as you want, grow your portfolio, and get a piece of that CGI advertising action. So the first thing I'm gonna do is fire out cosmos. And I'm going to bring in a vehicle, and I've already downloaded some so you can switch downloaded on here. And I'm going to add this electric car into our scene. And while I'm here, I'm gonna go to HDR hours. I'm also going to add a HDRI to light our scene. I'm also going to add a v right plane. And this is going to act as our ground. If I go to Render Settings, go to V Ray camera and I'm going to turn off my exposure and white balance on and go up here to start IPR. We can see that we already have a pretty nice looking car in here. So we already covered how to make full CGI images in the last video. This time we're going to look at how we can add freely to photography. Location is backdrop has been sent over by the client. If I press O on the keyboard, this is going to open our background set ends and go use file and load your image file, make sure match rendering viewport is on and apply it to active view. And you can hit Okay, in Windows file right-click on the image and go to properties, will be able to see the dimension. So it's 3000 by 1561. So we're going to want to change this in our Render Output. And this will avoid any distortion. And I'm going to lock that press Shift F time on safe frames. And you can see that if we change this viewport, That's the size of the image. So now let's add a camera. And we can add one quickly up here, just by clicking that. Thanks, flat O. And I'm going to crank that up to 65 just to add a bit more depth. And then using these controls in the bottom right, I can move our car around in the scene. So now I want to match the lightened up with our foe. And obviously we haven't had the opportunity to go and shoot a HDRI of this location. So I'm just going to open up the material browser, the select your life. You can move to texture, drag and drop it over into the Material Editor. And then in here, I'm going to replace the HDRI with our back play image. I'm just going to flip that horizontally as well. Okay, So options and make the backplane and visible and less run and interactive render. You can see the lions much more in line with our image. We can also add a background image. Again, let's use the image we downloaded as our background. And then we also want to select our VRA plane. And we went to China into shadow catcher. And that's going to make sure we get some shadows underneath the cuff. Say now's a good time to turn off the way white balance and the OECD, a V Ray camera and it's 10. These both off and let's select our camera. And a quick way to do that is just to click on the array camera and select camera. And I'm going to pump our ISO up to 1000, the spring, the f-stop down to see more in line with the image lighting. So now I want to add some headlights to it, turn on some lights. I'm going to turn show how mesh on. And then I've tried important is mesh and it comes through fascinated. So found if you add an Edit Poly and collapse or turbo smooth on top, that's the best way I've found. If anyone knows better way, I would be happy to hear it. Now, one gone this Edit Poly, we can see down here in polygon material IDs. Id1 is the pain. So each of these IDs is referencing a material in the material library and safer press M and eyedropper. The car is going to show us a multi sub material. And this is showing us all the different materials on the cup. So I'm just going to press P and zed zoom in and we can hide headlight. And then I'm going to select these bulbs now I don't know exactly how Tesla headlight set up, but I think something like this would be fine. And what I'm gonna do is make this material if Dane and I'm also going to do to bogs down here. I also do the other side as well. Set to 15. And then we can unhide all. So glass comes back on top in the material I'm going to add not all add 15. If I clear this and add a v ray light material, we go back to our camera, person C, run an interactive render. We should see these headlights. Now turn on. And there we go, That's cool. Just one thing I directly likened being pure white. So just going to click on color as the eyedropper and select a white from us sane. And you can see that that is not pure white. Something else that's cool, we can add is some bloom and glare now. And I'm going to turn on this lens effect enabled bloom and glare. And I quite like turning on lens sketches, says little bit variation. You can see what's happening already here. And if we just crank up the intensity for a minute, we can see what's going on. And it's quite nice to rotate this. I kinda wanna make them look a little bit like light travels. And that's looking pretty cool. Now it doesn't need to be that intense. And bring that down to around here. And you can also play with the size. No, So rather than 90 eighties slides, because I read an article that Obama was going to have flying cars in the next couple of years or 40 might be worth making our cow add a flying car. I think we'll probably be making flying in our lifetime. So let's prepare. And I'm not gonna go too hard on the modelling, but I'm going to select all of the wheels and just roughly select those elements. And then using our de-select, why don't need and I'm going to detach detach just one of the wheels and its front one. And then with that front wheel selected, I'm just going to change into hierarchy effective sentence object. And I'm just going to rotate around. And let's add a nightmare. Essentially changed that to a double-sided. Alright, so I'm going to pick a color from our scene again. And also crying. Like say you now let's lift this car off the ground. It's going to select everything, deselect light so we should get the car. And it's bringing up the ground a little bit. It would be cool if we could add some smoke and the will to create helper. And I'm going to get to atmospheric apparatus. And I'm going to build a cylinder. Is my, again kind of put it roughly around our, we'll center that will look cobe. And now I'm going to add a fire effect. And you can go back to our camera render series does. And we can see that it's fireball effect underneath. We can click on it and set up. And it will just open up the environments in effect. And then I'm just going to again choose a green from our scene and just copy that over. See the smoke now becomes green. She went nato VMO saturate. Let's draw again. And now I have maybe actually make their inner layer. And you can change the density in here and you can change the higher bit. So we get a bit more smoke coming through. Let's go. And then intensity. Yeah, it's pretty sweet as you're going to copy this color and put it in our lives well. And then I can select the wheel, cylinder and light, and group them and then move them into the same position as the wheels, basically replacing them. Smokey and instance. This code near the o road wheels that would press a on the keyboard and go into the environment and affects a fire effect. And it's only on gizmo. One side you pick is my should now have four in this drop down. And then when we render they should all have fire effect underneath. The next thing I wanna do is add someone in passengers see, sorry, in the back. And the thing this little guy like looking up for all is going on in its position, him in the back. And I think it'd be cool to have light coming in here to really highlight face. Say let's create a main light. Now I'm going to make it targeted. Select that target. And we want to put that target onto this face. And this kind of code or this coming on top here. And I don't need to be too big. And that our work, I'm going to make this visible reflections that I want to reflect him in the car. And let's just crank this up and take it again from the same yeah, that looks pretty cool. I also want to bring him in as you get into layout. All right, that's looking pretty cool. Now to render the final, I'm going to add an AI. So you can just go to Add and an AI atmosphere and the noise. And then also in the frame buffer. Um, I've added a few other things I've adjusted to do in saturation and filmic time, matt and I put down power. So now you can hit Render and I'll jump back in. When that's done. Then I've saved out our images as PNGs. And I'm just going to drag and drop in the noise version. And I'm just going to make a copy of that background and add a glazing and blur names like to know I can do is add a mask and just paint out areas that I don't want it separately around the flat brush. I'm gonna make another copy of this background. And I'm going to pull it to the top of our image. And now I want to blur this image as much as I can. Just crank that all the way out and this gimmick, unlike an average color. And if I then hold out and attach it to our car and put it on color, it's gonna kinda colorize our car to match the image. And I just find this because sit back in the same. So we can bring that down to about 20. And we confer the IO on as well. And if you put it on multiply, find this just gives a bit more depth, some of them areas like in here. Then we'll contrast as well. And I, my favorite possible it is Blab. And I'm gonna put down screen. See what that does. That just adds a really nice glow to these light can actually do to make that more intense. And then obviously if you wanted to put a mask on, paint out certain areas if they were too bright. And I'd like to add a small amount of fog as well. So if we create a new layer, phil, Render Clouds of, let's make this black and white fast. Render clouds and put those on screen. There is selfie. And I'm actually going to paint out enjoying that. And finally, let's run the atmosphere. And I'll put ounce grain just to highlight those a little bit more. And that's to finish saying. So I hope you guys had families tutorial. Remember you don't need much crore, some great images just for AI techniques I showed you in this video. 38. Bonus Lecture: Five 3ds Max Tools You Don't Use: Here are five awesome tools in three years max that you probably aren't using. Number 1, transform toolbox. And you'll find that hidden under Edit Transform toolbox. And in here are loads of handy tools, things such as rotated by 90 degrees, and this is based on the viewing angle. So just be aware that if I'm doing it like this, it's going to spin it on that axis. You're also going to find a line pivot in here. So we can say to many are pivot is in the center of the object. And if we hit zed, it's going to ground that object. Next tool which is let him place. We can select out here and just click and drag. And that's going to place our table saying onto our table. Also, we can just hold shift and move these around, select both of them, move them across our table and use our rotate. The third tool is the substitute modifier. So if we wanted to change this placemat to the strawberries, I can go to the Modify tab, find, substitute, pick objects, change it to the strawberries, and we changed them all to strawberries. And the fourth TO in this list is object paint. And this tool is ideal for painting foliage. For example, if I wanted to spread these lemon trees across this terrain, paint on, we can change that to same-sex, going to paint on everything in the scene. And we're going to paint we've selected. And now when we click and drag is going to paint onto our terrain, obviously, the spacing needs to change so we can turn that up. And let's just turn that into a 100. And we can also change these scarcer in the EU. And we have all these tools you can hover. And it will show you a quick little video if you want to go deeper into these. And the final tool is the search function, which is X on the keyboard. And say you just want to build a teapot. You can just type tea pot and lift and drag and go to T four. And then say you want to add an Edit Poly to that. You can just type in edit and add an Edit Poly. And then you can type symmetry. And you've got to add a symmetry modifier. So we're using any of these tools are ready. Let me know in the comments. 39. Bonus Lecture: 4 V-Ray Frame Buffer Tools in 3ds Max: Here are four excellent tools in the B re-frame buffer that you don't want to miss. So number one is depth fulfilled in our frame buffer? Turn on that fulfilled, and we can start an interactive render. Now for depth of field, you want to tell the camera what you want to be in focus. And you could do that manually in the viewport, or you could use Alt click and let V Ray work out for you. So I'm holding out. And if I click at the back here on these dials, you'll see that that area is now in focus and here is all blurred. And if I click on, let's say, this doll at the front, you'll see that this is all in focus and it's blooded a back. Now, if you want to increase or decrease the blur amount, the thing that controls this is the f-stop number. So the load is goes the more blurry the image will be. Say if we turn this down to four, we're going to see that the image gets blurrier. They also gets brighter. So you could manually try to adjust the ISO or the shutter speed to compensate for this. Or again, you can let me re due to hard work for you. In the eraser ends. We can just turn on or exposure. So now we can see that that is really blurry. And that's how we can really quickly control the depth of field within the frame buffer. Next up is bloom and glare. And just by turning that on, the lens effects, that's going to look pretty sweet. But there's so much more here that you can do. You can turn it on and off using this eyeball, the size and the intensity do exactly as they say. And the bloom is blends, the glares alert is goes, you're going to start seeing these streaks. But what's really cool is down here in the aperture shape, we can turn on peripheral grading. And this is a real-world lens effect. And you can control the settings in this length down here, so you don't want to pump out too much, but you can see what that's doing. And I'm also a big fan of the lens scratches. So if we turn that on, you can see what it's doing and we don't have to stick with that. You can actually change the patterns here. So stripes is pretty cool. And you've got square and hexagon and you can change the density here. And just like the lens scratches, you've also got lens dust, and that just adds some dust to the lens. And you can also change the pattern here so you don't have to stick to the standard bloom and glare. You can customizing it some really nice effects. And did you know you could actually do your composite in within the v re frame buffer. So I've already added a couple of elements and rendered out this image using bucket as the crypto Matt will only work with a bucket render. So if we go into source and we go to composite, we can start adding our render elements as we would in Photoshop. So we've got the RGB color on the bottom. And then I'm going to add a number render abdomen. And we can choose our V Ray ambient occlusion, which we can change this to multiply. So normally I go into Photoshop and add this. But you can see we can just add it in frame buffer now. And we can do the same with a reflection unless choose to be a reflection. And if a turn that on and off, you can see what's happening on this desk. And what's really great about this is that if we move the headphones, for example, this is organ update as well. And we can use masks as well. If you want to use mass, I can first shot we have to render a Crypto Map render element if we go to our composite and let's just add a color balance, for example. We can just crank that up to read and see that it's making the whole image read. But we can actually use this Crypto Map mask. If we click on pick and we pick the object, we want to change the color of. We can see that somebody's headphones have gone red. And you can actually turn on Show Preview when selected. And then we could add, say a number, hue and saturation. And again at the Crypto Map mask and pick this. Then in the properties we could pump up that saturation. We can even change the hue and make it whatever color we want. 40. Bonus Lecture: Camera Mapping in 3ds Max: Want to make your visuals and Papa owes him money, colleague. Or today I'm gonna show you the techniques to do just that. The first thing we're going to need is a back plate. So I grab this one off of Canvas and we can hit O to open up our viewport configuration in here, let's choose File and let's load up our image. We hit Apply to active view. We can see that it's now in our viewport and we can hit, Okay, let's just quickly change our render output. It's an HD because I know that this image is HD, which is 1920 by 1080. And if I hit Shift F, It's going to show us say friends. So that's all in proportion. Now we're going to need a boat, cosmos. Here's the yacht, bring that in. I'm going to roughly line this up and this bone a little bit smaller than this one. So just keep that in mind. The scaling is not going to look exactly right, but for the sake of this example, it should be fine. Add a, B or a physical camera, change the focal length to 18. As I saw in photo information that the focal length was 18. And let's zoom in. And when trying to line this up, show horizon line is also really useful tool. So you can see this black line. Now of course here what we wanna do is line our horizon, line up with horizon of our image. Something that we need to do is go to the front view. So press F on the keyboard and the boat's actually grounded from the lowest point. Don't actually want we want it to sit in the water. You see in the left view. So where that black line is, is where the borderline obese. All right, so now we're going to need some light. So lets just grab one from the chaos cosmos and just make sure they're roughly resembles our image. So I'm just going to bring this m being dome light we have locked to texture on. And this will mean when we rotate our light, the sun will rotate with it. So now if I run an interactive render and I start rotating our light, we can see that the sun is moving and you can see from the shadows in our image, the light is kinda coming from behind the boat. So I think somewhere around 120 in the zed is going to look about right? And now for some magic, which is camera mapping. So think of it as the camera has a built-in projector at a b ray plane from what we're gonna do is to project some water onto this plane to give the boat something to reflect. So I'm going to quickly hide our boat. And I'm just going to create a clear. And if you've watched any of the earlier videos, you will know exactly what it is transformed toolbox is. And what I'm gonna do is open up the material at Earth's I M on the keyboard and I'm going to make a very quick chrome material and apply that to our sphere. And I'm going to make another, just be reading material and just make sure it is. It's like a mid gray. And in the diffuse this meat grain material, I'm going to add a map and it's under general. And it's good the camera map per pixel. So let's add that. And for camera, we want to add our camera so we can select it, the camera and select our camera. We'll jump back in pregnancy. And for texture, we're going to load up our bitmap of our background image. And let's apply yes to the right plane. And we'll run our interactive render again. Come now we can see that we have this projected onto this plane, but I'm just going to turn on or exposure sound the V Ray camera, I'm just going to turn on exposure. Okay, so we can see if we go to our camera, that the image looks correct. But if we move to perspective and start moving around, we can actually see the image is actually mapped from our camera. So everything else will get the steward. We can delete our sphere and we can unhide of boat. And let's run the interactive render. There's a couple of materials that I want to change. What we can do, pressing M on the keyboard to open up my material editor. And let's open up the video material browser. And in the glass, I want to replace our current glass who'd like a tin with black gas? And say this one for example, if I select a new slot and use the eyedropper tool and select our boat. We're going to see all the materials in a multi sub. I can see that we have a clear glass material here. So I'm just gonna drag and drop this black glass into that slot. And that's just going to replace all our glass with the black 10 eat glass. And so I want to replace this white material with this car paint. Flakes white will look good, and there's also the chrome on the anchor. So let's go to Mel, weathered metal material. We'll call, we'll put it over Chrome and let's run our interactive again. I don't really like this black material being by the anchor as well. So what I'm gonna do is grab that white car paint and just drag and drop that over the black material. And that should make this white paint. And before we render, I'm just going to add a couple of render elements that are going to help us out in the post-production Render Settings. Go to run the elements and I'm going to add a v, right? Which is ambient occlusion. I'm going to add a reflection I want to color and we can also edit the noise there as well. And I'll hit Okay, Sing else. We can have a quick look at before we render our layers over here. So what we can do is add a background and in here, load up your texture so we can actually see the background. What was also useful is you can click on foreground. You can kind of switch between the two to see how they line up boat looks a little bit more green from the reflections. A really quick way to sort that out would be to add our white balance, add a very slight green tint. But again, a saint we can read do in Photoshop. So all that's left to do now is hit Render. And we'll save Audi separate render elements as PNGs. And then over in phase shop, I've got background open and I'm just going to drag and drop our effect results on top with the spot healing tool. And we'll use that as best we can. So I'm gonna go back to our back plate and just work out somebody's areas and see what Photoshop can do about removing them so they can do a pretty good job. But we're also going to need to use the clone stamp, which means we can just hold Alt, select certain areas and just brush them out. And it will say down here, it's quite good when you got to her. And what horizon is also quite good when you go ahead and help. It's also quite good when you've got a horizon and you can hold O and select on the horizon line and just move that across there. So, so bring on this wire color. And I'm gonna select that fear, a plane that we put in. And let's add a mask and Control I to invert that mask. So what that's done is get rid of that shadow. And then we can use a soft brush not too big, and just paint in some of these waves and you can press X to like bring back seven sections. Might also want to try the splatter brush. Things could be quite small. Spend some time on this and spend a lot more time on it. Then that something else that I find useful to do is grab that background Control J and just bring it to the top. And I am going to fill up and glacier on blur, lazy on Gausian. Gaussian Blur. Just pumped out to 1000. And we're going to do is kinda like average out the color. But down to color. And holding O, apply it only to our yoga. So it's just kinda added a color tin and just bring dance like 10 percent. And finally, let's add the AO since the ambient occlusion is just going to add some depth, put it on multiply. And we're also holding Control. And I'm just going to still the mass from your layout and apply that. And finally, there's Fred reflections on you want to crank them up and we'll do same. Grab the Mask using control from below. And I'm just gonna put down to like a soft line. We'll just have down by 50%