3D Modelling : Learn To Create 3D Models with 3ds Max | Jake Denham ⭐ | Skillshare

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3D Modelling : Learn To Create 3D Models with 3ds Max

teacher avatar Jake Denham ⭐, 3D Artist | Official V-Ray Mentor

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      3D Modelling : Learn To Create 3D Models with 3ds Max


    • 2.

      Introduction to Modelling in 3ds Max


    • 3.

      Create a Reference Box in 3ds Max


    • 4.

      Set Up Reference Images in 3ds Max


    • 5.

      Creating the Sofa Base in 3ds Max Part 1


    • 6.

      Creating the Sofa Base in 3ds Max Part 2


    • 7.

      Modelling Pillows in 3ds Max Part 1


    • 8.

      Modelling Pillows in 3ds Max Part 2


    • 9.

      Modelling the Pillow Details in 3ds Max Part 1


    • 10.

      Modelling the Pillow Details in 3ds Max Part 2


    • 11.

      Cloth Modifier Pillows in 3ds Max


    • 12.

      Cloth Modifier Cushions in 3ds Max


    • 13.

      Create Cloth Modifier Throw with 3ds Max


    • 14.

      Legs and Group


    • 15.

      Render with Arnold in 3ds Max


    • 16.

      Model a Side Table with 3ds Max


    • 17.

      How To Model a Lamp in 3ds Max


    • 18.

      Modelling a Coffee Table inside 3ds Max


    • 19.

      Create a Rug in 3ds Max with Hair and Fur


    • 20.

      Bonus Lecture: 3D into Photography


    • 21.

      Bonus Lecture: Fast Exteriors


    • 22.

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


    • 23.

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


    • 24.

      Bonus Lecture: Camera Mapping in 3ds Max


    • 25.

      Bonus Lecture: Edge Distress Workflow In 3ds Max


    • 26.

      Bonus Lecture: Physics In 3 Minutes MassFX Tutorial


    • 27.

      Bonus Lecture: Improve Your Realistic Interior Rendering


    • 28.

      Bonus Lecture: 4 Quick Tips To Increase Photo Realism with 3ds Max and V-Ray


    • 29.

      Bonus Lecture: An Introduction to Generative Capabilities in Photoshop


    • 30.

      Bonus Lecture: How To Create Augmented Reality


    • 31.

      AI Tools to Get Ahead of 99% of 3D Artists


    • 32.

      Bonus Lecture: Using AI to Generate 3D Models


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About This Class

In the class, we will learn how to use 3ds Max to create realistic 3D models. This is a project based class so follow ago and create your own 3D assets.

Have you ever wanted to create professional computer-generated 3d models? Join Official V-Ray Mentor Jake Denham (of Luxury Visuals Academy) as he shares everything you need to know to create remarkable 3d models.

This class will walk you step by step through the key elements of 3D modelling with the 3ds Max.

Meet Your Teacher

Teacher Profile Image

Jake Denham ⭐

3D Artist | Official V-Ray Mentor


I am a 3D 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. 3D Modelling : Learn To Create 3D Models with 3ds Max: Hello, I'm Jake denim and I'm a CGI artist. My career started working in the world of your visualization and from there off expanded to all types of work for the architectural industry. And beyond that, it's included automotive, travel illustration, appetizing, and really any kind of project that uses computer generated images. Today I'm gonna be talking about 3D modelling and specifically model any 3DS Max to create 3D assets for photorealistic rendering. I'm gonna teach you how to start a model from scratch and gain the ability to start growing your own 3D assets for your renders or even to sell. Throughout this class, I'm going to show you step-by-step processes of how to use specific tools in 3DS Max. So when you start using 3DS Max, it can look a little intimidating, but I'm gonna break it down into Easy Steps. And by the end of it, you're gonna have your own 3D models to use in your renders, as well as an understanding of how to produce high-quality 3D models over and over again. So CGI doesn't need to be intimidating. And one thing I hope you take away from this class is easy to follow a step-by-step method to get professional results. As you're taking this class, please post your work. I'd love to see your process and you'll find a models. And I'm excited to have you in the class. So let's get going. 2. Introduction to Modelling in 3ds Max: hello and welcome to this freely modeling course. This course is going to focus exclusively on modeling in Freedy on it's a big subject, so it definitely warrants its own course. We're gonna be using three DS max to model with on this means we're gonna be doing polygon modeling. If we take a look at his cube here, we can see that it's made up off polygons. A polygon is made up off edges on for disease. Two birds are connected with a straight line and this line is now on edge. It takes a minimum of free edges and free vertes to create a polygon. And in this case, we've created triangle with four that's we can create a quart and a group of polygons that share verses are known as an element or a mesh. So everything in Freedy is made up of polygons on Because of technological advancement, we can now render with more police than ever before on more police, me more details on more details mean more realistic objects. So I would encourage you to start thinking about how objects would be made from polygons. So take a look around wherever you are, right now And take a look at your desk and imagine how these objects would be made in Freedy if you could only use polygons. So now is when we need to start looking everything and thinking. How would that be made in free day? I'm gonna show you how to use the modeling tools within free DS max. But this stages Justus important. It's always good to go into modeling with the rough idea off how you're gonna build some Think so? The more you practice, the easier this is gonna become, and it will just become more natural. So this is the reference we're gonna be using for the course. We're gonna remodel in the assets based on this scene, Andi, I'd recommend complete in order classes in order to benefit from this course long term. 3. Create a Reference Box in 3ds Max: so I have opened up three DS max Andi, don't worry if you has done look exactly like this, but there's nothing special really that we need to install. We're just gonna be using three DS Max Teoh. Create our models. I'm going. Teoh first just pulled out time line off with time slider and close that just to give us a bit more real estate. And you'll probably see that most of the time I'll have the command panel on two columns. Just Teoh. Give us more room and see what's going on seal. The options would be using that, and I also mainly use just one. If you pull so you can maximize the view port by clicking here or you compress O. W is gonna make it one view. So whenever we're working in Freedy, it's really important that we work in real world scale. And if you want your lying your materials to look realistic than we have to use reward scale, this is also useful if we're passing a model one to another team member on everyone's using roulette scale. So there's no issues in re scaling objects to demonstrate how this out these reference images in for Yes, Max, I'm gonna use this sofa Bibeau concept and just gonna share. I'd normally work on two screens, but obviously I want to record everything I'm doing. So let's just put it like that for now. On the first thing, the check is our unit set up. So under customizing their the units up, Andi, you just really want to make sure it's non generic units we're going to use. Enemy is here. If you're in the States, maybe you'll be using feet. But we're gonna use centimeters and just check in the system unit set up a swell that you got sent me itself. Aan den. We're kind of good to go. So if we scroll down and go to two product details, we can see that the height of this, so for is 88 a half centimeters. So if I go to create box, I was gonna click and drag to create this and we can see our dimensions here. So in Hi, I'm just going to type in 8.5 centime is and this is how high are so for is in the real world and therefore as well in our people so we can plug in these details. So you got with Oh, free May is 17 Senate me is on the death is 156 enemies. So what we see in here is the overall size off our sofa, including the L. This bit of sticks out. So it would kind of come in here and we can see we've got these other dimensions. Um, and I am actually gonna create some reference boxes. So we get the sea in height, so delicious click and drag to create another box. And this might that Hi 41.5, and I'll create another books. Make that 1 61.5 And that's gonna be the arm rest high. And then the legs, Let's create another books, and this one is only gonna be free and 1/2 centimeters high. Andi, that's are different heights. So if we take a look back at this reference, the overall height, which was 88.5, I believe I think that includes these cushions here. So this is actually the height off these armrests. So we're gonna model that first in these cushions will tackle in a later lesson. So let's go back to our main box. If I press f four, it's gonna turn on our wire frame and I'm just gonna add and edit Polly on top of this. So the edit Polly modified provides sub object model in tours on what that means is we can select edges, we can select thirties and we can manipulate him and change the shape. And there's also quite a lot of tools in here that we can use to edit meshes. So you can select modifiers from this drop down list so you could select Edit Polly from here. Andi, you see that I've got buns set up here and to set these buttons up Utkan configure modify sets here, Andi, go to configure, modify sets and you'll see that I've got total buns of to you can have more on. What you do is just drag and drop the ones you use most often onto these buttons. So if I hear okay, you'll see that I've got four now. But for now, I'm just gonna keep these two here. We probably won't even be using the U V W map in this course, but I've got it. Polly on there. So that's a quick way. Adding an edit Polly Onda up here. We've got some snaps tools, and these gonna come in handy. So what we're gonna do is select our bond, Polly, And you see that I can move that up and down. Now we want to create the bomb off our sofa, which is gonna be free and 1/2 centimeters off the ground. So ideally, rubber and just eyeballing this, we want to snap it to the top off this box over here. And to do that, I'm going to turn on snap stubble and you'll see that that lets us snap toe other objects. And I've just right clicked on it and just make sure you've got Vertex on. And what that means is going to snap to other Vertex. And you can see that cross hair snapping onto for Texas on boxes. And just make sure you got snaps to frozen on. You can enable access constraints and display rubber band as well. And now we can quickly snap to these heights. So that's the bomb off our sofa. So if I go to the front view by person f, we conceded darker line, and that's all ground. And we can see that that's how high our legs are. And then next up this select Vertex and just drag and select all these top faces on let's pull them down to the top of the arm rest. And finally, I'm going to use edge and I'm gonna select this edge. Now you're gonna find yourself going into a photographic just hit pay on the keyboard and you'll get a nicer if you pull compress F free to go into a wire frame, and you can click and drag to select thes four edges. Or you can just select one and use ring, and it's going to select for the adjacent edges. Now we're gonna use our first tool in the edit Polly, and that's connect, and you'll see that all of them edges that we had selected have now been connected by another set of edges. And I'm gonna use we still that snaps on. I'm just gonna pull that to the top of our safest seat. So what we've got here is we've got room for our legs underneath are so far. This is our high. The sofas are to here. And then this is the top of the amorous. So this is a really roughed out block off are safe. A couple of things to know. Um, if you're in a sub selection and you try and select another object, you won't be able to do it. You need to turn off that selection t grab another object. And you can quickly tuggle between all of these by using 1234 and five on the keyboards as to free for and five and number one his vets. So this doesn't look like too much, but it is actually great reference to stop modeling from. So now we can bringing some planes to use as blueprints for our reference. 4. Set Up Reference Images in 3ds Max: So what we're gonna do is create some planes in here and then put these images on there to reference from. So the first thing to do would be to right-click and save image as and just go through and save each of these images to your project folder, wherever you're working from. And I've just saved them into this course folder. And you'll see that I've got the four images. And I'm not gonna go too much into detail about materials. I've got plenty of information on that elsewhere. So I'm just going to press M on the keyboard and that's going to open up the material editor. You can also access it from this top toolbar up here. And you might be in Slate Material Editor. And again, because we're not going to in-depth with materials, I'm just going to change to compact material editor. And in Windows Explorer, I'm just going to right-click on, we're actually going to use this front image. So right-click on that and go to Properties and details. And we can see the dimensions are 2000 by 1,200. And the longest edge, 2000 corresponds to the longest edge of this image. So back in 3ds Max, I'm going to create a plane. And we don't need, we just need one width and length segment. And you'll see we can change the length and height. So I'm going to change the length to 1,200 and the height to 200. And you'll see that it's going to look massive. But we just want to get the aspect ratio correct for this image. Then in an empty material slot, doesn't really matter what you're using, because we're just using 3ds Max, let's just use a standard material. Because everyone should have that. And I'm just going to drag and drop this front image into the diffuse. And you'll see that's now our material swatch. And I'm just going to drag and drop that onto our object. And you'll see that we can't actually see the image on there until we hit show shaded material in viewport. And there we can see our image in our viewport. Just as a note, when we add this texture to the material and we apply it and showed a view, showing viewport. If your texture looks like this is because real-world is on by default and we can just turn it off in the texture and just change the timing to 1.1 and turn off road map. And yours should look like this. So now we can rotate. And I've just right-clicked and gone to rotate. There's a few ways you can get to move, rotate and scale. And I'm in the habit of right-clicking and find them here. You can also access them up here. Or you can use w, e, or R on the keyboard. But I'm in the habit of right-clicking. And I mean, that's that's how I'll be doing it. But it's up to you how you want to do it. And you'll see we want to rotate it by 90, but it's not really snapping. I mean, I can eyeball it tonight, but it's not exactly 90 degrees. If I go to the left viewport, you will see these kind of off. So we're going to need to use angle snaps. So I've clicked that to turn it on. And if you right-click, you can take a look at these settings. And the angle is snapping at five degrees. So that's cool. So I'm just going to Control Z to undo that. And I'll rotate that by 90. You can see that that is locked on to 90, exactly. Press P on the keyboard. Go back to the shaded view. We can see our sofas n, but it's really big. So what I'm going to do is scale it down to match our purple box here is that is our reference books. We can actually delete these three boxes, so I'm holding control and I just select them individually. I'm going to hit Delete, select our reference plane, the scale, that down. I'm going to go into the front view. If you find this grid distracting, you can hit G on the keyboard and now turn it off. It can be quite handy to just see where our ground plane is, which is this dark line. So I'm just going to scale this and move it. So it's as wide as our reference box. So I'm going to turn off the grid. And if I collect, if I click our reference box and hit our x is going to go into X-Ray mode, which means we can see through this object. If you're not seeing that, you may need to right-click on your object and go to Object Properties. And it might be on layer. And if you just click that by object, it will go to see through. I'm gonna move that across. Now. Let's line up our legs with the ground. So we want, this is our ground and we want our legs to line up. So I'm gonna pull that down. And we can see on our reference box, this is the top of the cushions and that kind of lines up quite well and the top of the arm rest as well as lined up quite nicely. We've got obviously take into account the perspective of this and the angle, but I'm quite happy with how that reference image is sitting against our box. If you ever need to improve the quality of the image in your viewport, you can go to custom configure viewports. And you'll see here in textures, you can change this. So you could turn this up to 2048 and hit apply. And it would increase the quality of the image. Obviously, the quality of the image you downloaded, it should be taken into account. But we can work from this. This is quite good at 10:24. So the things to remember from this class is we need dimensions and work to real-world scale. The Edit Poly Modifier lets us edit verts, edges, and polygons. You can set up your own frequently used modifier buttons. You can snap to objects and angles. You can bring, select, and connect using the functions in the Edit Poly. You can show materials in viewport. And the dark grid line is the ground. 5. Creating the Sofa Base in 3ds Max Part 1: All right. So before we start modeling, I just want to stress the importance of finding good reference images. Onda. Although it can be time consuming, it's really important to have good reference images. So don't be afraid to spend time looking for the best reference images up front. There really just gonna benefit you in the whole model in process, we can begin modeling are safe for now. So I'm gonna go to the front view, but in turn off the grid and we're gonna start with the base of this sofa here so we can still select thes reference planes, and it would be better if we could freeze them. So they didn't get in the way if we were trying to model or and it would just be better if they couldn't be selected so we can actually freeze him. So I've got there reference plane selected and of right collect. And I'm gonna go free selection and you'll notice days turned gray, which isn't ideal because we need to see that image on the plane. So what we can do is un freezer selected again. So we got the plane selected and under display. We can see show frozen in gray is ticked on If we turn that off and now if we right click and freeze our plane is no longer selectable and we can see the image on it. And if you ever wanna unfreeze it, you just right click and unfreeze allow and it will unfreeze everything in our scene. Now we can do the same with our reference box. Weaken, turn frozen in gray off on. And then if we freeze it, it's gonna be there. But it's kind of obscuring our reference image. So there is a way around that. So let's just unfreeze it for the moment. We're gonna need to freeze reference plane. I'm going to select it. I'm gonna press em to open up our material editor. And again, I'm just gonna create a standard material. And I'm going to apply that to our books using a sign to selection. I'm just gonna press o X in the view port so we can see what's going on, and I'm gonna turn on wire and you'll see now we can see just the wire frame off reference books, but we don't really want to see two triangles as well so to hide them triangles, we can just change this opacity to zero. And you can right click on any spinner anywhere in three DS max, and it will take it to its lowest value. So I've right clicked on I pass it and it's going to zero And now we can just see Ah, wife friend. Now, if I select it, I'm going to change the color to Gray, and then I'm gonna freeze that selection. So now we have a reference box with the mass of our sofa, and it's un selectable, so we can kind of build over it. But it's just nice to have this volume reference so we can close the Material editor now on in the front view I'm gonna go to create box on. I'm just gonna click and drag and we can see we've got our first part off the sofa and I'm just gonna change this height so it reaches the back of our sofa. It doesn't have to be completely accurate. Were just roughing up the model now. So back in the front view, I was gonna hope shift on drug that in the X and I'm gonna choose copy and we can change the width here. Teoh, I bull are next part of the base and another way to create a copy is control V and that's gonna clone object. So it is free clone options. Andi copy will make a completely separate a clone of the original. So if you modify it will have no effect on the original and instance means if we create instance and change the new one, it will change the old one on vice versa. If we change the old one, it will update the new one. And then reference is the same as instance. But you can add modifies unique to that object. Now I only really, ever use copy and instance I don't use reference that much. So again, that's select copy. And it's created a copy in exactly the same space as ah original. And let's make that water again. I'm gonna hit control V again this time make a number copy and I'm gonna change the length I'm gonna keep the bond lined up, but just pressed O X make X ray. I want the top off the arm rest to line up with reference books. So something like that will work. Ham, We just changed the whip. Now we compress t on the keyboard to go to the top view and you see what we've got and we can see that we have ah, sofa and obviously wanted this one to come out all the way to here on our arm. Rest is here. So what I'm gonna do is rotate this and we've still got angle snaps on and holding shift. We can rotate and make that copy and and just looking at our reference here, you see that the arm goes all the way to the back of the sofa and then the nuance starts on the backside starts here so we can line this up. We could snap it using the snaps Tuggle. But I just find when you're modeling something like this and it's quite soft, you don't really want everything snap in. It could be a dead giveaway. And Freedy So I do like to just I bullet to give it a bit off a more natural feel and I'm just gonna change that. Sunday may up on and let's do the same again. Holding shift, just click and drag that cross making a copy. Andi will change the height of this on the same again. Hit. I'm just gonna go back to the front view and make sure that this lines up. OK, so that's fine. This'll one we can, actually, but not with the reference image. And that's looking quite good. So let's go back to the top view, Andi, with this base, this should actually come around the armrest. So we can do that by adding an edit. Polly. And I'm just gonna grab this Polly here. And if I'm back in the top few and you want to grab that, I would just grab all of those hold old to de select. And then I've got that Polly selected. But I'm just gonna pull that in where we want it. Onda we can grab all of the's edges and connect him, and they've connected in just the right spot. So that's fine. And again, he's going to remember the last police election. Some was gonna hold out, get rid of that Polly. And now we can hit extrude Here. You can do an interactive extrude by clicking the button and click and dragon, or you can do a dialogue extrude and put in a measurement. I normally used this and then move it manually. But you can see now with built around that arm rest Onda we'll do the same this side. We actually want our base to come out all the way to here. So let's select this base at an edit Polly. And I'm just going to use diverts this time and pull this in. Let's pull this side in a swell, and then we can select this face we connects, treated out and again extreme that face out on this base in the middle. Also, we want lined up so it doesn't cut through the arm rest. So I didn't edit Polly. Select these Virts and for them in. And we've got a really rough shape for our sofa. We haven't got any pillows on yet, but wait, I'm making some good progress 6. Creating the Sofa Base in 3ds Max Part 2: So if you've ever used Photoshop, you will know how layers work. And this modifier stack here works in a similar way. You can stack modifiers on top and then you can turn them on and off. Later on. You can reorder them. And it's just a nice non-destructive way of working. You can also copy and paste modifiers from one object to another in this stack. So the full list of modifiers are here. And I'd encourage you to spend some time just seeing what each of these do. It's great to know what tools are available to you. And this is going to influence how you approach your projects. So I'm just gonna go over into the front view. And I'm going to change our left hand bass to X-ray. And we want to create this edge here that are quite smooth. So to do that, we can add a chamfer modifier. And uniform seems to be the go-to for this and the amount I'm going to bring down and you can see what that's doing. So we can kind of eyeball this. I think 0.5 would be a nice round number. And I think one segment will work fine for the moment. Just going to change our color to gray. Just find it easier to look at. And that's how a base is looking. So another thing I want to do is now add a sub divide modifier. And you can see that less just going to add a lot of geometry. And I'm going to pull that down quite far, maybe like 2 cm. So we've added quite a lot of geometry here. And what I wanted to do with that is add a noise modifier on top. You may have noticed when I click this modifier list, I can actually type in what I want. I find this the quickest way to grab the modifiers. So I'm going to add noise modifier. And in here I'm just going to change the strength to 2 cm for each of them and pressing the up and down keys to just jump between these dialogue boxes. And if I press F4 now and turn off wireframe, I can turn off the turn on and off the noise. And you'll see that that's kinda adding some irregularity to our box. I think this guy is actually too big. So I'm going to bring that down to ten. And you can see now that's really affecting our box, not exactly what we want. So I'm going to bring this down to 0.2, 0.2, and 0.2. Now you can see that that is just quite minimally adding some noise to that. That could possibly be too much. But let's just see how we get on with that. I noticed that when it was on a scale of ten, it might be a little bit over the top, and it might be dependent on the version of Max you're using. But in newer versions, I've noticed that 100% actually works. Bear here. Because these are modifiers. We can always come back down and change this. So an example would be if I jump back down to this chamfer modifier and say I wanted to make it bigger. I can actually do that in the stack and maybe add another segment. And you can see that our modifiers on top are actually update in, in relation to that. So let's just change that back to 0.5. And I'm actually going to leave that on two segments. I think it was nicer, smoother. And the sub-divide is on an annoys quite a lot, but let's just leave it on that. If we can change it later. If I press F4, you'll see that we've now got a lot of triangles on here and it's not that nice to look at. So we can turn display subdivision off. So we can just see the bare bones. And another update here is that the new and improved version of the subdivision modifier doesn't include the display subdivisions. And according to the Kaiser or a desk, it was causing more issues than it was good. So this has actually been removed. So you can just leave it as is for now. So again, something that's great about these being layered is I can hold Shift and select all three of these modifiers, copy them. And then I can just paste them onto our next object. And you'll see that they have now applied to this middle base. So I'm going to change it to gray. Again. I think changing the colors for me signifies a little bit of a finished more finished product on that piece. I know I can move on. But yeah, I mean, if I go to sub-divide, we can see that that has all been subdivided up. And we've got the noise modifier on there as well. And you'll notice that in real life there are never any straight edges, surfaces. There's always gonna be a real small, irregular, irregularity is it's really hard to create a really straight edge and that's something that gives C, D away. So now we can actually use more polygons. It's worth adding the sub-divide and the noise to a lot of your objects. If you can afford it in render time. I'm just going to paste that on our right hand base and change that to gray. We can actually do the same to all of our arm rest as well. So I'm going to paste that on. And I do think that is possibly too much on there. So I'm going to bring the scale up for just our arm rest 20. And then I can just copy these over cities or the arm rest version. Let's change all empty gray. And there's a base objects. So next we're going to look at some pillows. First, I am just going to have a little shuffled, bring these in a bit tighter. Because in our reference, they are quite close together. So it's quite easy in the top view, we can go back down to Edit Poly and you'll notice that our show and results is on. So if I just turn that on and off, what that does is turn off all of these that's still on, but you just can't see him on this Edit Poly. Let's turn off Show end result. I'm just going to select these two and bring them closer. Here. Turn that off. Now there was never an Edit Poly between this chamfer. So you can actually add one between, which is really useful. Let's bring them in. Hi. All right, that's looking pretty good. I think that this has more chamfer on it. And in fact, I actually think all of our edges have more chamfer. I'm just going to jump back down to the chamfer and put one into each of these. Now, perhaps a better idea would be if we instance these. So if I copy these free again from our base, I'm just going to go through and delete these and delete this one. And I can paste these as an instance. And over here, we'll see that there in italics. And what that means is if I change the chamfer on one of them, it's actually going to change on all of them. Which is going to be useful for what we just did. Let's do the same, but I remember we changed the scale of the noise on the arms, so these are gonna be different. So again, copy those. We can use the Delete button here as well and just paste them as an instance. Now we can change this chamfer to one. And you'll see that that changed all of our arm rests. Yeah, that's looking much better. Alright, now we can take a look at modelling some pillows. 7. Modelling Pillows in 3ds Max Part 1: Okay, So to create the pillows, I'm just gonna hot hide all of this and I'm gonna create a plane and I'm just gonna click and drag and draw it roughly around our pillow And here l X to make x ray. And I'm just gonna press f four to show edges. And I'm gonna change both of these tow one by right, clicking on the dialogue and add an edit Polly. And then I can select this for and just move it in. And I'm gonna kind of trace over our pillow so I can hold shift of selected that edge. I'm holding shift, and I'm putting that down. And what that's doing is extruding our plane. And again, I'm gonna pull that in, and I'm gonna connect these edges and he pulled up a little bit, and then we can select all of these edges on the right hand side. So there I just selected and used OKed at the select. You could select that face on hit loop, or you could just double click that face and it will select the loop. And then I'm gonna hold, shift and click and drag that all the way across and again select these two and had a better plumpness to these pillows. Now, a really useful tool in our edit. Polly, is the cut which we confined here. Now, you don't need to actually have any of these selections on to use cup, but you can. It's no problem. And then we've cut selected way will allow you to do is basically draw in edges. So that's really useful. Just make sure that when you're adding cuts that your cursor looks like this. If you select somewhere that isn't uh, uh or an edge, then is gonna create Eva in the middle of a poly and you're gonna end up with five cited police, which we really want to avoid. Triangles are okay. Quads, really What we're aiming for on five decided police should really be avoided. So using the cut tool, I'm just gonna follow our edge along and I've right clicked and I do the same the other side. So if you right click, it's gonna end the cut operation, and I'm going to select border. And what that does is select all of our edges, or you could call it a border. And I'm just gonna bring that in a little bit, had some plumpness to a pillow and holding shift. I'm just going to click and drag that in the UAE. So back in the top view, we cannon Heidel and bring it all the way to the arm rest. Now, taking a look at a reference image, we got to the front view. We conceded that pillow lines here with that seem, but it should actually a lime with the arm rest. And that's to do with a perspective. So it's gonna pull that over to the armrest and still with EJ selected forgets f free. We'll see better what we're doing. I'm just gonna hold out and removed a selection of this side and then holding shift. I can pull that out all the way to the back of the sofa and then we can see we're we create in the L shape and now I'm going to select these free edges out in control shift drag until they meet the cut that we made earlier and Vertex. Now there's a couple of things I'm just gonna isolate our pillow perspective, you with pay and instead to zoom. So there are a couple of ways to world this for to hear what we could do is right Click and Target World and then you click our first for and weld it to this one, and you can see target welds here as well. On another way you could do it is by selecting the two vertes, you'll be able to see that two verses are selected under selection and if we go to the world, we can change the fresh hold. So basically anything within 0.1 centimeters were well to each other, so we can see we had 45 adverts and now there's only 44. So those two are welding together. And once you set out fresh hold, you can always just hit world here. So going back to edge. So let's do the same over this side. She half dragged out is across on Let's just select, see if we select all of these that's we've got 14 selected, but I mean, this one isn't gonna world here because the fresh holds have I go to the world dialogue and just turned up. You can see that that swelled it and thats welded and so we wanted to, but we really need a really high, fresh old to start world in those all together. So that's another quick way to world. Select the edges again and shift drag days or the way over this time. And what we want to do is add another set of edges here. So I'm gonna select that face on, bring, select and again that will select all of our Jason edges. So I'm gonna want to add a connect, and we can actually use pinch and slide to position this. So I'm just using slide and I'm putting that where I want it. And now let's push days into position select these Virts and well done and this at another set here. So ring select connect. Okay, shifting track days across. Well, these guys and this time I'm gonna connect twice, get rid of this slide and use pinch to push days out. Then I'm gonna bring that across again, and I just want to pull that edge and also this inner edge outwards. And then I can select this lot on dwelled. Get these edges round. - Something else that's worth knowing is I've just selected that border to quickly select both edges and amusing out. So we've got these Free edge is selected and new three, there's a tall called bridge which will allow you to bridge that gap, which is handy tonight. Now I'm just gonna Aibel somebody's edges. So I select this inner Polly I can pulled out to kind of add some plumpness. Don't worry too much about how, uh, these policies are looking at a minute. We're gonna answer more sub Tibbs. I'm just add in some kind of fatness to these objects. All right, So you would have noticed that these objects are looking pretty hard. Um, the edges are really stray and they're not smoothing together. Well, on this is because they have no smoothing groups on. So if we run, isolate everything, we can see that these base objects look really smooth, and that's because they do have it's moving groups on. We concede that in this edit Polly, I select one of these faces. We can see it's got smoothing group of to. So if I go back to our pillow and I select all of our poly's and change him toe one, we can now see that they had did the police have smoothed together. If we select these spaces, for example, and give him a difference moving group, we'll see that they smooth with each other, but not with the other smoothing group. Let's change that Back to smoothing group one. So I'm gonna add some more edges to these pillows. Andi toe, add some more plumpness. So I'm gonna select all these edges on all of these on DCA necked. I'm gonna turn off the pinch and that's add six edges. I kind of just want him to be roughly equal sizes. And this guy in this direction six looks right and here will need less. So I put two in there. Now I want to do is add something called a turbot smooth from the type that in the modifier list and turn that on and instantly you can see what that does So terribly smooth smooths out geometry. And what I like about it is that we can add it in the stack so we can turn it on and off. And we can also jump back to our date. Polly on makes him changes and jump back to our Turbay Smoove. So again, this nondestructive workflow is a really good way to go. So what I'd say is try and keep your model as Low Polly as possible. It's just simpler to model. And then at the end, you can add this turbo smooth. There are some drawbacks to disturb ice move modifier, and I'm just gonna quickly show you what that is. I'll create this box and let's froze a turbo smooth on and you'll see that it pretty much becomes a a circle. Almost Well, if I make that 50 by 50 by 50 it will become almost a circle. And the more it orations I add, the more it becomes a sphere. Sorry, I should have said spirit, not a circle on this basically barely resembles the box. And this is because the turbo smooth subdivide the geometry whilst averaging out the angles . So the effect is gonna end up round in this box into a sphere because the average distance between these edges is this middle. So if we put this terrorist move onto one on this for a shampoo on between the two, you can see that we have created these edges. So now when averages out the distance of these angles is gonna stay as a cube and it doesn't matter how. Maney, it's rations, we add. It's just going to get really heavy. Where are Sham Parise? So if we turned that shampoo, Rafi becomes a sphere. So good things keep in mind is when we had the turbos move is gonna average out the distance between edges. Hence why the champa is important. So with that being said, if we unhygienic all and take a look our reference we do actually want some hard edges on the tops and bottoms so we can jump back down into our edit. Polly, I'm just gonna double click this top edge whole Control double click this one. And here, let's isolate again. - There is also a sham for in here you can use. But the reason I like using the champion modifier is we can go back in and edit. So I'm gonna add that here and robbing uniform where you can see it's kind of ah, drooping down here. I'm gonna change this, dickwad, and that's going to make for the edges into equal quads. And I'm gonna put on five for now and see what that does toe or toe base move and that's added more defined edge. And then we can actually turn up arts have a smooth again, and we've got quite a nice looking pillow. And again, what's great is if this is too defined here, for example, we can jump back into our edit. Polly and Port ease back in. But what you want to remember is this edit. Polly was dictating to this champ for what edges were to be Shumpert. So if we go back down to the edit, Polly and go to edge, make sure we have thes edges selected when we champ for we're gonna have that nice edge. 8. Modelling Pillows in 3ds Max Part 2: case. And now we can on hide. Oh, on. Let's see how that scene in our scene. So we want to make it a bit fatter, and this is coming over, so all we need to do, we can just turn those two off. It might actually be worth Robin going down each time and having to put this back on, we could actually put another edit Polly on Andi have our edges selected there for the sham for and then in this one, we could actually make any adjustments. So that's always gonna be on. And that will be feeding our sham for So if we did want to make any changes to our edit, Polly Weaken do on that one. And we're still gonna hold the sham food edge. So I think that is a better way to do it. So we're gonna have an edit Polly underneath on in front view. I'm just gonna select these butts and just put him down to our base. Do you think the overhangs probably too much. It's been a pota and a little bit and the same this side. We probably bring that is in a little bit more. Yeah, I'm happy with how that's looking at the moment. So in the front view, I'm going to hold shift and drag that across making a copy. And now, obviously, we don't want this. L shape on there, I'm gonna turn off the sham for modifier. Um, and even that edit Polly for the moment and in the top view, I'm gonna go to this edit Polly, and what we're gonna do is at a symmetry modifier. So I'm gonna type in s why? And at this imagery, Andi, you can select this drop down on that was select the mirror and we can move that across with this gizmo on. And Marie better. If we isolate this to see what's going on, we can rotate it and is, yes, a really powerful modifier. You can also flip it here on what this world does is like our world we were using earlier. This is the fresh holds. Any vertes that may will be welded together. So I'm just going to write Take that back to normal. I normally have this angle snaps on most of the time, so just make sure you got that. If you are trying to rotate it on. What this allows us to do is basically mirror one side to the other. So in the front view, we can turn this mirror off and push it around. So if you press one on the keyboard is gonna jump to I'll gizmo or our mirror so we can choose where that's gonna bay. So I'm just gonna position that press one, and that's where we want the symmetry. Whilst we're here, you'll notice that our pivot point is over on the left and that is know exactly where we want it. And that's come from our previous object. So to move this pivot, we can go to hierarchy, affect, pivot and just center it to the object on. That's gonna be nicer to move around and when we used modifies and stuff is gonna be easier . And now, if I turn on this edit Polly, we can see that the edges we had selected to Sham for in our other pillow I have just gone a bit. Not so Let's de select on before we do that. These two lines, we don't actually need sort of these two loops, so I'm gonna select these two hit loop and if I hit backspace, it's going to remove those edges. But if I go to Vertes, you see that they're still there. So to remove both the edges on adverts, we need to hit control on backspace. And now when we go to Vertes will see that that has been removed as well. So now over an edge, let's select our top and bomb faces some holding control on double clicking. And now, when I turn on my sham for is gonna add Shumpert to the top and bottom on will turn on our tab ice move and we've got Selves, That middle pillow Let's select our original one. We're gonna move it over to here. Um, this time, let's use this miracle. So the marital was a little bit different to the symmetry modifier because he symmetry is a modified. It goes on an object. Where is the mirror tour will create a new mirrored object. So I'm gonna make it a copy and have it mirror in the X and he Okay, so now if I pull this across, we can see what's going on. I'm gonna rotate that by 90 and then in the top view Let's position this is best we can. So somewhere around there, obviously it's not gonna line up completely. So I'm going to show you another tool, a standoff, these top free modifiers. So we keeping it simple where we're doing our edits, and that's too far in for my liking. So I'm just gonna pull that out. I wonder if it's the same over on the other one and again because we've got this nice modify stack. We can go in and change that. So is this. Just select that one and pull it out? Yes, that's better. All right, so it's not too dense. Ameche. If we did one of kind of shuffle things around, there's a couple of ways we can do it. We could just select all of these and kind of pushing into position again. He's gonna call with Cem. Differences in how equal are meshes divided on. It could be a bit tedious to kind of re align all of days, so something else we could do would be to add an f f d modifier Onda. What it does is surround the geometry with a lattice, and then we can select control points in this last and use them to model from which is really handy. So if I add this FFT four by four by four this means that we have four edges to alas and four in the height. So basically dictates how maney control points you have depending on which one you select, such as four of them, I believe what is a cylinder as well? So what we could do here is selected with these control points and just pull him out all the way to the edge. Um, the issue with this is you can see that this has got bigger because it's basically stretching the quads compared to decide, So that is a quick way to do it. But you might want to add a few more control points. So to do that, let's delete the four by four by 41 and we can add the box fft. And in here we can set the amount off lattice or control points. That should do it. So that was the heights of, but it on 264 So I've got 12 going up. I've got six going across and then eight going from left to right So now when I select the control point again, you compress one on the keyboard to is gonna let you select the lettuce and Frida volume so you can always use your number keys in de modifier. And the same goes with yet at it. Polly. 1234 So now I can click and drag and parties across, and we're not really messing with our Shatford edge too much or we've our edge here and the FDA is really powerful. We can kind of add some softness to our cushions as well, which will take a look kind of minute. So just to show you again, if we just moved this self control points, we can see that thes stretching out. And this isn't gonna look the same was over here. Whereas if we select two edges of control points, that's staying the same, so that's positioned it much more nicely. Our shampoos are the same, so they're working and we put a tabai smooth on, and that's looking pretty nice. I think we want toe reposition these. I want some overhang out the front and just make sure they're lining up so again we can go down to our first Polly, our first edit, Polly, and line them up. So Lisk starting a left view, I'm just gonna pull He's out. This party's out of Bacchus. Well, so this warning is gonna come up if you jump down on basically your edit in something under the symmetry. So this is gonna have a knock on effect and this is a warning on def, that happens. I mean, you can He'll be out of work out which one's doing the damage in, perhaps add and edit Polly over the top of the symmetry. If this doesn't work out too well, I can't imagine it's gonna be too detrimental because you can see we read it in that and the symmetries No on. So now if I turn it all back on it should all go back to normal when she's cold and again because we've done the FF day. Let's add and edit Polly over the top of the FFT to make any changes because of West, we're not gonna be out of C how we're changing things if we do it there. All right, so that's looking pretty good. I'm just gonna change them to gray and we're gonna want to add some seems to days and also we want to make him a little bit more natural. They still look quite rigid. They don't look very comfortable with a minute, so let's take a look at that next. 9. Modelling the Pillow Details in 3ds Max Part 1: Okay, so, so far is coming on quite nicely. There's a couple of details I want to add to the pillows. So I want to make them a little bit more comfy looking. So there's the same here, and there's also one on this side. And we also want to add these seems along the tops and the bottoms. I'm gonna show you how to do that now. So of same runs from this bottom corner along the front. And I'm just going to turn all the days of so we get back to a simpler, a simpler time. And when we began modelling, you would've noticed that we actually anticipate this same bin here. So I'm gonna go to this Edit Poly. And I'm going to double-click. And you say that that loops around and just hold control and select that edge as well. And then I'm just going to hit extra body extrude dialogue here. You could do it interactively. But again, I just like the dialogues. They just feel a bit easier to use. I can see what I'm doing more. So I'm gonna use the dialogue instead. And we can see we've got the high. So actually we want to bring that in, but we can actually see where that's going because we need to change the width, then we can say what this is doing. So this is essentially what we want. We want to have very small Same along there. So let's make that, i'm gonna say 0.25. And the depth of it, not very big at all. Something like minus 0.3. We'll just give us a really small same. I can turn off the edge and ten everything back on. And we can see how that's looking. We're gonna need to go back in and update our sham for edge. Because we've added an edge here, it would seem as it looking on the front. That's fine. That's fine. But this needs to actually come across Sadat that champions as well. So i just remember to update that. I feel around the back. We might actually need to weld the seams together so we can use target world. And so we'll just go back to edge and make sure we have these new edges selected as well for our Shambhala and m. And we turn that on as it were gonna work much better. And we turn the turbines, move on. And that's looking pretty good. Let's do the same on the other side because there is the same running across this one as well. So we turn off holies top ones. We're going to use this Edit Poly that's above the FFD. And let's isolate this selection. An ellipse like that, and also the one running down the inside. So now we can hit the extrude. And let's change that width. And now is 0.25. And the top one was point. I free. And I think I remember we had to fix an edge here. Select these two and see what happens if we weld them. Yes, Ko, stay the same here. And we need to remember to add these two shampoo edges. Hope they've gone nuts again, salacious data. All right, so we turn our sham for on. All is well, and we turn on our tab eyes move. 10. Modelling the Pillow Details in 3ds Max Part 2: So something else I want to do is add some thickness or some plump goodness I guess to these pillows in seed, I kinda got some fatness in the middle. And then they kind of gradient out. So we can achieve that using something called self-selection. So I'm going back down to our original Edit Poly. Something that you could do here is actually right-click and rename this Edit Poly. And if I just play Shamatha in here, we're going to night at that Edit Poly is feed in that chant for. So we know which is which. And if we select poly, you'll see that there is a soft selection in our Edit Poly. If we turn that on and select the face, you're gonna see a gradient. And this gradient basically dictates the fall off of this move. So if we turned off self-selection and pulled the up is only going to move that poly. Whereas with soft selection on, it's going to move based on this fall off, which is dictated by the fall off here. Let's just put it on 20 centimeters. And what we wanna do is select some of these inner faces. So you select rather than move, you'll find if you try and click and drag with move, it's going to move up poly. So we need to actually select first, then move. So that's how we're gonna do it. But if we go into wireframe, you realize we've actually selected these bond faces, which we don't want to do. So in our selection, make sure we have Ignore back facing on. So now it will only, sorry, selections. It will only select outward facing police. So just make sure you've got Ignore back facing on. Quite an easy mistake to make. So I'm gonna go to the top view and select some of these. In a polygons. Select days, and just pull them up. Move select these guys as well. And we can also use this shrink modifier. And import eyes up. And we can see we've add, added a little bit of, I guess, promptness, but I'm not sure if that is the right word to be using. But yeah, it's added a bit softness. If anything. I think that might be a little bit too much there. So let's just jump back down with that selection so we could hit grow. And this is just going to pull it back a little bit. Yeah, finesse looking. All right. Let's do the same on this one. Let's add an Edit Poly above this symmetry because that one's feeding the Shambhala. Because selection on make sure Ignore back facing is selected. Otherwise we're gonna select them both images. And I'm just gonna click and drag these guys. So selection on and just give it a little. And we'll jump down to the F. So the Edit Poly above the FFD, I'm just going to change this to. And in the top view, gonna see selection. Ignore back faces. And let these guys selection pull that up, shrink it. And I think we can do using these edges along here as well. So I'm going to unhide everything. But let's add some noise to these objects. Now we don't need to put sub-divide on because you've got a lot of polygons from terabytes move. So I'm just going to grab the noise of our bond base and paste down here not as an instance because I want to dictate this ourselves. But I actually think that is going to work fine. I will paste. I'll copy this noise and paste an instance of that until our other pillow so we can dictate from just the one. And I guess the final touch we want to have on here is the seams that go around the tops and bottoms. And that's really easy to make. We're going to add an Edit Poly on top of this pillow. And we're going to select this top edge by double-clicking. And we'll say select this bottom edge. And we're gonna use this create shape. And what that does is create a shape from our selection. So if I just isolate that now, under rendering, you wanna make sure enabling renderer and enabling people is on. And you can change the thickness here. So I think, I think 0.1 is going to work well here, it's just a very so same. And I'm going to change it to gray and do the same. On the other questions. We can always go in and add a bit more thickness layer on so we can put it on 0.2. If we wanted Silas n Edit Poly on top and select this one. And this one, create shape. And it's just going to follow the last shaped grades so we don't actually need to change anything. And because we've done this on top of the noise and the terabytes move. And the shampoo is actually going to follow the curve. Taste good to D This last. Because if we do go back and change the noise, for example, our line is still going to be dictated by that. So I would have to create the same again. Alright, great, that's looking pretty good. Perhaps I want to close this gap up a little bit here and here, but other than that, I think everything is looking pretty good. Now if I did want to edit, say this makes them changes, it might be best to select this and the same. And now create a group and escort his pillow. One. For example. We could add an FFT to person one on the keyboard. If I now pull that, the same is going to come along with it. If we'd done that just on the Edit Poly, I'll SIM would not be in the same place. So let's do the same here. But yeah, that's looking good. Now let's add some these big questions. I'm gonna change this color, the gray finally. 11. Cloth Modifier Pillows in 3ds Max: great. So we made some good progress on this sofa. Now there's a couple of tricks I want to show you using the cloth modifier, so we're gonna build these cushions. But before that, I just want to show you how we can use the cloth, modify our to make these pillows look a little bit more natural. So this one's groups, as is this one and this one on the right we need to group together are seen on our pillow. I'm gonna call that one pillow free. And now what we can do is add a cloth modifier to the group. This means what we do to the group will happen to the same as well, because that is quite dependent on the main cushion. So I'm gonna go to object properties, and I'm gonna select our main cushion. We should really name are pieces within the group a little bit better, but I know that's a plane because we start with a plane on, I'm gonna make it a cloth, and I'm gonna cheese Colin in the presets. And now in the pressure. Basically, what the pressure does is at pressure inside of our volume. So in this case are Pillow. So let's just put out on two for now and here, okay? And just something to make myself is we need to change. The gravity to zero is currently at minus 980 on What that means is it will drop from this guy as if there was gravity in the scene. So we're gonna use that when we put these cushions on, but we don't actually want, uh, cushions here to move. So I'm just gonna put that to zero. And now we have to do is hit simulate on what this is gonna dio is put some pressure inside of our pillow, and we don't want to go into far. But don't worry, We can push back these key frame, so I'm just gonna hit cancel. That's getting rather large now and then I can pulled out to the key frame. I wanted that. So that was the original. And you can see if we just add maybe key for him free. I'll go to the front view that was our original. So we definitely added bear more plumpness to our sofa. So I'm gonna use number four, and then I'm gonna hit set initial state. So this will now become the starting point. Andi, I can raise the simulation. And now that's locked in and not move him. And I'm gonna do that to the other two. So we're gonna add a cloth mortar fire. Gravity's on zero Onda object properties. That plane he's gonna be cloth cotton and the pressure off to worked well on its simulate. Stop the simulation. I don't think he needs too much frieze. Fine. So set initial state already simulation. Now that's locked them on this day. The same for this final one. I can already see it. Four is probably there. We want have our simulation so set initial state raise the simulation. 12. Cloth Modifier Cushions in 3ds Max: So now let's take a look using the cloth modifier to create these cushions. So I'm gonna go Teoh the front view. I'm just gonna hide these armrests for the moment, and I'm gonna create a box that's roughly the size over cushion. So let's call it at 45 45 10. And I'm gonna name this cushion one, and I'm gonna have quite a few segments here seven by seven or eight bytes looking good. And I'm also gonna add a sham for mortified Teoh and only one these corners to be selected . So let's admit, Polly, select these four corners. Now, when we guys sham for us on you gonna be does let's add a terrible smooth until for that and then finally and edit Polly, I'm gonna loop that and use first. So if you hold control, it's gonna translate to the selection you click. So, for example, if I've got these votes selected and I hit control, Polygon is gonna select boldly police adjacent to them. Burt's Let's jump back to the Virts and parents of selection. And I'm just going to scout this in. But I'm gonna make that that's powerful. Using the fall off, All right? Something like that should date a job and back in the front view, I'm just going to make a couple of copies of this model. We don't want him instance because we want him to be different when we add the cloth mortar fire and this will be the smaller one. I'm just scared that down. But now let's unhygienic with these, you can hide these free and has pushed this back into position. We want to drop this from a bit of a height. We also want to make sure it leans back on this arm rest. We drop it like this, there's a chance is gonna fall forward. So let's just take that about 15. That's looking pretty good. I'm just gonna name this, um one. Um Teoh, you guessed it. I'm free and I'm full. So we're gonna use pillow to, but I want someone into so dead for that, this cushion is gonna be interacting with. So let's add a cloth modifier. And this time, let's make sure the gravity's on. So we put out minus 9 80 and let's go to the object properties and we can see our cushions in there we want to make that cloth caught him on this ad. A pressure off five. This time we can always come back and change it. And now let's add some collision objects. Some skin select order these arms Gonna open these groups, you can select a group. So you got four arms and are free pillows selected. And we'll hear ad even worse there Still selected. We're gonna choose collision objects for these. And now we can hit simulate, and we can see when that hits our collision objects. It's adding some defamation to our pillow. I'm gonna cancer that and see what we've got. It looks like it deflates quite a bit. There, you see the beginning, we will Pressure of five you can see, actually inflates a bit. And when it hits, it kind of knocks the air out of it. And also because we've got at that angle, it begins to slide down the armrest. She might be a bit much saying that. I think saying like that could work. You can really, like, spend some time experiment in. That's looking pretty good to me. So I'm going. Teoh said that as the initial state and a razor simulation. Now when we go back to zero, that's where our cushions position is. A little bit off, someone's gonna pull that down on a cross. We can only do self selection as well, but I think that that is looking pretty good. And there's not a lot of geometry in that, and it looks quite natural. You can always add another toast, move on top, and there's no reason that you can't use the edit. Polly, modify our and grabbed this loop, for example, and you can add a same like we did on the pillows here. Or we can use the extreme modifier to create their This same may actually probably one that underneath our tabligh smooth. So let's put extrude on and then motel by smell bad. You can see if added quite a nice c'mon there as well. So let's do the same for the other free so you could run him all at the same time, but then you'd have less control over which frames to set the initial state on, so I'm going to do them individually. But I will position the more now, just going to scout this one down a little bit. And now when we go to rotates, I wanted to add some rotation today so you can see it rotates at a funny angle. If you hold old right click, you can change the coordinates. Someone just put it on local and you'll see that Now I can rotate that locally, rather them by world, same again with this one. Because ah called in that sound local. Our period points will be local. All right, let's put on the cloth modifier. Let's make that cotton pressure off what we have done. Five. And let's add our collision objects. And if this was gonna interact with discussion, we could actually add that as well. So I'll show you that when we get over to this other right hand side and will make them collision objects. Okay, Andi, simulate up the nest looking fine. Find a nice it's. But from that, that looks good. So they said initial state a race simulation and we're gonna edit Polly ad are extremely Celeste. Make that nothing too crazy. And then more fried tab ice. Move on top. That looks pretty good. I just wanna make sure that's connecting okay. Without so far, I think there's an offset that's causing this, but I'm not entirely sure where that is. So if anyone knows, let me no, no update this. All right, so no one, that one cloth cushion con pressure of five on, Let's add everything else, something she's in shift to select. All of does. You can hold control as well. So open up. These two free groups select, select at all the does. They should come in at demos Collision on that simulate. It's enough. It up somewhere around there looks all right. It's not really connected with that corner, but to concern. So can push that over. Yeah, I should work so said Initial state Raises simulation, and I can see that the pivot on this one, for some reason, is over here. So let's affect the pivot. I know it's jumped back now, so that happens. You can just hit effective it and it will jump back. It would seem, I just want to make sure it's kind of near that corner. It's looking quite good. Push it back a little bit, but a wire frame on it does make it a little bit easier to see where things line up. Yeah, that's think. Oh, let's add the edit, Polly, select that loop at the extreme More ad ter by smooth over its up And that a final one. So we want to make sure we include cushion free in our collision objects. And I'm gonna pulled out a bit because I think that's just gonna hit that Pallone slide off . So and see how this looks and make that cohen pressure five at objects. And that's just that. Well, we don't need those two. We don't actually need pillow one and two, Eva, but it's not gonna happen this simulator. All right, let's just sliding off now. So sometimes it's not gonna work exactly how you want, and that's no problem. Um, all you need to do is reset state. Andi, you can start again basically and changed the object properties. If you do move your object, you want to reset state? I just said a simulation eyes to start in state so that periods gone way off again. So I'm gonna put that around here and actually in the local access, just rotate at five degrees again and let's run that simulation again. So I'm gonna reset the state. My Sorry, I'm gonna set initial state on going to simulate something like that's all right. Um, not massively fund of, of how that's sitting against there. But I think is right here in news, probably more pressure. So I'm just gonna reset our state and this change pressure on cushion for about 15. Andi, let's simulate that's better. So this can suit up. I think that's the spot. Just one of So let's set initial state arrays a simulation on board that just so it's it's a bit nicer. And add that edit Polly Extreme the same and I'm prototype vice. Move on. Then there's all our cushions on our safer. 13. Create Cloth Modifier Throw with 3ds Max: using a cloth modifier. Also wanna add Afro thing. We should add it around here. So what I'm gonna do is create a plane going to go to the top view using T. And I'm just going to click and drag says she put that over here and we're gonna want quite a few sub Tibbs on this. So it's around these numbers up as well. It's maybe like 80 in 60. What we're gonna do is just drop this onto the sofa. So let's add cloth modifier, object properties and our plane. Let's make it calling again. We don't need any pressure saying is it's one sided. Objected a moment, and that's also at the collision objects. So I'm just gonna at everything and make them collision objects, and that's good. So if we drop this now, we can see what happens. I've got feeling it's just gonna full quite flat, and we're not really gonna get much still looks nice, but it's not exactly what we're looking for, so I'm gonna cancel it up on. I think a lot of this is to do with our initial state. So we're gonna do is turn off the cloth modifier Andi, I'm gonna add in fft. I just pressed one on the cable to get to our control points, and I'm just gonna kind of add some variation to our start point so we can get it kind of folded. I run to itself like a good start point and because this is probably gonna fold on itself needs make sure self collision is on. I was gonna make sure that this gonna kind of come over on itself, and it doesn't actually need to be that high, Eva. We're just gonna make our simulation longer, so I'll go to the cloth modifier and reset state unless simulator. All right, so that's simulated. So what we can do is set initial state and raised simulation. We can pull our key friends back to zero, and what we can do is actually collapse all of this, and I'm just gonna put it up again. Perhaps add another 50 and I'm just gonna cloth from afar again. Stay. There are collision plane. Five is a cloth, which is gotten, and it's got self collision on. Gonna pull that right down again. Set an issue state and we'll run the simulation again. And I quite liked How that saying Now, just make sure that it's touching on sofa, and now we can add a shell modifier, and that's gonna add some depth to while fried. So I've got it on a millimetre, and then I'm gonna add a title. I smooth, um, you can it, too, if you want, But that's how we can get some organic throw shapes. I mean, you spend a bit more time on it and really get it. How you want. Probably give that another fold over. But yeah, that's how we can use to cloth modifier. 14. Legs and Group: Alright, so worried, I'm sticking around to now. I know it's been a bit of a slog, but these are released with skills that you can use over and over again. So we need to finally add defeat to our sofa. And then I'm going to show you how we can set up a studio to render are so for n. So first thing I'm going to turn on wireframe with F4. And I'm freeze everything. And we can now delete volume mesh here. And then I'm gonna go to the front view and create a box roughly the size of our sofa. Fate. And we don't need any segments on it. And it looks like it's going to be 15 by 15 and free centimeters high. And I'm just going to town the grid and make sure that is actually grounded. So maybe a little bit taller than three centimeters, 4.5. And I'm going to put a very small sham for on there, like 0.1 centimeters. And then over in the top view, I'm going to position it so I can actually hide these pillows, the arm rests and the cushions. And I'm going to press F3 just to see the wireframe. And then I'm going to put these into position. I'm gonna make him instances because they're all going to be exactly the same. Now I'm just going to jump back to perspective. And we can delete our reference. And I'm just gonna select everything and turn it to gray. And we can group all this. And we can call it so for per request, actually name it, name of our sofa. And here I case. Now, when we select this, just gonna be one object that we can move around. And I just want to ground pivot point as well. So I'm gonna go to Effect pivot. And I'm going to right-click in the zed axis. And that means our pivot is grounded. And something else I've noticed is we need to add the initial state and cloth modifier. So I'm just going to open that up and we'll select the cloth. And we can go into the cloth and just hit collapse to, and that's gonna collapse everything underneath the shell. And we can put that back to 0. Now what fine. Let's close up this group. 15. Render with Arnold in 3ds Max: And now let's take a look at Crane. A quick render. So we're gonna run the using Arnold. I usually use Vera or Corona, but seeing as Arnold ships with three DS max is just gonna make this lesson more accessible to everyone. I do have videos on studio rendering with the rate and Corona if you wanted to use those render engines. But for now, let's just stick with Arnold. It's pretty straightforward. So I've just changed Arnold here, Narendra and I'm going to create a plane. I'm gonna go to the top for you and we just need one segment and I'm gonna make that and edit Polly, select this back edge Andi using shift, create the back wall. Select this edge again on Moshe AMFA. I just put like, five segments in there, and then I'm just gonna hit control A to select everything and open up on material editor. Suppress M where you could click here when he used a compact material at a For a minute, you'll probably get some errors, and that's because of the standard materials we're using earlier. Or you've got another render engine installed So that worry about that and then I'm gonna click here. Yours? My look different in might be your desk or the ray material. I'm gonna go to materials Arnold Surface standard surface. It is a bit too reflective for my likings. I'm just going to right click on general under speculum, and that's going to make it more map and we can apply that to objects. I'm just gonna change to perspective mode and press g to get rid of the grid. And now we can add a physical camera to are seen. So I'm gonna go to the top view and click and drag that to the center off our sofa and then I'll jump to the left You and holding control, select the target as well and pulled up and pulled a camera up a little bit as well. But first, see on my keyboard I'll go to the camera view, and I can move that around with the middle mouse button and also dolly in and out. Now let's jump to the top view and add some lights, so I'm gonna go to Arnold Lights, click and drag that in and in the front view just pulled up, and I'm going to change this to a media by meter. That's the size of our light. And I'm also gonna change the intensity to 100. Now, if I goto Orender sentence and hit render, we can see where we're at and that experience Good. What I'm gonna do is add a light to this left hand side and one over the top of the sofa. So I'm gonna click and drag and make that a copy. I'm gonna bring the intensity down to 50. And I'm also gonna bring that down in the view a little bit and back in the top view, I'm going to create a new light over the top of our sofa and I'm gonna change the wits. I'm actually gonna press f free to go toe wire frame so we can see what we're doing a little bit better and just covered a sofa and then in the front view, I'm gonna pull that up. Caught a bit Now, back in our camera view would go to render set up and hit render, and that's looking pretty good for a quick render to see how our model is gonna look in a environment. So I'm gonna change this to Hey, HD and under Arnold Renderers. I'm gonna up this to six. And this would just help with the noise. And I'm gonna hit Render andare force forward this bit. Okay, so that rendered in about four minutes. So not too bad just to get quick idea of how our sofas look in, so feel free to post this in the projects. 16. Model a Side Table with 3ds Max: Let's take a look at this table by hey, and it should be a fairly straightforward piece. We've basically, or two shapes. We've got this leg and we have this cylinder tabletop and a few variations here. Let's just stick with this 49 centimeter high one. And there's a few reference images down here we can check out. But for what we're gonna do, let's just save this image. And these are that I mentioned. We need 49 centimeters high and 45 centimeters diameter. So back in max, if you've been following along, you probably have your sofa in our studio scene. What I'm gonna do is go over to display. And if we hit lights and camera, it's going to hide our lights and camera. So we've got hired by category here. And we can also, I'm going to get to the top you. And I'm gonna move that over here for now. And the studio aside selected and press J to turn on the grid. And we're just going to start building around here. So let's create a plane to begin with. And we don't need any length or width segments. And in Windows Explorer, I'm just gonna right-click and go to Properties and details. And we can say that that's 1200 by 900. So let's put in 12090 here. And then I'm just going to drag and drop that onto a plane. Right-click, rotate. Make sure we've got angle snap zone. And I'm going to rotate that by 90. And I can already see that our dimensions are in the wrong place. So if we put 120 and here, which press Up to jump to the other 190, that's more like it. And obviously this isn't a straight on a camera angle, but let's put it in as best we can. And I'm just gonna pull that back off of 0 a little bit. So that's our rough reference plane. And over in display, let's just make sure show frozen and graze ticked off. And then we can freeze the selected objects and now we can't actually select out. And in our front view, we can turn the grid off for a second. And let's create a box. Just click and drag. And if we jump back into onto our product page, we can see it's 49 centimeters high and the diameter is 45. So it wasn't too far off. I'm just going to align this box up Now. If R 0, which is this thicker line, and press lx to make that X-ray. And we can actually unfreeze our reference plane. And less careless down to fit. So it's not going to be exact because the photograph isn't straight on. But i mean, nice to a pretty good reference books for our volume and for image. So I'm just going to select our reference plane and freeze that. And this box, let's make the height 45 as well. And I'm going to effect the pivot and send it to the object. And then we can move this and we can freeze that as well. I don't think we're going to need it too much to be honest, it's fairly straightforward. Now for the tabletop, there's a few ways we can go about this. The first and probably most simple way would be to create a cylinder. And let's make it 22.5 as that's the radius rather than the diameters as half of 45. And then I'm going to rotate that by 90 and pulled it into position. And in height segments, we only need we don't need any. And then insides. Yeah, we could do with I'd say probably around like 50 would be alright, but not 80. We can always add at O S move as well layer. And you'll see there is like a bear of a profile underneath this tabletop and also less line out and see if we can roughly get that thickness. So let's call it 0.5 and the thickness, I'm going to add an Edit Poly and select the face underneath. And back in the front view. I am going to extrude just a little bit. And then using the skeletal scatter m handshake and lose the volume box because it's actually being more of a hindrance than a help. And that's a really quick way to create this tabletop. And I'm gonna show you two other ways because they will come in useful if you're going to create a more detailed profile. And I'm going to create a profile and then use a life modifier. So let's say the profile about tabletop was a little bit more data out. And I'm just going to draw bit of a shape. Clean this up. So I can use snaps. Snap this to here. And let's make sure this is lined up as well. We can select that verb right-click and change that to smooth. And let's make this Bayes, yea, maybe something like that and just say that that was roughly the profile of what we wanted. I'm going and then pull these right away em. So that's our profile. And the leaf will rotate up profile around the pivot. So we want to move this pivot point. So go to hierarchy effect pivot. And then we can move this. We can actually turn on snaps and snap it to the middle here. And perhaps that bomb. And now we can go to unmodified list and type in life and add that. And we wanna make sure that weld cause on. So that's a welded in the center and less Jose, I had about 50 segments to make that to make that look a bit more natural with poor return out to like 60. And you may not know is that this is actually inside out so we can add an Edit Poly and just select all of that and flip it. And you say that that's a lighter red. And now I've got to see that they're better. And you'll see that that's another way that we can create a table top. If you did want to clean this up a little bit, you'll probably be worth deleting all of these interfaces. And select border and just cap at the top. And here. And we could also shampoo this edge very lightly. And that's another way we can create a table top. And what's good about using the leaf is we can actually jump back down. And if I turn back on show result, we can actually update our original spline. I'm just going to turn off snaps Togo and we can actually update our original spline and see how that is affecting object. But let's just use our original tabletop, put that into position. And now to create a leg and just going to create, use a spline. So when you're drawing a spline, you can click and then click again and again. So if that was our, our table leg, we could then go in and select this, change its base yea. And then make the changes here to make it look more like this one. Or when you're creating, didn't click and click again. But rather than release, if you click and drag, you'll see you can actually do this whilst you are drawing the initial line, which can be quite handy. So I'm going to use our second option and put into position. And then using these verbs. Make that as close to our reference image as I can. And in rendering, we can enable in renderer and in viewport. And you see that that will add thickness to our leg. And then we can change the profile of this. So I have a radio or rectangular and rectangular. Egan say that we're again pretty close with that. So perhaps that's more like four. And I think to fit a thickness is about right. And also under into pollination, into interpolation. We can do adaptive and you see it will smooth out that edge. So where we have corners, it will add more edges. And there is a potential that it could cause problems. So I'll just press F3. And let's pull that out a little bit. And I'm going to add an Edit Poly on top. Before I do that, I'm going to unselect vertex at Edit Poly. And I just want to make sure that these hit the ground correctly. Now we can pull these up like this, but it's not really the correct way to do it. So what's quite nice in the Edit Poly is we have constraints and we can constrain to edge to your c. Now when I pull this out, it's constrained to the edge. And a vertex will move along this edge. So ever pull that one out. And then unselect is right-hand-side and put up on the left, we can actually ground our table leg. And this is a little bit too close. So what I'm gonna do is let a few of these edges loop them, hold control and backspace to delete them. You can also double click to select a loop. I'm just going to remove some of these extra edges that we don't really need. And the reason for this is when we add our Shambhala, it could cause issues as a bit better. Let's just make that really slight. Light point node five. And then we can add a towel, a smooth to bring back more geometry here. Alright, that's looking nice. Less. Get a champagne on here as well. A very light one. And we can put a terrorist move on. And you'll see that the turbo smooth has caused some artifacts. And we turn that back on. And I turn off the wireframe, you see that? And we don't want that. So what we can do in the Edit Poly, jump back down to their select this top face. Just concern these two also you can say. And what we wanna do is add an inset. And if a slave that bomb one, that should be fine. And they said a number one in here. And the shaft is turn back on and the terrorist move, and that's looking much better. So there are free legs and the best way to rotate our free legs would be to move the pivot point of our leg to the center of our table. And what we actually want to do is pull that leg out to the edge, to the outer edge of our table. And we've effect pivot will press S to ten snaps on. And we can snap that to the center of our tabletop. And now if I hold shift and rotate this by a 120 degrees and make two instances, we should get our free table legs. But we can see that the table legs are actually overlapping in the center. So we can fix this by selecting our original table leg and jumping down to our line and select vertex. And we'll just pull that in and you can see that, and that will pull all of our table legs in. And you can see the benefit of having a non-destructive workflow here. So I'm going to turn off the vertex and turn back on the sham for and the terabytes move. And now we have our free table legs. We can select all of our objects now. And I'm going to group them. And I'm going to call this, Hey, so I Table. And I'm going to add a very small noise modifier. So I'm just going to police on one centimeter is probably going to be too high, as poorly scaled down, and probably even more, that's too much. So let's change the scale to five and we'll bring this ramp down to like 0.1 centimeters. And this might be too much, but that's up to you. You can change this as you see fit. And I can see some artifacts on that table top. So I'm just going to open up our group and jump all the way down to our Edit Poly. And where we've kept it, we need a couple more inset. So I'm just going to hit a dialog box, hit the plus sign. And we'll add another one, but it needs to be smaller. And now we can jump all the way back up to our noise modifier. We can close the group and we can add our standard material. Unless the Lee a reference plane. And there we have our side table. 17. How To Model a Lamp in 3ds Max: Okay, so next up we're gonna take a look at this lamp. And it's a little bit more complex. You can find it over. And this will be dressed, which I'll include in the description is habitat. And I'm going to begin by saving this image. I can't actually right-click on it. So what we can do is take a screenshot and with print screen, now I've got something called Green shot installed. Print screen will work on your computer. Just normally. Not get dialogue box and I can save this. Yours will probably just copy to the clipboard. So what I do in that case is open up Photoshop and paste that image and save it. Or you could pass into a Google Doc or something like that. But yeah, just grab this image however you can off of the internet and will jump into 3DS Max. So if you've been following along, you probably have this side table open. And we can just push the IRA with other assets we've created. So we started to get a few paces guide on here. And I'm just gonna hide unselected. And as usual, let's create a plane with one segment in each. And then I'm gonna go to where I saved our lamp. Just going to right-click on that and go to Properties details. And we can say that that is 595 by 818. So in here I'm gonna put 818. In fact, let's put 81.859.5. So this is to get our proportions right. We can actually degrade as well. But if we right-click on the x, this is get it in the center of our sane. And now I'm going to just drag and drop that onto our reference plane. And now I'm going to rotate this by 90. And you'll notice I've got snaps on at five degrees. And let's pull that up. So it's kind of grounded. Again, this object is not straight on so we can't take it exactly. But it's a great reference image. And if we go back over two website, we can have a look at the details and dimensions. And we can see that is 16 centimeters wide. It has a higher 53 and a diameter of 16. So 53 by 16 by 16. So we're gonna create a box that is 5040 high by 16. By 16. Now, 16 looks quite narrow and I think it's at the Diameter of this and it kinda standing up. So I'm just going to click on our bugs. I'll X to make that x-ray select our plane. And then in the front view, let's Gao this. So it fits a little bit better. And I think when that hinges in, that's the higher bit. So there's volume box and that's lamp. So I'm gonna go over to display, turn off Show fries and in gray, freeze reference image and reference books I'm just gonna hide for now because I get the idea. So to begin, let's create a cylinder and a guide to front view. And let's make sure that thickness is looking good. And we don't need any height segments, I think decides, let's bring out 50. When not to restrict by police. When we're modeling these assets is not for video games. They that's fine. It's made a radius a, and the white one that might be a bit too thick. And 0.5 looks about right? So very simply, we've got our first piece of the lamp. And really what we wanna do is just break this down into different paces, says another cylinder, free cylinders across here and another one going up here. And when we break it down is not actually that complex. So let's just build from the bottom up. And what we can do is hold shift and click and drag this one up. And I'm just gonna make a copy of it. And I'm actually impressed S to tenants snaps, which is up here. And this will now snap to our original object. And now I can just change the radius. This is something a lot smaller. And I think 0.75 centimeters or work here, just gonna grab both of our objects, holding Control and pulled up. And let's change the height of this object. Now we probably don't need that many sides as this is smaller. And now I'm going to rotate this by 90, making a copy again. Now when we take a look at this, we can see that this cylinder fits in this middle cylinder. So that gives us a bit of an indication of how wide these free cylinders on the hinge R. So using that as base. I'm going to judge how wide this should be. So. I think it kind of fits around that high. So let's pull that in to 1.85. And then I'm going to shift copy that should have actually had snaps on, that's better and less snap and have one there. And then move these into the middle. There might be a bit too wide, but we can always update this layer on. Now selecting the cylinder holding shift. Just gonna pull that one up. And now these arms on either side say, let's click and drag days holding Shift. And I make this fun and instance cuz I want this one and this one to be exactly the same. And what's helpful about that is when I change the height, they're both gonna change. Now let's remember that this hidden is not bend. And at minutes I wanna make it a little longer until we do that. And I also feel that the radius is too big, so I'm gonna change that it's 0.5. And just thinking about them instances, these should be instances of each other. So let's just delete these TE and clicking snap these across. We can make two. And that will make that hinge Again. This is changes the gray so it's easier to work with. So let's make this high 18 centimeters. And we'll make this hinge up again. We'll make an instance. It's going to be the same. And I'm going to select this arm this time. And we'll make a copy because I believe it's longer than these two arms. And let's just move that into the center. I'm gonna unhide o so we can see our reference box and we can see that we can make this higher. And then the lamp head would go on the top here. So let's pull this up to about 22 centimeters. And I'm going to hide that. We can see already where we're Stein's take shape. Maybe the radius is two, babe, but again, we can go in and change that and a little bit. So I'm going to hold shift and more, make that copy. Press F4 so we can say. And I'm going to change the radius to 0.75. So we get this little lip, bring the hype right down. And I'm keeping it really basic admin and we're gonna go in and add some data saying maybe something more like 0.6. Well, look better here. And now we want to create the lamp head. So there aren't any more detailed views. We have got this hinges. Well, then we're going to look at in a moment. And so for this, I'm going to suggest we use the modifier. I'm going to unfreeze. Oh, and I want to make a copy because I want to rotate it so we can get that profile. And now let's cress blind. And as I'm clicking and dragging and if I click and how you can see, we can get up that curve. And again. And now it would be tempting to go up here, but this actually needs to go across so you can hold shift and it will make it straight. We can overshoot it because it's going to be laid leaved a word around the center. And then I'm going to exit to stop building. That line. Now will go to the modifier list. Had our Lave. And axis is now in the correct place. So you can click this arrow, select the axis, move, and we can move that across. And then we're snaps, that's going to be a little bit annoying. It's gonna snap. So just make sure you turn that off. Let's well decor. So that's a welded would double-check that in the Edit Poly. And we can probably add some more sides. I'm going to say 50, maybe 60. And I'm just going to isolate using this band here, or you can press out Q. And let's have a look at what we've got. So I don't really like that kink here. So what we can do is just go back down to that line and use that basically handles clean up. If we have Cheyenne result on, we can actually update this line and see how that affects our complete object. So that's co, let's add an Edit Poly on top as I just want to check. What's kinda on top here. And really what we wanna do is collapse all the days that since BY some overlap going on. So I've selected all of them verbs. And if we hit collapse. Oh, well together works in a very similar way to weld. And also let's delete button. So now this is just one-sided. Let's add a shell modifier. And we don't want the outer amount, we want the inner amount. And what this will do is add some thickness to our object. So that modifier is really handy and we used on the cloth earlier, unless Stein to shape up quite nicely as looking like a lamp head. So I'm going to turn off the isolate. We don't need reference image there anymore. And I'm just gonna pull that across and into position. Change at Grey. I'm just gonna leave that there for a minute. I'm going to start adding some details very shortly. There's one other thing that we're missing, which is this hinge. So we've got a cylinder and basically another cylinder coming out of it. So let's put that on. So I'm just going to select one of our hinge cylinders. Holding shift. Really I want to have snaps on my dad copy. It's gonna be different radius. So maybe 0.5 will be nice and a lot less than the height. Something like that should work. And then I'm also gonna rotate this one by making a copy. And this one's thinner as well. So let's just change this point free and something that I should do it. So we've got most of our elements in. Now. We want to add some data. How's this is pull this up. Can be an instance. So let's start again. And a bond, I'm going to add a sham from modifier will make this 0.1 to begin with. And we can just sign, you're going to be really slide. No point naught five. Looks like it's working nicely. Now I'm going to grab this Shambhala and copy it. And I can already see this probably needs to be a bit higher as we've got a join here. So I can just pull it out high up and say I'm going to bring that radius in a little bit more. 0.65 will work. We just don't want to have these kinda hinge lines. And now let's add a champion modifier. I'm just gonna right-click, bring that right down. And just an ever so slight shampoo. And what that's gonna do is just add a little shadow gap and then I'm gonna paste it onto this hinge. And already that's worked very nicely and that should actually be applied to all of these. Now. Now these guys are in the hinge, so they don't actually need any shampoo for. Let's try one on here. So I'm just pasting it on and on this one. And you can see Stein's add details that are really going to make it look more realistic. Now this one's a little bit different. At the top. Well, we've got a shadow gap here that we can put in. And then we've got like a rounded top and this motion from the bottom. So probably the best way to do this would be to split these up. Say if we bring the height right down, how would it shift, snap. Make this a copy. And I'm going to Snapchat to hear and embrace that height backup. And we'll paste the champion on to this cylinder. And then in the front view, I'm going to add a rounded top to that isn't an Edit Poly. I've just selected that face. I'm going to hold control and select these edges and champagne. And a few more segments. Thing that should do it. And I'm going to add a sham for 2D, this bottom edge as well. But just an ever so slight one, something like that. And I actually think that desktop, Let's turn on self-selection. Make get ready small. And I'm just gonna put it up a little bit. Prep scale in. That's more like it. We can see this hard edge, that's this moon group. So I'm going to select that face as tan of selection. And we can say that Smoothing Group two and that's one. So this tan of one and just make it two. And we can say that, that so smooth together. A bit better now. There is something that we can't see in the reference and that's actually a light bulb. And we're going to want that in there just in case our camera angles look into the lamp or reflections or something like that, it's just going to add a little bit of realism. They shouldn't be too hard to make. So this is just a light bulb reference image off of Amazon. I'll include a link. So I'm gonna save that out as bulb and we will set up the reference image as we usually do. So let's create a plane. Let's find out the dimensions of our image. Say phi two by 1024. And I'll drag and drop that on. And I just need to confirm the dimensions of this. Just done a quick Google search. We can see that it's six enemies by 11 centimeters. So let's quickly create a box at that size. Make sure we're not too far off. And we're not. So select that plane scaling up. And that's about right. So in display, Schaefer is an engraving of and phrase it. And now let's draw around it would spline. So I'm going to break this up. We've got this middle section, and then we'll do the bulb itself. We're actually break into f3 and then we can add a light material later on if needed. So let's start at the bottom here. We're not going to say this sound is start here. I'm using shift as well to make sure these lines are straight. This one doesn't need to be. And I'm going to do the same as we did with the lamp head and use the leaf modifier. I begin C, must go on. I do realize that it's in white. Yes, not too easy to draw, but I can't just make it out across exit. And now we can just draw the top of this bulb. Likes. So obviously we can always go in and move these points around later on. So I started upon at its mood that axis across you could always move the period before you add this Xist. And again, this looks flipped. So I'm going to add an Edit Poly Control a to select all of those faces and flip it. Wonder whether life has a flip. Yeah, does flip nomos. Alright, so we don't need to edit politics flip in normals. But we might actually need it. And we've got world Koran, but it doesn't seem BY doing too much. And so I will add an any Pali just to clean up the mess collapse. All of that is and we'll do the same on top. Just make sure you don't select any of these fats in the background because if you collapse them, then it's gonna run you model, suggest those center ones and collapse that. Now we're just going to copy this left over. It's got that flip normal setting on which we are going to want to grab the Axis II back to front view, pulled us over. And that looks a bit narrow. And no, we're not gonna see this and to close up. But we just got again the habit of getting things accurate. And also we are just landing tomato and these are examples. It's not like I'm encouraging you to keep modelling lightbulbs. I just think it's good practice for when you need to model more complex objects. And then it Polly, let's isolate days now and get these top faces welded. Sorry, these top, but suddenly I just told you and select these collapse o to de-select that top one, and it's collapsed. All of those on the bottom right is an isolate. And now we've just got this top one. So you still got that leaf on a clipboard. I've just press number one on the keyboard that were less access. The axis, the axis. And there's, our bulb is not looking very round in might be worth using a sphere to do this. But let's see if we can get it right issues in our spline modifier. I mean, it looks it looks okay. For all intents and purposes. It's gonna isolate this, Edit Poly. And we want to weld or these guys together. So I've just selected that border seen as its open. I'm going to select for a text by holding Control and then collapse all of those. And I stay the same. And the bottom, there is no bomb, and we don't actually need a bomb, so that's great. So now if I isolate, We have our bow and there is a cylinder game for you, here is going to be in our Lampedusa. We don't need it, but you can model that as well if you like. As changes to gray. Group it as bulb. And I mean it looks very complex, but as we just found out, pretty simple to create. So we don't need reference image anymore. And delete that. And I'm going to rotate this by 180. And it's probably going to be a fit in anywhere as well. It's somewhere, but we're really not going to say. So now we can start getting this more into the position of the reference image. So I'm just going to, I've got both the bulb and the lamp had selected, and I'm just going to rotate that interposition. So now we can select everything other than the lamp head and less rotate this. And now I wanna show you something that's really powerful. Code select and link. If we wanted to rotate all of these pieces, it can become a bit of a pain, will give me the pivot points, I guess, but this way is much better in my opinion. And what we can do is basically link pieces of geometry, two other pieces, and rotate around that. So it's showing you, I mean, I've selected these two arms and I'm going to select, select a link from up here and just click and drag to that center hinge. And now when I rotate that center Hindu, you'll see that these arms rotate as well. So what we can do is just go up, select this second hinge, a select and link that to the arms. And then select this arm, essentially select all parts of the arm. And again, we'll select and link to that center hinge. So now let's select this button. One will rotate that. So a front view so we can rough it in with a reference, select the center hinge, and write that. That's just made really easy work of getting our arms in place. And then we can move our lamp head into the spot. We want. Just make sure that that is lined up nicely. Alright, so overall, I think this is looking pretty good. Let's unfreeze everything we can get rid of our reference. Let's link this hinge to here. And under right, take that a little bit. And the same with this one. Select lamp will grow Pip lamp. And I think that's looking pretty good. 18. Modelling a Coffee Table inside 3ds Max: Okay, so next up, let's take a look at modelling this square coffee table. And it's going to be quite straightforward. We don't actually need to bring in any reference images. I don't think there are any good ones we could do anywhere on this site. But we can model from Ness, We have the dimensions here. So it's 40 centimeters high by 60 by 60. The way I would approach this is put in a box on top. And then we'll model ODE's. And, and what I'm gonna do is per symmetry modifier on, so we just model one corner and then that's going to mirror over in teacher to corners and images. Put some cylinders on the bottom here. I'm perhaps add a noise modifier to add some variation in this, and obviously some shelters as well. So over him 3DS Max. Let's start by creating a box. And it's going to be 60 by 60. And it's going to be 40 centimeters high. And I'm just gonna move that into the center of our scene. So I'm going to add to your front view how to shift. I'm just gonna put it up. And I reckon that that coffee table top is probably around 2.53 centimeters, is called free centimeters high. Next, I'm gonna go to the top view. And with our first box, big one selected. I am going to press Control V and make a copy of that. And then I'm going to change this length to 1.5 by 1.5. So I think there's probably around the thickness of the leg. And I'm gonna position that in our top view, just inside. I'll coffee table top. And then back in the front view has changed the height. So if we made that free, let's make it 36.5 because I want to make some room for that cylinder on the bottom. So let's put up a little bit. And then I'm gonna put an Edit Poly on top. And I'm going to connect is put to segments on here. And we'll try and make it about the same height, so 90 p. Okay? And then we want to select these four faces and extrude them. And we're going to overshoot this. So we can see that that's extreme by local. And if we click that again, is going to extrude by local normals and now by polygon, by polygon is what we want. If I just say OK, I'm just going to hide our first reference books. In fact, we can delete it now and we can see what are extruded. Polygons have done. Change it to gray so you can see a little bit better. And now we need to do is add asymmetry modifier. I'm going to press one on the keyboard or you can jump down to the gives my by clicking mirror here. And then I'm just gonna pull that across. And you see we are going to need to flip that. And then in the top view, let's get that in the middle. We could actually use our coordinates here by right-clicking. And then we neither is banging the center. So you've got that lined up so we can copy this symmetry. I'm going to paste down top, press one to access the gizmo. And we can rotate that by 180. We're gonna need to turn on our angle snaps. Now that's one a0. And again, we can put that into the center by just right-click in, in our coordinate Stan here. So now we have all of those legs drawn him. Let's add a sham FOR today S. And we wanted to be cool. So it looks like 0.1 is the way to go on that. And I'm also going to add an Edit Poly on top because I want to make OD smooth in groups the same. So that looks better. You can add smoothing groups as a separate modifier, I believe. Smooth. Yep. But I want to use that Edit Poly as well to actually add in a few more edges. So denoise modifier can take effect. So I'm going to select these. And let's hit connect. It's connected like 55 times. Get these guys coming across. And also let's connect these guys. So we just add in some more edges. I can add this noise modifier. And let's put this on like.1. And we'll bring the scout right down. And we really don't we don't even want to notice it. And just so we don't have really hard flat edges. So that is something not really noticeable. But that's going to help with realism when we render. So up here, let's actually grab our Shambhala and our noise. Removed paste these guys on. Nano noise modifies not gonna have any effects really because we don't have enough, enough edges in here. But we'll deal with noise in a minute. Champ, I think we can add more to this. It's maybe know 0.15 will look good. And then I'm gonna put an edit polygon and just connect the SF Quite a few times. And same this side. And then I'll turn that noise modifier on. And just K That really so. And then finally, let's add these cylinders of which pressed afraid kinds wireframe. And I'm gonna move dance position in the top, you got to the front. We don't need any high segments, fished out to like 50. You can see that it's grounded. And radius can be point. A baby has two big 0.6 was okay. And then the high point free. And I'm going to shift, just drag that across as an instance. And I mean, depending on how close you again to this model and how data you wanna go, you could probably add some shampoo refers to the cylinder, but I don't really think we, we need it. And then I'm going to hit Control a to select everything. Make it gray. A group code is coffee table. We want to make that table top or once we've in-group. And I also feel it might be too thick. So I'm just going to quickly open that up. And we go all the way back down to here. And let's just make that high at like 2.5. And in this Edit Poly just control, ate, slept everything cleared and just put it onto one. And that just feels a bit better. And then I'm gonna close that group. And I think we're done with that. 19. Create a Rug in 3ds Max with Hair and Fur: Okay, so fingers types come together. Now, I want us to take a look at making this rug and then bringing everything together. And again, a render out of our anode. So back I ruined 3DS Max, I've just opened our lamb scene. And if I unhide everything, let's delete this reference books. And we have a couple of our assets still in this same. So I'm gonna move that back into our studio. And if you have been creating your mono separately, you can now merge a min by guiding File Import and merge. You wanna actually use merge if you saved as a 3DS Max file. And then I'm gonna go to our coffee table. And I'm going to hit open, select our coffee table group. And he okay. And that's going to bring in our coffee table from the other scene. So if you have been modeling separate same, then now's the time to bring in model. And I'm just going to set up a little bit ever seen And just quickly, nothing too in depth. And we've got a camera here, but it would be nice to, to bring it around and think sank like that could look nice. So I'm just going to hit Control-C and our keyboards credit camera and disguise the front view. And I'm gonna put a lamp on the table. So I've taught you and just position this lamp. And I think that'll be a nice render. I'm gonna pull this studio across and also to scout out in the x. And this just makes sure that all of our objects have the anode material on. And let's create a plane where our rug will be psi. We can have it round, there, will be nice. So that's pretty cool. We're gonna see segments in there. And I'm going to go to the front view and just pull this off a little bit at an Edit Poly and select the outer perimeter. And then in the zed, let's just bring that to 0. So it's coming to the ground. And I'm going to add our anode material again to this object. Moves are going to change this table to gray and our rug as well. And I'm going to select the studio and the rug and just isolate it so we can just work with the rug for now. And what I'm gonna do is add the hair and fair modifier. And straight away, you will see that hair has been added to our plane. And I'm just going to minimize all of these menus. And we want to go to general parameters here. And this hair can, we're going to want it quite high. Sometimes a hundred thousand, two hundred thousand is kinda the way to go. So let's start with a 150 thousand. And then we can just start bringing the scale down to something more in line with our reference image. So let's say for, for a moment. And then this route thickness is how fig, each strand is going to be. So we can bring that down. Let's just start at one and we can work our way up. And let's run a render and see what we get. All right, so as you can see, we can get pretty good herring for gate. One thing to know is it does take a little while to render. Its not particularly quick. But now I just want to show you how we can start a hair a little bit. So I'm gonna open up guides and we can see that all of these orange lines are pointing up. And that means all the hare is going to be pointing up. And what we can do is just kind of click and drag. And they kind of work. Guess a good comparison could be like the FFD modifier where you're kinda controlling stuff with a external grid rather than the actual points themselves. So I'm just clicking and dragging them around. And you can push them up and down. You can pull them, but just kind of add some variation. And I wouldn't try to avoid putting it through the bottom as then our hair will go through the math. We do not want that. So just make sure. But just trying to avoid getting any of the orange and under the plane. But yeah, that's how you can kind of add some variation. I'm going to go back to our camera now. So now I'm just gonna go under styling hip finished dialing here. And let's unhide everything. And before hit render, I just wanna check out where these lights appoint in. So I'm gonna go to display, undertake, hide lights. And let's see. There's anything we can do to improve this layer a little bit. So I'm going to bring that forward at such empowering, making bigger, more objects in the scene. Now, I'm just gonna wrap it up. You can also add a light lamp in here if you like. And now I'm just going to hit Render and see what we get. I guess actively awhile to run. We can see we've got variation in our rug. But the thickness two seems a bit extreme down here. So I'm going to continue to play a descends a little bit. I'm going to bring that roof thickness right down to like one. And I'm just going to render small region to see how that affects our arena. All right, that's looking much better. I just think we probably need camps. I am going to be 25 is obviously going up our render times. K1. I'm happy with how that's looking. So I'm just going to change the view and I'll render the whole thing and a phosphor disc. Alright, so here is our finished render of models for escape plan with the rug and styling. I'd love to see what you guys create. So please post them in the assignments and the project section. And I'll do my best to keep this course up to date with any requests you have. So let me know and I look forward to seeing how you get on. 20. 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 ray light material, we go back to our camera person C, from 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. That's a little bit of 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. Going to 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 over 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 then 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, and 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. Well, you'll see that it's fireball effect underneath. We can click on it and I set up. And it will just start with not 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. 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. Let's create a main light. Now I'm going to make it targeted. Select that target. And 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 OSA in the frame buffer. Um, I've added a few other things I've adjusted to do and saturation. And it is so much 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 up 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 there in the same. So we can bring that down to about 20. And we prefer 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. My favorite possible it is Blab, and I'm gonna put down screen. See what that does. That just adds a really nice globes, these light gas at UK it make that more intense. And then obviously if you wanted to mask and paint out certain areas if they were too bright. And I'd like to add a small amount of fog as well. Say 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 broaden 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. 21. 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 this scene. If I select the car and press said, and make sure we're in perspective, view to P, we can kinda zoom around the car and start looking for a nice angle. So 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 graphite toolbar open so you can go to Customize, show you, I, uh, make sure the ribbon is open and object pain 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. And 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 we're 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. It's a 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 write AR 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 GYN on. And of course we can move these around individually to sell 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 open out cosmos. Think is cosmos of cars because mice, cosmos, cosmos will go to trees. And I'll bring this English OK. And we'll just use this to frame. I'll car they obey. So just have it kinda coming in on that corner. There are some really fun things you can do, like add melt modifiers and then kind of animated trees grown and stuff like that. But we can talk about at another time. And let's also bring in these junipers. This tree is also 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 scatter it 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 our free brushes. So I'm going to select those. I've got four, I've got rock here as well, but that's fine. And I'll pull them over. So I'm kind of 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 on in the foreground then. And obviously you can go to town like you could add some of these smaller plants and there's even like little Stein's that would go nicely behind the car. Anyway, this unhide 0. 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 it will go into top view in the interactive render. So quick way to solve that is in the render settings. And you can look the camera to that view to render. Now when I go to the top view, it's 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 VA camera, if you select it, is showed a horizon line. So that black line there is this horizon line and this 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, it's 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. 22. 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. 23. 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. 24. 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% 25. Bonus Lecture: Edge Distress Workflow In 3ds Max: Today I'm going to show you how you can distress edges of materials with him for 3ds, Max cleanse curvature is a mixed maps. What does it all mean and how does that help you become better freedom, as you're about to find out? We're going to start in a studio scene. And all I've done is bring in a piece of furniture from Cass cosmos and zoom in to a section. So you can really see this effect in action. So distressing worse idea is you get an object, you paint it, and then you sand off the edges and it comes out with this distressed look. And we're going to use materials to do this. So let's open up our material at just press M on the keyboard. And I'm just going to use the eye dropper to grab the material that's currently on our object. And this is the word we're gonna be focusing on. So what I'm gonna do is just grab all of those hold shift and make a copy. And let's plug this copy into multi sub. And I want to make this look painted. I'm just going to add a color correction. Plug that into our diffuse. And in the color correction, Let's just change the color. What was I going to make it a little bit lighter than the gamma. And we can see we have kind of painted this object. But now we want to show the original material underneath. So for this we're going to use a blend material. So if I right-click materials, be ray and be re blend, lets plug our original word into the base and he instance. And we're going to put our blue word int 1. And if we take a look at this material, we can see that it's a 5050 blend of the two materials together. And the reason for this is it's blending based on this color. So if I make it all the way black is going to be the original color. If I make it all the way, white is going to be this blue color, but I'm going to put that on Black. And I'm actually going to use a map in here. It's going to be a general and it'll be a bitmap. And I'm going to use this distress texture, which looks something like this. You could also use a procedure if you wanted. And now we have that in our blend amount. Let's plug that into a multi sub here, interactive render. And we can see that now we have the distress showing fruit. And we can customize some more if we want more distress than we can up the tiling so we can put it onto. Or if you wanted to stretch out the distress, you can put it on one and then two and it's going to stretch. So that's called, but we want to dictate where distresses happen in, and this is usually going to be on the edges. And in previous videos we've used data channels and additional plug-ins, but I believe the method I'm about to show you is probably the best yet. For this, we're going to use a VRA curvature map. This texture is similar to the V rate depth map and he's really useful for detecting mesh curvature. So we can right-click in the sleigh Edit and go to V Ray and V Ray curvature. And if we plug this into the blend amount instead and run an interactive, we should now see the blue coming through on the edges. So we actually want these the other way round back in our Material Editor. If we drag and drop this, the blue word onto the other word, we can hit Swap and it's going to swap them over. So let's take a look at this curvature map. We can turn the output color up to five. And that's going to make the word come through even more. And if we want to tighten this up, we can use the scale. So if we bring the scale down to the same 0.1, going to be really tight on the edges. So playing with these two settings is how we can dictate where distress will be. So you can play with these and play with the scale. So there's put on point to this curvature map is based on the model. So if you go really big or really small model, you're going to have to play with these settings a little bit. So that's cool. We have our edge is mapped using the curvature and we have our distress dictating the distress. But now we need to mix the two. And we can do this for a mix map, a mixed map. Let's right-click a map, a general and choose mix. And if we plug the mix into the blend amount, you'll see that we have black and white. Black is going to be blue. And if I put out all the way to 100, this is then going to become the base word. So if we actually plug in our curvature to the mix amount, which is here, we'll see is acting exactly the same as before. But now for the magic, if we plug in our distress map, we can see that is going to change slightly. But what we need to be aware of is that black is not going to show and white will show. So we actually need to invert this map. And easy way to do that is just inside the map. And we'll up, we now have the distressed effect only affecting the edges of our object. So you can see it's slightly here, but we're going to want to pump it up. So we can definitely add more repeats to add more distress sections. And we can also customize the curvature. So we could bring the scale up to 0.5 for instance. And you can crank up the max output color. So just have a plane here, see what you come up with. 26. Bonus Lecture: Physics In 3 Minutes MassFX Tutorial: This looks rubbish. This looks good and this is silly, and this is not. Today we're going to use physics in 3ds. Max is super-simple and he's going to add in more realism to your images. First up, this is a dead giveaway in 3D. And if it's our job to convince a view at it, this image is a foe. Then we can use a built-in tool called Mass Effects. And you can open that up by right-clicking in the toolbar, mass effects. Now I'm going to stack these plates up. I'm just going to move one or two of them off to the side, just a touch. I'm going to select them all. And then in our mass affects toolbar and set selected as dynamic rigid body, we open up the toolbox being guided simulation and they called, and what is this going to do is keyframe our animation. So we can actually just slide through where we want to keep. And it wasn't just delete all the other keyframes. First one, you can actually delete that one as well. And now plates a stack. So going forward you have no excuse to have straight edges like this in your visuals. We can also use mass effects to fill up jars and bows. So if we want to put these lemons in this glass jar, we need to make this a static rigid body. And this basically means it's not going to be moved in. And this meshed has come up is what these lemons will acknowledge. So we actually want to change this because it's concave and I'm going to hit Generate and it's going to generate a new mesh so our lemons can fall within the job. Now I can already tell that that's not going to do it because you can see lines coming across. So what we need to do is improve the fit in and hit Generate again, and it should now cave to the object. Grab our lemons, bring them on top of I j. And we're gonna make these guys dynamic rigid body and this plate that in, and now we have our lemons in our job. So there's no need to be putting these in one by one, moving and rotating them. So gravity is cool and all. But what we want to add support into our physics, but we can do that over here and forces. So if you wanted to add some wind, for example, and just make sure to us in front of the lemons. And also, I noticed this when is really powerful, so I'm going to fit no 0.1. Then all we need to select our lemons, made these guys dynamic rigid body and will go down his forces. We're going to add this wind. So now when we run this simulation, these lemons should flow across our screen. So you can reset your simulation here. If we zoom out this time, we can actually bake the simulation. So it's going to keep the keyframes and there's our lemons blowing away. Finally, let's add another force. And this time we're going to add a T bond. And all we need to do is position that where we want. So this is where the full school comes from. We're going to change the start time because of what's going to kick in at phi, which is too late. Let's just put it on one. I'm just going to put this on 0.5 as a dominant flying absolutely everywhere. I select all of these lemons, make them dynamic rigid body. We're going here and add a force. And this time we're going to add the p bar Baikal. And let's see what that can do. All right, that's pretty good. If you post a motion blur on this, it will have free coal as well. So there's some really easy physics and 3ds Max. So there'll be a lemon and don't be a lemon. Use physics. 27. Bonus Lecture: Improve Your Realistic Interior Rendering: Job in 3D graphics is to convince the viewer that what they're looking at is real. We modern day magicians just, we have a whole lot of tech and computing power, but attack and the power alone won't care. So let's take a look at a few tips to convince your viewers that your visuals are real. The most obvious giveaway that an image is Friday is it looks too perfect. And in this image you can see that the pitchers, chairs, and tables are all dead straight. And there's no way you could really do this in reality even if you tried. So I think we should do is turn off snaps and we'll go to rotate. And what we're gonna do is just rotate everything very slightly. And it can be whatever he want, nothing too crazy, just a little so and we're also going to move these chairs in and out just a tiny bit. And I'm going to do the same on the table, just a slight rotation. And the same in these pictures. I'm just going to slightly move these around and put very slight rotations on and, and I'll just quickly run an interactive render to see what we've done. Okay, this was our original image, and this is the image we worked on. And it's all very, very subtle. But these are the kind of subconscious things that your mind will pick up on when you're looking, renderings. If you want to explore this more than checkout physics video, where we're going to look at stacking objects using gravity and wind and explosions to randomize the placement of objects. So using the same model was cool and all. But when you have a feared ys lined up, you're going to start noticing that they are exactly the same. And in this example we can see that the wood grain is going to repeat. And if say you have like five of these chairs lined up, you're going to really notice that these are exactly the same wood grain on each chair. So this can easily be solved even if the objects are instance. So if we go into our material browser, which is M on the keyboard to lead them are wood material we want to use is a freeway uvw randomizer. And these will plug into VBA bitmaps. So I'm going to do is plug this into all of the wood textures. And then we can randomize by name. And what this is going to do is offset that would, depending on the name. And something else I want to do is change the UV rotation to 0 as I don't want it rotate n. I just want to offset in left and right and up and down, which we can do in the u and the v. So now if we render, we can see that the wood grain on each of the chairs are actually different. Another giveaway that something is freely is the hard edges. When we build in 3D, edges are hard by default, and we can overcome this a couple of ways. Number one is the chamfer modifier, which you can find in the modifier list. And we can just add that to our object. And let's just bring that amount dance like 0.1 and add two segments. And we can see what difference that makes already in making that feel less CGI. So the second way to do this is by using a material. So let's delete that chamfer modifier. So let's open up our material editor, grab the eyedropper tool, select our material. And I'm just going to right-click, go to V Ray. And we want a V Ray edge text, which is here. And you can see it's got rounded corners. And all we're gonna do is plug that into our bump and I'll start the interactive render. So there's our chamfer versus our materials. So there's not a lot in it at all, but compared to our original, it's much better. So nothing in life is really flat, so nor should your models and add some variation. You can use a noise modifier and use that. We're actually going to want to add some more quotes to our mesh. So it's due that we can just add the quadrate phi mesh. And that's going to add Some more quads to our table top so you can make more at ease. And then all we need to do is add a noise modifier on top. And I'm going to change the strength to centimeters. Can already see that moving around. And if we bring the scale down, that's gonna make it more and more varied. So let's just put that on 50%. So try not to overdo this one. You don't even want to know, is it like all of these? They want to be very subtle, or maybe even no point to five. So this is without our noise and this is with it is the same we started with. And here's the scene we finished with. 28. Bonus Lecture: 4 Quick Tips To Increase Photo Realism with 3ds Max and V-Ray: Today you will learn a few more tips to increase the realism in your 3D renders. I will read them. I'm with V rated for 3ds Max, but most of these tips are going to apply to any software partner. Reason that Friday is getting more and more realistic every year is due to more computing power. So everything in freedom is made up of polygons. And the more computer power means we can render more polygons than ever before. More polygons may more details and more details make more realistic, objective. Years ago, organic objects such as trees, plants, flowers, pillows, and fabrics were really hard to make it look realistic because we had so few polys to play with. But now we have more than enough to make things look as real as real life. So taking a look at our scene, a tree and I'll say in is really adding to the realism of our image because these are organic objects. So we can always add, and I'll use the place towards put up on top of a table this for as well, soften up our image. And this is going to require a bit more than just putting on the table. And you can always add an FFT modifier to this. It just quickly shape it. And luckily we can't see on that. So for both we were with me, spend a bit more time on this or you could create your own cloth and use the cloth modifier. So what we can do is add a pillow. And I'm actually going to import this as a mesh because I'm going to add the cloth modified to it. So let's select our editable mesh version. I'm going to delete this one. And I'm going to move that just above our sofa. If you hold out and right-click, you can change to local. Now when I rotate is going to rotate locally. And if I add a cloth modifier to this, go to the object properties. And we want to make this object of cloth, and we'll just use the cotton preset. And we're going to add another object. And that object is going to be the sofa. And we want to tell for 3ds Max that list. So phase is going to be a collision object. And we'll hit Okay. And now we can hit simulate. Then you can find a nice position for that in the simulation. Once you find what you want, you can set and it will stay and arrays and simulation. And now that PLAs in position, and I just find that this works a little bit nicer than just positioning the pillow with the move axis. And so here's our same, a few more organic objects added. Keeping things RU is important if you want to make your images look real. And these guys for lights, materials and cameras. And the closer to reality to our virtual world is, the more realistic it's going to seem. And this is why it's a good idea to keep materials on real-world scout. And you'll notice whenever you create an object, you're going to have real-world maps size on that. So if you have that ticked on and you apply material, then it's going to shop at real-world scale. And the same goes if you have a UVW map and you turn on real-world scowl, it's going to come in and real-world scout so you don't need to mess around with your uvw maps. So this is a really good habit to get into as you're gonna save loads of time by just keeping everything real world. And it's also going to make your images more realistic. So what real world means is in here we have a coordinate, so we've got real world scowl on. And it's 100 centimeters by 100 centimeters. And what that means is, we're telling for yes Max that this image we've input is 100 centimeters by 100 centimeters and that's going to reflect in our sink. And this goes for models as well. If you bring an object in and it's not to scale, and you just bring it in and start trying to overlay the chances are you're not going to get it dead on. And these are the kind of things that are gonna give away your images as free day. 29. Bonus Lecture: An Introduction to Generative Capabilities in Photoshop: This is a big one and if it's not in Photoshop yet, then you can go to Creative Cloud and go to beta apps and download the Beta and then open it up. By the time you're watching this, it might be in Photoshop. So let's talk about Generative fill in Photoshop. So let's demonstrate what this can do. We can extend the size of the image. And then if we select this empty area, we need generated and hit Generate. Let Photoshop do its thing. Now that looks pretty good to me, and it comes up with different variations. So you can choose you when you like, or you can always hit Generate again. And it's going to come up with three more options. Now let's see what it can really do. Let's see we can get rid of this car. So I'm going to hit Generate again. They have, it's gone and this is incredible how it's built. The rest of the door there, we've got a few to choose from. We can hit Generate again. Let's see what happens. Alright, That one looks pretty cool and you can see that we've now got six options down here. I quite like this first one, we can always just jump back down to this layer, maybe choose a different version we can generate again. So unlike Dolly or mid journey, we're actually interacting with the images, choosing what parts to change. We haven't even started with the prompts yet. Obviously, we can continue to go through and remove any signage or lampposts. And if we zoom in, check this out. And because this is layered, we need to bring this layer on top. If I zoom out, you can see that we've extended this image. Now let's look at someone to prompt me, select an area, and we'll go to Generate Fill. And now let's put a man on a bike with motion blur. And the size of the area we selected is gonna dictate the size of what's created. Alright, that's not looking too hot. That's looking a lot better. And that is perfect. But I don't actually liked this person here. Again, because this is layered. We can just select that layer. Let's grab the brush and we can just brush them. And let's select a soft brush and just paint back in. Some of the areas we want to keep. What we've done is we've gone from this image to this. Maybe are men on the bikes too big? But just remember as well, this is in beta and this is the worst this is ever going to be. I think this is incredible and I think that this is going to have massive impacts on our Workflow. Next up, let's take a look at a portrait. What we can do is select the subject. And you can see it's going to select that guy. And what we can do is invert the selection. Let's hit Generate. And this time I'm going to put barley. Let's see if we can transport this guy to Bali. Nice, this ash. Wow. How about that? And it actually keeps the blur and the camera lens from the background. The lighting looks good. That works for me. That's great. Now let's try a few other bits. Let's try and Interior seen. And what we can do here is let's get rid of this guy and see if it can rebuild the background there. Wow. Take a look at these networks perfectly. That works perfect as well. I didn't ask for a chat, but I will take it. And let's see what else we can add. Maybe we can put a Lamp in here. So add a Lamp. This is a really FUN way as well of generating images. I can see this having a massive impact on interior designers, architects. How about that? Wow. Let's add a mirror on this wall. Just thinking about having to do this in Photoshop. I love Photoshop. I think I'm pretty good at Photoshop. But the time this would normally take compared to what this is incredible. How about that? And even imagines the rest of the room. Wow, I think that first one looks pretty good. Let's see if we can add in a Rug. I'll just write Rug. That is super impressive. So we've gone from there. It's right, we've gone from this to this. And that was pretty painless. Alright, let's take a look at one last big cityscape here. And let's see how it fares with filling some of this. I'm going to overlap it a little bit. Let's just hit generate and will let us do its thing. Now I will be super impressed if this works. Wow, this looks great. Maybe we can add some something in the foreground here, like add high-rise buildings. Now that is really impressive. So we started out with this and ended up with this, this Interior seen, started like this. And then they'd like this. This guy was here and ended up in Bali. And this image started out like this and came out like this. The impacts of this is gonna be massive. I can see this being used. I mean, you could hook up your microphone and just start talking to Photoshop, selecting areas, change this window, put changed the door to read. This is definitely a tool you need to be aware of and start to use 30. Bonus Lecture: How To Create Augmented Reality: I'm going to bring my Pokemon cards to live for free with absolutely zero coding skills required. Remember this card, it's about to get a whole lot more exciting. Ever since I was a kid, I've been obsessed with Pokemon. Like many of you, I spent countless hours training and ballin Pokemon cards. Always dreamt about bringing these costs to life. And we've already advanced technology. I couldn't help but wonder, Could I add an augmented extension to the card game? So if you've got the same cards, you can bring them to life by just following the link, pointing your camera because I'm watching him spring to life through your eyes. To how are we going to do this with the help of WebEx, our tools in this tool uses the power of augmented reality to overlay 3D models onto the real world. Let's head over to Sketchfab and grabbed the Pokemon we want to use, go to the Search and switch on downloadable and animate it. We have to grab a peak to the GLB format is ideal for WebXR tools, but also grab a mu because it's my favorite Pokemon. And finally, the dude that is GOD. Now that we've got our models, we need to select the cards. And I know many of you have probably got fossil, jungle and base set. We're going to use fossil DID and a newer full mu v. And I've noticed this before, but I'm sure these are pretty much the same artwork. So let's use base set. Big issue. When it comes to markers, it might be tempting to grab a high res image from the Internet, but if you actually take a photo of the card you're going to use, your camera is going to recognize it more easily. And after all, that makes sense is this is going to be the actual marker. So it took photos of all the cards and a crop them up in Photoshop, and I saved them as JPEG files. As simple as that, stay with me. And now for the fun part with older models and Mark is ready, it's time to bring this altogether with AR, creating, augmented reality is simpler than you might think. And today we're gonna be using WebXR tools. And this is by far the easiest way I've found to do this is completely free and doesn't require any coding. Hit register and you can create an account. And once you've registered and you'll come to a page like this. So let's go to Create Project Web AR is what we're gonna be using today. Alright, so let's name this one geo dude fossil. And let's head over to the rear camera and we want to use image market tracking. And in here we can navigate using our mouse. We can see we have a marker, which is this purple image. And then we've got our 3D model, which is this x. And I'm going to go to Image marker. Now I'm going to load up our GOD card. Then we can select that, select the asset. And we can see our card is now in here. Now we can select the model and then load up our GI dude modal. Hit Select asset. And just like that, There he is. So we're going to want to move them around a bit. Let's rotate it 90 MEX and maybe even like ten in a way just to straighten them up a little bit. We can use these tools over here for moving them around. And we can also scale him up a little bit. So I'll make him one-by-one. And that looks pretty cool. Maybe we'll bring him down a bit. Alright, so our geo dude is looking pretty cool and I loved that is blinking, shout out to the guys that create these models. I will link them in the description as well. Something else we can do to make this GOD look even more realistic, and this is the secret to getting these models looking awesome and lucky for us. We can add customer HDRI is we'll go to Custom and let's head over to poly haven. And this is one of the best places to find HDRI. So we want something that fits with our GA dude. So let's just search for mountains because that kind of rocky. I think this looks pretty cool. So we want to make sure that this is on HDR as that's what WebXR tools except. And we'll have it a one k so we keep everything nice and light and I'll hit download and then back in WebXR tools. Let's let this guy up and look at that light. And that's me. Massive difference. In WebXR tools. You can customize the UI and get your project looking just how you like. But for today, let's just keep things simple. So I'm going to turn off this header. And if we go to Edit app, we don't need this capture button. This displays a button to take photos in the app, but I don't think we need that today, Eva. And here's a neat little trick. If you head over to the start screen, you can actually skip this. This can obviously be handy, but for today, as I said, I just want to get straight into sin our models. If we go back to the rear camera, this is what our rear cameras can see when it detects this card is going to show us the model. So let's hit Save and Publish. And I repeat the process for our other two Pokemon, I loaded up the cards and positioned to freely models. And the only thing I did different was used different HDRI is to best suit that Pokemon. So for Pikachu, I used the studio. For me, I use some neon lights. One of the best things about WebXR tools is that it's web-based. And this means that there's no apps to download taken literally just follow the QR code on screen or check out the link in the description and scan your cards. Now, these are my free final AR cards, and I love them. They're super easy to make. Thanks for WebXR tools. And now that we've got this process down, I reckon we could make a whole set. Realizing this childhood dream has been an incredible experience, and I hope it's ignited your imagination and showing you the limitless potential of AR. Now it's your turn. Try creating your own AR animations using WebXR tools and share your creations with me. And it's not just for Pokemon cards, you could use it for furniture, it turn your cab plans in 3D and so much more. So head over to WebXR tools today and get started. 31. AI Tools to Get Ahead of 99% of 3D Artists: Ai tools are reshaping art ts and they're making what were complex and time consuming tasks. Ridiculously easy. So in this video I'm going to show you what tools any art vis artists can easily integrate into their existing workflows. We'll look at some examples and we'll see how they're set to transform how we approach art vis. But first, is AI a threat to art Ts? Is it devaluing it and is it going to take all our jobs? Technological revolutions have happened before. The Internet was met with fear and skepticism, but ultimately led to greater prosperity and revolutionized our daily lives. And I think we're fortunate to be witnessing and participating in a similar shift. Ask most people how they're using chat GBT and they'll say it's fun for a poem or two, but how they're using it isn't really groundbreaking. The people who are really using it are seeing the benefits. The reason I got into free D was I love this merging of creativity and technology, and technology made the creativity more accessible to me, powerful tools need skilled hands, and we've been crafting art with technology for years. Our roles are certainly evolving, but experts are still needed to harness technology effectively. So I don't see these tools as replacing the artist's role, but assisting and amplifying it. And while we can't predict the future, understanding our current landscape is crucial. Let's explore some easy to use AI tools that can fit into your current workflow straight away. This first tool is an image up scaler, an enhancer that feels like magic. You may have seen this image of Lara Croft from the PS one get up scaled to this. As soon as I saw it I knew we had to get involved. So let's start off by uploading a pretty standard Arcs image and I'm going to leave everything at the defaults and hit up scale. This is the image with just the defaults on and we can see the upscaling in action. The leaves start looking more crisp and you can see the weathering on the building itself. Which in three D is a pretty drawn out process where you'd need to use dirt maps and complex materials. This black wooden material looks a lot more realistic. I really like the detailing and weathering. It's added over here on this garage. This is the before and this is the after with just the defaults on. Now let's take a look at some other examples. This was an image for a kitchen appliance manufacturer and the upscaling looks great, but if you take a look at some of the details, it does do some funky stuff, so it's not perfect. But something we can improve with prompts, which we're going to have a look at shortly. But overall, it has attempted to make the image look more realistic and the guy has aged pretty heavily. But take a look at the bottles down there, and even the outside and the plants look better. We also have sliders over here like resemblance and creativity that you can play with to try and keep hold of this guy's resemblance if you wanted to, or you could always just Photoshop in the original if you wanted to keep him exactly as is. And you might recognize this image from the course and take a look at the detail. It's added quite the improvement. So here's the before and the after on the standard studio render. It makes the image look a lot crisper. I'm really impressed and I see this becoming a solid part of my post production workflow onto the sliders. This was with the default settings and then this one has a resemblance of five, It's trying to keep the image more similar to the original. And this was with Creative year ten, so it let the AI go wild. It's changed the chicken to bread, it's changed these bottles and it's added some books and all sorts of stuff up here that's not ideal. And you can see that all of this AI stuff isn't exactly perfect to use as is. Now, this was an illustration I recently did for a travel company, and it even does the hands really well, which we know AI is generally not too good at. But this really does give that extra photorealism to the image. So the prompt tool has proved to be super handy. So now I'm going to write a lever chair with a fabric throw for creativity. Let's plump that up to three and I'll put one on for HDR. So this gives it more definition and detail. And the creativity lets the AI hallucinate what should be there. And I'm going to leave the resemblance as is. And we've got options to use different engines, but I haven't personally explored them yet. And we do have these different versions, but so far the standard version seems to be working just great for all these three D renders. So let's upscale that and see how it looks. And it's really made that lever look nice. The throw, not so much, the flowers have completely changed, but all in all, I think the image looks better. But this is where the prompts come in. So now we can write white orchids and we'll give that another go. And we've got much of the same on the chair, but can you see the orchids are now just as we want them. I'm still refining the parameters to use with this tool, but it's become a solid part of my workflow before I hit Publish or send images out. And this tool is called Magnifique AI, and its simplicity and power is Magnifique. Remember when rendering animations took hours, even days? Well, I think that's about to change. I imagine you've seen the text of video tools, but for me, they just aren't there yet for arc viz. But in the meantime, years ago, animations were made with hand drawn frames. The master artists would draw the main frames, and the juniors would fill in the gaps. At 30 frames a second, you'd need 30 hand drawn frames. Then with Fred Graphics, you'd set the animation up and the computer would render each frame. If you've ever tried to render out photo realistic animation, unite, it can be costly and time consuming with the need for powerful computers. And now behold a method that incorporates the traditional animation techniques and three D graphics. All right, so let's take a look at an animation I want to send over to a client. And using a full three D workflow, there's 300 frames and if I hit render, I know that each frame of this animation is going to take about 3 minutes. So by that mass we're looking at 900 minutes, or around 15 hours. Using a pure AI workflow, we're probably going to end up with something like this, but by using free D and AI combined, we can actually render every temp frame, put the range on, and we'll put every temp frame. So it'll render a 010-20-3040, so on. Instead of 15 hours, it's going to take 90 minutes. Then all we have to do is upload the images, make sure that they're in order as well, and I'm going to set the time limit. I'm actually going to make it a little bit shorter. I found it works a little better. And I'm going to hit Generate. Let's take a look at how that's worked out. There's some flickering and I can see there's a problem here. And just at the end, there was another frame that got messed up. All you have to do in this case is render out the frame in between this one and this one. And it will give it the information it needs to fill that gap in this is Runways Frame Interpretation tool and you can export your AI assisted animation, run it through an up scalar like Topaz AI and you'll have a high resolution version. And your animations have taken one tenth of a time. Up next, let's tackle free humans. Is there a way to improve them? I'm glad you asked. Here's a person straight from cosmos with a HDRI And it doesn't look too bad, but what we can do is import the texture. Notice over here we have recovery face on, and let's go over to his face. If I turn that on and off, you can see the difference. And that's the before and after. Then all we got to do is save this out. So this was before and this was after. Obviously, this can be done on all your textures, not just humans. And this tool is called Topaz Photo AI, and it's the face recovery where I think it really excels. Have you ever been bogged down with client requests? I found a photo editor with some powerful AI capabilities. So one of the most common requests from a client is, can we make the sky bluer? I've opened up our architectural image from earlier and the first thing I want to show you is this sky replacement. I know there's other tools out there, but I've not seen a tool that can make the whole image sit as well as this does with the rest of the scene. And if you do want that blue sky at the client request, you've got it right here. We've also got an enhanced AI up here so you can accent the image. We've got sky enhancer if you want even more blue sky. We've got atmosphere And if you've ever tried to add fog in three D, you know how hard this can be so we can put like a nice haze on the image. Sun rays is really cool. If we pump this up, you can see it adds the sun. And then we can actually place it where we want it, so we can even pull it off screen or put in some God rays. This is Lumina Neo, and I've been using it for many months and it just keeps on getting better. 32. Bonus Lecture: Using AI to Generate 3D Models: We've got chat GPT for text, we've got mid journey for images and runway for video. So what about free D modeling? Stick around as we explore a real world application of AI. Free D modeling. The current capabilities and if they can actually accelerate our workflow even if you're brand new to Freed modeling. So Meshy lets us turn our text into free models and then these are the featured models, so the best quality we can expect. But I've got a plan so that we can use them in Arcs and advertising and beyond. So just remember that this is the worst that AI to Fred models are ever going to be and it's likely to develop really quickly. So if you just look at the first mid journey compared to the latest version and the speed that that happened and this is just meshy too. So let's have a look at how meshy works and then we'll take a look at a practical example. So we'll go over to text to free D. One use I see for this is creating hard to find models that I want to pose in my scene. So rather than spending ages trying to model it or trying to find models online, we can write something in text to free D. Let's say my client has a very certain breed of dog and they want it in their Fred image, so I'll write a West Highland white terrier sitting and we'll put this onto realistic. You can add negative prompts, so for example, if you didn't want any blue in the freed model, then you can type that in here and we'll hit Generate. And then you're going to get back something like this. And we're going to have a few options from far. If you look at the small thumb now, they actually look pretty good. And you can choose on which one you like the best. So I think this guy without a color. And then all we have to do is hit Refine. All right, And this is the refined model. Doesn't look too bad at all. We can change the texture settings here. But what I think is really cool about this is if we go to the wire frame, we can actually change the mesh settings to quads. We can reduce the amount of quads that are here. I actually did that to quads and lowered the reds here, and I think it actually does a really nice job. This is where AI free modeling is at now. Let's see if we can actually use this in production. So let's see if meshy can help us solve the problem of finding a very specific model for our scene and not need that. Let's see if we can generate a model that we can rig, animate and then light in our free DC, this is the free model, we're going to use the first up the text prompt in mesh. I found this in the features page and I saw the text prompt was here. So I actually copied some of these later prompts. Highest quality, best quality, studio quality. So let's hope it's quality with the amount of times I've written quality. So I'll paste that in. High quality photo realistic chef post. We want it unrealistic, And we'll hit Generate. This is what it came back with. So we've got a few options we can choose from. We're going to go with this one, and we'll hit Refine. And once it's refined, we're going to get back something that looks like this. For what I've got planned, I think this is going to work just great. We can download this. I'm going to download it as an FBX. Hit download and we will look at rigging this character. All right, Mix Mo is an awesome tool from Adobe that just doesn't seem to get much love, but it's a really fast way to rig your characters. All we have to do is hit uploaded character. And I'll upload the FBX we just downloaded. We'll rotate him so he's facing forward and we'll hit next. And now we apply few points as per this image. So we've got the chin to put the wrists in, elbows, knees, about here, and then the groin somewhere around there. And we'll hit next. Now our model is going to be rigged. It's going to take around 2 minutes. All right, there he is. Then we have absolutely loads of different animations we can add to our character. We can have him some push ups, dancing. I know. All right, so I'm going to type in table because I want in front of a table, there's some pretty interesting stuff. So like if he is cooking something like this, I actually think that that might work pretty well. He could be like sprinkling salt into a pan. I'm going to turn up this character arm space. I actually think that it's going to work pretty well. I'm happy with that. So I'm going to hit download. Fbx will be fine. All of the defaults are great. We'll download that and then we'll get into free D and we'll pose him all right, in our three D program. You can use any three D program. I'm going to go file in. The defaults will be fine. Let's hide unselected and I'll go to the front view. And here he is in our three D package. So if I hit play. There he is, doing the business. The first thing we're going to want to do is scale him. I'll just group him first. I'm going to create a box that is like one I think I'm about that tool. I'm just going to ground the pivot so then we're going to scale from the ground and make him roughly that big. Then another thing we'll want to do is take a look at his material. Currently he's got physical material I'm going to be rendering with corona. Let's add a corona physical material. I'm going to plug that into the base. And I'm actually going to add a color correction just because I think them shadows are a bit harsh. If we go to advance, let's turn up the gamma and apply this to our guide. Less material. Done. Let's, we're going to hide the helpers. We can unhide all had to the top select our guy and let's put him in position somewhere around here. He's going to be doing the cooking, maybe something like this. Go to our front camera. All right, there he is, so we can position him how we want. I reckon somewhere like that perhaps we can bring him forward a little bit, but that looks pretty good. I'm happy with that. One other thing regarding that material, let's make sure there's no reflections on him. Let's go to the render settings. We'll just use single frame. One other tip here is if you wanted to, earlier I was playing around and I actually rendered out multiple frames, him in different positions just to try it out. But I know that we want this frame and I'll hit Render, and I'll come back. Once this is rendered, it shouldn't take too long. All right, so this is the render out. We're now going to head over to a tool called Magnifique. I love this tool. It's an up scaler with an AI twist. The focus of this is the chef and not the rest of the image. What I'm going to do is go to upload and I'm going to upload our image. Let's just hit up scale and let's see what it does. All right, so this is what it's done, not much better. But what we can do is put a prompt dense, I'll write a happy chef. Then we've got some other slides we can use. Hallucinate allows us to add some additional details. Let's crank that up to two in resemblance. If we increase it, it's going to stay more like the original image. We don't actually want that. Let's try it on two and minus two. All right, and that's come back. It's looking better, but we need more. I'm going to put the creativity up to six, let's put resemblance like a minus four and we'll upscale gim. All right. I think we are pretty close to this guy. A few things that we're going to play with. But to go from this to this looks great. So let's download that image and we'll head over to the Photoshop over here in Photoshop. I've got the original render without the chef in, and I'll just drag and drop our chef on top. Let's see if we can just select the subject. All right, not perfect, but let's use that. I'm actually going to hide the background. Let's start masking some of this stuff in and out that hands. Not too bad for AI will keep his chef hat on that hands. Going to need a little bit of work. But yeah, he looks pretty good. There he is, masked in. I want to add a slight brightness and contrast hold Alt, so it's just going to affect that bottom layer. Let's just turn him up a little bit. Maybe we can pull that contrast down. Another thing to get him sitting a little bit better is if I jump back down to our bottom layer and select a whitish color from here, I'm going to add a solid color. I'm just going to put that on color again. Just have it affecting the layer below. So it's only going to affect him. Let's pull that down to like pretty low. But you can see that it's just going to help with the colors sitting in the image a bit better. I think it's all right. Maybe here we need some work. As I'm going to sort out this hand quickly, he's looking pretty good. A couple other things, obviously in Photoshop we can use some generative feel. Maybe here, let's add some steam coming from the pan. You can take your time on this, but steam looks pretty cool. Maybe we'll want to add some on the table. Just looking at steam, we need to get rid of that bit. I mean, that looks all right. That's better. Oh, yeah. All right. That's cool. You could add like tea towels, maybe like a kid drawing over here or something like that, but this will do for now. You can use generate feel. Then I'm going to duplicate and flatten all these layers. We'll take a look at camera raw, put auto on that looks nice. I'll lower the saturation a bit. Do some clarity. Let's put some optics on. Maybe like a slight vignette. Oh, another cool tool we could actually use is Lumina Neo. You've got some really cool features in here and this accent I, I really like really makes the images pop. You've got a lot of super sharp magic lighting. We can add some like atmosphere. I don't think we really need fog in here. You can relight the scene. You can even add some rays if you wanted some coming in there. I don't think we need it, but we'll leave it on. Add some film grain. All right, so this is what we had and now we have our chef in our scene.