Transcripts
1. Class Intro: Hey guys, Welcome to this
really quick when workshop, but I'm going to show
you how to create this photo-realistic living
room render in Ford. Quick steps, we're
gonna be using the allowance method or the
SketchUp Google method. Basically it starts
with number one, models in materials number to
our camera and composition. Number three is the most important step,
which is lighting. And number four is rendering
and post-production. Let's get started. I'll see
you guys next video. Cheers.
2. Getting Started - Shortcuts I use: Hey guys, welcome
back. So before we start with our workshop, I'm going to show you
how I use SketchUp. And you can use the
steps a show in this video to follow along
for the workshop as well. So for this workshop, I'm gonna go with
architectural millimeters. So you can say like
this, alright, so once you open SketchUp, you will see the main
toolbar on the top here, and our default
way on the right. And I will also
enable though really toolbars and doctor,
to the left here. If you don't see these
toolbars, is go to view. Click on board was. If
you scroll to the bottom, you'll find though
we re toolbars. And this mean tool here
is the Getting Started. Now for the default
rate to show up, just go to Windows default tree and click on shortly
if it's not seen. Now, the default, it doesn't
show up in SketchUp for Mac. But these are actually separate tools which
will find under window. So you can enable
them one by one. Now if you want to
hide the toolbar, you can click on this
auto height option here. And it gets docked to the radio. And if you want to see it back, you just need to power our default again,
it will chew back. When my case, I'm just
going to pin it back so that I can see my
default three times. Now I'm going to show
you the 3D shortcuts that I've assigned in SketchUp. So let's go to windows. Let's go to Preferences. And undo preferences,
we have shortcuts. The first shortcut that
I assigned is Haidt. So let's search for hate. You can either assign F2 to the shortcut
or Control plus one. How do I assign these shortcuts? Just click your app
in your shortcut. So in this case is going to be F2 and then click
on the Plus button. So I've already assigned, so I'm just going
to click on yes. Then you can see it's saying
that key for the shortcut. Once it's assigned, you can
just press or gear as well. The next shortcut to that, our assigned as F4. So just tap your press F4 and click on the plus
button, which is an aid. Or again, if you don't
find the function, you can also assign Control
plus two to the shortcut. Next one is I made
last, which is F three. And then we have this
very important shortcut called hydrous, the model. Whichever sign the shortcut G. To make sure you assign
these shortcuts. The next shotgun that I would
recommend that you guys I was saying is camera. So social camera. And then when you go to camera
slash value prediction, you can see I've assigned the
shortcut called alt plus w. So you can just
hold Alt and W on your keyboard and assign it to. The next one is dark-field, which is all plus
one are all plus t. I write as r plus
five plus four. Front is all plus
two and plus three. I'll show you what D-sharp
goes through in a bit. Finally, I've also assigned a shortcut for the X-ray mode, which is why I have
not assigned the X key to the shortcut
because they use it to multiply stuff in SketchUp. And the last but not the least, is to make groups
or search for group here and assign the shortcut G. Once you've assigned
all the shortcuts, you can click on Export. Export this file that's
called shortcuts. And click on Export. I shared this file with you. And you can just
click on Import, an important this
shortcut data file. Once you're done assigning all the shortcuts,
but it's okay. Now I will show you how
these shortcuts work. So let's start with make group. So I'm going to make
a rectangle you. Now generally when you
want to make a group, you'll double-click
on the face to select the edges and the face. Then you will right-click on this face and click
on Make group. So this is the gender. We exploit this for
the faster way is to just double-click and press G to this would
make it a group. So this way, I can make
groups pretty fast mullet. So now when I enter this group, you can see this bounding box, which is this dashed line here, which means I'm
inside this group. Now if you want to see if
you are inside this group, you can also switch on the
plane or in your default. If you don't find the outliner, just go to Windows default rate. And you will find outliner here. In the outliner you can see the various groups
that are active. So this is one group
that I'm activate. The group you can also of course rename these groups
if you want to be super organized in SketchUp. So you can just double-click
there and renames. So I'll call this one too. You just need to click once
and click the second day and then tap in your key or
the name for your group. So there's one, this is
three and this is two. Now, when I enter this group and I want to
hide these other groups, here are just some gears
I want to model faster. For example, then you can press the G key
on your keyboard. So this will toggle visibility. What height just to the
model in the scene. Now an adult super
important step that you should keep
in mind when you go through this
workshop is moving stuff along a certain axis. So for example,
if I want to move this group along the red axis, I'll use the move key. I will select the
point I want to move from before tapping anywhere
or clicking anywhere, I'm going to tap the
right arrow key. So when I tap the
right arrow key, you can see that it snaps
to that, to that axis. Same goes for the
green axis as well. By tapping Done green arrow key. You can also finally move
it on the blue axis. So Tab to move key, click once and tap
the top arrow key. So you can see that in
warded along the blue axis. Same goes for the rotate tool. So if I press Q to
activate the rotate tool, Let's say you want to rotate
it along the green axis. So before I click on the point or click
anywhere for that matter, I'm just going to tap
the arrow keys again. So tab right, lock it
along this red plane, left arrow keys to
the green plane. So it's very dave, right? Now if I click, I can rotate
it along the green plane. Now if I tap the left arrow key, then I can rotate it,
hello locally in place. So you need to be aware for this functionality and
sketch up as well. Now I show you the
height options. So if I click on this
object and press Control, one that could hide it. If I press Control to
delaminate the object. Now the faster way is if
you are using function key F2 to hide or
unhide the last object, and if you select
multiple objects and height and press F4,
it would unmarried. Finally, let's give some height
using the push-pull tool. Let's say you want to see
the insides of these groups. Just press Y and that will
activate the X-ray mode. Sometimes they also enter the groups and then
meekness two groups. For example, I'll select
this face and plus g. So now you can see
this is an estate group. We have multiple nested groups
within the amine group. And then of course you can
also enter the nested group. Push this out. This is how
we would create the rooms. And I just showed you
look coming videos. I think this is enough for you guys to begin the workshop. If you guys get stuck anywhere, please do drop your questions. And I will be happy
to answer them in the form of response
through text. Or I will also create
separate videos in case multiple students
have the same problem. Alright, now we're ready
to get started and create some awesome models and renderings with
SketchUp and video. Let's go.
3. Models - Create the Room: Hey guys, welcome back.
We're going to start off by modeling a room and placing
our models in place. So let's open SketchUp. Now if you are an
interior designer, I would highly recommend
that you collect some reference
images and also the kind of models that you would
like to add in your space? No, she looked at the sender. You can see that solo Flickr, borehole chick, modern,
contemporary living room. It's very minimalist as well. Just a bunch of few colors where we have the main focal point, which is our sofa, flicker light blue pastel color. Then we have our wall, which is sort of beach. And we have matching
colors as well. For example, the Rocky
Mountains, the wall, the art pieces and
to highlight it, because it's like a black
and white painting. Then we have a lot of greens in the space through our plants. So very minimalist living room. You can follow along to create the same
living room render. While you can also create your own style of living room to end
up, it's your choice. But if you'd like to
follow along and learn how to create photorealistic render, then you can use this model. So to start off, I'm going to open my templates, which is going to be
architectural millimeters. Now hopefully you've
installed PDF for SketchUp and toolbars and
show up here on the left. And if it doesn't show up, you just need to go
to View Toolbars. If you scroll to the bottom, you'll find the blue bars here. I'm going to delete neither AJ, who's the new
mascot of SketchUp. And I'm going to open
the Asset Editor. So this is where all
the magic happens. You can see we have
the materials delays, the textures, and
we have neologism. It feels. So I'm going to select all of the
religious materials. And I want to click on the link. You click on Delete, delete the oldest materials. Now it's super clean. And now we can start modelling palettes. I'm going to draw a rectangle. So I'm going to click once. And the dimensions that I'm
going to give is for MM, which is four meters by 3,500 m comma 3,500
and press Enter. So this is a room. Now we need to give a
height for the room. I'm going to use
a push-pull tool. So press P to activate
the push-pull tool, click once and give a height
of about 3 thousand meters, which is about ten feet. And we want to select
the front face here, which is facing me. I'm going to delete it so
you can see it's selected. No press Delete. Now, I want to select all of the faces and edges
with Tripoli faking, right-click and click on. Whereas phase. Now
it's a good idea to give some thickness to
each of these phases. So you can use a push poll tool. So activate the push-pull tool. And now you can see that
when I started giving thickness to each
of these faces, it just extends it. If you'd like to give
thickness equally, then I would highly recommend
that you make each of these phases of group
and then thickness. Going to double-click
on this face, right-click and
click on Make group. Or you can use the shortcut, which is to double-click
the face and press G on the keyboard
to make it a group. So double-click, Let's
do to make it a group, you are as well as well. Now let's enter each
of these groups and give it a thickness
of about six inches. That is around 153 m. So 150 MM. Do the same for all of these. So if you're given the
dimension for one wall, all you need to do then
to the other group, use a push-pull tool and
double-click on the face, you get the same thickness. So I'm going to quickly do
that for all the walls. Now it's also a
good idea to extend these walls to this
edge, that easiness, because from these corners
you can see the scanner, you're there will be some amount of late
leakage in video. So to avoid any
sort of problems, it's a good idea to overlap your world's going to
enter the group, use a push-pull tool and
push it to the edges. Let's do that quickly.
Follow the walls. Finally on backwards. That's
how I created my room. Now you can see it's
an open-air room. So which means there's going
to be late falling in place. And you should also keep
in mind that I've made opening the south
side of the room. How do I know it's
a solid shape? Because the green axis is always pointed
towards the north. So this is not South,
East, and West. Now if I switch on the shadows, if I go to View and
click on shadows, you can see that the light
is falling from the outside. In this case, it's falling
from the southwest side. If you want to change
it to the E site, then of course you need
to make it a morning sun. In the default way on the right, you can see the shadow settings for genes that time to morning. You can see the
shadow angle changes. But that's how I
created my room. Now let me create
an opening as well. So before I create opening, going to use a tape
measure tools. So activate the
tape measure tool. You need to click
on these edges, not from the corner. Because if you click
from the corner, you just get one line. But if you click from the edges, you get this infinite line. So I'm going to click
from the bottom, I'm going to place my
lintel height at around twenty one hundred and twenty one hundred
and press Enter. Then we have a cell which
is gonna be at 600. And then we have the size
of the window as well. So they were insane 50-year
and give the size of 1500. Now when I'm going to
draw my rectangle, I'm gonna make sure I draw
it inside this group. Because if you'll notice,
if I make a rectangle now and try to get opening, it doesn't create openings, simply creates the box. Press Control Z to undo. Undo again. So make sure you
enter the group. Double-click on that group
plus j to toggle visibility. So you know that you
are inside this group. Plus our rectangle tool click once, click
the second time. And now if you select the face, can see that you
divided the fifth. So now with this face selected, use the push-pull
tool click once. Once you see this blue window, which you can see it's on fees, or you can also drag
it to the side. And then simply click on the
fees to create the opening.
4. Models - Chaos Cosmos Models: Let's have created opening. Now let's place our models. So you're going to place the
models from kiosk cosmos, which is a library of videos
models and maybe yields, you will find it right
below the acidity though. You will need an active
Internet connection to work with chaos cosmos. Let's open girls cosmos. But it's a fairly simple
sort of a library. It has models,
materials HE data is. So let's start bringing
in our models. Click on 3D models. Now let's go to furniture. You guys can download by
clicking on the download button. And then once it's downloaded, it changes to this
Import button to bring in the models to
SVD for SketchUp. So I'm going to
bring in my models. You guys can go ahead and
explored chaos cosmos. But since I know what
I need to bring in, I'm simply going to
download and print them in. So once you click on Import, you can see it switches
to the over window. And then you can easily
place your Cosmos acids. You can also go to each of these categories and
then select the model. It gives. You don't find
a particular model. You can also search for it. We're going to search for Rugg. I'm going to bring
in this module. I'll rotate this. So
when you're rotating, you can notice that right now it's not rotating
to the right plane. So select the model, activate the rotate tool before clicking anywhere just
stepped or top arrow key. Once you tap the top arrow key, it snaps or lead
to the blue axis. And now even if you place
it at these ages 0, it doesn't change the angle. So now you can click once, click the second time, and specify your angle
or just rotate it to. And so tonight,
which is a word 85. Students same year as well. Let's go to the top view and
activate the X-ray mode. So I can see what I'm going
to hide the top slab. Then this mode is also good idea to
create a scene of your top view so that you can use the equal
to the top view. Now let's play some
decor and some plants, and also add coffee table. Notice that I've already
downloaded these assets, so that's why it's showing
up under the download tab. Now when you place
your wall frame, make sure to give it
at a high height, you can see that it's
placed at about 330 MO, which is about decent, I hate, is going to
move up by 150 MM. Now the midpoint of the frame, that central board
doesn't violate them. A good height. Again, go back to the top view. Select these two frames, the midpoint and then also a new more vote in the top view. Make sure to snap
it to the relaxes, hitting its place
in the midpoint. It's a good idea to make
these two assets a group. I'm going to select both of them because G, to make it a group. Just going to scale
it out a bit. Finally, to finish a room, we're going to please God and add lamb for eyesight, they will rotate it. Make sure this Kimball is
not seen in the camera, simply orienting it back. Right.
5. Models - Adding Interior Details: We will also like to add some extra realism decedent
by creating our pro failure, which is also known as coating. So I'm just going to
draw a line using the line tool on this corner. That corner. Then I'm
going to select this line. You can see fit
through per-click, selects all connected edges. And I'm going to make a group. So press G to make it a group. So you can see it's a group. Let's enter this lane group. If you're not able to
enter the lane group, just hide the other groups, then Endo the line group. Now I'm going to
draw my profile. I'm going to use the line
tool on top. Let's say a 100. Mood out the red axis, snap it to the red axis using the arrow keys and type in 20th. And then bring it down. Again. Learn to model in SketchUp
by snapping your lines or whatever tool you're
using to a certain axis. So I made my face. Now, let's use the Arc tool. Click once, click
the second time. And when you click
on the third time, make sure it's not another plane because you can see
it creates this way. Press Control Z to undo. Just use the Arc tool. Click once, click the second time. Click on the third time. You can see that it
snaps to the tangent, which is this pink line. So now if you clicked on
time, you can see it. Do I still face? Let's
use the eraser tool, which is V on your keyboard
and delete these two edges. So now we have our face. So to create odd, skirting the select these lines, go to Tools, click on
the Follow me Command, and then click on this face. So you can see that it creates
a nice cool squatting. There's escape. But it's
F4. Go Knight Hall. We've done creating our room. I'm quick clingo to show you how to create a window as well. So let's rectangle. Make this OH, group. The group give me an offset for both inches, which is 50 MM. Delete the inside
face and give it a thickness of about a
100 MM for the frame. Now, let's create another
rectangle on top of the window. Make this a group. The group given all set. For the 100 MM, which is the 3M thickness. The shutter frame
thickness is delete the inside face again and give this thickness of what if
DMM, nice thick window. Then finally we have IDE
window. Glass shatters. So make a rectangle giver, make it a group, and
to the group and give it a thickness
of about phi m m. Then finally, just move
this glass window and say, I'd like to apply a
material for these windows, will use the bucket tool. As soon as you activate
the bucket tool, you can see the materials
window show up here, Jesus to glass and then pay
the glass blue material. You will also find windows. In your chaos cost was library, so you can add that
from you and then just place it and
scale it accordingly. Now let's select all of these. I'm holding Control
on my keyboard to select all the frames
and the chateaus. Right-click and
click on me group. So we've done creating our room. And in the next video, I'll show you how to
place our camera. So see you guys next video.
6. Camera & Composition: Hey guys, welcome
back. In this video, I'm gonna show you a
step-by-step on how to create your camera correctly
in Vd for SketchUp. So we're going to
use this process for all the interior shots to
compose your camera is better. Hello, The first thing
what I'm gonna do is I'm going to
activate the zoom tool. So I'm going to tap the
Z key on my keyboard. So now you can see in
the bottom right we have something called
the focal length. The focal length is
basically the distance between the image sensor
and the camera lens. And it correlates directly to
the field of view as well. So if you're seeing
field of view, all you need to do is type in m, m. So just having 57 MM and tap Enter and it
changes to focal length. If you'd like to see the
field of view of this value, then you need to type in 35
and you need a diaper and DEG and DHAP stands for degrees. So now it's in field of view. Now for this course
you're gonna be using the focal length. So I'm going to tap
in 57 men and tap into 57 m. By default is the
field of view in SketchUp. But for interior shots, a good idea to keep a
field of view from 12 to about 35 MM. Before IT in the field of view, it's a good idea to compose the. So I'm gonna just
saw sort of zoom in and scroll using the
middle mouse button. I'm placing my camera such
that the camera lens, this data key facing furniture. And if I scroll on top, you can see it's looking down. This is not a good
competition for interiors, especially if you look at the interior
photography pictures. So make sure that your camera is sort of facing
furniture object, auto, height of
about 902,200 MM. If you'd like to exactly
place it at a certain height, you can do that as well. So I'm going to use a
line tool for reference. Click on the midpoint
and drag out a line. I'll go to camera,
position camera. And position your camera, your changes to the A2 Leo. And in the bottom right, you can see that
I hate to set at 1676 this change that is stove
or thousand and tap Enter. And now you can see
that our camera and set at about thousand
M from the Florida. So this is another way
to place your camera. And finally, you can
create a scene as well. Activate the default rate. You can see it's
hidden, you fits in and you just need to click
on the pin icon there and then it gets
pinned as a window to the right of those
SketchUp software. So now let's go to scenes. In just add a scene. And now you can see
it adds this scene. So now we need to change
the field of view. Let's say that 57 Arabic
word for interiors, it's a good area to
set it about 36 or 35. Number for energy in
the field of view, it's a good idea to set the frame has picked
width and height. Now for this composition, I'm going to go for
the cinematic shot. So which is Laker, 2 thousand by width and one way hype shot,
sort of change it. All you need to do is go to your acid though,
go to settings. And under settings you have something called her and output. So let's start off by
switching on the CFA, which shows how
much of the render in the sketch up window
it's going to get into it. So I'm going to switch
on the same frame. So you can see it creates
this sort of a window. It shows how much of the window
is going to get into it. Now if I tap the zoom tool, you can see that the
focal length changes its node set at 35 M by default. Let's change the aspect ratio
to a custom aspect ratio. You can also use these
other ones if you want to render for Instagram
and so on, for example, one is to one to three phase two for
the N for us to favor, which is again for
Instagram stories. So let's click on custom. Let's uncheck the image
width and height, and let's give it a
value of two thousand. One thousand. Then simply Jian it
back or lock it. So this looks good. Now
inaccurate the zoom tool, you can see that
the focal length is 30 foramen, which
is what I need. And then I'm just going
to right-click on S2 and click on Update. Now we'll need to compose
this random better to see where the center
of the spaces. So I'm going to run an
interactive render, which is simply a real
time visualization tool, NVD, to adjust your
material slides in mood and visualize
that Endo in real time. So that's not a final rendering, just like a real
time render engine. So let's go to asset
editor, go to settings. I'm just going to use the
default settings here. I'm going to change it, will
change it in the next video. Then under Render, do not
check on the window width. We need to start
interactive window. So let's click on
the drop-down button and then click on
lender 3D interactive. You can also under
Interactive Render button from the 3D tool. So you can see the VD to bio. And then we have that end
over three, the interactor. See the one works. So let's click here. And then it would start
an interactive render. Now this is called
a frame buffer. This is where the
interactive render happened. And this is where you can
adjust your end as well. On the left and right, we have the history panel,
the layers panel. If you drag this to the
right, it goes away. But you can see
these buttons here. If you click and drag it
to the left, it shows up. Now we're going to add
something called a proportional rate to
compose this random better. You will find it in
the Layers button. So you can see this plus button, Create Layer, click on that. And then the bottom, we have something called
proportion grade. So click on that as well. Now you can see that it
creates this proportion great. You've composed the
render really well. So you can see that it sits
right in the center of the frame and it's compost
pretty accurately as well. But I would like to make these lines here. If
you don't see them. It's sort of guilty to an angle, especially these vertical lines. These horizontal lines as well. So to make them perfectly
horizontal and vertical, just go to camera and
click on 2 perspective. Now that would fix any
tilted lines as well. Then finally click on scene to right-click and click on Update. Let's all just crawl
in a bit so that we can see the interior
space a bit better. So I'm going to
activate the zoom tool. And then simply just
scroll up a bit more. Need to bend to the left of it because you can
see this gap here. So I'm going to just activate the hand tool again
and bend to the right. So I'm just going to
pan to the right. Now you can see are seen
as composite really well. And finally likely contain two. And click on update. This looks good. And then you can stop the
interactive render. And then it's a good idea to
add this to the history VFB, which basically shows a
before and after if you render as you progress through
these entering as well. To activate this is good options VFB settings
and go to History. Click on Enable to enable the History Window and then
specify our project folder. So click on Open Folder, can create a random folder
and select that folder. Then simply click
on Save and Close. Once you've done that, you can just add
this to the CFP. And it would add it here. So you can do a before
and after Endo. Let Solver, you've
composted render. And to recap, step one is to
specify the render output. In this case, it's two is
to one or two thousand, one thousand custom
cinematic render output. Step two is to place your
camera inside the scene. And composite says that camera
height is facing furniture object the camera hate
can be from 900,200 m, especially for
interior photography. Step three is to set
the focal length. Now when you change from
the regular sketch of renew and you specify
a render output, it changes the focal length
automatically to 35 m, which is perfect for
interior scenes. Remember the focal length for the interior scenes can
range from dwell MM to 35 m. And for the depth of field shot where you want to show a close-up, then you would go for
the Ohio focal length about Santa Fe, MM and more. Once you've composed your
image, create a scene. Finally, the last
step would be to make the lines perfectly
horizontal and vertical. And you do that by Kodak camera and switching on
two-point perspective. Not forget to update
the scene each time you make
changes to go view. I hope you found
this video useful. In the next video, we'll tackle the most important
part of this workshop, which is the lighting. I'll see you guys
next video. Cheers.
7. Lighting - Clipping the Room: Hey guys, welcome
back. In this video, we'll tackle the
lighting in our scene. And we will be using the
three-point lighting system, which is a primary
or the key light, or it's also known
as the mean late, which you laid up
the entire scene. Then we will have the fill
light or the secondary late, which is to lighten
the shadows and also lightened up darker
areas in the scene. And finally, we'll
have some accent late to add some interest
in the space. For example, lighting
for the wall art, table lamp and so on. Now before I started
the lighting, I'm just going to
run interactive render and see what kind of a lighting we have in
our scene at the moment. So let's click on s2, and let's click on
Render attractive. So you can see that this is
our present seen that we have is added to the history of hope you know how
to add this GFP. So let's add it here. You can notice that there's
a lot of noise in our scene, and we can fix this by
changing the settings. So I'm going to stop
the interactive render. Let's go to isolate
a dog or settings. So we use the default render settings in the previous
video and then try to render. Now you can stick to the default settings if you are using an older system or if you do not have an
AudioClip Africa, what you can do a search
on the denoising. So this would get rid of
the noise in Orlando. If I run the injector and again, the noise isn't
going away because, because the update effects
is set to at the end. So let's change this to wrap
it around the render again. You can see the data and
also it's being applied, but there's still a lot
of noise in the scene. And that's because we
have a larger end output. And you can see it's slowly
going away with time. So if you feel that it's
taking a long time to render, just go to render output
changes to say find it for now. Then this would render faster. So now you can see the noise
going away faster as well. Now, this is the
default settings that most of you would be using. Now if you do have
an RTF graphic card, you can switch to the
RTX render engine. So I'm going to stop
the interactive render. I'm going to switch our dx. And I'm going to go back to my image with the ratio
of 2 thousand because I have a decent system and
vendors pretty fast as well. And the final step
that I need to do is change the denovo
from VD to NVIDIA. Use this settings. If you're using
RTX graphics card, it's a good idea to
save this autism. So click on save and call
this our test window. So it gets saved as a PDF file, which is a 3D render settings
file. Save this out. And the next time
you want to load the test render settings, just click on load
and load this in. Now let's run
interactive render. Alright, so now you can
see it gets denied and super-fast with NVIDIA EI. And so I would highly
recommend that once you get good at rendering that you
upgrade your system as well. Alright, so now we can
start with the lighting. So I'm going to stop
the interactive close this video frame buffer,
the acid editor. Let's open the video frame
buffer and analyze this image. So you can see that that is some lighting
entering the scene. This is coming from
the open area. The room is open, and you don't get such a big opening
in real life as well. So we need the
light to fall from this window into our scene
and not from the opening. So what do we need to do?
We need to close the room. So I'm going to
select this wall, the Move tool, tap control, and copy it to this edge. So now we have a closed
room and light is only going to be falling
from the window. Now the problem is
if I go to s2 and, and the interactive render, you can see that I'm
actually rendering the wall. And if a sort of scroll out and open the radio
frame buffer again. You can see we constantly see what's happening into it.
So how do you fix this? There's two ways. Now with the latest version, which is V64, sketch up. You go the Asset Editor. You go to S2 first. And then under advanced
camera pedometers, we have something
called camera Clipping. Let's just as on. Now let's run the
interactive render lead so you can see that a
wall, they show up again. So now let's go to Asset Editor. Let's do install
clipping new value. So I'm going to start
increasing this. I'll increase it such that it starts clipping
the wall inside. So you can see that clipping
near and set to 150. It flips the world. So this way I can
see what's happening inside the interior scene. Now if you see those
section edges, you don't have to worry. You can change it in Photoshop. Now the problem with this
method is that you can use it only in one scene at a time. Now for example,
if I orbit around, you can see that the
clipping goes away and it's because it has a
different clipping value. So now if I increase this, you can see the
clipping comes back. It's great to work with
clipping only for one scene, but if you're working
on multiple scenes, then it's better
to use something called the section plane. But if you'd like to create like sort of orthographic views, sections and so on. The clipping plane or the
camera Clipping works well. So let's switch off
the gambler clipping. Now what I'll do is I'll add something called
the section plane. So it's a good idea
when you're adding new objects in SketchUp to switch off the
interactive render, because sometimes
SketchUp tends to crash since it has to
compute everything. So I'll stop the interactive
render, close this window. And now I'll place
my section plane. So you can see that
our view is this way. So we love to place our
section paying on this one. So let's go to Tools. Click on Section Plane. We'll find section blame
your light under 3D text. So the Select Section Plane and then place it on this one. I'm going to use
the default name and symbol, so please, Okay. Then select the section plane. You can just select it by clicking anywhere
on this section. And then use the Move
tool and then move it in. Now when you move
your section plane, make sure it's not
right at the edge, but at least offset
about 50 or a 100 MM. From the edge of the section. You can see that now right
now we are inside the wall. So that's why you're
seeing this black sort of odd will be Xofigo Canvas. If you'd like to see the inside, just move it in and make sure it's not right
at the edge as well as you can see right
now it's at the edge. The reason is because sometimes when I run the
interactive render, you would see some circles. Let's check if we see those
so-called. Let's click on C2. So now when I click on scene to the clipper or the
section plane goes away, if you want to bring that back, just go to your
geometry settings. Click on Section Plane
and activate clipper. Now you can see, we
can see the videos. After you activate the clipboard that you update
the scene as well. So I click on S2 and
click on Update. Now let's run the
interactive render. So we can see our
section properly. There are no circles
at the moment. But to be on the safe side, what I would do is I will
select the section plane. And this mood in a bit. All right? So this way it's
sitting perfectly inside and it's not
overlap with any walls. So let's go back to see
into an interactive window. So you can see that
the latest still coming from that
section opening. We need to block the late. There's a quick hack
to block that light. You just need to go to our
section settings again. Just go to options and mixture of regulate
a switched off. If it's off. You can see there's no
more light coming from that opening and the latest
only coming from that window.
8. Lighting - Primary Light (Key Light): We can start with the
three-point lighting system. I'll show you two ways. One is the sunlight
Android rent late, which is our main late. And then we can add
some secondary lights using the rectangle late. And finally, an IES
late for wall art, you know, I liked the
defaults and settings. We can see that that
is some light falling on the sofa, on the Palazzo. The Daemon set about 858
and the 11th of November. Now if you change
the values here, you can see, of course, the angle of the shadows change. If you want early morning sun, you get this kind
of effect as well. The shadows are
too sharp for me, for my taste, so I
would like to make these shadows more softer. So you can do that by
going to ask her to toe good old lights glow sunlight. And when you scroll
down, you'll find something called the
size multiplayer. Now it's very important to note that when you have a
smaller light source, you get sharper shadows. What if you have a
larger light source, you get softer shadows? Let's increase the size
multiplayer to say two. And now you can see
that our shadows, Edges tab getting software. If you're on daily soft edges, you can take five as well. And now we get some nice
soft shadows in the scene. Let's add this to this to VFB. Now, we have decent lighting and we have some light
coming from a lamp, which is from chaos cosmos. But to really understand
the lighting, you'll need to
switch on something called the material over eight. So I'm gonna go to my settings, you go to material over
and switch this on. So now all the
materials are gonna be overridden by a single color. Now I would not like
the glass window to get overwritten
by the scalar. So let's go to the materials. Let's go to translucent
glass blue. Let's click on Edit. And really, it was a SketchUp material and now
I've made it a very material. What you need to do
is make sure under binding you have something
called can be overridden. Switch this off. And now you can see
though, material better. I'm going to quickly change this to a proper glass material. So let's go to the
reflection. Reflection color. Let's go to the fraction and increase the reflection
color as well. So now you can see there's
more light entering the scene. So it's important that you keep reflection and
refraction to fool. To create a plain
glass material. You can see there's
more sunlight entering the scene as well. It's up there to
see it because I liked this lighting effect. So right-click on seed
to click on update. And that would get updated with the current shadow settings. Alright, so the next step would be to add something
called the light mix. Mix is going to be offering in lighting and help you compose your renders
better as well. So I'm going to stop
the interactive render. I'm going to click
on this button. You're colder and elements and add the mixture and element. What I'll also do is add
a group BY instances, because I would like to see all the lights group instances. And if I change one value, it will change the value for the other instance
of particular late. Let's click on Group instances. If you'd like to edit
each layer individually, then you can read in
individually lights. Now let's run the
interactive render again. Is drag the slider
to the left and click on source light mix. Now you can see these are
all the lights in our scene. Let's switch this off. By switching off all lead to
Johnny's late one by one. Let's start with the sunlight. So this is our sunlight, and let's start with
the environment light. We can increase the
environment late, so the slider to increase
the light intensity. So I'm going to increase
this to ten and press Enter. So now you can see
there's a lot of light entering the scene, but there's a lot of sponsors or block genus in
the scene as well. We will fix this quickly
by adding fillets. Before that, if
you would like to change the color of the late, create some chromatic contrast. You can click here, which
is the color swatch, and change the slider
to the right to make it blue or to the left
to make it more warm. So I'm going to drag it
slightly to the right. Press Okay. Then we have a lamp
table you as well. Now, right? No two ordered in by a
particular material, so that's why you don't see it. But once we switch
off material oil, you will be able to see it. Hello. So now let's add
our secondary relates to fix these dark swatches here. It actually goes away as you keep that end up progressing. So you can see that
it's slowly going away. It's just taking time
for the light to sort of calculate how it
bounces in these areas. Now, this is called
global elimination, where the late endosome, the window bounces
off the surface and then bounces off multiple
times to create yard. This is how we re, primarily works as well as the principle of
how it was built, something called
Global Illumination. Okay, so now you can see
that the swatches goes away, but the room still
feels a little too dark to make the
overall room brighter. What you can do is you can
go to your camera settings. And under camera we have something called
the exposure value. So right now it's set at 14. Now this correlates
directly with the Advanced Camera
battery meters. Now if I drag this to the right, you can see the room
getting brighter. The reason why it's getting
brighter is because the ISO value is increased. Now if I drag this to the left, it starts getting darker. Now for interiors,
I generally keep an EV value of about
11 and press Enter. So now we get a nice
bright in the Eocene. This is too bright. You
can also click on auto, and then it would automatically calculate the ISO
for your scene. You can see that the ISO set
is about 937 for the scene. Now you don't have
to worry about the noise and all of that. Because usually when
you increase the ISO to such an amount
in DSLR camera, you get a lot of
Endo, Endo, Endo. But since this is
our render engine and works on software, you can just see the ISO values. Now if you're using EV as auto and if you would
like to make it darker, then you can simply drag the
compensation to the left. So this would make it darker. Alright, so I'm going to tap 0. I'm going to switch
off auto because I would like to have control off my exposure value and
I'll keep it at about 11. Finally, we also
have white balance. And if you'd like to
automate the white ones, you can click on Auto as well. So this wouldn't be
either make it warm or dark depending on a light. Switch those off as well
because I would like to have more control over
the white bands. Added all the lights. Let
me just do the history VFB. I read it all the main lights
or the primary lead status. Now let's do a before and after. So I'm going to switch on eNB. Let's assign this as z, and
let's assign this as B. So you can see the progress
you've made so far. Just by adjusting
few of the settings. In the next video,
I'll show you how to fix the lighting or the sportiness better
by adding some lights. Since you guys in the
next video, Jews.
9. Lighting - Secondary Light (Fill Light): Hey guys, welcome
back. In this video, we'll add our fill lights or the secondary lights
in our scene. So let's start the
interactive render. Alright, so this is our
interactive render. Now what I would like to do
is when I move in SketchUp, you can see the little
view also changes here. I would like to lock the view. So let's go to C into, let's click on Lock
camera orientation. So now if I locked camera
and now if I rotate in, SketchUp doesn't really
affect the scene. Let's place our fill lights. It can be any light from your light toolbar here you can see we have a
rectangular light. Light, spotlight. I is late. Omni light, not dome light is similar to enlightenment
lights. We won't be using it. We'll use it after
this quick workshop. So let's add a rectangle late. So click on the rectangle late. Then simply place it on a wall. Click once, click the second
time to place the light. Now you can see that the
light is being added. Now we need a switch off the source so that
the source is unseen. So let's go to Asset Editor. That's called the lights. It's called a rectangular shape. Let's go to option 0. So
let's switch on invisible. Now you can see that as
soon as the switch on, the slide should go away and
only the light will show up. What I'll also do
is I'll switch off all the other lights and then only switch
on our new light. Of the new light
doesn't show up here. Just simply rondo
interactive render. Again. Go back to S2 and
Randall interactive render. Now it should show
up here. All right. Now what I'll do is
I'll rotate light. So again, let's lock
the gamble orientation. Let's select this
rectangle late. It's more than front of it. And then let's rotate it. I'm rotating it. So that does some
light on the side of the room. Smooth out. That looks good. I can see there's
some edge here. So to fix that, you just need to
move the light up a bit so that edge goes away. And what I'll also do
is rotated at an angle. So I'll use the Rotate tool and snap it to the red axis and
then rotate it this way. If you see this edge here, just smooth out a bit more. I'm just going to
move it out that it should go away. All right, cool. So now what I'll do is in
the rectangular late option, let me just move this video frame buffer,
the bottom here. So in the rectangular
late option, we have something
called directionality. So now if I start
increasing this, you can see that
the light starts focusing on a particular area. If you notice the preview here, you can see it starts to focus
it in a particular area. So if I increase this mode, you can see these areas
don't get dilate because the latest starting to focus
at a particular area. If I increase it to one, then the latest simply beaming on the ward similar
to the sunlight. So let's keep it
to about 0.3.35. And let's reduce the
size of the light. Now, you can reduce the light source by
using the scale command. So if I press S, you
can reuse it this way. The better way to reduce the
size is to simply go here in your shape parameter 0 and
reduce the u and v values. So it's a good idea
to use two monitors. You can see I'm
struggling to sort of show you guys everything
in those screen. Alright, so now let's
reduce the u and v values. So this is the u value. This would increase
the radius of it. I'm also going to reduce
the vertical says. It's also important to note that as I mentioned in
the previous video. The size of your
source is directly proportional to the
sharpness of your shadows. If you have a really
small late, for example, if I make this really small, you don't see the light
because it's really small. But if I increase the
intensity of this light, we can increase it here. So I'm going to increase
it to say, 300 per center. You're going to get
sharper shadows. So you can see the shadows here. They are pretty sharp. Know if you want softer shadows, then you would of course, need to increase the
size of the light. So let's change this
maybe toward 50. By now you can see that
the shadows get softer. I hope you keep that in mind, really helps with the
lighting in the scene. That principle, where you
have a small light source, it gets sharper shadows and if you have a
larger light source, you get softer shadows. And that is why when you
increase the size multiplier of the sun from one to five, you get softer shadows. Now let's go back to
rectangular plate. Keep the intensity to 30. This looks good, and
let's reduce the value. Just affects a bit of the room. Great. So now I'll stop the
interactive render. I place one later. Now let's place another
light here as well. So I'm just going
to copy this later, the other side and then
rotate it at an angle. Now, let's go back to
see into always go back to the scene and then
run interactive render. Let's turn then Jacaranda. So now you can see we are
using only two lights. Let's open the light socio. So you can see since
it's an instance, it just comes as one later. So first to start off
towards the light goes away. Now if you want to
make it a unique late, you can just stop the render. We can select this light here. Right-click on the light
and click on make unique. The reason why it comes
as one instances, because this is an
instance of the slate. They are similar competence. So to make them unique, just right-click and
click on make unique. So now if I go
back to s2 and run the interactive render and
go to source light mix. You can see two lights in place. So this is a light on the left and the satellite on though. Great. So now we can get to the
interesting part of the course, which is to add some chromatic
contrast in the scene. So I'm gonna switch
on all the lights. We can see our
lighting is perfect. There are no Latinas or
anything in the render. Now we need to adjust
the values here. I'm going to bring back the
environment laid down to one. And let's start with
one leg at a time. So switch off all the lights. Let's start with the sunlight.
Sunlight looks good. It's a little overexposed, but we will fix that
in the next video. So let's adjourn the sunlight. Let's return the environment
late, which looks fine. This agenda late on the left. Let's reduce the
value of the late. Just a really subtle
amount fill lights need to be very low in intensity. Just adds that softer shadows on darker areas at the light
on the right as well. Now this is a little
too bright as well, so I'm going to reduce this. Now what I'll do is I'll
go to the color swatch here and make these
slides more cool. And let's make the
environment later a bit one. So now we have a
chromatic contrast where the light fades from
blue to orange, which is coming
from the sunlight. I'm happy with this light setup. So let's add this
to the history VFB. Let's do a before and after. Let. So you can see now
these dark areas, they all get evenly
lit because thanks to our fill lights are
other secondary lights. All right, cool.
So the next video, I'll show you how
to add the wall leads to add acts
into our scene. So these are actually lays
that we will be adding. And I'll show you three
ways to add accent. Let's see you guys
next video. Cheers.
10. Lighting - Accent Light : Hey guys, welcome back. In this video, we'll
add the accent late to add some
interest in space. So let's go to our
asserted though. We have two lights here.
Let's rename this layer. It's a good idea to
stay organized as well. So I'm going to rename this. I'm going to call
this foot light left and call this
fill light, right? I'm also going to add a tag
to all of these layers. So it's a good idea to
stay organized a bit more, especially if you're
working in larger scenes. So what you can do is you
can select this layer, right-click, go to
tags, and click on New. Now let's rename the tag
so you can double-click on the tag called the secondary
lights. Off a late. Let's drag the other
lights to the stack. So now we have it under one tag. We can do the same
for the materials. But in this case, since we're
using kiosk cosmos models, we don't need to really
adjust any of the materials. Now, this is going
to be our main late. So I'm just going
to add a tag called New and call this
the family led. By the way, the environment late we're showing
up from yours. If you go to Settings,
go to environment, you'll find the
environmental ATO basically just reads from the VD
environmental scale. Now I'm sure you all do
add our accent lighting. So let's add a rectangle late. We'll start off with
the rectangular late. So let's click on
the rectangle later. The spacer on top. I'm
going to place a small rectangular late because I want like sort of softer shadows. And once I placed it, It's
also a good idea to sort of make it at an angle
towards the wall. So I'm just going to rotate
it so that it's facing the y. So at an angle towards the wall. And then I'll move to the
center of those frames. So I'm just going to
move to the center of this frame and copy
to the other side. Now, let's move it
down. So select both these late
and we were down. Just move it to a
particular distance. Alright, let's see what is the distance from
the wall as well. I'm using the tape measure tool. So what do we do for MM? Let's move it in a bit. About AT for them. So it's just about
200 m from the wall. You want to check it better,
you can go to the top view. So these are our lights. Strip the distance. About 200 m from the
world. Looks good. Let's see if they
are in the center. They are in the
center. It's wet. You can just go to Scene
one, which is the top view. Or you can use the
shortcuts that I mentioned at the
start of this course. So let's go back to seem to
be placed border lights. And these are
similar competence, so do come as one single
light in the light mix. That's the reason why I
added the light makes settings that she instead
as groupBy instances. If I change it to individually, then each of these
lakes would be listed as individual in
the light pinks. That's not what I
need to make sure you click on Group instances. Now let's click on S2 and
run the interactive render. I'll let you can see our later. And that is some light
coming in places as well. So let's adjust this. I'll go to the asset editor, go to my lights. So this is the new layer that we've added
rectangular late, let's call this, rename it
and call it accent late. Now, you should be careful
when you rename late, especially when the
interactive render is on. You can see that the
source light makes actually calling it
as rectangular plate. First rename the light and then start the
interactive render. So I'm going to stop
the interactive render rhenium the late. Then go back to s2 and click on gender with
tweeted contractor. So now if I go to
my light mixture that shows our bus
accident late, the switch off, all the lights. Let's start with
the accent late. It's also important
to notice that whenever I add a new light
or rename certain lights, you can see that all
the lights default back to the one value. So sometimes in case you change lights and you want to
load back these lights, the values of these layers is a good idea to save
the light makes up, let's click on Save and then say the late mixed preset
called dot late mix. We'll do that towards
the end of the video. Once we just did the accident, Let's index and late. Let's go to Options and make
sure this is invisible. So that the source is unseen. Data source goes away, simply increase the directionality. So you can see that nucleus, that cool light effect. How cool is that? 0.77 works really well. And then of course,
you can reduce the intensity if it's
a little too high. You're late max value, then of course the ENSO
color of the light as well. Now if you search on
all the other lights. You can see that
light coming in. So this is one way of
adding your exit lights. Using the rectangular light and changing the directionality. Let me stop the
interactive render. Know if you are happy
with this effect here, you can leave it as is, and proceed towards
the end where I will adjust the settings
of the light mix or I will show you how to add
accent layer using the spotlight and
E as late as well. So let's delete our
exit late because we won't be using it so I
can delete the conjugate. Now let's place our spotlight. Now before I place a spotlight, I'm just going to draw some
reference lines because it's easier to place a spotlight
with the reference length. I'm going to draw a
line from the center. Let's see if we
get the midpoint. Yeah, that's the midpoint.
It's moved up a bit. Let's move in the green
axis away from the wall. Four to about 200 MM. When I placed the
later would like to spotlight to be placed at this point and placed at an angle facing the
wall at this way. So let's click on the
spotlight option here, and let's click once. And that would place
the spotlight. Now after placing the spotlight, you can use the Rotate tool
and snap it to the red axis, and then rotate it this way. So this is one way to
place your spotlight. I'm going to undo.
And I'm also going to go and check off that light
is being deleted. Yeah. Yeah. There is no late no. No. The other way on my
preferred way is to click on the spotlight and hold
shift on your keyboard. Now when you click, you
can specify the direction. So I'm going to click
here at this edge here. And then you can also plot, specify the corn angles. I'm going to specify the cone
angle toward this distance. And then I'll also specify the penumbra angle
or the fall off, which basically indicates how soft edges of the
late needs to be. I'm going to click
the third time to specify the penumbra
angle as well. Now if you see it's
a little overlap, you can just move
it out a bit mode and moved up a bit more as well. Now let's copy this late to the other side.
Let's click on s2. Let's run the
interactive render. You can see our late. Let's go to Asset Editor. Let's adjust the settings
of the light. What relates? Click on Spotlight. Then we have the cone angle and
the penumbra angle. Let's decrease the
cone angle to make this cone mode smaller. And let's decrease the
penumbra angle as well. So now you get sharper
edges for the correlate. If you want a softer edges, then you simply need to
increase the penumbra angle. You get softer edges, but it also makes it
more bigger as well. So you'll have to
sort of make it smaller than the cone angle. So you can adjust
these values till you get a decent lighting effects. And this is the lighting
effect that you get. And you can also move
these lights down a bit. You can select both these
lights and move it down a bit. So that's the effect that
we get with the corn late. And then of course you can
change the color and so on. So that's the second method where you can use the spotlight. So I'm going to stop
the interactive render. I'm going to delete
the spotlight because you're not
going to be using it. Now we're gonna be using
something called the IEA slate, which is my preferred way
to add lights in the scene. So that is later similar
to the spotlight, but you can add a
shape to the late. So let's click on IES late. Now you need to
specify a IES profile. You can use the one which
is in the exercise files. Now my preferred
IS light is number 15. I'll tell you why. Because number 15 has this cool shape where it sort of has three kinds of lights. Are this kind of a fall
off? It's very go back. You can see the various
lights in our scene. So you can use this for
table lamp and so on. But for our case, number
15 should work with. I'm going to add number
15. Let's add 15 years. You're going to open. And again, just hold
Shift on your keyboard, click once and then
specify the angle. Alright, cool, that looks good. Let's copy it to the other side. Let's go back to seem to list
under interactive render. You can see that cool
lighting effect. It's got that shape as well. Make sure it's always
pointed towards the wall because sometimes if it's pointed directly
vertically down, the shape doesn't really
come on the world, so make sure it's always
pointed towards the one. We'll have to lock the
camera orientation. So let's go back
to see into this. Looks good. I don't need to
lock it because I'm not gonna make any
changes to the scene. What I'll do is I'll select both these lights and
move it down a bit. And you can also increase
the light intensity we're going to isolate. And just making it five, you get a nice
bright I use late. Now you can see these
already exposed area 0. So let's lock the
camera orientation. The reason we end that
would expose area is because this part of the chaos cosmos model is a reflective and the latest
falling directly on that. But if you want to fix that, you just need to
rotate it a bit more. So I'm going to use
the rotate tool, snap or deleted axis and then just rotate
it down a bit more. So now this overexpose, it should go away. How cool is that? Let's also move it up a bit because I think it's
a little too down. I'm just going to move
it back up a bit more. And that's created a
cool effect in acid. Let's see in the color dye
is late, make it more warm. So now you can see there's
no order areas as well. Let's start switching on
the other layers as well. Now you can see
we need to reduce these slides because
it's a little too much. So I'm going to reduce the
rectangle late on the right, cisgender late on the left
and reduce that as well. Let's switch on the sunlight. Now we will fix this by using some correction
controls, will do that. The next video, the
switch on the environment late and the lamp light. This will show up once we switch off the material overrides. Let's maybe just increase
the environment later, but mode, yet more lighting or even
lighting in our scene. Let's see if this light mix out. So click on save and call
this slight mix draft. Next time you want to load
back towards in the settings, you just need to click on load and bring their
late mixed often. Finally, let's switch off
the material audit and check the lighting with
the origin and materials. I'm going to stop the
interactive render. Let's go back to s2. Let's go to asset
editor settings and such altar
material over eight. So now let's run the
interactive render. Now you can see
we have some nice even lighting in our scene. And it looks perfect for
our final render as well. Now, there are some materials
that we need to add, so I will quickly add
that in the next video. It's also important to note that you do not need to follow the MCL add method linearly, but it helps to follow that method if you
are a big enough. Since it's easier to create photorealistic renders as well. But sometimes you need to
mix and match the methods. For example, I have
not added the floor, the wall color, and so on. So it helps to add these materials and then
do the final rendering. So I'll see you guys in the
next video where we'll add some materials will also fix
these overexposed areas. I see you guys next video. Cheers.
11. Materials - Chaos Cosmos Materials: Hey guys, welcome back.
In this video we will add the materials for our model. So I'm gonna go to my
chaos cosmos library now, since this is a
quick one workshop, I won't be creating the
materials from scratch, but we will be adding it from
the kiosk cosmos library. In the project section, where you will create
multiple other projects, I will show you how
to add materials and create that from scratch. So let's go to materials here
that start with fluorine. So let's go to wood floating. Now the previous who
show up faster if you have a better
internet connection. So you guys can go
ahead and select any flooring that you like. Now my personal favorite is this floating
packet, herringbone. It's easier to 1120 centimeters. So let's download the
material and click on Import. All right, so it's imported. Let's go to our asset at
Udot, go to materials. So you can see that I've
materials are being added suffering by k, 120 centimeters. Now let's add it to the floor. So let's go to the group
which is a floating material. Use the bucket tool and
apply the material. You can notice that when
I apply the material, it comes in at the right scale. Although I notice
just go to Edit. And you can see it's
set at 1200 MM, which is 120 centimeters. So that's the best part about Cosmos videos because it
comes in at the right scale. And it only comes in
the right scale if you model SketchUp model in
the right scale as well. So make sure to check
the units before you model and makes you to
model and the right scale. Let's add a wall
material as well. So let's go to walls. And let's add some
of these materials. So I'm going to add a vault, fine-grain white material
with all the walls and then maybe accent wall
with a different color. So maybe this wall paint,
bumpy ochre color. Click on Download
and bring it in. Now again, let's go to Materials and started
playing these materials. So I'm going to play
the white material to our other words 0. So let's enter the group
and apply the material. And let's add one right
of the layer as well. So let's click on OCHA
and apply it to this one. Now if you see this texture is actually called
a texture helper. And again, it reads from the exercise which is
about a 100 centimeters. If I click on Edit here, you can see it's
about thousands. Then if you check the scale as well using the Texture tool, you can see it's
about a thousand. So it's in the right scale. Let's go back to Scene two. And let's render
interactive window. Alright, so you can
see how much of an effect it adds in the scene. As soon as we add the
materials drastically improves the interior and also
changes the lighting a bit.
12. Materials - Fix Overexposed Areas: Now let's fix some of these
overexposed areas here. So you can see there's lot
of overexpose areas on sofa. To check the overexposure
better, Let's go to View. Click on Color clamping and click on false color clamping. These are although overexposed
areas in our scene. So to fix this,
you can just go to your layers tab
here on the right. Click on the plus button
and click on exposure. Underexposure via something
called Highlight bonds. So if you reduce this
slider to the left, you can see those overexposed
areas going away. Now it's completely gone. And on all these areas
are already exposed. And you can see the detail of our materials coming
back as well. You don't have to
worry about this. We will show you how to
add a background and more in the post-production
part of the course. Now, I'll also increase the exposure a bit
more because it's still too dull and
increase the contrast. And then I'll also
add a curves layer and make an S-curve. So click on the bottom-left,
you'll get this handle. You just drag it to
the bottom and click on this red button here on the top rate. Let
me get this handed. Just move it on top. Now if I switch this
off and switch it on, you can see how much of an
impact it has on the render. Let's also switch off
for scholar clamping. So go to View color clamping
and switch this off.
13. Materials - Fix Reflections: Now you can see that the
painting doesn't show up. And the reason behind that is, if I scroll out, you can see it's
actually reflecting what is in the background. So we will need to add an image so that it
reflects only that image. Or we can also add a color. Let's stop the
interactive render. I'm just going to
add a rectangle in front of the painting. So let's click on this corner here and place it
to this corner. Also snap it to make sure
you're basing the right plane. One corner to the other corner. If you don't see
that pain is because of our section plane
which is active. So right-click and
click on active cut. So that would disable
the section plane. So now we have a rectangular. Let's select this
and make it a group. So right-click make group. And let's apply a color
for now and let's see how it affects the painting. Now the reason why that color
came in the painting is because it has a glass material. We'll need the glass material
to deflect something. So let's add color to this. So let's go to materials. Let's select any
color on the face. It's also a good
idea to make sure the normal phase is oriented
towards the middle. So I'm just going to
rotate this by 180. I always like the
front face to face the camera or the
materials in this case. Now let's adjust this material. So let's go to Asset Editor. So this is on
material, rename this, call this reflective material. For reflection, whatever. Click on Edit and VD. Let's change the color. Maybe can change it
this way as well. So make it sort of yellow. And now without changing
any of the settings here, you can click on Add Attribute and make sure to click
on retries properties. To know with ray
trace properties, you can switch off visible to camera and switch
off cast shadows. Now, this color will only be shown in the reflections
and refractions. So let's go back to
s2. You can see that the clipper gets on
automatically in the scene as it was saved
in this scene setting. So now let's run the
interactive render. Now what I'll do is I'll
use something called a region to Window,
click on Render. And I'll drag a selection
from this corner. This corner, this way they're entering will happen only
in this part of the scene. And it renders faster as well. You can notice that
I still can't see the image in the painting. So I'm going to stop
the interactive render. Let me see what is
the reason for that. Now, the main reason is
because our rectangle that we just created is not
within the section plane. So there's two ways to fix this. One is to either move that rectangle inside
the section plane. You can just simply select the section plane and
make it more bigger. So this is the other way. But my preferred ways to
retain the section plane, right-click, click
on active gut. And just smooth this rectangle. This is going to move
this rectangle in a bit. And then let's go
back to see into. Now you can see that rectangle
in the scene as well. If you'd like to see what's
happening inside the scene, you can activate the
extreme mode by pressing Y. You can just go to Edit and reduce the opacity
of the rectangle. Now when you change any of
the settings here doesn't really affect the
settings and video. If I go to my materials
could reflect a material. You can see that it
doesn't really affect opacity or any of the settings. This is independent of
the SketchUp material. Well, let's replace my rectangle inside the section plane. And now let's run the
interactive render. And boom, now you can see
the painting in the scene. I can see the painting,
but it can notice there are some artifacts
showing up here. And this is coming from
below rectangular late. So if I move my window
here to the left or right, if I show the sketch window, you can see that
this is actually coming from the rectangular. So it's reflecting the
reflections in the rectangular. If you want to fix
this, It's very simple. Just go do a late
career filled late, which is the rectangular
light on the left. And then you can go to Options here and make sure the light is switched off to specular and also switched off two
reflections of the material. Now if you notice that
artifact goes away, Let's do the same for this
painting here as well. So let's go to Fill
late rate and switch off specular and
effect reflections. That would take care
of that as well. So now we can clearly
see our bidding. Want to stop the
interactive render. I'm going to maximize this. And I'm going to
suggest a reason to end up because I want
to know the whole scene. So let's run the
interactive render again. And now we have had
perfect, indeed your shot. Again, if the lighting is a little too dark in your scene, then of course you can change
the light values here. For example, by increasing
the rectangle late or the fillets on the left. You can also increase
the environment late. It's a good idea to make
sure you don't change the sunlight because
one sits perfectly. Otherwise it wouldn't make
these areas or the ex-post. Alright, so I'm
liking the render. Let's switch off the
follow most because sometimes it follows
the ending of the most. I think that's what happens. So let's run an
interactive render again. Alright, so I've run the integral render on
the wrong scene. So let's stop the
interactive render, go back to s2, and
then run it again. These are small
things that you need a given mind when you're working
with video for SketchUp. Alright, so now we can see
the lighting looks good. Let's go to our exposure
layer and just increase exposure to make the overall
scene more brighter. Alright, perfect. So I'm going to add this to this, to VFB. Make sure that the dinosaurs has done before you add
it to the history VFB. So I'm going to stop
the interactive render, makes sure that denies this
is John and then add it to the CFP London tractor and a one last time because
I can see some issues here. Alright. So there's no issues.
14. Materials - Round off Edges: But one last thing
what I would like to do is that you can see these villages are a little
too sharp for my taste. And the window edges as well. So we can add a rounding
off to these edges here. So I'm going to stop
the interactive render. So fix this sharp corners. What you can do is
select this material. I'm going to hide
the other material. Select this material. You can use the bucket
tool and hold Alt on your keyboard and
select materials. Let's go to acid at though. Let's add something
called the edge texture. Let's go to bump. You need to add it
to the bump map, which basically creates that
3D effect for your material. So they click on bump, click on rapid,
scroll to the bottom, and click on edges. So again, I just show
that to you again. Just right-click
on the Texas law, click on rapid and
click on edges, or don't add it on
top of each other, make sure you just
added one layer. So basically this adds or edge texture on top
of the bump map. So this is the bump map, which is a cellular map. If you want to increase
the rounding off, you just need to
increase the video. So I'm just going to increase
this to 0.3 and press Tab. Let's do the same for
the window materials. But the window materials using the default sketch our material so we need to add a material. Let's go to colors and
let's add maybe easy to do. Let's adjust the settings
of this materials. I'm going to rename this
call is window frame. Click on Edit and video.
Let's change the color. Let's make it sort
of grayish weight. Not all the way. Wait, some
amount of gray really helps. Let's increase the reflection. And let's increase the metal is. So that would make in
metallic, but not to metallic. Just about a little bit
metal in the middle. And then again, just go to bump, click on the text to
start your scroll to the bottom and add
edges texture. Let's increase this to 0.3. Now let's go back to Scene two. And now let's run no
interactive render. Now if you notice the edges, it becomes more rounded off. Let's wait for a bit for
the rendering to work. Right? So now you
can see that that is some amount of rounding
off in our scene. On these edges
here as our cooler that you'll only be able to see these
vendors in detail once we do the
production rendering. So that's a quick tip
for you guys to create rounding off in your materials. Hello, I'm happy with that Endo, so I'm going to add
this to this to VFB. So let's stop to interact
with Endo such under nicer. And add this to the history VFB, as do a before and after where we started to
what we've come so far. You can see we've
come a long way. Pretty decent results. The next video,
I'll show you how to set up for the final, and I'll see you guys
next video. Cheers.
15. Rendering - Final Render: Hey guys, welcome
back. In this video, we're going to do the
final rendering of a scene and also do
some post-production. So before we do
our final render, let's run the
interactive render. This is our Endo. Now, I would like to
make some changes to the sender as well. For example, I would like to
make the walls more whiter, like to make this wall more later as well, and not so dark. And maybe change the
color of the rock, the color of the sofas, and maybe also add a
background to this one. It all going to be doing
anything in Photoshop, but we're going to do
all the post-production Belinda VD frame buffer. And I'll show you how. Let's stop the interactive
render button. Now, let's go to
our asset at all. Now, you need to click on Render elements
and we need to add some elements to
make those changes. So you can right-click
content elements. And let's add a
crypto Matte mask. So we have crypto Mateo just
click that and added in. What the crypto Matte
mask does is it assigns a color to every
object in the scene. Since we have our walls
as separate objects, it would assign a color
to each of these walls. Now if you want to assign
a color to each material, you can also select material. But in this case, object
name should work properly. Next, I'll also add something
called extra texture. So let's add extra
texture and place. What this does is that it
adds details to the corners. And it's sort of like an
ambient occlusion alternative. So to make this work, you'll need to add a material. So click on the slot here. Scroll to the bottom and
you'll find it that texture. So let's activate
the dough texture. And we can use the default
settings for our scene. So let's go back. See you
added three elements. Now let's go to Settings. Now for the final render, we can increase the
quality to high or high. Plus, we can leave the
dinner zone in media EA. Let's go to render output. We can increase the image
width, height as well. But for now we'll keep
it at two thousand, one thousand because they
want a render which is fast. So 4 thousand by 2 thousand would be
like a fork a render. But for now, image
width height of 2007. So phase. We can also switch on
presumable venting. So what this feature does is
that it allows you to stop the render and start in case you want to pause the
render in-between, or if there is a power cut
or something like that. So to activate this, let's click on Save image. Toggle the Save Image button and specify or bad for your Endo. Hello, you can save
it as a PNG file. So click on Save. And said John, as the removal of
handling these settings, I'm going to run the trend. So click on the drop-down menu and click on Render with video. It's also a good idea
to save your file before entering the financing. We're going to come back
once it's complete. So that Endo is
done. Let's check how long that undertook. So let's just go
to the stamp here. Then you can see that the render time took
about 46 minutes, 57 seconds on my laptop. Now I will show
you how to reduce the render time in the
coming few videos. But this quick workshop would enable you to create
fenders just like these. We will show you some hacks in the coming few videos and make this render
even more better. But for now, this
should suffice. So let's go to source light mix. I'm going to switch
off all the lights. Let's start with
the primary late. So John to sunlight and
the environment late. There are some
overexposed areas. So let's check the false color clamping these areas a
little too overexposed. So let's go to exposure and reduce the highlight
bonds a bit more. Not too much. Just
a bit more so that these areas don't
get too overexposed. Let's go back and switch
off color clamping. I will keep some of it
to overexpose because it adds that cool look and
feel in the render. Now let's go back
to so slight mix. Let's switch on the next slide, which is secondary late. So the fillets. So this increases the
overall brightness in the scene, which looks nice. And then again, you can
go back to exposure and reduced eyelid bonds a
bit more if you like. Next we can add our
ambient lights, which can be the lamb plate and our accent layer here
sits on diarrhea slates. And the lamb plate. I'm going to suggest the isolate because it's a data Endo. And you don't really need an isolate for the
wall art for now. Let's reduce the field
later. Eight a bit. Good, feels a little too much. When I reduce it, you can see the plague of shadows and
highlights in the render. That's very important for
photorealistic renders. If it's washed out with late to render, wouldn't look Create. And then we can
leave that is laid off for one shot and you can
keep it on for another shot. If you feel it's too less, you can also increase that yes, late to tend to
increase the amount, but let's switch it
off for the shot. The rest of the lights, you
can just simply turn them on. It doesn't really matter. Just make sure to
switch off, isolate.
16. Post Production - Change Wall Colors in Vray: Now let's see in the
color of the walls. Let's make this wall more wider. So to make it more whiter, what you can do is click
on the Plus button here in the Layers window and
click on exposure. Or you can click
on cars as well. Let's try exposure. Now under properties or
next two properties, you have this Add
new mask layer, which is similar to
masks in Photoshop. So click on that and click
on crypto Ahmed mosque. So the crypto might mask, is there an element
which assigns a different color to each of
the objects in the scene. So if you click on
the drop-down menu here and select crypto, Matt can see that it assigns a different color to each of
the objects in the scene. So let's go back to RGB color. Let's select crypto mature. Next two properties. We
just added this mask, but do not assign the R
selected the right color. So to select the right color, just click on pick and select
this wall and this one. So now if I click on Show
Preview and select it, you can see that the white indicates that these are the
elements that are selected. So let's switch off the preview. Now when I go to exposure
could have properties the same layer and
increase the exposure. You can see that
that makes it more weight. How cool is that? Now if you feel
that it's too wide, you can also reduce the opacity. You can also reduce
the highlight bonds. How cool is that? Let's do the same for the
window frame is also, you can right-click on exposure or the exposure layer
and click on Duplicate. Go back to crypto mat. Let's remove this because we need to select
the window frame. Now. Click on pick and select
the window frame. And this window
frame here as well. Alright. And then let's go back to the properties and reduce
the highlight bonds a bit. Then you can reduce
exposure to change the color to make it
darker if you increase it, to make it super array,
let's just reduce it a bit. And it can increase
the contrast as well. Now if you notice these
reflections here, is because our glossiness
are set to one. Go to my acid or a dog
select window frame. You can see that the
glossiness was set to one. So if you reduce this,
you can see that the reflection in that
material goes away. So this was something we had to do at the
start of the Endo. But you can keep
this in mind for you in case you're
not rendered yet. Go back to the
reading frame buffer. Let's see in the color of
the background wall as well. This time allotted goes Leo. So let's add it goes live. And let's add the
crypto Matte Mask. Click on pick and
select this group here. Now, you simply need to go to Properties and drag
our slider to the top, select the red point, and drag the slider to the top. So this would make
it more lighter. You can do the same
for that as well. Go back to crypto Matte Mask, click on pick, and
pick the drug as well. So the rug also gets
like, how cool is that? We've done adding some presets. Let's save this preset out. So click on save and
call this final preset. Already save the preset. I'm
going to replace that file. So the next time you do another render and you want to
load the same colors, you can simply click on load
and load this piece it in. Let's make the color
a bit more whiter. I'm going to select
this exposure. You can also change the name
of the layer, you add it. So I'm going to call
this wall color. And I'm just going to increase
the exposure a bit mode. Alright, that's more weight. And let's change this color. This is the window frame to select the layer
and change it to you. This is the window frame. We also have the background
wall. Like cool. Now we can also add something
called the lens effect. Senate will bloom and glia. So this would just add that
extra bloom in the render, which is similar to India
photography shots as well. How cool is that? Now you can of course increase the size or reduce the size. Also increase the
intensity if you want more bloom in your Endo, just going to leave
it to the default. And I'm also going to add
a sharpened and glow. So this select sharpened blow and click on
Calculate sharpen blow. So this suggests make
the edges more sharper. Now let's save this preset out again because I just
made some updates. So click on Save
and save this file. Now let's go back to
the source light mix.
17. Post Production - Add Background in Interior Scenes: Now let's go back to
source light mix. Now we're going to
change the background of the glass here. So click onto composite. And let's add a new folder
to change the background. So you just need to
select light pixels. Right-click on the
light makes folder, go to New Layer and
click on folder. Let's call this
folder and rename the folder name to background. Then inside this background you need to add the
background layer. So right-click on the background folder called a new layer. And then you would find out
background than the element. Now let's add an image. So click on open. Let's add this
skyscraper background which we got from pixels. So open that up. And so John as foreground. Now you need to specify where you need to
see the background. So let's switch this off and let's add a
crypto Matte mask. So we can add it on rent
element called background. So we need to add it to
the background folder, select background, and
select the new mask layer. Click on crypto Matte Mask. Click on pick, and make sure you select the window on it to
you selected the window. This is not the
group that we need, so let's remove that. Now what you can do is
select the background, the element, and click
on as foreground. So now it will show up
early in the window. Now we can adjust the value. So let's just move this around. I'm just going to move it a bit. I'm going to drop it down as it, I'm going to drop it in such
a way that the horizon line, which is these lines meet
at the vanishing points. So that's around
the horizon line. Then finally, you can go
back to the background layer or you can select by
Galileo and reduce the amount of the background,
can use it both ways. Now we've added a
background in our scene. Finally, once you're
happy with this preset, save this out and call
this final updated preset. And click on. Okay. There's one last element
that I need to add, which is called extra techs. Select the folder, right-click, go to New Layer and
click on the element. So let's say in the element, right now it's RGB color. So select the extra
texture and element. Let's change the blending
mode from add to multiply. So as soon as I add that, you can see that extra details that get added to the window. How cool is that? Now if it's a little too much, Let's reduce the
opacity of the element. So I'm going to just
reduce it to about 0.40.5. Just a little bit of
details in our scene. Now if you see that the
denominator isn't added, some noise, you can
sometimes just switch off. Calculator knows
and to start back on to see the denoised image. All right, cool. So I'm happy with this render. Let's see if this out. Call this the final
was produced or Endo. Let say, I hope
you've been able to create this quick render, quick awesome vendor that
is through this workshop. Now, I would love to see your work and what
you come up with. So in the next lesson, please do add yard the
windows to the assignments. I will check them out
and they'll give you useful feedback as well. And in the coming few videos, we'll improve this
render a bit more, maybe by using some
additional plugins. And we can analyze this render to maybe
improve it a bit more. But so far, it looks perfect. I loved the tone, the wipe, and lighting in our scene. So simply follow the
four-step process, which is materials and models, camera and
composition, lighting, and finally, rendering
and post-production. Now you can use the
same methodology to create more Interior handles. And you can further practice the same methods
that I taught you so far by going through
the projects. So practice makes perfect. And through these projects, you will learn more
about interior design, lighting, and mode. I will also show you how to improve your Endo
time and reduce that. Entertain that is, and
still get amazing results. Please do leave a review if
you found this course useful, goes a long way in helping
the corkscrew and pleased to share this course with
your friends as well. I'll see you guys next video. Cheers.
18. Depth of Field Shot: Hey guys, welcome
back. In this video, we're going to create
a close-up shot. So you can see that I've
created a scene glove close up. So now we're going to create a close-up shot of
this render and consecrated depth of field shot such that the
background is blurred. First thing what you
need to do is I need to change that and output. So let's go to settings. And since this from
custom to one is to one, as soon as you change that end up leading to check
the field of view. So present, you can see that the field of
view is set to 52. Let's maybe try 75.
So that's more zoomed in and you get a better sort
of Depth of Field Render. I'm going to orbit out a bit. I'm going to use
two-point perspective, the stain because I want the
camera to be facing down. So it's that these
elements are in focus. Now let's run
interactive render. Let's use the interactive
render settings. I think all of this looks fine. Maybe just change the quality to medium and then run
interactive render. Let's add a proportion gate to compose this render better. Let's maybe add our points of interest to these
intersections here. Alright, so I like this view better because we can
see the lighting, the background, and this is
composed better as well. I'm just going to update this
close-up shot like this. Now I'll show you how to
add the depth of field. So let's open the asset at
all. Let's go to Settings. Let's open camera. The camera we have
depth of field. I'm going to switch this on. Let's rerun the
interactive render. Sometimes it was a
good idea to stop your interactive
renders and then switch on major settings, for example, as to standard
out depth of field. And you can see that
an adult to up. So it's always a
good idea to sort of fix your renders first, switch on the Settings and then run the interactive render. All right, so now I run
the interactive render. Let's see, hopefully it works. You can see that the depth
of field is working. I can actually switch
off the proportion, great because I
don't need anymore. What do we still
have this arrow, but we can ignore it for now. Now the focus is
at the background, so we need to change the
focus to our foreground. Do. So let's change this from fixed distance to a fixed point. And let's use this option
called Pick points. So click on that. And let's pick a point. I'm just going to
pick this point here. Let's do that again. Let's pick the points. Now you can see that
the focus is on the books and our last year. You can also try camera target. And then once you
use camera target, all you need to do
is right-click. And then you'll get an option
called camera focus tool. So use the camera focus tool. And then simply when you
click on these options here, it will focus accordingly. There's also fixed distance. All three work similarly,
but in this case, you can change the value from your results so you can see that the focus now goes
to the background. So again, let's
click on that point and select the correct distance. If you want to make the
background more blurry, or you can do that as well
with the defocus tool. So if you increase this, you can see that we get
a very hazy background. So that's a little too
much of auto-focus. So let's bring this down. This looks fine. What
I'll also do is I would like to see more of
the wass and the books. Sort of move it up a bit. This looks much
better. It's focused. Camera again. Now you can see up
books come into focus. How cool that? Let's update the render. Maximize this. The lighting also works perfect. So we can maybe just switch
on the denial and see how much of an effect it has on late. It
looks pretty nice. The books are in focus
and our losses well, now I would like to make this
flower a little brighter. So since this is a
kiosk cosmos element, so if I select this, can see it's a kiosk cosmos
element and you don't have the option to edit these. So what I'll do is I'll just select this and click on Merge. Now these would be showing
up in the materials window. Let me select one material, right-click and click on
tag and click on New. And I'm going to rename this
call this cosmos materials. And then I'm just going to drag these Cosmos materials
so they stay in place. And it's nicely
maintained desert. So now what I need
to do is increase the brightness of this material. It's all you need to do. The right-click go to rapid
click on color correction, and then simply increase
the brightness. So that will make it brighter. So now if I run
interactive render, you can see if you
have brighter flowers. Alright, so I'm happy
with this. So we can set up for our final render. We stop the interactive render. Let's go to Settings, and let's just stay on
the quality too high. Let's go to the end output
and change the stolen finder, the stain because 2000s
a little too much. And I'll save this file out
and then run the window. So I'm just going to
click on Render with 3D. We're going to come back
once the render is done. Rendering is still going on, but I'm pretty happy
with the result. As you can see, we get a
really nice sharp Brenda. The quality is
pretty good as well. So this is the best
part about progressive, where you can actually stop the render midway
and you can see it this old as the final render if you're happy with the result. So I'm going to just
stop the render. And then I'm just going to
go to exposure and just increase the exposure a bit
to make it a bit brighter. This looks nice. And then I'm going
to save this out. That's how simple it is to
create depth of field shots. In the next video, I'll
show you how to light the bedroom using
the dome light. So I'll see you guys next video. Cheers.
19. Adaptive Dome Light: Hey guys, welcome
back. In this video, I'm going to show
you how to eight up our interiors using the
adaptive dome light. So let's go to the front shot. I can see that right now we're using the Depth
of Field Settings. I'm going to go to
the Asset Editor. I'm going to go to settings. Before I change any
of the settings. It's also a good idea to
save these settings out in case you are going to create
depth of field lender shots. So I'm going to click
on Save and go to File, click on Save button now. And I'll call this Depth
of Field Render Settings. So if I make any changes and I want to load back
to render setting, you just need to click on
open and load this back in. That's a quick tip for you guys. Now, let's change
these settings. Let's switch off
the depth of field. Decrease the quality,
the low plus. It's got to render output
and change this to custom, and change it back
to 2 thousand. So we will have to unlink that chain and thousand
to two is to one. Let's come back. Let's
click on front shot. Is there anything else
that we need to change? We can maybe just switch off, save image as well because you're going
to be testing this. Yep, This looks good. Now, I'm going to lock it
back because I need to sort of Locker to this frame and I'll change this
back to thousands. And I'm have really setting. So let's hear it out. I'll call this two by one test. Hello, this is our settings
to check the render. Now, when I opened the
video frame buffer, you can see we have
our previous renders in place here.
Tonight is to VFB. Now if I hover on
top of the renders, you can see the time it
took around one night, 12 minutes for this scenario, the Depth of Field Render
to cover 26 minutes. Now I stopped at halfway because I was happy
with the result. Let's see how long O adapter
boom laid undertakes. So we're going to use only
that after dome light and switch out sunlight
and environment late. Let's add our dome light. You can find it in
the light toolbar of really added dome light. And let's go to the editor, can see the dome right here. It's using the
environmental sky from the Sun so we can leave it
as is for open this texture, you can see that it's
actually from the sun. I'm going to leave
it as is. You can bring in your own,
It's the IRAs as well. So if you go to chaos cosmos, good HD IRAs, and maybe go to D. So you can see we
have various HDRI. Let's bring in maybe one. I'm going to download this. Let's bring that in. So when you bring it in, it actually gets copied
here called D35. Let's first try
the environment or the interior scene
with the default HDRI. And then we can copy
this and paste it to our HDRI slot for
the second test. So let's go to the front shot. Now, before, when you
add a dome light, especially in the
older versions, we generally had a
rectangle laid on top of this window and we
make it portable late. But with the latest
version of 3D, these are called
adaptive dome light. So what it does is, instead of using the
portal late, it's smart. No. It would be able to bring in the HDRI late into
the interior scene. And it would calculate in a very smart way using
machine learning algorithms. And subtle brighten
up the space. So the GI works really well
with these Dome lights. And it's also said to be faster compared to those sunlight
and environmental later. So let's go to the front shot. Now before you run the
interactive render, I'll disable the sunlight. So I'm gonna late and
disabling it here. And I'm also going to disable
the environmental eight. Now let's run the
interactive render. So let's click on this drop-down here and start the
interactive render. Alright, so let's go
to our light mixture. Let's switch off
all the lights and let's just switch on
only the dome light. Now you can see it's
pretty dark in the scene. So what we can do is we can
decrease the exposure values. I'm going to change this to ten. Now you can see it
makes it brighter. Once you've decreased that, we can also increase
the dome later. So I'm gonna make this
a 30 and press Tab. So now we can see that
the light comes in really nicely if we have a nice soft lighting
setup in the scene. Now I'll switch on
these other lights. So let's switch on the IES late. Let's switch on the lamb plate. And let's touch on these
rectangular lights as well. As soon as this is
chunky rectangle, let's say it's a little
too much for the scene. So these are our
secondary light. So let's reduce
them. By the way, when I replaced the
dominate and was actually replacing
the primary late. All right, so I'm
going to reduce this. Just a bit of brightness there. Let's reduce it
further. Alright. It's also such on the
Secretary laid on the lightness a little too
bright, too overexposed. So we'll have to
reduce this again. The dome light is doing
most of the work. So even if I switch
off these layers, you can see that
aromas pretty lit when we use the Adaptive dominate
how cool that case. Now of course, when you switch
on the environment late, it wouldn't show up because we've switched it
off in the settings. These are all just in default. The self illumination
comes from MSO materials. But we'll show that in the
projects in our course, right? So I'm happy with this and I'm going to run
our final render. So I'm going to stop this. I'm going to say these
settings out so I can click on Save because adaptive
dorm late test. Now let's set up
our final lenders. So let's increase
the quality to high plus the scenes that end
output to 2 thousand. And that's about it. Let's save this
file out as well. And let's click on Render
with really no agenda with really interactive render with what our guys, so
that renders done. And let's check the render time. So let's go to stamp. You can see the render
time is 23 minutes, which is less than
half of what it took to render with the environment light
and the sunlight. So you can also see that the lighting looks
much better as well. So if I go to my
source light mixture, we can actually switch out the sick leave late on
the left and right. And you can see that it's evenly lit just
with the dorm late. How cool is that case? Now we can reduce this, maybe keep it at ten, and then we can switch
on the security late and you don't have to use the secondary
late on the right, just the one on the left. Ten fields a little too less. So maybe 20, 15
for the IU slate, and 24 that dominate. This looks nice, nicely bright
data and I'll switch off the slate so you can see how much of an effect
that has on the scene. And I'll save this
out. So click on Save. We call this. Let's do a before and after. So I'm going to add
this to this to VFB. And let's do a before
and after with this window to him
later on though. So you can see that after the
lighting looks much better. And the reason why
I didn't show this at the start of the
course is because I wanted you guys to get used to the three-point
lighting system. You can follow and most
interior renderings. And you'd be able to create
really good renders as well. I'd have to dominate the sort
of like a hack where you can just use that
app to dominate. And it would take care of both your primary lighting and your secondary
lighting as well. Sometimes it's a good
idea to sort of play with the three-point lighting system for your windows so that you can get rid of any
dark shadows or splotches in your Endo and have a nice clean
render like this. You can also of course, add this to the composite. If you'd like to
change the preset, you can just simply load and load slowed our previous preset. So we'll call this
the debri cenotes a little too bright because
of our values here. So let's just switch
off some of these. We can also just create
it from scratch. Now, the reason why it didn't
work here was because I used a preset which was made
for another lighting system. So I'm just going
to undo your right. And again, if you want to sort of add certain
data elements, we can just add the
extra extent element just to boost the edges. So I'm just going to
right-click on late mix for low code a new layer
and click on land element. And let's change this to extract x and make this to Multiply. Now if I switch this off and on, you can see the extra
details and arsine, which is really cool off,
It's a little too much. We can reduce the porosity. What 0.5 should work fine. Then you can see it this up. Alright, so I hope you
found this video useful. Now in the future projects, we will be following the
same lighting system, but there are some
projects which were created with
the older version, so SketchUp and 3D. So when you come
across the projects, I would highly
recommend that you follow the lighting system and techniques taught in this
short video workshop, V64 SketchUp that is implemented in your own workflows and create high-quality
3D renderings. I would love to see your work, so please do submit it in the assignments and I'll see you guys in the future videos.
Take care, Cheers.
Manish Paul Simon, Architect | 3D Artist | BIM Expert
