Create Photorealistic Interior Renders with 3ds Max + Corona Renderer

1. Create Photorealistic Interior Renders with 3ds Max and Corona Renderer: Hey, Jake, from actually visuals here, and I just wanted to let you know completely accordingly. Broner Interior Visualization with three DS max classes. Some of you know of review kroner a couple of times over the years with free ice, expert panel and each time of Sam using it more and more my commercial projects lesson inside this course, they're going to show you the exact steps I used on a recent series of images for a major UK publication. I'm going to include the scene fall. So you need to do is follow a Long Beach video. What do you want To become Free eyes. You're craving a company looking to use three D rendering or a designer looking to create your own Freedy images things, video program gates where you want to go. 2. *Updated Course!: Hi guys. Just before you start the class, I wanted to let you know that there's actually an updated version of this course. So if you're using the latest version of the software, then I recommend you take the latest version of the course and I'm gonna put a link in the About section. And you can also find the courses in my profile. So I hope you enjoyed the class and I'll see you in there. 3. Install Corona for 3ds Max: my guys and welcome to the quickest way to make forested renders with Corona. I'm just gonna kick off with some of the highlights of kroner and how to get started with it. So I started to recommend that all of my students at least play with the 45 day trial version. Andi. There's no limits on that trial version on. The reason for this is that the learning curve is pretty much non existent, especially if you compare understands with the rate the simplicity of the run. The sentence is just a joy to work with and the speed of the render output alongside the quality just makes having Corona in your arsenal and no brainer. So it's kicking off again. Download grown up from here on, Do you can download crying to you here? And it takes a little longer to download nowadays because it's now includes a material library. But once you've downloaded that hit install Andi, open up Max 4. Corona for 3ds Max Overview : So now we've got kroner installed. Let's open up three DS max and see something cool stuff we can do a bit. So the first thing you're gonna want to do is go to the render settings on. Let's change surrender to Crow Narendra on. The first thing you should see is the Corona TOBA. Now, if you don't see this, you can always right click up here on defined coroner official to about here. So I like to have this on the left here Next, Gov. Ray Tobar. So let's quickly go over what we've got on this toolbar. So this is really handy for adding lights. Some cameras scatter and you can quickly open up the material library here. So Corona comes of a great library off materials and you can also hit interactive rendering here. And so this is kind of a short cuts bar, and in the past we would have had to go to create lights growing up granny lights, whereas here we can just hit at crying a lot. Another thing will be using quite often is the Corona converter. So if you've been using fear a or any other rendering jizz before you can use this to convert Rethink to Corona growing. It does now support very materials, so it's no essential. But it's always nice to have your scene. Born in Corona, you've also got Cell Corona interactive light mix here, which is incredible and, well, recovering this a little bit later. 5. Studio Scene 3D Rendering: So now I'm going to demonstrate how to south studio scene, and I'm gonna use a model that I used in a recent project. But if you have your own, that's really the intention here. So I want us to get straight to rendering some images that you can use in your portfolio. If you haven't already got portfolio like in my other classes, I'd recommend using be hearts as it's quick to set up, and it's easier than building the whole new website. And if you're not familiar with free DS Max, I'd recommend taking in one minute start videos that pop up. When you start Max, we can find him here under help on the welcome screen Onda here, the one minute start movies. Ideally, it would be great if you follow along credit seeing yourself, but you can always download it from the resources section. So let's start off by creating box, so we're gonna go to create geometry. So let's great blocks by clicking Dragon and pulling that up, just going to maximize the view pool. Andi in the parameters exchange these 2 14,000 20,000 on 4000 and she's in the middle mass pond. I'm gonna scroll out so we'll see. What that now we can go to modify on. I'm gonna hit an editor. Kal Polly, on. If you want to know how to add these buttons, you can just click here and show buns. You can also configure your own buttons. Andi, Teoh, do this. You can just click and drag across and drop what you need on today. Also changed number of funds. So customers, as you please always have edible party on there and juvie. W and you can have whatever roshi need. Just okay? And then you can just hear it. Polly, here, you can always find edible Polly in the drop down as well. Hit it new and you probably notice. Still, I've actually got two bars on my command panel on if you just start maximizes. Probably like that. I always like to have this so we can see a lot of the options, so I normally have that too wide. So now that's select edge. I'm voting No, on rotating. I'm just gonna select this part Magic before you're about to see your edges. We've got I was gonna hit champ for I'm in shampoo by 2000 on and that on 20 segments just to make a nice curve at the back of our studio. And then these two faces even side. It's like face. It's like that one and hit delete on my keyboard to get rid of those. Now we can open up the Corona Material Library. Let's go to Wars. So numbers gonna hit on the keyboard and that weapon of the material right itself. And if your material editor looks different in my life, like the slate editor, and you can just change that in mode here, so this will just be using the compact and you can click and drag drop that into 10 Ditto. We'll close down the Corona Material library. I'm just going to apply material selection. It's looking good. If you want to see Adams here, was gonna look I'm of a specific texture. You can always go to that texture in question and just turn on show shaded into of people and we can see that that's gonna that is cool. So in the top, you just pressed tea and set to go to the top U and Z, I'm gonna create camera. Yeah, right. And just in the middle, gonna click and drag on point that towards the center of the room. No, l right to left here. Is that Zoom conceded that cameras on the floor. I didn't want to make this about every human heights Parikh 180 centime is. So I'm gonna go Teoh helpers on tape and just click and drag this to about 180. Then select my camera and holding control, selecting the target as well. I'm just gonna pulled up to about here. I'm gonna delete my tape on now. If you Percy, this is the view from the current camera. So let's go back to the top. You on. I'm gonna create a corona light, so I'm gonna go over, hear clicking track on only change this to a rectangle, and they should be 4000. I'm just gonna bring that above camera and in less people just gonna bring that up to round about the ceiling backing top you. That's creating other Corona light on and like that 1000 1000 and then I just want to really take that by 90 so you can see that that's not rotating. It's not snapping with All right. Take. So I got up here and just town snaps toggle, And that will rotate by five degrees each time. I'm just gonna rotate at about 20. This kind of facing in calling shift a mystic and drag that cross Mikey Kobe on rotate that I want furry on its CMA keyboard on this guy's horrendous Sets up Great comment on and change the output size Teoh 2000. How many hit shift F? It was in the vehicle and there's gonna show our safe rains So enough impressive free and see shaded in people closer and sings on I'm just gonna 32 camera in and using the middle mouse pond pan around he sees a bit Just a move to come around Pary wanna get with the ceiling? Andi, this is creating object to test casino. So I was gonna create three. Put it up from the segments of 50 when I open up the material library. Andi, Just at some would I'm just trying trump that in today to read it. I'm gonna close crying on the tour library stint. Applied it to our object on this show. The diffuse Andi in the object properties in turn, Real World Scout Andi. Let's Hit interactive. Brenda really does begin. Quite cool, but it's a little bit overexposed, so weaken. Take your first look at the light mix. Let's hit. Sell Corona Light mix. Instance. Hit Generate, Andi, stop the interest, friend her again. No, we can go through and see what each light is doing in this scene to the environment and the rest. There's nothing in them, so we don't need those timed on crying like one is the one. Both so, and at 1.5 it's looking a bit overexposed. And then the one on the left in turn up a little bit despite rigging here on the right turn that one office work. Like Andi, I always think, is kind of cool to have maybe blue coming in from the left and orange from the rights, and then you get some small amount of like chromatic aberration on there. So if we click here being changed the color of the light now, I'd recommend using temperature as it's more realistic to real world. Seriously using Kelvin temperature values here. So you just made that one on the left a little bit orange and we'll make one on the right. No blood is kind of co I stopped the interactive Rendah only deleted on we confined Cem furniture to put in. So my favorite place to get free models is freely sky. If you've got your own models, use them. Now if you haven't even get some pretty good free models on freely sky, if you don't want to part with $6 on to find them, you can just go to free here. They can always choose one of these tryout. I'm gonna use the drum kit that I recently used in a project. So this go to foil import much. We'll go Teoh the motor. What downloaded? And I'm just gonna imagine this model. It's like this group, OK? And there's ah, object, so you can position them how we like we can move on camera. Um, someone's gonna put it in up again on and probably right Say touch. Since you kind of get on, the first thing we're gonna do is we're missing some textures, so I'm gonna hit really bit maps. If you haven't got this, you can go. I was a here on downloaded. I want you downloaded it. Go to your downloads folder and just drag and drop it into the vehicle. And then you should be out to right click. Customize, but its tool bars. Andi, you should go to call in scripts and just drag and drop reading months dropping out there. If you have any trouble with that, there is a video help after this that you can trouble she with. So once you've done that, you can hit really bit maps when you see a lot of missing bit maps. So we just need to go to browse downloads just like that folder and it we're looking on the sub folders and it will find were missing textures. Anyone's it doesn't find you probably didn't download. So I'm just gonna delete Andi. Now we should see textures. So again it's hit start interactive rendering in this freaking cold and lost that is rendering. You can start playing with the light mix on. Just get it how you want it. I'm once you're happy with that. You can stop the interactive rendering being I to run to set up guys this sane I'm what we're gonna do is actually render out a funnel image. So for this image, I rendered 40 passes, so your money is taking four classes. I'm just here under, and once I surrendered, you just hit, save and say there's a J pic. So I say this as a shooter. Render forward passes, I thought. Take Eugene on just it's safe and you've got your first render. So I posted to your portfolio and share it wherever you're watching this course. 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'm just 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 Bart's. So seeing as really big maps was the was the script I got ask question about just going to use that So correct here, and I'm dragging it up and in 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 Buster, These are all my customs groups. If you just hit new and you can call it whatever your name is, or wherever you want to use it for is here. This is my new toolbar, and I can just start adding my my scripts to it where the ones I wanted it when 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. 7. Modelling the Kitchen in 3ds Max Part 1: our guys surging notices a project based class. So we're gonna be creating this kitchen scene on will use this images reference. I don't think we're gonna keep all the exact same furniture and palate, but it's gonna act as a base for all image. Unlike in the other classes, we don't have CAD or even a sketch of the plan. So we're just gonna use this image to guide us. So the first thing we're gonna need to do is model shell. So this basically means the wall on the main structure. So let's jump into maps on. And first thing we'll do is maximize the view port on. We're gonna create a box, and then I'm gonna change this books, too. 307,000 music millimeters here as well by 2000. It's that people clicking the view port on it said to zoom out Andi, I'm gonna go to modify list at a noticeable Polly on delete the top and the bottom face. We can then minimize this edible Polly in Turn off Polycom, Andrea, right click and go to move. And by right clicking, I found that's the quickest way to get to these actions, They rotate scale. So I was gonna go to move. Can you see down here? I just right. Click on here and here. This takes us to the minimum value. So if I move over here and I want to get back to center, just hit zero. So now this box is on 000 Gripped services center of our seen basically. So next up, I'm gonna go to the top u t exit. Andi here we can see our wars as they are pressed. Do you turn off the grid? Just make things a little bit clearer on I'm gonna add a camera, click here and click and drag. So we've added our camera, so I'm just gonna hit, see keyboard on, go to the camera view on def, we hit Hope be this will open up the view port configuration and that will go to the background tab And you can see you can change the background so we can apply that. And it would change, Grady And is currently we're on solid color, but we want to use a file so in go to files and I'm gonna selects our kitchen image and we'll planet to be active. You and we're gonna hit. Okay, now, if we look back, our image, we can see that is 1264 by 948 pixels. If we go back into Max on, we go toe Orender set up. We can click here. Or as you can see in 1st 10 and we're guys a common on under the output size. I'll show you why we're doing this. If we hit shift F they These are safe rooms, so this is what will actually be rendered. And we want this to match the image to avoid any, um, stretching, you can see here. So if we make this the same has the image which was 12 64 by nine, then that's gonna be the same as our image. So you can close that. Just leave on the snap frames on safe and leave, Say frames on. And now what we want to do, you can use the middle mouse button and just pull that down. So this will be the topic of war speed a bond, and using dolly camera, we can kind of pull pull it out, and we just want to line up that top of bottom line. This line is actually gonna line up with this back wall. And we also want this the top to line up with the back wall. She thinks something like that will work. I'm just gonna put ATCross just lining up with that on the left there. So I think some think around that would be great. And now just right, clicked. And now, if we select the wars, when when we select the war, we get these blue highlights and this is relatively new in some of the newer versions. I don't particularly like it, So I'm just gonna go to display selected and click on shade selected faces so we won't see that anymore. Also now gonna go into top view and select this war on the left. In fact, I wanted lineup that camera, so it's straight. That's the last thing I want to do. So be just change this back to sort of color and apply it on what's in a town the grade to help. Just gonna pull that across until that's roughly straight. We don't want to exact, because in reality, it's not gonna be exactly straight. It's going to the front view as well. He's gonna turn off the grid again, just using the tape. Click and drag up to about the height of the human. Just roughly around here on this poor camera up today as well. Now I just hit p ascetic into perspective. This licked Upali dislike that face and pull it out. I'm just with the right hand, more selected. Just get back to the camera. Kobe, We turn back on our background. I'm just gonna put that in to roughly where it should be. It's here using the middle class bottom. Just putting that back up into position. So weaken, we can use the gizmo most of the time. Which is this is a gizmo. We can put it in and out. Uh, in some cases, you can't reach against my so you can always use these tools down here to move it in the various excess. That looks good to me. Let's now create these doors here. Yeah, so let's just select this edge. Gonna hit ring, ongoing it connect. Andi. Okay, I'm just gonna put it up. Stressing line. I also wanna orbit this camera a little something in here. Andi, just pull it down to trying it. This perspective looking there, bit more how we want it. I'm just gonna put this forward out again a little bit more cool. And we're just drinks like these again on didn't connect on. We can push it out. That's what Celeste like this edge, we will ring select them, Nick in it. No, we just connect net five times. Now, we can also use this pinch function to move them along. Okay, That today free again. I just use this gizmo to line up the edge of the doors. So I'm gonna line that 1st 1 up, holding out, he snicked. Put it across the select for the in the select. On there we have the fridge door soaking Select his face. Delete that status facing to meet it. Now with this fridge door area, let's select those pretty faces. I'm gonna hold shift and just pulled up back perspective. It's like these two. I'm gonna hit bridge Onda. We can select border here. Andi Cap. So that's where our fridge is gonna go. We don't actually need dishpan face now, but we're gonna build a floor underneath. So talking a floor that's create box talk to you. This snaps on this could snap to the corner. Just click drag and this is make the height. No, you see, we got floor there as well. That's good. So if we were using V ray with add a very plain Andi, I just couldn t show you what one of those are very plain is basically an infinite plane. So if we've got a light source on and say we've got the sun and it's coming in down here it was just coming through the window. You just kind of go in on would lose with it like here. So what this does is create an infinite plane. Satellite will hit on, bounced up, so it will act more like reality. But for Corona, what we can do is just create plane in the standard Primitives. We'll just put that over here so as big as you want. Let's just make it 1,005,000 tidy. We don't need any level height segments. Now this multiplies really cool because we can. If I hit Rendah, we can see the plane here Now if we changed the no applies can actually change the scalp. 10. 100. You see, it went as she changed in your view port. But when we render, it will change. So this is make that 1000. And we can also take this opportunity to change our renderers to Corona and we're going to materialize. So and we just put on a generic great material. That's cool. Now we can open up the Corona material, right? It's up and there's some great materials in here. Let's go toe would I got a steroid? It's up by person em and we can just click and drag this until materials and then I was going to apply that. We can see that in the material later. It looks like this doesn't like this here. So if we just turned on real world map size, that will actually come in order. Chronic materials are now mapped. Real world map mapping. She's here, which makes things useful. Andi, if you if you have added a Necip Alcalay like, for example, licious looking here, um, And if you go down to box and turn this on, it's not gonna work. Right? So when you do, put u v w on just put box. Internal, real world map in. And they were coming Exactly right. We're gonna tell Nelson now. So already this room is starting to take shape. Dizziness? This is my sure there are floor lines up. So what you want to do is make this minus 50. So it's no overlapping the floor here on yet started a good 8. Modelling the Kitchen in 3ds Max Part 2: So let's craziness going. So let's take a look at the image we can see. It's quite nice shape skirting, and it comes here, here. I don't think it's here, but it's definitely deciding here. And I'll show you how to make skirt in this go to front view. I'm just going to kind of put all of our miscellaneous subjects overhit. Um, let's great line, Andi. Okay, so we're gonna use that. This image is reference best as we can. I know it's not a great a great image, but this is trying. I bore the shape 10 of snacks on and holding shift so you can see I can move this around anywhere. Like if I have shift, It's only gonna be straight lines. Click there, Okay. And we can go in and add It is now it's just like this snaps. I'm gonna write clicking changes, too busy a corner. Now we can kind of add a nice curve to this as well, so you can spend some more time on this. But it's just a small more data. I think you look cool. I'm just Let's just make sure that's the good height. I think it could be smaller as well. That's pretty sweet. Now, before we go any further, I just want to create this this line in the wall so we could snap us going to it. Someone's gonna select the wall again. I slept its edge Andi Hit ring, connect right, Clicking all these dialogues and we just need Teoh. Okay, parties across back in camera. I was once faces. I can tell you on de with the lights in perspective, you great line. And now we're everywhere that there's going we want added a line. So here goes around the corner. So we actually let's let these edges out in shifting. Just click and drag to put him out to see what's going on here. Now might be a good time to actually select all of the faces. Hit control A on Let's flip him because they're currently inside out. That's much bad. We can see that look better. Let's let these edges as well pull them out. And also I think the floor could do coming over a little bit. Let's just move. That crosses. Well, now I'm gonna create a line. Have to turn snaps on here and here. Exit close that then tonight is one here exit and then one here, Right this click and drag coast. Know that I lines on and let's select first, let's select Long carried here on the left on this Add a sweet murder file on you. See this create an angle and you go for your own use pre made ones. We're going to use our custom selection, and I'm gonna go over, pick on. We're gonna choose our custom selection on Let's go to the sweet parameters and we can see that it's not such a backwards. So let's mirror that in the X and set that's working. And then we just want change to pivot here. Ondas Looking good. I stayed the same over here. We can actually connect these two lines soon as they are going in the same place it go attach were attached to these two. It's at a suite Mouna Foil, and we're gonna go. It's custom pick. It's bigger sweep, and this time in the premises has changed. Pivot his side and we turn of memory thing that works on a really cool thing about the sweet one for it. If I go here and I stopped mortifying anything they actually modifies or earthy. It's going. So this is pretty, Only that we can go back and climate change the skirt and we do that easy. Yeah, all right, so I'm making some pretty good progress. Do you feel like this back warnings? Teoh. Go back some more, so it's much easier if we're using capped plans. But we're just eyeballing this from foe, which is kind of good practice. It's just pulled up some more on. We can also go back in. And if we just select the line, we can go back down to line this pivot that service for and we could be snapped up to this back war. So you can see this is kind of a nondestructive workflow. So if we have to go back and change things, it's quite easy to do. It's also thank flow bigger, which we can do here. You can see what you ve stayed the same, so that's what pretty handy to have a camera, and that's discouraging them. 9. Modelling the Kitchen in 3ds Max Part 3: Of course, we're looking good. Now, let's take a look at making these covets. This created books and we snap stand on ish porter across and up. And I'm just gonna make that 700 hunt on. I'm just gonna hold shift and put it up to read. These covers will pay as well, and I'm gonna make that copy. Um, So the tops of these covers were actually in a moment tops of these doors in an off image. So what, We can't do this place to the front view, and let's just snapped that to the top here on. And let's make that minus 700. Go back to the camera view. And this as you make it more as I you can see that that lines up nicely. I'm gonna grab this bomb box again in front of you. Holding shift snapped up to the top. I make that copy and I'm gonna make that high 300. I'm back in your perspective. I'm gonna make lymph 150 years. We left you this line this up. I was afraid and agreed off. We can put that hit now. Open analytical Polly on select polygon heads to camera selected. Now again, you're gonna find it hard to select the Y axis. So we can just use the one down here that's gonna put him push that forward. So I'm just gonna turn on press that freed son on my frame on line that up on, Let's do the same. I think they're gonna be and the same whip someone add unethical Polly. Um, Ms like these faces and I'm just going to snap them to the box below. So now you can see recall covers in place. And again, I'm gonna press if free on talk you No, this island in the middle finger roughly lines up this fridge here, so get top you. I'm gonna home shift and put it out on and it might be tough to see. That's just turn off background image. Apply that. And I think around about him. And again, it's just got a camera view his whole being turned back on. Yeah, background in major parts of you snaps his own as well. And now in the why I'm just gonna line up that front front line. Onda Most of this like days. Put them in. There's a topi that's present t this Let these about a camera and use these dialogues to put him in. And let's select these rear. But hand is pulling back as well. Percent free. We started to get some shape to a furniture so good as you bring this kind of top down a little bit. His brunettes about here in that entire will bring the shelf down, but we can with snap Some just snapped that to the top of the counter. And I'm just gonna hold shift again. We're gonna create account on top. So for a shift touch that make that copy and down in books. I'm just gonna make that 25. That's cool. Now, with the island that's slept his face, we're gonna hit, ring, connect, okay, kind of snaps. And there's gonna I bought out two front edge him and same this ring connect. In fact, it's in the dialogue. Andi. Yes, that too. I reckon we could make this about, um 19 to it was like the face Delete that once this bomb face and then we can select this edge here and here in perspective. Well, you know, shift. Just pull these edges in. That's it. can't review on and And why? Just lying out? No. Oh, and he select its top edge. And then if I hit bridge, that will make the back. So we are making progress. And we also got some covers up here. So let's turn off this edge like this, Andre, Rotate it by 90. National snap in cancer that turn on angle snaps. Right. Tape 90. Like that. Copy what I have here into position Perspective. Let's bring this over Times like these edges out of snaps just gonna line up the energies of the fridge. And I say in the camera free and we're just lying this upswell c inside of snap. So this. All right, so next up, we're gonna install carpet up. So I was seeing in the next video. 10. Copy and Paste Between Scenes: 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. 11. Modelling the Kitchen in 3ds Max Part 4: right, Welcome back. Next up, let's look at adding a fridge. So if we go to free the sky, which is my favorite place to get freely, move on. And if you type in Fridge on and there's some pretty good ones, abnormally by one. But when go to free for the post of this class on that, there is a good one that looks pretty much like the one in our scene. I mean, that one on that one. Pretty similar. So you can just click here. You probably have to log in. I'm already loved in on Hit download, and once that's download it, I'm just gonna go to fold up on Unzip it. Now let's open up all our studio seeing that we create area, It's cool. Teoh, Just keep an empty version of this saved. So what's great about the studio seniors that we can bring him models and preparing for our scene so we can check that materials of work in Yes, Good. It's a good test ground for our seen someone has file import and much, you know, I'm gonna never get to where I download the file, which will probably be downloads. Andi This is the fridge. This like that group Me? Ok, ok, and now it's in. The soon I'm gonna slick move on. I'm just gonna move that into the center on Was so I'm gonna want to retake this 190 and we can just use the middle lifespan. Move this around. Well, we can put it closer to camera where we need to do we can write a camera a little bit. And now I'm not sure if this was created with Corona is that she Every rate object. So let's use the chronic over just that conversion he sees that happened with materials there. Let's just hit interests render and see what it looks like. The books says is missing the texture, which is probably this Doyle here s so we can just run reading bit maps on. We're just gonna browse to downloads photo. It really think that we'll find if he doesn't find that were just to leave any missing. And now you see, that doll has been updated. So not much to doing here. What we're gonna do is go to group open. I'm gonna select this door to begin with. Press em on the keyboard. I don't wanna selecting the terror. It's on here on Dhere. We can select by material, and it's elect says, conflict. All of the objects with that material applied to it on what I want to do is open up the Corona Material library and let's replace it with our own aluminium brushed. It'll so go to metals that she's this. Once it was going to click, drag that into our material way to toe ongoing apply. That selected on because it's brushed is gonna actually have a brush texture on there. So let's just turn real world map on here again. This has got the Whenever you select anything is gonna be blue so we can change that just there. And you can see that that Russian it was coming through nicely. Now when that wasn't on, it was all over to show we can apply this material as well to the main object. I think it's just collapsed there and at the U V. W. Well, this three have been arrested. This object that select these Andi I reckon a crime material will great. So no material library again. We'll go down to chrome, think prints Sina's their handles and I'll try and drop them onto here. Misapplied out this play U V W map for what size. Now let's just rendered out with interactive and see how that's looking. All right, Cool. That's looking good. So what we can do now? Let's stop that Render Andi were closed group ons using computer. We just copied it out and we'll go back to our scene. Corbett Place that him? Not really that into position. We'll rotate that by 90. Yes, pretty itself. It's pretty well, might be a little bit big. Morgan Day is just having physical Polly Select with these top hurts. Back in the camera in his party's down. Then for the rest of it, I should think I thought it was in sound internal fats. It's like the war. We're comported into position. Come back down to the edit, edit to exploring, and this is put that 20 new rule is turn that off but sweet. No gulf region just kind of cool 12. Modelling the Kitchen in 3ds Max Part 5: foursomes. And, Alice, take a look. These covered. You see, I've got 12345678 cupboards. So let's select these edges a more connected seven times. So now I'm gonna create box, which snaps turned on. And if we tried to destroy it back, we'll see what happens. You can see what's going on for years or great. We can see that. Now. What a great does is a little snap to a flat surface. Aiken, I could build something on here on here, which is really handing, so it definitely use auto grid. So this is gonna be are covered. So we want to make it a little bit smaller so we can see these These edges between cupboards. So I'm gonna make this 697 90. Well, on May 20. That's cool. Andi, go back to Original Block. I'm gonna select here, Bring select and connect this time just once, so that the center point also want to do that with this new scent alliance and will select one of them it. Luke, bring on Connect. So what I'm doing here is just crane a center point for each covered said then When I select a copy toe, I can just move and snap that into the middle and I could just hold shift. It's not not into the middle. An instance that seven more times and there's a couple cause just gonna change the color of this camp on top Just gonna hit control, be this low block, make a copy and it won't go back down box and just make the height 100 animals are gonna change that color. I'm gonna change at 214 and then I'm gonna selector original block. Describe that bomb face and in front of you snap that the new kick board goats left you select a new keyboard put out back a bit. I was I noticed me to build this area about the covered. So do that quite easily. Just select it here more hit, ring and connect. We just connect that once and then we select the's faces above covered and then just go about selecting edges fridge in them. We can actually delete them Faces behind as well bridged him. Now we've got that suit off on the nothing of most is that these covers actually come out five in the top covered. So I've got those selected and you can see we can't select the X. Well, we can just about buy another method. We could just quickly group these and then would be out. So moved him in the UAE. I'm putting forward that. She's quite Andy Nathan. Just one group it. The man in the left. You I'm gonna put its back. It's that and the support that capital out a little bit as well on what's we're here. Let's select the bottom cupboards. A camera view, actually right Click and hide the island by selecting it and going to hide selection percent free so we can see upon block. Now we got one, 2345 sets off cupboards just like these edges hit Connect. I'm gonna put five edges in and then I can go through just to depart. Selected on line him up. Does it see fit? So this happened. Probably depending on the size of our moon will change. But it's no problem on, and this is maybes draws bigger, less like pledges. Andi thes two will be the same. So selected all images when hit, connect once and then ring. Connect. Okay, that's cool. And now we can create a thoughts with a great on. We want to make that height. 10. It was 6 90 1 70 Now is greatly center points, so we'll split those free edges. Hit ring, connect just once and selecting the drawer again to turn off edge on the whole shift. Treading drop down into place like an instance. Same here for this one across. A copy is gonna be a different size. It's called a 20. Pull them in places where we could make these ones instance. You could even hit two on there. That's Danton's call. We just got to create books, Make that 10 50 Faith. Okay here and did the same plus, Tim. All right, so now we got covers in I was going to right click on Heidel. Also, if you're working on a smaller screen, this track bars useful in animation, which we will look up at some point. Things go to customize show you I and showed truck plant on that often. Then we get some more ready State when this fear ports bar. If you'd only use that, you start tearing away at the things that you don't use 13. Adding Furniture to your scene Part 1: Okay, So now let's have a look at these chairs here, and there's gonna be hard to find if you don't know what your if you don't know your chairs , eso always find asking on Twitter or a Google image search. You can usually find the name Andi. Luckily, I did with this one. Uh, this is actually a Carl Hansen share on. If you go Teoh this link up here, you'll find it and you can actually download it here. So we're gonna down late the freely version here. Sit down like that on unzip it and the more opening up in Australia and take a look. Alright. So back in our studio, let's go to fall. Simple Mudge on and goats. Where are chair was downloaded. So wicked jail. It's pretty good on. And these guys reading bit maps, we can delay or these bit maps because we're gonna use All right, Andi, I've not across this before. This luminary um modify. So I'm gonna dio is just created box. This is nicely work around. If you ever come across things like this convert to a vegetable Polly Andi, Just a touch each of these objects together and then we can go ahead on leave, folks. Andi Wilderness. The pivots going to still be over there so we can go over to the hierarchy, affect pivot Andi, Just send it to object and using the move and snap, snap it to the form of the object as well. So now I got it is inevitable. Polly on. But we want to do is we got free materials here, but the word lever in the crime Let's break into the materials, which is generally want to each time with a lot of checks. So I'm gonna slip this element and in a geometry, I'm gonna have to touch Slate these legs and touch. Then here, Onda, we need that crime right now. Let's open up our material library. She's pine Matt for the legs and then we can use crime fingerprints for the crime and for a lever lever continuing gray. Great. So now we can apply days and I want to add a smooth in a fire. 26 is a faceted. So let's go. It's May. I had just turned on all types moving. You can see how that's working. I'm also gonna want to add a UV and just turned into a box. Incredible to 100. And I should work Same with a wooden legs. That's Abbas. Move so you can actually click on the mortar fire list and just press test them. Get I understand, Balto on more fighting words. Pretty veto beyond real love. Nothing. Andi, What's made Miss Fred a crime on and we'll support Well, well mapping on again. There's object camera. Onda should do an interactive Brenda. All right, so you can get so let's groups together by selecting the free different objects. Great. Put it in capital Copy. Iva them back in our scene. It's a copy. Pressed him Great. Andi, I think there's various sizes to his chair. We can't drink a little bit. And when I first free and just scared them, I was gonna hold shift duplicated across is an instance on a mostly just gonna right, say it around so they don't all look the same because interior is gonna be the same one each of them. So you just rotate these and have him a little bit. I know exactly lined up because I think that the realism really lies in haven't imperfections in here. So there's our Fosters. So now let's take a look at adding uh huh, adding the steps. So we go back over to free the sky. There is a nicer kitchen taps that free that we can use. So it's down like that. Extract it and then we'll open out in the studio. I know it's not there. Zero library. In fact, I think it's still here from from the chair. So we use crime fingerprints. Apply Andi this for you. VW and I really love my size on that on a thing that should look very good with a quick test that's working. So I'm gonna hit. Copy, however, was placed into a scene. Its position that correctly someone around that's that's about right was I think it will be worth opening up this group sex in the subject, just rotating the a little bit. Just say everything's no, because we're looking straight on. We don't want everything flat. Then I was stating Tiu to me later as well. Pull those over. Then I was gonna close. That group can appear group on clothes, Then we make a sink by selecting these edges in connect. We just want to looks about right almost like this edge, ring and connect. And this time, let's just wanting out I am Porta into position over here. So I'm just horrible in this. You can already tell something that removing to prospective Wait until now around that it's good I was gonna select that sink face. Andi Extreme. Just put that down and then in the front, few steps on, I can just snap it. Then I want to extrude it again to create sink. And then there's a great tool Signage grow or shrink for a selection. And I'm just gonna touch this this code that sink before we want you to say that sink Let's from the crime fingerprints just for reflections. And if we want to change the views, are there any close ups? So go to metal. That's great. What from the VW for, well, math him. And as for this island, let's apply a marble material so good to stone she's this marble. Why s SS? You can apply that I'm gonna need to pawn a u v w a world map size. Is it books? And we can also product to the countertops and it's right click on Idol on this day, the same in the kind of top the back to the island. It's gonna hide old. It's a single wanted to show you back in our studio scene his the Corona rounded edge material. So we just add a generic Corona material to this object on this phonic, a position I was gonna interact. Brenda, we can see that the's edges air quite hard. Andi, that's a dead giveaway in free data is it's not really so. We used to just add a sham for in the end it, Polly. But now Corona got great map that we can use it. School crying around it, edges saying the bumps felt you can add current around hedges on. I'm sure saved this in the history to compare Andi. I'm just gonna hit interact Surrender again. Okay, maybe one meal doesn't show from office. It's been 10 10 milk, so you can actually see it. So keep in mind, this is just in the material, which is fantastic. We've added no geometry it. So now if you zoom in, you can see this edge. It's much softer on. That's great. That's what we want. So I'm going to say, Let's add that to a lot of our materials in our scene. So let's go back into RC on and on. Our model assesses. Let's go down into the bump on at this rounded edges. We're gonna make that mill. 14. Adding Furniture to your scene Part 2: So now let's take a look at these exterior doors. Andi. I think the best way to approach this would be to create line using snaps. Close that slime just in the top view. Things have gone away while way, but we can just snap every thinking position. - And in this line we can generate mapping coldness on make room. What size? We also want this on rectangular on this day by 16 but 80 and you can see nothing's. You can't see anything changing the reports. We need to turn on the neighboring people. How that's also select segment to set top segment, and we need to put it up. Snap is well, he's got two left. You that should actually be on 80. I can't see our backgrounds, and it's like that. Just put it back into position. That's kind of coat. I'm just gonna hide un selected in the nephew. It's great books his line that 70 would on, and we're gonna put limps segments of manage one. Snap that into position now, using an eight foot polly and now select, hold these edges and will connect once. Now we're gonna get Champa. Let's have two edges on. We contempt for it, Boy. Make no support across in there. Alexis. All right, that's working this top top frame. We can't say such select the edge bring Select Connect is put out. - Now , what we can actually do to make two doors is select original ad Invincible Polly Connect. We'll snap days. Stop this to the Senate here, and then I'm gonna decide and saying, Yeah, generally, if you're working on anything that symmetrical, then just build 1/2 and we could marry over later. Now we can cut the windows. I'm just really in them faces. Andi, let's go free. Select borders on a bridge. I've been down in the left. You miss, Create some glass. I was in the create box snaps on. He's gonna make it 20 would Andi didn't talk to you for that middle magic in a invincible Polly Onda touch. Well, these together, Andi, Let's add some glass to it. Clear glass Work. Fine. I'm lost. I'm in here. I'm gonna grab some wood for the door frames. So what would met will be great. I'm lost a minute. I'm gonna that bump map in. You see, there's already a bump map in here so we can go in and click on krone. Pit map growing around edges on. We want to keep old map as submit on that will move it into the additional bump, but should work. Fine. Let's just check what averaged one point was answer is on 1.0.25 So we changes to one. How we changed just 12.25 this. So I'll apply the glass to glass O X Richmond on the X ray mode. But it's just so we can see the class is there. And then on this would that's applied up. We'll put you VW box for a world map size on. You can see the grains or going this way we don't necessarily want now. So what we can do is add inevitable Polly Andi support select faces. In fact, we'll select border faces by him, control a and holding out. Just gonna get rid of these middle faces on. I'm gonna add a UV unwrap books. Well, nothing on. I'm just gonna change. If you press f two, that would turn off. I'm just gonna change d mapping. Ah, Linemen, two X Now you can see that we've got different directions for the grain, which will make things look, that data two doors looking good. We can now collapse all of this. They will probably be worth also closing up these this door get No, we can have a symmetry motive for us person. That's why on that, it's good. Let's select these two. And I had a center from on fire as well over there in the UAE. And then we can just first number one on the keyboard. Or you could go down to mirror same thing and we can just slot that together. In fact, in front of you in the left ear, we can leave a little gap. I'm just gonna go back down to the edible Polly, make it, make it a bit. What well said. And when I with this symmetry, more file, we heard how wearing So now I got up patio doors. It's a good thing. Like a door was well on. We can do that. They said she pull this wall in Andi, let's go to create a great cylinder will have order. Great Turned on on. This is creating toe Andel. Get rid of the high segments on we can just make that this my right. Just money. Andi. Not 30 as well. Then in the Tokyo I'm gonna create a line, make that radio. Just put it out, Teoh. About 15 milk more sides. Andi, you can also, if we turn off enabling people turn votes on. In fact, we can get refined. Let's just put two more Burt's here. We can right click on. Make that smooth. We'll make that corner on this one. A corner we'll handle. It's just moved into position. We cannot say trip, Okay, this one down to make the key. And thats so something like this one across so we can just rotate and hold shift and I should do it. We can connect with ease up analysts will Polly touch and we'll add a metal that she's this black with fingerprints. Course, we're making some break of progress here, and I think the next thing to do is to source, um, models. So studies hanging lights on. I can't seem to find the designer, So if you're wasn't even interior designer, you can always ask them. But in this case, I found this light by West albums, which I think should work on. And I looked out Freddie Sky. Andi is here, so download that on extract it on. We're bringing into the street via that's pretty cope so we can just bring that in as is. I mean, a copy to copy placed into a scene. Let's move that into position. We'll put that in the middle of the island somewhere around here on, and it's just line that up and we're also gonna want to make sure that the top of it reaches the Syrian. So let's open the group. Just let these efforts and we just put it up to the top of the war. Who's gonna instance that across is well, so we've got lights in there. Now let's make these Syrian lights here. So we got a couple here on day. I think we've got some some here as well, and this was a but some behind the camera so you can like from behind. So let's create ceiling to begin with. I think the crease way, we're just to be to duplicate the floor, make that coat gate, and then in the front view, it's just line them up, and then we're just gonna make books with all take right, Turn down. Doesn't really matter where on this folks is gonna pay 60 on 15 mil high, and then I'm gonna add in a zip Upali, select this bomb face inset flight meal and then extreme and extreme that what about free? Minus free. That's okay. And then we're going to detach. It's like this difficult night on gonna open up the material that it up. I'm gonna create a Corona light material and apply that. And also in the corona to your library. Let's go toe bores. And we want a white semi close drag and drop that in here. Deployed it and then I'm gonna select again. Having control. Well, grew that together Up quick spotlights. I am packing the camera. We could start moving these around hold shift, just duplicate them. Mike, Um, instances and talk to you. I just want to make sure that these air in a reasonable position that's about right. There isn't one hand and also went free behind the camera. So I can tell you, I'm gonna bring them here, you know? So got these four lights above the cupboard. So let's pull the covers back to make room for them. So it was selected covered doors. It's pulled out back 15. Adding Switches to your scene: another touch. Weaken Dio at the switches in Ondo, you can get these free from model plus model. These are great switches. So down like those Andi, we're just gonna import them into the studio. Andi at crime to them. So I want to make is a double switch on and a double socket. So what we can do is we're not gonna need any of these. Leave these and I'm gonna live in this group. I mean this from this hunger work. Fine. So let's just at the crime material, then for that, That will suck here. I'm just going to play this as a copy group open. No, it's not group. And I'm going to beat these two switches crapped silk it. I just moved into position. - Go . There's a sockets. So that's just copy. Tow that across. He's gonna turn the background back on. Okay, - I was gonna modify this box so we can put these sockets in on. Also needs the marble material. Put on that. I was gonna put the irritable Polly underneath the UV map just down my What will happen if No If I start modifying things, you see that you these change whereas, if opponent Isobel Pooley underneath on Connect, you ve stayed the same, which is exactly what we want to do. - Nice . So let's add a material to this Rufus. Well, so I just had what in that pain, right? A UV map books we allowed. And now it's time to accessorize. So feel free to add your own. Um, I found a few things were pretty scared. I'm gonna add in, Andi, I'll just speak this bit up because it's not all that interesting, but just download them permanent. Andi, accessorize how you please 16. Adding Accessories to your scene: 17. Materials with Corona: of course, an allegory. Accessories Investec Delicately Corona Material Library in the Material Editor. Unless that their final materials so are seen. So what's great about this material library is you can use it as a base. So if you did need to change anything, you could literally just start with a normal concrete and then just changed a bit. Maps in it. Andi, it's a good, good way to start your materials. So you're going to hear Andi just change these images. So whatever you needed to pay solutions, this war white Matt on the war on the war was as well as the roof. So we just select that you can actually copy this year we w not on. With the war selected, he was placed on and also applied at material. So I'm gonna do once I've applied materials and objects, I'm just gonna hide that selected. So we know that everything's got materials on it. On another thing I want to do in this war material is at that rounded Corona material was gonna click here current around edges keep open. And I just want to check what the old map was on point to change it to one and then in here , just 2.2. Let's change this to 10. Well, on. And for these cupboards go. These will work quite nicely. Driving the material readyto person em. I just could be taking track that on this Find a glossy What? I know that she's met. What? When we use that for the kick woods and no saints got I'm just gonna pay stone that you ve met and we know what these objects go materials on, so we cannot them. It's so good, so good. There's not a lot left, finishes the cupboards and also notice that we have done these top cupboards here, so yeah, we just need to split one of them in heart. So I can do is just rotate this one by 19 was told on shift. I think that copei Let's just lining up on top. You, - uh So I'm gonna play that What? Matt To background today, The back of the cupboards. Unless use this critic for the front and I'm just gonna paste TV on there as well. This was so at the round edges city bump. I'm also do that for this material is well what I think that is a little materials done. So now let's have a look at lighting 18. Lighting your Scene: So we're gonna be using a HDR late to like this scene and Haiti. Our eyes stands for high dynamic range dimension. And there are panoramic images that shot different exposures and then combined into one for two bit image on. But we really need tonight is that they can be used in Freddie programs as a light source and they create very natural and realistic lighting effects. So if we head over to know motion HDR and we can download this actually are by clicking here. Once you've done that, extract it on, we'll go over into Max and I'm gonna press eight on the keyboard and that's going around the environment and effects that's click on none. And we're gonna choose crying to color. Correct. Now we're gonna am on the keyboard, and we're gonna drag this into a new slot on making instance on and in here. Let's let crying a bit map and we're gonna load in the HDR that we just downloaded. Now it's time we can add some lights. I was totally spotlights on. I'm just gonna change these two. Oh, yes, Lights on. This is true's these boat. I'm gonna bring them down and also make them rectangle. Man, we're gonna want to write tight this 190. I told you, I'm just gonna positions. So in town, if this background image now, I was gonna kotis one. And this will come in handy when we used the light mix later. It is an instance. If you got here, we just select lights and then you can only select lights, which is quite handy. So just positioning these or where spotlight should be I'm just gonna make sure that direct angle isn't no kidding. So there's our spotlights on. I'm gonna create another light down here, and I'm please, this is cake board, - and I'm also gonna put one underneath comments and then this couple life, this name, this one and then I'm gonna put one more light outside here on this one's gonna be a little bit different as we're gonna turn off visible reflections, reflections on physical directly. So this is just gonna be a wave pushing more lightning. And I also want to put plane here. I wasn't gonna get a lot of light coming through that door. I'm just gonna put generic great material on here something that will work. So now if we look at the render sayings now, he's a really straightforward. You've got the usual max sentence here, and we can look this and 2000 Andi or this has stayed the same. So in the performance tablet's settings below optimal by default, there is no need to change them unless there is a problem or you know exactly what you're doing on. But this is awesome, in my opinion, because it means we're going to spend more time creating nytimages Robin um, playing around with render sayings so there's no need to really change anything. The anything you might want to change at some point is the secondary. Silver on by Defoe is on huge de Onda. It says that this is great for interiors, and you can't change it to path tracing if you're doing exteriors. But usually I literally just leave it on the sends on. There's nothing to worry about there. It's worth just running the Corona sink for one last time just to make sure there's no straight materials or lights in there as well on and now on to one of my favorite features , which is the interactive like mix. So there's gonna hit instant groups and it generate, and we'll see what it does. We're gonna hit interactive render. All right, This is looking kind of world, but we can work with it no longer do just turned out for the lights apart from the environment. And the way this works is it's gonna run to each of these individually, which is great. Um, and it means that we can go in and manipulate each each each, like, one at a time. So I was gonna pump up the environment to 20. Then this bush, this is ah, in the oven is another light. I'm just gonna go for in turn on each light individually. Now, these instance might be bad and no, let's just turn it down. I want a town this window, like, actually, that should be the next one to come on. Nothing that can stop to really fill up the room 50. Then all the spotlights they can all come on. This times look good. Um, around five. But then these ones along the cabinet I want toe have separate, so we'll sort that out in a moment. And these people was this have those separate as well I think of in that sites Look. All right, So it's gonna stop on the interactive render when it has slept This bomb kick board and here we can make unique. It's now it is good that skateboard light on this is covered like so no instance anymore. And then I'm gonna make he's full unique on I don't want to make him unique in respect to each other. So I'm gonna hit No. And then I'm gonna do the same with this, right? I also want to see what's going on with these lights here. This is changing five mil Cody's aunt and it should be one. This side is well, so I'm just gonna pull that cross instance that I have also niceties color It's too big. So it's what it's in. Pull this one across and it looks like potentially there's light coming in. Yet, since it's close off that well, serve the colonel. I mix again. So we're just gonna hit, generate once again and on Idaho. And it's not an interactive render and try again. So it was great with the lot mix is we just put all the lights in Andi update. Um, in the frame buffer. Andi, when we're using fear A Before this this was a lot of guesswork and rendering that stop in the rendering it stop in. This is really saved. A lot of times this is great in cities like so places to get covered. I don't want them is bright. I'm pretty sure what that life is covered lightly bring down. I think I know that's looking good. Now we can go over the post and in here we can actually change the rule Brightness of the image. So let's say one right out by 10.5. You actually do highlight compresses well, which will stop being over exposed in certain areas. And then the white balance is very much like you'd have in a camera so you can make this cooler or warmer. On day. 65,000 is kind of neutral to going to make it a little bit warmer. Let's put on about 7000 contrast should know what that does. Just that contrast the image saturation. I'm just gonna bring down a little bit. There's nothing worse than an oversaturated image, in my opinion. Filmic highlights. He's a quite nice and pump them up and shadows as well. Kind of. See what? I stood in there. Uh, and yet and in a small amount of that, call it in That really used that. It constant to the image curves You can adhere. Um, and it would say we're going to fight a shop. I mean, this disarmingly does away with photo shop, which is kind of cool. We've also got let's which are look up tables, which are pretty much I kind of consider him like Instagram feel is pretty much nine times out of 10. Who used the Kim? Look up tables. Which here? Submission shoes number two. You can bring their Passy down. It doesn't have to be so full on. And we also got blooming Blair did you? Quite nice. And you can see what it does. Had some sparkles, but maybe do that after the Rendah Andi noise, which we need to turn on in the red stains. I mean, lighting wise. This looks pretty nice. We can also change things up after Narendra. Now I think all its left is to actually hit render so interactive We've done pretty much are lying, which we're gonna tweet later as well on. So now we're going to surrender Sayings on this Turn on the noise, Understand? Off only Remove fireflies, Andi. Then we can just hit Rendah. 19. Corona Frame Buffer and Post Production: Okay, great. So I sent this to render overnight and it had about 250 to 300 passes on. I just let it let it run. You can put parsley me in here. I also turned on remove fireflies in the noise. So once it's finished rendering or once you're you're satisfied, you can hit Stop. And it will run that the noise up. And you can actually change that in here, so you can just tell not good way up you want This was my final lights out. So feel free to copy it out if you followed along step by step. And also, this is my final time maps, and we can also turn on blooming glare When I just had some some nice light effects here. Maybe too much bloom. So this bring it down to one and I'll change the glare. Intense did point to concede. It's just that it's, um so light effects here, Andi, that's about it for the frame buffer. So I'm going to save a c x r. I'm gonna call it final surrender, and I'll show you why we're saving a c X are also gonna save a J peg and she excels in quite big, So it might take a little while to save, so I'm gonna hit Save. I just said this is filed final Rendah J P. And I'm also gonna save said file and then what we can actually do. Even if we don't have Max open, we can open up fund render no open, actually in a standalone editor. So you don't actually need Maxim stored where you don't even need to open up so it can load up a lot quicker. And we can actually continue editing in this. And you saw when I loaded that up This this kind of little quirk where the gamma will be out. But I just switched on environment on and often it it starts to work again. So if I wanted to come in here and maybe bring up the contrast andi even going and just change some of the lighting as well you can do that on you can just save out again. And once you've done that, you can assign that to the project or assignment section off. This lecture on also added to your portfolio if you made one earlier. So in this class. We've been through how to model a scene from reference photos, how to apply materials, how to apply lighting, how to render and has due to post production in the frame buffer. If there's anything else you'd like me to add to this class, just drop me a message on. I'll get to it and thanks for watching. 20. 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. 21. 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. 22. 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. 23. Bonus Lecture: 4 Quick Tips To Increase Photo Realism with 3ds Max: 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. 24. 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 to 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 are 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 25. 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 or Tools? And 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 two. And a 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 to manage JPEG files. As simple as that, stay with me. And now for the firm 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 our 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. 26. 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. 27. 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. 28. 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.