3D Rendering for Interior Designers: Chaos Corona & 3ds Max for Captivating Visualizations

1. 3D Rendering for Interior Designers: Chaos Corona & 3ds Max for Captivating Visualizations: We're ready to create your own photorealistic images just like this from scratch with the industry standard tools for the S max and chaos corona, you can do it yourself. You'll learn all the skills you need to render your own photorealistic images from beginning to the end. This course is perfect for architects, interior designers, freely IS or anyone passionate about freely design and visualization. Whoever you are, a beginner who wants a job in the architecture or CGI industry, or an experienced professional looking to hone your skills, or you just want to create your own images and portfolio. This class will teach you everything you need to do it. You'll be joining over 25,000 students. They have already benefited from my courses, The skills you're going to learn, and not just for interiors and architecture, but the same skills I use to create ads for press, furniture manufacturers, websites, and illustrations for print. You don't need any experience. The basics of freely estimates are covered. We'll start by creating your own studio render for your portfolio in the first section will cover modelling and adding furniture. You'll be able to light it seems like a professional and create beautiful renders and detailed shots. And by the end of this course, you'll learn how to put this entire scene together and be able to do the same for all your future projects. So why take this course for me as a CGIAR is for over 15 years and working with some of the world's most exciting designers and brands on yachts, jets, architecture and adverts. Now at chaos, the greatest of Corona, what this course is not affiliated with chaos. I'm excited to share what I know to help you master freely architectural visualization and jumpstart your 3D artist career. I'm here to help if you ever have any questions. You also get access to the community group for ongoing group support and the newsletter to keep you up-to-date with the industry. Every few years I create a course with everything I've learned. And this is the next installment, is a full workflow, making it the only corona rendering course you need to enroll now and take the first steps towards transforming your passion into a successful career. So click the enroll button and I'll see you inside. 2. Discover Chaos Corona: Corona is a photorealistic render engine used by top studios around the world. And it's compatible with the popular 3D modelling software for 3ds Max. And this powerful combination allows artists and designers to create stunning visuals for a variety of projects. And whilst it can be used for many things, it really excels in producing architectural visualization with ease. It's developed by Chaos Group, the same company behind VRA. And the main difference between the two of them is the ease of use that corona provides. It was designed with simplicity and flexibility in mind, making it an ideal choice for artists who value a user-friendly interface, a more streamlined workflow and quick results without sacrificing quality. Throughout this course, we're going to dive into the world of chaos Corona and freely S max and explored various tools and features to optimize your renders for the best possible results. 3. Product Render Studio with 3ds Max and Corona Renderer: This is a product render, and today we're gonna be creating our very own studio and creating our own product shot. Once complete, you'll be able to use your studio over and over again to render products for your portfolio or for your clients. If you're completely new to freely S max, then have a watch of the introduction to freely S max tutorial to make sure you're familiar with the basics. The first thing we need is a product to render and lucky for us cast cosmos is now included, but corona, and this gives us access to thousands of 3D models. You should have the corona toolbar up here. And if you don't, you can just right-click on an empty space and find the corona toolbar and just make sure it's ticked on. And this is where we'll find tons of handy tools and we'll be using it quite a lot. And here you'll find cosmos. And if you click on 3D models, you'll see what a model is broken down into categories. And have a look around here for something that you'd like to use and don't worry about it too much as we'll have our scene setup and you'll be able to jump in and switch out your product. So I'm going to head into furniture, chairs. And I like to look at this chair. So notice this blue button in the top right. This means we can download our asset and once it's downloaded, we can just hit Import and it's imported into our scene. And it's blue tick mark means is now downloaded. So you won't have to download it again. So you can import it quicker next time. Using out in the middle mouse we can rotate. If we want to make our Viewport one, then we can click down here. I'm just going to navigate. I'm holding down the middle mouse button to pan out, middle mouse to spin around and zoom in and out. Is the middle mouse rolling. So I'm just going to set our camera up and then let's hit the Camera Plus icon. And that's going to create a camera from the view. And then we can click Start interactive rendering. And this is where we're going to see are rendered image. And right now it's completely black. And that's because we don't have any lights in our scene. And there's a few ways we can light a scene. But for this studio, Let's use a HDRI. So we're going to open up cosmos. And if we scroll down, you'll find HDRI is in here. Now, HDRI stands for high dynamic range image, and they're usually 360 degrees and they contain lighting information that can be used to light our scene. And notice we have a studio tab, and these are all of the studios that are included in Cosmos. And you can download the one you want to use and just hit Import. And now we can see our product rendered. And up next we're going to have a little dig around in freely S max. And I know it can look a little bit intimidating as there's so many buttons, but they rarely is. You're likely only going to use around 20 per cent of these tools regularly. So try not to let the interface overwhelm you. Most clients will want a pure white background, and we can easily achieve that by opening up our render settings and heading down to the same tab. And down here you'll notice single map and that is where our HDRI is. And if we turn on overrides, you can see that we've made the background completely black and we can change the color of this. So let's make that pure white. Now our background is white and you're noticing some catalogs that clients are happy with completely white backgrounds with no shadows. And the shadows add some realism to the images. So let's take a look at doing that. Let's head over to the Modify tab and click on plane. And I'm just going to open up the keyboard entry drop-down. And in length, I'm going to put 1,000 and in width 1,000. And you can jump around these dialogue boxes just by pressing the up and down arrows. And then I'm going to hit Create. And you can see we've created a plane and now view. And now you can see some really nice shadows. And we can see some light bouncing up underneath the chair. To wrap up, we want to add a material to this plane so we can open up the material editor or press M on the keyboard. And this is where we can create and manipulate materials. And all we wanna do is create a corona physical material, which is over here. And you can also right-click materials and corona physical material. Unlike the rest of max, there's tons of materials in here, but you're only really going to be using the corona physical material about 80% of the time. If we double-click on this, we can see what it looks like. And I'm just going to click and drag and drop that onto our plane. And just maximize the viewport. And you'll notice that the image expands to the size of your screen. Here we have some tone mapping, and this is one of my favorite parts of the process. And we can do tons of stuff in here. But the one thing we really want to do in here is just turn off the aces OT to make sure that our background is pure white. Also nice is stop and render button, currently the images rendering, and we'll talk about this some more later. But just let your image render until it looks good. So if you notice it has noise on it, then just let it render a little longer. Then all we have to do is hit Save. And you can type in your product name and type dot JPG at the end. And this will save your render as a JPEG. 4. Architectural Modeling in 3ds Max: Crafting Walls, Doors, and Windows: Alright, so these are our floor plans. And in this video we're going to take a look at quickly getting this modeled. And you can grab the resources if you want to follow along. And before we do anything, notice we have the potential to accidentally move these floor plans around. So we can right-click and free selected and then notice we can actually select our floor plans anymore. So let's go to the Create Tab. And we're going to create a box. And we're just going to click and drag. And we've created our first wall. But the thing is we actually want to be snapping to our floor plans. So let's delete this box and turn on snaps. And you can do this by pressing S. Or you can go up here and click on snaps toggle. If you right-click on it and notice that I only have vertex selected, and that means that our box, we're only slept two vertexes. And if we go to options, we have snapped frozen on. This is what we want to be using. And we've got enabled constraints on. So set up your snaps like this. And then when we click and drag, you can see we are snapping to our floor plans. Now there is another way you can do this and that would be to select the floor plans and add an extrude modifier. But I found that sometimes reduces issues with the mesh and I prefer to modelling myself. So I know that we have a clean mesh. So let's change the height to 250 cm is that's the height we want our wars. And we'll go to the Modify tab and add an Edit Poly. I'm gonna go to Polygon, select and select this polygon. And now we can hold Shift, and this means we use in smart extrude. And we can just click and drag and snap this to our floor plans. And if you remember the old way of doing this using extrude from down here, this would take some time, so this is much, much quicker. In the perspective view, we can press F4 to turn our wireframes and select that inside face, click and drag. And we're just going to go around all of the wars and use smart extrude to create these. Great thing about smart extrude is when we meet another part of the wall that's actually going to cleanly connect these edges. So we can turn off polygon mode. And there we have our wolves, cows. Cosmos is an asset library that is available since Corona eight. And in here we have thousands of free assets that we can use. In the search. I'm going to just search for Windows. And we're going to use these windows so we can just click this blue button to download the asset. And I'm also going to download these for our doors. And then the green button means we can import them. And now we want to rotate them. So if I select our doors and rotate, you can see it's not actually snapping. So let's undo that. And we can go up here and turn on Angular snaps, or you can press a. Now notice that we can rotate 90 degrees. So over in the top view, let's move this into position. If you ever clicking and dragging and you're struggling, you can press S to turn off the snaps to line these up. And I'm gonna hold shift and drag these down to make another copy. We're going to make this an instance. And that means any of the changes we make to one of the doors will happen to the other. Then we can select r balls again. And we want to select the face underneath our doors. And then in the left view, snapped his arm by pressing and holding shift. We can snap that to the top of our doors. And you can see back in perspective, that's made easy work of mine and our doors up. Now let's create some floor. So I'm going to turn off of polygon select tool, go to the Create tab and select box. And in the top view, we can click and drag and that's going to snap to our wars. And M, rather than pulling it up, I'm actually going to pull it down. And let's change the height to -10 cm. And then for the roof, Let's go to the left view and holding Shift and clicking and dragging and less snap that to the top of our wars. This time we'll make a copy. And in the Modify tab, let's change that from minus ten to 10 cm. So now we've got a roof. So let's select our windows that we wanted to put in our roof. And let's rotate this by 90 degrees. And also 90 degrees. This way. We can move these in position using the snaps, but notice that we can't snap the top corner. We're going to go to a hierarchy effect pivot. And if we zoom, ma'am, we can send this to the top right of our windows turn-off effect pivot. And this will now snap to offload plants. And then in the last year, Let's pull this up into position. And I want to leave a slight overhang here as well. Alright, so now let's make a hole in our ceilings. So I'm going to select our ceiling. And back in the Modifier Tab will add an Edit Poly. Select edges, and I'll just click and drag, select those. And then we want to connect them. So rather than hitting connected, there would only be able to create one connection. So if we click on the Set ends, Let's make that to pay, okay? Select averts. And then we're just going to snap those to the edges of our Windows. And let's do the same again. But the other direction. This time, notice if I hit Connect, remembers descends from last time. So we can select the verts and pushed him over. This, just make sure they're lined up. Okay. I think we can actually pull these up here. Alright, they can get and then we can just select that top face versus ALM holding shift the smart extrude weeks and just pull it through and release. And that has created a gap for our windows in the ceiling. 5. Illuminating Interiors: Add Ceiling Lamps to Your 3ds Max Building: Alright, next up, let's find some lights from Cosmos. I'm going to search for CNN lamp. And let's use these ones. I've already gone downloaded, but you may just need to click in the top right and download them and less important. And in the left view, let's get them positioned. So I don't want them all the way up here. I want them to slightly overhang. So I'm going to turn off snaps per person S and just have them overhang a little bit. And then in the top view, we do actually want these to snap. So again, we'll go to hierarchy effect pivot, press S to turn on snaps and we're snap that to the top left. Then we should be able to easily snap these into position. Holding shift, we can make an instance. As I don't think the lights will be changing too much. And I'm actually going to create free copies of that. Then holding Shift, I'll pull this one down, make that an instance. And same again over here. Great, So we've got some lights in our scene. I'm not sure like we did with the salient windows we want to replace for our lights to go. So selecting our ceiling, Let's go back. And with Edit Poly selected, we can start connecting some of these edges. And I'm going to snap them to our lights. If you haven't got a selection and need to select more, you can hold Control and that will select the others. Now if we right-click and hide unselected, you can notice we've now got sailing selected, so we want to go and just select where our lights are. We can tell us snaps as well. It's made this a Louisiana. And I'm holding control to keep our current selection and select some more lights. I think I've missed that middle one actually, so let's unhide all. I missed. I missed two middle two of them. Let's connect four times. I can zoom in and snap these into position. Great. We'll go back to polygon. Hide unselected. And lucky for us it keeps that last selection as well. So we can just hold control. And we've selected all of our lights. So now over in the left view, I'm going to turn off snaps and holding Shift. I'm just going to pull these up a little bit. I mean, if we unhide all, we can see the top spot lights and just make sure they're coming through. I'm not actually holding Shift now a minute. I only hold shift for the initial smart extrude. If we turn off polygons, we can see we now have a model. And just quickly before we go, another way that we can add the loops, especially for these lights, e.g. it's used something called Swift loops. So with the ceiling selected, we can select Edge and then press out one on the keyboard. And you can see we can now create loops. And this is really handy. If you want to move these, make sure you've got snaps on and you can start snapping needs e.g. to your lights. And if you want to select a loop, you can just double-click it and it's going to loop select. So that's also a quick way to do what we just did with the lights. I'm just going to undo all of this. So whichever way you choose, choose which runs fastest, I find connection quicker. But that might just be because I was using Max before us were Phillips existed. But do try so with loops and if it works quicker for you, then you can do it that way. 6. Mastering Camera Setup: Capture Your Scene Perfectly in 3ds Max: Alright, next up we're going to want to add some cameras. And there's two ways we can do this if we were in our perspective view and we want to zoom in and position our camera somewhere. We can go to create corona camera from view. And if we click that nice in the top view, we've created a camera. But soon as we have a camera in mind, we can delete that. And we can actually go to create corona camera. And then in the top view, I'm just going to click and drag and position our camera like this. Then over in the left view. Notice that our cameras on the ground. So I'm just going to right-click move camera. And if we moved it up, nice that we actually have a camera target. So we can undo that. And we're going to want to select this camera target as well. So we'll hold control and select that. And now we can move this up into position. And I like to keep my cameras somewhere between chest and head high as I just filled out some more natural view. I like the photographer is going to do, and I think we're just more used to seeing images like that. So we go back to the respective view and press C on the keyboard. Notice that we're actually just looking at a wall. And that's because our cameras behind this wall. So somebody who can do in a situation like this is select our camera, go to the Modify tab. And if you scroll down in here, you will see environment and clipping. So we can enable that. And we can turn up this near. If you ever turn up a dialogue box and it's going really slow, you can actually hold Control and it's going to speed things up. You can see this line here, and this is, let's say we put 1 m in here. This is 1 m from the camera. And then notice that we can actually see through this wall. So anything between here and here is actually going to be clipped. So this is really useful if you're, say you're in a very small bathroom or you're trying to get an angle. This can be a really useful thing to use. But in our case, we got plenty of room, so we don't actually need to use that. So I'm just going to bring our camera into our room. We want to keep things as real to life as possible. And you'd expect the photographer to be standing here. If they were photographer, if they were photographers, if they were taking photos of this room. And we can also go up to our field of view. We can turn that up and notice if I pulled it up, you can see more of the room. It can be tempting to do something like this, but really try and keep it as realistic as possible. I think these wider views, they start looking a little bit unrealistic, so on but saying like 55 in here. And then using the middle mouse button, you can start panning around and just position your camera how you like it. We can change this later so it's not set in stone, but that's how you can set up your camera. 7. Natural Illumination: Harness Corona Sun and Sky Lighting in 3ds Max: Alright, so this is our room and if we want to create a render from it, we're going to need to add some light. So one thing to note is if I run an interactive render from the corona toolbar, you'll notice we've got a light up here and this has been brought in with that cosmos asset we pulled in earlier. So if we go to it in a top view and take a look, we can just about see that light and now let's select that and hit Delete. And now we have no light in our scene and that's what we want. One of the easiest ways to let our scenes is to use a corona, sun and sky, which again we can find on the corona toolbar. And I will have to do is click and drag and pull it up. And we can see we now have light in our scene. If we head over to the Create tab, we can add the current sky as well. Notice when we jump around to different viewports, that is the view that gets rendered. And that's not what we want. We want the camera to stay rendering if we went in the top view for instance, and we wanted to move to sun. So what we can do is head to render setup, or you can press F on the keyboard. And shortcuts are really going to speed up your work. So I would get used to using these. And then as we jump around these viewports and notice the view to render changes. So what we wanna do is select our camera, make sure we got corona camera in here. And if we hit this padlock, it's going to lock the view. And now we can go into any other viewport without disrupting our render. Something else we want to do is let's just grab a ceiling, floor and wars. And in the Modified tab, let's change these from green to gray just so we can see a little better, make it look a little less matrix C. Now if we select our son and we move it around, we can see how that affects our Render. And over in the left view. Sorry, that's made at the left view, press L. If we move this up and down, notice that the image gets warmer as the sun gets closer to the horizon and the higher in the sky, the image gets bluer. So let's position this. So you've got some light coming in through those doors. And that looks pretty good to me for now. We can always adjust this much like the camera, like nothing is set in stone. So feel free to play around with this. 8. Corona Materials: Enhance Walls, Floors, and Ceilings with Materials in 3ds Max: So this is looking good. So let's get some materials on these walls, floor and ceiling. And lucky for us, cosmos has loads of materials built in that we can use straight out of the box or we can modify them if we need. And these are gonna be great for whilst we're adding our lighting. So let's go to Materials. And let's go to reward category. And we have this white wall here, which looks pretty good to me. I've already downloaded it. If you haven't, you can hit download. And notice this drop-down arrow. From here, we can turn on real-world mapping. Now, real-world mapping is important as it gives us the ability to work using units of measurements. And these match those of the real-world, e.g. centimeters. And it keeps the proportions of the model or the material similar to the real-world. And it means we don't have to worry about scaling. And this will make sure our renders are true to life. This is blue dot, that means that real-world mapping is on and that's going to remain on unless we turn it off. And you can also see here is 150 cm. And what this means is the texture that's used is 150 cm in the real-world. So let's select our walls and click Import. And then we're going to see that material applied to our walls. And notice they look funny. They look a bit stretched. And this is because we used smart extrude to stretch out walls around. And that means the mapping has gone awry. So we can fix this with a UVW map. So we can find the UVW map by clicking on the modifier list. And these are all the modifiers you can apply to your objects. And there's quite a lot of them. But others, as I've mentioned before, you're likely only use about 20% of these regularly. So don't worry too much, then get overwhelmed by these. The fastest way to find something in this list is just pressed the first letter, what you're looking for. And we can select UVW map. Before we continue, you may have noticed these two buttons I've got set up here. And this is because I use these modifiers often. And it saves time by having them within reach. And you can set us up by clicking the Configure Modifier button here. And you can see there's lots of presets you can choose from, or we can configure our own modifier set. In this pop up, we have the list of all the modifiers and we can add buttons or remove them. Now ourselves to two. And when we have to do is come over here and drag and drop. So I use Edit Poly quite a lot. And also its pressure. You open, missed it. There is. And we can drag that onto our second button. And then you can just type in your name and hit Save. And Okay. Then you can select your buttons from the list and then just make sure you have Show buttons ticked on. And then you've got these quick access buttons here. Now back to our UVW Map. And currently this is on planar and z. And this means the texture is getting projected from one plane in the z, which is why it looks almost stripy because it's getting stretched down. And we need to do to fix this is turn it onto box. And then we'll have it projected out from a box on to all sides. And just confirm you've got real-world map size on as well. And if we zoom in, we can start to see the texture tower at 150 cm on the wool. So let's do the same for the ceiling. But as we've done this before, we can actually copy this modifier by right-clicking and hitting Copy. And then let's select our coelom. We can paste this on. And back in Cosmos. I'm just going to hit Import and we now have that material on our cylinder. Now let's get a material on this floor. And again, I'm going to use the same UVW map. We haven't really modified the floor base just to make sure. So back in Cosmos. Let's go to wood floor him and select our floor quite like the look of this one. So we can download this. And you can see we still got real-world on and we can just hit Import. We'd say that come into our render. 9. Optimizing Your Scene: Fine-Tune Sunlight and Tone Mapping in 3ds Max: So this is looking pretty cool depending on where your son is in the render, it might start looking too dark or bright and this is where we can use time map him. I can't overstate the importance of the sun on your environment. And this is key. If you're lighting is not looking right, then it's because you haven't done this simple step. So just imagine you walk into a room and there's no lights turned on. This is how you want your line to look at this stage. You can even get up now and turn off all the lights in your room and make sure this is what you're getting if you ever struggled with light and then turn off everything and start with your environment light. And then you can start building up the artificial lights after that. And that's what we're gonna do. So we can use the simple exposure to turn up the brightness of our room or turn it down. So I think something like minus one looks as though we've just walked into his room and there's no other lights than the sun coming in that window. So it sounds like a nice down here, but we can soften up our shadow edges by making this some bigger. So let's head to the History tab. And I'm just going to hit store current frame buffer. And then we can stop this render. And then we can select our sun. And notice the size here. And I'm going to turn up to five. So we've got a bigger sun. And we can start an interactive render by clicking and holding and then hitting star IR. And this is going to start a new interactive render. So let's let that render for a few frames. And then again, I'm going to hit store current the frame buffer. And if I left-click on this top one and right-click on the bottom. You'll notice we've got a and B. And then we can use the slider to compare our results. Now you can see we have some nice soft shadows coming in through a window. Before we go, let's just make our frame buffer full size. And I'm going to click and start an interactive render. And then let this go until most of the noise is gone. And then go over to here and hit Save and just save it as a JPEG. And these images are great to keep hold of so you can look at your progress and you can even make a making of later. So let that render out for awhile and save a JPEG. And I'll see you in the next lecture. 10. Design a Lifelike Kitchen: Incorporate Cosmos Assets into Your 3ds Max Scene: Alright, so let's populate this kitchen and let's choose Cosmos today. This or that 3D models furniture and kitchen furniture. And you can see I've already downloaded these kitchen cabinets. And let's also bring in these taller cabinets. I'm also going to want a fridge. So I'm going to bring this one in as well. And we can select these three. And I'm just going to pull them onto the back wall. And then we can just kinda block out, start arranging this stuff on the back wall. We're going to move a lot of this around, but I'm just holding Shift and dragging this across this side. And another thing we can do is notice that is fridges come in as a wire bounding box and we can change that to four mesh so we can actually see it. And I'm going to pull that across as well. So this is a very rough out version of what we want on this back wall. So to begin with, let's let this sink in it. I'm going to use isolate and this is a really quick way to hide everything else and work on one object at a time. The great thing with the cosmos assets is we don't actually just have to use them as they are. We can make edits. We can do this by hand, duplicate to mesh, and that's duplicated this to a mesh. And we no longer need this corona proxy. So I'm going to hit Delete on the keyboard. And then we can select this one, isolate it, and notice it's now an editable mesh. So I'm going to right-click and change it to an editable poly. And you may be able to achieve the same things with the editable mesh, but Edit Poly has a lot more options and this is the one I use most of the time. So now we can select by element and you can see we can select different parts of this kitchen units. So I know that I want to get rid of these, these two n sections and this one on the end. So I've selected them with holding control. And if I hold out, we can de-select stuff. So now we've made that selection. We can hit delete. And then what we wanna do is bring these edges in to line up with our cabinets. But something to notice is that these Cosmos assets have textures on them. So if I select these inverts and Parliament, notice that they start to go out of proportion. It starts squash here. Something I wish I knew a long time ago was this checkbox preserve UVs. So with that turned on, when we move that, nice that the UVs are preserved. So I'll take shizonts question and this is a really handy thing to know. With snaps on. We can snap that to the end of our cabinet. We can do the same on the other side. And now we've got a sink unit. I'm going to move that over here. 11. Tailor Your Space: Modify and Personalize Kitchen Units in 3ds Max: Alright, so let's get to edit in this unit on the left. And the first thing I'm gonna do is duplicate it to mesh. And then I'm going to hit Delete to delete the proxy version. And then let's isolate this selection and take a look at what we've got. We've got the fridge. It's gonna be like two cupboards wide. So I know for sure we're going to be getting rid of this and we'll also get rid of these bottom ones. So I'm just going to hold control and select all the things that I don't think we're going to need. We actually do want this kick boards. I'm on 0 and we'll keep hold of that. And I think it's going to hold out as a bit behind that cupboard that will keep. Then I'll hit Delete. And then using our vertex, let's make sure when editable poly. So that's another one of them options you probably don't get in edible mesh is to preserve UVs. Just going to keep our textures looking good. Top view F3. And we're going to want snaps on, so I'll press S. And let's just snap that in line here. Suffrage is gonna go in here. And another thing we wanna do is move that handle on the right over. So let's select that he's out. They selected just find that quicker. To make selections. Let's pull it over. And now let's isolate and grab our fridge. And isolate again, because we're going to want to make some moves here. And let's select our butts. And we're still in presented the UVs. And let's grab these handles. And I'm going to pull them up to about here. And let's select these guys. And I'm going to want to pull these up to the ceiling. And I'm going to leave a slight shadow, a gap that just make things look a little bit more realistic. Then we can turn off. That's another useful thing tonight is if you press one on the keyboard, select two edges. Free. Buddha's for polys and five is elements. So that's a quick way of navigating through selections as well. And I'll select our fridge and let's pull that over. I'm going to turn on snaps Venus and just line that up to the edge of our left-hand cupboard. And then the last thing here is, I want to have a piece of the cabinet, I guess is the word down the side here. Let's select element and select this guy. I'm going to hold Shift and pull that across into it meets our middle unit. And another thing if you hold Control and then select verts, notice that all of the votes that were in that element has been selected. So again, another quick way to change selections. So if I just say I didn't have anything selected and I was trying to select these, it would be probably a bit harder. So I can then say what I do is if I've got that element that I want selected, I'll hold Control. And then these guys, and that just makes me even these across little bit easier. And then you can do the same in the front view. I hold Control, select it all diverts on that piece. Hold out, and then I've selected them bottom ones. And let's just stop that to the bottom there. I think that's our left-hand side looking good. And just nice like in the front view, we could tighten up these. So again, I'm using that control select. Let's just snap these cross. And I'm also going to get these kind of snaps, get these pretty much flush with the edge there. And I think that is our left-hand side, dumb. 12. Customizing and Arranging Kitchen Units in 3ds Max: Alright, so let's take a look at this unit on the right. Let's duplicate it to a mesh. And then I'm going to hit Delete. To delete the proxy version. We can right-click and convert it to an editable poly. Before we do anything, let's just make sure preserve UVs are on. So we keep our textures looking in proportion. Now, I'm going to select these two N cabinets as we won't be using them. We're going to hold 0 to unselect anything behind this cabinet. And we're going to keep that cake board as well. And let's select these two handles and we can delete them. And over in our front view. Let's select these guys and which snaps on? Snap these to the edge of our cabinets. And then we can line this up with the edge of our center, Ireland. And now let's bring in an oven. So we can just search for oven in here. And this one is pretty good. So download it if you haven't downloaded it. And we'll hit Import. And let's move this into position. Going to turn on snaps just to make it a little bit easier to line this up. And it's a pretty big oven. It almost looks industrial size. So we can do is scale it down. And as I'm scaling this, notice down here, we're seeing this move. So this is 100% and I think we want it at around 80 per cent. So we can just type in 80 there and you can see it scales in proportion. I'm going to pull that forward so it's in line with the cabinets. And I also want the bottom of it in line with this cabinet on the right. I'm going to press S to snap. And we can snap that to the center line here. And turn off snaps again. I'm just going to line that up. And now somebody's high-end kitchen seem to have two ovens. So let's make a second. I'm gonna hold shift and drag that across. I'm more of a delivery man myself. So I don't need to ovens, but we'll make that an instance. Now for these cabinets, the designer will usually send over the layout, but we don't have that, so we're just going to have to eyeball it today. I'm going to select verts. In the front view. I'm going to start moving these to line up with our oven. And the same in this larger cabinet has pulled out across. And we can also select the top cities cabinets. I'm going to snap them to the center line again. And let's also select the top of our cabinets. And we can snap that cabinet tops on the left. And again, let's select these guys. And I'm going to turn off snaps this time and pull these up. So they're in line with the other. I also want another set of these bigger doors here. So let's select element and just click and drag this, make sure we get the handles as well. And I'm going to hold Shift. Hold Shift. I'm going to hold Control and Shift. If you're using an older version of Max, you may be able to use Shift. I think it has changed quite recently, but that will clone part of the mesh. And we want to align it to the current elements so we can just say, Okay, and that's now part of this mesh style is pulled out across. And again, I'm going to have another piece like this over here, so we'll leave a slight gap. And let's also make the similar size. I'm going to grab the two handles as well. I'm pulling these across into position. Now another thing you can do with editable polys, you can hide or unhide selected. So we have an element selected. I can hit hide unselected. And now we can only see that. And that can make making selections a little bit easier, just a good thing to know. And so there's pulled out across. Then you need to go back into element and unhide. All. Otherwise, it can get very confusing and you can think you've lost some of your model, but if you can't see it, then you might have hidden it. I'm going to turn off element. And I'm going to grab this side piece from our left hand cabinet. I'm going to hold Control and Shift to move this across. And we don't want to clone into element this time we're actually going to clone it to a new object. So we hit OK. And when I select that, you can see it's own independent piece, although it is keeping the pivot from the old model. So to fix this, we can just go to hierarchy effect pivot and send it to Object. Now two pivots in the middle of the object. And we can line that up with the edge of our cabinets. It's going to move this oven across a little bit as well. And the same on this one. We can always shuffle these around later if there's too much of a shadow gap. So I'm going to grab that again this time because it's, because it's his own independent element, we can hold Shift and it will clone. Whereas if you were doing this in the Edit Poly and say you just wanted to move one phase and you hold shift, that wouldn't work, you'd need to hold Control and Shift. I think this was updated due to just smile extrude. That. Don't quote me on that. So we can just hold Time and drag this across to put the edge on our right-hand side cabinet. Then all we have to do is select our cabinet. And let's attach these two new pieces. And we can just make sure everything's lined up. But that is pretty much the cabinet is on the back wall done. Actually, one last thing I forgot was these handles. So if we grab these two, Let's just move them up so they're in line with the ones on the right. And then I think we're actually done. 13. Elevate Your Kitchen Island: Refine Materials and Layout in 3ds Max: Alright, let's take a look at bringing in this middle islands units and Cosmos Without a 3D models furniture. And we'll go down to kitchen furniture. And this is the island we want to use. So let's bring that M. Download it again if you haven't downloaded it. So nice to add different materials on than the cabinets we brought in earlier. We're going to take a look at changing those materials. We're going to remove the sync from it. And we're going to add a cooking hop. But first let's position this. So I'm going to make sure that it's in line with that sink unit at the back. Somewhere like that's going to work. Nice. Camera view. If you press Control, Shift F, it's going to turn on safe frames. And what this means is this is the area to render. So you can see the difference down at the bottom where this is placed. When you'd hit Render, you'd probably expect that to be out of, out of view. Safe frames on is in view. And what this means is if we go to the render setup, we can see we have our output size here. If we change that to custom, you can see as I begin to change this, this is actually what's going to be rendered. So this is really handy to keep in mind. It's very different. So if you had your output size like that and you hit Render, you're gonna get a rendered it looks like this. It's a safe frames is good to keep on in your camera view so you know where objects are actually going to be in your actual output. Let's change that back to HD. And that's Shift F to turn on safe ramps up first, let's go to the Modify tab. Let's duplicate this to mesh and we'll delete proxy. Then I'm going to select our island. And I'm going to convert that to an editable poly. So because these have different materials on, what we're gonna do is grab the materials from this back sink unit and we're going to apply them to this. But before we do that, There's a couple of things we need to do. So let's open the material editor, which you can do by pressing M on the keyboard. Or we can select Material Editor up here. And it's two different modes. There's compact, which is the older way, and slate. Slate is actually quicker, in my opinion and easier to use as you can see, how the material is built up in layers or nodes. So we're going to use this going forward. And up here we have picked material from object. So with that selected, we can click on our back sink in it. And then we can see that this is the material that is applied to our back sink in it. So what I'm gonna do is select the in it holding Control, select the island G&A, and let's isolate these two. If we select the backseat key in it, I'm just going to put out the Modify tab so we can see more what's going on. I'm going to select element. And as I select these different elements, notice that they have a different material ID on here. So this countertop has a material ID of two, and the material that's applied has five different materials and it's mostly sub material. So anything with the material id2 will have granite material applied. And that looks like this. If I select the cabinet door, we can see that that has material Id1, which is this lack of material. And I'm going to close this material browser, so we've got more room. Usually you'd be working on a bigger screen or mobile screens even so you can have this a lot larger, but let's just try and get as much real estate as possible. I'm going to turn off the element and I'm going to pick material from our island objects. So if we go into here, we can see that the countertop is material ID free and the cabinets or ID1. So we actually need to, if we want to apply this material to the island, we're actually going to want to switch over and the material IDs. Otherwise, when we do apply this material, we're going to notice that the materials are in the wrong places. We're going to end up with, say, this granite tops is going to be applied here. So let's switch that up. Also worth noticing here is these white corners, and that means this is applied to the selected object. And then notice that these are gray corners, I guess is the word. This means it's in the scene but not applied to the object. So when I select here, you can see that it's highlighted. So that's how you know which material is on which object. So now what we can do is island selected. If we select one of these cabinets, we can actually notice this ID1. And if we hit Select id is going to select all of the id ones. When we apply, this material is going to have lack of material one. So that's good for us. If we select here and select all of the id is currently got metal selected, but we want it to be this lack or one. So we're going to change that to one. And the countertop is currently set to id free. So if we select that, if we apply this, it would have metal applied. So we would actually want to change that to two. Now when we right-click and assign material that I'll count, the top is using the granite and all of this is white. And you'll notice I didn't apply any materials to the taps. And that's because we already have a sink here and we have no need for two sinks. And also notice now that this material doesn't have any corners on it, as we're not using that anymore and we're only using this material. So that keeps things nice and clean, but only using this multi sub material on all of our objects. 14. Polishing Your Scene: Tidy Meshes and Incorporate a Cooking Hub in 3ds Max: So now we can isolate and with our islands selected, will isolate our selection. And we can remove these taps. I'm going to close up the material browser. And we can just select all of this and then holding 0, we can remove anything we don't want to delete from the selection. I'm going to press P to go to the perspective view. And I'm using alt and middle mouse button to move around. And if we press F3, we can see our sink and taps in here. So I'm just going to hit Delete and now we have deleted that. Alright, so let's clean up this mess a little bit and we can turn on F4 to see the wireframe. And I'm going to select the border. And in here, there is a border we can select. So this just means the edge of the mesh. And I'm going to hold control and select the polygon. And you can see that it's now selected all the polygons around the edge. And using the grow option, we can actually grow this and shrink it. So these are the polygons we want to delete. So we'll hit Delete. And then we can select these two edges. And we'll just bridge that gap. And now we can see that the texture on our material is distorted. So we can fix that using a UVW map. So if we select this element and apply a UVW map, let's isolate everything, select this sinking and isolate it. I'm going to now change this back to top view using T on the keyboard. And let's maximize the viewport. And I'm going to zoom out using the middle mouse button and pan again, pressing the middle mouse button. We can see the texture on here is looking fine. If we select this object. And unusually, I'd like to use real-world map on everything. But as this coming from Cosmos, we're going to have to eyeball it. So let's turn off road mapping and then we can see our texture on here. We're going to want to change that to box. And to start with, let's just put 100 cm in. Each of these cited texture that we have on is now 100 by 100 cm wide. And when I compare it today, so as she lifts too big. So let's put in 50 cm. And that looks about right. So I'm going to just right-click and collapse. And then we can see our texture is now the same as the stinky in it. So let's minimize that view again. And finally, let's bring in a hope for our island. So I'm just going to type in hop here. And again, I've already downloaded this, but you can hit download and hey, input to bring that in. And let's position this line that up with the sink. And I'll turn on snaps, use an S and a snap that to the top of our countertop. On isolate everything and our kitchens coming together really well. Let's get a quick render out so we can keep track of our progress through this project. And as these are quick snapshots, let's just use an interactive render for now. So I'm going to hit interactive render from the toolbar. Be aware that the interactive render resizes to decide as a window. So I'm just going to make that full screen. And let's just let that render until most of the noise is gone. Fast. The noise is on by default and this white might look a little bit blurry, but just give this a little bit of time and it will start to clean up. So that'll be fine for a work in progress shots I'm going to hit Save. And let's save this as kitchen progress, the JPEG and hit enter. And that's our renders saved. And something else. While we're talking about saving is I'd like to save at multiple stages for the projects. So if we go to Save As and let's say we call this kitchen and we'll call it 001. And we hit Save. I'd recommend saving it at the end of each lecture. So then you can just go File, Save As. And if you hit this Plus icon, it's going to save as a plus one. So if I go to Save As again, you're nice and this one and n plus one. So at the end of each lecture, just get in the habit of going to File Save As and hitting this plus icon. The reason I like to save multiple versions is it's really handy and minimizes the risk of a fall getting corrupted and you're just being reliant on one file. If you make a mistake or something can always bounce back. 15. Elevate Your Exteriors: Enrich Outdoor Scenes with Cosmos Assets in 3ds Max: Now let's add some exterior. And this is firstly good. That's some visuals outside of our windows, but it's also going to up the Raiders. And when it comes to having trees and leaves effect in our lighting and shadows, I used to use 2D images for this. And whilst this can work, if you can, I would recommend using full 3D environments. And lucky for us, cosmos comes with some great presets we can use. So I'm going to select the top view and maximize it. And let's zoom out. And the first thing that we're going to want to do is create a plane for where we want our gross. I'm going to add snaps on with S and just create a patch of garden. Then we can add an Edit Poly. And I'm going to select the edges. We double-click. That's going to select the loop and use the Move tool and holding Shift. I'm just going to bring that back a little bit and also line up with the edge of our house. And because we've extruded days, let's throw a UVW map on top. And that's already on real-world, which is good. So let's open up the cosmos browser and materials. And let's go to the ground section, and let's add this. And then also in here, if we go to 3D models and we go to presets, in here you see we've got some scattered presets and I'm going to use this grass lawn. So download that. And I'm going to hit Import and let cosmos input that into our scene. And now you can see we actually have grass on our loan, which is great. Now I'm going to create a back wall for our garden. So we'll just create a rectangle. And I'm going to press page guides for perspective view and just pan around so we can see the size of this and then we want to modify it. So let's make it 50 cm deep. Let's make it 260 cm high. And again, back in Cosmos, let's go to materials, bricks, and let's add this brick wall. And you can see where we've create that box for a world's already ticked on, so we don't need to add any UVs to that. Now I want to add some bushes along this wall. I'll go back to the top view by pressing T. This time we'll create a rectangle. And this is going to be where our bushes will be inside of. So I've create the rectangle. Back in Cosmos. Let's go to models, presets, and let's add these wild bushes. And finally, let's add a tree line running along this back wall. So I'm going to create a line and create that. Again back in Cosmos. Now notice that does these blue lines on some of these like here. And that means that these will distribute along these lines, whereas these ones will distribute across the object. So download that one and with our line selected, import that. And that kind of shows how quickly we can set up an exterior using the presets in Cosmos. And you can always go in. If you move the shapes around is this guy will move with that. So you could resize the size of u alone, the rectangle where the bushes are. But let's jump back to our camera view. And let's run an interactive render for our progress shots. Yeah, let this run into it becomes noise-free and then we'll save it out and we'll have another work in progress. 16. Styling Your Space: Populate Scenes with Furniture and Props Using Cosmos in 3ds Max: Now the fun part, we can add some furniture and props to our scene. So the first thing, obviously I'm gonna go to Cosmos. And I know that there are some stores in here that I want on this breakfast bar. So got to 3D models, furniture, chairs. And as he's nice stores, I'm going to use this one. It's a little bit smaller than the Barstow and bring that in. And let's rotate that. Now we can rotate it one a0 and put it into position. But if I press a and turn off snaps, I do like to just offset these a little bit. It makes it look a little bit less CG. So they're not just everything's in straight lines, which can be a bit of a giveaway that things are 3D. Holding Shift. I'll drag that across and make an instance. And again, just add a bit of variation to that. Then I also want to add some tiles to this back wall. So in the front view, let's go to Create box and press S to turn on snaps. And I'll create a box size of that space in the front view. And in the top view. We can snap this to the back wall. And let's add some depth. So I'll put 1 cm in. And again, open up cosmos. This time let's go to materials, tiles. And let's add this nice tile to that area. And real-world is on and real-world is on that box. So they're going to show up just fine. And if you do want to see your textures in the viewport, we can press M type now Material Editor. And then we're going to use to pick material from object and select that. And let's just move that over here. And if you haven't got moved children on when you move, Summing is just going to move that node on its own. So I like to keep that on just to keep things organized in here. And all we have to do is go to the texture we want displayed in our pupil. Select it and show shaded material in viewport. And there we can see our texture is looking pretty good on that back wall. And I also want to add a shelf along here. So I'm going to snap that to the Top Glove fridge and drag that across here. That snap today, a good God, I want it that big. But we're sort of on a minute. Let's go right-click move. And let's move that to the back wall. The modifier. Let's make the height 25. And this length is just make that free. And then its pulled it up and snap that to the top of the fridge. So you've got a shelf. And I also want to add a light here, shines down. So let's isolate the shelf and we'll maximize the viewport. And press Page guides perspective. And I'm also going to add five height segments and add an Edit Poly. And then I'll go to the top view, pressing T and N Z for zoom. So if you're ever, if you're ever in a position like this, z is a really handy tool just to zoom the extents. Select the polygon, I'm just going to select these front four faces. I'm gonna get to the front view. And this time holding 0. D select these guys. And now I only have these bottom ones selected. And I'm gonna go to extrude. And I'm just going to extrude that by 2 cm. And I, K, P, and Z to perspective and zoom. And here we can see our shelf. So let's add a material to this. I'm going to turn off polygon mode. Open up cosmos. And this guy is a Wood. And I'm going to apply this word is real-world, but we have made some adjustments here. So if I press M on the keyboard, and let's select the material, like we did with the tiles. I'm going to select that texture and show in viewport. We can see that texture actually works quite nice. I'm the bit that we didn't extrude and then where we did is stretched down. So we need to do is add a UVW Map and change that to box. And that's all looking pretty nice. One last thing that we can do here is add a chamfer and let's crank it out to like 0.25 cm. And that's just softened up our shelf. So F4 and there's our shelf on isolate that. And that's looking pretty good. 17. Bringing Your Scene to Life with Cosmos Assets in 3ds Max: Alright, so we can really start adding lifetime scenes using Cosmos. And I've already been through and decided on some of the assets that I want to use. And you can see them here in my likes. And if you do want to like something, you can just hit this icon in the bottom right. You can use these or you can look for your own some good categories to look in our accessories, tableware and food and accessories, kitchen accessories. Go through and select the objects you want, and then download them using the top left, bottom. And then I'm just going to go through and import all of these one-by-one. I'm just going to do this all at once. And they're all going to come in at 00 is zero. And when you're choosing these assets, think about the story you want to tell in the scene. I know that I want to have like a little breakfast area set up on our coffee machine. I want some plants by the window, and I want some appliances on the shelf. Now all of our assets here. I'm also going to select the seal in holding Control, select the window and I'm going to hide them. This is going to make place and stuff easier. I'm also going to select this spotlight. And what we can do is go to Edit and select similar. Or you can use Shift Control a, and that's going to select all similar objects. So that's selected all of our spotlights. And then I'm going to hide those by right-clicking and selecting hide selected. Now page goes into perspective view. And let's see what we got. So I'm just going to start moving these into position. And a really useful tool is the placement tool, which is up here. And if you grab that, you can see that we can easily place objects onto services. Before we'd have to be changing views and placing them you didn't have left from top views. So I'm just going to roughly organize these where I want them and I'll go through and tidy stuff up a little bit better in a minute. Alright, so you can see how easy that was to play stuff. It's an ideal and they're all a bit wonky and probably not rotated right, but using the placement tool is a great start. Now I'm going to go through and rotate and position stuff, making sure that angle synapses on in position stuff. I'm using the other views. So I'm just gonna go through the other views per set on the keyboard to zoom in on that object and make sure it's in the right position. And we can also zoom in perspective. Maybe turn on wireframe if that's easier. And then you can see where that's about intersecting with the wall. And these will look pretty good. I might move that up a little bit. I'll be nice to have the camera view visible so we can kind of see how that sits within our whole scene. The radio is having a nightmare over there. So let's check him out. Turn off angle snaps for that one. Oh, so don't be shy about scaling objects up like these. Cutting boards. I do want them. Sorry, let's make sure that scaling correctly. Daddy's cotton boll is that they actually won them a bit bigger. Turn on ankle snaps. And I also have them leaning up against the wall a little bit. Guys are all fine. Then over here, rotate this bread a little bit. Sap that little breakfast area. This pan, I'm going to scale down. Maybe like 70. See down there, rotate it a little bit. Let's go over here to magazines. And I'm going to rotate them by 90 and S have them down there. And finally, this plan. Let's check it out in the front view. Let's pull this up. Shifting that plant pots too big. So I'm going to do is go to scale and bring it down to like 70% of its current size and might need the perspective view to align this one up. But let's get our plant and the plant pot. Now it looks kinda good. And I think that all positioned roughly pretty well. We can always we've all heard this, like come back in and move stuff around. Maybe let's move this into frame a bit more. But yeah, that's not too bad. So add your accessories and what we'll do is unhide everything. And let's run an interactive render. Make that full size, and let that render until the noise is gone. Save yourself a progress shot. Just remember that the noise is on and that's going to make the image look blurry initially until some of the noise begins to reduce. So what you can do is just let this run for a little while and then save your image as a JPEG. 18. Discover 3D Model Treasures: Top Sources for Your Creative Projects: Something to keep in mind is if you have specific models you need, then a great way to find these are using online modal libraries such as ever motion, turbo squid, or poly haven. Years ago we had tomato, everything from scratch. But if you can find a modal already online, then you're going to save yourself a lot of time. And the skills and modelling is still super valuable and is still needed. And because modelling is a skill in itself, I've created another course that's completely dedicated 3D modelling, which you can find on my profile if needed. 19. Mastering Lighting Techniques: Corona Lights and IES for Interior & Exterior Scenes in 3ds Max: In this lecture, we're going to add the interior or artificial lighting and the southern sky, that environment light and the interior or non-real or the artificial lights. So basically anything that uses a bulb so we can create a kernel light from the toolbar. I'm going to go to create light. And I'm just going to draw one under our spotlight over here. This I want to make a disk. It's round and facing one direction, also not a sphere. And then I can move this up towards where a light is. And back in the Modifier tab. Let's change this radius to 2 cm. And I'm going to turn on targeted and that's created a target. So let's pull that down all the way to the ground. This allows us to point in the light in certain directions. And another thing that we can do is if we turn lights on here, now, we'll, now we can just select lights and not worry about selecting anything else in our scene. So that's pretty handy when we're doing lighting. And let's move that into the center of this slide. And I'll select that light again. And down here we can select an IES light because I'm going to select this down light. You can go through and try some out. But I S follows our data files that describe the intensity and the distribution of a light on these can be used in previous max to accurately simulate real-world lighting conditions. So we can see that our disk is turned into this shape. So basically these are different shapes of lights. One thing I want to do as well is turn off visible directly as we don't actually want to see the disk itself, we just wanted the light emitting from it. And in a top view, I'm just going to maximize this viewport and select this light and holding Shift. I'm going to drag this across and position it and make it an instance. I'll go around and do this for each of our spotlights. She had two here. And holding can select this, sorry, I select this one and hunting and charts select this one. And then holding shift pulled out a cross. And let's actually make two instances because we've got another set of lights here. Then I'm going to select these two lights in front of us sink in the perspective view or press P. I want to hold out and de-select these spotlights. I'm just going to pull them so they point towards the sink as I wanted to illuminate the sink area. So you can see now I liked so pointing towards the sink. And over in the render setup, you can press F ten as well. I'm gonna go to scene. I'm going to set up light mix. And there's a few different options here. We can control them by instances. So then we'd only have four layers and groups or layers even. But in our case, we're going to use individual lights as we're going to control each light individually. And I'll show you how that works. Now. Let's run an interactive render. It might not full screen. I'm just going to let that render for a little bit. I'm going to stop that render. And if we go over to light mix, we can see all of our lights listed here. So I'm going to toggle them all off. And now we have no lights in our scene. And this is a really nice way to build up your lighting in the scene. You can start with the environment light. So when we turn that arm, we can see what this guy's doing. And if we turn on the sun, we can then see how the sun is casting the shadows in here and the light's coming in. And if we turn on corona like one which is here, we can see not a lot's happening. So what we can do is actually turn this up. So if I turn out to ten, Let's go really far so we can see what's happening. We can see the shape of that light. And that's the IAS light inactions. So if you change your IS light, this shape is going to change. That's a bit too much for what I want. So I'm going to keep that. Let's put down about ten. And what I'm gonna do is go through and just see which lights doing what, and then pump them up accordingly. So this one, I really wanted that quite intense and you can see what's happening that's illuminating that area. And we really want to draw the eye in to this old our props in here. This one, this is 50 and see, well we can do here. So that's looking pretty good. Coronal like four is over here. And because we've got this sun coming in, I don't want to do too much to the ones to the spotlights over here on the left. So I'm just going to leave that as is five. Let's crank that up. You can see we're getting this nice pocket of light here. I'm going to keep going with that because I quite like what, how that's affecting the bread. Somewhere like that, It's looking cool. Corona Lite six is over on the left, so I'm going to leave that 17 has put out 50. And we can say that's kinda behind the camera and its costs in these shadows here. I don't want that so intense, so let's put down 50. And number eight is over here. So I'm going to leave that as well. So you can go through, you can turn them on and off. You can see what's doing, what, when you're happy with that, we're going to push this into the scene. And what this means is you shouldn't really want to pump these up over five and then hit Render because it could produce noise. So what you can do, I'm going to select Corona Lite one and we see the intensities on 50. And then we times that by ten in the light mix. So if I push these two the same, we should see this ten to 500 K that's been updated and these are all one again. And if I run an interactive render, it should lie, are saying exactly as we had when we had the light mics on. So now I'm looking here. I think this one, which I believe was Corona Lite too, is a bit too intense. I'm actually going to bring that down a little bit. But that's how we can play with light mix. Let's push that back into the scene and that's going to adjust light to. And let's run it an interactive render and let it run until the noise is gone and then save that for your work in progress. 20. Illuminate Your Scene: Perfect Shelf, Bulb, and Oven Lighting in 3ds Max: Let's add some more lights to our scene. So I want to lie that goes along this shelf and we modelled the shelf so we could put a light behind that earlier. We're also going to add some bulbs to our spotlights and some lights to our oven. So we'll go to the corona toolbar, create light. And I'll create that in a top view just about where to shelf is. And we actually want this to be a rectangle for the width. It's bake it to 20 says about is a little bit less than the shelf as I don't want it to create these hotspots on the edge. If it come all the way here, it would be really bright here and less so here I've made it. So it's kind of about this lymph. And I just want it like 1 cm in height. Let's just line that up. Let's do that in the left view. So I'll pull that up here, make sure it's not intersect in a wall. And let's rotate that by about 45 degrees. That looks pretty good. So we've got these IES lights that are producing the lights. But as it stands, it doesn't actually look like the lights are turned on. So to fix that, we can add some bulbs to each of these spotlights. So again, let's create a Corona Lite. And we'll create that is going to be a rectangle because that's what we lost years, but we actually want that to be a sphere. And we only want that to be 0.2. And I'm going to move that into the center of our spotlight. Again. Let's move this up into position. And we don't really want it to intersect too much. Just underwear the bulb is and behind the glass will be great. And then I'm going to maximize the top view. Make sure we've only got light selection on as well. And I'm holding Shift. Let's drag that across and make sure this is in the right position. Will make this an instance. Before we do that, this is actually quite important consideration when using light mix. Let's rename our lights. So we call this spotlight, there are 01. And that's just going to help us in the mix when we had that list of light. So holding shift, just Instance these around. We won't actually see these lights over here, but it's good practice just to put them in. And if we change the camera angle or something like that. Alright, so we've got spotlights n. And I also want to add a light to these ovens to show up just like been turned on. It will add a little bit of life to our scene. So again, as create Corona Lite and make that a rectangle. And let's make that about 40 cm. And we'll make it about 3 cm high. And we'll position that we use to front view, says F and Z to zoom in. Let's pull that up. But that about here. And again, this name, this one, oven 001. And our instance sat across. And let's remember to name our shelf light as well. And we'll open the render setup. And let's set the limits again. This time we can use instance lights as I don't see the spotlights being individually, I'm just going to turn them all on. So let's generate and run an interactive render. Let's let that render for a little bit. I'm going to stop that render to light mix. And let's start with our shelf. So what we can do there is just times that by five and we can see what it's doing. Nothing that's actually going to work great, but feel free to pump it up, pull it down. How do you see fit? But that looks quite nice. I think five will do for now, spotlights. So now you can see the importance of naming our layers so you can find them easier. Let's just turn, turn these up by ten and you can see actually looks like the spotlights are now on. Whereas before, you can really make them out compared to the ceiling. Let's turn that on. Then the other lights, Let's turn these right up. But I want to change the blue in there. And we also want to turn off the visibility here so we don't actually see the lights in here. Kinda like what we did with the IES lights here. I want him to illuminate the oven, but I don't actually want to see them. So let's minimize that. And in the light setup, we can turn off visible directly and also because it's behind glass, Let's turn off visible and refractions. And before we do a render, I'm going to change the material to black from blue. And also we can add a color to this light. And if you're ever changing colors of artificial light is really worth using Kelvin temperature as this is what we use in the real-world. If you bring that up, you'll see that goes blue and if you bring it down, it will go more orange. So I think something like 3,500 here and will give a nice warm light in the oven. And then let's go to the Material Editor. Let's make some space. And we're going to need to make sure we can select everything, not just the lights. Now, we'll grab the material from there. And in here you can see this blue material. So what I'm gonna do is just drag and drop this to replace that as an instance. And that should now make our interior oven black. So let's run an interactive render and see how that's looking. So we've got this shelf-life arm, we've got the spotlights on, and we have now eliminated or oven as well. So when you're happy with that, which I am, I'm going to stop that. I'm going to push these into the same here, IK. And then I'm going to run an interactive render. And I'm going to render that into the noise is gone. And we'll save that out for another work-in-progress shot. 21. Sanity Check and Material Refinement in 3ds Max: Alright, so we've been moving pretty quickly for this project. And before we move on and add some cameras and create some renders, I just wanted to do a sanity check is a few things I want to change. A few things are misaligned, and some of the materials aren't looking as good as I want it. So let's jump into the perspective view using P. And I'm just going to zoom in over here. And let's run an interactive render. And because we've added the noise rod and we haven't really been able to see too many of the details. We've just been doing. Test renders, Service CDS, wolves look pretty nice as is. But if we actually let it render a bit more, we can see the texture on this wall and it's pretty extreme and it's not exactly what we want. So let's stop that render and close the interactive. And we can stop the de-noising from happening during interactive rendering by going to the performance tab and just turning off fast preview noise stria and render. Now it's not going to denoise, so we're going to see more of those details, but it's going to look more noisy. But this stage, Let's switch it off. And I'm going to jump into Cosmos. Let's go to materials. And this time I'm actually going to go to concrete. And this concrete why is quite nice. So I've downloaded that. And let's just select our ceiling and our wars. And let's apply this concrete white wall. And let's try to interactive render again. And this time you're going to notice it's not going to go is blurry or denoised. And so we might have to wait a little bit longer. But already I can tell that these walls and ceiling or looking much nicer and then got such an extreme material on them. So I'm happy with that. So let's stop that. Cloud is the interactive render. And another thing I noticed was on this shelf run interactive renderer again, it was just the wood grain wasn't lined up. It looked a little bit off to me and some real noticeable nuts here. So what we're gonna do is change something in the material and also realign this UVW map. Let's stop that. And I'm going to open the material editor so you can press M on the keyboard. And let's select the word from our shelf. Things are getting a bit messy in here, so I'll pull this over, make some space. And in here you see that in-between texture and our material, we have a corona uvw randomizer. And what this map does is allow us to randomize textures quickly on multiple materials. In this case, we just want to turn off face material. And if you go through and do that for each of the maps that have it. So there's another one here and another one on the normal. When we run the interactive render again, that should have updated and we won't have the same down the middle. Also want to move this not. So what we can do is just move that over a little bit. With our shelf selected. I'm gonna go into the Modify tab. And under UVW map, Let's select that gizmo. And let's find a way of showing everything on one screen pulled up there. Let's close the material editor. And if I pull this up and down, we can see that the texture on our shelf is moving. So we can move that until we've got a nice position. I don't really want to see any nuts on. There are very few. So let's just move that around until we get it in a place. We like. So I think something like that's pretty nice. Again, no kind of extreme textures, big knots in the middle there. I think that's going to work just fine. And another thing I noticed was some of these items on the shelf on exactly align properly. Some are going for the walk. So what I'm gonna do is select the ceiling and hide that. And then we can go through to the front view and zoom in on that. And you see we've just got a few things that are a little bit on aligned. So I'm going to turn off, snap to a and just get these sedan sitting on our shelf. It has little gaps here. Maybe that can go up a little bit. P and Z, perspective and Zoom. We can also bring out this shelf, a base in water. So let's pull that out. These guys can come out a little bit and just make sure everything is aligned. So when we do render, we'd add to come back in and move stuff around. So I'm just making sure everything's lined up nice and that is all looking good. Let's unhide all go back to the camera. And one last thing I wanna do is because we instance these two chairs and their exact clones of each other. So let's run another interactive render. I'll make that full size. And this time I'm going to use the region tool. So I've selected that and click and drag. And now this is only going to render our selected area. And this is useful if you just want to render a small part to see what's happening. If we let that render a little bit, we're going to notice that we've got this wood grain. You see this notch here, we can see it here. So we've got identical chairs. So we can easily fix this. So if I stop the render, let's just minimize that for now. And we'll open the material editor. And let's choose the material that is on our stools. And then here, this is our word. We're going to use what was on the shelf before. So the UVW randomizer, so we've got two maps. Corona, Corona uvw randomizer. We'll plug our wood in and then we'll plug that into our base object. And as I said earlier, the UVW map randomizer allows us to quickly randomize textures. There are multiple objects, so you can see the instance selected by default, and this is what we want as this will randomize the texture by different objects in the scene. So now if I just plug in 1.1 in the U and the V, and we can close that. And let's open our render again and run an interactive render, which should now see that the grain on our stools are different. And these are the small things that are going to add that realism to our image. Now we can see we've got the notch there, but we haven't got it over here and we've got the wood grain here. So these are now two different stores. So that is all good. I'm going to stop the render and the region. Let's disable all. And let's run an interactive render. And we haven't got a D noise around this time, so we're going to have to let it run a little bit longer. But let that render, save it out and I'll see you in the next one. 22. Optimal Visualization: Master Camera and Render Settings in 3ds Max: So now on to one of my favorite parts and that's becoming a virtual photographer. So we already had this cameras set up. I'm going to set up a couple of others and then start some renders. So let's start an interactive render, and I'll make that full screen. Now we can take a look at some other time mapping. So the only thing I'm really going to do in here is just add a look-up table and you can enable that. And then we can choose which lookup table we want by pressing up and down on the keyboard. And so go for it until you see something you like the look of. And it doesn't have to be this intensity. So if you'd like something, you can always then bring down the opacity of the lookup table so it's not as intrusive. So I had a little look earlier and I quite like this guy here on something like, Nope, point free, I feel pretty good. But go free to choose your own. And then another thing I'd like to do is add some vignette. And let's turn up. And if I turn that on and off, you can see what that's doing. There is a little bit over saturated so we can pull down the saturation a tiny bit as well. We can also play with the white balance as well as touch. And I think sunlight that's looking pretty nice. So I'm going to stop that render. And let's now set up some other cameras. So I'm going to press P on the keyboard and z, and we're going to zoom in on this bread. And then I'm just going to create a camera view. I want say something like this where we can use the plus camera icon to create a camera from the view. And then we can hide this in a little bit more using the camera. We can obey the camera a little bit and just SAP if you like the look of. So saying like that looks pretty cool. One thing I've noticed is our cooker. Three are hubs are intersecting. So I've just selected that. I'll right-click select Move, and then I'll just use the Move dialogue down here. And let's start an interactive render. And then make this smaller so we can see what we're doing. And we can also select our camera by clicking on the camera. And select Camera. Looks pretty nice, but we can also add some depth fulfilled to this. And we just need to click enable that fulfilled. And I'm going to minimize the viewport. And in the top view, let's select our cameras target. Now the target is what is going to be in focus. So if I pulled up towards our bot and our cup, we can see that this background is now becoming blurry. So let's select the camera again. And the f-stop controls the amount of debt fulfilled. So the lower this number, the more blur and the higher will be less blur. And if we hover over this, we will see that the standard values used in photography listed here. So if you stick to these, you can get more realistic results. So I've put in eight and press Enter. We can see that the background is a lot more blurry. And if I've put some again, like 22, it's gonna be a lot less blurry. But I quite like 16. So that's another camera angle for us to use. So I'm going to stop that render. And just going back to our previous camera angle, we run the interactive render again. We want to enable bloom and glare as well, which you can find here. If I let that render a minute and then turn on blame and glare, you'll see this progress bar. And when it comes in, you'll see we just get this nice little glare on our image. And in some certain hotspots as well. So I'm going to leave down as well for our renders. And let's add a, another camera angles. So I'm going to select this guy p and z and set up a camera thing sign like this could be cool. And of course you can go into your on-camera and goes, Let's add, I'm going to have to close this because not a lot of real estate on the screen add a camera, and let's change this field of view to 60 so we can say more. And the depth of field is already on. And saying else we can do is use a vert tail. And that's just going to straighten up our efforts. Although it didn't really seem like we needed it than that, but I think that's looking pretty good. Let's run an interactive render and see if we've got another camera angle there. That looks pretty cool. We can zoom in at such. And let's also make sure there are targets, correct, but that looks great. Let's do one more sharp. But basically using the tips I've just shown you, you can go round, create some camera angles, you lights and like that might be cool. Quite like the idea of having one around this angle. As add the camera will select the camera. And let's change this field of view to 45. And I'll zoom out. And as quite a cool shot, makes sure that fulfilled is on. And in a top view. What we can do is right-click and select camera target. And then we can target what we want to be in focus. So let's make the back wall in-focus and run an interactive render. And that's quite nice shot as well. Alright, so we've got four shots there. Go through, create as many as you like, and when you're happy with the cameras. And all we need to do is go to the render setup. And I want each of our images at for k. So let's hit for k by n. And that means the resolution is going to be this amount of pixels wide and this amount of pixels high. And then under scene, we want to set a noise limit. And if we turn on corona high-quality denoising than a noise limit of five. It should work well. And now we have to do, Let's start with camera once per se on the keyboard and select Camera one. And I'll hit Render. And this will keep rendering until it hits a noise limit of five per cent, which is here. So just let that render out and It's down-moves, save it, and we'll move on to the next one. Alright, so that's finished rendering and we can hit Save. And I'll just type in. Cameras are 01 dot JPG. Enter, Enter, save that. And now I'll go to a camera viewport per se on the keyboard, and we'll go to camera two. Again. I'll hit Render and let that render out. So now I'll just go through each camera, render them out and save each image. 23. How to Use Multiple HDRIs in Chaos Corona Renderer for Stunning Lighting Effects: So another way we can let our scenes is we've HDRI is something I like to do is load multiple maps. So if I press F9 on the keyboard, we're going to open up our render settings. If we go to scene. And down here, we'll see that when I import a HDRI from cows cosmos, it comes in as a single map. And what we wanna do is load multiple maps which is here. So next, I'm going to load the material editor by pressing M on the keyboard. I'm going to drag in the HDRI to here. And this might not be the most optimal way to do this. If you know another way, I'd be happy to hear it. So brewing a sunset as well. And let's also bring in another sunset. Now we can close cosmos and we have free HDRI is here. And now we can go to multiple maps. And let's change this to free. And then we're just going to plug each one of these in. As an instance, you've got sunset. I think that all sunsets you can put day times in. You could get H2RAs from HER a haven, e.g. but once you've got your free end, we can help set up light mix, have them as instance. And now we can run an interactive render. Now we can notice that it's very bright and that's because we have all of our HDRI rendering at once. So what we can do is toggle everything off. You see we've got a hangover from the bloom and glare. So what we can do is go to our post and turn that off for now, and then back over in light mix. If we turn on the first one, we can see that is how the first HDRI looks. This is the second one, and this is the third one. Very blue. I think that's because we've got a post. We've got the white balance in here. But this is a great way to random multiple versions of your same render. You can turn all the liaison. We don't want our son that's from earlier. But you can see we've now got this lighting scenario. We can have this one. Or even this very blue sunset, which kinda looks pretty cool. The great thing about this is that if we stop that and hit render, we can render the whole scene again until it reaches a noise level we want, like we did before, but you only have to render it once and you're gonna get free images out of this. So you can put as many HDRI is in here as you want. And this is a great way. Say you still working on lighting with your client. You can send over multiple versions without having to render all of these at different times. So go ahead and load up some HER eyes and I look forward to seeing what you come up with. 24. Where to Find High-Quality HDRIs for Chaos Corona Renderer: What's cosmos provides us with some great HDRI. We can also use HDR rise from other libraries or even create your own. And I gave a lecture at Autodesk University that covers how I created a HDRI for a Kia advert. And if you did want to use a another source for HDRI, then I recommend poly haven and you can go down to H DRIs. And they have tons of great high dynamic range images. And these are top quality and they cover a wide range of environments. So it's really worth getting in here and having a look around and try and some of these out as well.