Create Photorealistic Exterior Renders with 3ds Max + V-Ray

1. Introduction to Create Photorealistic Exterior Renders with 3ds Max + V-Ray: Ready to create your own poor realistic images just like this from scratch. With the industry standard tools, Fred S MAX and ray, you can do it yourself with this course. You'll learn all the skills you need to render your photo realistic images from the beginning to the end. By taking this course, you'll feel confident rendering photo realistic images completely from scratch. Whether you want a job in the architectural or CGI industry, or you just want to be able to create your own images and portfolio. This class will teach you everything you need to do it. This V for Fred S Max course is taught by one of only 28 official V mentors in the world. A VA mentor is an officially certified professional of the highest rank trained by chaos group. The easy to follow, step by step lessons and downloadable files, simplify the tools used by the major CGI studios. You don't need to have any experience. The basics of free S Max are covered. We'll cover modeling and building and adding details before mastering all the materials you're going to need, and we'll create a material library to speed up your future workflow. We'll then create an exterior environment with trees and foliage. And staying organized is key if you want to be working in a studio or for clients. So we've got that covered. And after that, we will look at lighting our scenes like the professionals. We'll learn how to use fog and atmospherics before applying the post production to our beautiful renders and detail shots. So why take this course from me. As a CDI artist for the last 15 years and working with some of the world's most exciting designers and brands. This is everything you need to jumpstart your free D arts career. Okay. I'm here to help if you ever have questions and you also get access to the community group for ongoing group support and the newsletter to keep you up to date with the industry. This course is constantly evolving. It's a full master class, making it the only exterior rendering course you need. Whether you are just starting out or you're already in the industry, this course will enable you to produce your own photo realistic renderings, click the enroll button and I'll see you inside. 2. First Exterior Environment in 3ds Max with V-Ray and Chaos Cosmos: Hello, guys. I'm going to show you today how we can quickly put a scene together using chaos Cosmos and the asset browser that comes built in to the latest version of V ray. To begin, let's open up a new scene in Free SX. And the first thing we're going to want to do is create a light. So we could go to traditional way and go over here. But now we can actually use Cosmos browser. And I'm going to go to HDRIs and I've downloaded a few. So you can download them by clicking on one and hit download, and it will download. Once they're downloaded, you'll see a green button here that you can click to bring it into your scene. You can also go down here and say show downloaded only. So I'm going to bring in this daytime, and I'm going to bring it into our untitled scene. I'm also going to just make one big viewport so we can see what's going on. And next up, let's add a freeing model. So let's use a vehicle one that I've downloaded, so this SUV. And there is that car. The next thing we're going to want to do is create a V ray plane, which is is the same as a plane, but it's infinite. So rather than just making a plane here and then rendering, the V ray plane is actually infinite. So if we go down to V and add the V ray plane here. This is actually going to go off all the way to the horizon, which is going to help. So if we've got sun and it's bouncing, it's only going to bounce on this plane. Whereas if we had an infinite plane like this, it's going to bounce and bounce light back up. It's just a more effective way to add ground and that's going to go all the way to the horizon. So we can actually take a look at that if we run an interactive render. That's really over exposed. So without adding a camera, quick way just to turn on auto exposure is to go to camera under our V ray settings, and we'll go to auto exposure, and we can see what our plane does. It goes all the way to the horizon. So as I'm moving around, and we can see our car, and we can see that that HDR is doing a really nice job of lighting our scene already. So we actually want to get some ground material on here. And rather than making it ourselves, we can now take advantage of the V material library browser. And if we go down to ground, and we'll add something like this. So I believe I've got the V plane selected. I tell that from here and I'll right click and apply to selected objects. And we can see that supplied. Now, let's take a look around this scene. If I select the car and press the head and make sure we're in perspective view of the P, we can kind of zoom around the car and start looking for a nice angle. So something like this looks kind of cool. We can add a camera now. So we'll go over to the create panel camera. We'll go to V ray and the physical camera. If we just click and drag and draw that anywhere, it doesn't really matter, and then hit Control C, that's going to move the camera into our viewport view. And then if I press C, you'll see in this top, left that this v camera is now selected. So we're looking through that v camera. And we can change our camera settings in here, but we're not going to look at that yet. So now we want to populate this scene a little bit. I will open up Cosmos browser, Cosmos, Cosmos, and we'll go to vegetation. And I think some rocks. So there's loads of stuff in here you can choose from, which is really handy. Again, for demo and scenes like this. If I put show downloaded only on, it's going to show the ones I've downloaded, which I've already had a little play with. So I'm going to bring in these two rocks into our untitled scene. We can even see them already coming in to the interactive view here. I'm going to stop this while we scatter these rocks around. Let's go to two views and to change our viewport 4-2, we can actually right click and go to Ve Port Layout tab and change that to two. Yours might already be open over here. I close it because I don't think it warrants the space. I'll just open it up when I use it. So let's go to our camera view here, and I press Shift F to turn on safe frames, and we can see what's going on in our scene here. And we've got two rocks over here. I'm going to pull them off scene, and what I'm going to do is paint with them. So for this, we want to have our graphite tool bar open. So you can go to customize show UI and make sure the ribbon is open. And object paint is what we want. Click on that. Now let's select these two rocks, and we want to paint with selected objects. Paint on. Let's just have the grid, so that's going to be the ground. Later on, we'll go through how we can paint on two different objects and what a lot more of this does. But you'll see now if I click, we can start clicking and painting these rocks on. Obviously, this is very uniform, so it's not ideal. But what we can do over here is start playing with some of the randomized settings. So first, if we put random on, this is going to randomize the scale. And we want this only maxim out 110% down all the way down to 20%, and this is the rotation. So this is going to rotate our object around, and again, our space. So we're just trying to randomize this a little bit more and the spacing here. So it has to move. And if I turn this spacing up, you can see that's looking a bit more realistic and you can spread them out. And that's a really quick way to kind of get a bit of an environment going on, and then we can turn this off and we can individually select these rocks, and they're all different shapes and sizes. So if we actually run an interactive now, should see a lot more environment going on. Of course, we can move these around individually to set our scene. So if we want to show more of a car here. Now let's look at bringing a tree and some foliage in. So open up cosmos, I think it's Cosmos Cosmos. Cosmos. Cosmos. We'll go to trees and I'll bring this English oak in. And we'll just use this to frame our car a little bit to just have it kind of coming in on that corner. There are some really fun things you can do like add melt modifiers and then kind of animate the trees growing and stuff like that. But we can talk about that another time. And let's also bring in these junipers. This tree is also massive. I don't know if it's going to cast some shade. Let's take a look on the interactive render. I'm going to scale that down a little bit. Maybe like 75. I'm going to hide that for now, so I can make selections a little bit easier. These are our free bushes. I'm going to select. I've got a rock here as well, but that's fine. I'll pull them over. So I'm kind of using this section over here just as a bit more of like a palette of what we're going to paint with into our scene, just to keep things organized, if I ever want to paint again with them because these are all going to be randomized. These are kind of like our main objects. So I've got my free bushes, and we're going to paint, we've selected, and we're going to paint onto the grit. And we're away. And we're using the same spacing as we created that rocks. So if we wanted to make some bigger bushes, we can do that's looking pretty cool. Now, I'm just going to kind of organize our scene a little bit better, like put some bushes in the foreground. And I'm just holding shift and rotating to make a copy of that. We'll have that there. And also, let's get one in the foreground. And obviously, you can go to town you could add some of these smaller plants and there's even little stones that would go nicely behind the car. But anyway, let's unhide all so we can see our tree and run an interactive render. So if you are interactive rendering and you want to move into the top view, you're going to notice that it will go into the top view in the interactive render. So a quick way to solve that is in the render settings. You can look the camera to that view to render. Now when I go to the top view, it's still rendering our viewport. All right. I want to tighten up some of this scene, probably make some of the rocks bigger. What you can do in the Vmera if you select it is show the horizon line. So that black line there is this horizon line, and that's kind of a bit of a giveaway. It's not going to be dead straight. So it'll be cool to kind of make the rocks bigger for that horizon line. And also remove some of these bushes that kind of hide in the car. Select this lock. I'll deselect the camera and then hold and shift, copy all this rock over here, and we'll scale it up. Finally, we can take a look in this frame buffer. Let's add an exposure. I'm just going to pull down that highlight burn and you can see we're bringing back more of this sky, which is nice. We can up the contrast a bit because that highlight burn does take away some of our contrast. They're starting to look nice. We can turn on this lens effect. So if we enable the bloom and glare, you can go into this, but I think the defaults look nice, a nice little bit of glare on the back of the car. And yeah, you can play in here. You could add a vignette to the camera as well in the camera settings, maybe pull the saturation down a touch These filmic to maps are really cool as well. So perhaps put power curve on there. I quite like that one and you can kind of flick them on and off to see what each one's doing. But I think that is looking kind of cool. If you do want to render the final render, so we've just been using interactive this whole time and it looks pretty nice. But I would recommend in the render settings if you go over to the render elements and add a V raiser You'll see currently D noiser is unavailable. So if we stop this render and render a production render and just let that run. You can also change the size. So this is only 640 by four 80. But you can change that under common and there's an area, like put that to HD or something. But what this is going to do is progressively render, and then that's going to de noise as well. But yeah, you can see the de noise in and at this early stage, it's going to kind of make it look a bit blurry. But you can always turn it on and off or bring down the pass on it. So really, really quickly there, put together a quite a nice scene. I look forward to seeing what you guys can do with that. 3. Modelling From Plans In 3ds Max: Hi guys, monthly series on the exterior visualization. We've 3DS Max and V Ray, my name's date. Then I'm gonna I'm gonna be showing you how secure a exterior visualizations, please lessons we're going to use a Project who for his boss, this is an existing building in Japan. And this two-minute video here. So let's just check that out. It's guess those familiar with the project. So it's definitely a good opportunity if some cool shots in there, because I got a lot of phi reference here, which you can download in the resources section. And no good plan. And yeah, it looks like quite an interesting buildings. So first thing we're gonna do is talk about how we can model this in 3DS Max. So if we go to the top view and hit zoom or in the center of arsine and phosphine we, we don't want to do is bring in a plan. So let's create a plane. And we'll change this to one by one segment. And if we look our plan, we'll see that the high res plan, let me emphasize 2 thousand by one hundred, one hundred and eighty eight. So we can put that in here. So you can put them in here just to get the aspect ratio of the series is really small. And then if you Right-click move and fundamentally zero-point, a free will switch between wireframe and edge faces mode. And then we can just drag and drop the image on. So we see that this aspect ratio is correct, but now we need to do is make sure that the scatter is correct. And just a quick tip, if you can't see the image in very much detail, you can change the configuration of the textures in people's by going to this plus symbol in the top left. Configured the imports. That should be displayed performance. And you can change your texture maps to 2048 here and here apply. And that should make everything from bacteria and the vehicle. Another thing that we can do is you can save us a lot of time later on is straightening up the building. We can say it is not straight. And so when we create things, we're going to have to write a everything every time or humanitarian plans early, which we're going to do now. So what we can do is create a box and hit o x, which would turn into x-ray. If that doesn't work for you, I'll right-click on the object, object properties and just make sure you've got by object on and it's unsafe for. So now we've got reference for making the planned straight. We can rotate. We trying to do is just make this slide straight. Just rotate that into position. Something that seems pretty good. We can then that back into the correct position. Another thing we wanna do is make sure it's the correct scale. So we can use the same box. And let's use this measurement here. So we can see that the whole building is 127,080 millimeters. Think I've pronounced that correctly. And that's how, how big buildings. So we wanna make this box that size. It's not actually far off. But let's just type that in 12,780 millimeters wide. And that's how big is planning should be. So now you can just use the scout to scale it up. And basically we want to make this, this line here, as long as this box. And that seems bow right? Now as to scowl and again, I'm just gonna move that back into position. We wanna make sure that our buildings center. And next up, we can delete this reference books now. And we're going to want to freeze this plan to stop us moving it by accident when we're, when we're modelling. So if you just right click and hit F3 selection, it's going to turn gray, which we don't want because it's a plan. So we're going to need to go over to display. And if you scroll down, you'll find shy, frightening gray and take that. And then if we go to F3, selection is now locked and you can't actually select if you ever do need to select it, just go unfreeze. Oh. 4. Modelling Walls In 3ds Max: Okay, so let's get modeling. So let's great box on. We're gonna press out X to make it. It's making X ray put edible party on there we can actually minimize. And it, Polly, I'm slick Virts on with movies into position. They're pretty much there. Okay, cool. And now if we press play set so we can see that the height of this base is wrong, but we don't have any elevations or side plans. So what we can do is have a look in the reference and check out this image and the average width of the door is 860 wide. So I would say that our base here is about half of that, so we can call it for five. So if we go back in here now, these modify stacks work like lays info shop so we can actually go back and modify things. So if we go to the high it and we put 45 in here, this actually modify would keep our head. It's so we can turn them on enough as well. So it's like a nondestructive workflow, which is quite handy. So next up, we want to have a look how high the walls are. So if we take a look, our image again, I'd say that the high the overall height is probably double. So let's take a look at our war height. Andi, The average size of a door is 2080 millimeters high, and we also need to take into account step, which is here, which I would say is the same size as the base of the buildings. 45 So, holding shift. I'm just gonna put up the base so we duplicate it. Gonna make that copy in front of you. I'm gonna snap that to the ground. I've got snaps on so you can turn it on here. Right. Click on it and just make sure butts are selected. And you have these free options on. Then you'll be able Teoh. Select objects. Andi, snap him to overseas. So there's our step. Now let's build this left hand side walk. So, looking at this, I'd say that is half the size off door. So outside of the door is 1040. Some holding shift, dragging that up to create a a new war, You could say, um, I'm gonna go back down to this stack and make this 1000 and 14 minute meets high. Then I would guess to make that the highest point off the building is 2.5 times the height of the door. So that's called at 5200 millimeters. So I'm gonna hit control V, make a copy and just hit hide selected. So God, you forget that ongoing about down to box on and type in 5200 millimeters. That's the height of our building. So now what we want to do is unheard. Oh, this may ensure in the left few. I'm going to select these edges. Gonna hit connect. When the highlight these two bodies here I left you. I'm going Use slaps. Snap least top here and we can delete this. It's just I'm getting rough shape in. We can delete these two planes on will select the bottom ones. So let's take a look at the north side of the building, which is this area here. And you can see it is this this section So what we're gonna do these were selected. I'm gonna detach these two wars by selecting the faces here on weaken, select attach. It's changed color. So we know what's going on. And then here, suppliers shell mortar fire on the inner walls. Free 100 that works. No need to modify these Arizona. Consider this war she pulls in here. So that's at another eligible Pauling. Select these birds and here in edit geometry in a select edge. I'm just gonna pull that down to here. So what it does is constraining to the the edge of the object. Same this side and pulled up here also actually snapped them, Said the same. There we have our walls and now, looking at the no side, which is over here, where actually did touch this one. I'm just gonna go over Teoh hierarchy, affect, pivot and send it to object. And in the top few, I'm just gonna pull that in lines where it should be. And if I right click and like the basis we can see what kind of we're beginning just to block out the main areas, talk to you. We're gonna hide the bases again. Personnel, now getting is no innovations, so we're just gonna have toe over it. So from this that it just seems to be a lip, the window frame here and some glass panels. We're just gonna pull his down on a person s to 10 snaps. So, Andi, this is our ledge. Let's put a schellman far from here again. So when I go on to the modify list, I just type s age, comes up with shell. That's a good way to find your modifies quickly. Andi Person o X and we conceded decks. Yes. I'm just gonna pull that into 20 Robin and waddling windows have actually pre made him. So If you have been pre made windows, don't Max, we can then use a computer to bring that in, which is in the next video, So let's worship. 5. Copy and Paste Between 3ds Max Scenes with Copitor: this video is going to show you how to copy and paste objects between three DS max scenes. You got into the library and go to the scripts folder and you'll see Kopitar in that you can drag and drop this into one of your view ports. Got to customize customers, user interface to buzz and you see a copy here. You can drag and drop that up here. So now if we create an object, open up, copy it copy and we can go into a new scene. Do not copy and hit paste, and your object will be in a new free deace Maxine. 6. 3ds Max Toolbars: Hi, guys. So I received a message saying that some of you were having trouble adding scripts. Teoh, your tool bars like I have up here, so I was gonna quickly demonstrate how to do that. So where the script you've got, you're gonna download and dragged into this view port, and then you can right click in any clear space on go to customize you guys tool bars. So seeing as really big maps was the was the script I got ask question about just going to use that so quick here, and I'm dragging it up, and then some of you probably gonna try and drop it here, and you won't be able to You just put it over. You can drop it here. So there's areas where it can't be dropped in. The reason for that is that this is actually a toolbar in itself. So you can create your own until bus. So these are all my customs groups if you just hit new and you can call it whatever your name is or whatever you want to use it for is here. This is my new toolbar. And I could just start adding my my scripts to it. What ones? I wanted it when it adhere, and then I can just drag and drop it back up here. So the reason that some of you aren't able to drop onto here is because there's no tour. Byler just drag and drop him up here and that Save you a lot. Time responds. I hope this is helpful. If it was, then, please, like, share on any questions and let me know if there's anything else you guys want a night. 7. Modelling The Windows In 3ds Max: Okay. Welcome back. So you should now have copy to installed Andi. What we're gonna do is open up some pre made windows and then we're gonna use the techniques I showed you in the last video to bring them into our scene. So you get the results, See section. So let's use a 10. Let's open up. Um, so that's not the pre made windows. So we go to resources windows, pre made windows. It's open them up and just select those free objects which consists of the glass. The two windows. Go to cop Peter Hit copy. Wait for that status thing on. Just gonna minimize that sane carpets and paste them in their know, exactly aligned. But we can just push them back. They're probably not gonna fit exactly into yours, Eva. On. But what we want to do is get reference back. Open. Ondas also good view from the inside here so we can close this pre made windows now. And let's just line this out. So reporter up here on also Portis window in Ana Portis window and as well you can also see that the glass is gonna need moving along with, along with the window. It's just make sure that there aligned on. Also, you get a need to update this piece of glass justice in a one so they don't overlap. Guys, that's cool. No, what we want to do, let's bring that glass down as well. And now there's a lip on top which actually lines up with the corner of the war. So we want to build this section. So what we can do is Buddha box in turn on, acreage. I'm gonna turn that into an eligible Polly. Jeez, this bomb face and I'm gonna as press s I'm gonna snap it on the corner of the wall here on . In fact, I'm gonna snapped. I'm gonna step the top one to the corner of the war. Andi turning snaps off so it doesn't stand to itself. Just make that give that a small amount of thickness. You guys just help you. I'm just gonna pour these in these ones out. It's that needs today corner of the war again. Maybe it was a snap. Yeah, on the importantes across to the corner in this war. I'm also members free here and snap it up this glass. I think That's a good place for that to me. Andi Also, this whole, the older, the free objects we brought in a much gonna put him forward. Andi said a corner lines up. So this area lines up here? No, no. Some person that free again. Pete Going to respect my own Zed. Zoom on. We can see about that area. We're gonna need Teoh resize the windows. Andi, these air actually instance instances of each other. So it shouldn't be too hard if we update one to update the everyone just gonna put up to their also ended the same in a glass. Just select all these top Burt's and bring them down. Now we unhygienic all consider make him some pretty good progress. How did you see that This, um, connect stated this bomb base is not Can't you see that this bomb base is actually a lip so we can pull that in as well? Um, in the best way to do this just to be to scale it scale in the why Knicks? It's kind of cool. That's working. Now let's take a look at the self side. Um, we've got some reference of that side, so similar a window here, glass going all the way across the lip here on Let's see what the other side it's like. Yeah, there's a window there as well. It's a very similar. So what we can do is just select all of these areas. Just bring him across some holding shift and dragging. But I'm gonna make that call peaks. I'm pretty sure we're gonna be updating this. In fact, it's well, I'm gonna rotate this 100 me. So you notice there that when I'm rotating, it's not retaken by degree, which means it could get messy. So it's just press control is there to undo that? And I'm gonna turn on angle snaps Tuggle, And what that's gonna do is rotate by five degree increments, top u. I can hide the two bases again so we can see the plan a bit better on I'm going to select or these s O X and just pulleys forward. Just learn these office best I can. So let's just grab the first. Let's hide the base so we can see the plans on. We're gonna grab free objects that we import earlier grabbed this lip. Andi, This top section that we built as well on. I think the best friends do just be to mirror over, were married at in the UAE, and we'll make it a copy. So that's now mirrored this side, which is gonna be handy for us in the top view less drug into position. I'm gonna press out X so you can see for you So we can position is correctly Andi Porter into place. That's looking good, Andi, I'm just gonna push this over this way. Andi Now in the edible Polly Weaken, Just update this. Using the snaps on well on we can jump down in the edible Polly and pulled a lip across is well, and that's also moved this window across. So trying to select that piece of glass, there wonder, and it's just clicking dragon, then holding oh de select the rest of them. So that's kind of a quick its weight to grab that pulled out into position on. We'll move these votes into position as well. That's cool. So we're going to leave to delete that war now as well Internees back on, we can turn off X ray mode for these as well. So we're starting to to quickly get this shaped. - Sen . Allison Hyde. Everything and that's going to talk to you on. We'll make our bases X ray you, In fact, this boatman we can actually hide it. From now on, everything is gonna be any updates to it. Um, better to talk to you, We can actually hard both bases. Um, what we're gonna do is Bill Days wars now, and we're gonna cut this section of the main area. Then we're gonna cut these windows as well. It's fit so we can just hide. Self facing area on will use the line tool. So this is another way of building walls which is actually shown in the interior lectures. So we're actually gonna use to actually use the line toe. So this is just another way that you can build wars. I've also nice is another window. Decide on then the window here so we can add them in both these wars first. So I've drawn the line of clothes this blind. Now I can go into Vertex and just make sure that everything's lining up nicely, and then we can just put an extreme modifier on this. So I'm talking e X as he extreme on the reason for doing this problem and inevitable policies that it's not destructive. So you can always I'm go back into the stack and change the height off this war. Um, so West, I remember, was gonna on Heidel Andi, grab this window and in the top to you I'm gonna pour that over and I'm gonna put enough one over here that's gonna have to be moved when we remember. And also we're gonna need to bring this glass over. So now we're gonna add the extrude modifier, So just press e So now we're gonna add the extreme modifier, So just hit, modify list press E X to get to extrude You can put that on Onda We could make That's high as we like, So don't worry too much about that, Knox. We're gonna snap that to the building so we can put an edible polly on top. And what's great about this is we can't go back to the extrude Iran update that So let's go to be edible Polly butts on just like them bomb ones Present s detent snaps on. I'm just gonna snap it to the base of these wars on and civil go any better Courtyard reference. Okay, so they're gonna be the same height here in here, and then the angle is gonna be the same as this. So if we just select these free, we can snap them there. We can snap thes two Teoh here. It will be worth changing this to to so actually only snaps in the and step. Let's not the bomb ones to the lower area up to the lowest section here. So just did it in front of you and were snapped that in a one top that essentially turn our snap stores to free and that's going just make it easier to snap. - It's just looking about right so we can just mirrored out over using mirror again. So just hit mirror here. And this time we want a mirror in the X, and we can just pulled over in the top view trying to line them. You notice that there No, actually the same. So much for that there and using the and using enable Politiken used averts Andi turn snaps off and just line these up. Great song on Heidel We can see there still some stuff we need to fix. Namely this glass. So let's any edible polio of it. We'll select these edges and wanna go to connect the most. Put two connections in there and here. Okay, that one lined up quite nicely on Decide. I just grabbed eyes, too. Pull them to here and we're gonna select the polygons in the middle, select him, select them police in the middle and just hit the lame on. We're gonna do a very similar thing. Three stop are So we're gonna do very similar things. This top lip. That's just crap. Those edges hit. Connect to those Andi in the top view, let's snap snap days on. Almost like these parties in the middle when we hit the late again. And finally we want to do it to that lip as well. So, at an example, Polly, a condom edges connect to just bring them justice into the war. It's like these police had the lead and thats so looking pretty good. So now we want to add them windows here. It's also pull up the wars said and no intersecting. So we're just first s and snapped these to the ground the same on the other side when his poor days across like that Copy Andi, put out one across. Make that a copy. Onda. Also, the glass is gonna need update. And so we describe that edge. Make sure it's not intersect in same this side and then we want to copy over the glass. Grew slightly and from a copy of the glass from the other one holding shift. I'm just pulling that across on Same this side. Okay, Looking good. 8. Modelling Gutters In 3ds Max: All right, so we're making great progress. One thing up that is looking at the references. We've got this kind of guttering area around here and also orders floors raised. So let's have a look at how we can We can build that with what we've got. I feel like the height is gonna be the same as these green areas. So I'm just gonna hide our to base subjects as usual. Crazy to talk to you on. And yes, I think the first thing we should do is an indelible Polly on select edge. And just grab these two edges, pull them all the way across. I'm gonna just turn that into x ray, mind using O X among parties across to where the windows begin, and then just pull these votes in. I don't need to be to a Grix. They're gonna insect with the wars anyway. Andi, what we do here is it's select that face so you can do that by person. If free, just like that, a person is free again. Andi, I'm just going to use an extreme modifier. Absar in extreme. I was going to use and extrude sentence poured out. Andi, it's snap in top view. We can just snap that to the corner of the war. Some person s on Describe these butts. Andi, grab that face again. It should still be selected and help. You were gonna press straight again and he's over with parts. In fact, if we actually move these in lines where the other side is, we can get rid of. We can get rid of the other side. It's not. It's like this green box to leave that and you'll see that this now comes all the way across. So this is thistles. The interior floor essentially suggested the same on the other side to press a free grab that face top, you extreme. Snap that one on here. Snow up here. Go back to to the face. Hey, extrude. Okay, a more porous into position. That's cool. We were side. This got ring on the courtyard. So for that, it's just draw. You're out, closed this plein, and we'll add an extreme motor file. And that's not gonna be 5000 people really wanted just a 500 then we're gonna update ourselves anyway. It is pretty edible Polio to put it up, guys, that a front view? Snap that to the ground. Select these top efforts. That's just snapped those on a swell. Straighten that up. Go straight in this one up as well. Right? But we can even actually attach these to objects that the same. So we're gonna go In the end, it will probably go to attach. Just make goes to the same object. All right, we're looking good. 9. Modelling The Large Windows and Roof In 3ds Max: So let's bring in these big windows. I I'm going to do a course on or by the time you're watching this, there should be a course on modeling. Scene is we're looking exterior visualization. I've pre modeled windows and you can open them up here. So open up. Pre made windows, too. On. We're gonna do the same thing. Gonna use computer and just copy and paste these big windows in for now. So once that's opened up to select all of those objects, especially one big group copy copy, Andi, it's just going to a scene. Paste that him. Now we just need to make sure that it lines correctly. So that's just with that selected licious pushed across in the UAE. But I have raw thing that actually lines up pretty well. All right, so now let's build a roof. We can see that the roof is actually mainly flush apart from the edges off the building. So to go about building this, What I'm going to suggest is we make a copy of these wars, so I'm gonna hit control V with the war selected, make that copy and then using isolate selected, Just click here So you just got that selected on. But it's like the wars. I'm gonna collapse. Oh, and I was gonna select all of these police. Andi, only leaving these four press delete. So I'm gonna select all of those and slip them on what I want to do in the top. You I'm actually gonna bridge he's full. Just a case of them said and should be fine with these edges. Still selected was gonna hold control on backspace, so it's going to remove those edges. Then we can just add a small shell mortar fire. So when I say small, I'm thinking, um, maybe like to 20 million. So you can see we've got some strange shadow in here to fix that. It's just at a smooth modifier. We also one of poor tea's out. So let's just x treat them out to talk to you. This extreme, them out about 500. Yeah, Okay. I just want to make sure that these air lining up correctly Snap, snap those home snap tights. All right, cool. So now we've got a roof 10. Modelling The Roof Gap In 3ds Max: now with the edible police selected, Um, there is a lip here to a select ring. So I've just selected that edge and hit ring, and we'll connect that almost like that up into position. So 90 seems about right. I'm gonna select those two on these two connect snow days again into position, and we select these police The lady. Um Andi, we're just going on bridge days. So there's an inch dia. 11. Modelling Mass In 3ds Max: Hi, guys. Welcome back. So we just put the roof in on. Obviously, these interior wars are poking through the top of the roof, so there's an easy way to fix that. We're just gonna use a slice modifier, So just hit, modify list on and types of ice and it's come in. So the best way to demonstrate this would be to go to the sliced plane Utkan plaguing the modify stack. Or we can just press one on the keyboard and I turned snaps off. And you see, you can pull this plane around, which is here, and it's gonna cut the interior wall. So we just pulled up to here. Andi skates left you on. I'm just going to rotate this, move it so she cuts so you can see what's what's going on more in perspective says I'm moving that around. We can we can cut in that direction. So back on the left, you press that free. I was gonna die in the right place, think somewhere around we'll work. So on top of that slice and putting inevitable Polly on, then I can select these party guns on these on. I'm just gonna hit the league on. I'm gonna select border. So I'm selecting the open edges here. I'm just going to put a cap on them and we've solved that. Another thing we can dio is put a flat roof here So you can create books? No, on the shrimp of mentioned or grid yet. But if you turn all agreed on here, is gonna snap Teoh at this books. Or if I do believe that and I'm here, Is that this bomb one? So it was quite handy fuel. Creating new objects is just create box here, boy agreed on. And they bring this up. Essentially, what I want to do is great top here. So great kind of lit. So when you talk you free and shoes eligible Polly on to move this around like So Now you notice if I'm If I'm moving stuff around with an edible Polly, my pivots are gonna be off. So the period remains here. Um, we can reset that, but it's going to Iraqi, effective it and sent it to object. So that's how made messing kind of happy with that. So there's gonna select everything and let's just change. It's a great so you can get better right there. That's looking person for To turn that off. I wouldn't see it go Any issues. I mean, these exterior wars a problem through Andi, I think that's looks like he only anything. I mean the quickest way itself that I would just be a bit more fitness. So that's my main message. Is that great? What we want to do now is add doors, steps, just someone detailing. So I'm gonna go through how Teoh cut holes in the interior wars and we can put doors on. But again, I'm not going to show you how to model with dogs. It's quite straightforward stuff, so we can just load in some of the premium models on so I could get on with Edinson terrain on materials and rendering 12. Adding Doors In 3ds Max: Okay, so let's first look at the entrance and we've got door here. So we're gonna want to do is create a box. Go away. Good answer. That's gonna stop nicely on here and on every trial. The door is 2018 mil y is 816 so we'll create that. And what we're gonna do is with day interior War selected just going to pull it out in here . So it's intersecting. I just want to make sure that is the right higher. That's about right. I slept them both in I slam. And now what? We can dio Let's let the interior wars we're gonna hit probe ruling on make sure subtract his own. Start picking on select this box. And what that does is remove that books from interior walls says go. So I'm gonna go pre made door, which we're gonna use their bring that in on. What we want to do is the same. Make sure Booth is not selected anymore. Is on this interior wall there is a door as well, which we can see here. So let's cut out as well so we can do the same. We're just gonna create books. So we hide the base. We confine up these books where it is on the plan. Same again. Select these interior wars. Andi, we're going to create compound objects properly. Stop pickin movement that books today's two doors. So now if you have not pre made doors from the resources section you'll find two doors in their hit copter copied in my on that spring izing they're gonna be roughly in the right place. Shut from around a little bit excited. Best time top you. So? So there's a front door. We want to go to door over here. Just gonna make sure that fits in. Okay, Looks like we do bringing down the high events. That's I wrote. That's pretty code doors in. So up. Next, we're gonna add this wood paneling, which is around the whole building. Nothing to do this we're gonna use or generator. So I'm just gonna quickly show you how to install floor generator 13. How To Install Floor Generator For 3ds Max: all right, so to install floor generator, which we use to make, would you gotta go the CD source dot com slash floor generator and sign up. If you don't already have a sign in Andi, you'll be out to download the free version of this. It's a damn it anywhere. Also be worth grabbing unique Teoh a day down like that. I know So moment. Texture. So we're gonna use these to randomize the wooden planks on the exterior wars. Well, Freddie's great. So once that's downloaded extracted on, you'll see automatics versions here. So selective versions 2018. In my case, we right click copy, go to program files, go to or a desk next 2018 and just hit. Pay good plug ins. I'm based in here. Are we going stowed? Say, just gonna skip that. Then what you want to do is re stop free DS Max 14. How To Use Floor Generator In 3ds Max: Now what we want to do is create a line on within a through around where we want the word paneling and we'll say drawer and door frame. But I do you know that that door frame it's gonna come down little bits, maybe like halfway now, floor generate only works If everything is flat, So unattached this on. We're gonna isolate again, go to from you. And as you can see, it's no flat. So I just used snaps to line everything up, and then we should be out at flow generator. Take that. So you descends. A quite straightforward. You should be able to see, uh, what's happening with Scott on 10% these descendants here, If you follow along, you can see we've got a little bit over an issue here. Maybe just the offsetting the why we'll fix that. It's an honest down we can on high door. We just want line that back up the return of snaps. It's just a question of rotating that position. Now you're gonna want to use the same technique to go around building what is would at the end of this lesson, you can have access to the whole model that I've built. So if you could go around, do yourself a practice or you can just use the model dies. That was great. Course allowed. Let's make the roof I'm gonna do is like this. Hold it. Shift making copy. We're gonna isolate it. Andi were I take it so we want to do is make This is flat as possible. Something that I talk to you with snaps on draw around. This is best I can. Did you reference front view is that line we've created? We want to make sure that that's flat. So for generate work correctly so snaps his own. Andi Snap age for 21 in particular. Courts backing top you. How can that be? Right on. You know, they stay in our reference. That is not offset, says oldest long beams. It's about Ryan. Until you we scared him up a bit more. Reckoned something like this. Good Onda again. Just pull these down and then we just want to write to him again into position. Okay, so the next EPS view is Teoh at the have the roof from the other side at the wood paneling where there is some at something door also put on the interior door. You can do that by just adding right tangos on what you've done that let's jump back in. 15. Introduction to the Material Editor in 3ds Max: So now let's talk about materials. Most materials can be created using the standard v re material. And you can create that from the browser. So in here, we just click here and go to V Re, and V or a material which is here. And that will change this to a V, a material. And as we can see currently, everything's a physical material. And we can actually change all of them using something called default switches. So to switch off or guess Max to V rate as default, we can go to customize custom UI and default switcher. And select max v right here and here, and here. Okay? And then we wanna restart 3DS Max. Okay, so once we've restyled that, you'll see that a will have changed some of the stuff in our UI so we can go through and just do what we did earlier. And go to customize, just tied to track bar and save some room, pull this out. And I had my V Re in Corona toolbars down here. And in fact, I had them the other way round. And I'm just going to hide it rather than as well. So now when we open up material editor, and let's go back to combat. Now, all our materials in here are Viera materials. So there are two material modes in 3DS Max, you've got compact mode, which has been around since I can remember. And then slate Material Editor is the newer Of the two. The slate material it let us see a lot more of what's going on within our materials. So we can right-click in the canvas and create material was quite quickly. We can pull out of the diffuse, for example, and add a map. And we can also create a map and pull out of it straight into a material. So we can see what's happening a lot bad. And if we were in the compact material editor, you have to flip through all of these to see what's happening beneath the surface. So for that reason we're going to be using the slate Material Editor going forward. So to start, let's open up RStudio senior we created earlier. You will also be edifying insane and their resources. And let's open up the material and press em to do this. That's the shortcut. And let's create a V or a material and see what we have. So we're gonna double-click that. And we'll see that the v re material parameters will come up here. You can also create material by just dragging and dropping it into the canvas. But found the quickest way is just to right-click and create from here. So for that reason, we can go under tools and just close out until we actually need it. And I'm all about trying to free up as much real estate as possible so we can see more of what we're actually creating. And in the top right you'll see the navigator. And this kind of works like in Photoshop if either the ease that, so I'm just gonna create an instance over here using shift and dragging. And we can see that on the navigator, This is where we pull that down a bit. And then we can actually use that to navigate across our Canvas if we need. And we can zoom in and out using the middle mouse button, just scrolling in and out. But again, I didn't really use that enough to warrant it taken up this amount of space I'm just going to place that we can always bring it back over here. And there's also shortcuts here and P, and we want to keep the prime area I'll open because this is where we're gonna be doing most of our work. Another thing to be aware of is that these canvas is a tabbed so we can right-click up here and create another view and start grain materials in here and then jump back to our view one. And you can also jump around using these to get round your tabs. And you can always right-click on him and delete that view as well. So I'm just gonna share a screen with our viewport and create an object in here. And I'm going to double-click on on material, and I'm going to apply it to the selected object. So it's now applied to this box. And you'll notice that now we've got this book selected. We have these white triangle is on the outline and that means that this dielectric material is on the selected object. If I don't select that box, you'll see that they've turned to just an outline of a triangle. And that means that this material is used in the scene, but not on the selected object. And then if we delete this object and this material is now applied to no objects in our scene, there is no triangle outline. 16. Metal, Brushed Metal, Plastic and Glass V-Ray Materials in 3ds Max: So let's get into cranes some basic materials in our CDI saying, sorry to start with, let's create a sphere. And we're gonna make it 50 centimeters radius. And we'll just move it into the center of our scene. And in the top, yea, let's just get that in the middle of my back to a camera view person C. And the first material we're going to make is a Chrome. So the first thing we're gonna do is name our material. So I'm going to double-click on our material and I'm gonna name a crime. If we double-click on from now, that will make it bigger. And you can also close up all of the maps here if you need more room. And one other thing we can do is turn on a background. So if we have reflections, I'll quickly show you that. We can now see something's reflecting it. If we didn't have this viewpoint on, we would be able to say it's reflecting. So let me just turn that back to how it was for a crime we're going to have to diffuse as black. Senior z will have no color. Something to remember is that in reality we never have fully Black or fully what materials is just not realistic. So I'm just gonna make that just off of black. And then in the reflection, I'm going to make that as y as I can. So just a couple of, uh, sorry to 55. And let's run an interact render and let's see how that looks. So I'm going to open up our frame buffer. I'm going to hit interactive here. I'm just gonna close that. And let's make sure we got that applied to the object. So here we'll see for now reflections. And what difference does is the amount of reflectance based on the viewing angle set of basic rule is used for now on everything except for metal. So with that in mind, let's turn for now off. And we can see that i'll crime is reflecting nicely. Okay, so I'm going to stop them. And I'm going to select a material and zoom out a little bit and holding shift click and drag that across. And if you preview it doesn't update. You can always update here, it should update automatically. And another bug I've noticed a max is sometimes you won't be able to delete something. So if I select this material and hit the late, sometimes that won't delete. And a quick way to self that is just to go into your viewport and click off of that material. And maybe clicky again. And then when you hit the late, you'll be able to delete it. I haven't banished to replicate in this example, but if you do come across that is worth nine. So this material we're going to call it brushed. And you guessed it we're gonna make a brushed crime. And the only thing we need to change here is the glossiness. So you can see what it does say. Let's say, let's pull it down to 0.2. And let's apply this and run the interactive render. We can see what it does say if I pulled it up to 25 is not fully reflective. So let's leave this on something like 0.65. And you can see it has made quite a nice brushed crime metal. Next, let's make a plastics. I'm gonna right-click material, v array and v re material. And I'm gonna name this plastic. And you notice that the for now is on by default. So we have to do in here is changed the plastic color. I'm gonna turn on the background. I want some reflections. So let's time this until mid gray. And let's apply this to our object. So we selected scientists selection, and we'll run the interactive. And we can say that's beginning to, they're like plastic, but these reflections are really Chris, probably a bit too crisp. So let's bring this glossiness down to 0.7. And I think we've got quite a nice plastic material down. Okay, so let's take a look at sank, a little bit different now and let's make some Glass. So I'm gonna create a new theory material and rename it glass. Now there'd be no diffuse color and let's just make that Black. And because glass is transparent, we are going to use the refraction. So it works in the same way as reflection. So fully black will be night transparency, meet gray will be semi-transparent and Y will be pretty much full transparency. So this part of the background, and we can see what's happening here. Let's turn on some reflection as well. So I am pulling that nearly all the way to white. And let's apply that to our object. And a scientist selection and run the interactive. We see we've got a nice plasma material that and we can quickly changes the frosted glass using the refraction glossiness. So if we just pull down the refractive glossiness, you'll see that that's now become more of a frosted glass. I'm really bad. Demonstrate if I draw something behind the object. So there's clear glass and our frosted glass. And we can also make glass colored. And we can do that by using this color. So it's currently on Y. And let's say we want to red. We can add just a touch like, like one in a saturation is really and exaggerated. So we can now move this color slider along and it's going to create different colored glass. I mean, if you wanted to create headlight re, headlight class for example, you could use a really strong red, but that's how we can add color to our glass as well. And just going back to that bug, you will see that if I stop this render and I try and delete this class material on k in delay any wind too late. And I found that you have to just select in the vehicle and off again. And then you'll be asked to delete that material safe. If that happens, can be quite annoyance or less, how to fix it. 17. Wood, Fabric and Colored Metal V-Ray Materials in 3ds Max: Now let's take a look at some word. So let's create a new material or a material. Let's rename it would. So we can use textures and materials and textures, what we call images and textures that basically images that we plug into the material. So you can use the wood texture. And you can use the word texture that is in the resources for this class. And another great place you can find textures is textures.com. And they've got a massive selection and textures you can use. But for now I'm going to use the word texture up supplied with the class. So I'm just going to drag and drop that in. That's a really quick way of Ghana bitmap into material editor. You can also right-click go to maps, general bitmap, and then load it up from this dialog box. And then I'm going to just drag and drop onto here and plug this into the diffuse. And you see that we now have a texture diffuse slot rather than a color. And you can see that represented by this M here. Now, let's apply that to our object. And I'm going to change our view pool to show shaded by pressing F3. And if I hit Show shaded material in pupil, we can now see this on object. One thing to check is that you have real-world mapping standoff hay, in the sphere. And also in this bitmap, it could or might not be turned on and off. And this has to do with mapping. And I'm going to talk about that in another lesson. So let's run an interactive and see what we've got at the moment. So already using the texture looks pretty good. And some other things we can do is in reflection, we can add a neat grey. And we can say that that's looking really shiny, probably too much. So I'd bring down this glossiness 2.8. And for me that's still too shiny for this type of word. It looks quite rough. So let's try 0.5. And that probably too much as well point to probably do it. So another thing we can add to this texture is a bump map. And a bump map can add depth to your material using a texture without adding a lot of render time. So in the same way that our reflections and refractions are based off of black, white, and gray. If we have a bump mapping is a dark area or in it, so it's black. It will add depth and if it's white, it will push it out. So a rough and ready way to do this? No, exactly the correct way. And this is how I do it. To get quick bump maps would be to select a bitmap and Drag a map out of it and select the general color correction. And double-click on that so we can go into the perimeters, anything we click in this Canvas, we can go into its parameters. So this is our main material. So what about v re properties that I showed you earlier? And then this is the map proper 0s. And this is our new color correction that we're going to use. And we're going to use is to turn our map to black and white so we can turn on one on crime. And I'm just going to plug, in fact, lists have a quick look at this, made it black and white. So these dark areas are going to at depth and the lighter areas they're gonna get pulled out. So this isn't exactly a nice map bail would do to demonstrate here. So I'm going to plug that into the bum. If we zoom in, we can say that that's added some depth to our material. And backing on material. We can go to maps and turn up the bam. So if we turn it to 90, we'll see that the effect gets quite extreme. You can see it here. And we probably want to allow more. So let's leave it on. Faculty. Said a bump map is a quick way of adding some more detail to your materials. Now let's create a fabric. So I will create a new material. And I'm gonna code as fabric. And again, you can get a texas.com and get your own material. Of course, these chains material, we're just going to drag and drop him. It's gonna make sure real wealth is ticked off. And I'm going to plug it into our diffuse. And let's apply this to our object and show shading in vehicle, and that's going to show our texture. So you can see the text is quite large. So what we can do in the map itself is changed the tiling. So if we change this to two, this image will be told twice, which gives us a better scowl. And let's add a bomb map the same way we did with the word. I'm just gonna click and drag and add a color correction and change it to monochrome. And I'm going to plug that into the bumper. And as I said earlier, you should probably use a tool like Photoshop to get more accurate bump maps. But this will suffice for now. In the fabric material. I'm going to go to maps and I'm going to turn the bump map up to 50 just to add a little bit more depth and texture to the fabric. And something that happens weave cloth is that as it curves away from you, it gets lighter. So just stop the fabric looking flat. It's a good idea to add a falloff map. And we can do that by clicking and dragging our while bitmap, going to maps general and fall off. And we'll plug down to map one. Now, don't worry about how many maps there are. And you'll soon begins find your way around as you start using some of these, I probably use 20% of the maps in here. So don't worry too much about it then you are overwhelmed by it. Lets plug our fall off into the diffuse. And we can see that we've got our texture in the middle. And then as it falls off, it turns to Y. So there's our texture and it's turning into white on the fall off. And that's a bit much. So I'm going to plug in our texture to map to, which is here. But I'm going to add a color correction and plugins. And now I'll go back to as it was before, because these two are exactly the same at the moment. But in the color correction, I'm just gonna go to Advanced and change this to two to make it brighter. And now on the curve, this texture is going to be used. And on the inside, this darker texture will be used. So we can see it gets lighter on the curve. And we can increase this effect by going to fall off M6 curve and just right-clicking and change this to Basie a corner. And we'll create an S curve in here. And that's looking pretty good foraging material. And one last material I want to look at is colored mental sign. Let's create a final v re material for now. And I'm gonna call it God. So there's two ways we can create colored materials. The first way is the same way as we created the Chrome. And that's by taking our diffuse to black. Tell enough are for now reflections. Just gonna turn on our background here and changing the reflection to pretty much white. And then we can pull the glossiness down to something like 0.8. And there we have a metal. And if we wanted to add a color, we'd actually add it in the reflect. So if we add a goldfish color, we can see that's how you can create gold is in this method. And now there is no way to great colored metal and it's using a properly cooled metal illness. So just shift and dragged across this material. I'm going to call this goat. And exchanges reflection. Back to why. And we'll turn to for now back on. And then this time we're going to turn metal minus all the way to one. And we can see because our diffuse is black, this is now black. So let's change this to a more of a gold color. And here i k. And we can see that's the other way we can make metal. Sorry, let's apply that to our object. You can also click here and drag onto objects to apply to an object. And you can see we've got quite a nice gold material. 18. Create a Material Library in 3ds Max: So it's great that we now have an understanding of how to create these basic materials. And something else we can do is save all these materials into a library so we can access them in future scenes. So for example, if you need a plastic, you can just open it up and then go into here and just change the diffuse. For example, if you needed an orange red plastic and you could change the glossiness here as well. To change some of the parameters, you could also change the reflection base, always a good starting point for you. So to save a material library, Let's open material map browser, and we can just right click in here. And let's close up some of these drop-downs. And I'm going to right-click here and start a new material library. And this new material library with guys who material library's folder within your project folder. So let's call this basic materials and hit save. And we'll see, we've now got this basic materials library here. So if I select using control all of our new materials and we want to add, I can then right-click here and get selected materials. And you see it's now added these materials to the library. We can change how we VDS by right-clicking display material library as medium icons, and then we can see our materials here. So if you ever need them, you can just click and drag them in an appliance your objects. And you can do this in any of your savings. So now what we need today, you'll see there's a star here. That means they hasn't been saved. So if I right-click on it, and this is where it's safe to. And I'm just going to hit Save As now saved. And we can close that material library. Now select all of these and delirium. I'm just gonna go right-click here. Open material library, opened my basic materials and o here. So now I can just grab that and select the object. And I can just apply this to the selected object. So it's a nice quick way to raise these materials in future scenes. So that's basic materials. 19. V-Ray Asset Library in 3ds Max: Earlier I showed you how to use the 3DS Max Material Editor to make material libraries. In the ray five caste group of added the asset browser and material presets. You can open up the asset browser from the VA right tuba. And this asset browser is like the 3DS Max material library I showed you earlier, but I knew if hundreds of materials ready to use, the library itself is pretty straightforward to work out. So on the left we have all the types of materials. And we also have the option at the top here, T is real-world scowl or try plane and mapping. And to add the material you need to do is right-click and add to sane or add to the selected object. Something else that you may have noticed has been improved is the material previews. And these material previews are much closer to what we will see in the final render as the previews or using a much nicer lights up. So as you can see, you can gain a lot of time and learn a lot from this material library. I encourage you to explore these materials, test them out, and play with the settings. As we go on to the materials in our scene section, I'm gonna show you how to create the materials from scratch. As I do believe it's important to know how to create materials from scratch and understand how their bill. And then this knowledge can be transferred to knowing how to materials in the library or Bill and Intel. And you'll be able to update these materials. 20. The Finished Model: Okay, so we've completed our modelling section and we have a pretty good motto of our building. If you follow along, you should have something like this. And I've also included this scene in the resources if you wanted to download that. And a few things to note, you can use X on the glass, you can kinda see for it, but also be aware dates there. You'll also notice I've added a few more details and these edges on the word. And I've also added Shambhala modifier to some of the areas we've hard edges. So to do that, you can just modify stack, find Shambhala. And I think I had about five mill Mill. And all that does is just soften up them edges. So we don't have really sharp edges, which is a dead giveaway and free day. And then you can just grab that Shambhala. And why did was just copy and paste the around. I pasted it as an instance. So if I did want to update the edges on one, it would update on everything. Just to make life easier and future. I'm really I could have spent ages, just add in little details. Let's move on and we can add some more details layer if we want to. 21. Realistic Lighting in our 3ds Max and V-Ray Scene: So now we have a motto gonna start looking at in some materials. But to see these materials in a realistic lighting scenario, we want to have a realistic lighting set up. And for this, I would recommend a hefty IRI image. Hdr I stands for high dynamic range image. And hey, HER eyes are shot in panoramics or they're free 60 and they can be used in freely programs to illuminate a scene. You can see in this image very dark and really overexposed areas. And then all of these images are combined into one Fe to be image containing all the data. So then we can get all of this information in the shadows as well as the really bright areas into our scene. And there's some really great sites that we can get HDR IFs from there, some free ones, HER Haven being one of them. No motion is also a great site for HDR, ours. And then PG skies and I do recommend peer GFR is skies and they do cause 15 pounds, but they are really worth it. And if you did want to try out some of these guys, and you can go over to Corona renderer. And if you go to their resources and materials, so up here, resources, you'll find some low-res versions of P GFR is HDR eyes that you could try out. And then once you've downloaded your HGRI from wherever you've decided to get it from. And you can unzip it and we'll jump back into 3DS Max. So first thing, just double-check that you have the rays set as your render engine. So you see mindset here. And what we wanna do is create a light and a v re lie. I'm just gonna click and drag to create this. And I'm gonna change it to a dome. And here where it says no map, I'm going to click on there. And I'm going to use a V rate bitmap. And if you're using an earlier version of the rate and b Re five, then you choose VA, HDR I map and it's the same thing. It's just got different names. So I'm going to choose v re bitmap and I'll go to where we downloaded HGRI. So I'm going to use this 1347, some clouds. And it looks pretty good. So I've loaded that up. And now let's start an interactive render. And we can see that is very overexposed. So what we can do just to quickly get the exposure right is in Render Settings, cameras and just turn on OF exposure. And that's just going to sew our cameras automatically for the time being. So for testing materials, this is gonna be a pretty good quakes out and we can look forever into ln later on. And I'm just going to open up our material editor as M on the keyboard. And I can just drag and drop this into one of the slots is an instance. And then with interactive rent running, I can rotate our HGRI. And I mean, we don't need to spend much time here. And we're going to look more into line when we get to to that. So let us put this on 300 fanout. And I think this is gonna be good for adding materials to the same. 22. Materials in our 3ds Max and V-Ray Scene: We're now going to take a look at a material within our sane. And I've created a thing called Materials, which has the materials for our building. And if you open up that scene, it looks like this. And it's got the materials already made in using the techniques we talked about in the previous lectures. Now we don't actually have to open up this scene. What we can do is go to Material Editor. And if we change this to the slate Material Editor, and I'll just make this a bit bigger so we can see what we're doing. If we right-click in an empty space, we can go to open material library. And if we go to our materials, you will see that there is no dot map files, but we can change this to max. And if we open up this material's dot max and this is handy to know for using any, any other scenes you have. And you can hit open. And what that does is open all the materials in that scene. So we can right-click and we can display the materials as medium icon so you can see what's going on and a little bit better. And we can see that they're all named. This one needs to be named Chrome. So I just double-click it. I can change the name up here. And now what we can do is just go through and apply these materials to the corresponding material. So for example, exterior word can garnish exterior word. And if are a select exterior word and press Control Q, where it does is select similar. So that can be a quick way to select similar objects. And obviously the roof is going to be words so we can hold out and select that. Now, I would advise working on to Griffin's struggling. So I'm just going to pull this off screen for a minute while we select what we need and this is what the word in are same. So we can double-click that. They'll bring it into our slate Material Editor. And we can make this a bit smaller, certain silver then. Feel free to check out what's going on in here. If these are not linking up, then you can use the relink bitmaps, which I will show you in the next lecture. And you can just double-click on this exterior word and assign material to selection. We will see that that has been assigned. And we can always go to this color correction if we show that. That's not going to be a very accurate representation because we are using mommy texture. But it'll give us a good idea. So let's go through, I'm going to hide what I have applied materials too. So and I was done. It must not and less just add these zeros, corresponding objects. Just pressing control. Similar. And if we isolate the selection will say that that's just a little window frames. And if we need to add some UV man's, if things a stretch in and not looking as a shared, then you can just add a uvw map. You find that in the modifier list here. And just add a box. And we can make them like quite big. But you can also press one on the keyboard and SCOTUS around, say, fits and how you want it. These have also got stochastic tiling arm, which means you shouldn't see TA repeats when we do render. And when we render and we can always update this. But now we have materials on all of our objects. We can run a quick insights rendered, see where we're at. And as looking cool. So in the next lecture, I'm going to quickly show you reeling bitmaps. And then we're gonna go on to looking at maps. 23. Fix Missing Textures in 3ds Max | Relink Bitmaps: So now I wanna talk about Lincoln textures because we've brought in models from various places. We need to make sure that we keep all the external assets in order. And these could be image files that were used for textures, IS files that we use for lights or even HDR images that we use to light our environments. So up until this point, we've only used images for textures. And we can see when we open up our file, we've got missing external files. So let's just take continue. And we can see what files are linked to in our asset tracking window, which can be found in file reference asset tracking dialogue. And we can see we have a lot of file missing here. And that's because these textures are linking or their path is a path to isn't actually on my computer. So a way to fix this is to select all of these bed textures. For example, right-click, set the path. And we'll click these dots here. And we'll head to our project folder. And our model is in important. And we'll go to bed and we'll go in here. Maps and our textures are all in here. So we'll hit use path, hit OK. And we'll see that this will update and it should say, okay, So these paths are now all ok, so our textures or link correctly. So there is a quicker way to do this, and that's using a script called Reading bitmaps, which we can find here. There's a link in the description as well. So head over here and download the latest version, makes sure it downloads as and zed p file. And some people have had trouble with Internet Explorer and it downloads as something cows. So if that is the case, then you can just rename your file and then back in Max, escape to scripting and run script. And we'll head to where it's downloaded and open. And you see that ruling bitmaps is now installed. So we can go to customize, customize user interface. And just make sure you're on toolbars and go to Collins scripts. And there's our tool. So let's make a new toolbar and call it whatever your name is. Called mine Jake's toolbar. And I hit OK. And you'll see my toolbar is now here. I'm going to drag reeling bitmaps onto it. And just like the v rain corona ones, we can now place these wherever we like. So I'm going to pop that over here. And if I hit the button, it's gonna open up reeling bitmaps. Now, if you use this tool, a lot is worth dynein n And he'll get rid of this pop up for you. And we can see all the missing bitmaps over here. And this side, we can set paths that we use the shortcuts over and over. But for now let's just go to browse. And we'll go to our project. And all our files are in import. So I'm gonna hit Select Folder. And there's a great option here, search subfolders, and that means it's going to go into all folders within that folder. So if I hit really link now, you can see the progress bar and it's going to find all of our textures. So we can close that. And if we refresh asset tracking, you'll see that everything's okay now and everything linked to the correct place. So we can close that and to see what effect that's actually had, if we take the roof off, will now be able to see all the textures on our models. 24. How To Use Dirt Maps To Add Weathering to V-Ray Materials: So maps are gray and they've got even better since the release of the Rifai. So let's take a look at how we can use a map on our materials to add grunge and streaks and just general wavering. So first of all, let's take a look at our wood and let's see how we can add some wavering leaks, perhaps going off this roof and also some wavering to the boats. So I'm just going to zoom in and start an interactive render. And let's open up our material editor as well. So I've closed our material map browser, just give us a bit more space. Usually be working on two screens, but we're better off recording on the one. So first thing is we have this wood texture plugged into a material. And I'm just going to pull out a diffused. And now we only had the bump map effect in this material. And I'm gonna pull out maps V Re and apply a V radar. And I'm going to name it roof leaks. And let's change this clearly color too bright red so we can see what effect it's having in here. So we need to wait for the initial path. And now we can see that we have this ambient occlusion along the roof. So we can add more radius. You'll see that it's come forever out. And then the distribution also dictates how close together ambient occlusion is. And we've got different minds down here. And we're gonna be using ambient occlusion, inner occlusion, and probably a mix of both of them at some point. So for now let's leave it on ambient occlusion. And we'll turn to streaks ambient on. And let's bring a streak size down to one. So that's the size of the streaks. So the bigger the bigger districts are going to be. And we can use these bias bias to dictate which direction this ambient occlusion goes. So if we put one in the zed is gonna go from top to bottom. And if we zoom out, we see that there will be only read where we can kinda guide down. So you see on the top of this door and down here. So that's pretty good. I mean, that's where leaks will be. And what else we can do is add in a grunge map and also split it up a little bit more. So we can put in the radius. Let's put in a, then it is just going to be black. And why? We can see that that Has broken up. And obviously we can go into the depth map and we could change the tiling on this. So we can put this on to two. And we can make this a lot less. So it's kind of longer. Net looks quite good. We obviously we don't want it to be read. And as obvious is that. So what we're gonna do now is go into textures.com. And if we go down here to grunge, we want some kind of like whether it affects a grunge maps are generally pretty good for deaths. And something like this will work well just to give it a big variation. So it's not just a solid color. Let's download them. And we can just drag and drop this in or you could load it up as a bitmap. But now, if we plug this into our occluded color is going to change from red to Now using this grunge map as the texture. So that's how we can add some wavering coming off of the roof and anything in the zed axis and something else you want to try. So we're just going to delete that going into the diffuse. What we're gonna do is actually combine these all at the end, but we're just working one map at a time. So we can just slowly built this up. So let's add another director. And again, make it read. I like to make it red so we can definitely see what this map is doing. And this time I'm gonna change it to inner occlusion. And it's gonna take over I've seen selects, sorry, IO object. So let's bring that radius down to 20 millisecond and numbness in a Boards. So now we can get some weathering in-between these boats. So let's turn on inner occlusion streaks, streaks in a zoom in some more. I don't think we're ever going to get this close, but I see what's happening. We can bring this streak size down to one. Note that I fineness doing would have much less add a bias of one as well. So now it's only coming from the top. So the bottom. So now we can see we've got the in-between each bar, Planck's. Again, this break up, we can use this, use it, then map is not. I mean, you could use noise or anything you like and hear anything. It's kinda like black and white Salia. This issues the depth map that default should be. All right. We can see it has given me a lot more variation in the boards or the inbetween the boards. And let's say proud that bitmap, the grunge map from earlier into the occluded. We can say we've just added in some that between these boards just to mix it up a little bit. So we've got our in a board, you've got reef lakes and we've got our diffuse word, and now we just want to bring them all together. So let's create a composite map. Now these compensates kinda like Photoshop layers. So we're gonna add free because we're gonna go free maps to add and scientists be aware of is that in the editor, one is at the top and over here, one is at the bottom. And that can be quite confusing. This one is actually how they're laid out. So use this so we can plug directly into layer once I plugged the wood texture into layer one as an instance. And then we'll plug the roof leaks into layer two as an instance. And then we'll plug the inner boats interlayer free. And if you've ever used blend layer blends in Photoshop, this is very similar, so we can just put this a multiply and multiply and this refresh. And notice I make sure that's plugged into the diffuse. And now we should see our word. And we should also see the streaks coming down from the roof. And we've also got this variation in-between the boats. So we've added some weathering to these boards. If you did want to bring down pass a of one of these, I mean, he could bring you can change it 50 and the roof lakes would be less prominent. But again, that's something that I'll probably play with when we come to render the final images. But that's how we can add that to the wood boards. Now something else to be aware of is if we take a look at a door, sovereign is a bit more we will see that is actually affecting the whole door and we need to turn on. You know, in a boat's, consider the same object only otherwise these biases are going to affect the other would materials. So the great thing about this is now if we go around, we've got on all of our boards, all of our wooden boards. And in zed we're going to have an in-between each plank. Say that's quite quick way of getting a material procedurally mapped. We've done some other places that would be COPD ads and that is this bond concrete. I think you'll be code to add some leaks similar to the roof and then also some wavering from the ground. So let's do the same again. Let's find concrete material. And we're going to add a v, right? Dirt. Let's make it red. And let's call this one top streaks. You don't have to name your maps. When it comes to this v, right? Dice. Always nice to know what's going on when you're looking in the Material Editor. So it is time this pump up that radius to like 500 k, that distribution to ten. And we only want to have it in the zed. So top to bottom will have an ambient occlusion and streaks ambient. Now we can see those leaks coming from the top to the bottom. And this bringing this streak size right down. And that's like I'm pretty good. I think we could use these grunge map again. I mean, you could push it through a color, correct. As well. If you want it. But we won't worry about that just now. This is plugged that into the occluded so it's not bright red. And again, you could put in a map or something similar. But I think that works quite well. And if you did wanna break it up yet, but then map or something like that into the radius, the break up. But I think that looks good for the streaks coming from the top to the bottom. And now let's create one for the bond to the top. So this time rather than one, let's have a minus one and that will bring ostrich eggs in from the bottom to the top. So as working quite well. And we want this on streets ambient and will make the streets bigger this time. Something that will look go. And let's plug in this crunch map as well, which is getting a good run out for what it is. So there's our bond. And now it's just a matter of bringing all free of our maps together in a composite. So I'm gonna put a concrete into the layer one, top streaks in middle layer. And then the bottom ones live free. And this time let's try overlay. And this plug, this composite in. The diffuse mode. You see it has quite a heavy wavering. And we're gonna get plants and stuff in front of this. So this could look pretty CO. And again, if you did want to bring it down, then feel free to change this capacity. And then finally, I think these roofed house could deal with them on there just to break up a little bit and some imperfections. So let's find r roof tile material and we've just got bitmap plugged in there. So let's add the v array dot map. Let's make it bright red. And this one we're gonna use Ambien and, and that's really prominent. So let's bring down the radius. And I'm also going to pump the bias up to 100. Yeah. Less, a little bit more. So bring that SHE street. So sorry. Tone the streaks both on. And I'm going to hit that grungy map again. I'm just gonna hold shift and make a copy of it. So we're not just plugging into one and again, mixed up, put the entity occluded. She lets lets do the radius first. Say that we got that looks pretty good. And then we can plug in the occluded color. Now just breaks up roof material a little bit. So again, let's quickly make a composite. And we want our main material on layer one. And then we'll put out on as an overlay. And we'll plug that into the diffuse. That looks good. So as you can see, the map is a very powerful map and it can really help with making our materials look a lot more weathered and just add some variation and imperfections to our materials. 25. Sculpting our Terrain in 3ds Max: In this lesson, we're going to create our ground and we're gonna use some tools to scope our landscape. And then we're going to add the ground material. So to begin, let's create a really big plane. And we want this to go as far as the eye can see. Well, the camera should I say, let's make this pretty big. It has to be something like that. That is around 400 me is by 400 meters. Let's make the length and the width five by five. So then we can have our building in the middle. So if I just go to the Move tool and Senate this up, let's bring our plane, our views. I'm going to unfreeze. Oh, I'm going to select that and just bring it down. We still need it, but we just don't want to say it really. And we're gonna add some more geometry. So our ground plane, but we don't want to add it everywhere. So if I add the test late modifier, you'll see that we've added a lot more geometry to help with our scoped in, but we didn't really need it in the background here. So what I'm gonna do is change these polygons as append. If we jump back to our plane and add an Edit Poly and just select this face. And then we jumped to tessellate is only going to tessellate this face. Now if we turn off the tension, it will tessellate more uniform. And then I'm just going to copy and paste this tessellate again. And it's going to add a lot more police there for us to sculpt with. And we can collapse all the lists. And I'm just gonna make it gray material as well, so it's easier on the eye. And if you haven't got your ribbon open, now's a good time to do that. So right-click in any empty space and click on ribbon. And if yours looks like this, there's a little arrow here that will show our Ruby menu. So we've our plane selected, it's cooled, is ground. And we've made sure it's an editable poly. We can now go to push poll. And over here you see the size and the strength. So I'm going to turn this up to around 200. And let's put a stem from ten. And you'll see that this is move in terrain around. So really I want the outskirts to come up. We don't really want to see the horizon line. So if we can make this kind of Healey press bring up these fiber edges as well. So first thing before I do any sculpt him, jump back to the Edit Poly and grab the border and just pull it up a little bit. And then this gal push pull. And you're gonna make this like 500 and start on the outside and kind of bringing in better, perhaps even more, that is beyond a 1000 and bring the strength up as well. So that's 50 and see what we get. 100. Heavy guy. Probably easier to see. I just want to make this ground. And even really there's no technique to hit. But then as I get closer in, we can think about a little bit more. So spring the size down and the strength as well. So I'm going to have about 500 in size. Just add some uneven terrain. Now you can also hold out and it's going to make some, some dip, so it will go the other way. And really we didn't want this hard line against the built in. So you can kind of pull that up. I'm going to make the size smaller. And Brain Myths tramps down as well to five. Just so we don't get like a straight line along that edge. Is data OTO around the building. Now we're trying to do is add some imperfections to all of our 3D edges, the normally just pretty hard edges. And once we get trees in such, We're going to come back in and kind of mode to train a little bit more. And also, I want to add some wooden boards come in here like a pathway. I think you report your car around here and then there'll be a nice to have a path. So I'm going to hold out and kinda start Crane a bit of a dip for a wooden planks to go into. Or I think that's looking out for now. I mean, it's bad on a flat plane. And once we get material on there, start looking pretty good. So if it is path for the door, let's create a rectangle. We can sort this out as well and say something like that. And let's add flow Jen to that. And we can already say that duration needs change ins. Let's rotate that by 90 data and the generals tab. And then size. Let's make the maxlength 1500 and the width 250. And I'm just going to right-click on that min of sets, get to 0 and then put extra to 100. So I can jump back down to this rectangle and bring that leptin to 1500 as well. We can put an editable spline on here. And I want that level with the ground. So now I'm going to jump back into our terrain and just push, pull that down. So I'm going to have o, it's going to push these bits down. It's not the end of the world if it overlaps. Impress JH ten of the grid as well. And we can say that's looking or material on there now. Right? Let's select wood planks and we're going to add a materials or get to the v right Asset Browser and select a word from Him. Unless select these wood planks at selected. And then I'm going to open up the Material Editor with m, find some free space and air. And I will use the eyedropper to select the material we just added. A shy in vivo. And the damping is going to line up correctly straight away. So I'm going to add a UV map. I'm gonna minimize our material browser for a minute. And it's a line in the y. We'll make a box. This is try 1500 by 1500, by 1500. And now we wanna line up. I'll planks, S6 planks on there. So we want an SUV to represent six planes, so we can just press one on the keyboard. And that's 123456. So this kind of roughly right, we want to align them up as best we can. We've gotta take into account as well to grout. So I'm just going to add another ten mill. And we were a little bit of a little bit I boiling, we should got to line them up quite well. So the work we're only gonna see him kind of like this anyway. Back in the floor generator as well. I'm gonna make it like more random. Say, let's get this max rotation. Turn right up. And also I want to time is mx two up to 1.5. And you can see that that's just added whoever ring and token of weathering as she let's line up this UV. So I think we may have to rotate that S1 on the keyboard. I'd say by 90, you see that we've lined up these edges correctly. Let's add some data as well, like we did in our previous lectures. So you get a material editor open. And I'm going to add a map. And let's make it bright red. I'm going to get an interactive render on him. And you can see already like that wherever it's pretty Ko she things, we can change the radius a bit smaller. It's pretty on Ambien and enter. And this ten on both. Do you want streaks? Let's have a look and see where the terrain interacts with the world is gonna get dirty, which is true to life. And I just wonder if the streets are actually add in anything that I've now. Alright, so that's code as the map. And of course, let's grab that grunge material that we were using earlier. This one, it's going to hold shift and drag that. Let's get up here and we'll put that into our occluded. And then I'm going to create a composite of two layers. And then A-bomb layer is going to be wood. And we'll put in this layer to put down an overlay. I just want that quite lightly like conferring. And we'll plug that into this diffuse. And actually like to bring this saturation down at this a little bit. And that's pretty easy to do with a color correction map. So if we go to general color correction, now plug that into one. And then in this color correction, we can just bring down the saturation. So I think something like that. Would it? It's been, whether it is been outside. Nothingness looking alright for now, for our steps and for our path. We're going to come back to this train a little bit later on. And there's just one other thing we need to, so and that's this issue here. I mean another and cause any problems, we're probably not gonna see him. But it's always best to keep things looking good. So we're going to use flatten. And I'm going to change its size to a thousand. Say it's big, not ten thousand, one hundred thousand. And then using this plan TO, I'm just going to flag these edges in. The issue is this coordinate geometry apart from this one polygon and this is got loads. So I'm just going to use VLAN to kind of flatten out this edge. And it should get rid of these creases in R1 poly satiated. It's not perfect, but it's gonna be fun. 26. 3D Trees, Plants and Vegetation Models: So there are plenty of places we can get high-quality assets online. And as I mentioned earlier, regarding purchasing assets, I think generally quali, asset compared to free models. And then you end up with the same models that everyone else in their scenes. And you begin to notice a lot of these free models popping up in a lot of other artists visualizations. And by purchasing models, you also support the community and the rest, and this enables them to create more and that continues to make your life easier. So some of my favorite places to get models are ever motion, 3D, sky, phase people and turbo squid. And every motion. One of the first and well-respected asset stores. And in particular, I've always been a big fan of their vegetation. You can purchase model packs on the site for wherever location you're working with. And for this scene that we're working on, we're very lucky to for their 15th year anniversary, they really generously gave away this great scene. So we're going to use the vegetation from here. And we can see this and really great stuff. So if you haven't got an account, you can sign up for free and download the same file. And it will also give you a good idea of the quality you can expect from a promotion. So it down like this. And you're also going to need a software called 7-Zip. And what that does is when you download the same files, it will combine them back together. So download these, combine them together and open up the scene. And I'll see you in the next lecture. 27. Create a Copy and Paste Keyboard Shortcut in 3ds Max: Earlier on in the modelling section I showed you Kavita and how we can copy and paste objects between scenes. And now I want to show you how you can create your own script to copy and paste using a keyboard shortcut, which I stand to be quicker. And this video is taken from the interior course. But if you follow along, you'll be able to create your own copy and paste script that I will be referencing in the following lectures. Often I need to grab objects and material that I've created in another scene or from another project and take it from one MAX file to another. So for example, I want to grab this bed and I want to put it into a new scene. So if you've ever used actions in Photoshop for repetitive tasks, and this works in a similar way. What we're gonna do is record a sequence of events and then add it to a keyboard shortcut. So efficiency is really all about how many clicks you do per day. So the less clicks you take to do something, the more efficient you are. So if it takes you one minute to complete a simple task, five times a day, that's five minutes per day, and over a five-day work week, that's 25 minutes a week doing a simple task. And if you can reduce that down from one minute to ten seconds, then it's only 50 seconds per day and it's only four minutes per week. So you're improving the SPD a workflow by 84%. So this does sound a little too good to be true. And obviously there are some upfront cost of writing the script. But once it's done, it's going to save you time in the long run. So let's run through an example. So I'm gonna select my bed. I'm gonna go to File Save Selected. I'm gonna save it as bad. I'm going to hit Save. And I'm going to go into my other Maxine. I'm going to go File Import merge. I'm going to browse to our folder. Select that here, open, select the bed here, okay? And there's are bad. And now I will use script. So I'm going to select our bed. I'm going to hit control shift, say I'm gonna go to our other scene, I'm going hit control shift T. And there's our bad. So let's take a quick look at how these two scenarios work. So we select our object. We go to File Save Selected. We navigate to the folder. We namely object, we save it. We go to the new Maxine. We go File Import merge. We navigate to the file. We click the file, we click poor, and we select group, and then we import. And what we really want to do when we write our ion script is Selector object. We want to hit control shift c and then we wanna paste it will control shift T. So this is basically select object, Save Selected. And in the new sane, we want to merge our Copy Paste file. So let's have a look at how we can write script to do this. So the first thing I want to show you is the max script listeners. So Guide to scripting and Max script listener. And in here, we want to enable the macro recorder. And what that's gonna do is basically record everything that we do with scripts. So this is really what's happening behind the scenes in 3DS Max. So we can delete all of this and we create teapot. And we copy this. Let me paste it here. Let's just delete the current teapot. And then when I hit Enter on NES, it will create that teapots. So this is the code to create the exact teapot. Let's say we want to create that tea pot, but we wanna make it bigger, spread down here. And in the radius, let's change this to 50 and hit OK. And it's created teapot with a radius of 50. So if we want to repeat this task, we can just copy this script, paste it here, and hit Enter. And the same thing will happen again. So this is quite powerful. Lets say we want to change the color of this teapot. We can select it and we can go here and let's change it to red. And if we copy this, it basically means wherever selected to wire color will be red. So if I select this object, paste that hit Enter, it's gonna change our teapot to read. So this is kinda the behind the scenes and we can copy and paste stuff together to make some pretty quick scripts. Now Max script can be a lot more in depth than this, but this is how I quickly make scripts to streamline your workflow. So let's delete all of this. I'm going to get rid of all of this. And let's just create a box for now. And just to keep things clear, I'm in lead that I'm going to go to File Save Selected. And I'm gonna go to new folder. I'm going to call this copy paste and hit enter. And I'm going to save this as copy paste. So we can see that to save our selection as copy and paste, this is R code. So if I copy this down here and paste in, and before he enter on that, I'm going to open up our desktop copy and paste photo and we can see the file we just saved here. I'm gonna delete that to make sure this is actually working. I'm going to hit enter and it says, okay, so let's go back to our folder. And as I copy and paste folder, so we've saved a few clicks stairs. So that's pretty good. And now what we wanna do is merge this folder in. So let's just write merge MAX file. And let's just copy this path. Here. I'm going to delete this object. And let's see what happens when we run this. There we go. The fall we saved is now been merged them. So basically these are two scripts. So let's take a look at how we can make keyboard shortcuts for days. So I'm gonna go into script him. I'm gonna go to New Script. And I'm going to copy over our Cauchy scraped. And there's a couple of things we're gonna wanna do because we are going to want to save these as micro scripts. So we're gonna put a line above our current script. And we're going to tie it macro script. And I'm gonna call it copy. And you can see that copy is currently in blue because max actually thinks that that is a command. So I'm just going to underscore that, make sure as black. So that's the title of our script. And then I'm going to write Kat, sorry, category. And in quotation marks, I'm just gonna call this luxury. They show us you can code S wherever you like, your name, for example. And there's one more thing we need to do, and we just need to put our script into brackets. And then we can go to File, Save As, and I'm going to save this as copy. And then I'm going to start another new script. And I'm going to copy over that first line. And I'm gonna call this one paste. And we'll keep it in the same category. You'll see why in a moment. And I'm going to copy over our merge script and make sure that that's in brackets as well. And this guy is a File Save As. And I'm going to call this one paste. Now in each of these I'm going to go tos evaluate o, and evaluate all. So we can close this down now. And now we can try to customize. So first I'm going to demonstrate how to do this in 3DS Max 2020. And then I'm going to show you how to add them using Fourier smacks 2021 and beyond. So if you're using 3DS Max 2021, then feel free to skip to around the nine minutes for him. Ok, customize user interface. And the keyboard. We're going to click this category drops down. And that's why we added a category. And we're going to scroll to luxury visuals and UC copy and paste here. So I'm going to select copy, and I'm going to assign control shift C to this as the shortcut and he assign and on paste. And I'm going to hit control shift V, and I'm going to assign that. So now if I select this object and I hit control shift C, You see they could be saved. And if we go into a new Maxine and her here control shift the there's our object. If you are using 3DS Max 2021. Very much the same thing here we're going to do with our copy script. Go to Tools, evaluate all. And I'll pay script tools evaluate all. Now the difference is under Customize. Rather than going to the user interface, we're gonna go to the hockey editor. And when we open this up, it's going to look a little bit different, but nothing to worry about. And we could scroll to see for copy, or we could just type in here. So I've typed in copy and we can see our categories than aside, there's luxury visuals and as our copy script. So I'm just going to click that. I'm gonna press control shift c and assign that. And let's search for our pay script as well. And there's our pay script. And let's assign Control Shift J. And then we can hit done. And yes, we want to save them and their societies as hotkeys. And now I'm going to select our books, control shift C to copy them. And then if I delete that box and I press control shift Fe, you say we've pasted in our object. So let's take a quick look at how this works. In a biggest saying. Let's let this side table Control Shift say and will go into another saying control Shi Fei. And as object and light before because we've made changes through user interface, should guide to save custom URI scheme and say that over our version. So as you can see, scripts in and create an actions is a really powerful way to speed up your work life. 28. Adding Trees to our 3ds Max Scene: Alright, so I've opened up the v re, 15th anniversary collection, exterior and interior from ever motion. And as we can see, there's quite a lot going on. And this is quite heavy scene. So what I'm gonna do first is open up our Scene Explorer and actually kind of just dope this over on the side. And I'm just going to turn off all the liars. And this guy to the top view, first T on the keyboard. And I'm just going to turn on the prompts far as peck Emperor said on the keyboard. And we can see what we've got. We've got some really cool stuff in here that we can use in our same cipher guy over to derive. Then you've got everything laid out, which is really handy. We've got quite small trees. We got some debri for the floor, sticks, leaves, fans, and really small planets over here. Some rocks and some really great trees as well that are gonna fit really nicely into our scene. So what I'd like to do to begin with is to just grab all of these trees and using our copy and paste script or you can use cometary if you did want to. I'm going to press control shift C to copy. And then I'm going to jump back into our same. Then I'm going to press Control Shift Bay and paste these trees M. So we see that these trees have disappeared and that's because the path has gone missing. So we can actually use reeling bitmaps. Reading bitmaps is really handy for this kind of thing. And it will relink textures obviously, but also relink IS files and proxies. So I'm gonna go to browse and go to our estimation scene. And just guides maps and select that folder and hit relink. And so we say going to relink all about textures as well, which is handy and you will see these trays back. Now the reason we use proxies is because these are high poly. And what it's gonna do is actually reference out to this folder, for instance, that don't mesh. And it's just gonna save as memory and we're going to be able to move around arsine a lot easier. So I do believe mice of these proxies, This one is a mesh. So I'm gonna show you how you can create AV re proxy. What we need to do is click on your Asset, right-click and go to the ray mesh export. And then in here, I'm going to go to a proxy folder that I've made in the project file that we're using and just hit OK, so that's the location. And this will be the name. Don't worry too much about that. Let's turn on automatically create proxy. And what that's gonna do once is converted, it's going to convert this into the proxy in our scene. And I think in general, that's all we need to do. So we'll hit OK. And that's just going to run. And we can see now that this is a proxy. Sang and do the same for any other trees that are not proxy. And the sentence will remain. So we can just say, OK, and everything else in the scene as a proxy. So what I'm gonna do now in the top view, it's just hide this ground pint. Now I'm not going to press o x and that's going to make a ground safer if that's not working. Goto object property ies. And just make sure you probably got bi-layer on if you have buy object and see for example, then we'll be able to see through. And that's cool because then we can see tree placement on our plan. So looking at a reference images in this plan, you can start to place some of these trays and smaller bushes. So our plan is to place these ones that are closer to our building by hand. And then in another lecture, I'm going to show you how to scatter multiple objects in the background just to speed up this process. Say start just by grabbing one, holding Shift and make an instance. I just made this into a position that you can actually move these guys over whilst we're doing this. And just begin to position needs around the building. Now not going to make you sit and watch me datas. So I will jump back in once this is done, but this is worth taking some time and kinda begin thinking about your cameron goes and how you can kind of use these trees to frame your image. So I'm gonna continue placing these trees using this plan as our plan. Okay, so we can see that I have placed these trees in relation to the plan. And another thing we wanna do now is if we press Lx and our ground, and I'm also gonna turn on the wireframe, so this becomes a little bit easier. We just want to make sure that all of our trees are grounded so we don't want them kinda up here. I want to make sure that they are actually interacting with the ground. So just go through and make sure that that is the case. You could always look underneath and make sure that they're all kinda growing through. We just don't want any floating objects. And it's kinda cool. Yep, so just go through, make sure we've got nothing floating and I'll see you in the next lecture. 29. Forest Ground Material: So moving onto our ground material, the material in the estimation scene is brilliant and it really brings all the vegetation together. So over in that scene, I've unhidden the default layer. And I'm just going to open up the Material Editor, pressing M on the keyboard. And I'm going to use the eyedropper tool to grab that material. And one thing is NIH is that a uses a displacement modifier. And this can really slow down the rendering of a sane by OSI adds some great realism. So what we're gonna do is bring this all over into our scene. But we're just going to turn off the displacement whilst we're running our previews. And when it comes to fund a random Bertani on, and it's going to probably turn, turn up our render time. And so this is the material. And it's really nice. We're gonna just delete the vertex color because we're not going to use that. And the best way to get this across is just to create a sphere. And then what we can do is grab the displacement, copy and paste that onto a sphere. And also apply this material to our selected sphere. And then I can just use control shift C to copy this. I'm mood jump back into arsine. So control shift, they go find where that's varies here is. And first let's run an interactive render just to see what this material looks like. And actually before we do that, we need to run a really bitmaps. And something that is pretty useful. We've reading bitmaps is you can add saved puffs. So we can add that in. So whenever we want to rub it and browsing, and each time we can just click on that and hit relink. Now let's run the interactive again. We can see what an awesome material that is. So let's, I drop the material off of this sphere and let's place it onto our ground. And I'm actually going to show you this in vivo. And it looks like we're going to need to add a UV map. Because S and pretty big leaves, sorry, let's apply a UV map. And we'll just make that a thousand by thousand and see how that looks. Anything that looks about right? And I'm also going to grab this displacement modifier and copy it and paste it onto our ground so we can just, we can delete this sphere now. So we've got displacement and its openness, how playing, which is massive and it's just going to take ages to render. So a way around this is to, we can obviously turn off displacement layer, but we don't need displacement over in this corner, for example. So what we can do is up here we can use the less suitable to select faces. So I'm gonna add an Edit Poly until over here. And I'm gonna select the lesser Utah and select polygon. I'm going to turn off F4 so you can see what we're doing. And I'm just going to click and draw around the Pauli's closest to our building. And this is going to be more detailed area. This is what's gonna have displacement on it. So I'm going to do is actually detach this ground plane. So now we have all kind of background ground. And I'm gonna delete this displacement modifier because we don't need displacement out here. And then this is the area that we do need the displacement. Ice you don't want to sorry, I'm going to press Control Zed. And rather than delete that displacement, I'm going to cut it and paste it onto a more detailed ground and less nameless detail ground. But for now I'm going to turn off this displacement. And something else I've noticed is there is a repeat. And I think for our shots, it's not gonna be that obvious. But in V right, five there is a new map and we can use stochastic tiling. So let's open up the material browser. And to use stochastic tiling, you need to use the uvw randomizer. And then that plugs into the bitmap. But designing plugs into Fay Wray bitmaps. So Robyn and create a v re bitmap and then load these in individually. What we can do is actually convert these bitmaps, 2V re bitmaps. And it's really simple. We just right-click in the viewport. And you can go to B or a bitmap to the ray. Bitmap, bitmap to v re bitmap convert and just take convert CO. So we can see that these have now been updated with they re bitmaps. And you'll see that compared to the general o at S bitmap, we have a way of plugging this in. So I'm going to run an interactive just before we add the stochastic tiling so we can compare. So it's now actually too bad. I think the more we zoom out, the more noticeable it will be. Yes. And so now we can start to see some of the repeat GYN on. We're probably not gonna do any Aereo shots so we could get away with this. But maybe it's good practice. But it's probably a good practice just to make show things on tiling. So all we have to do now is turn on stochastic tiling and just plug this into h above E-rate bitmaps. And we can use the same one on all of them. And now this is controlling all of our bitmap. So if you did want to change a tiling, for example, you could do that on one. And previously you'd have to go into each bitmap and change them. So this is a great addition and we've got stochastic tiling on now. So if I just run the interactive again, we should see this be a lot more randomized and you won't really be out tonight is the tiling. And a guy that's how you can add stochastic tiling. See your materials. And just before we move on to the next lecture. Now we have this more detailed area. What I wanna do is add some more police and use the push and pull modifier to bring this ground up around the trees to kinda show some brutes forming. So let's add the test late modifier. We'll bring that tension down to 0 and x. Alright? And what is he's gonna do as well when we, I'll push in and pull in your C, like previously, started to look a little bit N6 for around here. So now if we go to free form and we gotta remember, you gotta have an Edit Poly, sorry, this Friday on top. And push poll. That's massive. So I've actually jumped back and Boulez tessellate down to two because I've found F3 was actually killing the computer. So we try on frey, We have added some more geometry. And so it can hold out. Just to push these down a little bit. Is pull some of these edges up. Really go through. And, and while I was referring to earlier, was just around these trees, just pull it up a little bit. So it's kinda like the roots would grind out of it in go free. And that these details and these kind of Diaz is entirely up to you wherever you want to spend the time adding him. And these are probably the things that I had a little bit 11 more percent and realism perhaps. So in girlfriend date IS NOT essential. By will improve your image. So I go for and do that and I will see you in the next lecture. 30. Staying Organised in 3ds Max with Layers: Great, so our scene is coming together and we're adding more assets. And I just wanted to quickly touch upon layers. And this is something we should keep an arm before we go too far, especially as we build up these scenes, we wanna keep a manageable. And if you're sharing scenes with colleagues, for example, it's always nice to receive a well-organized sing. So if we open up the Scene Explorer, I'm just going to dock it on the left, if possible, every day. And we can see in here building. And so you need to days, for example, select these two ground planes. And I'm gonna right-click and go add selection to New Layer. And I'm just going to rename this layer ground. And then we can easily just turn that on and off. And if you want to add something to the ground, so for example, this would walkway. We can just drag and drop that to ground. And again, when we turn that off. So we've got plans here. You've got built in as it were broken up. I'm just gonna turn that back to rectangular. And in the top view, I am going to select these trees that we placed earlier. You can hold out to de-select. And I'm just gonna right-click add selection to New Layer. And this new layer, I'm gonna call trays detail. And I'm going to call anything data out quite close to the building and we've placed because later we're gonna scare trees around the back. But these are the ones that I've kind of consciously placed. And these guys, we can leave him props. So if we unhide o, we can now really quickly get to say we just want to hide our trees. We can do that. So this is really good habit to get into and it's going to save you a lot of hassle later on. 31. Scattering Plants into our Environment in 3ds Max: And now let's take a look at adding some of the ground foliage to us saying. So I'm going to jump back to our estimation scene that we downloaded earlier and turn off the default layer. And over here we had some really nice funds, logs and rocks. So lets just grab this law. We're going to copy him control shift fc. And let's place this into are saying they're over here. And let's create a new layer. And this code is Graham foliage. So these are the fans were going to be using. And they are oh, models not an proxies, but we do 1em as proxies. So it's grabbed over the fence and we can actually convert them to proxies individually, but all at once. So we still got our file from alia, the proxies folder. And all these defaults are fine. So let's just hey, IK. And we'll see now that these are actually proxies. So that's really cool. So rather than place in these individually, that would take ages, we're going to use a skeletal, which is up here in the ribbon. So with offend selected, let's go to Object pane. And we're going to select Edit object list. And we're going to add the selected. So all of our fans and now, and in our object list, and this is what we're going to paint with. So now if we go over to our ground plane, this is what we want to paint onto. Before we do anything, I'm just going to grab our tree detail and select the child nodes. And I'm going to phrase that selection. And then I'm going to select our ground plane detail. And up here I want to select all of them randomly. So it's going to paint all of the guys in the list randomly onto, on selected objects. So we've got this selected. And I'm just going to add a little play with this earlier, this change over this. Back. And if I click pane, we can see we are painting randomly onto this selected as he changed his spacing as well. I think this is normally on like four, which is crazy because it's just going to overlap. So I'm going to turn that up to 80. That's much better. And then we have some options here. It's kinda randomized and if you hover over it, it's going to give you a little demo of what this does. So if we pump that up is going to kind of offset everything and the rotation so we can rotate them in zed. And then these are going to all be the same. So you will see that this one and this one are the same object and at the same scale. But what we can do is per Mon random. And if I have it on one hundred and one hundred, then they're going to be exactly the same way. If you haven't on 8100, that one could be i0 and that one could be 100 is going to be anywhere in between. So I'm gonna put down a 100, I sorry, 8120. And now these are kinda ready randomized. And what we can do is now pint needs funds, but we want him and just keep in mind to camera angles so there's no point in paint in them all the way over here. You just kinda wasting resources really for and pain knees. So I'm just going to start with this outskirts. And we can put a few data class up in a different plane. Say IT S pretty cool. So I'm going to commit these. And then what we wanna do is add some even more spacing. So 150. And that will be for like these more data out ones that I wanted to thick around the building itself. So when the odd random fan. And what else is good about this is we can go in. And I think I saw one down here. There's kind of insect I'm going to build in. We can delete out or we can just pull it out. So you still have the ability to have in place to kind of move them around where you see fit. So Tesco. And now we can do the same with our other objects. So again, these guys were meshes. I've already converted into proxies, but just select all of them and do the mesh explorer and turn them all to proxies. And then we need to do is go to your list, remove the funds, and add the selected objects, which is these guys. So these are a lot smaller. So there's no need to really have them out here anywhere. It's going to have an near the building. And I'm gonna keep the same settings for return that space and down actually o that spacing was 1500. That's why they were so spaced out that play with these. And let's try. 1500 again. We painted on the selected, so let's make sure we have ground detail selected. And let's paint. I'll just zoom in so you can see that these are campaign it Lascaux. And it's the same with these guys. So again, these are all edible Pauli's. So I'm just going to select them all and make them proxies. And I've already done this. I get this pop up. Now these are proxies. So let's grab these guys and we're going to add them to our list. Sorry, let's add dies. We select a ground detail plane. And let me just paying n over the stakes leaves all sorts of stuff already built up this Woodland flow. I think that's really cool. And what else have we got here? Think the rocks next. So these rocks, let's convert them and add them to our list. And I'll make all these guys. I don't think you can select them all at once. And at selected, maybe select them first. We've got our grant data selected. And it's pennies guys, Danny, too many rocks and I'm thing, Tesco. And then finally, let's add these larger log details. Now these are really cool. And I'm going to select among making proxies. 3-0 proxy is now, let's select them all and add them to the list. You say, once you've set up Pinto is quite easy to add new objects and, and get painting quite quickly. Cell is pane. So that is too many. And these are quite specific paces. So what we can do once you've painted them is actually change the spacing. And 0-500 is like it's going to be lesser than yeah, that's kinda cool. And then for this one, I do want to go around and just make sure that no heat crossing either a path. That looks really cool. I think that looks good. I mean, if there's anything really bad, we can always moving around. Like, oh, alright, that's looking pretty good. And then what we wanna do is do a very similar thing. We've all about trees and just paint them into our background. So let's let all of our trays here. And let's add this to our list. Start by painting. And this time let's select our ground plane. And this plane. So a lot of forest in, and what we're gonna do in the next lesson is actually put in a tree lines. So when we are looking, we are looking for a camera. We don't see the edges of, of a true, well basically say let's take a look at that next. 32. Adding a Treeline in 3ds Max: So it's always best to try and avoid a horizon line. And even though we are going to be looking for a lot of trees, is still possible that we're gonna see the sky wet, a SKY meets the ground over here. So what I suggest we do is add an image of a tree line. And that's going to go around the perimeter of arsine. So I'm going to show you how to do that now. But before that, let's just hide all of our trees and vegetation. So if we hide that layer, and this is also a good time to make sure we've got everything, lay it up correctly. We can leave dies in the prose to be honest. And data trees, we can hide ground foliage or hide that. So the next part I recoded before, so it might look a little bit different, but if you follow along and you will get the same results, sorry, let's take a look at that. So let's go to textures.com and I'm going to search tree line or one word. And you sign up protections, then you're gonna get 15 premium crazy day and sunlight is would work well, but in national premium member, you can only get 1600. And if we take a look at that museum in is, is really not good enough quality a, we want this to be as high as possible. And if you can get bringing ones, get that. Work around, would be to grab something like this. We can say that it is for images and what we're gonna do is merge them all together. So let's download each days and it will I've not finish up. And then we'll bring in the four images we just downloaded, which is in control minus two the amount. And I'm going to use the crop tool just to make this much longer. And control is going to exam, zoom everything out. And what were the kinda ladies up where they're next to each other. And so if we take a look at a red fire hydrant or for hydrogen there. So there's also tells me that they overlap. So what I'm gonna do is lined by these images up as best I can. And we're not really gonna see a lot of them. So I wouldn't worry, too much. Control to select the layers. There's a hydrogen. So line up roughly. I can see that that tree there matches that train driver. And bring that topmost stack. She's in the up, down left, right, and the keyboard looks like k. And this one polygon somewhere there. So I'm just gonna select older days isn't control. My last one. Yeah, I think sinai that will be fine. So I'm just going to select to them control, aid, flat enemies, one layer. And then I'm going to crop and the border with them. And that looks about right, image crop. And let's go to fill earn camera row first. I'm just going to add an OTA on hand, not just Sousa, I'll color is very good way of making the image properly or better. And something I'm a big fan of in a new phase shell is this guy replacement tool. And if you go to sky replacement, you can select skies from in here. And you see we've got the lines in such an avid I've, they've gone away now. And you can actually put in some pretty cool skies. We know as you're going to be using it for this purpose by just saying this is a pretty neat so and just put in this play sky. It's kind of default. And measures outputs new layers because what we actually want is this mosque they create. So if I control click that mass, you see that we actually creates a Moscow monocles I saved as painting now. And that's what we kind of using the sky replacement or four. And I'm gonna create a new solid color. And we'll make that black. I mean, see, you got kinda nice gradient on there as well. That's also create new solid color. Make it y. I'm just going to bring it. Underneath and you save a really nice channel or a pass a map. So let's save this. And I'm going to call this tree line. Alpha may get jpeg. Okay? And I'm going to turn off the two alphas or a to the two black Mondelez. And let's save it as a jpeg again tree. Right? And then back over in 3DS. Let's create a cylinder. And I'm gonna make this like this y measured up earlier for the radius and the height. That's about right. So we've got 56 thousand mill and for every 1000 mil, roughly, don't worry too much about specifics. And let's add an Edit Poly on top, slit at top and bottom. Also, and select all of this and flip it. Cyanide m faces are facing inwards. Let's also made it center. So I've gone to the Move tool and I'm going to right-click on X and Y. And let's open up Material Editor. Let's create a new V ray material. And in the diffuse, we're going to add a bitmap. And we're going to load up that tree line that we made earlier. The tree line two, we code it up a level in your Pasi. Map. That map again, and this time we want to load the black and white version, so treeline alpha. And if I select our cylinder and apply it and showing people share black-and-white. Let's show the material is so cool is trade. And you forgot to the camera. We can see that we now had this tree line in. And that's looking pretty good. We won't break down, say is in Lima heroism. But just so we can check our render and you see what the straight line is actually doing in the Zedekiah to rotate. And then I can rotate this around. And I'm in, you'll be easier once we have trays in as well as the quality of it. I mean, the bad quality. But we shouldn't really be saying nice. We should have freely trees in front of them needs a more just to fill in any gaps. So don't worry too much about positioning of this just now, but that's how we can quickly make a tree line. 33. Adding Interior Furniture in 3ds Max: Alright, before we move on to the next section, I want to add a few more modules to us. Sane. First, I want to populate the interior. And normally you'll probably get an interior design from your client. But in this case, we're just going to grab a few of the interior probes from the ever motion scene that we got earlier. And we also take a look at a model from 3D sky. So let's jump over into our ever motion, same setback in NY ever motion seen. I'm just going to hide the props layer. And let's open up these, this house interior IM Pei layers. And then zoom in with that. Also in the Display tab, I'm going to hide the lights. And me. Nice model was a fantastic. And speaking with, I think if we grab this kitchen models, I will go open. We're not going to use an tiles. More. Just these guys here. Tes liked is and we're not gonna put the fireplace in this kitchen. Co. So control shift c and copy that. And I'll jump back to saying, And let's hide some of exterior. And I'm just gonna hide this sealing as well. That's gonna make place in all of our objects easier. And then in the top view, in fact, I'm just gonna isolate our plan and we're gonna use this to position of furniture so we can see what's going on. We got bed, buffering, kitchen, dining table, and so far, which are definitely in the ROC and such. So control shift. And there's our kitchen. So I'm gonna select that. And I'm going to group it is already a group, so we'll close that. Was that group cooled. This is called a kitchen. And also if I go to the hierarchy, tap effective it, and send it to object. And that's going to be better. And we can move that to here. And I'm just gonna right-click and rotate. It says I should be straight. Or actually in line with our plan. Says something like that. Look good. And I mean, this model is. Very good for what we want. And let's grab the dining room, table and chairs. So we coat the grabbed this law but also in the reference as a bench. And so we will grab that o psi, psi. If we get these guys, copy them, we'll paste them in. And before I even moved that, I'm going to grab the bench as well. I think these lights will be great. Ta's also. And we can open this group. Grab this bench, paste that in. Let's move diver can affect the pivot center. And in a group. I scrapped the bench as well, holding Control. And I'm going to press F3 and select bullet list. And let's close the group. I'm going to anchor this as dining table. And as roughly move, move that into position that we can have that kinda in front of these doors. So when you're in your data, you can view our data. Be noise. Next is grabbed the overhead lights. Cities. Now, we only need one. And I don't think we're going to need it as long as this. So we'll just move him for now and we'll update it. And the same I'm just going to correct that as I've had light and I'm gonna have to either toppled dining table. So let's grab the bedroom. She's here will get that lamp as well as quite cope and moves. I grab these pitches. Now I think that this bed is actually bigger than the one we have four bedroom. That's too big for our bedroom. And we can just scatter down. I'm going to close this grew and grew and grew as bedroom. In our top view line up. We say scale it down. That's kinda guy somewhere like that. Slay needs pitches against the war. Were lined these up as well. And Mozart is cable. You probably want to fix that up if you're gonna day sunlight data shots inside and make it into a plug. But since we just did an exterior renders, I'm just gonna delete that because we're not going to see anyway. And for the above frame, i'm going to use this model from previous guy and we used in the previous version of this course. So if you had taken that version and you probably remember this buffering, and this is a paid model, but if you want, and this is a paid model, but if you don't want to spend $7, then you can find free models on the side that you can use. But if you do buy, you can use over and over again. And it's always good to have access to these high quality models. So you can download a, unzip it and open it up and just make sure it's V Re. And then copy and paste into the same and you can position it. And I'm going to fast forward this part. Alright, now these roughly position, we want to make sure that I grounded and less unhide O time for Irish frozen can hide the reef. And as groups they should be fairly straightforward to line up. We're just going to use the isolate feature. And then in the from VA makes sure that this is an onboarding flow table do coming up. So I'm just going to open the group, bring them up. Make sure anything on the table comes up as well. You may have noticed that these faces are looking a bit weird with this gradient. And we can solve that just by adding a smooth modifier. I think that's come from when we, when you see that's better. And I think a nice they're on these wolves as well. If we just add a smooth CFD plays up issues. Now I want to make sure that this light is interacting IK with our roof. Let's isolate these two without just want that guy and we get to have that on top. So let's open up this group. Pull this down. I can rotate it as well. And we can delete these guys. And we can pull this down. Is pretty rough. Should do the trick to say we're not gonna get into close. In here, is pulling on one across. And there's a couple more things. We can add some light switches. And some plugs and needed little things. Often I've looked really atom, but I'm pretty sure we've got some nothing here. So let's grab these plugs and these light switches and will copy them across. Modes are going to copy this line crosses, I think this would look good on the exterior by the front door. So I can say, let's place these guys in. So let's just like this glass and detach it. So I'm going to leave that as glass and then everything else. We're going to add the iron die material applied to selected. And let's take a look at Alex. Yes, it's looking code. So I'm going to group I'm going to close that, non-group it. And then I will group it as exterior light. And then I'm gonna place that just next to the dual. And then finally, let's get em light switch is in the plug sockets in Toledo. Plug sockets is free objects. I'm going to group them together. And earlier I had actually made some some buildings in the wall for a plugs, but we don't actually need them. So that why about credit and nice. These values get em, but it does. So when you walk in, you can turn on the lights. And I think that that is all of our interior objects n. And let's make sure all our text is less or we're gonna run a railings payment, relink, bitmaps and allies, all reasonably. Alright. They could be much pappa. There'll be fine for now. I'm just going to close any of these groups. And one other thing that's important is keeping all of our text is organized so all of our paths are there. And, but it would be cool if we can put them all into one folder. So they're not kind of like in the downloads folder or wherever, because eventually you probably listen. So we can go to this. Italy is photon and guide to resorbs collector. And if in this browse section we got a Textures folder. So this is the Textures folder that I've made within exterior project folder. So the same place as we go up proxies folder, we're going to have a Textures folder. And if we use this and we update the materials and capm, what this is going to do is grab only the textures from all over our computer and hard drives and per mole into one folder. And this is important because if if in two months time you want to open up the same and if the lead your downloads folder or you've, you've moved the project file. You're going to have all these textures in one place and this is really handy. Today's Just make sure you Stein, organized by keeping your text is in one place, giving you proxies in one place and keeping liars organized. And this is just a really good habits again, say. 34. Camera Angles and Framing in 3ds Max: Okay, so now let's take a look at cameras and lighting. So now's a good time to start thinking about camera angles is that's going to influence our lighting. So I'm going to suggest we do two shots. And the standard kind of free call is coming in from this top right and also a portray shot facing this door. So to set these up, we can go over to create cameras and we're gonna go into the drop-down and the re cameras. And we'll select physical fear, physical cam. But before we do that, we can actually set up camera position by finding a view in the viewport. So I'm just selecting part of our house president Zed and pay to go to perspective. And I'm going to start by trying to line this up. In the viewport is choosing O and the middle mouse button. So let's start with something like that was what I was thinking. We're going to move this around and change the camera lens. But now we can go the ray physical camera. And we can just click and drag anywhere in our scene. And if we press control C is actually going to move the camera to our viewport. You'll see that we're still in perspective mode. So if we press C on the keyboard, we are now in the camera. We can't really say, but trust me, it says VRE camera. So we're now in our Viera camera and somebody else I wanna do is change our output of our camera. So currently it's on 640 pixels by 480, and we can actually change that. Let's make it free thousand by 2 thousand. And you see the LV change to this yellow border is what we're gonna see. So that's a code are say frames. So you press shift f, that will turn them on and off. And essentially what this means is whatever is within this yellow border, It's going to be what's rendered. And we can up that like 5 thousand pixels For our final render if we want. But we just really ease and that three aspect ratio for now. And if we go to modify and we've got a camera selected it. And if you ever need to select a camera, you can just click up here when you view in for your camera and hit select camera. And I'm going to change our focal length to face six. And I'm going to just use the tools down here. You've got quite a few, You got Dolly rotate. And I'm just gonna zoom in a little bit and move data across. I also highly recommend using something called image helper, which will give you overlays on your image so you can use the rule of thirds, golden ratio, golden triangle, and all sorts of stuff, golden spiral. And that can help you to find a nice composition for your image. So, so you can head over to this link and I'll put it into the description as well. And if you go to code and download ZIP. Open that up and extract it, and you'll find it in your downloads folder. And then you'll be able to just drag and drop this image come helper into your vehicle. And it will load up this dialogue box and you can use it and add in any of these composition helpers. Now is not that effective just to keep open up that folder and dragging and dropping it in. So I recommend we create a button. So if I just delete my current one and show you how we can make that. We'd just go to scripting, open script. And we'll open up our image. Come Helper from the download. And we'll say, oh here. And then all we need to do is control a. So we select all of this script. And I'm just gonna click and drag. And you see there'll be places you can't draw pair. If you started a toolbar, you can just drag and drop it onto there. And that will have created a button to which you can just click whenever you need to open up image compound bar. Like this tree is really not where I want it, but I'm just going to move that out of the way. I can use the dialog box is down here. Um, but it could be nice to like frame the image a little bit. But what I'm gonna do just moved out of the way for now. I'm going to run an interactive render. Let it run for a couple of passes. And we don't need this to be too detailed. So I think that was just a couple of passes because really we're just looking at the framing. And I want to use a tool called Green shop. And I'll put a link in the description. You can download that. And I use this all the time for grain screenshots. So if I press print screen with green show installed, I can open in image editor. And then I can use this pencil. It's kinda just draw over areas. And I find this a really quick way to just kind of sketch ideas. And it's just quicker at an opening out phi shop and copying and pasting screenshots in. So what I've done is kinda sketch over the image frames. I want some trees in the foreground here. And some points of interest down here. So some of them logs that we put in earlier would be CO and maybe a bush here in the foreground again, just add some depth. So you kinda draw in, in how you want to frame the image. And then for me, the next step would be to create a layer. I'd create a layer called framing. And then you can go and move some of the details and the trees into the position where you want. However you want to frame your image. And this is what I come up with. I got rid of one of the trays here. I person trees in the foreground and something over here. And also added a few more logs down at the bottom here. And next let's take a look at the portray view that we want to have. Say I kinda wanna be looking here. And we want to go into our render output and switch over the aspect ratio. So now let's make the width 200 thousand. And we'll make the height 40 thousand. And now roughly get an angle I want to use. And I'll go over to Create. And I'll create the v re physical camera. Just click and drag and then press control C to make it like our vehicle, C on the keyboard. And this time I want to change our focal length 248. And I'll move the camera into a position that I like. Using image compound per as well will help with this. And as usual, I'll run an interactive render and then use green shot to screenshot that image and quickly draw over the top of it. So I want to add some plants aim to frame it. And also I want to bring the size of this light down is too big. And I'll run a quick interacts render. And I really like how that image is now being framed. And if we take a look at our frame in life, we turn that on and off. We can see what we've added that. 35. Lighting an Exterior with a HDR image in 3ds Max: So now we have our camera and go set. Let's take a look at some lighting. And currently we have cameras on auto exposure as this is turned on in our render settings. So we got to v Ray and we get to camera will say we have auto exposure on. And that's really good to get quick feedback. And it's kinda like having the auto exposure on your digital camera. So if we turn this off, we're going to switch our camera to menu. And if we select our camera, and I found the quickest way is in this top left is clicking here. And select camera. And these are the default you get with the V ray camera. And generally, if you just keep these two are the same, then you only have to deal with the shutter speed. And I find that the simplest way I did spend a long time kind of trying to get my head around working with o Fridays. But if you just leave the top to its default images, what would the shutter speed? It just makes life a lot easier. So let's just run an interactive render and see what we get. And we can say that it's pretty dark. So let's go to our camera. So the shutter speed determines the exposure time for the camera. And the longer this time is open, so the smaller the shutter speed the bright image will be. So we want to make this a lot smaller. So let's just bring this down 20 and see what we get as much brighter. Let's try five, maybe even four. So you can see that we've got quite a lot of overexposed areas because it the brightness and underexposure, we can bring down the highlight burn. And you can see that that is going to reduce that bound value. And you can also change that in the render setup. And the column mapping and burn value is here. So it's up to you. A guest keeping all of the postproduction in here is a good idea at the moment. But we can see when we do use this highlight burn, we actually lose some of the contrasts. So what I'm gonna do is add a curve layer and just add a pair of an S curve to bring back some of that contrast. So if I hold control and select these two layers, we can switch on and off and we can see what they're doing. So we can now say that roof better and we've got more contrast in the image. Then we did if we just use the bound value. So let's stop that and we'll go to the other camera. And I expect that we will be using a similar shutter speed. And switching these output sizes each time is a little bit tedious. I will, if anyone knows, is a quick way of jumping between the cameras and changing the output size. That would be cool if you let me know. If not, a will eventually look at the possibility of a script or something just to speed this up. So I'm going to select camera two and changes, change the shutter speed for nice, jump back over here and we'll run the interactive render again. And yeah, I'm happy with how for in the shutter speed looks. Now is not only the camera and the exposure that's affecting our lion. We've also got HGRI in here, and that's our main line. And we wanna make sure that our shadow is being caused in the best way possible. And that means we can write tie HGRI and it's going to affect our lighting. So a quick way to ease lecture lie is the light list that which is up here. And he's going to list all the lights in your scene. And currently we just have the one HDR light. So if I click here, it's going to select it. And we see that over here on the right. And I'm actually going to make equal to and I'll make this view camera and upon the shape safe frames. And I'll make this one top, you know, CSMA, we can close the light list and now J less again. So we call our defining the trees is over here. And what I wanna do in the dome light is locked texture to ICANN. And this means that if I rotate the icon in the yeah, if I rotate the icon in the viewport is gonna rotate our NHGRI image. And that's going to move our sum position and it's gonna change the shadows. So to show you what I mean, let's run an interactive renderer again. And we're rendering the right camera two, which is this pupil. But if I jump back in to the top view, is gonna start rendering the top view which we don't want. So we want to be able to interact in this top view, but we wanna be rendering camera tape. So let's go back into camera to open up our Render Settings. And what we wanna do with the ray camera to wanna set that padlock. And you can see you can select any interview boats and padlock it. So now, when this top view becomes active is still and you're gonna render camera two. It's going to clays, close down them adjustments, bringing people in. And now when I write a lie, we can say that I've rotated the clouds and the lie and the shadows are going to change. So this is code, so you could just rotate this and just wait until you find a nice angle. But there is a way of rotating this camera, say every ten degrees and rendering our quick sample so we can make sure that we have the baseline scenario is possible. And that would involve us animating this live. So I'm going to turn on angle snaps. And that's going to snap by five degrees. You can see down here, instead of rotating it by minus ten. And then if I do it again, it will be minus 20. And that's kinda what we want to render. So what we could do is turn on oh turkey and set the current frame with our lights selected. We've got a lot of texture on. And if I guide to frame two and rotate it by ten degrees. And again, we'll guide to frame two and rotate by another ten degrees. Or we could just type in this dialogue, which will be easier. And I'm just going to turn off. Okay, and let's go back to frame one. So now we have three different images. And we've rotated that ly by ten degrees each time. So you could go through and do this for E6 times. So you get all 360 degrees, but that might take you a little while. So instead, I have wrote a script. It's not the prettiest script, and I'm sure it could be optimized a lot more. And if you go to the resources, you see a script in there that you can go into scripting, open script. And just like that up. And you can see in here the grain is waste. Then I could probably spend some time and optimize this section here. But essentially, you need to select your NHGRI, make sure you have a HDR, plug them. So we've got elected, selected. And if we go to our material editors, Well, I just want to make sure that the bitmap is on zeros and now we update it earlier. But this will just keep things simple. So we've got horizontal rotation on 0 and we've got locked texture on time slot is on 0. And now we can just run the script. So we will just guide two's value i o. And you'll see that what's happening is, is right, saying that light. And it's creating a keyframe for each of those. So you can see are light, right? A and now. So all we need to do now is render an animation. So we'd go range from 0 to 45. So 0 counts as frame one. So we've got phase six frames, so that's 360 degrees at ten degrees. And we want to save out. And we'll get to the frame buffer. And we want to save the separate render channels. We don't wanna save the alpha, but let's select a path that is to go. So I've created a folder called lighting angles, and this is camera to say, let's create a photo. Who came tape. We can know, say create Chem one as well while we're here. And within o, within camera to, let's call its lighting angles dot JPG. We'll save that. Now we don't want to render a full res as we only want to see a rough idea of what this lining is. So let's go to our image, Shambhala, and we'll have it own progressive. And we only want to render for 20 seconds each frame. And there's also something else we can do in the frame buffer. And that is to bring this to a test resolution of twenty-five percent. So it's only gonna render at 25% of our full size Render Settings. And there's one other thing we want to turn on. And that's on the global DMC and it's low noise pattern. And I will show you why we want that on once we've rendered. So we have grade and we have rotated it by ten degrees. We've created an animation. We set the file outputs and now we can just hit render. And you can go and get a coffee. And don't worry about this. Dialog box is a max warning. And just go and grab a cup of coffee and wait for this to render out and we'll jump back in. And once that's rendered, let's jump to camera one, presidency on the keyboard, sky over there. We need to change this output size to 3 thousand by 2 thousand. And we need to make sure we change our output camera one and just save that. And again, we'll just hit render. Don't worry about this. And I'll jump back in once we have all of our renders pushed out. So I have renders done. And I just want to show you to look noise fame decide this image on the left doesn't have locked noise on which we put on. And I'll go, I boot AMC, we put luck noise on. And then if I jump back and show you the one wave loves noise, there's not a lot different when we see the single images bomb is going to happen next. And you can see as just sequencing through these images. And you can see there's a lot of noise. Movement is kinda distracting. Whereas the one with the lowest noise is a little less, has a little less noise movement. And we can just kind of look at the line and we can see how that shadow is moving around our image. So that's why we use lock noise when we were rendering animations. And this is our angle. So if I just held next and we can see how the lights affecting image. And then when I find an angle die like. So I think that looks pretty good. We can see by the title up here what degree this is. So phi e2 looks good in both images, so I'm happy to use that. And then if we jump back into VS max and we go to Frame for E2, will say that that is minus 14. So that's the camera angle. Sorry, the delay angle that we want. So what I'm gonna do then is later these keyframes and delay M. And that means our camera is now gonna stay at minus 40 degrees on the rotation. And now that means we have set up our camera the correct exposure, and we've also set our line angle. So we can go to the Render Settings. And we'll just go to single frame now, rather than having range on. And OS INV ray moves are gonna turn off the save output. And I'm going to change that render time back to 0. And now save. 36. Interior Lighting in 3ds Max and V-Ray: And now we have our HGRI light south at the angle we like. Let's take a look at some interior lie in. And I think we can get some really cool effects here. What I wanna do is make the house him warm and invite in. And currently we've just, the environment is really blue. So let's add some lines to our anterior. And I start with our bedroom. Well, I'm gonna do is hide a log this exterior stuff now because it's all it's gonna do is laid out and saying we don't really need to see it. And I'm just going to hide the roof. So let's put lie in this lamp. So I'm gonna do is go to create. The right light. Is click and drag up. And before we do anything, let's create a light layer. Rename this light. And I'm gonna name this light. This will come in handy later, so I will call it bedroom lamps. And I'm gonna put it in this lamp. So let's isolate this selection. And I'm going to make it a disk because I think that will fit best within this lamp. And let's just make it ten centimeters for a minute. And I'm just going to position that is in our rotation toads. So that's code as a bedroom lamp. And then let's go and have a look and above for him. And we have a fit in, in that we're not really gonna see much. So we're just gonna make a sphere. And again, let's just make that 100 mil. And an Afghans position that just under bulb unless nine, that buffer light. And finally, I guess two more slides for the kitchen lights. And these are gonna be a bit bigger. So 200 male. And I'll move this one across and make an instance as they're both going to Maine for a similar to each other. Let's name this one. So we can jump out now too. So now we can jump back to our camera. And let's just unhide everything. We can unhide older layers and the trees because they affect the lighting. And in the render settings. This is how you add a light mix. You go over to render elements. And we need to do is hit Add and will find the right light mix. And here i k. Now, if you're going to use V ray light, makes it's important that all of the lights we caret a white's first stop because if we change the color in, the light, makes it multiplies by the color of the light. So you're gonna get undesirable results if this is say, orange and then you start making it blue in the light makes it's just gonna make it a neutral. And it's important to know with the renders ends that light makes only works with brute force. So let's render an interactive. So if you answer in this light mix option here, then just make sure you are using brute force. Nicer less, let that render for legal wall. And interactive render will keep running was we're planet light mix. I won't reset rendering, so we can just leave that running. And now I normally like to just start by turning everything off. And then V i one is HGRI, so we can just turn that on. And then if we go through and take a look at our bedroom lamp. We can begin by just cranking up and seeing how that affects our render over here. Say if we put down five and it would be nice to make this lie a lot warmer. And we can change the color here, but at the moment it doesn't have Kelvin values. Whereas if we go over to cancer that go to our light mix, we can see that we can add color into our lamp or we can add a temperature. And it's always best to use temperatures more realistic. So if I turn that to 4,500, you see that that's the orange we want. And using now Orange is going to be much more realistic than just choosing an orange from here. So what we can do is set the temperature in this light. These pigs green color. Grab that orange. And here i k. And then we'll just turn that back to 650. And what kind of temperature. So that's a quick way that we can add Kelvins to these colors without having access to him. And we can say that's a low woman now over here. And now if we turn on our kitchen lights and I feel like these need cranking up so we can see something happening over here. And again, now we can pick the screen color and we'll just grab it from the other light. So adding. So we started to add some warm glow to our interior. And let's turn on the bathroom line. And again, it's cranked up. Maybe even a and I want to make that color orange Kelvin again. I feel like we're wasting a lot of the interior of the buffering with it being on this wall. So I'm gonna go ahead and just rearrange this bathroom a little bit. So there's more over here. I might put a mirror here, move the buffering over here. I'm just so we can see some more life in this view. All right, so I've moved somebody stuff around and you can see that it's made a big difference. It actually gives r i sign to look out in this room. I also think it will be worthwhile opening this door. So hopefully we'll be able to see into the kitchen. And let's go and take a look at this and I'll show you why I did over here just to rearrange that furniture. So you can see I'm moved the base and identities woke person mirrors and above ascii here. So I've read is mirror is going to reflect some of the exterior In our camera view. And this is the door that I think would be a good idea to open. And then hopefully with our camera angle will be able to see into the kitchen and actually be able to take advantage of this really nice furniture we have in here. So let's select this door, this handle, and this wall. And we can just isolate it. So I mean, first thing, this door looks really thick and so I'm gonna go to the top you and grab these two buckets. And you'll see when you want to move them, they're actually going to be really hard to move along that axis. So what you can do is constrained by axis, but that's only in Edit Poly, I believe so. Let's convert this to an editable poly. Scrap them fats. And on the constraints if we put edge, and then we try and move days, it will constrain it to the edge. So that's much more realistic. More we want to do is open this door this way on this hinge. And we also want this door handle on both sides. So let's mirror it out across. But I enter position. We can actually attach these to, so we'll make that one unique. Attach it. And Musei if we make this pivot now, so we've got affect pivot. And I'm going to press S to tunnel snaps. So snap to outdoor. And when we got to rotate this, we open a door but a DOE handles get left behind. So there's something we can do that is select these door handles and we can select and link. So select these DO handles, click and drag to the dual. So these two are now linked. So if I select the door, sky Back to select. And now we rotate it, then DO handles rotate along with it. Says, well like its overlap and we didn't want anything like that. It's going to be really far away, but let's just keep everything correct. So if we want to come in and decent detail shots as well later, then everything is working correctly. So now we have that door opened only CO2 a phrase less if we NCR kitchen, yet we can. So that's really cool. So now if I unhide everything, run the interactive render. And then we want to confirm our light mix. And then what I'm gonna do is push that light mix onto our actual lights and are same. And this is very similar to what we did with our overexposure to manual exposure. We want this baked in to our lights. And she gonna bring this been down to 2.5 is well, maybe push out these curves. Alright, so enlightenment. We have our exterior light. We could actually bring down the NHGRI light to 0.8 psi emphasizes the interior moon. Lamp is on multiplier five. Alright, so I'm quite happy with how these interior lights, a luck in time towards the IN a kitchen might be a little bit to bribe a, we can always take a look at that later on. And what I'm gonna do is actually kinda commit all of these lights into the lights in our scene. So if I open up light LR will see the changes in the multiplier and probably the color as well. So if I hit two saying, maybe I stopped the interactive render and now click to same. So this is going to all the changes we've made here, then you're going to be changed in our lights. If I hit yes, this all reverts back to one side, so we'll come back to normal. But we'll see if I refresh the light LR. This is open update with our settings in here. And that means now that line is baked into our scene. So the lightnings is all on one and day four. And we've got the lime. We want. 37. Fog in 3ds Max and V-Ray: Now let's talk about some atmosphere and specifically some folk for our forests. And we're going to add this in our environment. So I've pressed on the keyboard. You can also access this menu on the rendering and environment. And if we make some of these tabs smaller, will find atmosphere at the bottom. And we can hit Add. And we're going to add the right environmental folk or environment fog. This is a volumetric effect so it can take a little while, but it does look great. And if you are using a vivrai son, then it's worth trying. Aerial perspective is faster, but not as good qualities. So if you can, let's use environmental folk. So over in our render south, I still have your own progressive. And in the frame buffer I've still got twenty-five cents. So let's run an interactive render. And we can see what this environment effect is doing to our sane. All right, so we can see that it has added a rather thick layer fog down on our forest flow. And it's not exactly desirable. So let's take a look at some of the sense. So first that we have folk distance will fall color does what you can expect for distance, controls the folk density. So the larger the value, the more transparent and folk will be. So if we made it smaller, it would be thicker. It's already pretty thick. So we can pump this up quite a lot of free, a 100 thousand. And now we can see already like we can actually see for its ground again, which is pretty good. And sung elsewhere have known is we can add a render element so we can make it denser later on. So we get to V ray atmosphere. We can see the previous density there, and this is the new one. So we can actually in post layer is up and add more later on. But it's much harder to take away. So it's always best to err on the side of caution with this stuff. And then we can add more using the rendering layer if we're not entirely sure. And the next thing to look as this folk high, so currently it's one meter of the ground and I think a more realistic height would be for me is. So let's update that. And we've also got a switch for sketchy i. And this means that the photo OCR scan global illumination and this will increase the realism by usually affects the render time. So if it's low, you can switch it off. And I'm going to leave it switched off. And now, so this is quite a trial and error stage where you can plug in these and see what you get. But sometimes I can sit playing with folk for quite a while. But I think that these two settings will do the job for us. Same for now. And I mean, for light I render out for a little bit. I think this really adds some nice atmosphere to our image. 38. Rendering Exteriors in 3ds Max with V-Ray: So in the past, the Renaissance was a complex subject, but now the default settings work gray, and there's little reason to change them other than for render time. But if you're using chaos cloud, then there shouldn't be a major issue. And if you are going to render locally on your machine, then you may wanna try irradiance map and like cache. But this is no longer being developed and brute force is the recommended GI solution. So that being said, let's open up our render sense. Unless switch displacement back home. And let's hit Render. And this compiling geometry is due to the displacement. And this can take quite a while. And we can see which objects are taking their time as well. So we can see that we've got the batch and then the BRC trunk. So let's stop this render and the displacement alongside our atmospheric effect. So a fog is going to cause the render time to be a lot higher. So let's take a look at optimizing our scene. So groups can slide and render time, and especially groups in groups, in groups. So what we can do is just select everything could control a. And I'm just gonna guy's group and ungroup. And angry began. This kind of shows that we've got groups in groups. So data until there's no more grouping to be done. And I also remember we have a plan in here and that was our original layout. And I believe that that was the standard material. Say less like that plane one. And we can delete that. And if you remember when we render, there was a tree with a displacement modifier irony, I believe is the badge. And luckily enough that bulge is actually instance around. So if we can find that. So I'm just going to jump into top view and take a look for that Berkshire here is with the displacement modifier on. So what we can do is just delete that displacement. And and if we hit Control King will select similar. So there's quite a few of these budge. So we're going to isolate selected. So I mean, if we can remove the displacement of this, this is gonna save a whole lot of time. So let's delete that. And let's just check we've got all of these. So I think that's going to save us quite a bit of render time. And I also think is overkill to have Luis trees out here so we can get rid of any of them that on, on the more detail plane. So if we go to select object, and I'm just gonna click and drag and here and then using our de-select anything that isn't the trees and we can hit delete. And that should save us some time without really affecting. I don't think we see these guys at much. Still plenty of trees, especially, I mean, our cameras here and here. So he is quite important by Vietnam so much. But still they're gonna be reflections. So it's carried them. If I jumped to the cameras and it'll be codes get somebody's funds on this horizon line. You can just about make out the break here. And we don't want to really see that. And I behaves, let's grab somebody's funds and just move them over to this horizon line. Such as grab a bunch of these. Probably be best if we go to multiple views. So I'm gonna right-click and turn on viewport layers tab, which is over here, kind of messes with Scene Explorer. I'm going to select to make one of these views, our camera. And then in this view, I'm going to use it to move these funds over. So I'm gonna hold shift and click and drag these over. And looking over in this camera view, I'm going to have a look at where these are being placed. You may actually nice, let's make these instance. You'll notice that this is ten into boxes. And that is because we have adapted adaptive D gradation on this basically saves memory. So if we turn that off, we can always see what's going on in our vehicles. Mostly gonna pull these up a bit. I just want to get rid of that horizon line. And let's stay the same. Over here. Let's get back to our camera. And then regarding the fog, I really liked the folk element, but it does add a ton of time. So I'm going to say that we render image without it, and then we render our folk past separately. And DALYS will use material override and then just save out the V Right atmosphere. And this means that we can add in post and we'll actually have greater control of the folk. So I'm going to show you how to do that once you've sent these renders. So what we can do is just press a key on the keyboard to get our environment up. You also define that here. And then at the bottom where it says Environment folk, let's just turn off active, so that's not going to render now. And for rendering, as I mentioned earlier, I recommend using the chaos cloud. And in my studio is you send your work each evening to render farm in-house or an external one. Or you render the frame you're working on, on your PC overnight. And chaos cloud is basically a supercomputer that you can send your files to render. And they will come back in times you'd struggle to achieve on your local machine. So I send the majority of my renders here now, and I recommend you do too. So you can head to Chaos Group.com slash cloud and you'll be able to sign up. You'll probably have a login if you've got a ray and you can try it for free, I believe they give you around 20 credits to start with, which should be enough for us to render our images. And if you do decide to render locally on your own machine, then you may want to turn off this placement. If you run this taken too long by really do recommend using the gas cloud and you get 20 credits when you start. Site isn't a reason not to use it. And I'm pretty sure it's going to change the way you work for the better. So sign up here and find instructions. And then let's jump back into Max and open up your understandings. And we're gonna make sure that we have displacement on because we want that on our ground plane. So switched on. And then I open up the frame buffer. And you remember earlier we had these tests saying zone, it's a click that to make sure it as off because we move for signs. Now, I'm going to remove any of these adjustment layers because we're going to add them when we go around the back. And we're going to render progressive. And we're going to change the noise threshold to No.1, which will be all right if we add a denoise, a window element, which we will undermine them. And we want this to render for two hours maximum. So this renders gonna stop, that's a 120 minutes. This renders gonna stop when ivory hits two hours or it hits this noise threshold. And before we send it, I'm gonna run a reeling bitmaps and see if we've got any missing textures. And I don't believe we can find that one. I'll try and relink it. I think it's missing. So I will delete that just so it doesn't cause any problems with the cloud. So I'm going to hit delete or missing bitmaps. And finally, let's add some render elements. And these are going to aid us greatly in our post-production. So if we go over to our render elements and go to Add, let's add a few extra texture. We're going to add a is at depth and also a white-collar. And here, ok. So for dessert depth, we, this is to add lens blur to I'll camera rather than doing in the camera. Because again, that would take more render time. And we can have more control in post. But for these to work correctly, we need to add a distance from the camera. So I'm going to turn off our say frames, go to our top you and basically work out the distance from here to here. And just to quickly data, we can create a box. And we'll be able to see that that box is about 11 thousand mill. So I'm gonna put that in there. We must remember the changes per view recent as well. And also the extra texture. We're going to use this for ambient occlusion pass. So we're going to add an extra texture render element. So this is a really useful one. We're going to texture maps and we'll add a very dat. And the defaults are fine. Let's just take a look at what they are. So this is basically what's plugged into our extra texture. And we've got it on ambient occlusion, but these are the defaults and just leave them like that. And then the white color. This is going to give us a, I think some people called a clown pass, just a way of selecting different elements based on their white color. And then we want to set an output path. So under frame buffer, in v re, under frame buffer, let's jus separate render channels. And we want the alpha. And I've created a folder called Cloud. And then within it, you can set up your two camera. Foetus can refer to, for example. And this one's called camera to, let's save it as AB ray image format. And that will enable us to do to post when we get it back into v re frame buffer. So this is filename camera two, and we're going to save it as a VR Image. And save. And now let's submit this to the cloud so we can just hit Submit. And here we can create a project so we can keep everything together. So let's call this x the area rendering, and then the name of this file. And so we can just call this camera two. And the resolution will match resolution in max. That's great. And then the output is going to be delphi image, jpeg. You can say job limit, hey, if you've got credits, but if it's non-zero, it'll work like noise. And it will keep going into it's done. And then we need to do is hit Submit. And then we can jump back into Max and we'll submit our other camera. So I'm gonna jump to the right camera one. We need to swap over aspect ratios. And we just need to change our file path and our x_k debt. So let's change this to camera one. And we just need to make a measurement of the camera to the building, just roughly. So I'm going to say something around 2020 thousand mill. So IT renders set ends, render elements and action as sorry, set DEF. And we can plug in here. And let's jump back to our camera. And then we can hit submit. And we can select our exterior rendering project. And we can name this camera one. And the rest of it is all good. And then we can hit submit. 39. Creating a Fog Pass / Atmospheric Render Element with 3ds Max + V-Ray: Okay, so whilst images are rendering on the Cloud, let's take a look at rendering of folk passes locally. And let's open up our render sayings. And I'm just going to turn off the saved frame buffer so we don't overwrite anything. And we can go to our render elements. And we can delete all of them. Then atmosphere. So let's delete that. Let's press a key on the keyboard to Gallery environment up. And let's activate our folk. And back over in V Re and under global switches. And you'll see material override. And in here we just want to add a black material. So I'm going to press M on the keyboard. And let's create a new view or a material. And we're gonna make it pure black. And then we can plug that into our material override. We can lose a ton of displacement. And let's run an interactive random. Ok, so we can see, I'll color and we can see that we have this atmospheric pass. One thing to be aware of is if we've got material override on these leaves in this foreground, especially they are alpha channels and they're going to render flat. So I'm just going to stop this render. And I want to show you what will render out if we leave the override on everything, we can see that these leaves are render or overriding the geometry. Whereas this is what we actually want. And you'll say that will affect alpha gla around. So to overcome this, we need to basically exclude this bush. So we can select the name of M. And material I've arrived. Let's go to exclude and this place, paste that in and we're going to push that Iowa. So basically that object is no longer going to be over it with the material. Unnecessarily, the this object as well. And now let's run the interactive random. And I wonder whether we need to do this top one as well actually. So let's jump back and select that. Let's grab it, grab the name of it, copy it. Control c, switches exclude. And let's start the interactive. And I'm going to let this render for about 20 passes. And you'll be able to say the policy is down here. So let that run for 20 passes. And when it's done, we can stop it when it hits 20 policies and then hit save. And this is camera one, and we can just call this JPEG and save it out and then do the same for the other camera. And I don't think there's anything that we need to exclude from this v. Let's take a quick look. Then if there's not a random for 20 passes, and again, save out the folk image in the corresponding folder. And make sure when you are saving it USAA, even the v Right atmosphere, you've got that selected and you're saving the current channel. So this will work nicely. So one says hit 20, save it to camera two, and make sure you saving that the right atmosphere. 40. Using the V-Ray Frame Buffer (VFB) for Post Production in 3ds Max: Okay, so our images have rendered. And once I have finished rendering, we can hit download and you can dilate them in your browser. Or a quicker way is to just copy this text. And guys, you start bar c and theta. I have no command prompt. Paste in and hit enter. And what this is gonna do is just downloading your images and you can leave that and it's going to download into your downloads folder. And once that's complete, you can jump to your other image and do the same thing, copy that, and paste it into here once that's downloaded. And I'll jump back once this is done. And then you can open up a new Macs or she's still got MAX open. You can use that, opened up your frame buffer. And we're gonna go to File, and I'm going to load image. And then go to where you downloaded your cloud images. And I've moved these two. The folder is likely that yours downloaded to your downloads folder and find the VR Image. And just like that up. And here is. So we can see we've got some noise in this image still. So what we can do is calculate the dino is up. And that looks pretty good, probably too much. And let's bring that down to about 0.7. I think will work. And we can also enable lens effects, will just lay down default. It should make a nice glow at the top here. And we can also add back on our exposure and bring down the color band to 0.25. and saying yes, I really like is these filmic tie maps. And we can put on you can flick through and see which ones you like. I quite like this one. And I'm just gonna put down at like 0.5 c edge gives it some contrast. And then all we need to do is first let's save this current image into this camera. Let's, I'm going to call this camera to JPEG. And also, and also if you click and how you can save all image channels to separate files, so data as well. And we can call this camera two, and we'll call this elements. And we'll save that as well. And let's do the same for the other image. But what we can do is save this layer tree. And that's gonna save all these layers so we can just load them up onto our other image. So I'm just gonna guide see the Cloud File. And I've already created one here, but we'll call it a layer tree. Hit save psi. Now when I go file load and we load our camera one BR image, days have kind of carried over, but we could load out here as well. And that's useful if you do some images lay around, then the noise. We turn that off and turn it back on. Because Dharma Seal Athens, if we load up a preset, okay, that's better. So I think we actually have to load it up. So that looks good. So I'm going to save the current one into camera one, which just says cameras 1.jpg. Save that. And then also save all the image files as separate files. And its camera one. Render elements. 41. Post Production on our V-Ray Renders in Photoshop: Alright, so let's start with camera. I have opened up the JPEG image and the first thing I'm gonna do is hit Control J to create a duplicate of that layer. And it's just nice to keep the base layer so we can always flip back to see what it was like on the render output. So just taking a look at this image, I think we could have done a bit of a bad job on these mats. They could look back. And these are the things I guess when you render out high res. So if you do get the opportunity, can always review and refining your images or Sally's red hydrogen, which we can use Photoshop to, to get rid of. But the first thing I'm gonna do is go to our folder and grab our ambient occlusion and just paste that in and just drag and drop it in. And I'm gonna change that to multiply. And obviously this effect is a bit much way does is add some depth to the detailed areas. So we can just pull this down to like 10% is plenty. And another element I want to grab is the white colour. And this why color is really good to grab certain elements. So if I use the magic wand, keep an eye on your tolerance here. Say if you change, that, will change the tolerance of the selection by it does enable us to select individual elements. So for example, we can select this word. We can turn it off. And even if the layer is invisible and you've got it selected, you can still use it to select. So in areas. So less like this word. And I'm going to add a vibrance Adjustment Layer. And I'm going to pull the saturation right down to like 40 and pumped vibrance up to 20. And if I turn that on and off, we can see what it's doing. And we can do the same on this concrete. So if there are anything is selecting the don't wanna select, you can always grab the marquee tool and holding out the selected. Say let's do a levels on this conquering. And what we can do as well. If you hold control and select a Layer Mask, you can just reselect that. So I'm going to add a layers, sorry, a levels to our word as well. And regarding this word, I think it'll be cool if we actually daylight and some images kind of overlay onto the word and also this ground. So let's jump over to textures.com. And for a word, I think that this would, planks texture would work really well. So we can download that. Shall we use textures.com before, but as a free account you get 15 credits a day. And so download this at medium risk. And also after that, we're gonna use this is ground material, so I'll put the links to these in the description. And once they had downloaded, you can drag and drop them in an M. What we can do is It's just control plus and minus allows you to zoom in and out. And I'm going to press Control T. We've our Planck selected. And we can just rotate this round. And what we wanna do is kinda lining up as best we can with our current planks. So using control, I can pull that into position. And here, and I'm just holding Control and kind of manipulating. The essays got a similar perspective. And we can change the opacity here, so you'd bring it down to about 50. It will be easier to line up. So saying like that could work. And I'm gonna put this onto a multiply spring that are Pasi up to about 80. You can see that it's just added some more texture. We could've probably done a bad job in theory, yes, but we do have the luxury of this post-production. So just line up as best you can. You can spend some more time on that. And I'm going to use this wild color again. And to select the word and create a mask where I also want to kind of make sure it blends in. Well. So what you can do is select a brush, soft brush. Make sure you've got your mass selected. And Robert and black, which will take it away. We're going to press X, expressed x your switched these two colors. And we won that. I'm white because we want to paint in the Word and we can just paint them edges in. Kind of blend it more in with that ground. And X. Again, we'll start taking it away. But I think that that has just added more realistic would affect to this path. And let's do a similar thing with this ground. We're just going to line it up or make it bigger using control just to manipulate air and kind of get a better perspective on it. And I mean, this is this is a forest and it's a bit chaotic so you don't need to worry about being too accurate with it. It's something that could be cool. And if we just put down two an overlay, you can see. That's working quite well. By day. Fill the grains like quite a luminous and doesn't really fit with our current image. So what I'm gonna do is create a solid color. First thing I'm going to select my brush and holding out will allow you to use the eyedropper icon. You can select a color from your same. So maybe saying from up here for work. And then if we choose solid color, we can create a new layer of that color. Holding out. You see, if you go between these two layers, you get yellow arrow. And now that means that this will only affect the layer below. So we can then change that color. And we can say that that has made our color more in line with the colors in our image. And it's a quite dominant. So let's just pull it down to about 50%. And that just sits a little bit nicer than she is our while color again. And select our ground. And then I'm going to mask out that texture. And again, we can use a brush to bring in and get rid of certain areas that we don't want to have. But I think that is looking pretty good. If we turn that on and off. You can see that it's just added a bit more life to that ground. So we can actually hit Control J and pull this above that layer. I'm going to select that mask and delete it. And I'm going to bring it over to the other side. I'm going to turn off the overlay. Actually use controlled t that's going to enable you to transform. And let's just flip it horizontally and bring it over here. Lining up. Now I don't mind if it kind of goes on the word as well. Little bit we can mask out, add a Layer Mask, and I'm just going mass this one by hand to see how that looks on the word VCs in the brackets to make the brush bigger and smaller. Just adding a little bit too, that might help it blend in more. And I'm going to create Jaipur curve that color fill bringing up above our last layer, holding out, make it only affects that layer. And then we can select our ground again. And this time, we do need to select inverse. And then paint out any of these bushes black. So what we've done is apply I need Sadat ground plane. Something else we need to take a look at is this red fire hydrant, say, let's say mmm. And we'll create a new layer. And what we're gonna do is use this client stamp. And up here, if we sample just a current and below layer, that should work fine. I'm going to create a new layer and call it and fix, because we are going to be fixing things in the image holding. Oh, you can select where you're gonna clone from. So I mean, you could climb from this fan and start paying in. It'll come up there. But we can just climb from here. I'm just going to paint this is in. And that should be fine. I'm going to bring in z depth now. Drop that on. And what we can do is hit Control a to select all of this control C to copy it. And I'm just going to turn it off for now. And I'm gonna go to channels, create a new channel, and paste this end. And if we jump back to layers, I want to select all my layers. It can troll J to duplicate them, and Charlie to flatten them. And I'm gonna call this lens blur. And this is now flattened image of all valid previous layers. And you'll see the reason that we have made that is at depth into the channel. Now if we go to blur and lens blur, you'll see the source is this alpha. Because this is a screen is kinda messed up our corrupt. So before we do that, I've got the whole image selected and I'm just going to go image crop. And now if we go to fill a blow, we should have the image, image cropped correctly. And if we really pumped up this radius will see what's happening. We're using that alpha as our as our Blur distance or anything, that is Y will be in focus. Anything in black will be blurred, and vice versa. We can invite as well. So we really want to keep the house in focus. And we don't want this on too much. But if we leave the radius pumped up while we find a nice focus. And we can also use this set point, which could be helpful. So a 128 looks good. And if we put a radius right down to like three, we can sleep. We have slightly blurred that foreground and the background, and it's just a nice photographic effect. It can be tempted to really pump up the blurb, but just keep it self and now so we can hit OK. And as our lens blur. Now it'd be cool to add our folk layer to just drag and drop that on top. And let's switch that to screen. And that you can see that really softens up our image. Obviously we don't need that much, but maybe like 2728. Now with soften up our imagery a little bit. And now I want to flatten image against I control j, control a. And this time, let's name this flat. I want to make it a Smart Object. And smart objects are really cool for updating your post-production layout. Or as we're going to do in a minute, transfer over some of the adjustments we make from this image onto our other camera just to keep consistency throughout images. So I'm going to undo that because we need to crop our image again because we've got that overlay. So I'm gonna select all go image crop. And now we'll make it a small object. And I'm gonna guy filler camera roll. And this is a really powerful filter. And the first thing I'm gonna do is just hit o and see what photoshop recommends. And it does a pretty good job. It's actually brought back this guy. But I quite liked it blown out. So I'm actually just gonna bring that highlights backup somewhere around here. And you can play with all of the shadow is and such. But I think very sharp does a pretty good job at making this image look good. I really like the carrot clarity feature, but again, all of these changes don't over do it basically. Yeah, just keep it ready. So I do think the image is pretty saturated. So I'm going to pull that down. It's a minus 15. And that looks pretty CO. We can turn on and off what we then by holding here. And you see that somebody nice effects. And there's some other stuff we indent, the camera roars, Well, I'm just going to close up the basics. And if we go down to optics, we can add some distortion to just add some camera effects. So again, really so, so like minus two would be cool. There's a vignette here, but there's also one. The geometry or effects that I prefer to use. So if I add a vignette. The reason I prefer to use this one is that we can use the highlights because you'll see we've got vignettes appear and it's not really realistic. So if I just pumped up to 100, we'll see it kinda only adds the vignette on these areas here. And I think that's coast. Okay. That's going to apply and you'll see that the smart fields, we can turn that on and off here. And you can see what effect is mouthfeel is a pad, so that looks pretty cool. One last thing I want to add is a lookup table. And we can do is just click on here. And then I just normally flick through with the up and down keys on the keyboard until I find something that looks nice. So that's kinda cold. Again is pretty extreme. So I'm just gonna bring that dancers 25. See what I lookup tables term. And the good thing with the Smart Objects is if we wanted to jump back into that camera roll, we can just double-click it and say we want you to bring down the saturation. We could do that little bit more and then hit OK and it will update. So it's kind of a non detrimental workflow. It would be cool to do it with a lens blur as well, but I don't think you can add lens blur to a smart object. And there's one last thing I want to do and that's just to add an unsharp mask so I can select them all. Child a, oh, sorry. Undo that. Control j and control ie. So this is kind of like our final image, actually escalate sharp. And guys fill is sharpened and unsharp mask. And 50 and a radius of one is fine. We can see that just adds a little pop to the image. And I'm pretty happy we've had an ellipse, so we can add File, Save As. And in our cloud folder, I'm just gonna save fellowship folder. And that's always I save the jetpack. And I find once you've done one in a series of images is a lot easier to do. A second one. Sorry, let's open up the camera one image. And again, in this image or field composition could be better. And I'd like to bring the camera a little bit more and push it, push the whole building to the right. I think I could have worked nicer and had this path. Yeah, we can always go back and make changes. So I think whenever I render high res, USE things. Can be improved. And whenever I see my images, high res, I always see things that can be improved. And that's why you just gotta keep on rendering images every day and just getting better and better. Let's use Camry too, is kind of the basis for this image. And we'll start with using amino collision paths. And before we add that as great, a duplicate of our base of control, Jay. And I'm gonna put onto a multiply. This time, I think we can get away with a little bit more like 25 to be good. And I'm going to grab our white color as well. And I guess what we first thing we wanna do is what we did. I run this image and let's just grab these free adjustments. And I'm just gonna drag them into this layer. What China firewall color. Let's turn these are so this was the concrete. So I'm gonna delete the layer mask. And then with watercolor selected, select ordered the concrete, select anything that isn't concrete. And then we can just add that level is to just that concrete. So you can see we just copy it over the adjustment layers from the other image. So obviously a lot quicker. And what we can do here is just delete that layer and how to control. You can always select that mask. And I'm going to turn that on as well. So we very quickly bro over them, adjustment layers next up the wooden planks. So I'm just gonna click and drag that Iowa. And really, you're not going to say a lot today does change the color. We can let's just get rid of the landmass. Began to know more. I'm gonna write psi that round. I'm just holding control to kind of I changed my perspective on this. It doesn't need to be too accurate because I don't think anyone would. I s So that's lined up and I'm going to select the word from our wire color. We can actually bring it on top. And it's put down to a multiply. You can actually see them line. So what we can do is. To unlock the layer mask and hit Control T. We can actually still and then select our original layer. We can actually still manipulate with the mask applied. That is better. And in our average, this bring over this ground that we made earlier. I'm going to turn off the layer mask. Just put it onto normal for now. Just roughly again, similar perspective. And I'm going to just create another one and bring it over to here as well. So I'm just gonna turn that one off. Use our watercolor to select the ground. Over here. There we go. Mass this owl, and I believe this was on an overlay. That looks pretty good. And we'll do the same with this one. We're gonna steal this color feel controlled j. When you're under here and apply it just to that layer. Is that as the mask and put it on an overlay. Go. And I've noticed that this back plate color is a little bit off compared to our image. So what we can do, again, like we did with the mass, is just select a color from our scene. So something like that's quite nice. And then I'm just going to create a solid color from that. So that's all good. Stan, on our water color. And select this back plate. And Moscow out. Sorry, we can delete the landmass that comes with it. And in Moscow out. And I'm going to put it on to color. That's pretty good, but bring it down a little bit. But we can see that just makes the image share a little bit better with that backplane. Now let's select what are layers control j and control a. And we'll call this lens blur. And we'll bring in our set depth. And control a copy. It writes channels and alpha, paste that in. And we jump back to our lens blur. Turnoff that set depth. And we'll get to fail is lens blur. And we can use this set focus again and select our house. And YE sank around 42. Looks pretty good. So I can now say this added a little bit of blur in the foreground. There's another mass we didn't use in the other image because we didn't have any interior lives. If we bring this in and drop it on, is called the glare pass and this is from the glare and Max. So just make sure you've got lens effects on by default and you'll get this glare pass. And we can put that onto your screen. And we can see that looks really nice, I think on the interior. But I actually want this client-side image up here. So I'm gonna put a mask on and black, so I'm just gonna pay now. And here as well. That looks good. Let's add our folk now. And I'm going to put on screen and whoop, bring that right down as well. Just soften a little bit. And again, that's linked or allies controlled J, control a. And I'm going to call this plan. It's making a Smart Object. And what we can do is I have a camera to, I'm going to select Smart Object and I'm going to drag and drop it into here. And because these are both smart objects, well I can do is hold out and just drag adjustments onto our camera one. So let's delete. Can we just make sure it is known? Fill a mask on there and you can see the adjustments. We've brought an IVR and we can still go in and make any changes we wanted. So maybe you want to bring them up. We made the VGA and a little bit less in the effects. But that's looking pretty good. Let's grab the color lookup as well. And what's good about this method is a case consistency among the images and when you present them to the client, there's a, you can see that they're all from the same building. And the final thing we wanna do is control j, control a. And that's just sharpened. So here are the final images. I hope that this lecture is demonstrate how we can add some nice final effects in Photoshop. Use it just as a basis to kind of create your own version of this time. You don't have to follow exactly. I was, I encourage you to explore other camera angles and definitely pop over to the Facebook group and post your images in Neff credit. Take a look at making some night shots using the light mix or some close-up detail shots of the interior. And we've all these projects spend some time reviewing and ask yourself and others where you can do better in the future because this is how we improve. And also feel free to check out any of the other CGI causes if you'd like to explore other areas of CGI. So thanks very much for watching. I really appreciate it. Let me know if you have any questions and I look forward to seeing what you guys come up with. 42. V-Ray 5.1 Updates: Guys group had a premier video on YouTube and a grave on Tolkien and wondering what the announcement would be and they didn't disappoint alongside rebrand, what was most exciting to me was the VRA five Update 1. And this update included access to chaos cosmos. So the chaos cosmos is a content library that can be used across all the right packages. So df is going to work in VA for, for 3ds Max is when SketchUp, for example. Alongside cosmos, we've got improved materials in the viewports that are going to look a lot closer to and how they're going to look in their final render. We've got advanced material override Maschine into v re frame buffer. The ability to have multiple Dome lights in one render is going to be massive so we can switch them off with the light mix. And we've got a auto translate physical materials. So you're not going to have me asking have you convert it to be re we've got batch camera rendering forecast Cloud, so we can just submit one scene and choose what camera angle we want to use. And there's also a new camera list up. Let's take a look at how we can get this installed and what we've got first being head over to Chaos Group, go to Download and download the latest version of the nice new logo there. I'm on 2020, so I'm going to download that and I'll jump back in once you've downloaded it and installed it. So we can see on the VRA Toolbar we've got some new buttons and some changed buttons as well. So the submits cast Cloud rendering button has changed a little. And we've also got this fee rate camera list. And now, and if we open this up, we can see that we now have a camera LR There is organized by type of camera. And it also gives us the ability to make changes to our cameras. And this is going to save a lot of time rather than having to select them from here and making the changes in the modify. Well, we can make changes in any of our cameras. So the carbon has been updated. And now when we submit to the Cloud, we have the ability to render different cameras rather than having to submit them individually. So you'll see what I mean when we get over into our chaos Cloud. So now we can select what cameras we want to render. Previously, we'd have to select the camera and then send it to the Cloud and then select the other view and send it to the Cloud. So this is another massive time-saver. And now on to what I'm most excited about, which is this cosmos browser. So we can just open up and we can have a look for assets we like, and basically drag and drop them into the scene. So make sure you're signed in. I found that when I wasn't signed in, it took a little longer to load. You can also show assets that you've already downloaded over here, which is quite useful. And you'll also be able to see assets that you have downloaded with a taking the top-left. And finally, there's a search bar. So you can search for certain objects, which is really good. I mean, organized and assets. It's always been a bit of a mission with 3ds Max and keeping everything organized. So this is. A massive help. So obviously if you are working on mobile screens is going to be Asia. And then having this isotope of your 3ds Max UI, let's take a look at bringing some of these models him. If we go over to furniture, Let's kid's bedroom. And if you haven't already downloaded and I am, you can just click here and it will download and it will let you know when it's ready. So you can just drag and drop objects in. And that will load up. I have found that when you drag and drop in and can be quite hard to select. And I think the reason for this is because it's a proxy. So you can see like I'm having a hard time clicking that kind of click and drag. And I think the worker, and this isn't for all models. Once you have got it selected. Okay, so I'll select it by clicking and dragging and then they select him. And if you change this to show whole view, then it actually becomes a sari help show whole mesh. And it's actually a lot more selectable. You could probably use bounding box, where it would seem that if you just change the display and then back again is going to be easier to select. So that's pretty handy tonight. So you can just drag and drop these in and position them. Let's bring this bookcase m. And again, is quite hard to select until you select the whole object. And let's just change this back and forth. Now we can select it. And I'm pretty sure that that is going to get ironed out pretty quickly. So I'm going to position that. And we'll say is well, we have Lai in vehicles. Also the staff vegetation, which again is huge. I mean, in a lot of the tutorials we do show you how to find assets, download and prep them, and then bring him in. And you can just imagine how much time this is going to save it. And we jumped on camera and we can bring objects into the scene just using this green button and choosing which version. If you've got multiple versions of Max open, which one you want to bring into. So that's in progress. And as our asset. Now we can move that into position. And I've got a feeling that this is rather big, so I'm going to scale it down as well. And we're also lucky enough to have access to people as well. I think these are from random people. Said I some really good assets in him. Down I did. Janna. Yeah. So I'm going to drag and drop tiring position. She can be looking at a window and you can see how quickly is now to populate the same. And another really cool thing is the HDRI. So I've done, I do fray and I'm just going to drag and drop these into our scene. And while we can de, make sure you've got light makes enabled by guns, you render setup and in your render element at, in a live mix render element. And now if we go to our camera view, we run an interactive render. Our light mix that we have the three different light sources. So we're rendering with free HDR eyes on and we can just turn everything off and what I really like now. So if I hold Alt and take the other leg, and we can see these different lights in our eyes. These are free different HDRI is, this is one render. And so we can select what HDRI we like using 0. If we didn't have it all, then obviously it's going to turn on or free, which we don't want. And say we chose this light, this HDRI. Then we could go ahead and light the rest of our scene. So that's another massive update, V Ray. And if you haven't downloaded it already, then I don't know what you're waiting for. You can find a link in the description. And thanks very much for watching. 43. Bonus Lecture: 3D into Photography: Today I'm going to show you how you can add freely to photography and make any car advert in under ten minutes. Did you know a whole lot of advertising is actually 3D. Cgi isn't just the dinosaurs and spaceships anymore. 75 percent of the Ikea catalogue is free day. And they're even using a free influencer in their latest ad campaign. If you stick around to the end of this video, you'll be able to create any car as you want, grow your portfolio, and get a piece of that CGI advertising action. So the first thing I'm gonna do is fire out cosmos. And I'm going to bring in a vehicle, and I've already downloaded some so you can switch downloaded on here. And I'm going to add this electric car into our scene. And while I'm here, I'm gonna go to HDR hours. I'm also going to add a HDRI to light our scene. I'm also going to add a v right plane. And this is going to act as our ground. If I go to Render Settings, go to V Ray camera and I'm going to turn off my exposure and white balance on and go up here to start IPR. We can see that we already have a pretty nice looking car in here. So we already covered how to make full CGI images in the last video. This time we're going to look at how we can add freely to photography. Location is backdrop has been sent over by the client. If I press O on the keyboard, this is going to open our background set ends and go use file and load your image file, make sure match rendering viewport is on and apply it to active view. And you can hit Okay, in Windows file right-click on the image and go to properties, will be able to see the dimension. So it's 3000 by 1561. So we're going to want to change this in our Render Output. And this will avoid any distortion. And I'm going to lock that press Shift F time on safe frames. And you can see that if we change this viewport, That's the size of the image. So now let's add a camera. And we can add one quickly up here, just by clicking that. Thanks, flat O. And I'm going to crank that up to 65 just to add a bit more depth. And then using these controls in the bottom right, I can move our car around in the scene. So now I want to match the lightened up with our foe. And obviously we haven't had the opportunity to go and shoot a HDRI of this location. So I'm just going to open up the material browser, the select your life. You can move to texture, drag and drop it over into the Material Editor. And then in here, I'm going to replace the HDRI with our back play image. I'm just going to flip that horizontally as well. Okay, So options and make the backplane and visible and less run and interactive render. You can see the lions much more in line with our image. We can also add a background image. Again, let's use the image we downloaded as our background. And then we also want to select our VRA plane. And we went to China into shadow catcher. And that's going to make sure we get some shadows underneath the cuff. Say now's a good time to turn off the way white balance and the OECD, a V Ray camera and it's 10. These both off and let's select our camera. And a quick way to do that is just to click on the array camera and select camera. And I'm going to pump our ISO up to 1000, the spring, the f-stop down to see more in line with the image lighting. So now I want to add some headlights to it, turn on some lights. I'm going to turn show how mesh on. And then I've tried important is mesh and it comes through fascinated. So found if you add an Edit Poly and collapse or turbo smooth on top, that's the best way I've found. If anyone knows better way, I would be happy to hear it. Now, one gone this Edit Poly, we can see down here in polygon material IDs. Id1 is the pain. So each of these IDs is referencing a material in the material library and safer press M and eyedropper. The car is going to show us a multi sub material. And this is showing us all the different materials on the cup. So I'm just going to press P and zed zoom in and we can hide headlight. And then I'm going to select these bulbs now I don't know exactly how Tesla headlight set up, but I think something like this would be fine. And what I'm gonna do is make this material if Dane and I'm also going to do to bogs down here. I also do the other side as well. Set to 15. And then we can unhide all. So glass comes back on top in the material I'm going to add not all add 15. If I clear this and add a ray light material, we go back to our camera person C, from an interactive render. We should see these headlights. Now turn on. And there we go, That's cool. Just one thing I directly likened being pure white. So just going to click on color as the eyedropper and select a white from us sane. And you can see that that is not pure white. Something else that's cool, we can add is some bloom and glare now. And I'm going to turn on this lens effect enabled bloom and glare. And I quite like turning on lens sketches. That's a little bit of variation. You can see what's happening already here. And if we just crank up the intensity for a minute, we can see what's going on. And it's quite nice to rotate this. I kinda wanna make them look a little bit like light travels. And that's looking pretty cool. Now it doesn't need to be that intense. Going to bring that down to around here. And you can also play with the size. No, So rather than 90 eighties slides, because I read an article that over was going to have flying cars in the next couple of years or 40 might be worth making our cow add a flying car. I think we'll probably be making flying in our lifetime. So let's prepare. And I'm not gonna go too hard on the modelling, but I'm going to select all of the wheels and just roughly select those elements. And then using our de-select, why don't need and I'm going to detach detach just one of the wheels and its front one. And then with that front wheel selected, I'm just going to change into hierarchy effective sentence object. And then I'm just going to rotate around. And let's add a nightmare. Essentially changed that to a double-sided. Alright, so I'm going to pick a color from our scene again. And also crying. Like say you now let's lift this car off the ground. It's going to select everything, deselect light so we should get the car. And it's bringing up the ground a little bit. It would be cool if we could add some smoke and the will to create helper. And I'm going to get to atmospheric apparatus. And I'm going to build a cylinder. Is my, and again, kind of put it roughly around our, we'll center that will look cobe. And now I'm going to add a fire effect. And you can go back to our camera. Render series does. Well, you'll see that it's fireball effect underneath. We can click on it and I set up. And it will just start with not the environments in effect. And then I'm just going to again choose a green from our scene and just copy that over. See the smoke now becomes green. Nato VMO saturate. Let's draw again. And now I have maybe actually make their inner layer. And you can change the density in here and you can change the higher bit. So we get a bit more smoke coming through. Let's go. And then intensity. Yeah, it's pretty sweet as you're going to copy this color and put it in our lives well. And then I can select the wheel, cylinder and light, and group them and then move them into the same position as the wheels, basically replacing them. Smokey and instance. This code near the o road wheels that would press a on the keyboard and go into the environment and affects a fire effect. And it's only on gizmo. One side you pick is my should now have four in this drop down. And then when we render they should all have fire effect underneath. The next thing I wanna do is add someone in passengers see, sorry, in the back. And the thing this little guy like looking up for all is going on in its position, him in the back. And I think it'd be cool to have light coming in here to really highlight face. Let's create a main light. Now I'm going to make it targeted. Select that target. And that target onto this face. And this kind of code or this coming on top here. And I don't need to be too big. And that our work, I'm going to make this visible reflections that I want to reflect him in the car. And let's just crank this up and take it again from the same yeah, that looks pretty cool. I also want to bring him in as you get into layout. All right, that's looking pretty cool. Now to render the final, I'm going to add an AI. So you can just go to Add and an AI atmosphere and the noise. And then OSA in the frame buffer. Um, I've added a few other things I've adjusted to do and saturation. And it is so much time matt and I put down power. So now you can hit Render and I'll jump back in. When that's done. Then I've saved out our images as PNGs. And I'm just going to drag and drop in the noise version. And I'm just going to make a copy of that background and add a glazing and blur names like to know I can do is add a mask and just paint out areas that I don't want it separately around the flat brush. I'm gonna make another copy of this background. And I'm going to pull it to the top of our image. And now I want to blur this image as much as I can. Just crank that all the way up and this gimmick, unlike an average color. And if I then hold out and attach it to our car and put it on color, it's gonna kinda colorize our car to match the image. And I just find this because sit there in the same. So we can bring that down to about 20. And we prefer the IO on as well. And if you put it on multiply, find this just gives a bit more depth, some of them areas like in here. Then we'll contrast as well. My favorite possible it is Blab, and I'm gonna put down screen. See what that does. That just adds a really nice globes, these light gas at UK it make that more intense. And then obviously if you wanted to mask and paint out certain areas if they were too bright. And I'd like to add a small amount of fog as well. Say if we create a new layer, phil, Render Clouds of, let's make this black and white fast. Render clouds and put those on screen. There is selfie. And I'm actually going to paint out enjoying that. And finally, let's broaden the atmosphere. And I'll put ounce grain just to highlight those a little bit more. And that's to finish saying. So I hope you guys had families tutorial. Remember you don't need much crore, some great images just for AI techniques I showed you in this video. 44. Bonus Lecture: Five 3ds Max Tools You Don't Use: Here are five awesome tools in three years max that you probably aren't using. Number 1, transform toolbox. And you'll find that hidden under Edit Transform toolbox. And in here are loads of handy tools, things such as rotated by 90 degrees, and this is based on the viewing angle. So just be aware that if I'm doing it like this, it's going to spin it on that axis. You're also going to find a line pivot in here. So we can say to many are pivot is in the center of the object. And if we hit zed, it's going to ground that object. Next tool which is let him place. We can select out here and just click and drag. And that's going to place our table saying onto our table. Also, we can just hold shift and move these around, select both of them, move them across our table and use our rotate. The third tool is the substitute modifier. So if we wanted to change this placemat to the strawberries, I can go to the Modify tab, find, substitute, pick objects, change it to the strawberries, and we changed them all to strawberries. And the fourth TO in this list is object paint. And this tool is ideal for painting foliage. For example, if I wanted to spread these lemon trees across this terrain, paint on, we can change that to same-sex, going to paint on everything in the scene. And we're going to paint we've selected. And now when we click and drag is going to paint onto our terrain, obviously, the spacing needs to change so we can turn that up. And let's just turn that into a 100. And we can also change these scarcer in the EU. And we have all these tools you can hover. And it will show you a quick little video if you want to go deeper into these. And the final tool is the search function, which is X on the keyboard. And say you just want to build a teapot. You can just type tea pot and lift and drag and go to T four. And then say you want to add an Edit Poly to that. You can just type in edit and add an Edit Poly. And then you can type symmetry. And you've got to add a symmetry modifier. So we're using any of these tools are ready. Let me know in the comments. 45. Bonus Lecture: 4 V-Ray Frame Buffer Tools in 3ds Max: Here are four excellent tools in the B re-frame buffer that you don't want to miss. So number one is depth fulfilled in our frame buffer? Turn on that fulfilled, and we can start an interactive render. Now for depth of field, you want to tell the camera what you want to be in focus. And you could do that manually in the viewport, or you could use Alt click and let V Ray work out for you. So I'm holding out. And if I click at the back here on these dials, you'll see that that area is now in focus and here is all blurred. And if I click on, let's say, this doll at the front, you'll see that this is all in focus and it's blooded a back. Now, if you want to increase or decrease the blur amount, the thing that controls this is the f-stop number. So the load is goes the more blurry the image will be. Say if we turn this down to four, we're going to see that the image gets blurrier. They also gets brighter. So you could manually try to adjust the ISO or the shutter speed to compensate for this. Or again, you can let me re due to hard work for you. In the eraser ends. We can just turn on or exposure. So now we can see that that is really blurry. And that's how we can really quickly control the depth of field within the frame buffer. Next up is bloom and glare. And just by turning that on, the lens effects, that's going to look pretty sweet. But there's so much more here that you can do. You can turn it on and off using this eyeball, the size and the intensity do exactly as they say. And the bloom is blends, the glares alert is goes, you're going to start seeing these streaks. But what's really cool is down here in the aperture shape, we can turn on peripheral grading. And this is a real-world lens effect. And you can control the settings in this length down here, so you don't want to pump out too much, but you can see what that's doing. And I'm also a big fan of the lens scratches. So if we turn that on, you can see what it's doing and we don't have to stick with that. You can actually change the patterns here. So stripes is pretty cool. And you've got square and hexagon and you can change the density here. And just like the lens scratches, you've also got lens dust, and that just adds some dust to the lens. And you can also change the pattern here so you don't have to stick to the standard bloom and glare. You can customizing it some really nice effects. And did you know you could actually do your composite in within the v re frame buffer. So I've already added a couple of elements and rendered out this image using bucket as the crypto Matt will only work with a bucket render. So if we go into source and we go to composite, we can start adding our render elements as we would in Photoshop. So we've got the RGB color on the bottom. And then I'm going to add a number render abdomen. And we can choose our V Ray ambient occlusion, which we can change this to multiply. So normally I go into Photoshop and add this. But you can see we can just add it in frame buffer now. And we can do the same with a reflection unless choose to be a reflection. And if a turn that on and off, you can see what's happening on this desk. And what's really great about this is that if we move the headphones, for example, this is organ update as well. And we can use masks as well. If you want to use mass, I can first shot we have to render a Crypto Map render element if we go to our composite and let's just add a color balance, for example. We can just crank that up to read and see that it's making the whole image read. But we can actually use this Crypto Map mask. If we click on pick and we pick the object, we want to change the color of. We can see that somebody's headphones have gone red. And you can actually turn on Show Preview when selected. And then we could add, say a number, hue and saturation. And again at the Crypto Map mask and pick this. Then in the properties we could pump up that saturation. We can even change the hue and make it whatever color we want. 46. Bonus Lecture: Camera Mapping in 3ds Max: Want to make your visuals and Papa owes him money, colleague. Or today I'm gonna show you the techniques to do just that. The first thing we're going to need is a back plate. So I grab this one off of Canvas and we can hit O to open up our viewport configuration in here, let's choose File and let's load up our image. We hit Apply to active view. We can see that it's now in our viewport and we can hit, Okay, let's just quickly change our render output. It's an HD because I know that this image is HD, which is 1920 by 1080. And if I hit Shift F, It's going to show us say friends. So that's all in proportion. Now we're going to need a boat, cosmos. Here's the yacht, bring that in. I'm going to roughly line this up and this bone a little bit smaller than this one. So just keep that in mind. The scaling is not going to look exactly right, but for the sake of this example, it should be fine. Add a, B or a physical camera, change the focal length to 18. As I saw in photo information that the focal length was 18. And let's zoom in. And when trying to line this up, show horizon line is also really useful tool. So you can see this black line. Now of course here what we wanna do is line our horizon, line up with horizon of our image. Something that we need to do is go to the front view. So press F on the keyboard and the boat's actually grounded from the lowest point. Don't actually want we want it to sit in the water. You see in the left view. So where that black line is, is where the borderline obese. All right, so now we're going to need some light. So lets just grab one from the chaos cosmos and just make sure they're roughly resembles our image. So I'm just going to bring this m being dome light we have locked to texture on. And this will mean when we rotate our light, the sun will rotate with it. So now if I run an interactive render and I start rotating our light, we can see that the sun is moving and you can see from the shadows in our image, the light is kinda coming from behind the boat. So I think somewhere around 120 in the zed is going to look about right? And now for some magic, which is camera mapping. So think of it as the camera has a built-in projector at a b ray plane from what we're gonna do is to project some water onto this plane to give the boat something to reflect. So I'm going to quickly hide our boat. And I'm just going to create a clear. And if you've watched any of the earlier videos, you will know exactly what it is transformed toolbox is. And what I'm gonna do is open up the material at Earth's I M on the keyboard and I'm going to make a very quick chrome material and apply that to our sphere. And I'm going to make another, just be reading material and just make sure it is. It's like a mid gray. And in the diffuse this meat grain material, I'm going to add a map and it's under general. And it's good the camera map per pixel. So let's add that. And for camera, we want to add our camera so we can select it, the camera and select our camera. We'll jump back in pregnancy. And for texture, we're going to load up our bitmap of our background image. And let's apply yes to the right plane. And we'll run our interactive render again. Come now we can see that we have this projected onto this plane, but I'm just going to turn on or exposure sound the V Ray camera, I'm just going to turn on exposure. Okay, so we can see if we go to our camera, that the image looks correct. But if we move to perspective and start moving around, we can actually see the image is actually mapped from our camera. So everything else will get the steward. We can delete our sphere and we can unhide of boat. And let's run the interactive render. There's a couple of materials that I want to change. What we can do, pressing M on the keyboard to open up my material editor. And let's open up the video material browser. And in the glass, I want to replace our current glass who'd like a tin with black gas? And say this one for example, if I select a new slot and use the eyedropper tool and select our boat. We're going to see all the materials in a multi sub. I can see that we have a clear glass material here. So I'm just gonna drag and drop this black glass into that slot. And that's just going to replace all our glass with the black 10 eat glass. And so I want to replace this white material with this car paint. Flakes white will look good, and there's also the chrome on the anchor. So let's go to Mel, weathered metal material. We'll call, we'll put it over Chrome and let's run our interactive again. I don't really like this black material being by the anchor as well. So what I'm gonna do is grab that white car paint and just drag and drop that over the black material. And that should make this white paint. And before we render, I'm just going to add a couple of render elements that are going to help us out in the post-production Render Settings. Go to run the elements and I'm going to add a v, right? Which is ambient occlusion. I'm going to add a reflection I want to color and we can also edit the noise there as well. And I'll hit Okay, Sing else. We can have a quick look at before we render our layers over here. So what we can do is add a background and in here, load up your texture so we can actually see the background. What was also useful is you can click on foreground. You can kind of switch between the two to see how they line up boat looks a little bit more green from the reflections. A really quick way to sort that out would be to add our white balance, add a very slight green tint. But again, a saint we can read do in Photoshop. So all that's left to do now is hit Render. And we'll save Audi separate render elements as PNGs. And then over in phase shop, I've got background open and I'm just going to drag and drop our effect results on top with the spot healing tool. And we'll use that as best we can. So I'm gonna go back to our back plate and just work out somebody's areas and see what Photoshop can do about removing them so they can do a pretty good job. But we're also going to need to use the clone stamp, which means we can just hold Alt, select certain areas and just brush them out. And it will say down here, it's quite good when you got to her. And what horizon is also quite good when you go ahead and help. It's also quite good when you've got a horizon and you can hold O and select on the horizon line and just move that across there. So, so bring on this wire color. And I'm gonna select that fear, a plane that we put in. And let's add a mask and Control I to invert that mask. So what that's done is get rid of that shadow. And then we can use a soft brush not too big, and just paint in some of these waves and you can press X to like bring back seven sections. Might also want to try the splatter brush. Things could be quite small. Spend some time on this and spend a lot more time on it. Then that something else that I find useful to do is grab that background Control J and just bring it to the top. And I am going to fill up and glacier on blur, lazy on Gausian. Gaussian Blur. Just pumped out to 1000. And we're going to do is kinda like average out the color. But down to color. And holding O, apply it only to our yoga. So it's just kinda added a color tin and just bring dance like 10 percent. And finally, let's add the AO since the ambient occlusion is just going to add some depth, put it on multiply. And we're also holding Control. And I'm just going to still the mass from your layout and apply that. And finally, there's Fred reflections on you want to crank them up and we'll do same. Grab the Mask using control from below. And I'm just gonna put down to like a soft line. We'll just have down by 50% 47. Bonus Lecture: Edge Distress Workflow In 3ds Max: Today I'm going to show you how you can distress edges of materials with him for 3ds, Max cleanse curvature is a mixed maps. What does it all mean and how does that help you become better freedom, as you're about to find out? We're going to start in a studio scene. And all I've done is bring in a piece of furniture from Cass cosmos and zoom in to a section. So you can really see this effect in action. So distressing worse idea is you get an object, you paint it, and then you sand off the edges and it comes out with this distressed look. And we're going to use materials to do this. So let's open up our material at just press M on the keyboard. And I'm just going to use the eye dropper to grab the material that's currently on our object. And this is the word we're gonna be focusing on. So what I'm gonna do is just grab all of those hold shift and make a copy. And let's plug this copy into multi sub. And I want to make this look painted. I'm just going to add a color correction. Plug that into our diffuse. And in the color correction, Let's just change the color. What was I going to make it a little bit lighter than the gamma. And we can see we have kind of painted this object. But now we want to show the original material underneath. So for this we're going to use a blend material. So if I right-click materials, be ray and be re blend, lets plug our original word into the base and he instance. And we're going to put our blue word int 1. And if we take a look at this material, we can see that it's a 5050 blend of the two materials together. And the reason for this is it's blending based on this color. So if I make it all the way black is going to be the original color. If I make it all the way, white is going to be this blue color, but I'm going to put that on Black. And I'm actually going to use a map in here. It's going to be a general and it'll be a bitmap. And I'm going to use this distress texture, which looks something like this. You could also use a procedure if you wanted. And now we have that in our blend amount. Let's plug that into a multi sub here, interactive render. And we can see that now we have the distress showing fruit. And we can customize some more if we want more distress than we can up the tiling so we can put it onto. Or if you wanted to stretch out the distress, you can put it on one and then two and it's going to stretch. So that's called, but we want to dictate where distresses happen in, and this is usually going to be on the edges. And in previous videos we've used data channels and additional plug-ins, but I believe the method I'm about to show you is probably the best yet. For this, we're going to use a VRA curvature map. This texture is similar to the V rate depth map and he's really useful for detecting mesh curvature. So we can right-click in the sleigh Edit and go to V Ray and V Ray curvature. And if we plug this into the blend amount instead and run an interactive, we should now see the blue coming through on the edges. So we actually want these the other way round back in our Material Editor. If we drag and drop this, the blue word onto the other word, we can hit Swap and it's going to swap them over. So let's take a look at this curvature map. We can turn the output color up to five. And that's going to make the word come through even more. And if we want to tighten this up, we can use the scale. So if we bring the scale down to the same 0.1, going to be really tight on the edges. So playing with these two settings is how we can dictate where distress will be. So you can play with these and play with the scale. So there's put on point to this curvature map is based on the model. So if you go really big or really small model, you're going to have to play with these settings a little bit. So that's cool. We have our edge is mapped using the curvature and we have our distress dictating the distress. But now we need to mix the two. And we can do this for a mix map, a mixed map. Let's right-click a map, a general and choose mix. And if we plug the mix into the blend amount, you'll see that we have black and white. Black is going to be blue. And if I put out all the way to 100, this is then going to become the base word. So if we actually plug in our curvature to the mix amount, which is here, we'll see is acting exactly the same as before. But now for the magic, if we plug in our distress map, we can see that is going to change slightly. But what we need to be aware of is that black is not going to show and white will show. So we actually need to invert this map. And easy way to do that is just inside the map. And we'll up, we now have the distressed effect only affecting the edges of our object. So you can see it's slightly here, but we're going to want to pump it up. So we can definitely add more repeats to add more distress sections. And we can also customize the curvature. So we could bring the scale up to 0.5 for instance. And you can crank up the max output color. So just have a plane here, see what you come up with. 48. Bonus Lecture: Physics In 3 Minutes MassFX Tutorial: This looks rubbish. This looks good and this is silly, and this is not. Today we're going to use physics in 3ds. Max is super-simple and he's going to add in more realism to your images. First up, this is a dead giveaway in 3D. And if it's our job to convince a view at it, this image is a foe. Then we can use a built-in tool called Mass Effects. And you can open that up by right-clicking in the toolbar, mass effects. Now I'm going to stack these plates up. I'm just going to move one or two of them off to the side, just a touch. I'm going to select them all. And then in our mass affects toolbar and set selected as dynamic rigid body, we open up the toolbox being guided simulation and they called, and what is this going to do is keyframe our animation. So we can actually just slide through where we want to keep. And it wasn't just delete all the other keyframes. First one, you can actually delete that one as well. And now plates a stack. So going forward you have no excuse to have straight edges like this in your visuals. We can also use mass effects to fill up jars and bows. So if we want to put these lemons in this glass jar, we need to make this a static rigid body. And this basically means it's not going to be moved in. And this meshed has come up is what these lemons will acknowledge. So we actually want to change this because it's concave and I'm going to hit Generate and it's going to generate a new mesh so our lemons can fall within the job. Now I can already tell that that's not going to do it because you can see lines coming across. So what we need to do is improve the fit in and hit Generate again, and it should now cave to the object. Grab our lemons, bring them on top of I j. And we're gonna make these guys dynamic rigid body and this plate that in, and now we have our lemons in our job. So there's no need to be putting these in one by one, moving and rotating them. So gravity is cool and all. But what we want to add support into our physics, but we can do that over here and forces. So if you wanted to add some wind, for example, and just make sure to us in front of the lemons. And also, I noticed this when is really powerful, so I'm going to fit no 0.1. Then all we need to select our lemons, made these guys dynamic rigid body and will go down his forces. We're going to add this wind. So now when we run this simulation, these lemons should flow across our screen. So you can reset your simulation here. If we zoom out this time, we can actually bake the simulation. So it's going to keep the keyframes and there's our lemons blowing away. Finally, let's add another force. And this time we're going to add a T bond. And all we need to do is position that where we want. So this is where the full school comes from. We're going to change the start time because of what's going to kick in at phi, which is too late. Let's just put it on one. I'm just going to put this on 0.5 as a dominant flying absolutely everywhere. I select all of these lemons, make them dynamic rigid body. We're going here and add a force. And this time we're going to add the p bar Baikal. And let's see what that can do. All right, that's pretty good. If you post a motion blur on this, it will have free coal as well. So there's some really easy physics and 3ds Max. So there'll be a lemon and don't be a lemon. Use physics. 49. Bonus Lecture: Improve Your Realistic Interior Rendering: Job in 3D graphics is to convince the viewer that what they're looking at is real. We modern day magicians just, we have a whole lot of tech and computing power, but attack and the power alone won't care. So let's take a look at a few tips to convince your viewers that your visuals are real. The most obvious giveaway that an image is Friday is it looks too perfect. And in this image you can see that the pitchers, chairs, and tables are all dead straight. And there's no way you could really do this in reality even if you tried. So I think we should do is turn off snaps and we'll go to rotate. And what we're gonna do is just rotate everything very slightly. And it can be whatever he want, nothing too crazy, just a little so and we're also going to move these chairs in and out just a tiny bit. And I'm going to do the same on the table, just a slight rotation. And the same in these pictures. I'm just going to slightly move these around and put very slight rotations on and, and I'll just quickly run an interactive render to see what we've done. Okay, this was our original image, and this is the image we worked on. And it's all very, very subtle. But these are the kind of subconscious things that your mind will pick up on when you're looking, renderings. If you want to explore this more than checkout physics video, where we're going to look at stacking objects using gravity and wind and explosions to randomize the placement of objects. So using the same model was cool and all. But when you have a feared ys lined up, you're going to start noticing that they are exactly the same. And in this example we can see that the wood grain is going to repeat. And if say you have like five of these chairs lined up, you're going to really notice that these are exactly the same wood grain on each chair. So this can easily be solved even if the objects are instance. So if we go into our material browser, which is M on the keyboard to lead them are wood material we want to use is a freeway uvw randomizer. And these will plug into VBA bitmaps. So I'm going to do is plug this into all of the wood textures. And then we can randomize by name. And what this is going to do is offset that would, depending on the name. And something else I want to do is change the UV rotation to 0 as I don't want it rotate n. I just want to offset in left and right and up and down, which we can do in the u and the v. So now if we render, we can see that the wood grain on each of the chairs are actually different. Another giveaway that something is freely is the hard edges. When we build in 3D, edges are hard by default, and we can overcome this a couple of ways. Number one is the chamfer modifier, which you can find in the modifier list. And we can just add that to our object. And let's just bring that amount dance like 0.1 and add two segments. And we can see what difference that makes already in making that feel less CGI. So the second way to do this is by using a material. So let's delete that chamfer modifier. So let's open up our material editor, grab the eyedropper tool, select our material. And I'm just going to right-click, go to V Ray. And we want a V Ray edge text, which is here. And you can see it's got rounded corners. And all we're gonna do is plug that into our bump and I'll start the interactive render. So there's our chamfer versus our materials. So there's not a lot in it at all, but compared to our original, it's much better. So nothing in life is really flat, so nor should your models and add some variation. You can use a noise modifier and use that. We're actually going to want to add some more quotes to our mesh. So it's due that we can just add the quadrate phi mesh. And that's going to add Some more quads to our table top so you can make more at ease. And then all we need to do is add a noise modifier on top. And I'm going to change the strength to centimeters. Can already see that moving around. And if we bring the scale down, that's gonna make it more and more varied. So let's just put that on 50%. So try not to overdo this one. You don't even want to know, is it like all of these? They want to be very subtle, or maybe even no point to five. So this is without our noise and this is with it is the same we started with. And here's the scene we finished with. 50. Bonus Lecture: 4 Quick Tips To Increase Photo Realism with 3ds Max and V-Ray: Today you will learn a few more tips to increase the realism in your 3D renders. I will read them. I'm with V rated for 3ds Max, but most of these tips are going to apply to any software partner. Reason that Friday is getting more and more realistic every year is due to more computing power. So everything in freedom is made up of polygons. And the more computer power means we can render more polygons than ever before. More polygons may more details and more details make more realistic, objective. Years ago, organic objects such as trees, plants, flowers, pillars, and fabrics were really hard to make it look realistic because we had so few polys The play with, but now we have more than enough to make things look as real as real life. So taking a look at our scene, a tree and I'll say in is really adding to the realism of our image because these are organic objects. So we can always add and are used to place toads put out on top of a table. This for as well, we soften up our image. And this is going to require a bit more than just painting on the table. And you can always add an FFT modifier to this. It just quickly shape it. And luckily we can't see on that. So for both we work with, we spent a bit more time on this, or you could create your own cloth and use the cutoff modifier. So what we can do is add a pillow. And I'm actually going to import this as a mesh because I'm going to add the cloth modified to it. So let's select our editable mesh version. I'm going to delete this other one. And I'm going to move that just above our sofa. If you hold out and right-click, you can change to local. Now when I rotate is going to rotate locally. And if I add a cloth modifier to this, all right, So the object properties. And we want to make this objective cloth, and we'll just use the column preset. And we're going to add another object. And that object is going to be the sofa. And we want to tell for 3ds Max that this sofa is going to be a collision object. And we'll hit, Okay. And now we can hit simulate. And you can find a nice position for that in the simulation. Once you find what you want, you can set and it will stay and arrays and simulation. And now that pillows in position. And I just find that this works a little bit nicer than just positioning the pillow with the move axis. And so here's our same move. A few more organic objects added. Keeping things RU is important if you want to make your images look real. And these guys for lights, materials and cameras. And the closer to reality to our virtual world is, the more realistic it's going to seem. And this is why it's a good idea to keep materials on real-world scout. And you'll notice whenever you create an object, you're going to have real-world maps size on that. So if you have that ticked on and you apply material, then it's going to shop at real-world scale. And the same goes if you have a UVW map and you turn on real-world scowl is going to come in and real-world scout, so you don't need to mess around with your uvw maps. So this is a really good habit to get into as you're gonna save loads of time by just keeping everything real world. And it's also going to make your images more realistic. So what real world means is in here we have our coordinate, so we've got real world scowl on. And it's 100 centimeters by 100 centimeters. And what that means is, we're telling for yes Max that this image we've input is 100 centimeters by 100 centimeters and that's going to reflect in our sink. And this goes for models as well. If you bring an object in and it's not to scale, and you just bring it in and start trying to overlay the chances are you're not going to get it dead on. And these are the kind of things that are gonna give away your images as free day. 51. Bonus Lecture: An Introduction to Generative Capabilities in Photoshop: This is a big one and if it's not in Photoshop yet, then you can go two Creative Cloud and go to beta apps and Download the Beta and then open it up. By the time you're watching this, it might be in Photoshop. So let's talk about Generative fill in Photoshop. So let's demonstrate what this can do. We can extend the size of the image. And then if we select this empty area, we need generated feel and hit Generate. Let Photoshop do its thing. Now that looks pretty good to me, and it comes up with different variations. So you can choose you when you like, or you can always hit Generate again. And it's going to come up with three more options. Now let's see what it can really do. Let's see we can get rid of this car. So I'm going to hit Generate again. They have, it's gone and this is incredible how it's built. The rest of the door there, we've got a few to choose from. We can hit Generate again. Let's see what happens. Alright, That one looks pretty cool and you can see that we've now got six options down here. I quite like this first one, we can always just jump back down to this layer, maybe choose a different version we can generate again. So unlike Dolly or mid journey, we're actually interacting with the images, choosing what parts to change. We haven't even started with the prompts yet. Obviously, we can continue to go through and remove any signage or lampposts. And if we zoom in, check this out. And because this is layered, we need to bring this layer on top. If I zoom out, you can see that we've extended this image. Now let's look at someone to prompt me, select an area, and we'll go to Generate Fill. And now let's put a man on a bike with motion blur. And the size of the area we selected is gonna dictate the size of what's created. Alright, that's not looking too hot. That's looking a lot better. And that is perfect. But I don't actually like this person here. Again, because this is layered. We can just select that layer. Let's grab the brush and we can just brush them. And let's select a soft brush and just paint back in. Some of the areas we want to keep. What we've done is we've gone from this image to this. Maybe our men on the bikes too big. Just remember as well, this is in beta and this is the worst this is ever going to be. I think this is incredible and I think that this is going to have massive impacts on our workflow. Next up, let's take a look at a portrait. What we can do is select the subject. And you can see it's going to select that guy. And what we can do is invert the selection. Let's hit Generate. And this time I'm going to put barley. Let's see if we can transport this guy to Bali. Nice, this ash. Wow. How about that? And it actually keeps the blur and the camera lens from the background. That lighting looks good. That works for me. That's great. Now let's try a few other bits. Let's try and Interior Scene. And what we can do here is let's get rid of this guy and see if it can rebuild the background there. Wow. Take a look at these networks perfectly. That works perfect as well. I didn't ask for a chat, but I will take it. And let's see what else we can add. Maybe we can put a lamp in here. So add a lamp. Let, this is a really FUN way as well of generating images. I can see this having a massive impact on interior designers, architects. How about that? Wow. Let's add a mirror on this wall. Just thinking about having to do this in Photoshop. I love Photoshop. I think I'm pretty good at Photoshop. But the time this would normally take compared to what this is incredible. How about that? And even imagines the rest of the room. Wow, I think that first one looks pretty good. Let's see if we can add in a rug. I'll just write rug. That is super impressive. So we've gone from there. It's right, we've gone from this to this. And that was pretty painless. Alright, let's take a look at one last big cityscape here. And let's see how it fares with filling some of this. I'm going to overlap it a little bit. Let's just hit generate and will let us do its thing. Now I will be super impressed if this works. Wow, this looks great. Maybe we can add some something in the foreground here, like add high-rise buildings. Now that is really impressive. So we started out with this and ended up with this. This Interior Scene started like this. And then they'd like this. This guy was here and ended up in Bali. And this image started out like this and came out like this. The impacts of this is going to be massive. I can see this being used. I mean, you could hook up your microphone and just start talking to Photoshop, selecting areas, change this window, put changed the door to read. This is definitely a tool you need to be aware of and start to use 52. Bonus Lecture: How To Create Augmented Reality: I'm going to bring my Pokemon cards to live for free with absolutely zero coding skills required. Remember this card, it's about to get a whole lot more exciting. Ever since I was a kid, I've been obsessed with Pokemon. Like many of you, I spent countless hours training and ballin Pokemon cards. Always dreamt about bringing these costs to life. And we've already a Bachelors in technology. I couldn't help but wonder, Could I add an augmented extension to the car game? So if you've got the same cards, you can bring them to life by just following the link, pointing your camera because I'm watching him spring to life. Your eyes to how are we going to do this with the help of WebEx are Tools in this tool uses the power of Augmented Reality to overlay 3D models onto the real-world. Let's head over to Sketchfab and grabbed the Pokemon we want to use, go to the search and switch on downloadable and animate it. We have to grab a peak to the GLB format is ideal for WebXR Tools, but also grab a mu because it's my favorite Pokemon. And finally, the dude that is GOD. Now that we've got our models, we need to select the cards. And I know many of you probably got fossil, jungle and base set. We're going to use fossil DID and a newer full mu V. And I've known this before, but I'm sure these are pretty much the same artwork. So let's use base set p.sit, good Shake. When it comes to markers, it might be tempting to grab a high-res image from the Internet. But if you actually take a photo of the card you're going to use, your camera is going to recognize it more easily. And after all, that makes sense is this is gonna be the actual marker. So it took photos of all the cards and a crop them up in Photoshop. And I saved image JPEG files. As simple as that. Stay with me. And now for the Fun part with older models and markers ready, it's time to bring this altogether with AR, creating, Augmented Reality is simpler than you might think. And today we're gonna be using WebXR Tools. And this is by far the easiest way I've found to do this is completely free and doesn't require any coding. Hit register and you can create an account. And once you've registered and you'll come to a page like this. So let's go to Create Project Web AR is what we're gonna be using today. Alright, so let's name this one geo dude fossil. And let's head over to the rear camera and we want to use image market tracking. In here we can navigate using our mouse. We can see we have a marker, which is this purple image. And then we've got a 3D model, which is this XOR. And I'm gonna go to Image marker. Now I'm going to load up our GOD card. Then we can select that, select the asset. And we can see how card is now in here. Now we can select the model and then load up our GI dude modal. Hit Select Asset. And just like that there is. So we're gonna wanna move them around a bit. Let's rotate him 90 MEX and maybe even like ten in a way just to straighten them up a little bit. We can use these tools over here from moving them around. And we can also scale him up a little bit. So I'll make him one-by-one. And that looks pretty cool. And maybe we'll bring him down a bit. Alright, so I GO, dude is looking pretty cool and I loved it is blinking, shout out to the guys that create these models. I will link them into description as well. Something else we can do to make this GOD look even more Realistic, and this is a secret to getting these models looking awesome and lucky for us. We can add custom HDRI is we'll go to Custom and let's head over to poly haven. And this is one of the best places to find HDRI. So we want something that fits with our GA dude. So let's just search for mountains because that kind of rocky. I think this looks pretty cool. So we want to make sure that this is on HDR as that's what WebXR Tools excepts, and we'll have it a one K so we keep everything nice and light and I'll hit Download and then back in WebXR Tools. Let's let this guy up and look at that light end. Massive difference. In WebXR Tools. You can customize the UI and get your project looking just how you like. But for today, let's just keep things simple. So I'm going to turn off this header. And if we go to Edit app, we don't need this capture button. This displays a button to take photos in the app, but I don't think we need that today, Eva. And here's a neat little trick. If you head over to the start screen, you can actually skip this. This can obviously be handy, but for today, as I said, I just wanted to get straight into sin are Models. If we go back to the rear camera, this is what our rear cameras can see when it detects this card is going to show us the model. So let's hit Save and Publish. And I repeat the process for AVO2 Pokemon, I loaded up the cards and position the 3D models. And the only thing I did different was used different HDRI is to best suit that Pokemon. So for Pikachu, I use the studio. For mu, I use some neon lights. One of the best things about WebXR Tools is that it's web-based, and this means that there's no absolute Download taken literally just follow the QR code on screen or checkout and Lincoln and description and scan your cards now. And these are my free final AR cars. And I love them. Super easy to make. Thanks for WebXR Tools. And now that we've got this process down, I reckon we could make a whole set. Realizing this childhood dream has been an incredible experience, and I hope it's ignited your imagination and showing you the limitless potential of AR. Now it's your turn. Try creating your own AR animations using WebXR Tools and share your creations with me. And it's not just for Pokemon cards, you could use it for Furniture, turn your cab Plans In 3D and so much more. So head over to WebXR Tools today and get started. 53. Bonus Lecture: AI Tools to Get Ahead of 99% of 3D Artists: Ai tools are reshaping art ts and they're making what were complex and time consuming tasks. Ridiculously easy. So in this video I'm going to show you what tools any art vis artists can easily integrate into their existing workflows. We'll look at some examples and we'll see how they're set to transform how we approach art vis. But first, is AI a threat to art Ts? Is it devaluing it and is it going to take all our jobs? Technological revolutions have happened before. The Internet was met with fear and skepticism, but ultimately led to greater prosperity and revolutionized our daily lives. And I think we're fortunate to be witnessing and participating in a similar shift. Ask most people how they're using chat GBT and they'll say it's fun for a poem or two, but how they're using it isn't really groundbreaking. The people who are really using it are seeing the benefits. The reason I got into free D was I love this merging of creativity and technology, and technology made the creativity more accessible to me, powerful tools need skilled hands, and we've been crafting art with technology for years. Our roles are certainly evolving, but experts are still needed to harness technology effectively. So I don't see these tools as replacing the artist's role, but assisting and amplifying it. And while we can't predict the future, understanding our current landscape is crucial. Let's explore some easy to use AI tools that can fit into your current workflow straight away. This first tool is an image up scaler, an enhancer that feels like magic. You may have seen this image of Lara Croft from the PS one get up scaled to this. As soon as I saw it I knew we had to get involved. So let's start off by uploading a pretty standard Arcs image and I'm going to leave everything at the defaults and hit up scale. This is the image with just the defaults on and we can see the upscaling in action. The leaves start looking more crisp and you can see the weathering on the building itself. Which in three D is a pretty drawn out process where you'd need to use dirt maps and complex materials. This black wooden material looks a lot more realistic. I really like the detailing and weathering. It's added over here on this garage. This is the before and this is the after with just the defaults on. Now let's take a look at some other examples. This was an image for a kitchen appliance manufacturer and the upscaling looks great, but if you take a look at some of the details, it does do some funky stuff, so it's not perfect. But something we can improve with prompts, which we're going to have a look at shortly. But overall, it has attempted to make the image look more realistic and the guy has aged pretty heavily. But take a look at the bottles down there, and even the outside and the plants look better. We also have sliders over here like resemblance and creativity that you can play with to try and keep hold of this guy's resemblance if you wanted to, or you could always just Photoshop in the original if you wanted to keep him exactly as is. And you might recognize this image from the course and take a look at the detail. It's added quite the improvement. So here's the before and the after on the standard studio render. It makes the image look a lot crisper. I'm really impressed and I see this becoming a solid part of my post production workflow onto the sliders. This was with the default settings and then this one has a resemblance of five, It's trying to keep the image more similar to the original. And this was with Creative year ten, so it let the AI go wild. It's changed the chicken to bread, it's changed these bottles and it's added some books and all sorts of stuff up here that's not ideal. And you can see that all of this AI stuff isn't exactly perfect to use as is. Now, this was an illustration I recently did for a travel company, and it even does the hands really well, which we know AI is generally not too good at. But this really does give that extra photorealism to the image. So the prompt tool has proved to be super handy. So now I'm going to write a lever chair with a fabric throw for creativity. Let's plump that up to three and I'll put one on for HDR. So this gives it more definition and detail. And the creativity lets the AI hallucinate what should be there. And I'm going to leave the resemblance as is. And we've got options to use different engines, but I haven't personally explored them yet. And we do have these different versions, but so far the standard version seems to be working just great for all these three D renders. So let's upscale that and see how it looks. And it's really made that lever look nice. The throw, not so much, the flowers have completely changed, but all in all, I think the image looks better. But this is where the prompts come in. So now we can write white orchids and we'll give that another go. And we've got much of the same on the chair, but can you see the orchids are now just as we want them. I'm still refining the parameters to use with this tool, but it's become a solid part of my workflow before I hit Publish or send images out. And this tool is called Magnifique AI, and its simplicity and power is Magnifique. Remember when rendering animations took hours, even days? Well, I think that's about to change. I imagine you've seen the text of video tools, but for me, they just aren't there yet for arc viz. But in the meantime, years ago, animations were made with hand drawn frames. The master artists would draw the main frames, and the juniors would fill in the gaps. At 30 frames a second, you'd need 30 hand drawn frames. Then with Fred Graphics, you'd set the animation up and the computer would render each frame. If you've ever tried to render out photo realistic animation, unite, it can be costly and time consuming with the need for powerful computers. And now behold a method that incorporates the traditional animation techniques and three D graphics. All right, so let's take a look at an animation I want to send over to a client. And using a full three D workflow, there's 300 frames and if I hit render, I know that each frame of this animation is going to take about 3 minutes. So by that mass we're looking at 900 minutes, or around 15 hours. Using a pure AI workflow, we're probably going to end up with something like this, but by using free D and AI combined, we can actually render every temp frame, put the range on, and we'll put every temp frame. So it'll render a 010-20-3040, so on. Instead of 15 hours, it's going to take 90 minutes. Then all we have to do is upload the images, make sure that they're in order as well, and I'm going to set the time limit. I'm actually going to make it a little bit shorter. I found it works a little better. And I'm going to hit Generate. Let's take a look at how that's worked out. There's some flickering and I can see there's a problem here. And just at the end, there was another frame that got messed up. All you have to do in this case is render out the frame in between this one and this one. And it will give it the information it needs to fill that gap in this is Runways Frame Interpretation tool and you can export your AI assisted animation, run it through an up scalar like Topaz AI and you'll have a high resolution version. And your animations have taken one tenth of a time. Up next, let's tackle free humans. Is there a way to improve them? I'm glad you asked. Here's a person straight from cosmos with a HDRI And it doesn't look too bad, but what we can do is import the texture. Notice over here we have recovery face on, and let's go over to his face. If I turn that on and off, you can see the difference. And that's the before and after. Then all we got to do is save this out. So this was before and this was after. Obviously, this can be done on all your textures, not just humans. And this tool is called Topaz Photo AI, and it's the face recovery where I think it really excels. Have you ever been bogged down with client requests? I found a photo editor with some powerful AI capabilities. So one of the most common requests from a client is, can we make the sky bluer? I've opened up our architectural image from earlier and the first thing I want to show you is this sky replacement. I know there's other tools out there, but I've not seen a tool that can make the whole image sit as well as this does with the rest of the scene. And if you do want that blue sky at the client request, you've got it right here. We've also got an enhanced AI up here so you can accent the image. We've got sky enhancer if you want even more blue sky. We've got atmosphere And if you've ever tried to add fog in three D, you know how hard this can be so we can put like a nice haze on the image. Sun rays is really cool. If we pump this up, you can see it adds the sun. And then we can actually place it where we want it, so we can even pull it off screen or put in some God rays. This is Lumina Neo, and I've been using it for many months and it just keeps on getting better. 54. Bonus Lecture: Using AI to Generate 3D Models: We've got Chat GPT for text, we've got mid journey for images and runway for video. So what about free D modeling? Stick around as we explore a real world application of AI. Free D modeling. The current capabilities and if they can actually accelerate our workflow even if you're brand new to free D modeling. So Meshy lets us turn our text into free models and then these are the featured models, so the best quality we can expect. But I've got a plan so that we can use them in Arcs and advertising and beyond. So just remember that this is the worst that AI to Fred models are ever going to be and it's likely to develop really quickly. So if you just look at the first mid journey compared to the latest version and the speed that that happened and this is just meshy two. So let's have a look at how meshy works and then we'll take a look at a practical example. So we'll go over to text to free D. One use I see for this is creating hard to find models that I want to pose in my scene. So rather than spending ages trying to model it or trying to find models online, we can write something in text to free D. Let's say my client has a very certain breed of dog and they want it in their Fred image, so I'll write a West Highland white terrier sitting and we'll put this onto realistic. You can add negative prompts, so for example, if you didn't want any blue in the freed model, then you can type that in here and we'll hit Generate. And then you're going to get back something like this. And we're going to have a few options from far. If you look at the small thumb now, they actually look pretty good. And you can choose on which one you like the best. So I think this guy without a color. And then all we have to do is hit refine. All right, and this is the refined model. Doesn't look too bad at all. We can change the texture settings here. But what I think is really cool about this is if we go to the wire frame, we can actually change the mesh settings to quads. We can reduce the amount of quads that are here. I actually did that to quads and lowered the reds here, and I think it actually does a really nice job. This is where AI free modeling is at now. Let's see if we can actually use this in production. So let's see if mesh can help us solve the problem of finding a very specific model for our scene and not need that. Let's see if we can generate a model that we can rig, animate and then light in our free DC. So this is the free model we're going to use to first up the text prompt in mesh. I found this in the features page and I saw the text prompt was here. So I actually copied some of these prompts. Highest quality, best quality, studio quality. So let's hope it's quality with the amount of times I've written quality. So I'll paste that in. High quality photo realistic chef post. We run it unrealistic and we'll hit Generate. This is what it came back with. So we've got a few options we can choose from. We're going to go with this one, and we'll hit Refine. And once it's refined, we're going to get back something that looks like this. For what I've got planned, I think this is going to work just great. We can download this. I'm going to download it as an FBX. Hit download and we will look at rigging this character. All right, Mix is an awesome tool from Adobe that just doesn't seem to get much love, but it's a really fast way to rig your characters. All we have to do is hit uploaded character. And I'll upload the FBX we just downloaded. We'll rotate him so he's facing forward and we'll hit next. And now we apply few points as per this image. So we've got the chin to put the wrists in, elbows, knees, about here, then the groin, somewhere around there. And we'll hit next. Now our model is going to be rigged. It's going to take around 2 minutes. All right, there he is. Then we have absolutely loads of different animations we can add to our character. We can have some push ups dancing. I know. All right, so I'm going to type in table because I want in front of a table, there's some pretty interesting stuff. So like if he is cooking something like this, I actually think that that might work pretty well. He could be like sprinkling salt into a pan. I'm going to turn up this character arm space. I actually think that it's going to work pretty well. I'm happy with that. So I'm going to hit download. Fbx will be fine. All of the defaults are great. We'll download that and then we'll get into free D and we'll pose him all right in our three D program. You can use any three D program. I'm going to go file in. The defaults will be fine. Let's hide unselected and I'll go to the front view. And here he is in our three D package. So if I hit play. There he is, doing the business. The first thing we're going to want to do is scale him. I'll just group him first. I'm going to create a box that is like one I think I'm about that tool. I'm just going to ground the pivot so then we're going to scale from the ground and make him roughly that big. Then another thing we'll want to do is take a look at his material. Currently he's got physical material I'm going to be rendering with corona. Let's add a corona physical material. I'm going to plug that into the base. And I'm actually going to add a color correction just because I think them shadows are a bit harsh. If we go to advance, let's turn up the gamma and apply this to our guide. The material done, let's, we're going to hide the helpers. We can unhide all had to the top select our guy and let's put him in position somewhere around here. He's going to be doing the cooking, maybe something like this. Go to our front camera. All right, there he is, so we can position him how we want. I reckon somewhere like that perhaps we can bring him forward a little bit, but that looks pretty good. I'm happy with that. One other thing regarding that material, let's make sure there's no reflections on him. Let's go to the render settings. We'll just use single frame. One other tip here is if you wanted to, earlier I was playing around and I actually rendered out multiple frames, him in different positions just to try it out. But I know that we want this frame and I'll hit Render, and I'll come back. Once this is rendered, it shouldn't take too long. All right, so this is the render out. We're now going to head over to a tool called Magnifique. I love this tool. It's an up scaler with an AI twist. The focus of this is the chef and not the rest of the image. What I'm going to do is go to upload and I'm going to upload our image. Let's just hit up scale and let's see what this does. All right, so this is what it's done, not much better. But what we can do is put a prompt dense, I'll write a happy chef. Then we've got some other slides we can use. Hallucinate allows us to add some additional details. Let's crank that up to two in resemblance. If we increase it, it's going to stay more like the original image. We don't actually want that. Let's try it on two and minus two. All right, and that's come back. It's looking better, but we need more. I'm going to put the creativity up to six. Let's put resemblance like a minus four and we'll upscale, gain. All right. I think we are pretty close to this guy. A few things that we're going to play with, but to go from this to this looks great. So let's download that image and we'll head over to the Photoshop over here in Photoshop. I've got the original render without the chef in, and I'll just drag and drop our chef on top. Let's see if we can just select the subject. All right, not perfect, but let's use that. I'm actually going to hide the background. Let's start masking some of this stuff in and out that hands. Not too bad for AI. Will keep his chef hat on that hands. Going to need a little bit of work. But yeah, he looks pretty good. There he is, masked in. I want to add a slight brightness and contrast. I'll hold Alt, so it's just going to affect that bottom layer. Let's just turn him up a little bit. Maybe we can pull that contrast down. Another thing to get him sitting a little bit better is if I jump back down to our bottom layer and select a whitish color from here, I'm going to add a solid color. I'm just going to put that on color again. Just have it affecting the layer below, so it's only going to affect him. Let's pull that down to like pretty low. But you can see that it's just going to help with the colors sitting in the image a bit better. I think it's all right. Maybe here we need some work. As I'm going to sort out this hand quickly, he's looking pretty good. A couple of other things, obviously in Photoshop we can use some generative feel. Maybe here, let's add some steam coming from the pan. You can take your time on this, but steam looks pretty cool. Maybe we'll want to add on the table just looking at steam, we need to get rid of that bit. That looks all right. That's better. Oh, yeah. All right. That's cool. You could add like tea towels, maybe like a kid drawing over here or something like that, but this will do for now. You can use generate feel. Then I'm going to duplicate and flatten all these layers. We'll take a look at camera raw, put auto on that looks nice. I'll lower the saturation a bit. Do some clarity. Let's put some optics on. Maybe like a slight vignette. Oh, another cool tool we could actually use is Lumina Neo. We got some really cool features in here and this accent I really like really makes the images pop. You've got a lot of super sharp magic lighting and we're going to add some like atmosphere. I don't think we really need fog in here. You can relight the scene, you can even add some rays if you wanted some coming in there. I don't think we need it, but we'll leave it on. Add some film grain. All right, this is what we had and now we have our chef in our scene. 55. Bonus Lecture: Post Production with AI: My already know that image up scalars and enhancers can change our images from this to this. But there are plenty of other things we can do with these image up scalers to improve our images. So I'm going to show you that today. I'm going to be using magnifique today, but there are plenty of other tools out there, and some of them also come with free versions. So to begin with, all you need to do is drag and drop your image in here. We're going to scale it up by two. We're going to optimize it for film and photography. My prompt is a cabin in the woods. And then our creativity, we've got to two, and the creativity lets it add new elements and details. The HDR sharpens these details. Semblance is how close it's going to match to the original image, and the fracticality is going to add details based on our input. The engine, I like to use magnifique sharpie. You can see what they all do here, but this one is for realistic images like photographs. And you hit upscale and you're going to get an image like this. And I use the same sentence on this image, so you can see it before and after here. And what you can do is if you go in and you check out what's happening. You can always add a mask with a brush, and we can get rid of stuff like this rat, for example, and anything that you don't like, you just go in and brush those out. But what I want to do now is actually add some life to this image. So we're going to use Gen fel, and then we're going to run it through Magni to upscale it. So first thing, let's add a man walking away, and we'll hit Gen Peel. And we got a few options here. No, guy looks break. Let's generate some more and see what we get. So I like this guy. You're not going tonail it first time with that Genfel, but he does look a bit big for the scene. He looked a bit small. So I'll just scale him up a bit. And then I want to select subject. But to do that, I'm just going to flatten that layer and then select subject, and he has been selected, and then we can mask him out. He's going to need grounding as well. So on that mask. I'm just going to bring back a little bit of that ground in. But that looks pretty good to me, and then at least we can move him around into position if we want, but he's pretty cool there. And another thing I'm going to do is add a dog. So let's write a dog and let that generate. Again, you're not going to nail that first time. You can see all the iterations I went through here, but I quite like this guy. I'm just going to mask out. This little bit as well. I want to keep that in. But that is all looking pretty cool. So I'm going to hide the background layers and just save this as an image. Then we will add that and we'll keep the same. We've got a man and a dog, and we'll hit up scale. Whilst we wait for that to generate these optimized four, I rendered out each one, and you can download it as a PDF, so you don't have to test them all out. You can just look through this PDF, you'll find that download in the resources. All right, this guy is done, here's our four and here's our after, and that is a vast improvement. Look at them. Hands. They work. Dog looks great. All right, let's download this. We'll get it as a PNG, and then we'll bring into Photoshop. Jag and drop hem on. Let's position it. We can hide these layers now. We'll bring in the background, and if we select subject, we can mask these guys in. Then we'll zoom in a bit. Then all we need to do is just mask out some of these areas and make sure they sit nicely. And that's how we can add people to our exterior renders. Then using the same setens, I've run through the interiors, so we can see the difference it's made here, and as usual, you can go in with a brush and get rid of any discrepancies like here. Another cool thing we can do is this is the magnifique version. You can see that create a lot of artifacts. Because we've rented out masks, we can actually select the areas we want to keep. If I select our mask and then just select our ground, I like the rug, and the floor, so I select that, and the bed looks really nice in this version, but everything else I don't really like. So then I can just mask using a mask layer, and you can see how that's improved the image and the same on this one. This is what came back. There's quite a lot of artifacts all over here. So I want to keep the bed and the rug and I'll mask that to keep them in, and you can see what that's done. And then you can always go in as well with a brush and then just brush in some of the details that you do want to keep. And then another use for this is using FD people. For example, people from Cosmos, but they're not exactly high detailed. So what we can do is run it through magnifique. And again, using one of our masks, we can actually just mask these in straight away, and then you're going to end up with much better people.