Archviz in Blender 2. 8 / EEVEE Rendering Workflow | Victor Duarte | Skillshare

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Archviz in Blender 2. 8 / EEVEE Rendering Workflow

teacher avatar Victor Duarte, Learn everything you can

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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.

      Intro. EEVEE rendering


    • 2.

      Part 1. General EEVEE settings


    • 3.

      Part 2. Shadows in EEVEE


    • 4.

      Part 3. Irradiance volume setup


    • 5.

      Part 4. Reflection cubemaps/Planar reflections


    • 6.

      Part 5. Analyzing probes


    • 7.

      Part 6. EEVEE max settings


    • 8.

      Part 7. Glass tricks for EEVEE


    • 9.

      Part 8. final touches and render


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About This Class

Hello everyone!

This time we're going to study our beloved EEVEE render engine!
At the end of this course, you'll be able to set up your scene to make realistic renders in the most fastest way with EEVEE.

We will learn some useful techniques and concepts to maximize the capabilities of EEVEE such as:

  • General EEVEE settings.
  • Shadows settings for realistic results.
  • Irradiance Volumes to bake indirect lighting and solving artifacts.
  • Reflection cubemaps and planar reflections.
  • Techniques for glass reflections.
  • Final touches and render settings to achieve the best possible results.

Notes: We will be using the scene from the previous course. It would be better if you've finished it, so you could follow this new course with me. Anyway, I'll be sharing the empty scene for you to follow along in case you haven't finished. So go ahead and download it!

Link to download .blend file: 

Chip Walters Gumroad to download Eevee glass shader: cwGlass

I hope to see you on this new course!


*Beginner-Intermediate Level


Meet Your Teacher

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Victor Duarte

Learn everything you can



I'm Victor Duarte, a 3D artist and Mechanical Engineer from Barcelona.

As a mechanical engineer, I've worked for 10+ years in many sectors, specially in renewable energy. Mi passion for 3D art, 3D visualization and the CGI world has always kept me in constant learning and willing to improve every day.

I enjoy doing 3D related to archviz, hardsurface, sci-fi, concept art and mechanical design among others :)


See full profile

Level: Intermediate

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1. Intro. EEVEE rendering: Hello, everyone. Victor here. I'm so proud to present you guys I knew course this time we're going to study our beloved any render engine and at the end off this curse, you will be able to set up. You've seen toe make realistic renders in the most fastest way with TV we will learn some useful techniques and concepts to maximize the capabilities off TV such as the general settings, the shadow settings for realistic results. What are your radiance volumes to making direct lighting and solving artifact? We will study reflection yuk maps and plan our reflections Some techniques for glass of reflections with TV and finally, some render settings to achieve divest possible way will be using the scene from the previous course. And it will be better if you finish it so you could follow. Of course with me. In case you haven't, I will be sharing the empty scene with textures applied for you guys to follow along with me. And finally, as a reminder, if you subscribe to schoo, share with the link in the description. In case you haven't already, you'll receive to completely free moments on the platform which is ready enough time to learn. Actually, a lot of things 2. Part 1. General EEVEE settings: Hello, everyone. Victor here. Let's just start with the scene. In case you did my previous course, do we have something similar to this where we make the modeling off the walls and ceiling and all this stuff? And we said the materials and lighting for rendering in cycles. So we have sown materials already applied to our missions. And now we are going to set these seen to make render steen TV and eventually make some animation. Because with TV, we're going to be able to render in just fear seconds, which is really impressive. We will start by duplicating the entire scene by going here and make a full copy score ago to file safe us. And, yes, save your your new project here. So the first I'm going to do to set the east Ah, I'm gonna delete these porter lights because with TV there, they're going to work like just area lamps. So I'm gonna lead thes portal arms here and for now I'm going. Teoh, grab this These window last movies up to don't bother us. We will turn into these glass material and configuration later going to return back the ceiling collections. Now, let's jump into render engine in the render setting Stop, Let's switch toe TV So right out of the box, we have this settings over here. We're going to see almost everything. There are some things that we're not going to use and with early to use. So these are the default options that applies when you switch to TV. If we go to the render view president sets of the keyboard and who have the spy mania, let's go to rendered you or you can activate to the rendered view over here. So as you can see it, this is the rial time rendering that appears. Right now. Let's change some main things to have a better look off the real time rendering Vieux port . So I'm going to the world type. Well, actually, I'm going to open a new window over here. With this cross, you can click and Iraq and make another window. I'm going to change to shave their editor and in the world top. You will see. Here I have You're previews notes set up for the world. Render in cycles so I can delete everything and making you, ah, configuration off my world or I can adjust these world output and change it to cycles. And as you can see now we have this pink color going on here. And it's blender saying, asked that you don't have any war out Good. So I can lead your seen property. So I'm gonna make a duplicate off these note these world output home here, and I want to change it to TV. So now we are black because actually, we don't have any background here. I'm gonna make a copy over here, or you can go toe shift a and shader background. I'm going to black the background to the surface and we have again some light here in our seats. Now I'm going to set the strange to something like one and make the color off the background A little bit more whites. Okay, so here we have a basic light off our scene. And again, this is render in real time. And now I'm gonna feed the color with a environment texture. I'm gonna press control. D If you have to note Wrangler Adam enabled. You will have these automatic notes over here, and you can choose now an environment texture. I'm going to my folder and select these nice skyline. But you can put any edgy awry that you have been It will be okay. Now, as we go to the outside, we'll see we don't have any background there. And this is because we have seen the render properties panel in film options we have enabled transpire it which we don't want it for enough. So we have now. This is nice looking hee, right? I'm gonna delete background. We don't need it. And let's go to the interior and see what it's happening over here. So now we have these flat lighting going on for the entire room, and this is just the information off the light coming from the right. As you can see, if I rotate in the city access, This is your right. The lighting is actually changing in our interior. I want a place, uh, the easy awry, something its final here. So we have some highlights going on there. And now I'm going to close these window, dragging this cursor to the right. And here let's start by enabling some options over here. The first that we have in the render settings is the sampling this is usually the default values. Eventually in the airport we can change it to 64 as well to have the same results as the render. And for now, these values are yes, OK and enable as well the view Port de Nice ing. It will help a little bit to clean some nice e parts off our be a port. Now I'm going to enable the Amy and collusion. As you can see, we have already better reading off the objects off the scene before and after I'm gonna say the factor. I found that Dr Chu works really well. Anna factor off one from five as well. I'm conceited to chew for now. And the trace precision will give more deputy rate Amien occlusion as well as the distance I'm gonna increase it. Ah, leader beats just to have more fake shadows going on and these situations Let's leave the bloom for now disable, We will turn treat in the future and that for feel as well or now we don't need it. The subsurface scattering as well. We don't have any starts off objects, but here basically is the number off samples to computer scattering effect and some a jeeter to find turning those effects. Then we have the screen space reflections. This is somebody important feature off TV, as you can see when we enable it. We have nice Greece holds just by enable it. Then we have some options and his lighters over here. The first we have is the screening space refraction. These will leave some refraction effects like let me demonstrate what these? What this does. I'm gonna make a us fear off here. I'm gonna scary town, move it here and make shade of smooth. And I want to apply these same material off the table, this glass material to the sphere. So I'm going to select sphere and then the glass table and press control pill and link materials. So now we have these Nice, the last sphere. So as you can see, we don't have any refraction effect and so once do enable refraction. You will see well, anything. And that's because in the material properties off the glass we have your last table. We have to enable a screen space reflection as well. When's we enable it? You will have these nice refraction. So this is the meaning for the screen in space. Re fracture. That's gonna believe these sphere. Then we have the trace precision. I always said it to one maximum roughness. It's also useful to have this value into one as well. Otherwise he will not have account the roughness between, like, for example, 0.5 and one. If you said 2.5, you will lose a little bit off reflections. Then we have the thickness off these screen space reflection. The default value is already good New for interior renders. Then we have the edge funding. Let me go toe. Better position to see this. So if we decreased the edge funding, you will see right here on the corners that these skinny space infraction is taking more screen. So a value close to zero helps a little bit to sell more realistic reflections. By the way, the screen space reflections he's just as the world say's. It only reflects objects that are in our screen. So let me take an example over here, I'm gonna place a course or here and make a plane going to move up the play now leader of it, and I'm gonna add a glossy material. Let's call it glossy, for example. I'm gonna make it a little bit more black and metallic and roughness vote there. So as you can see, we are now seeing the exterior. We're seeing the edgy right, And that's because we are not seeing the ceiling in our screen. So Blender doesn't know what to show. If we take a look close over here as soon as we go parable to these plane, we are seeing more queen. So lender can fake this reflection over this plane so you will have to stay these close to have more reflections. But don't worry. We will take a look on some tricks to make these reflections more realistic. Back again to the render settings. We have the motion blur, which, in this case, we are not moving any object on a sin. We have volumetrics as well. So let's make an example of what does the Volumetrics options. So I'm going to make a cube here right in the middle off our scene, and I'm gonna open a new window with the shader editor and to the subject. I'm gonna make a new material, and I'm gonna call it volume. And here in the material. But I am going to delete the principal shader and at a new shader. Principled Paul, you and just black the volume to the volume. So as you can see, we have thes Volumetrics going on here and I'm going at another cube inside these volume. I'm gonna skate down and movie right over here. Let's decrease the density a little. We'd like point chew or 0.0.5 maybe. Let's change clearly the color in tow, something more white. And now in the render settings A in Volumetrics. This is where Start the volume effect and where ends. And here I can change the title size off the A resolution in the overall quality. Off off the volumes, I can't turn on the volumetric shadows. And that means that the police are spotlights here. So you can see what is going on. I'm going to rotate it. Alittle read Onda and increase the power off here. Let's make this 150. So as you can see, we are generating some volume shadows over here and now I will go inside this volume if I take a look here as you can see if I decrease the samples off these volume, we will see that barely nothing has happened here. But if I increase the samples to something like 2 56 you will have these nice volumetric. Then we called change also the shallow samples. But again, we don't need to our scene. So I'm gonna delete everything, okay? And clothes. The's shader we know over here. Let's continue one. We don't have any hair and in our scene. So this is just the type off the civilization if you have some hair going on, but we don't need it for now. 3. Part 2. Shadows in EEVEE: Let's go to shadow. This is an important one. We have the cube side Cascades chides hybrid threads of shadows. We will see why these options does just in a moment. So let's place in the lights collection plays a cursor off here and chief a light sunlight . I'm going out of the scene and plays the sand right over there and rotated a little bit. So now is going inside off our room. Now let's go to the Sun Properties, and I'm gonna increase the strange to something like six. So if we turn back to the render settings and the shadows, you will see Over here we have these shadows bad for now are completely broken. And let's see what is happening here. First of all, we have the cube size, and this is just the size off the pixels for the shadow maps. For now, I'm going to set it to UK as well as the cascade size. If we go over here, you can see these jagged lines off the shadow. If I increase the cascade size to choke A, you will see more resolution going here and in four K is near to perfect. But Let's take these into two. Okay, for now. Now we're enable high def information for the shallows and enable as well soft shallows. As you can see, this is changing. Ali, read the behavior off the light. Then we have the indirect lighting top. We will make the lighting and playing a Lear Edie's options later. And then the film for Ricky, transparent by ground again and the classic color management. So let's start by this sun lamp. I'm going to the sunlight properties, and as you can see here, we have thes bias value to reduce self shadow. I'm gonna show you in a minute. We have the cascaded shadow maps, count the fading. So let's see what these does. The bias I found that by us near to zero are helping a little bit more into these contact shallows. So I'm gonna set it toe points. Here's your one. And then we have these cascaded shadow map count. As you can see if we decrease the shallow map count, we don't have basically any shadow running here, and this is again the maximum resolution off the cascaded shadow. Then we have the faith, which is actually the transition between these cascaded shadow maps and then we have the maximum these tons off the shallow. If we decrease these value, we will see that eventually the shadow is going to disappear, as you can see. So again, this value something like 200 meters off, wherever you need to feel your scene with shell. And then we have these distribution, which is a little bit off sharpening these shallows and distribution about going 85 for something near these value, some value near to one. It helps more toe define these shadows and then finally, we have thes contact shadow, and this option allows to take some contact shallows, placing the objects more grounded. And here we have three options. That distance, as you can see, is the distance between the object where it hits the light and the distance for the shallow something between 0.1 or point you it's OK. Then we have the bias. Again, I found working with low values of bias. It helps a little bit more toe this contact shallows, and then we have the thickness, which is important because, as you can see with thickness of outpoint for something like this, we have the shallow that this is not realistic. I mean, we don't have any material going on here to make the shallow. So you want to adjust this thickness through Sonthi near points, you know, five for bones, 04 weeks for contact. Shallows is always kind off, okay? 4. Part 3. Irradiance volume setup: So again we have these 80 awry leading our scene and the sun. But as you can see, we go inside. This is not a riel elimination off this room. I mean, we have all these room illuminated in a very flat lighting, which is not realistic. So now is when we have to go to our indicted lighting and make some information off the light that actually we have in our sin. So now if I want to bake some indirect lighting, nothing is going to happen. And this is because we need some information calculate in these indirect lighting. And for this we are going to use and Iranians Pulliam. I'm going to make a new collection and colleagues groups. I move it right over here. Now I plays the coarser and shift a light proof your radiance volume. So So we have these objects. I'm going to the way from view to see what's going on. So this is just a polio in each point it would have inside. This volume is going to cast the information off the lights that we have interesting in cast these indirect lighting and make it to our textures. So generally speaking. You want to have these points or proves off indirect light, Failing our entire scene the most uniform possible way. So with these volumes selected and when a scale it x axis. And I'm trying to basically feel the scene with these proofs, I'm a scaling now. Do the why access. And as you can see, we have here our worlds and our proofs are inside these entire room. Now I'm moving to the front view movies. Upali read and a scale it set access. As you can see, we have here our floor and here our ceiling. I'm moving down a little bit. Scale of eats right over here. And as you can see, we have In this volume we have two different shapes. So let's go to the settings or the properties off. Thes radiance volume. The first of all we have here is the distance, and this is that thesis turns off the follow off of this volume. Then we have the factor off this fall off. If I decrease this, we will have a less followed. And finally we have these intensity which I always said it to one. So let's take a look off this proof in the tub you. And as you can see, these proofs are now feeling our entire room. But we have more of a solution or a big up going on here in the X axis between those proofs . So now I'm going to increase the resolution in the X axis, something like five or six, maybe. And as you can see, we added more proves to these body. I'm going to Skeletor. Attics, axes again because we have to adjust it a little bit and pointed out over, They're so any proof is hitting our goals. We will see what happens when a proof it's hitting another object. Or or maybe you are adjusting here. But you have these wall going on over here, and this proof is inside the thickness off the wall. We will see later. So once we have our your radiance volume in position, let's go to the render settings again and in the top off indirect lighting. Let's delete any lighting catch that we have, and let's bake in their lighting and see what happens, as you can see here in real time. Now these proofs are casting these light information and making it to our walls and floor and other objects. Okay, To have our better understanding off what's going on here? I'm gonna disable the sun for now. So I'm going to the Sun Properties and said the strange too zero and I'm gonna make another break. So I relate the previous bake and make again. As you can see, we have some lighting. But the finally is not enough to lead our scene and hit the these walls and the ceiling and the other objects. So I'm going to the world cities and decreases trains. So something like, Let's put six on the strength again. I'm going to the render settings and delete the lighting cash and bake indirect lighting again, we will see these options in a future. Now, as you can see, we have more lighting. But you probably are not seeing here that everything looks like metallic in a way. And this is because we have to provide again the Evie render engine. Some information about what reflects on the sea 5. Part 4. Reflection cubemaps/Planar reflections: And for this purpose, we have the reflection Cure maps. So I mean, proofs collection plays a crucial role here and place a reflection. Cuba. So by default, we have these reflection cube mob in a form office fear. And if we go to the properties off these reflection, give map, you will see in the type you can select box or sphere. Okay, So as we are in a scene that is is near a box, I mean, this is a rectangle and we have any. It's very walls going on here. We will change it to ah box. And as we did with the Iranians volume, we have to cover the entire room within our reflection. Cuba volume. So I'm policing volume here and scaling at X axis scouting at Y axes and in the front view . I'm gonna place it, pally, Read and scale. It said access. So we have our room covered by these reflection Cuba. Now we have with these follow these stones again, which we call decreased these follow and have something like this. So we have covered our room with these reflection Cuba. In fact, I'm going to make a mistake here and I'm going to place the Reflection Cube mob over here. So as you can see these follow or these limits off their reflection, Cuba is not covered in the entire world. So now when we go to our CNN or to the rendered view in the render properties, we have the big cube map only. I don't know why, but if we press bake killed my only you respect to Onley bake the reflection Cuba. But if lender finds some change on the lights or on the entire scene, it will bake again. The indicted lighting when appraise bay Cuba only so not right after the bake. As you can see, we have this really nice elimination going on. Here is you can see now the reflections on the floor and some materials are okay. But in this place where the reflection Cuba doesn't arrive, we have these issue going. So this is what is doing the reflection Cuba. It takes the information off the reflection and make it to the texture. So as these Cuba doesn't feel the entire room, we are getting this issue. I'm going to move it again to feel the room like this. You can see, we feel it the entire room now again and go to the render view and I'm going to make killed map online and instantly we fix this issue so nice we have some basic elimination with just an HD awry. And now let's take a look at some other type off reflection. Cuba maps. If I place the coarser off here and press shift, they like proof. Reflection. Give him up. We are going to place thes fear volume over here. So the way it works, the reflection give map TV takes first the big reflection, cute maps. And then it takes the literal proofs to our entire scene. So maybe you want to have more control off your reflections, putting some reflection cube maps near other objects to control better the reflections. But generally speaking, you want to have only a few reflections going on and not to feel the scene with a lot off maps because we will have some issues. Now let's take a look at the planner reflections, and this is for, as the word say surfaces, that off planet reflections and these will help too fake some reflections on planner surfaces. So I'm going to place the kosher off here and place Chief a and reflection play. Now we have these plain and Scalea tell you read cover the entire table. And now we have again some options in the inflection playing properties. We have the distance we have followed. As you can see, these two lines are follow off these flexion And then we have in the view port display these r O size which you can change the size if he's annoying you and the show preview plane. So this preview plane is showing you where the reflection is via gravity's reflection plain and movies up. You will see I'm clipping the reflection. Where is my place? I'm gonna move it down over here. And just when we hit our surface off here we are done. Now I'm gonna disable the show preview plane. Now we have some nice reflections. As you can see, we are not seeing the picture. But we are having reflections. By the way, these glass has some issues. But we're going to fix it later. We're going to place another planner Reflection on the TV movie up on rotate X axes 19 Greece, As you can see these arrow is pointing the right way and going to the properties off this reflection plain and show the preview plane and move it back to the TV. So again, here is where we have to place our reflection play just about. They're going on a scale e x axis and movie to read and, you know, I just the decisive to cover your object. Once we have it in position, we can disable the show preview plane, maybe adjust the arrow size two tone, bother us. 6. Part 5. Analyzing probes: Now let's play with the sun and we will see along with this configuration off the son. What is going on here with the Iranians? Volume. So So for you guys to understand what's going on here with a lighting. I'm going to the world settings and I'm going to set the strange back again to zero. And now I'm going to delete the lighting catch. As you can see now, we don't have any lighting going on here, So I have the sun selected. If you can see anything you can select here in the outline, er I select the sun and I'm gonna increase the strange to something like seeks again. So what we're looking here is just the direct lighting passing through the window on the floor hits the sun. But we don't have any indirect light Bounce on the walls or the ceiling or any object. As you can see, we have these surface off the chair illuminated, but we don't have any bounce light going on here. I'm gonna plays the son right in this position so we will see how the sun hits the floor and bounce to the world. So now I go again to the bake properties and baking diet lighting. Okay, the bake. It's done. And as you can see, we have now some bounds lighting going on here. Let's take a look at what's happening with the Iranians. Volume here on the properties off the indirect lighting we have these top, which say's this plate. So when I enable these already in size disability, we will see these little balls through the entire scene. And these are actually, as you may guess, the Iranians proofs off our Iranians volume. We can change the size off the proofs, and this is just information there. There's anything in the scene. There is no actual mesh going on here. This is just information about what is casting every proof that we place in our room. So when we take a look at one off this proof, we will see that is illuminated by the tyrek light, and it's calculating this. These light bounces and providing this light information toe our near objects. So this proof, for example, have these light bounds information, and it's placing it toe the well here, for example, we have these light bones from this star face, and it's casting these light on this proof and taking it to the ceiling. So this is where does the radiance volume? And this is why is so powerful? Because we can make this information and then play in real time. Then, as you can see, we have some problems. Like, for example, these proof is casting some some light when there is no lamp over here. But we will fix later. So now let's take a look at these properties over here we have to the fuse bounces and this is the number off bounces that the light is going to heat. Go to another surface. Let's study to four for now and again, this is the size off the texture applied with this light information toe other objects. I'm gonna grease it toe UK. For now, they diffused collusion is the size off the shadow map casted by these radiance volume and very just I'm going to leave it for an hour, 32 pixels and then we have a radiance is moving toe smooth these transition off shadows and lights and maybe help toe reduce some light bleeding's like these one we will take look later as well as the clamp Pelosi and feel tour equality. So not with these in mind. I'm going to select again the sun and position it a little bit more policing like something like these may be hitting the sofa and these pillows off the chair. Now in going to were these strange of the world again and set it to something like six. And with the edge a right Anderson, let's make another bake. So I'm going to delete the previews make and making direct lighting again. Now, as you can see in really time, these proofs are collecting the light information, as you can see and calculating these four light bounces and applying it to our scene. So this is the result after making the azure I with sun lamp and we have some Beatty nice indirect lighting going on. As you can see, these proofs are casting more light than these proofs over here. So this lighting in this world is thanks to the information off these groups as more proofs , we will have more accurate indirect lighting through our senior. You can increase the resolution off these proofs and it's a good practice to find the right number toe feel your scene, but you'll want to feel your room with millions off proofs because you will have artefacts . Like, for example, here we have. I'm gonna move thes so far, let me select in the future collection on the sofa, Select objects Been a movie, these right over here. So now if I go to the wire frame and I select my Iranians volume, we can see that we have this little proof inside off our sofa. So when I bake again, let me go to the indirect lighting settings the leader of a quick and bacon again. And now if I go in the rendered view and I go to this proof will see that this proof is not getting any light information as this one as well. And that's because thes this point is inside this mesh and is not casting any light. So these are the kind off issues that you will find. And maybe you could increase the resolution to have more proofs off here or move Valerie so far, or t object with this if you But it is just time getting the right position off your proofs and avoiding some issues with the objects 7. Part 6. EEVEE max settings: So now that we have these basic lighting going on here, we can go to the render settings and increase the overall settings to maximize the results . I'm going to disable these Iranians size. By the way. This is how the Reflection Cube map gets the information about the reflection. As you can see, we have this nice metallic ball, and it's reflecting the entire room on projecting these reflection information. Toe all these objects, I'm going to hide it for now and now we can go through our options and maximize a little bit the default settings off TV. I'm going to throw it to the screen space reflections and disabled the health resolution right race. This will give us higher resolution off the reflections. Then I'm going to the shadows and increase the cube size to four K and the cascade size to folk a again. This is. This is like maximum settings off TV, but as you can see, we have really nice results going on with the previous settings. But let's go toe high settings now in indirect lighting. I'm going to increase the fuse bounces to six, which is pretty high, and increase the Q pop size to four K and the diffuse occlusion off the shallows to 64 pixels. And now, actually, the fitter quality, ongoing creases to chill. So it will take a little bit more sampling and make really high quality, taking off the indirect light and reflections again. I'm gonna save the project and delete the previous lighting and hit back and just wait and enjoy the process and the Bakkies don't. 8. Part 7. Glass tricks for EEVEE : And as you can see, we have some pretty high quality fake going on here with this nice highlights off the indicted light bounce and you can see at these wall. And we have as well some nice shadow transitions over here in the sub shadows. And now they want to show you some tricks with the glass of materials and reflections and refraction. As you can see, we have some materials here that appears black. So let's take a look at this table. For example. I'm going to open a new window here at the right side and go to the shader editor. As you can see, we don't have any shade there, so I'm going to add a shader Principal Shea there and black into the surface. Now increase the transmission toe one and roughness to zero. Now we have these glass material. But as you can see, we have some issues on the fraction off these glass surface. So there's a few options that you have to check, you know, other to work correctly. Let's go over here to the material properties and go to the settings stop. So first of all, you want to have the blend mode into Alfa Blend and the shadow won't to known in this case . Otherwise, if you have it too opaque, it will love the light. And this is not realistic. So I'm going to set it to known and then make sure you have these screen its base refraction enable. Otherwise you will have something like this, which is not what we want. We want screen space reflection enabled, and now play a literate with the refraction that I found that these these deaths over here it's kind of like the thickness off the glass. So if I decrease this a little bit, we will have more better of reflections. I'm going to put it 2.0 Chu and now we have our realistic refraction. Let's take a look at the TV glass. I'm going to add a principal shader again. Plug into sir face off the material output. I'm gonna put the color to something more dark like this and decrease the roughness a little bit. Something like going to chew, maybe, or buying 15. It's OK, and in this case we don't need refraction and we don't need transmission as well. Let's take a look at these glass. This could be the same as the A table. So I'm going to select the glass table and select principal. Shade their control, See and go to the glass off thes wall Pictures and control be on the shader Editor in just blacking into the surface. As you can see, this is like mirrors now. But we want to enable the screen space refraction so ones we enable it. We will have the real glass. Now we should a just a little bit the refraction. I'm going to put a value off something like 0.1 or 0.0 Jew. It works nice in this case and the same as thes glass. And now we have proper reflections. Now let's work on the actual windows, the glass off the windows. We have the last here outside the room. I'm gonna move it down and take it to the correct position. And as you can see, we have now these weird reflection. This is like a mirror or something strange. So I'm going to work on the glass Shader. Let's make a duplicate off these material output and he's one original. I'm going to set it to only render with cycles. And now we have this black refused color. So I'm going to select this new material output and said it to Evie. So we maintain the same settings for cycles and the new ones. For I'm going to select the same principle. Shader off the glass. So I pressed control, see on the note and go to the glass off the window and control be by blabbering to the surface. And then we have these results, which is, as you can see, not physically correct. The first thing I'm seeing here is, as you can see, we don't have any more the direct light coming from the sun. So if I move these, we are looking the light off the sun, and this is due to the shadow mode. If I said it to known, we will have again the sun coming in into the not let's Saturday blend mode to Alpha blend and enable the screen space refraction. Now I'm going to play with the refraction that I'm going to set it 2.2 or this case. But as you can see, we are having some issues on these windows from outside it looks kind off correct. But from inside is the finally broken. So basically, what we are having here is some issues with sh aiders and you have to make some tricks to make it work. Really architectural window or something close to Rio because remember, this is not cycles, and this is not a physically correct when it's really for two realistic. This is not physically correct. So we have to make some some tricks. And the windows is one off these parts that we have to cheat a little bit toe have better results. So Jamaica streak with the window. I learned a trick for cheap quilters. Take a look at him. He half rate brothers over. He's Gambro Bates. So take a look. And if we go down the page over here, we see E v e k glass. So when you don't love it for free or or maybe you want to contribute, Olivet with him dropping some box here. So once you don't love it, you will have a blend file. And where I'm doing here, dragging these Len file and dropping in my blender file just like this, and I'm going to select a pent and go to material and upend C w glass material. So when's you appended? You will have these material were here searching for E C W and angering to apply the material. I have already feel more here because I was testing some things. So once you applied, you will have these notes set are prepared and it's really simple to tree calorie. For example, we have these transparent shader connected on mix it with this principle Shader. If we grab this color and take it down, we have a little bit more better reflections Andras Mission Just totally like this. Then we have over here these cure for controlling the amount off reflections. If we take a look here outside and I increase this curve to these upper parts, you'll see it reflects more something like this is correct. 9. Part 8. final touches and render: So now there we have it. We have nice looking riel time krendler, and I'm going to press control, space bar and press sit and Tuggle overlays to seat in full screen and with any element bothering us now we can go to welcome navigation. If you don't have it in favorites, go to view navigation and Welk navigation and take a look by the way I'm seeing. For some reason, I have again the shadow moat bake and we don't want this. We want the shadow to be known. So now we have to sand coming in into our room, and it's looking fantastic. Let's go to the settings off the render and let's enable now bloom and now adjust the threshold off his bloom. You don't want to overdo these effect. It will seem a little bit dreamy, so you will have to increase the stretch, hold like 2.5 and decrease their radios and play a little bit with the intensity. So with this kind off values, you have more clean bloom, and it will be more realistic. Now, let's say we want to add some spotlight over here, but we don't want to bake again and let's see how it works. So let's select the lights collection and plays the course or here in this world pressing shift and right click. Now let's add a light spotlight. That's movie to have out there and go to the properties off the spotlight. Let's change the color to something more warmer like here, and increase the power to 50 for example. Okay, so if these light is going to be static, which for an interior is usually what you went to to have, you could bake again the entire scene and get some indirect lighting, but also cooled work with only direct light, and it will be fine so you can adjust now how their shadows behaves and to show you I'm going to place a kosher off here and make a plane in furniture collection. I will make a plane going toe edit mode and the scale eat hands. As you can see, we're working now in riel time rendering, and it's so policing, and I'm going to make something like thes and extremely it a little bit, and I'm going to modifiers and give a little bevel off three segments and place, right click and shade this month. So we have thes kind off shelf or were here. And look what it's happening here on the shadows. So let's fix it. I'm going to select the spotlight and into properties off the light. We have some options. The spot shape, as you may guess, is the size off these angle and the blend is how hard East peace shadow and going to set it to something like coins 12. Then you can show cone if you want to see what's going on in case you're insulted view while you go to see these cone and it will help clear it. Let's go back to the render view. And as you can see here, we have thes gap on the shadow and this is not correct because we are touching the world. So thes value over here is control again by these bias Bali. If I decrease this value to something near Ciro, we instantly get this contact shadow Perfect. As you can see, we have this nice contact shallow. Now you cool also enable contact shadows and again if we go toe this view, we have this shadow which is driving by this distance going to set piece tends to point to point you is pretty much always working. Well, I'm going to adjust. Viars nears hero and finally adjust the thickness. So we have the shadow coming more realistic. So now that we have these spotlight already configured, we can make the light again. Or if you want, you could live these theories, but probably making it. It will give us a nice light bounces going on on these walls. So I'm going to the render settings and making light again. Remember to save the project in case you have some artifact and you want to come back to the latest bake. So I am saving project once it save it. I'm gonna praise, bake indirect lighting and just wait a little bit so they bake is don't. And if we now go to the render settings and hearing indicted collecting, we activate again to show the radiance catch. We will see that these proofs now has cast some indirect lighting bounce from the floor due to these spotlight. So, in case you want to disable this spotlight, I'm going Teoh properties off the light and said the power back to zero. These indicted lighting, as you may see in the proof, he's still take it into account because again, disease, like a texture applied to our worlds. So in case we don't want any indirect lighting form, this is spotlight. We will have to redo again the baking off, the indirect lighting and going to I'm going to sector power again 2 50 Okay, and now I'm going to juggle overlays to see the Clean View Port and Control Space bar two seats in full screen mode. And as you can see, we have a pretty nice riel time. Render with these nice shadows. Did these nice contact shadows between objects? Let's take a look at these pillows. For example. Look how beautiful they look, with the indirect lighting and the ambulance closure and the effect off the bloom going through the window. So with this, I'm going to press again, control space to go back again to the default view port and now press zero to go to the camera. In case you don't have any camera set one as you will do with cycles, let's make a render off the whole living room, going to position the camera off here and adjust focal length to 35 millimeters. And with Welker, navigation is more easy to set up the position off the camera. Let's check the output properties of the Render it set to 10. 80. Geez! Okay. And then in case you're followed the previous course in their compositing, make sure to delete these notes from the previous course. And just like the image off the render output to the compass it note. So now we are prepaid for press if 12 and wait. And I mean, wait just two seconds and we have a pretty high quality render our off TV. So you killed. Imagine how long it will take to make an animation off a fly through camera off here and then another camera going on like this. So you will have a pretty cool animation off your seat. So this is it. I hope you enjoyed these. Curse for me is exciting. To have this really time Orender in blender and with the correct adjustments and a few tricks, you are able to do a really great interior. Be civilization. Thank you so much for watching these course. I hope you have learned some great tricks and I'm looking forward to see what you guys do with this curse. And don't hesitate to ask me any doubt you have about it. Have fun.