Create Photorealistic Architectural Elevations with Sketchup & Vray | Archviz Masterclass

1. Introduction: Hey guys, welcome back to another workshop, but I'm going to show you how to use atmosphere in your exterior and nodes and create a nice mood and setting for the exterior windows. So you're going to start off by using a 3D model setup delayed set up the materials, set up the camera. We, of course, then we learn some cool 3D settings to create this fog effect in Vd for SketchUp. So this is a quick tutorial to help you get better and really force ketchup. And with each new model that you render, the better end those you get to create as well. So we create a nitrogen though are they render? And also we will try experimenting with some materials. Example these glass blocks on this facade. Correct? So I'll see you guys next video. Cheers. 2. Setting up the Model: So to start off, you can open SketchUp. You can use any units which works for you. We want to start off by bringing in my 3D model. So let's go to Windows and click on 3D arrows. Now, there are some feature community models that you can use. I would recommend that you use the same model that I'm using for this workshop and then you full practice. You can select any model and create your own Exterior render as well. So I'm going to use a model created by John Luke drop, who has a lot of cool looking models that is created when you guys can use any of these models as well. I'm going to use this whole 16 by 16 by six. So let's click on Download, click on Yes. Give it a bit. I then place it at the origin. Now we need to clean up this model because there's a lot of extra stuff. So the first thing what I want to do sentence it's an anterior group. I'm going to right-click and click unexplored. So now we separated it into like different entities. So now I can select all of these 2D figures and the trees and delete them because you're gonna be using proper 3D trees and 2D figures, which look much better in those as well. And we can use a puppy as well since he's added a puppy and leucine. Alright, so he sort of clean that up. And now what I'm gonna do is we're gonna use a plugin called cleanup. You can install it from the extinction of arrows. So this Code extension of arrows, search for cleanup. And you can go ahead and download the sclera up three plugin. So once you install this plugin, just go to Extensions clean up and click on clean. Can use the scope is the model. Click on purge unused, so deletes all unused materials. You can leave the rest of the settings as is, and click on cleanup. So this will essentially bring down the size of your SketchUp model as well and make it faster for you to model and render in SketchUp. Great, So the cleaning process is done. And now we can see that this model, and also I'm going to delete the Jeep because I can use the VD cosmos models for Jeep as well. So deleted that. So I'll have to clean up again because I want to clean up the Jeep materials. So I'm going to go extensions cleanup in with last settings. That's a quick way to clean and it's done. And now I can save this model load. So go to File Save and click on Save. So that's about it. In next video, we'll set up the camera and we'll further proceed with the vendor of this model. So see you guys next video. Cheers. 3. Setting up the Camera : Hey guys, welcome back. In this video, we'll set up the camera and also set up the camera output for this scene. I like to start off and we'll place a camera right in the center of this piece. So I'm going to draw the reference line, which is gonna be from this edge. Let's snap it to the green axis by pressing the left arrow key and then click on this edge. So now we have a line, let's move it out. You can see you other liners was always moving out, not blindly move it out. Make sure to snap it by pressing the right arrow key to the red axis. That is an order loser. I'll draw a line from the center. I'll actually draw a line from this edge to this edge because the center of this space would be more compositionally looking better. So we're gonna draw a line from this edge to this edge, and then I'll move the last node. So don't draw it all the registrar to the center there. Then moved out. So **** it this way. Okay. Now let's place our cameras. Go to camera position camera, and then please point, yup. Alright, so now it's nicely bang in the centre of the scene. Now what I need to do is I'll quickly create a scene first and then update the settings. So let's go to our scenes tab here and click on the plus button to add the screen. Okay, great. So now what I can do is change the render output because I can only see half of the billings. So let's go to our asset at a Tojo. Go to Settings, let's go to the Render Output and such on say a frame. And let's see the aspect ratio from 16 to nine to forced to fight portrait. So now you can sort of see then diode willing. But the problem is we sort of zoomed out a little too much. So I'm going to press Z on my keyboard to activate the Zoom tool. Now you can see that the field of use 57, I'm gonna change this to around 35. Once I changed it to 35, I'll then use the scroll button on my mouse to zoom. Or you can also bend and sort of scroll. Make sure your, I hate to set at this level so you're looking from a lower point and doesn't look like you're looking from a higher point into your building. So it's better to have a lower angle. And finally, the last step is to go to camera and click on two-point perspective. Now your lines up perfectly vertical as well. I always make it a point to give equal spacing on the top and the bottom as well. Alright, This looks good. Let's use the zoom tool and zoom out a bit more. Let's try even thought he should work fine. Yeah. Once you change the angle, it goes back to perspective. To go to gambler and click on two-point perspective. Works well. These settings, I'm going to update the scene. So I click on scene and click on Update. Let's reset the camera. You can set multiple views as well in case you want to show more use of the building. But in this workshop we want to just be working with one scene, which is the Francine off the building or that sells you guys. In the next video where we will set up the lighting for this model. See you guys next video. Cheers. 4. Setting up the Lighting : Hey guys, welcome back. In this video, we're going to set up the lighting for our model. I'd like to start off and we're gonna go to my asset at Udot. Going to go to settings such on RTX interactive on intact is what helps you lend on real-time and make changes in real time as well. And I'm going to switch the denoise on and set this to NVIDIA ear. And I will also update the effects to rapid so that I see that the noise app and I surrender progresses as well. You'll get a black screen with these settings. Then I would recommend that you switch to CPU and switch to. So these are things you can continue the workshop make is ever an RTX graphics cards and wants to start dx. And I'm going to switch to NVDA. Now these settings, I'm going to run non-interactive random. Right? So this is our plane render which we got and we need to improve this render. So the first thing what I want to do is set up some layers here. I'm going to click on the plus button to add an exposure layer. And then sort of increased exposure. It cleaves to highlight bonds, add a curves layer, and then make an esco. So click on the bottom-left diagnosis to boost the shadows and click on the top-right and create sort of an S curve, which is a sort of boost the image. You'll see more difference once we set up the materials, better lighting and more. Then you can go ahead and add some additional layers as well. Let's add a filmic don't map, which gives it that extra length. If you don't see that dial is drag this to the left and reduced effect by reducing the amount here. And we can also add a white balance to adjust the temperature. I'm going to add this to these two year three now if you don't see ISD VFB, Yeah, go to Options, VFB settings, click on history and make sure this is enabled and setter history folder as well. Make sure Ollie auto loudly as a switched on and usage of AutoCAD because you don't need to keep saving each and every random. I'm going to add this to the SDV, a fee to do a before and after as we progress through the render objects. And I'm going to set up the natural lighting in the scene. And then if we have time, we will set up the artificial lighting or we'll set it up in the next video. So to set up the natural lighting, I'm going to be using the dome light. So I'm gonna go to Asset Editor, sunlight and such off the sunlight. Then I'm going to go to Settings environment and switch off the environment late. So now if I render, we will get a black screen because there's no light in the render. It's coming from the self elimination. You will need to add some Dome lights into the scene. So let's go to chaos cosmos. What we need to add HDRI is into our scene. That is, click on HDRI is. So now I'm going to add some evening STIs. So we start with creating the Nintendo and then we create the data in. So you can go ahead and download any of these H2RAs. And I'll show you how to mix and match these HDRI as well. So I'm going to add sunset to sunset 30 and maybe sunset for you as well. So I'm going to download sunset five and add it in. So just click on Download and then click on Import. You can see that asset importance and progress. It's already added to this very acid at Udot. So if I go to my texture 0, you can see that we have all these HCl is added to add Asset Editor. Now what I'll do is I'll add a dome light. So I'm going to click on the dome light option you're from relates to click on dorm late. They start n. So that's one. I'm going to place another one. That's two, and that's three. So we have three Dome lights. But now we need to go to asda TO cool textures and copy each of these two, the corresponding don't need. So I'm going to right-click on the actual sunset five copy, go to dome light, and then paste it here, paste as copy of basis instances. Well, and good if you make changes here to reflect your as well. This ship to sphere. Let's do the same for that though. So copy this, paste it, your copy this, and paste it here. We've added three Dome lights. Now let's go to Scene one. Now we're going to use a cool new feature called glycogen to generate the lighting in our scene, you can click on Login from the 3D lights Toolbar. Make sure you click on exterior. Click on HDR. You can also use custom HDR setting in case you have a CRA files in your folder. But we're going to use the dome light rays in unseen. So you can see that we are going to generate 105 radians, which is all laid in case you have a good system, You can go ahead and generate these Harlan and phi radians. But I'm going to reduce this unique slides to say about grantee and then data about 60 variants. So we want to click on gender. And let's see what can a friend output we get from the light chain tool. So we're going to come back one store. Glycogen is being generated for all the H2RAs, right guys. So we've generated our lighting and you can see that it's generated various lighting scenarios for art scene. Now you can go ahead and select multiple lighting scenarios, or you can select two or three and mix and match them using very light mix. So I'm gonna go ahead and select couple of them. We're going to start with the nitrogen dose. I'm going to go for a darker background. So I'm going to select this. I'm also going to get select one with some clouds. Now, each time you click, what happens is it creates a light Jin dome late. So if you want to add multiple, you'll have to rename this layer. So I'm going to rename this, call, this underscore one. And now when I click on another light, dome, for example, if I click on this, you can see that a new one is generated. So let's rename this to underscore tool. So it gets, so how did the same one twice? So let me just select them and then rename them. I'll add one more. So Let's go for this with the orange color and we'll try to mix and match this in the very late mix. Okay, so I'll rename this street. So we had three lights. Now we can delete these layouts because this is an output from these three Dome lights. So now what I do as agenda, all three of these dome leads to know your three domains that are active. And now what I'll do is I'll add the light mixed land element so I can go to the end elements and click on late mix. We can leave Group By individually later on for the natural lighting setup, and then go to Settings. Make sure your interactive sending is right. Click on scene one and render 3D interactive. So now it's overexposed. So let's go to our source light mixture on the right. And then we can switch them off by clicking on all sorts of stuff, all the light, and then switch on each of them one by one. So you can see that this later, the literal too bright for the scene. So I'm going to use this. Then I'll switch this off and then it sits on the next one and see how it matches with the first late. So I'm gonna switch on the first late as well. Like reduce this as well. The third late. This is how it looks. The door, let alone reduce the door late as well. Now let's agenda for slate and what I'll do is I'll change the color. Let's go to color. And then I'll make it dark. I'll do the same for these lakes as well. Alright, great. So now we have a good background or cool-looking background. And we can set up at night renders. I'm going to add this to the ACFE. Let's do a before and after by clicking on a and B. So a, set a and set B, the previous image status. And then you can do a before and after. The background looks good, it gives a dark sort of a mood to the scene. And now we can set up the artificial lights, which I will do in the next video. So I'll see you guys in the next video. 5. Setting up the Artificial Lights: Hey guys, welcome back. In this video, we're going to set up the artificial lights in the model lead. So John is created this model with a lot of tags, so it makes it easy to add lights and cyto model. So let me just open tags here on the right and our default here. You can see that he's categorized each of these elements into different tags, which is awesome. So if I switch off while exterior, you can see the interiors. Keep the wall interior zone. To solve the stack is let's draw the windows. And now we can place our artificial lights. Now the best way to eliminate the interiors in your scene is by using the mesh light are those VLANs. So we're going to play some CLAs and say This space. So you can go to yard VD lights toolbar and click on sphere late. And then click once and click the second time. Creators feel it is very important that you not intersecting the sphere late with any elements. So always make sure it is floating in space and not intersecting with any objects. Now if you notice, if I right-click on this competently competence, you can see that it's a competent if I make a change to one company and it will reflect on the others as well. So now since John is created tags for each of the elements, I'm going to follow his philosophy and also create some tags for my 3D elements. I'm going to click on Add Tag, call this lights. And then you can either change the tag by going to the entity Info and changing it your all. You can use the new feature called Dactyl under tags. So you can click on tech tool and then simply apply the tag on though we re sphere later. So now if I select this light and go to Entity Info, you can see that the tag has been applied. It's an old copy this to the bottom. So let's use this reference point. Copy it to your zoom over to the side a bit. So it's not intersecting with any objects. Let's create, select this one would do the top, right. And that's more another sphere laid on top as well. I'm using the snapping it to the top arrow key to move it in one line. It's a place for sphere late. So here there's no space, two places you're late, so I will place a mess late or omni light. So we can click on Omni later and then simply click once to apply your own me late. So basically the difference between the CLA it and only later is that Omni light illuminates from a single point, whereas a sphere light illuminates from the entire sphere. So you can see that the point for Mary to limb lead to this point. Right now I need to change this as well. So I'm going to use the type tool and I play the Late tag for me late. So now if I switch off the lights, you can see that all the lights get off. So let's place this on each and every level. So I'm going to copy this down and then copy it about that. Great. So now let's switch on the windows and the walls. So we placed our late in almost all areas of the building. That any lacking areas, you can always place more lights. And I'll sort of move this in a bit. Then I'll go back to Scene one. Now before running the render, I just change some of the settings. So let's go to our acid at Udot and select a CLA TO good options and make this invisible. So we'll have to see the source inside the billing. Same goes for omni light, but normally they generally as a single point so it doesn't really show in the render. So there's no individual option to make sure your sphere late and set as invisible. Okay, so now what we do is run in interactive render. Before I run interactive render, what I'll do is I'll go to my light settings and I'll group Bay instances. What they do do is it would group all this relates together and group all the omni lights together. And I don't have to change them individually in though, really interactive render. Let's are now later on interactive render. Okay, so now the problem is it's blown out because it's gone back to the original light settings. So we need to copy the settings from the center. Let's stop there and learn load this in. Now if I go to Source late mix, you can see these other values that we need to use. So I'm going to save this late when setting out. So click on Save. I'm going to call this late June dorm setting. And then when I run an interactive render again, I'll simply click on load and then load this late setting in. Let's do that again. Let's click on load and live load the setting. Okay, Still not reading. Maybe we have to stop that Endo and then try loading it again. The reason why it does not able to load is because the name of the late Jin Jia is different. So in this case, we will simply have to use the same values in the render. So what I'll do is I'll take a screenshot using the green screen plugin, which I've installed from Google. So take a screenshot, keep it in the side somewhere. Then when you run interactive render to simply use that screenshot settings. So 0.158041240.6160 still seems a bit bright. And the reason is because the color is not dark. So let's make the color dark as well. All right, great. Now what I do is change the color of the interior light. So I'm gonna go to my CLA TO and make it sort of warm. You can see it becomes warm inside and do the same for the army later as well. Then of course, you can increase the lighting inside. You can also copy the colors. So for example, make it warm. You can just copy the Kelvin temperature and then paste it here. So we placed our artificial aids as well. That's looking all right. Let me just add this to the history VFB. So if I do a before and after, can see this is the Endo without light and this is the window with lights. Now, we love to, of course, further improve this window. And that comes from adding trees, adding an atmosphere, adding people, cars, and bringing the lender to life. Most of you end up creating a render like this, which is okay. But the more realism you add to the render, the better the render will look. So we will be tackling that in the future videos. I'll see you guys next video. 6. Setting the Context - Trees : Hey guys, welcome back. In this video we're going to set the context for our buildings so that Endo looks better because with contexts and setting the late team with trees, figures, and mode, your Endo would look drastically better. So let's start off by adding some grease in our scene. So I'm going to go to my kiosk cosmos browser and add some trees. So let's go to 3D models, and let's go to vegetation. Let's be out different categories. Let's select trees. And I'm going to bring in some trees. So you can go ahead and download and then imported to your scheduled failed. So if you click on Import, then it would switch to the SketchUp window and then you can place your tree anywhere in the scene. So I'm just going to sort of zoom and please one-year behind the scene. Let's go to another tree and select another tree. Maybe there's American beech. The green version as well. About four to five trees should work well for our scene. Like to add a decent amount of trees. And as always, we want to assign these trees to DAG. So I'm going to create a tag called Reye's. Then select all of these trees, use the Control button to multi-select trees, and then use the DAG tool. So select the Type tool and then apply though. If you would enter the NFO, can see that all of them belong to trees. Okay, great. So now the manual way of placing trees is to use the move and then the copy. And then also it's a good idea to rotate them. Because it's good to add variation, also a good idea to scale them. So this is the manual way, and I'll show you a cool way to add trees. And the faster way is by using a plugin called scattered to know this is a paid plug-in what you get for free in a trial license, you can check the links in our mastery. So she'd done download the same plug-in. What you need to do is first create a new composition. So click on new composition. And I'm going to call this tree composition. So let's first add the host. So the horse is going to be the ground here. So click on because office and select the host. So now you can see that it's gone, scatter multiple objects around this surface. So let's reduce the amount that we're going to scatter because trees are big. So we can go here to the density and reduce the density. You can see that it reduces. Now I will add the trees. To add the trees, you need to add it to your scattered objects lists. So let's click on pick a new object and select the trees. Can still see that it's a little too much for the ground. So it will reduce the density a bit more. Right? This should work. Let's select the other ones as well. So pick the other trees. So each time we pick a new tree, it's going to assign a new color to that bounding box. Selected 56 trees. I think that has extra easier. So you can see it shows up here on your, what you can do is you can change the probability of a certain tree. Say, for example, you want to assure the maple tree 50%. And in this case the other TAs who would show up in the maple trees case, you can sort of reduce the probability of certain trees and keep white oak as the predominant one. You can also play around with the scale, translation and rotation. So if I click on this random scale option here, if I toggle that on, you can see that it changes size of the trees. And you can also mentioned the size that you want to randomly transform. You can also mention the minimum and maximum values you want the trees to scale. So let's say it starts from 60 and it goes all the way to 130. We can also randomly translate, which basically means it will move around the x, y coordinates to a certain distance. So the URL, in this case it's in inches. So you can move it from the center point to a certain distance of 36 inches. A good idea to gender z. So I'm going to leave that as is. And I'm also gonna randomly rotated to how cool is that. You've generated our trees. Now before you click on Generate, it's a good idea to make sure you switch on Render only so that it'll show up early in the render and not in the sketch up window. Because if it shows up in the SketchUp or indoor don't make those SketchUp file size heavier. Now, in case you want to reduce a tree is at a certain patch in the ground. In that case, you can add a mask. So I'm going to add a paint mask. So click on paint mask. I'm going to increase the brush size. I'm going to be interior. Yeah. That should suffice. Be interior as well. That is only being added in the mask. So what you need to do is invert the mask. So we have an option here to invert it. So if you click on this button here which says this mask is inclusive, click to make it exclusive. It dude inverted. There wouldn't be any d is added to this area, maybe this area as well. So let me just edit this and add some more yellow. You can see that are Gs glory. Oh cool, do that. Finally, you can click on Generate. Now if I go to my scene one. So there are some trees which will appear we can, this generally happens because such that g is the origin point. So what you need to do is there's a locked objects right-click and click on Lock, and then just move it to the side. So scattered generally adds the scattered objects of the composition to the origin point of your scene. Grid. And I can also hide the trees because I guess the trees are going to regenerate it from the competition editor. As you can see. Now let's run interactive render, right, so we have some trees in you. Now let's say you want to add a particular tree to a certain point. I may want to add some here, the back, maybe somewhat the front as well. Let's stop the interactive render. Let's edit the composition again. And let's play some trees so you can click on this big position to insert object, and then you can place t 0 here, maybe around here as well. So it will add a d automatic PTO scene. We'll play some trees at the back. So the more trees you added the background, the better the render looks. You can also of course, delete the points. So you can click on remove points and then remove this point. So you can do multiple things with the scatter to plug-in. And then finally, once you're done, click on Generate. Let's go back to Scene one. And then this render, I'm going to leave the existing trees as is. Let's see what kind of an effect it has on the scene. Looks much better. You have a nice background of trees. You can sort of see the sky as well. Some background, you know, I can do is also add a compound wall. Distant gaze. I don't want to see much of the background or you can leave it as is. That's up to you. I'll do that in the next video. So this is a quick video to adding trees in media for SketchUp using the scatter to plug-in, you guys can go ahead and add other objects as well, for example, rocks, plants, and so on and experiment with this awesome plugin called scatter. To the next video, I will be editing the materials because the materials are sort of making that Endo look not that great. As you can see, it doesn't look too great. The existing materials. So we'll edit the materials and then we'll come back to finishing the scene. So I'll see you guys next video. Joe's also don't forget to add this Today's to VFB. 7. Setting the Materials - Vray File Path Editor : Hey guys, welcome back. In this video, we're going to set up the materials for our model. Now, before I proceed with this model, I forgot to save the previous models, had to redo the trees again. So if I go to my composition, I would go and click on Edit. You can notice that the trees are coming only in the part of the camera. So if you want to set this up, all you need to do is to just scroll down in the scatter composition editor. And under camera, you just need a switch on, exclude non-visible. And also set the scene. In my case, I set the scene as seen one. So if you do this, the trees will only show up within the camera view and also reduce the three polygon count in your model. So hope this helps the quick hack for you all. Later. Now let's get back to the model and start with our materials are at. So the first step, what I'm gonna do is I'm going to save all the existing materials to the same folder as the model. So I'm going to go to Extensions and click on file path editor. So now you can notice that all these materials are yellow in color, which means that they're not saved and add in our temporary relocation. But if you want to see which of these metals are in a temporary location, you can just go to that material, click on the bitmap and you can notice the symbol. You can see that the file cannot respond. So we will need to save these meridians. So let's do that. So let's go to Extensions, relay, file path editor. Select all these materials, including these. We can see the dome lights as well to a particular folder. Then we can right-click and click on archive cave and repacked. I'm going to simply create a folder called maps in our exercise files and select this folder. So now it'll start saving and archiving the previous bitmap. So you can see all of them are sealed. And now if I take the bitmap for this material, can see that symbol goes away. All right, great. 8. Creating Materials - Iron : So we're going to start off by running an interactive render and fix the basic materials in this model. For example, the walls to Bosnia and then the steel framing and so on. So let's go to asset at Udot. Go to settings and non-interactive random. Now if you have a really good system, we can also run an interactive render within the viewport. So you can just go here and click on viewport render from the toolbar. Now you can see that it's running interactive render directly in the VD view port. So let's just zoom in and then start fixing the materials. Well, it saw the first Medial that I'm going to fix is this red eye in bio, I don't like this dark red color, so I'm gonna make it black or I'm going to keep it black and match it with the eigenvalue. So let's go to answer the door. This is the red material. Or we can also turn down the red by adding a bump map and so on. So let's first add a bump map. Let's go to bump. Then let's add maybe a splat material. So you just need to go to bump, go to the texture slot, do, and let's add a splat material. So here it is, the splat material. Let's just go back to now you can see that it comes on the surface, can make the material kind of darker by moving this to the left. That makes it slightly darker. Let's add a reflection as well. And its radius to glossiness. This is a little too much. Let me see how this looks. You can see that sort of a repeating pattern. So what I'll do is I'll stop the render. I would like to check the binding in this material, for example, I want to see how big the textures, if it's only a color, I don't really see how much area it is being added to the chain, the binding. Let's go to binding here and change the texture mode from auto to texture helper. You can see that. So one part of structures only so much. I can increase the size of the material. And let's select the material, go to the midi editor and the default re, click on edit. And let's maybe change this to five feet or 60 inches. Now you can see becomes bigger. Now you should see the bump effect more pronounced on this steel bar as well. So let's done in interactive render again. So let's click on the view port window. You can see a much more pronounced effect since the material cord bigger. So in that case, we will need to reduce the size of our bump here. So let's go to bump here. Let's see if we can reduce the size. So now you can see it comes all over the plate. That's cool. And I can reduce the iterations. Play around with the threshold, just give a bit of this spots here, here in there. So you can play around with these settings. And once you feel that you have a good effect and leave it as is. So what it does is it will sort of pronounced the white areas in this bitmap and leave the black areas. As you can see, this sort of goals in the black area, the white area sort of come out. Or you can also mix this with another material. So you can right-click, go to wrap in and click on mixed map. Then you can add noise map for example. So let's add noise. Let's try a noisy. And you're again, you can play with the radius values, make it more frequent, increase the amplitude, and so on. Then when you go back and sort of merges with the two maps, and then you can show a particular map more than the other by dragging this mixed map slider to the left or right? Right. And then when you go back, let me just zoom out. You can see that that plays all over the material. But if you want to reduce the bump amount, if it's a little too much, you can just reduce it to two now with very subtle as well. You can also copy this. So let's copy this and paste in the reflection glossiness map. So right-click paste this copy. If you want to reduce the effect of this bump on the texture, you can right-click on it, go to wrap in and click on color corrections. Reduce the saturation, and reduce the contrast and the brightness. You can do the same for the bump or you can reduce the bumper more deal. Right? And finally, I'm going to change the color because they don't really like red. Let's go for something more darker. It looks better. You can see that it's sort of stretched. The textures are stretched from this corner to that corner. So I'm going to enter this group and click on try planar projection world. And now it should sort of uniformly be scaled. And you can also reduce the size the stem. So let's say two feet. So it takes like one full box here. Let's keep it at three feet, and let's run interactive render again. So click on the view port window. That looks much better. You can see that we don't have any weird beak shapes. But from this year, Let's see what that is. Stop that Endo. I'm going to put the j to toggle. Visibility. Looks fine. It seems to be a reflection from a certain material. Let's run interactive render again and just reduce the reflection amount. Let's run the interactive and go and you bought it. So let's click on view portrait and over. This is coming from the trees or the reflection on the other side. So let's see what that is. Going to be. The environment, the trees are just basically anything you can see that it's actually coming from this horizon line. Now, if you had an HDRI or say any other material that would take care of it, are you going to reduce the reflection amount as well? So let's reduce the reflection amount. So if I reduce the reflection amount, z that goes away, or you can also go into this and sort of reduce the contrast the Platonists. Once you've done that using this, you can go back to the refraction and reflection to 0. You can see that that sort of goes away. So that is basically happening because of the reflection from the environment and other parts. But let's give some unwanted reflection doesn't matter since it won't be seen in the render. So you can see the more reflection I get, the more it is reflecting the environment. Examples these trees to the three color comes on the material. You need to understand reflections a lot to give good materials in 3d4 SketchUp. We can also increase the metal as to make it more of a metallic material. Just, you can just leave the metal as to one. And we can also give IOR value. So you can switch on. And generally IN materials when i o r of 1.006, I will be sharing the table with you all which you can use. And you can refer that table to give the right IOR values two different materials. So we created our IN materials and we'll rename this file as a underscore ion. Alright, now we can apply the same material to these top bars as well. I'm going to select the top bar. So if you are in the SketchUp, you vote and you can select the material directly from yours. So can activate the bucket tool, hold Alt on your keyboard and then click on the material. So you can see that changes here. So let's follow the same steps to create them same material. So let's make it more darker. Scored the reflection gives some reflection and some glossiness. Let's go to bump and let's try some other materials. Maybe it noise be. So click on noise b and just give it a bit for it to update. Let's increase the size. These are safe, that is, and let's maybe play around with the face. You can also change the type from regular to fractal to turbulence, but I think regular should work fine. You can also play with the levels here, which blends between the colors. So I think this should be fine. Let's blended with another material. So we need either mixed map. So right-click, go to wrap in and click on mixed map. The nice media gets added to the bottom. Now let's add something else. Let's go for maybe marble has changed the color of this black, red to black. And you can play with the settings here as well. Whatever works, once you're done playing with these settings, can go back. So now you can see it blends with the noise texture and you have a nice crack on the material. We can of course reduce the size of this. So in that case, can increase the amplitude, maybe something like this. Go back. And now we can show more of the left or the right. So let's keep it somewhere in between. Should be fine. And then let's go back again. So this is added to go bump material. And let's make it slightly brighter. And let's copy this. And let's paste it into friction glossiness. If you're using 3ds Max, we have something called a slate editor where you can sort of connect nodes and create the materials. Sketchup doesn't have that feature yet. So you will have to use the default way of creating materials, which is by adding color corrections, control, or other stuff on top of these layers. So it's stacked as layers. If you want to move earlier to certain hierarchy or to a higher hierarchy, but to the top of the table, then what you can do is for example, if we want to move or leaders noise map, and then all this other stuff, then I can right-click copy and then go back and then simply paste it in here. So right-click paste this copy. So now that mixed map goes away and it's only the noise determines. Great. Let's make this darker even more. Now you should note that if you have a very dark material, won't be able to see the bump has much as compared to a brighter material. Right? That looks fine. Let's check the binding for this material as well. So let's stop the interactive render CO2 binding, and change the texture mode from auto to texture helper. So you can see it's pretty small, so you won't really see the bump effect or you may have to change the size of the bump. But I would recommend that you change the size that the binding instead. So let's select this material. It's already selected. And we can change the size here. So let's try 60 inches, feet. And let's run an interactive render from the viewport. Now you can see the bump or the inundations on the material. So you can see these parts here. Now if you want to make it less pronounced, you can of course, reduce the bumper mode and that will make it less pronounced late. I'm happy with the material. I'm going to leave it as is. And let's go back to Scene one and see the progress that you've made so far. Now a small tip for you all is that if you're not going to be rendering a high resolution render, for example, a fork, a render. You don't really need to add a lot of bump or traditional embed maps and stuff. You can just change the color as some reflection and you can let it go. But it's a good idea to play around with materials because it gives you more creative capabilities. And you can extend your creative capabilities even further as you're learning something new, playing with materials and creating something awesome as well. I hope you found this video useful. You're done with the steel bars are the plinth beams. And you can see that the render looks good already in the next video, we will fix the glass material and the wall material as well. So as you guys in the next video. 9. Creating Materials Glass Block: Hey guys, welcome back. In this video, we're going to fix the glass material and this wall material yard as well. So I'm going to select the glass material using the sample paint. You can see that dark matte, see if it's an image applied on top of this material. So you could see like this is the sort of material that they've created. So we're going to try to replicate the same material. We can also take a screenshot of this and keep it on the site and then reffered is every now and then to create this middle, if you want to see the medial better, you can sort of make it darker. You can make a reduced opacity or increase the opacity. So now you can see this material. So let's take a screenshot of this, open it and we can leave it as is for reference. Let's start off. I'm going to select this material go, That's it. It, it though, I won't be running interactive render yet. I will sort of genes the basic stuff first and then just rename this causes the endoscope glass blocks. And let's remove the texture because you don't need it got cleared. And that will remove the texture called reflection and refraction. Go to the fraction and increase refraction to fool. Yeah, let's clear it. So right-click clear. Yeah, that should get rid off that medial there. And that shouldn't make it opaque as well. So you should note that if it's opaque and sketch up in ODD show you. So let's move this to the left. And now you can see I'm ADD Create. And now let's run interactive render. So I'm going to click on the viewport render IO, that viewport window. So now it's a simple yes, that's sort of where you can see through. And there's enormous reflections because there's nothing to reflect. Opposite is material. So we'll fix that quickly. You can see there's nothing opposite. So for this guy there, so it can fix that as well by adding some objects opposite that window. But for now we need to fix the actual material. So let's go to the Settings 0. Let's start off by adding a bump. So you just need to go to the texture slot. And let's add a mixed Maps or Google Analytics map. The doped layer, I'm going to click on Texas lot and I'm going to add tiles. So click on tiles, and I'm going to change the color to white. So click on white. And I want to change the mortality or the grounding to blacks or just slider to the left. So that'll make it black. So now you can see the lines Material, all these lines here. So now let's reduce the vertical count. So it's made the vertical count to one, makes it as four lanes to 1234. But there are many lines here. We can fix that in the binding. So let's go back to make it sort of an opaque, translucent material. I can add something at the color bottom. So let's, let's click on Color bottom, Texas lot. And let's add a noise. So let's click on noise B. So now it make it opaque, but we can fix that. Alright, so we've added our noise. Let's use the default settings. Let's go back and let's drag the slider to the right. So you can see less noise in the material. Now you can see that it's sort of frosty nature. Don't drag it all the way to the right, just leave it a little bit to the left. 30, get that fast effect and don't drag it all the way to the left other easy to make it more opaque. So I'm just going to drag it to go right a bit. I'm going to leave it as is. This looks fine. Let's go back and now we need to fix the binding on this material. So let's stop the interactive so we can stop it from you. And then what you need to do is you need a switch on binding. I change this picture. Now if you don't see the texture helpers because opacity is set at 0. So just increase the opacity. And now you can see the texture helper. So you can see that it's sort of weird. It's not aligned properly. So let's enter this group, select this glass block and click on dry paint our prediction world. And we can also click on try planar projection. It fits the glass block properly. And now what we can do is run in interactive render, view-port endo, that is. And we can see that we've created our nice-looking glass block material. How good was that? Now the problem is that this component here, There's not a competency. You will have to individually change the position, change the wrapping of the material for each of these blocks, all what you can do is you can select this block, right-click, click on May competent, call this glass block typical. And then we can delete these. Just move this to the left and right. So just move this to the right by two and move this to the left by two. So we have one and we'll have to delete all of these. So let's select all of these. Let's leave the, because I don't know the distance or you can draw a guide. So let's draw a guide from there. And let's draw a guide from. Cheers, and now we can delete this. Let's leave our guide here. So I'm just going to draw a guide here. And I'm going to draw a guide. I'm using the tape measure tool, draw the gates, right, cool. So now what I can do is you can delete all of these. And I can copy this to the top, multiply by to, copy this to the bottom, and multiply by six or eight. Luckily, this is a competent so it reflects all of those we love to fix this year as well. So I'll draw another guide here this way. Another gate here that's entered this group. Select all of these, delete them, and select all of these, and copy to the other side. I'm locking into the right axis as well when I'm copying, copied it to the other side. That looks good. May have to move this to this edge because the spacing is a little different. So let's move to this edge. You do the same for all of these. Seems to be the same size. Yeah, definitely seems to be the same size. And again, we have to delete this stuff, copy it again, draw the guide first, then delete these, and then copied this from this corner. Let me just copy that again. We'll do the guide and now we can copy it properly, so bring it down. All right, and then we need to multiply by 89. We're done. Let's see how this glass block looks now. So let's run in Jack to render from wboat a grid that looks good. Let's make it more frosty. It looks fine. Yeah, it looks fine. Maybe you can add a bulge effect on the glass. So let's refer that material. So you can see it's got some sort of a bulge effect. So we can add that as well. Yeah, This is old, looks pretty decent. Still add the bulge effect. It's pretty simple. Just opening acid editor. And let's create a mixed map again on top of this mixed map. So it's a mixed map on top of a mixed map. So right-click, go to rapping and click on mixed map. And then you can just add above the scroll to the bottom and click on bulge. So now you get that bulgy sort of an effect on the handle, on the material. Let's go back and it's increases to the right. So the bulge is not too much, just a little bit. So you can see that bulge effect. Now if you want to reduce the bulge effect, of course it can reduce the bumper material. Then that thread uses though by the defect or cooler. I think I'm not going to go with the bulge effect, but that's a quick hack for you guys. Want to play around with that. So what I will do is I will copy this, paste it on top. So we get rid of the bulge effect layer. Now, if you want to make it more opaque than just enter the texture slot, which is drag the slider to the left. So that would make it more opaque. So you can see though through Austin is on the glass as well. I'm going to keep it in between and this should suffice. Well, it's a pretty long video, so I'm going to stop with you. But I hope you guys found this video useful. You can play around materials and create something awesome like this. Create your own kind of effect with the settings within Vireo. You don't have to use any bitmap. He does use the settings within 3D and create some awesome videos like this. I'll see you guys next video. Cheers. 10. Adding Reflections to Glass: Hey guys, welcome back. In this video, we're going to fix the reflections for our glass material and show some reflections on the glass as well. So first thing is to check this metric here. So let's select those materials. Translucent glass gray, it's called Asset Editor. Select it again because sometimes it doesn't get selected. So now you can see it's selected. And now let's open the properties of the parameters for this material. So you can see there's no reflection for this class. So let's add reflection, and reflection is full, maybe increase it a bit more. You can also check the iOS values online food this glass material and use the appropriate material. But this regular glass reflection should work well as well. And you can change the diffuse to black. We've fixed that material. Let's see if there's any other materials that we need to fix. So I'm gonna go to Layers, tags that is, and switch off walls, exterior windows. And let's fix the stack as material as well because yellow looks awkward. Keep it black. Let's add some reflection. Radius of glossiness, keep it fully metallic. And let's add a bump as well. It's a good idea to add a bump to all your materials. Although it's gonna be less amount. Let's try maybe stuck with the same. You can, this kind of an effect. You want to sort of reduce the size of this. You can go to texture placement and you can go to repeat UV and genes is to say 0.1 by 0.1. That would make it big. I just want to make it smaller, just happen to buy it. So now that will make it smaller as well. Let's say five-by-five. Let's go back. Because either bump is applied on the material, Let's check the medial side is your results. So let's go to asset editor, go to binding, change the texture mode to text. Your helper can see it is not uniform. It is the UVs and odd place properly. So I'm just going to enter this group, select all this material, click on dry paint our prediction world. So now it's wrapped in correctly. You can go ahead and do the same for the others as well. But I think they should suffice just the mean all of the stack is. Once you're done with that, I'm also going to increase the size. Let's say five feet by five feet have a nice big texture there. And let's take the other materials. So maybe those doors, just to add some reflections to the door. I want to quickly go ahead and apply all the reflections and so on. The various materials in our scene. The interior is you don't have to worry too much about the materials, but whichever model shows up in the render, for example, this yellow, which is a metal aluminum. You can just add some metallic material, produce the hormone to add some reflection. Works well. So it's a good idea to go ahead and add some reflections to order materials. So I'll quickly do that. Now. Quick time-lapse. Now for your fall off map, you can just click on the Advanced Parameters Yoko leucine. It says add some shading. So that would make it sort of a clot material at some reflections as well. And you can change the view mode to say fabric. And I can see that it's a decent fabric material. She knows a little too much, so let's reduce the sheen. That looks fine. The fabric material I won't be covering because little complicated. You will have to add textures to get that fabric effect that I showed you another workshop. But since the next either I know you don't have to worry too much. But for interior renders definitely add a lot more fabric materials. Definitely be more detailed with your fabric material. Alright, so this material comes with the same, similar material that we created and anything else the glass will do later for another video. This should suffice. Let's just check this material one last time. Yeah, we've added the reflection. It looks good. Let's switch back our tags on. So I'm gonna go to what extent is Windows? Go back to Scene one and non-interactive random. So click on the viewport render. Now you can see the reflections on the glossier, but let's try to reflect some trees on this glass than just the plain glass. And I also feel a bump for this wall medial because it's looking a little too plain. So let's stop that. Let's continue running the render, then. Change the settings for this wall. It's got a cool texture so you can use the same texture to add the bump as well. Alright, so now you can see that texture there. Let's go to Asset Editor. Select this material. There is no bump map. We can use the same material for the bump map, so copy and paste into bump. Now you can see though the Jacksons are the bump onto media. It's released the bumper mole. And that looks good. We can make this material slightly darker, burgundy color manipulation. And they're using the color again. So that would make it slightly darker as well. Cool. Now let's go back to Scene one and Renault viewport window. If you'd like to see before and afterwards, I'll see the progress of your render. I would recommend that you use the interactive render mode within the frame buffer. But if you're not a big fan of seeing the progress of your render, you can just stick to those SketchUp Blender and keep progressing with your random. Now you can see that the median is look better. You can see some reflection on the glass. Now, if you're going to add a three in front of this building, you can see the reflections on this class, but you may not see the reflections on this class so much because this is a frosty glass and they wouldn't reflect as much as a plain glass. So let's add some trees here. So I'll just move this to the left so you can see some of these trees. I'm going to move all these trees through the. Front of the building. Let's see if it's aligned correctly. It is actually selected so you can move it around. Okay, so this seems to be right in front. You can make a copy decide, make a copy of this slide. It's just three went to the bottom. So you'd love to just move it on top. Okay, that's fine. It won't really be seen in the viewport, the main render, so you don't have to worry and it's a good idea to give the trees at a certain height as well, because it would sort of reflect the shadows on the wall. And we can adjust those sons settings of the Cenozoic. So let's go back to Scene one. I'll let So now let's run in interactive render. Again. Let's check the holder. Render looks great. So now you can see some tree reflections on the glass here. How cool is that? You can also see it here, but it's very subtle. So now we'll go back to our interactive render and use the original lighting system, which was a dark lighting system and set up all night. And it's an interactive render, yo, So that shows up in the video frame buffer. So it's a little too dark. So I'm going to increase the dome light settings so you can see the reflections. But once you switch on the sphere light, it sort of reduces the reflection. So you'll have to reduce the sphere light to see those reflections. Again, you can see this tree easier on the class and you can increase the dome light settings. So increase the dome light. Right-click on the dial. Make it brighter and does good to go. So now you can see the reflections of the class, some nice materials, and we just need to fix the ground and so on. So I'll fix the ground and other stuff in the next videos. Also, don't forget to add this to this to VFB to stop the render, added noise and add it to the SD VFB before and after. So this is a, this is B. You can see how much we've progressed with the materials as well. Hopefully. See you guys next video. Now let us play around with the sun settings. I'm going to go to my shadows. So let's start that Endo, switch on shadows red so you can see that the sunlight is falling this way. So that's why you don't see any light on the building. So let's edit the sunlight. 11. Quick Lighting Tips: Hey guys, welcome back. In this video, I'm going to show you how you can use various lighting systems within V rate and how the lighting differs between viewport rendering. And they're very interactive. So I'm going to start off by running interactive render IO. So let's click on the view port window. So you can notice that this render comes out a bit brighter. And that's the reason why you don't see the insights or the lighting inside and doesn't read the light makes values as well as the 3D interactive render. You can see that reads light makes values inside and it shows us same sort of lighting system. So it reads the dome light, but it doesn't read the values from the late mix. So you need to keep that in mind when you are using both the viewport rendering and they'll very interactive render. But the final render output would definitely be very interactive. And you will have to set it up within Davida interactive. Know what I'm gonna do is I'll show you how you can use various lighting systems. So for example, if you want to use the sunlight and along with the dome light and the environment late, you can do that as well. Plus thing is you need to switch on the shadows and set the right shadow setting in the scene so you can see that the shadows are falling this way, but I need to make the shadows fall on the building. So what I'll do is I'll go to my shadows here and change the daytime. You need to understand where the shadows are falling as well. So you need to understand where they're not Angular's, for example, the North angle is 0. So if this is not, then we need to add the morning sun so that it falls on the building. So let's go back to Scene one, and let's change it to the morning sun. So around 90 should be fine. And let's update the shadow settings by updating the scene. I'll let you set up the sunlight now we just switch on the sunlight as well. So let's go to our sunlight settings here. Go to sunlight and switch design. And we can also switch on their environment late. We have the light mix settings, so we can switch off and switch on Southern lights using the light mix settings. Now I won't be using the viewport render, 3D interactive VFB interactive render because they can not just the late make settings. So let's run interactive render. Now you can see that the light falls on the building, which is pretty cool and you can adjust it in interactive as well. So for example, if I change the shadows here, or change the month, for example, should change in the interactive. So you can see the changes. So let's make it morning sun. Looks nice. Scenes or two, maybe December longer shadows. But if you'd really like to see, then I would recommend that you search on the shadows and I'll just sit here first so that you know where it's falling. Let's now you can see some tree shadows on the wall. If you want to have some more tree shadows, then you can do that as well by adding more trees on the side of the building. So for example, let's go back to Scene one. What I'll do is I'll lock the viewport because I don't want to really interact with to change. So you can click on the lock viewport here, lock camera orientation, and then sort of odd weight and doesn't really affect the senior. And if you want more shadows, what you can do is just place a trio so that the shadow falls on the tree first and then on the building. So let's have longer shadows. So now you can see the shadows falls and the entire building. So this is eight forty nine forty four. Let's change the Daimyo. Looks good. Maybe just move this a bit to the right. Can also rotate it and check. Can also add some additional trees. Or you can also move this tree on top if you want more shadows. So for example, you can move it up by CFA feet to now you can see the trees fall on this part of the building. You can move it in. So it's all about playing trees to create a shadow effect. You can also create multiple trees. So if I create another tree on the right axis, that makes it darker, so I'll just move it out. That looks pretty cool. Let's move it in. So it's all trial and error until you find the best shadow by setting, adjusting entries. And then of course, if you want softer shadows, then you will have to adjust the sun settings. So just go to sunlight here and change the size multiplayer to say ten. Then you will get softer shadows, but you wouldn't see the shape of the tree. So maybe keep it around 55 works well. Now you can see the shape of the tree coming in. This looks nice and soft shadows on the walls and it percolates onto the glasses as well. Cool. So now we have our shadows here. So what I'll do, I'll stop the render. Now what you can do is you can play with the shadows here. So for example, if it's a child, the environment, the environment layer goes off, switch out the sunlight. Sunlight goes off and now it's all either dome light setting. Then you can save this out as a lead omelets. And if you want only the sunlight and environment light, you can do that as well. So John, that sunlight and environment late and switch off the dome light settings. Alright, so now you can see that I assist off the dome lights, but the background is come as dark. You should notice that the environment light and dome light don't work together. So either need to work only with the environment late, or you need to work only with the dome light. But of course you can use the sunlight for both the dome light and the environment late. If you want to fix this, what you need to do is you just need to go to the asset at it. We'll go to lights and then switch off all the lights. Now when you switch off all the dome lights and run an interactive render, you can see the background which is coming from the environment late. So that's a quick tip in case you guys see that black screen is because you're using both their environment late and the dome light together. Of course, you can use the sunlight. Who bought the environment light and the dominators? Well, for the rest of the course, I just used the dome light and the sunlight together, the environment light when BUS for the rest of the course. So let's switch on the dome lights. So as such on the dome lights. And then if I run an interactive render again, we'll see the background changing. You can see that the color changes in the background. And if I switch off all the dome lights, the background becomes dark. One reusing and the environment late for the rest of the course. And it will only be between the dome light and the sunlight. How cool is that? You don't really need to worry about these shadows here. We'll fix that. And we fix the road. They'll grass and add some additional entourage like God people, and make this come to life. Since you guys next video, Cheers. 12. Creating Materials - Wet Roads : Hey guys, welcome back. In this video, we're going to create our roads for this awesome module. And we're also going to create a wet road. We're going to create a wet road by using a blend material rather than those simple genetic material. So first thing what we need to do is draw our rectangle to make the road. And I also assign these trees to a tag. So let's select all these trees, GO TO tags. We'll create a goal tree. Then use the tag tool and assign the street to know if you switch them off, it all goes away. We were unable to assign this to trees because it's locked. So right-click and then click on Lock. And now if you are saying these two trees, it should go away. It goes away. So now we'll draw a rectangle. So let's draw a rectangle, make it a group, and apply material. So before I apply a material, I just wanted to share something. So for example, if I move this to the right and I'll apply a color material. So let's go to color. And as I play this material, and now if I scale this, now for example, if I scale this this way or if I make it even longer, what happens is it stretches the UVs. As in venue scale stuff, you need to use a try planar projection void. Now for a better understanding, if I go to my acid or ditto, select this material and change the binding from texture mode auto to texture helper. And if I scroll in, you can see that the texture gets elongated. And generally for placing good textures, you need up uniform texture. So if we want a uniform texture, just click on try planar prediction. So that's a quick tip for you guys in case you see some weird textures in your Windows. Delete this because I'm going to use the re, re blend material. But let's just draw a rectangle. And then scalars, we can make it uniform later as well. I've made it a group as well. And since it's merging with the grass phase, we'll give it some thickness. So let's enter the group and give it a thickness of one inch. Should be fine. So no, it's not matching with the grass fields. And this is a jelly button. So let's enter the group and give some thickness for this as well. So it's above the ground. Should be fine. It doesn't matter if it intersects because it won't be seen in the render. So now let's create a blend material. So let's go to acetate. Right-click on generic and click on Blend, has renamed this material called this blend mean. And let's create two new materials. So you can see that the blend material has a base and then it has various quotes. So this code is what will create a wet effect on the road. So let's create the asphalt material first. So let's right-click, click on Generate, rename. This causes blend ways. And let's create the coat materials is when we will of course change it. So right-click, click, Rename, call this blend, quote, water. Well it's all for your asphalt material. We're going to add a bitmap. So let's go to our SketchUp extra club.com website called asphalt. So you'll find are the architecture roads asphalt, and you can select any of these materials. Let's select this material you download and then bring it to query. So let's go to bump and add the bumped extra slot. Kick on Bitmap. You'll find asphalt, you open this up, can make it end experience linear. If you go back it will add some bump to it. If you want a more pronounced bumping can go to color manipulation. And you can sort of reduce the color gain as much as we can do, but it's best to add a color correction is controlled. So right-click go to wrap in concrete operations control. Use this to black and white, the brightness a bit but increase the contrast. All right, so that should add the bump to this material. That's also copy this and to the group and copy this bitmap and paste it in there diffuses. If you want to make this darker, you can just go to enter the group, coded color manipulation and sort of reduce the color again to make it darker. So that makes it darker. Let's apply the base material which is blend based asphalt. So let's scroll down and select brain-based asphalt. So now let's apply this material to the road play and we will have to increase the scale of this texture. So let's click on Edit. Let's say 50 feet. So that's a pretty big scaling. So maybe 25 feet. You can also sort of scale it by entering the group, selecting the fields, right-click, go to texture position, and use the green pin to scale it to this edge, right-click and click on Done. So now let's go to assert it later. Now let's add the quote. So the quote will be the water materials. So let's go to quote water. Let's make this diffuse dark, black and let's increase reflection and reflection. So this is our water material. You can add some tint as well. So you can go to fall color and make it blue if you like. But I think this should work fine as well because it will reflect the environment. Now we need to go back to main and add this as a code. So click on Code. Add the asphalt, the water material. Let's go to a blend coat water. So now this will create a coat on the material. So let's run interactive render and see how this looks. So let's click on view port window. So you can see that the entire road is pretty reflective. So if I switch off the coat, the reflection goes away and it's sort of more whitish in color. That's because of the reflection happening on WAS material. Let's go to our base material and make it darker. Yellow. Light is a little too much. So this is why you're seeing this as-is. So let's maybe switch off the sunlight and now you can see the material better. Let's go to Blend base asphalt and make this sort of darker by reducing the gain. So now you can see that the asphalt material shows up in. If you make it darker, it will show up. Alright, so now you can see that it's darker. So you should note that if you add a texture slot, we are diffuse texture. The sliders wouldn't really affect the image or the material because it's reading from this material. Yeah. So you want to change this material further or you want to change the darkness or lightness. You can either change it from color manipulation here by making it brighter or darker. You can also add a color correction is controlled. So right-click color-coded wrap in and click on color corrections. And here you can sort of make it more contrasty, bright or dark. What do you like? Alright, so let's just zoom in a bit the CR material so you can see the cracks and stuff. It's kinda visible. So that's fine. Material looks good. And now let's switch on the water medial. So let's go to main and then switch on the court water material. Now this would make the road more reflective. If it's not showing up, then you'll have to restart the render. So let's just restart the render. So now you can see that rod becomes super reflective, but we need the water only at certain parts of the road. So do that. You can use the blend material texture slot. So I'm going to add that extra slot or you can also reduce this. So if you see Fed reduces, the reflection reduces, or we can add a texture. So we can click on the Texas lot, scroll down and let's maybe add noise ear. You can also play around with these other textures. So let's play smoke. So now this is completely right, and that's why it's super reflective. So what we'll do is we'll play around with the settings. You don't really need to know each of these settings. You just need to play around with it. This looks fine. Now I go back and highlight color corrections to this extra. So let's click on color corrections to make it black and white, and let's increase the contrast. So what happens is the white buds would be the reflective pads and the black parts would be the less reflective ones. So let's go to the texture and inward this texture, Let's go to manipulation. Click on inward texture. All what we can do is make color is black and color B is white. That can also be done instead of using texture. That seems fine, but it's still not seen. So this works fine. So you can see that the white parts will be reflective. Now what I'll do is I'll blend this with some other material as well. So let's go back and right-click. You, click on wrapping and click on mixed map. And let's add maybe or noise texture. Nice texture is also work well and you can simply use noise together. So the black parts are the parts where the road texture will be seen and the white part, either water or the reflective part of the rodents be seen. So now let's go back. So now you can see both of them are mixed together really well. So let's see more of this looks fine. Now I need to boost the white material and let's add a Bezier curves. So right-click, go to wrap and click on Bezier curve contains a tangent type to free and change it to mono. And you can make this more weight. So now you can see the reflections happening on the white parts and the black parts as the road texture. So now you can see there's more whites than blacks. So what I'll do is I'll enter this group. So what I did was, instead of using too many textures and making it too complicated as automated simple, I just used a noise, a texture. I use these pedometers where the frequency is set at 4.4 and color manipulation is as-is, but these are default settings. And then I added a Bezier curve and made the whites more prominent. And now you can see a nice cool water texture on the road. So now if I go back to Scene one, you can see that cool water added on the road. So I hope you guys found this video useful. It was a bit long because I was trying to play around with the settings and I was doing this in real time. I did create the material before, but I wanted to play around with the other materials as well. And that's the best part about this course where I'm creating it in real time so that if I make mistakes, you guys could get to know. And if you follow along with this video and if you create the same mistakes, then you'll know what to do. Oh, by the way, don't forget to add this to the three VFB. So let's run the interactive render the video frame buffer. Give it a bit for it to render either denoise as well and then add it to the history. You know, if I do a before and after, you can see that art than those coming to life, adding a road did create a profound impact on the render looks much more better already. Well, it's on the next video. We'll adjust the grass genes some more settings and then set it up for our final render. I see you guys next video. Cheers. 13. Adding Grass using Vray Skatter: Hey guys, welcome back. In this video, we'll create the grass for our landscape and also add some additional objects. And we're going to use the inbuilt VDS ghetto. Now it's not as robust as scattered tool, which has a lot of additional features, but it gets the job done. So first thing is to add the scat object or not host. And the host in this case is gonna be a big plane here. I hope you know what's the difference between horse and scattering objects? Host is what is going to host your scattered objects. And the scattered objects is going to be scattered all over this host. So to add a scattered object, you can Korea acid editor and then go to geometries. Right-click and you can click on scatter. Or you can also select the object here, or the group, in this case, and click on scatter or selection. So click on scatter with selections, we can see that it's created that scatter on this host. And now let's add some grass objects to scatter on this host. So we can add the grass from our kiosk cosmos library. So open kills cosmos, maximize this good online 3D models, vegetation, and let's click on floors, grass and rocks. So you guys can go ahead and select any of these. I'm gonna go with grass 0102. So download and import this and place it somewhere in your scene. And let's add something else as well. Maybe these brooms. Click on this, download and add this in your scene. Let's add one more. Scroll down. Let's see what we can add. Maybe this Mexican photographs. You guys can play around with multiple objects. But for starters, let's just play with three. And now let's go to our scatter objects settings. Click on Scatter. Let's add our guests. So select all of these horse, I mean, these scattered objects and had it as a guest. So now you can see that it starts scattering all over the sourced. There are multiple options. For example, if you scroll down, you can randomly rotate between 0360. If it's 0 to 0, it's uniform in one direction. And if it's 0 to 368, randomly rotates around from 0 to 360 degrees. So I would leave it as 0 to 360. And you can alter gene this scale from 0.9 to 1.1 can also make it smaller from point to 0.9 to 1.1 should work fine for grass. For trees, of course, you can have more extreme values. Then you can leave the guest origin as bounding box bottom center, which is the bottom of each of these objects. And the preview mode you can change from binds, which is like different points around the host, two bounding boxes. You can also decrease the preview percentage, but I would leave it as a 100. Now here's the probability. I would like to see more of the grass than these two objects. So what I will do is I will leave it at one and reduce the broom to say 0.2 and keep the Mexican feathers to 0.1. So now you can see grass is more prominent and these are the objects. And if you increase the density, you will see more grass in your scene. Let's reduce the Mexican grass even more so is 0.012.02. Now you can see more grass and this is what I need. You can play around with the values but make sure your grass is the most prominent 1 first and then the other ones can be any value that you like and which is not to comment. So try to absorb your surroundings. And then using your knowledge, you can set the right probabilities. If you said John, collision detection, who's going to not intersect with any other objects, but in landscapes and leave most objects intersect with each other. So I'm going to leave college and detection is off. Orientation should always be rolled up. If he's John along, normals also works fine, but rolled-up should be right, and access filter should be facing up. You can also play around with the seed to create different variations. Can see some objects here and so on. So now let's go back to Scene one and run over your board render. So let's click on viewport render. So now you can see are cool looking glass all over the scene. It's covered the roads as well, which is not what we want. So let's fix that quickly. You want to stop the interactive render. And I love to adjust the host. So this is one of the drawbacks in VBA scatter where you can't add or exclusion objects, for example, the road model and so on. But in scatter, do you have various options? For example, you can download lead transform, scale translation, rotation, and then you can also add masks. So it would be great if we can add masks in debt or in 3D scatter as well soon with mask you can exclude certain areas and which is pretty cool. You can also paint. The scattered tool is a great tool for landscape artists and hopefully in the future, we also updates its cattle feature to something as robust as scatter composition, edit or scattered. So to avoid this scattering all over the host, what you need to do is I need to edit the host. So I'm gonna switch off the scatter where you can switch on and switch off the scatter viewer. So let's enter this group, select this line plus j to toggle visibility, and then moved in and sort of edit these lines as well. Delete this. So as soon as you delete a line, you can see that plus sign goes and it's no longer a scatter host. So just something to keep in mind. And let's create a box here. Delete this line, so that's not scattered all over the place. This as well to the corner. That's also move our road to the center. Select this road and moved to the center E0. Then can move this line closer. Maybe give something here as well. All right, That looks fine. So it will scatter all over these parts. Let's delete these extra lines here. We don't need them. This looks fine. And now to again apply the scatter, all you need to do is select the host, go DO scat object under geometries. Then right-click and click on Apply to selection. Now if you want to see the scattered disk, so John's got Tojo. Now you can see this Gatto as well. Some scattering happening. You're scattering happening, you. This should work well. So let's go back to Scene one, then run interactive render, either on the VFB are on the viewport. So great. You can see some Grassia, some bushes looking great. Sort of zoom in and see the detail bit more. Looks pretty good. So really scatter also does the work. But if you want more flexibility then scattered or works great as well, you guys can play around with this, see what you can come up with. I encourage you all to play around and boost your creative capabilities with software. Maybe I can just delete this part, since it's spilling over. Doesn't look that great. Delete this part of the host as well. Fixed that. We're ready to go, maybe you can show more of the flowers as well. It's increased the probability of these Flavio. So let's quickly do that. This group don't delete it because the host would get deleted. So you can just move this line in. If you see the plus sign, that means the host is still on. And let's go to Add Scattered settings. Increase the broom a bit more. So maybe 0.1. See how this looks. So you can see more yellow flowers you are in that, that looks good. And finally, what I'll do is I'll add a compound wall at the back because they don't want to see though is in line and it looks kind of weird. Going to add a box. You can make it a group, of course, into the group and give a hater see, my feet. Feet is a good component while hate add a brick material. So let's go to chaos Cosmos. You can also add, if you're short on time, just add materials from you're creating your own materials. These work well as well. So let's add this brick wall into the group. And let's apply the brick wall material such public right-click on brick and click on Apply to selection. This looks fine. Scale also looks good. Leave it as is. And let's go back to Scene one and run an interactive render. Let's see how much of an effect that brick wall at the back adds to your scene. You don't see that endless horizon, but you see, you're focuses on the building code. So let's add this to the st VFB and then we'll jump to the next video. We'll finish this course by adding some entourage and then set it up for our final render. So see you guys next video. 14. Adding Entourage & Final Day Render: Hey guys, welcome back. Now we're gonna do some final touches by adding some entourage and also fix certain parts of the model in case there are some issues. For example, there's no ground here. So you can sort of see the bottom. So let's quickly fix that. I'm going to draw our rectangle from this edge to this edge, make it a group. And then I'm going to draw a rectangle from here to here. Delete this. All right, Let's move this plane, this edge face that's applied, this grass material on top. Let's add a scatter on this as well. Let's select this host and click on Add to scatter, scatter with selection. If I write like this. Yeah, so it's added. Let's go to Settings. Go to scatter, scatter one, you can rename this, call this small scatter. So bad name but you guys can rename and how old are you? Lake, right? So scatter small. And let's add our horse. So let's check for some good materials are models. Maybe just go for this mortal. So select that and play it. That should work fine. And let's add this as the host. So let's go to small scatter, add guests. You can see now it's scattering or that face and it can reduce the scale. So maybe some from Point tool to say 0.6. So it's pretty small as well. There's no option to offset. I wish there was an option to offset. But anyways can decrease the density, maybe 2.5 Vegas, and maybe reduce the probability as well. Probability doesn't matter because it's just one object in the scene. Doesn't really make sense using scatter yolk because there's no much features that you can use. So instead what I would do is displace the object appropriately in the scene, so I'll place it down. So let's scale it down. Then move it this way. And just make a copy and place it. Say it is something happening below the platform. And then we can delete that other scattered. So you need to make sure what you're scattering. Because for some scenarios doesn't really make sense using scatter rate to all of that is set. Now let's add some entourage. So let's add a card maybe. So go to chaos cosmos, go to vehicles. Cars, sat around, maybe no cool ones. Pretty some some decent trucks. Yeah. I'm just going to stick to cars. Let's see if we have an electric car because the future is electric. Ray, like Bosch a lot, maybe use Bosch as well. Just go with the scar, download and place it, place it somewhere you write down, right? So if you're in Germany, you place your gauze on the rate, rate and let's place some people as well. So let's go to people, standing, splits. This person has placed them inside the scene. So let's place them Yoda and sort of rotate them. I would say. Cool, that looks good. Move them in a bit. And let's see if you have something else too, please. This looks pretty cool as well. So let's please this. Maybe rotate them. Alright. That looks good. Standing as lead, we can add we could change the door. So let's add a door, maybe. That's called Architecture. Click on this door. Door didn't delete this. And let's rotate this. Rotated by 45 more to the corner and scale it as a cool there anything else that we can add? You guys can go ahead and add whatever you like. I think that should be good enough. Let's go back to Scene one. Click on track. So we need to bring our car in a bit and you're good to go. So our car wasn't in the frame. So let's just move it in and make sure these cars or whatever you're placing is actually touching the ground. It is because sometimes people tend to add floating objects. So let's go back to Scene one. And click on 3D interactive. Right, so this is our final render. Now, I will be showing you how to change a footpath using my gas gans, use the light mix, two solid changes to a night render and more in the future videos. But let's do a final render because it's like this render in this day shot, everything looks good. Trees look nice. The sky looks nice. To highlight is on the building, the shadows on the wall. We have some elements in the scene which add some life to the scene as well. So this is already ready to go for render image. You could probably change the footpath a bit. So this maybe change that because it's showing up as white. So let's check this material must be a reflective material. So that's why it's reflecting a lot of light. So let's make it less reflective. And that should fix that. Let's go back to Scene one. Let's check that Endo. Finally, it can make it a bit more darker. This looks fine as well. Leave it as is a great sort of setup. Our final render need to go to, let's see this. It's a good idea to save your file before setting up final windows. Then go to your acid or adult, go to Settings. Change this to really use the mediator noise. So for my final renders, and let's switch off interactive. We can do the progressive render this time because that's a little bit faster and you can set the time limit as well. So let's set a time limit to say maybe 15 minutes long you leave your windows, for example, if you set it as 20 minutes or 30 minutes, the better resolution you get. A decent systems. I'm going to keep it at ten minutes. Let's see what we get in ten minutes. And the quality can be set at high plus, but it would render fuel buses because it has to reduce the noise. So let's keep it at high. High should do the job as well. Let's change the render output from three-sixteenths to say 1500. And it should work fine for social media as well. If you're doing it for print and of course needed change it to a fork, a resolution maybe three thousand, four thousand pixels work well. You can also add some random elements, but I'll show you how to do that in the VFB post-production video of this course. So this is just a quick update so that we have product without spending too much time in further. This is just to give you guys a glimpse of what do we rendered so far. And then we'll also learn how to use the atmosphere and mood in the coming few videos. So there's an Endo. And I'll see you guys wants to render is done, right guys. So the render is done and we got a really nice cool render. The lighting looks nice to me to use it. Look nice. The model itself, all of these materials and the design, it looks pretty nice. And if I was a client, I would definitely think about buying this building based out of this render. If you want to see how long this took to render, you can go to stamp and you can see that it took about 11 minutes, 45 seconds. It as close to the time we said, which was around ten minutes. Now, you can go ahead and save this. So click on Save, call it whatever you like. Click on Save. If you want to convert this to an 80, It's pretty simple. Cold sores, late mix. Let's save this lightweight setting out because it's steady late mic settings. So I'm going to call this ln, ln x dash D. And I'm going to adjust this to make it tonight render so it's a job the sunlight reduce the values of the dome light. All right, and I'll increase the values of those fewer lights. This looks nice, but for a night and all, you need to have some streetlights and somewhat more severe. So that would make the Night gender pop even more. We'll do that quickly in the next videos before that and save this out Friday night, partially. Next video I'll show how to add TO streetlights that must be on mode to make it and those pop or donate render. Let's change the background of the dome light so let's make it more darker. This looks nice. We didn't need to add some streetlights and will be ready with the scene. Let's see, I click on Save and call this late mix, right? I'll see you guys next video. Cheers. 15. Aerial Perspective & Night Render: Hey guys, welcome back. In this video, we're going to add a mood to our scene, especially for a night render. So you can see this was our nitrile, but it's not really on a tender because you can see that it's sort of like an evening, kind of a setting for the Nintendo will have to add a fog to create that anterior sort of a mood in that Endo. And show you how to create that using volumetric environment in really late. To start off, what I'll do is add some streetlights in odd SketchUp model. So I'm gonna go to my other SketchUp model which I created before. I'm going to copy the street late. It's pretty useful. It's a nice straight way that they can use. So Control-C to copy and go to this SketchUp model and Control V to paste. You can't really do this in 3D as max or other software. So that's something cool about SketchUp, where you can copy paste between open SketchUp fails, and I'll also move this. So let's go back to Scene one and just move it inside the frame. So add one dead and add one yard is sort of equal distance. And then I'll also add some blue lights. So let's add our rectangular light. So click on rectangular late. Let's place the late, the ground first and then rotate it based on the ground. Going to move it up by say, 15 feet, 15 feet as a good height, ford streetlights of Dean feet, 20 feet. 20 feet works well. And then let's rotate it by 180. Locked. So I rotated it by 180 as well. Let's move it in place. Let's see how this looks. Let's move it down. So it's sitting below the street light, right? So this is our street light bulb, by the way, if you're wondering how I got to the top view so fast, is because I have assigned certain shortcuts. If you've got a camera, a standard user, I've assigned dog to all t, assigned better prediction goal, WE said makes me move to the plan you pretty fast. So I'm going to move this here. Lenders in the center. I'll also move this here. So this is our rectangular light. Let's rename this because it's correlates. Rename this to street late. Open its settings, make it invisible. So we make the sauce invisible. And let's change the directionality so there's more light falling on the ground. You added two lights. Let's assign this to our tags here. So let's go to Default tray, show tree. Create a tag called streetlights. And then select both of these. Use the tag tool, which is a new feature, SketchUp 2022, and then apply settings on a plate it on the wrong group. So I'd have to just undo that. So to zoom this way, yeah, this is better and now I can assign those rights. So now if I switch this off, okay, if you're still not able to assign, the tag tool works. Sometimes it doesn't do this because this is like a bounding box. It's currently selling stuff properly. So just go to Entity Info and gender late to assign to the streetlights and then it goes off because the tag was off. Alright, so let's switch that on. And now we can start with that environment to follow God ADL perspective. So John, environmental fog or to add fog in your scene, just go to acetate a dog or a settings and such on volumetric environment. In, from your settings. There are various parameters here, which I will explain. So for the aerial perspective to work, you will need sunlight. Generally, most people use environmental fog over aerial perspective because there's more options in environmental fog. It works pretty much the same, but environmental fall can help you add dust particles in the air. I'll give you more options compared to aerial perspective. Whereas aerial perspective is just to add some fog in your render. So let's run an interactive render and then we'll see how these settings have an effect on the interactive render. I'm going to switch off the street late for now. I'm Erin sutured on later. I'll also touch on interactive James's NVDA and gender and output size. So it's faster. And then I'll end up with very interactive. So we've added our environment late. No, adding the environment light made it more brighter because actually darker before it goes like this before. The reason behind that is because of the volumetric environment aerial perspective. So let's tweak the settings a bit. Let's also switch on sunlight and see how that affects the scene. And let's move this to the left. And let's to get you up to the right. All right, great. Now while also switch off the default rate because I want to see the entire row. I'll let the visibility range is how much distance the fog is from the camera. So it's in meters, always in these settings. So you can see it's set at 6 thousand meters. Now the further you give your visibility, the less fall you will have in your scene. So for example, now it's at 6 thousand meters, Let's say you said it a thousand meters from the camera. And now you can see that it instantly adds fog and atmosphere. Height is, of course, how much the height is of the fog from the ground. So now it's set at 6 thousand meters, which goes all the way to the top. Let's try with a 100 meters. You can also try with three meters, which is up to this level. So let's try with three meters. So you can see that it NCO from the ground, it is at about three meters. So in this case you can see the background as well. So maybe you can set it up about 15 meters. So you can see some of the background. So don't go crazy with atmosphere height. If you want to blend in your background with the Fog, then you could set a low value for artistic effect. Light multiplier basically controls the amount of sunlight scattered through the atmosphere. So if you reduce this, you can see there's less sunlight getting scattered through the atmosphere. And if you start to increase this, then there would be more sunlight being scattered the atmosphere, which means it gets more diffused. So let's keep it at the physically accurate value of one. So we can just leave it at one there. Filter colors. Of course it changed the color of the fog. So you can sort of make it more bluish if you like. Night and does blue works well and affect the environment and background is to affect the environment light in your scene. So if I disabled this, it's not going to affect the sky, but it would affect the objects at the camera rays are going to hit. But in most cases you should just leave that effect I'm annoyed went on. And you should also leave the effect background on as well. So you can see that it doesn't default, doesn't ethnic backgrounds. So let's leave both of those on. And this is the volumetric environment. So you can further adjust this in the light mix. Know, for example, you can see there's some nice lighting coming from the side, which looks pretty cool. We can also switch on the streetlights and see how much of an effect it has on the scene. So let's stop the interactive render. What we'll also do is I'll make one of the streetlights unique. So let's show the default tree. Show the streetlights and make this unique. So now we can control both these together individually. And let's run an interactive render. So you should see the light bounce off from the card and turn the roads and so on. So you can see a lot of highlights here on the car, on the road as well. Now, the sunlight is affecting this entire senior. So Sundance following this way and you can see it creates a nice sort of effect on the scene where the light is falling into the scene. You can also make it darker or more of a night effect. And we can make the street late, of course, orangeish color. And we can make these more bluish the background. And more bluish. It looks good. The fog actually affects the horizon, so you can see some more modern light at the background can leave that as is. And what you can also do is switch on the lens effect to see the lights from street lamps here too, Let's enable bloom glad, from the lens effects. So you can see more pronounced effects here. And we can increase the size and intensity. This looks pretty decent now. And we can also play around with the streetlights and make it ten because he, there's more later. It's sort of hitting that person's back. And that's reflecting as well. You can see here is L. So that's pretty cool. It looks nice. It looks a little too late, so maybe you can switch out the sunlight. So now the light is falling on the street light there. That looks pretty cool. You can sort of reduce the sunlight as well. Reduce the street light as well. Maybe ten is too much. This looks cool. He has some nice light bonds here. Maybe the lens effect of the little too much so we can reduce the intensity. And we have a cool looking render. We can of course change the color of the light mix if you like, we can make it more warm as well. But it's a good idea to have a mix between blue and orange. And here's an Endo. I didn't make that endonuclease as well. Let's maybe increase the chelate. And that should suffice. So we have our first render with the basic settings, with the default settings, that is, we did play around with the visibility range. But generally the visibility range should work for elevation renders like bees where you can just set it at thousand and set the height at around 15 meters or even lower, or even higher sometimes depending on your artistic taste. Now we'll go ahead and render this out and add it to the history API. So stop the Endo, go to settings such off interactive. Let's set this at ten minutes. And let's set this at 3D. Let's set the height, thousand, two hundred thousand family, and now we'll render it. All right guys. So I didn't those done? Let's add this to the history VFB. And this took about 11 minutes and 17 seconds based on the final render settings. So it's pretty decent. And I like to render as well. So that's why I went ahead and edit this. You can sort of play around with these settings. Now the fall color is coming from this year, so you can see it's still kind of sort of still bright. So that's why the color there was blade as well. So if you make it darker, then this part of the render would be darker as well. So that's a quick tip and this video is kind of long, so I'm going to talk about enviroment default in the next video. I'll see you guys next video. Cheers. 16. Environmental Fog & Cinematic Night Render: Hey guys, welcome back. In this video, we're going to experiment with environmental fog and create an awesome fogged window in our scene. To start off and will switch off the street lights. It see for trees around. Trees are all there to see in one single street lights again. So each time you click on scene one, the tag gets back on. So let's switch it off. Do not update it because we need the steel blades back at a later stage. Ole to switch on environmental folks is called the Asset Editor. And switch on volumetric environment and change the aerial perspective to environmental fork. By the way, the aerial perspective look like this. It's good, but aerial perspective is limited to a certain extent. It only adds fog in your scene, doesn't add particles or dust or stuff like that, which you can do with environmental fog. So it'll switch to environment to fog. And let's use the default settings without changing any of it and run an interactive render. I'm going to run interactive render. By the way, let's just change the interactive render settings because it's eating from the radiator noises. It's not what I need. This gene and staying with their AI, change the size as well, make it faster. And then run interactive random grid. So it's added a fork to the entire scene. Now, again, the units are in meters and automatically changed if you're using inches or any other units in SketchUp. So in this case, you can see that the distance set a thousand meters from the camera. The larger you get the distance, the lesser far you have in your scene. And the closer you get the distance, the more fog you have. Let's say, for example, you said this at a 100. So you can see that's completely foggy and there's hardly any light that makes it darker as well. And the height from a certain Z 11. So I'm going to assume it's from the horizon line in SketchUp. Really hasn't really clarified this, but we can assume it from the ground. So let's say, for example, if we make this 300, that will make it completely dark. We can see that goes up the video. So let's set the height around 15 meters. So you can see it just goes up to 75, was appealed. So the height should be set at a 100 meters. So it's a trial and error when you use an environmental factor figured out, which is that distance and height. So let's set the height at around a 100 meters. Will change this later. Once you switch on the lights, it's going to show up like really cool. And the distance, I'm going to set that around 200 meters. Yeah, that looks decent and the color is the color of the fog. So if you make it, either make it bluish or you can make it warm wishes well, let's make it sort of bluish. Then use the color to eliminate this fog. Emission is to eliminate emit light within the fog. So if you drag this, you can see that the fog becomes more brighter, changes color and becomes less sort of darker. If you want more emission in your scene, then you can use the emission. And you can also increase the emission multipliers. So if I make this ten, you can see that becomes darker, brighter, that is completely becomes bright. Let's leave it at one. And let's not use a mission. I think the fox should work well, or maybe some amount of white light might help. Because little too dark. And scattered years at a pretty cool tool where it'll scatter the global illumination within the fog. Sort of create volumetric shadows and stuff like that. It is more CPU-intensive. So what, what it does is you have even scatter bounds we just set up for. So basically when the sunlight hits, so it'll be one, it hits the object, then it bounces off from the object. Since this is a setup for if we go 1234, so four bounces from each of these objects. And that is global elimination. And I explained it very shortly. But I hope you get the idea where the light bounces off an object and then goes to another object and bounces off from that object as well. This is how primarily we re works. So let's switch on scatter GNC, how much of an effect it has on the scene. So you can see that you get more realistic environment in your scene. And what I'll also do is if you've got affected by you can see that's affected by all the lights. Maybe I don't want the interior lights together affected by the fog. So I can sort of use only selected lights. And let's just select the dome lights, lights, the street lights, and the sunlight. Alright. And effect is like if you want a fork there for gamma rays, you want it to affect the background are not usually I just leave it, leave all three on because I want to talk to sort of create that mood in the scene. And this is our fog. I know it looks like crap, but once you add the light is going to look lip. So let's stop then Dr. Randall can add this to this GFP is to do a before and after. And let's adjourn the streetlights. And now let's run interactive render. Let's make sure you click on scene one. So the light has affected the fog, but not as much. So let's change the color of the street late first. Make it more warm. And let's increase the intensities. So now you can see the fog affecting the render. Let's change the atmosphere height. Let's change the distances. Well, let's set it at 500. And let's change the height to say 300. And now you get that cool artistic effect in your Endo can further genes that distance. So maybe said it a thousand. Usually the default settings work well for an elevation random. Now what I'll also do is increase the dome light because I want more light entering the scene. And I'll link to this video late as well. Let's keep the default color, so let's keep it as white. Keep their mission to 0. And we have a scattered light effect or the fall. Further increase it, keep it at founded. Think the default settings worked well for this window. Now since it's the interactive render, you won't see the details. But once I do the final render, it would look the E&S. You can also switch out this GA just to see how much of an effect it has on the scene. It's very artistic, kind of random, but it also brings in that mood in your scene. Let's play around with the settings here. This is a very CPU intensive, would end up. So I'll leave you feeling a little too artistic. Then you can go ahead and play around with the environment it for. So I'm gonna go ahead and run the final render for this render and see how it looks. So it stopped our interactive render. The height seemed great at find it. So let's leave it at 500, and I'll set up for the final render. So switchover interactive set the agenda to 15 minutes. Sustained, because the longer you leave it in there, the better it is said that thought into wondered. And let's set the denoise that we do see the siloed and then click on that render button. So I'll see you guys wants to lend those done. All right guys. So the render is done, but it's pretty hazy. Let's try changing the streetlights settings. So let's set this at three. It's three as well. That looks much better, but it's still too hazy and there's a lot of noise in the scene. That's because he said that final render progressive render it over to 15 minutes. So it's better to use the bucket render mode for our environmental foreground because it would render these particles better and it would make the scene look better as well, and not too noisy. So I'm going to add this to the FBI and CIA. Those are the progress as well. In the next video, we'll play around with the render elements and do a final render. And then we lose some post-production. And though we re frame buffer. So you'll learn some cool new techniques to solve change colors of certain materials, switch off the atmosphere in composite, boost them a bit more, add some light fires, and so on. So I'll see you guys next video shows. 17. Post Production in Vray Frame Buffer: Hey guys, welcome to the final video of the course. I'm super proud that you guys made it this far and super glad as well. I hope you learned a ton so far. And this is gonna be the icing on the cake because we're going to learn some cool new techniques and features and read it to finish your composition that ugly in 3D. So you can do the post production directly within villi. How could do that? If you notice the previous video that ended didn't come out as expected and that is because of certain settings. So we'll fix that. We clean this video. So let's go to our frame buffer. And this is the Endo from the previous video. You can see there's lots of heads, sort of noisy as well. So to fix this, It's because of there's too much of noise in the scene. So if I go to Source late mix and sort of make all of these normal, you can see that there's a lot of fog in the scene and that's the reason why that ended chemo too noisy. So we'll have to increase the distance of the fog or environmental fog from the camera. So let's do that. Let's go to our settings here by a switch on the sun as well. Because these lights are affected by the environment to folks, if we go to the environmental fog settings here, you can see that these lights are affected by the environmentally fog to need to adjust them accordingly. And the best way is by increasing the distance. So let's set this at 1500 MM as thousand founded meters from the camera. And this should sort of reduce the fog in the scene. So let's run it attracted random. Make sure you're using interactive media AAA and the output is set that belongs 600. You can see that there's less fog know in the render. And if you load the previous light mix settings, which are the night late work setting, you can load to find it in the exercise files from the final batch Render Settings, click on load. You can see that we have a better window and there's not too much noise as well. You can still see though he is in the render. So this looks pretty cool and I'm happy with this result. So I can also switch on the sunlight, but you see that the sunlight effects the entire scene. You could probably reduce the sunlight setting and make it slightly darker. And that puts fix that as well. So if you want more hairs on top, then you can search on the Scandinavian play around with these settings. Let's, I'm happy with this and we're going to add it. So do they see VFB? And now I can set this up for our final render. So stopped and window. And let's add some rent elements. So the rent elements allows you to add more reflections, refractions, change the color of your Endo, change the color of certain materials, certain objects and more. So let's click on read element, right-click. And let's start by adding a crypto met with automatically assigns different colors to various materials in your scene. Now let's say for example, you want all the iron materials. I was sorting Material a certain color. Then you can select this material. And then you can click on the Plus button here and had a material ID. So this lady color will be assigned to all the I in materials, and it'd be easy to select that material as well. Let's just give her id number of one for this material. And now you should go back to rent elements and add a material ID number. So since we assigned the number one to this medial, all these materials will have the same color. And in the final render, Let's do the same for the glass materials as well. In case you want to boost the glass or so on. So you can click on the plus button, add a material ID, and Addo ID number. You can either add an ID number, watercolor, but make sure you add the right trend element. You don't need to add both medical ID column, ID number. Id numbers should suffice as well. And let's see which other materials we can add. Id colors do ID numbers. So ID number three, then there's volume. So let's quickly go ahead and add videos numbers. Alright? And we can also assign material IDs to an entire object. So if I go back to Scene one, I can select this car object. Right-click, go to 3D object ID selection and click on Set given object ID of one. So now since I have assigned object ID, you need to add the object ID rent element. And that would make a certain color for the entire cup. I laid. These are the medial and elements that you need to change. Colors are certain materials in your scene. It's still the same for this object here as well, because it doesn't have a material lady. So let's give maybe 40. Cool. Now you can add something more in your end elements. For example, you can add a Z depth to add more fog generally views the Z depth in Photoshop. So it's a good idea to add the Z depth as well. And you can use this as an alternative to adding environmental fog in 3D in case you want to add the fog in Photoshop. So what does he does is that it creates a gray composite image of your render. Read the objects closest to the camera, more weight, and the objects which are further away from the camera and more black or gray scale, you can see the background is completely black than the furthest away object is sort of a grayish. This gets less creation, more whitish, and then finally have a nice weight object which is right in front of the camera. What this helps is that we can create a simple depth of field shot using the Z depth in Photoshop. So we're going to try using this NVDA if we can. But most scenarios they use it in Photoshop. So you can add a Z depth. And then we can add the basic stuff which is reflection. Refraction can try adding specular as well. And we can also add atmosphere in case you want to add more atmospheric effects in your Endo. And we can also add self illumination. Self illumination is a great way to change the background color in Photoshop or even in reading frame buffer. Add other elements as well, but these n elements should suffice. We can also add lighting elements so we can add the lighting and we can add the global elimination. So what these do is they store the information of the dyadic late and the global innovation stores information of inadequate GA in ELC. So you can further take this in Photoshop are also tried. The VT, VF becomes it and create some cool effects. So this is good to go. And finally, we're going to use the bucket render mode. Distance is going to take ages to render. So we'll just come back in an hour or so depending on your system speed. So let's switch off progressive. Let's use 3D. If you're short on time, I would suggest that you use progressive and just set a time limit. But if you want like a really crystal clear and then you switch that off, go to the end outputs, change the size, say a 1200, save the file, and then smash that render button. So see you guys in a bit. Once the render is done, ligase, the render is done. Also by the way, the bucket render took a little too long to render, so I switched it off and then ended progressive. You guys can do the same as well. Just stick to progressive and set at about 15 minutes. Of course, the longer you leave that and other better resolution, you get great. So now we can fix this, render, this hazy or by adjusting the light mix settings. So let's adjourn the sunlight so you can see that it adds a is throughout the scene. And let's make it dark. Maybe. Not too dark, just a little. Let's increase the self elimination. Let's maybe keep it at ten. Genes, the color as well. Let's switch on the lens effects. So let's go to Lens Effects, switch that on and click on iTunes. So now you can see that sort of pops. Let's go back to the source led mix. Let's set the stage later 11. Now if you said it with 33, it increases the later, but you can see a lot of noise there. So let's keep it to 11. Let's also change this, make it slightly more later. Then of course, once you've added all of those, you can reduce the values. You can also switch off some of them and just use a single SDRAM as well. It's a good idea to mix as JIRA is. I like doing that. Let's keep the sun settings as one and this looks pretty decent. To have a nice night render can maybe increase the lighting in the scene. So maybe like set to only let it 20. And there's fewer later 20th. Well, you can see that the interiors it up a bit more. You won't see the reflections as much because the NPV of the more lit, you can maybe read it, use it. Let's see 15. Let's not make it to warm that red warm. That's a face and maybe increase the street light a bit more. Just to see that. Here's the maybe just increase a sudden later, but this looks good. And now what I do is set it up and change the colors and so on since we've rendered out and element. So if we go to crypto math, you can see that, that same different colors, maybe lady number, self-determination. So self-promotional to change the background so you can select all the black, then change it. Then we have object ideas L2, the car Z depth is not rendered, so we can leave it as is V me, I have not said that a distance or you can lose either plazas. You have a fraction. Specular. We also have a reflection. Let's try to use all digital and element. The composite, all you need to do is click on to composite mixture region. One is all selected and reduce the amount. This looks fine. You could see them all kind of an effect in the environment. Definitely it looks like a night render. So let's click on to composite, and now we can start the video post-production process. So let's add the element to the glass material. I'll just add that element and then apply it to the vendor. So to add that, just click on the Plus button, you click on an element. You can see its RGB color. Let's change this to reflection. You can change the overlay, so you can see the overlay to screen that would make though reflections more reflective. You can also apply it just to the glass. To do that, select the material. So click here and click on crypto Matte mask and pick a material and let's select the glass material. No facial. The preview can see all of the glass material selected and select this glass material as well. And this glass material, as you can see, all the glass material selected. And now if I do a before and after, can see that the reflection increases on the glass. Similarly, you can add some refraction as well. So let's go to the plus button here. Click on the element, change this to refraction. Changes. To Screen. And then of course you need to add the mask or lifo the glass. You can see that, that really pops that glass material, that refraction. So just add it to the class here. So all you need to do is click on this button and click on the crypto Ahmed mosque and pick the glass materials. You should see that the class material is added and red. It's a cool refraction as well on the glass medium. Light. Now let's add more stuff. So let's go to render elements. Let's add maybe the global illumination. And you can change this to screen as well. So this would make it more brighter. Can see that it makes it brighter. And you can also reduce the amount too much. Just to make it slightly brighter all these walls here and make it brighter. Let's add more than the elements. Maybe specular this time. So you can see it lights up the trees, the car and so on in the polls here. Now, if you liked this effect, you can go ahead, added without a mask where it's a good idea to always add some masks. So let's select the card, the glass maybe indefinitely do this polio because that's sort of started shining. That's cool. Maybe these steel bars here as well. Now you can see that plays all over that connect all these reduced specular. Not too much, just a bit. That looks cool as well. You can of course, play around with the light settings here as well. You don't want to show us particular late. Can do that. But let's leave it as is. Reduce the intensity. Cool. And in case you want to change the color for certain elements, let's say this wall. Then what you need to do is you need to create a new folder. Right-click, click on New Layer and click on Volvo. Convenient this, you can rename it to your call this wild color. And then you can click your click on crypto Matte mask and pick the one material. Then you can right-click, go to New Layer and click on Color Balance. And you can sort of change the color. So you can make it more red. Maybe. You can also add a curve, for example, new layer curve. Then you can sort of booster adds a bit more red material. And then you can of course change the color again. And some greens, maybe green looks nice as well. It would be not too dark. So let's go to Effect. You're sort of reduce the effect. And then of course, you can also change the opacity. Who's not to Queen just vastly green. Looks nice as well. I can do the same for these Raja. So right-click or a new layer on follow. This call these beams, changing the color of the beams. And then again, right-click and then you can click here, click on crypto Ahmed mosque. And then select these objects. Let's show them. So all of these are selected. These here as well. That's cool. Then of course he knew right-click or a new layer. And this time let's use, for example, you saturation. You can increase the saturation of that already. Use the saturation and the lightness or make it more darker as well. But let's keep it at 10. You can change the color this way as well. Boost the blacks or right-click go to New Layer icon curves, and then sort of boosted the sphere. You can of course, go back to beams, to Matt and add additional stuff. For example, this, this year, this year. And these elements, these that looks nicer as well, can go back to wild color. I don't like this color. So just keep a leather and maybe make it blue. Orange looks nice. That looks nice, right? So this is our final render, and then let's maybe add more fog. You can do that as well. So maybe right-click go to New Layer, icon and the element and change that and element to my sphere. And seeing the blending mode to lighten multiply. So you can see that boost the fog in the scene, makes it more prevalent on the top that looks cool as well. You can reduce the amount of light. So we created a nice-looking Nintendo. And finally, if you want to get rid of this nice, then of course he laughed, reduce the street light values. But overall, I think we did a good job. So let's add this to this to VFB. See you in autism it also guys, I played on the settings a bit more. It is a little too bright. So what I did was I added some additional exposure of filmic tone map, radius opacity, or I played around with the exposure and the contrast, added some white balance. So to make it more cool, I'll make it more warm. It's a little too warm, so sort of made it more cool. And I also reduce the opacity of all of these. For example, the specular wall color, the beams. So it's not too contrasty and sits well in the scene. And then of course you can reduce the atmosphere as well. I can switch it off. And then I also have some of these. Finally, you can also see this three set out so you can click on Save and save it out as a layer tree preset and you can load it in if you are doing a larger resolution. And then of course, don't forget to save these. And you can also click and hold and save all the channels in case you want to do some further post-production in Photoshop. Hello guys. So this is the final render that I was able to achieve and sort of tweak certain settings as well. If you go to the ghetto, can see that at genes from bucket of progressive, because bucket was taking forever. But I did set the time limit to 90 minutes. And you can also see that a change the distance of the environment, 4,500 and height 2 thousand, so that there was fog throughout the scene. And I also made some changes to the late mix, for example, as a list of all the dorm lights because I wanted a more darker scene. And I also reduce the sunlight and made it more darker. So you have this nice cool effect that we get. Also increase the street late to one. So you can see these effects here. The light sort of scattering through the fog definitely creates a sense of mood in this random. And finally, I also save this preset so you click on Save and save it out. So I have saved out dark reset, and I was also saved out light presets if you click on load and click on. All right, so I hope you guys found this course useful. Please do leave a review and also stay tuned for more awesome content coming your way in the future. I'll see you guys in the next course and videos.