Create Photorealistic Interior Renders with 3ds Max, Vray and Photoshop

1. Introduction: everyone's the quickest way to make folklorist IC images with three DS max video courses ready, I'm gonna show the exact framework I use when working with the world's best car, your yet and interior designers in just 90 minutes. I'm not going to teach you everything about three DS max. Just what you need to know to create high quality, realistic renders. There's no need to know. Also, don't waste your time. Whether you're an interior design, not wanting to create your own renders or Afridi, I stand out from the crowd. This is what you've been looking for. If you're a complete beginner, I would recommend covering the basics before starting school. These videos will get you over the frustration of trying to figure it all out by yourself by watching hours of lectures. I'm going to show you all the plug ins to use and give you all the preset. Avoiding too much theory will use an interior scene demonstrated framework, starting with a brief and finishing with publication ready images known. Freedy has given me the ability to work in the world's best design Teams win awards to be featured in many publications whilst working from anywhere in the world. And I want to show you how you can do that, too. So let's get going. 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. 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. How To Use This Course: Hey, guys, Welcome to the class. It's really excited to have you here, Andi. I can't wait shoulders information with you. As you know, this is a project based class, so I'm gonna talk you through the exact steps of how I create seen Andi. I'd recommend watching this on 1.52 times speed. Watch the course all the way through loss making notes with pen and paper, and then you can go back through and use your notes to create your own scene. I found that this is a better way of internalizing the information, so it's more of a long term strategy rather than just trying to reproduce. What I do on this is gonna come in handy when you land your dream job and you go in and you'll know exactly what to do. So once you've got the momentum and you start watching this course, just watch it all the way through and then go back through and create your own scene. Ondas, Great to have you so enjoy 4. Download and Install 3ds Max, Vray + Photoshop: So in this video, I just want to go over where we can get for DS Max be Ray and photo Shop. So go over to work this Andi, They have a free trial. Freedia smacks. Even if you have free is Max, it's stored a previous version. I recommend using the latest version and getting the Fate Day free trial currently using 2019. So download that on install it. I'm also gonna be using V rates. You go to the rate we will feel next on. There's a fake they troll on. We want this free. Yes, be right for free. Yes, mats So that standing with that, it's still there On finally, we will be briefly using further show. It's not sure required for the course, but again, if you don't have five shop, it is. It's one of the key tools that I use every day, and you can get troll again on your adobe site. Down over with these. Install them on D open up for us maximal. See you in 5. Studio Scene 3D Rendering with 3ds Max and Vray: Hi, everyone. And welcome to this video on rendering furniture in a studio scene. I'm going to demonstrate a studio scene with a model I used recently in one of my projects . But if you have your own models, that's really the intention here. So you can use your own financial props or whatever else you've created to create a rendering your scene on us to get straight into rendering some images that you cannot blow to your portfolio. If you haven't already got portfolio, I would recommend using be hearts is quick to set up and easier than creating your own website. If you're not familiar with free DS max, I'd recommend these one minute stop movies. You can check him out here so the first thing to do is go to the lesson resources on download the studio scene, you know, even that up. Okay, okay, so this is our studio set up. So we have a camera here. We have our main feel light, and then we have a couple of sidelights on the side, and we also have despite background. So you, Percy, you're going to your camera view. If you hit, render, you'll see what we're working with. So my favorite place to get high quality furniture models is Freedy Sky. A lot of great models here, thes pro models. They go for $6 But it's also a lot of great free models if you just want to try some stuff out the head on over to freely sky. Now, the motto I used in a previous product was this chair here. So I'm gonna hit download once it's downloaded, I'm gonna extract that file. Now, back in our scene, I'm going to go Teoh file import much the model, and I'm gonna select them both and he Okay, now bring the models in. Now in the top few. I'm gonna move these into position. Let's move this one over to here. Turn angle snaps on rotate. It's a bit on. Let's move this one back a little bit for that over here game. All right, Take that a little bit. Let's go back to a camera. You see, we've got free will bring us into shaded mode. We'll bring that chair in a little bit to pull that one in. Suppose we can rotate this more. Just play around until you find a nice most composition, so I think something like this works. So the first thing we notice is that we're missing textures. So if we head on over to here really bit maps, you'll be able to just Google really bit maps. You'll find script here, sit down like that. Once you downloaded it, you can just drag and drop that into the View port. Right click up here, customized to buzz on and go to all commands on the quickest way to never Guys click. Anywhere here are taking down our and We Want to find reeling a bit maps, which is here. We could drag and drop that onto a toolbar. So once you've done that, you click Reeling bit maps hit. Browse on Where have You downloaded your model? To You Okay and re link. And now it's finding textures. Now we go textures on our models, impressed F four to hide the wire frame. No, let's hit, render and see what we get. Cool. So here's a final, Rendah said. A very frame buffer has some very call bill in tours. We in turn levels on Andi for this in a little bit. We can also turn the curves on and we can put like a little s curve on there. That's a little something. And then we were happy of that. We can just hit save up here called it chairs one Dr J. P. J. It's save. Okay, and now is a rendering. So there we have it. We got our first run. Don't now. You cannot blow them to portfolio. Also post them in the Q and a section of this video so we can see what everyone's up to in a later video. I'm going to show you how to use debt for field on the cameras, correct some nice detail shots. So in this lesson, we've gone through how to bring models into a socio scene and render them and some quick posts in the very frame buffer. 6. Modelling a shell from plans in 3ds Max: Hey, guys, let's take a look at creating an interior scene. First up, we're going to need Teoh important cat and make the walls and windows. It's gonna be pretty basic modeling, and I'm going to make this as quick as possible so we can start creating wholesome images. So it's not the most exciting bed. But trust me, we're gonna need wars, and it's going to get exciting soon. So for now, let's get this shell modeled if you already know how to do this and you're following along with the interior bedroom scene that feel free to go to the resources section and download the scene for the room that I've already created on Move on. But you never know. You might pick ups and tricks from the video. So first up, let's download the resources for this section. So let's open up, Catch start, and we're going to file simple Great. Where we've downloaded cat, I'm working up based cat or the default should be fine. So just here. Okay, so interior scene is in. So first thing I do is hit control AIDS, select everything on I would change the color to black as it will make everything easier to see. You can also hit J turned grid off Now we can see everything nicely. So the first thing you wanna do is make sure that the cats coming in correct scalp. So I've created box and just measure the wife of this door. So around 70 centimeters is fine. So that works out of 69. That makes about right. Delete that books on to make the wars we're going to draw in outline and extruded out. So it's do this. We're gonna go to create line. So I'm gonna write, tick up here on snatched tuggle and make sure Vertex is selected and in options that you got snapped frozen enable access constraints on display Rubber band on. Now, if you process, you'll see that when you go to create the line, it snaps that it cat. So what we're gonna do is quickly to around capped plans, and you can always go back and straighten him up. So I'm gonna quickly through that, and I'm probably fast for with this. So now, with our life selected, we got to modify select for attacks, and we could just go for him, make sure that everything's lined up correctly. Dragon. Certain axes, Teoh. Line them up toe perverts as well. But I think in general we've got most of this spawn. Okay, now we're gonna add in ST one of fire. If you type e X into the mortar fire list, this is the quickest way to navigate. If you know what modifies you're gonna use, I'm going to make these moves to wonderfully centimeters high and we're going through the same to the other line. Just make sure you select the line of the cat created modified list Press V X extrude. Now, coming to fully as well we're gonna do next is that as Polly find, we can add scroll down and attach this rule. So they're now one object. You press Pete Zoom prions act to zoom, and next up, we're going to create a new books. We're gonna make that new books to me is high so you can track dragging in and we can come in later and type about 200 here and we're gonna use this is really a reference height for our door. So that door is going to me is so select these walls go back to the modified tab, Select edge and in the front view by pressing F to select all of vertical lines, Crispian said. Against get back in perspective, you scroll down a bit and just find connects. You connect on, okay? And we snap still turned on being portguese up and snap into the to me a high reference books and now they're lined up in Turn it off. It's like this box to lead it Now it was selected. Let's select face polygon Zoom in on select these two faces I'm gonna hit, delete and then changed my selection to border Select these two on hit bridge So you can see now we've created door. We're gonna do the same for this window. So again, let's make a box and we'll make it about 60 high. I would do the same thing we did before we selected wars its edge and I need from you selected the edges well hit connect and we'll snap that toe all reference books. We can turn turn off selection slipped box and delete that earned in edit Polly slept polygons to leave them, select the borders and connect hopes Surrey and Bridge. I would do the same thing. It's up. Italy, borders and bridge. Now this could to make floor and ceiling. So to do that, we can right click on hide selection with selected, so we can't see that now. Just turn off the group by pressing G. Andi. Let's create a line game and snaps his own. So we can just around this close this plein it's perspective, you but person, Pete said. And again, we're gonna have an extreme modifier. But this time it's making minus 10. I am also gonna name this floor, man. I'm gonna press f from view said. Zoom on, right click and hit on hide or to go bulls back on holding shift, click and drag this up on to make it a copy. Codus ceiling and he can. So now you are sitting in a floor on Let's just go through quickly. Name this Waas. Andi. I will select body objects. Change them. It's a great Pete Zoom, and they're free to see your room on. If we actually changed his to stand it, you can see now with great ovary. So in this lesson we have gone over hot, quickly model room, using the create line function on the extreme under fire 7. Copy and Pasting between 3ds Max 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 in 20 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. Get copy and we can go into a new scene. I've been a copy and hit Paste on. Your object will be in the new freedoms, Maxine. 8. Adding Furniture and Props in 3ds Max: Hey, let's go about in some furniture and props your scene after last. Listen, you should have something that looks like this. Normally you have a brief from the client, but it's always a good idea to base your image of some reference images, even if it's just for general field. Using Pinterest, I found this image to base our design off. So we used this image to base our mood and our materials and are lying. The next thing we're gonna want to do is go about. Getting the furniture a few years ago would have to model everything from scratch, but luckily we now have access to many great libraries. In the resources there is a PdF called Websites. In here you'll find a list of websites with furniture, props and materials. My personal favourites, Freedy Sky models very affordable around six U. S. Dollars each and they also have some great free models to. So I went through and I found this bed that looks pretty nice quite similar to the feel of our image. Also, this bunch of accessories on this side table. So what we want to do is down like these. You would need to create a logging and download each of these their $6 each. But when you compare that to your day rate $18 rather in two days, work makes sense. So once you've downloaded all of your models, you can open them up in free DS banks. Just here, locate any of the pop ups you can then hit control A and go to com puter like we did in our video before. Do this for each item that we've downloaded. One thing to know is in the bed scene. There is a light in there. So what we want to do is go group open and select that light and do the same to the other side. And then we'll just close them again by selecting or group close control A to select it open Kopitar and hit Copy. Now we have all three of those copied. We can go back to our scene, so it's now probably best to hide the roof, So we'll right click and go hide selection. They were going to talk to you by pressing t. They were open up computer and pasting our first item. Close that in his head to zoom in on that arrow shows the from. So we want to do is rotate that by 1 18 So you got right. Take here or you can right click on it, rotate and you want to make sure snap angle totals his own, and then it will rotate by five degrees. So we rotate out by 1 18 on right click on it. Move and we'll put that just under the window seal. Next up. Let's bring in the bed. So we're right. Take that by 90 degrees. Now let's check in the left You to make sure it's on the ground, which is then back to talk to you. Let's bring in our accessories. Okay, so that's why I take these by 1 19 And also we cannot group it. I mean, open it. Sorry and separates on the objects outside. It's a bit wider now. You can control drag, and you will select multiple. And if you want to remove saying from selection, hold all click and drag. So now let's move down to the top, beside covered. But here, now we'll go to the left, you and your group close and then let's just make these on top of this side cabinet. Okay, so now we got some functional room. It starts to look quite good. I do think that that side cam, it's too high. So what we'll do is open the group and select the legs, and we just hit to lead to get rid of them in the same on the other side. And we can go great clothes and we'll select the accessories as well. And we just move that down to floor level. Using the left people and F free will tend to wire frame and we just bring that down to slow. Let's select with bedside stuff I think we can probably move to say about Yeah, it stands a good one. Other thing I noticed waas in these lights is actually very strong bolt material, and we're gonna want to change that. So So if we hear them on our cable, if he opens, would Slaten t right there just go to modes and go to compact and uses eyedrops tour to select the boat and bring that down to one and compensate camera exposure. Now, I should be the same material on the other side, so that's what we're gonna have to do so. In this lesson, we found references, images on Pinterest found and downloaded models and important place our models into the scene. 9. Adding Windows and Curtains to the 3ds Max scene: Hey, so in the resources section of this lecture, you'll find a file called Doors and Windows, and if you open it up, you'll see that I've already made some doors, curtains and windows. This scene feel free to use any of these in any of your scenes. Does it looks like glass in here? A handy tip is if you want to risk out of cars, you can use an FFT motor file, which you'll find in the modifier list that you can select two by two by two. Buy him one. You'll be able to select the control points, and you can just move them up and down. So if you've got a smaller window and you want smaller curtains, that's a good way to do that. You can do a similar thing with the window as well, by just selecting it and selecting the vertex is so you can move them up and down, just depending on the size of your window. So what you want to do control A. Which is selectable boats. Corbett Er and copy all the windows and doors and let's paste them into our master file. Okay, let's start by selecting the doors, and we're going to the top you percent to zoom in on the object and just rotate out by 90 degrees clockwise, unless move that to where the door should be. Okay, so that looks all right. So let's do the same for the windows and curtains. If you press that free, you'll go back into wife frame mode, and that'll make things easier. Also, you'll notice will overlap with the side covered. But that's no problem. We can pull their covered forward and then select the side cabinet and all the accessories and pull it forward. Okay, that's looking good. Now what we want to do is add some cove in. So if we select the walls and the floor and hit this light bulb, it will isolate the selection. No press F four so we can see the wire frame, and then we're going to create line more. Turn snap some, which is up here. We can just hit us on the keyboard and you'll see it's snapping two for Texas. So we draw around our interior and right click to finish, and then in the left you pull with, Ellen said, and f free, and we'll just move that down to floor level pains that So that's where we're gonna have our cove in. Where that line goes around here and in the modified tab will open it up and find sweep. You can always hear s and you'll get down to the S is now mysteries Ball. And if you scroll down, we can use the bottom left is our pivot and we'll change the left. 12 centimeters in the whiff to one centimeter and now you can see we have our clothing. 10. Adding Wooden Flooring in 3ds Max: Hey, so let's go about creating the wooden floor. The first thing I do is hide the ceiling and probably all the other object. So what do is just select the floor in the wars on dumbed use, isolate to hide all the other objects. And now we've only got these two selected to create a wooden floor. We're gonna use a great plugging by the guys at C. D. Source is called floor generator. You will need to create account and log in. It is free, and once you have, you can go to floor generator and download the free version. And while you hear is well, we also download more. We texture map so you can go over here and down like that here as well. Once you've got them downloaded, you can extract them. So, firstly, let's do multi texture. So select whatever version of Max you're using. In my case, I'm using 16. Select it right clicking copy and go to your C drive program foot and go to your C drive program, files away desk and max 2016 and go to plug ins. You can click anywhere in hippie and then you'll find plug ins and then right click and paste in here and for floor generator will do the same with, like, 2016 and we'll right click copy it and paste it into the plug ins folder. So now it's probably about time we save our scene, go to save ours and say where you're gonna be working so we can call his master bedroom and hit Save. Now we go to restart Max to enable the plug ins we just installed. So I'll be back once you've done that. Great. So now we've got them plug ins installed. We're gonna do a similar thing to what we did with the coding. We're gonna go to create shape line this time will create a rectangle and will snap it hit by hitting s and snap into the corners of your room. And we're also drag it down and make sure it's on the floor. Next up with the rectangle selected, we can go to the modifier list and find floor generator. Now you can see what it's done. Now, let's change the max 11 to 600 and will change the max with 2 50 So that's looking good. So now we've got some floor him. Now we have added floor. We're gonna have to move the furniture up because we've added about sent me into the floor so we can un isolate everything. We go to the left. You pour in here, Jeffrey, and that's just click and drag to select, then holding out, Weaken de, select the windows and curtains. So we should only have all this furniture selected, and then we should be out to just move these up. Actually, make sure we've got the rug selected as well, Europeans said. And then percent free and President Ford hard wire frames, and we can see the gold our furniture in, and it's looking pretty good. 11. Adding a Vray Camera, Lights and Previewing in 3ds Max: Okay, so this guy about creating camera for our scene, I generally like to add cameras at one point for me is high. So if we go to the left view and per assume, afraid to see the wire frame unless create a box at roughly one point for me is high. And then we can go to create camera physical camera. So let's click and drag Teoh. Great our camera. Then in the top view, we can maneuver that into the corner or little. If you press see, you'll be able to see for the camera Celester Leader box we made. We can go into the left year and the leader and by person see, will go back to the camera view. So let's change the dimensions of our render saying so we can go to render set up you got here. You compress F 10 and then in common. We can change that to 1920 by 10 80 and if we press shift, F will turn say frames on. So this is what we'll be rendering. And at the moment, it's not what we want to be rendering. And if we hit maximize viewpoint. Tuggle is in the bottom right. Then we'll be out, see multiple reports. So I generally have my camera on the right, and here we could go to tell you. And you see, when we move around, the camera will move around in the other people, and now we could press a free and you'll see that we're actually in a war. So what you want to do is go to modify, and if we pull this out, we'll be out. Seal the settings. And then if you go down to miscellaneous down here, you can click enable clipping planes. You can click and drag this forward. And if it's not moving fast enough, you can hold control and move it, and it will move quicker. And you can see the red line is where we'll be clipping so you can see that affect in the war on the right. So we can actually use that to put cameras in walls, you know? So select the camera target if you zoom in a little and maneuver that into position. So if we aren't Heidel and put a roof in, you can actually use tools down here. We've got pan so we can pull the camera around. I've also got orbit camera, which means we can rotate, so there's also a few things to change in the camera modifier. Let's change the film sense. It's a custom and put it on 45 and the focal length of 26. So we're about to see more of the room. You also want to go to prospective control and change it. Teoh over cool till don't make all of that straight. You also want to hear exposure control in store if that isn't already on and we can bring this down to free. Alternatively, in this Electra's resources, there is a Maxwell with a camera in, so you can always open it up and use Ka Peter on. You'll have exactly the same cameras me so you can just open computer and paste it in and hit. See, and you'll have exactly the same cameras I have in my scene. So let's light are seen on. Let's make this one view poor again and go to the top for you and we'll go to create lights V Ray Onda very light and create that anywhere. Let's change that to dome, and now let's go over to no emotion. They do some great HD ours for free, and you can download that here. And once it's downloaded, you can extract it in the very light. Let's change a couple of saying we'll go to options and turn on invisible so this will hide the HDR that we're gonna plug in from The Render has changed the resolution to 10 80 on the subjects differ, too. Now we wanna open on material editor again, so em or you can click up here. And if we go to get material, we can go to Maps on very and there should be a very HDR somewhere. It's a double click that. Then we can locate the bit map that we just downloaded by clicking here on going to downloads and open our HDR. There's changed a mapping types of spherical, and this change the overall might apply it to 1.5, and we'll bring the inverse Gamma down 2.65 We can then drag this into a texture slug and hit instance. Now we can close the material editor, So that's our environmental lighting. That's what's gonna be lighting scene. Next. Let's add a couple of spotlights the lamps. So if we have free, here are lamps, so let's select them and isolate them. So again, let's go to create lights, be really like, and we just put one of them in. But we're changing this fear this time. Let's change that to a multiplier of 15 on temperatures. Always better in using color, I find it's more realistic, and that's put 49,000 for a warm color. It's changed a radius to 3.5, and the subjects differ, too, and we also go to options and make sure it's on invisible. And this move that in line with the lamp bulb and then in the front view poor. Let's move it up So it's on the inside of the lamp and just check in perspective. They all lines up and then, in top view, would just dragged across to the other lamp lost holding shift, for instance. It instance in is the same as copying. But if I do saying to this life will actually affect the other light, which is quite handy and again we're just make sure that's in the right position. Now we can just unheard everything and go to our camera and this is where we're at you press it for now, let's open up the runner settings. And also in this lectures resources, you'll find a focal preview. And then if you guys pretty set on low preset, you can load up the preview file and they should all be fine. So just hit load. And one thing to know in the global switches, we have material over right on, which basically means everything will be code in this material. So if we open up the material editor and drag it into here an instance, it will see that it's just the great material. So I won't render any textures or materials at the moment. That can be an issue when you have a window of glass in it. So this is called glass of what we're gonna do. Is he exclude? There is. So we just moved it over to the exclude. Okay, so we're ready to render. Just one thing to know is you can select your camera by run into the top left of the view port and taking select camera. Already noted, the explosion needs to be on free, but if you're scenes ever to light or dark. You can use this if you put it up or down on that would change your exposure. So let's hit, render and see what happens. Okay, so I've noticed there's a light on over here in the lamps and we need to turn now. So if we select the lamp and press P and zoom in and go group open and press that free, you'll see does it a lot in there, so we don't need that. So open the group again and click on the light and hit Delete and then we'll hit render again. So it's looking a lot better now. We've been over quite a lot in this lesson, but we've made good progress. We've added a camera HDR lights, and we've rented a preview image. It's the next that less that. Looking at materials 12. Creating Basic Vray Materials in 3ds Max: Hi. So in this tutorial, we're gonna go over how to make some basic materials, and from next you'll be able to make more complex materials. So if we open up the scene, the basic material set up on one thing will quickly go over is in customize. Go to customize your eye and default. Switch up and let's changes to Max V Ray and hit set on what this will do. Turn on your defaults and presets to be ray which will come in handy. And it would change all your materials to be raw materials which will be using So the first thing I would do is rename this material. So the first material will make is a chrome metal and then my movement just gonna use this street a scene and we'll have the setting set to preview. So the diffuse is what color your object will be. And your reflection will be how reflective your object is. So if we turn on this background switch here, you'll be able to see it here. And if we double click, it will open up in a new window and you'll see as we change the reflective color. So black will be no reflection. All mid grey will be mid reflections on why it will be full reflection, but you'll never want to have these on full black 000 or for what? So if you do need White, just pull it back a couple for the crime material. We want to change it to Black, and we'll change it to just 111 because in the real world you'll never have anything that's pure black or pure white. So this will add to the realism. And in the reflection, we're gonna want to change that to his what's possible. So about 251 and also turn off original reflections. The signs of selection and hit run down, and then we have our crime material. It's every click, and drag this into a new slot will make a troop liquor that will change the name of this to brushed metal we can keep. The diffuse is black. Keep the reflection is what If we close this one and open this one, you'll notice that the reflections what the surface is pure reflective, so there's no blurring. The reflections so we want to do is change this reflective glossy nous. So if we bring that down 2.65 you're seeing the preview that that's changed so we can assign that materialised selection now in the Material Editor. Whatever material you've got selected to use this button, it will sign it to whatever object you have selected. So let's apply the brush metal well hit. Render Moussi the effect of the reflective, glossy nous so you can play about that. He can change it. 2.85 a must see the effect of that. So now let's make a plastic material. So we just started a new slot here, and we'll name it plastic. And in this one will keep the Fresno reflections on basically a role. Fresno is if it's not metal and this needs to be ticked on, so diffuse will be the color of the plastic. Let's close that preview and open this one just to see what we're doing a bit about and the reflections we want to add some. So we put a mid grey on it and were applied at selection will hit Render and we'll see what we get. So again, very Chris reflections. So in reflective, glossy nous. Let's bring that down 2.7 and we'll see what we get, and that's looking better already. So that's cool. We can use that as a basic plastic. Next up, let's make some glass so called this glass, and we're assign it to the object. So let's change. Diffuse all the way to black in the reflection we can change. The mid Grey now refract works in the same ways reflection so black there'll be no transparency. Mid Grey will be halfway and for what will be highly transparent. So for Glass, we're gonna want it just off. What Now? We can hit Rendah and there's a glass material. Okay, and lastly, let's take a look at some Would its name. This would, on their supply that we can click this box and will be out to add texture. Instead, it's a double click on bit map. If we go to our textures photo, I will find the wood veneer. We'll click open. You see that you apply the texture. If we hit show shaded material and beautiful, you'll be able to see it in the view port. So that's good. Now if you hit, go to parent you'll go up a level and the reflections will put amid. Great on. Let's change the reflective glass thickness 2.8. I see it render and we'll see what we get. All right, so there's a wood material leading on from that. Just a quick example. If we're going to maps and go to bump bit map, we can add the wood veneer bump. And if we hit render, we'll see the effect in the bump has. So that's probably too much. Let's bring that down to 10 and we get Render again. So what we want to do now is in rent a set up. We change our presets final so you can see how it looks. Required sayings. So we're here. End up. So here's our render with a final presets. So in this lesson, we have learned how to create basic materials chrome, plastic, glass and wood 13. UVW Mapping in 3ds Max: A said today we're gonna talk about UV mapping. UV mapping is how we put textures on objects. So we're gonna use this sofa today. So firstly, I'm just gonna put a checkerboard onto here to show you if we did put a texture onto it, what it would look like. So it's make the checkerboard are quickly show you had stood up, get new material and just open up the diffuse dialogue. Select checkerboard and you can apply that to the object. Show him Vieux port and I change the tiling to 10 by 10. So if we look at this material that we're gonna apply, let's take a look at the texture. This is what we want to put onto the sofa on. Obviously, it's not looking very good at the moment, So if we put a checkerboard back on, we can see what's happening. So we need to apply u V W modifier U V W map. So already you can see that's a lot bell. So what's happening here is the image that we want to project. So in this case, this texture, if we apply that you say that this image is being projected onto the SUV. So So basically, imagine the images on this plane and it's being projected down onto the sofa. We can see on the sides that is stretching, so that's been a checkerboard back home. So the aim of the game is to get all squares square. So we go to UV modifier. We change it to box, you see decides as well. So if we put in 100 centimeters into each box now, that image is being projected from all six sides onto the sofa. So now if we applied a texture, you see that it's nicely distributed. So it's looking good on what we can do if you right, click and go to scowl. And if you open this and go to Gizmo, you were out to scout E texture up and down is the quickest way to change Scaling. Another tip is if you see the joints here, we can actually move this up and down just to get these in the right place so we don't want to see the seam, so this can be a little tricky, so that can line up just about that. So that's looking pretty good, and that's how you do you be met him 14. Using Multi Sub Objects in 3ds Max: Hi. So we're gonna talk about multi sub materials which are handy if you want, Apply different materials to one object. So, for example, we have this so far, we can make it blue, but say we wanted each of the pillow speed different colors. So to do that Robin and attaching the object which you can do inevitable. Polly, you could just select and attach and then agile material to the detached object. This is fine, but sometimes you don't want to break up the model. So if we go back and make that or one object again, you can actually make a material with multiple textures on it said you click on very material and guides, multi subject. Understand it. You can keep the old seven cereal. So what it does is you've got multiple materials here, so let's just quickly put some colors in to give you an example. So let's set the number two free, and we can apply to multi sub material so you can actually put your own textures in. So let's put in a bit map. - Okay , so these are all free, different materials. So now what we want to do Inevitable. Polly you want to select the faces that you want to change, so you could select them individually. And then in material ideas, you could change the set i d. By pressing F two, you'll be able to see fruit is selected face, which is pretty handy so you can change the i d show detectives in view pool for stop. So by changing the I D numbers, they all correspond to the numbers in the material editor. So if we select the whole object is in the elements select, we can change this one to number two, and this changed one over here to number free, and you'll see that now we have one object with multiple materials on it and everything still one object, so that's how to use multi sub materials. 15. Materials in our 3ds Max Scene: All right, so let's take a look at some materials. It's very important projects that or your Texas organized Andi in one place. It's a fitness. I use the scripts called reeling Bit maps, which came down right here. And once it's downloaded, you can drag and drop that into the next few poor, and you can right click up here customize. Go to bars. You can click here and press saw, and you'll find real ink bit maps, and you can drag and drop their up their Teoh greater button. So now that's up there. You can click on it and close to prop up. So this will list all the missing textures. What a text is probably gonna be in the down allies photo. So let's hit, browse and find the damn nice photo. Then he okay and then just hit real ink so you can wait for that to do. It's gotta do. What it is doing is searching all of the folders for two missing textures, so there might be some stray ones left in there, and we probably won't need to use them so we can hit, delete or missing bit maps. So that's just a bit of housekeeping to clean up our scene. Next up, before go to utilities, you can go to more. There should be a resource collector, and if you double click that, so what results collected does is get all the textures in your scene and put them into one folder. So down here, let's hit update materials and we'll hit, browse and find out. Put half so wherever you're working, so for May I'm working on desktop. So I'm gonna go new folder and call it master bedroom textures, and we use that as the puff. And if we hit begin. What that's going to do is move order textures that we're gonna use into that new folder. So then you won't have any missing ones in future. It's just great. They're warning that now. So now let's go into our render set up and go to global switches and turn off material out of a ride. Let's hit render so we can see that the renders coming out quite dark we can do is click this button down here and it will make it look more realistic. So what we need to do now is that some materials to the war on the ceiling, the coding in the floor. Then I think we needed that so we can cancel this render and close them. So if you go to the resources section of this lecture, there is a war paint that were used for the ceiling and the walls and a coding as well. So some featured wallpaper for this back ward. So no file. Let's select them free and open. Carpenter and hit copy. Let's paste them into our scene. Then in the top you will isolate them and the material editor in the new material editor. Let's press F free and select each of them using the I drop it'll. Then we can delete these free Sears. Let's go back to the camera view and select the wars holding control. You can select the ceiling in the cove in to select a more and applied a war pain. And in here we have the wood floor. So we select that and applied a wood floor texture on the wood floor texture. We using the plug and procedures sauce, the multi texture, and we want to get this great mate making off by his calm, very kind of giving away his wood floor textures, which you can download here on. Once you've downloaded that extract, it managed textures and you'll be able to select a bit map and select those. And he hope, um, and we were applied out to the store. Now on this back wall, we want to have the map texture so close Material editor and go to modify and inedible Polly. It's like polygon and select the faces on the back wall. Detach and open up the material editor again. It's like the back war and apply the map material and make sure you turn on show shaded material in people clothes. That and now we want to add a U V W map. We changed the access to why and fit, and you actually see the maps backwards. You can see Russia's backwards, so we right leg and go to red tape and press one on the keyboard and you select the gizmo and make sure snaps his own. I'm irritated by 1 80 and you can also use the scalp to maneuver into position. That's looking pretty good. You cannot say used to move toward to move around. So there's are back rule and that sort of materials. I also think that this would material if we look at our reference image. It's a bit darker salute. If we open up the material editor and we click on multi texture and we changed it to a complicit, keep old map as sub Mac, we can duplicate it and put it on. It's a multiply. You see. It's got darker and weaken, probably also duplicate again to make even doctors still cool so we can close the material editor. And now we've got all our material is at it. I think we're ready to create final render. 16. Adding an Exterior Background Image: Hey guys, I just wanted to add an updated lesson in here in the original human notice that I didn't put a background image in on. This would be quite important for placement for clients, and I think it adds to the realism if we add a view out of the window so you can usually get what you want from Google Street View, you could go on a site visit or you get something more generic from textures dot com, which we're gonna do today. So let's head over to textures dot com on one united landscapes and green on. I found something down here earlier that we can use. This one will be pretty good. So you're gonna need to log in on. Do you can download the medium version. So once you've downloaded that, it's got back into Max on this. Get to the top. You you see me now on, that's great. Playing on I'm gonna make that plane 450 by hundreds sent to me is and we don't need a length segments and this used five whip segments and we'll rotate that by 90 and then we're gonna add a bend modifier and put that in the X on believing Changed that Teoh 100. No, we're gonna change minus 100. Now go playing that connectors background. So the sat Nam Tear Witter by pressing Tim on the keyboard on this create a very light material. So this fee, right, we re like material. You call this background on Dhere? Weaken at the image we just downloaded. Mr. Sternal, come, Say camera exposure. Now if you percent free cable on this select playing and apply it. And even if we hit showing people, I haven't managed to find a way Teoh display like material was bit map in the view port. Just quite annoying. So what we can do is just go to diffuse at a bit much. And I dont takes Joe and showing you court. So essentially these bit maps of the same So we can use this to line up. We're gonna need to rotate that about 1 80 and that goto a camera. It's a good view outside the window. Now, to line this up, you can I bullet she's which is probably good enough in most cases. Another tricky he news. If you select your camera and show Horizon Line Press F free. We have to see where Horizon Line is in three D space on this because we were on ground level. It's not gonna work all the time. That could be quite handy to notice. Well, so what? I'm gonna do it. Select a plane. Houston scout up a little bit. Put it back and you can. You can push this side side and slowing output. You want it, how you want it. And once that's done, you can apply the V Ray Latin cereal and let's run Orender coat so we can see that in the background. There. Really not bright enough, My like him Onda. Also, we don't need to render yourself seen. So let's turn on region Rendah and just select the window area. So I'm gonna do is turn Latin. Tear up 10 on this system again. Cool. That's more like it. And now, because we added this like bright green element, I feel like we're almost distracting. Do the viewer's eye to look straight out the window, so I want to do is de saturate the background math a little bit, says do this. We can headed bit map so you can add a color correction. Modify. Keep old madness submit. Andi, Just to show you what we're doing here, let's get to slate material. Write it up and in some slots, try and drop that in here on. Before we had just this bit. My plug straight in on what was done is at the color correction here. So these air out before and afters, this is how it would look. So three double click on color correction will get these options on the side on. We can just pull the situation down here. So again before Pastor, we're just gonna pull that back. That's fine in clothes that on one last thing we need to know is we have added a massive playing here on that's gonna block the light go on in the window. It's what's it gonna cost the shadow? So to avoid this with his right click object properties and turn off receiving cars, shadows and here. Okay, so now if we go back, it's a camera. That's it. Roundup, see where we're at. All right, coat. So that's looking good now. So go ahead. This test out this technique and at Cem hasn't background images to our rooms. So today we have looked at an exterior views to our interior images 17. Render the final image with Vray: Okay, great. So we're ready to start a final render. So if we open up, render set up and again. If you look in the results section of this lecture, you'll find final render presets, and you can load that up. One thing we do need to do is setting output puff. So if we got to the frame buffer and here we can change where our output will be and tell him Renda, you can put it to your desktop so you can make a new folder called Master Bedroom Renders. Make sure it's it on target and it's safe and you can hit Render So on my machine. This took an hour and 20 minutes, so Robin met you. Sit through that. I'll be back in an hour. So now let's rendered. There's one last thing we need to do in Max before we're going to fight a shop for the price production. There's a great script on scripts. Work would render mask, and you can download it here on. We'll just hit download, and once it's downloaded it, install it. So once that's installed, you have to close and open Mexican. So now we got Max back open. We can right click up here and go customize to buzz and find Render mask and drag it up onto the main toolbar. It's great, but we could drag and drop that onto our tow bar. And now, if you use control AIDS selector Nope, not render mask. Select wire color, press wire, color tool and hit random and then hit Render mask. It will render a clown pass, and we can use that for selecting info shop. Then, once that's done, we can say to output folder and called it Render mask dont t j again. And then next thing we need to do is an a o pass and we'll set the radius to 10 and subjects to faII to and we hit render again. And once that's done, you can hit, save and save it as a o dot t g. A. Well done. You've created pretty good render, and now we'll see how we can add the finishing touches in fire Shop 18. Post Production on the 3D Rendering in Photoshop: Okay, so now we got a final render. Let's take a look at how we can add the final touches in pro shop, So let's start with less open up RGB color. And I would hate control J to making a copy of that, and I would convert it to a smart objects. Small objects of great if you need to update to render later are covered out in another lesson in the bonus section of the course. Let's start by adding the color balance. Now it's done. It's looking a little bit red, so I'll bring signs down to about minus 12. So that's looking good. And the good thing with eases laces. With that, we can turn them on and off, and we condemn late room. So it also had a levels and bring this in. So that should give it a bit more debt, also at a curve to give it a bit more depth. I like to add an S curve. It's already if you hold out and go to your first thing that you can see we're already making great progress. Next up Scrabble render Moss that we did and ended the last lesson. We'll drop that on top. This will make it easy for us to select different elements in the scene so you can grab the magic one tool. You can select certain areas. Just make sure your tolerances on a in contagious is off, so we in turn that off. We're gonna use that later on. It's the first. Describe our diffuse layer. If you feel less dragon, drop that on hit enter that would place the object. We can change this to a self light, and we'll bring it down to 50%. And if there's areas we don't need it, we can add a mask down here using the brush Children, making sure we're on black and white. We can right click and select a soft brush and making a bit smaller. Maybe about 2 50 and your see by painting in black, gradually painting out the diffuse your lamb. So let's paint out the floor. Have it and that I quite like it. Next stop process in debt by it. In the Iot past that we did in the last lesson who hit enter. I'll change that to multiply, and we bring that down to about 40% and you see that really gives a bit more depth and again along these edges. I don't really like it so we can use a mask and paint them out. Theo Pass really helps her grounding the objects. You can see that they're sitting a lot about now. Let's had a very light next, the right lighting. We're dragon. Drop that on. It's actually quite noisy. You shouldn't be so noisy. I think I had lower sayings on, but if it is weakened issues to fill our noise, reduced noise is just put on 10 45 25 he okay and we can put down to a soft light. Well, having about 10%. That looks pretty nice, and we do the same with the reflection. We're Dragon dropped their own in here, and so we'll put out on so flow again. We'll bring that down to about 55 and we can paint out the areas again that we don't want. So maybe the bed's got bit dark. It's less applied. A mask and using the bracket bonds on the keyboard, you can make your brush bigger and smaller and paint out the areas that you think may be too dark. I know at the speculum we're drag and drop that on in here and we'll put out on screen. I will put on about 58. That looks pretty nice. And next we can add some color lookups so you can just click on one of these inflict for I actually went through earlier, and I found a couple that I liked. Phil Stott was quite nice, so we can at that and put it on about 50%. We can add another color. Look up. This time it's add foggy night. Now put a few blues in, and we'll bring that down about 25%. There are a few areas I think are a bit too dark, so we can add an exposure. Tweak. Bring this up to about 55 maybe less point free, free and then used must point out some of the really bright areas. So for these cartons here, we get to use our render mask to use the magic war so used a magic wand and select by flame . By holding shift, we'll go back to the top and we're apply levels modifier. Then we can just move the middle one just brought him up a little bit, so we could probably do a background image in here. Nothing too major. Maybe just to be a sky. So we can do that by selecting. I met. Render mask again and selecting the window, turn it back off and go to the top of the stack and add a new layer. Then, in the color, we can select a blue sky, and we can use Grady into click and drag this added touch. It blew him, but actually press control T and scout up a little bit. We go back. So I ran the mask and using the Magic one to weaken. Select these areas and we can actually put a mask on to this and then using up brush. This time we use a hard brush. We'll bring the size down and using shifted click. So hold down, shift and click again, and it will draw a straight line. Now Jesus, self brush again just to paint out over the guns. So there's just a touch of it in there, and I'm probably just bring that down as well. So should we bring a bit more of that in over two cartons. So if we had eggs, that would change the brush to what? So then we can just paint it back in, so it's just a hint of sky ready. Now it's whole shift and selected layers and hit control J to make duplicate and then control eats, flatten it now, copy everything managed. Now put an image or Calderon. And if you help control shift F and you can actually just bring this back down, and I put it on about 50%. It's not suicide, but I don't like on trust on there now, right click in compared to a small object. Then, if you got to filter and camera roll filter, let's take a look at some of these. Camero sends a great and if we hit away, let's see what happens. That was very good. Those changes temperature to make it a bit cooler and bring the exposure up. Just a touch. When in contrast, down a little, bring the highlights up. Let's bring the shed eyes up. We'll bring some of the white Stam. Let's bring the blacks up and the clarity we can actually bring down and vibrant stand a little bit and he okay, One last thing. This area over here looks a bit over saturate to me. So if we use the magic one, we'll go back to Orender Mask and was selected level bed and back on top of the stack. They said, A color balance. Let's bring the science down to make you feel a little bit better. Okay, so there is. So if you hold a and click the background image, you see what we started with. So as you can see first, it was a very powerful tool, for I didn't fire realism to your images. It's now this guy to follow, say, that's we're going to a mushroom bedroom renders and they say, There's master bedroom and we know so far save eyes once that's complete and we'll choose J pic it saved. And then we have it as a final image 19. Bonus Lecture: 3D into Photography: Today I'm going to show you how you can add freely to photography and make any car advert in under ten minutes. Did you know a whole lot of advertising is actually 3D. Cgi isn't just the dinosaurs and spaceships anymore. 75 percent of the Ikea catalogue is free day. And they're even using a free influencer in their latest ad campaign. If you stick around to the end of this video, you'll be able to create any car as you want, grow your portfolio, and get a piece of that CGI advertising action. So the first thing I'm gonna do is fire out cosmos. And I'm going to bring in a vehicle, and I've already downloaded some so you can switch downloaded on here. And I'm going to add this electric car into our scene. And while I'm here, I'm gonna go to HDR hours. I'm also going to add a HDRI to light our scene. I'm also going to add a v right plane. And this is going to act as our ground. If I go to Render Settings, go to V Ray camera and I'm going to turn off my exposure and white balance on and go up here to start IPR. We can see that we already have a pretty nice looking car in here. So we already covered how to make full CGI images in the last video. This time we're going to look at how we can add freely to photography. Location is backdrop has been sent over by the client. If I press O on the keyboard, this is going to open our background set ends and go use file and load your image file, make sure match rendering viewport is on and apply it to active view. And you can hit Okay, in Windows file right-click on the image and go to properties, will be able to see the dimension. So it's 3000 by 1561. So we're going to want to change this in our Render Output. And this will avoid any distortion. And I'm going to lock that press Shift F time on safe frames. And you can see that if we change this viewport, That's the size of the image. So now let's add a camera. And we can add one quickly up here, just by clicking that. Thanks, flat O. And I'm going to crank that up to 65 just to add a bit more depth. And then using these controls in the bottom right, I can move our car around in the scene. So now I want to match the lightened up with our foe. And obviously we haven't had the opportunity to go and shoot a HDRI of this location. So I'm just going to open up the material browser, the select your life. You can move to texture, drag and drop it over into the Material Editor. And then in here, I'm going to replace the HDRI with our back play image. I'm just going to flip that horizontally as well. Okay, So options and make the backplane and visible and less run and interactive render. You can see the lions much more in line with our image. We can also add a background image. Again, let's use the image we downloaded as our background. And then we also want to select our VRA plane. And we went to China into shadow catcher. And that's going to make sure we get some shadows underneath the cuff. Say now's a good time to turn off the way white balance and the OECD, a V Ray camera and it's 10. These both off and let's select our camera. And a quick way to do that is just to click on the array camera and select camera. And I'm going to pump our ISO up to 1000, the spring, the f-stop down to see more in line with the image lighting. So now I want to add some headlights to it, turn on some lights. I'm going to turn show how mesh on. And then I've tried important is mesh and it comes through fascinated. So found if you add an Edit Poly and collapse or turbo smooth on top, that's the best way I've found. If anyone knows better way, I would be happy to hear it. Now, one gone this Edit Poly, we can see down here in polygon material IDs. Id1 is the pain. So each of these IDs is referencing a material in the material library and safer press M and eyedropper. The car is going to show us a multi sub material. And this is showing us all the different materials on the cup. So I'm just going to press P and zed zoom in and we can hide headlight. And then I'm going to select these bulbs now I don't know exactly how Tesla headlight set up, but I think something like this would be fine. And what I'm gonna do is make this material if Dane and I'm also going to do to bogs down here. I also do the other side as well. Set to 15. And then we can unhide all. So glass comes back on top in the material I'm going to add not all add 15. If I clear this and add a ray light material, we go back to our camera person C, from an interactive render. We should see these headlights. Now turn on. And there we go, That's cool. Just one thing I directly likened being pure white. So just going to click on color as the eyedropper and select a white from us sane. And you can see that that is not pure white. Something else that's cool, we can add is some bloom and glare now. And I'm going to turn on this lens effect enabled bloom and glare. And I quite like turning on lens sketches. That's a little bit of variation. You can see what's happening already here. And if we just crank up the intensity for a minute, we can see what's going on. And it's quite nice to rotate this. I kinda wanna make them look a little bit like light travels. And that's looking pretty cool. Now it doesn't need to be that intense. Going to bring that down to around here. And you can also play with the size. No, So rather than 90 eighties slides, because I read an article that over was going to have flying cars in the next couple of years or 40 might be worth making our cow add a flying car. I think we'll probably be making flying in our lifetime. So let's prepare. And I'm not gonna go too hard on the modelling, but I'm going to select all of the wheels and just roughly select those elements. And then using our de-select, why don't need and I'm going to detach detach just one of the wheels and its front one. And then with that front wheel selected, I'm just going to change into hierarchy effective sentence object. And then I'm just going to rotate around. And let's add a nightmare. Essentially changed that to a double-sided. Alright, so I'm going to pick a color from our scene again. And also crying. Like say you now let's lift this car off the ground. It's going to select everything, deselect light so we should get the car. And it's bringing up the ground a little bit. It would be cool if we could add some smoke and the will to create helper. And I'm going to get to atmospheric apparatus. And I'm going to build a cylinder. Is my, and again, kind of put it roughly around our, we'll center that will look cobe. And now I'm going to add a fire effect. And you can go back to our camera. Render series does. Well, you'll see that it's fireball effect underneath. We can click on it and I set up. And it will just start with not the environments in effect. And then I'm just going to again choose a green from our scene and just copy that over. See the smoke now becomes green. Nato VMO saturate. Let's draw again. And now I have maybe actually make their inner layer. And you can change the density in here and you can change the higher bit. So we get a bit more smoke coming through. Let's go. And then intensity. Yeah, it's pretty sweet as you're going to copy this color and put it in our lives well. And then I can select the wheel, cylinder and light, and group them and then move them into the same position as the wheels, basically replacing them. Smokey and instance. This code near the o road wheels that would press a on the keyboard and go into the environment and affects a fire effect. And it's only on gizmo. One side you pick is my should now have four in this drop down. And then when we render they should all have fire effect underneath. The next thing I wanna do is add someone in passengers see, sorry, in the back. And the thing this little guy like looking up for all is going on in its position, him in the back. And I think it'd be cool to have light coming in here to really highlight face. Let's create a main light. Now I'm going to make it targeted. Select that target. And that target onto this face. And this kind of code or this coming on top here. And I don't need to be too big. And that our work, I'm going to make this visible reflections that I want to reflect him in the car. And let's just crank this up and take it again from the same yeah, that looks pretty cool. I also want to bring him in as you get into layout. All right, that's looking pretty cool. Now to render the final, I'm going to add an AI. So you can just go to Add and an AI atmosphere and the noise. And then OSA in the frame buffer. Um, I've added a few other things I've adjusted to do and saturation. And it is so much time matt and I put down power. So now you can hit Render and I'll jump back in. When that's done. Then I've saved out our images as PNGs. And I'm just going to drag and drop in the noise version. And I'm just going to make a copy of that background and add a glazing and blur names like to know I can do is add a mask and just paint out areas that I don't want it separately around the flat brush. I'm gonna make another copy of this background. And I'm going to pull it to the top of our image. And now I want to blur this image as much as I can. Just crank that all the way up and this gimmick, unlike an average color. And if I then hold out and attach it to our car and put it on color, it's gonna kinda colorize our car to match the image. And I just find this because sit there in the same. So we can bring that down to about 20. And we prefer the IO on as well. And if you put it on multiply, find this just gives a bit more depth, some of them areas like in here. Then we'll contrast as well. My favorite possible it is Blab, and I'm gonna put down screen. See what that does. That just adds a really nice globes, these light gas at UK it make that more intense. And then obviously if you wanted to mask and paint out certain areas if they were too bright. And I'd like to add a small amount of fog as well. Say if we create a new layer, phil, Render Clouds of, let's make this black and white fast. Render clouds and put those on screen. There is selfie. And I'm actually going to paint out enjoying that. And finally, let's broaden the atmosphere. And I'll put ounce grain just to highlight those a little bit more. And that's to finish saying. So I hope you guys had families tutorial. Remember you don't need much crore, some great images just for AI techniques I showed you in this video. 20. Bonus Lecture: Fast Exteriors: Hi guys. I'm going to show you today how we can quickly proceed together using Chaos cosmos and the asset browser that comes built into latest version of V Ray. To begin, let's open up a new scene in 3ds Max. And the first thing we're gonna wanna do is create a light. So we can go to traditional way and go over here, but now we can actually use Cosmos browser. And I'm going to go to page DRIs and I've downloaded a few. So you can download them by clicking on one and hit download, and it will download. Once they've downloaded, you'll see a green button here that you can click to bring it into your scene. Also go down here and say show downloaded only. So I'm going to bring in this daytime and I'm going to bring into untitled scene. I'm also going to just make one big viewport so we can see what's going on. And next up, let's add a freemium model. So let's use a vehicle, one that I've downloaded, so this SUV. And is that car. And the next thing we're gonna wanna do is create a plane which is essentially is the same as a plane based infinite. So rather than just making a plane here and then rendering the V ray plane is actually infinite. So if we go down to p ray and add V right plane here, this is actually going to go off all the way to the horizon, which is going to help. So if we've got some and it's bouncing, it's only going to bounce on this plane. Whereas if we had an infinite plane like this is going to bounce and bounce light back up. Just a more effective way to add ground. And that's gonna go all the way to the horizon. So we can actually take a look at that if we run an interactive render That's really overexposed. So without adding a camera quick way just to turn on my exposure is the camera under our V Ray settings. And we'll go to 0 exposure. And we can see what our plane does. It goes all the way to the horizon. So as I'm moving around and we can see our car, and we can see that that HDR is doing a really nice job of light in our scene already. So we actually wanted to get some ground material on here. And rather than making it ourselves, we can now take advantage of the VRA material library browser. And if we go down to ground, and we'll add something like this. So I believe I've got the V ray plane selected. And tell that from here. And I'll right-click and apply to selected objects. And we can see that it's applied. Now let's take a look around is saying if I select the car and press said, and make sure we're in perspective view to pay, we can kinda zoom around the car and start looking for a nice angle. Say something like this looks kind of cool. We can add a camera now, so we'll go over to the Create panel. Camera, will go to V Ray and a physical camera. If we just click and drag and drop it anywhere, it doesn't really matter where. And then hit Control C. That's gonna move the camera into a viewport view. And then if I press C, you'll see in this top left that this VRA camera is now selected. So we're looking through that VRA camera and we can change our camera settings in here, but we're not going to look at that just yet. So now we want to populate the scene a little bit. I will open up cosmos browser, cosmos, cosmos. And we'll go to vegetation. And I think some rocks. So there's loads of stuff in here you can choose from, which is really handy again for like demo and scenes like this. If I put show downloaded only on, it's going to show you the ones I've downloaded, which I've already had a little play with it. So I'm going to bring in these two rooks and to our untitled scene. And we can even see them already coming in to the interactive view here. So I'm going to stop this while we kinda scattered these rocks around. Let's go to two views. And to change our viewport from four to two, we can actually right-click and go to View Layout tab and change that to to yours might already be opened over here. I close it because I don't think it warrants the space like I'll just open out when I use it. So let's go to our camera view here. And I'll press Shift F to turn on, just say frames. And we can see what's going on in our scene here. And we've got two rocks over here. And I'm going to pull them off saying, and what I'm gonna do is paint with them. So for this, we want to have our graphite toolbar open so you can go to Customize, show you, I, uh, make sure the ribbon is open and object paint is what we want. So click on that. And now let's let these two rocks. And we want to paint, we've selected objects, paint on. It's just have the grid cell is going to be the ground. I later on we'll go through how we can paint on two different objects and what a lot more this does. But you'll see now if I click, we can start clicking and paint in these rocks on. And obviously this is very uniform, so it's not ideal. But what we can do over here is start playing with some of the randomized sense. So fast if we put random on, this is going to randomize the scowl. And we want this I named Max now 110% down all the way down to 20 percent. And this is the rotation. So this is going to rotate our object around and again, like our space him. So we're just trying to randomize this a little bit more. And the spacing here, so it has to move. And if I turn the spacing up, you can see that's looking a little bit more realistic. And you can spread them out. And that's a really quick way to kind of get a bit of an environment going on. And then we can turn itself. And we can individually select these rocks and they're all different shapes and sizes. So if we actually run an interactive now, should see a lot more environment going on. And of course we can move these around individually to sour seem to have we want to show more of the car here. Now let's look at bringing in a tree and some foliage in. So open up cosmos. Think is Cosmos of cars. Cosmos. Cosmos. Cosmos will go to trees. And I'll bring this English, OK. And we'll just use this to frame All Card obeys and just have it kinda coming in on that corner. There are some really fun things you can do, like add melt modifies and then kind of animate the trees grown and stuff like that. But we can talk about at another time. And let's also bring in these junipers. This trace. It was a massive, I don't know if it's going to cause some shade. Let's take a look on the interactive render. So I'm going to scale that down a little bit. Maybe like 75. And I'm going to hide that for now so I can make selections a little bit easier. So these are free brushes. So I'm going to select those. I've got four, I've got a rock here as well, but that's fine. And I'll pull them over. So I'm kinda using this section over here just as a bit more of like a pallet of what we're going to paint with into our scene. And just keep things organized if I ever want to paint again with them, because these are all going to be randomized. These are kinda like our main objects. And so I've got my free brushes and we're going to paint, we've selected, and we're going to paint onto the grid. And we're away. And we were using the same spacing as we create with that rocks. So if we wanted to make some bigger Bush's we can do. That's looking pretty cool. Now, I'm just going to kind of organize our scene a little bit better. Like person bushes in the foreground. And I'm just holding Shift and rotation to make a copy of that. And have that dare. And also scale one in the foreground there. And obviously you can go to town like you could add some of these smaller plants and there's even like little stones that would go nicely behind the car. Then you Aedes unhide all. So we can see our tree and running the interactive render. So if you are interactive rendering and you want to move into the top, you're going to notice that will go into top view in interactive render. So quick way to solve that is in the render settings. You can look the camera to that view to render. I want to go to the top view is still rendering our people. Alright, and I want to tighten up some of this scene. Perri, make some of the rocks bigger. And we can do in the VRA camera, if you select it, is showed a horizon line. So that black line there is this horizon line and that's kind of a bit of a giveaway. It's not going to be dead straight. So because he kinda made the rocks bigger for that horizon line. And also remove some of these bushes. They're kind of hiding the car, slip this lab. How now how these let the camera and then holding Shift copy of this rock over here, and then we scale it up. Finally, we can take a look in this frame buffer. Let's add an exposure. And I'm just going to pull down that highlight burn. And you can see like we bring him back more of this guy, which is nice. We can up the contrast a bit because they're highlight band does take away some of our contrast. Starting to look nice, we can turn on this lens effect. So if we enabled a bloom and layer, you can go into this, but I think the defaults look nice as nice little bit of glare on that on the back of the car. And yeah, you can play in here and you could add a vignette to the camera as well in the camera settings. Maybe put a saturation down, a touch. And these filmic time maps are really cool as well. So perhaps per power curve on there, I quite like that one. And you can kind of flip them on and off to see what each one's Dan. But I think that is looking kind of cool if you didn't want to render the final render. So we've just been using interactive this whole time and it looks pretty nice. But I would recommend in the render settings, if you go over to the render elements and add a V raiding noisy, you'll see currently like de-noise or is unavailable. So every stop this render, render like a production render, just let that run. You can also change the size, so this is only 640 by four A0, but you can change that under common. And there's an area like put HD or something. But what this is going to do is progressively render. And then that's going to de-noise as well. Ba, you can see that the noise in this early stage is gonna kinda make it look a bit blurry. But you can always turn it on and off or bring down the opacity on it. So really, really quickly they're put together quite a nice scene. So I look forward to seeing what you guys can do with that. 21. 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. 22. Bonus Lecture: 4 V-Ray Frame Buffer Tools in 3ds Max: Here are four excellent tools in the B re-frame buffer that you don't want to miss. So number one is depth fulfilled in our frame buffer? Turn on that fulfilled, and we can start an interactive render. Now for depth of field, you want to tell the camera what you want to be in focus. And you could do that manually in the viewport, or you could use Alt click and let V Ray work out for you. So I'm holding out. And if I click at the back here on these dials, you'll see that that area is now in focus and here is all blurred. And if I click on, let's say, this doll at the front, you'll see that this is all in focus and it's blooded a back. Now, if you want to increase or decrease the blur amount, the thing that controls this is the f-stop number. So the load is goes the more blurry the image will be. Say if we turn this down to four, we're going to see that the image gets blurrier. They also gets brighter. So you could manually try to adjust the ISO or the shutter speed to compensate for this. Or again, you can let me re due to hard work for you. In the eraser ends. We can just turn on or exposure. So now we can see that that is really blurry. And that's how we can really quickly control the depth of field within the frame buffer. Next up is bloom and glare. And just by turning that on, the lens effects, that's going to look pretty sweet. But there's so much more here that you can do. You can turn it on and off using this eyeball, the size and the intensity do exactly as they say. And the bloom is blends, the glares alert is goes, you're going to start seeing these streaks. But what's really cool is down here in the aperture shape, we can turn on peripheral grading. And this is a real-world lens effect. And you can control the settings in this length down here, so you don't want to pump out too much, but you can see what that's doing. And I'm also a big fan of the lens scratches. So if we turn that on, you can see what it's doing and we don't have to stick with that. You can actually change the patterns here. So stripes is pretty cool. And you've got square and hexagon and you can change the density here. And just like the lens scratches, you've also got lens dust, and that just adds some dust to the lens. And you can also change the pattern here so you don't have to stick to the standard bloom and glare. You can customizing it some really nice effects. And did you know you could actually do your composite in within the v re frame buffer. So I've already added a couple of elements and rendered out this image using bucket as the crypto Matt will only work with a bucket render. So if we go into source and we go to composite, we can start adding our render elements as we would in Photoshop. So we've got the RGB color on the bottom. And then I'm going to add a number render abdomen. And we can choose our V Ray ambient occlusion, which we can change this to multiply. So normally I go into Photoshop and add this. But you can see we can just add it in frame buffer now. And we can do the same with a reflection unless choose to be a reflection. And if a turn that on and off, you can see what's happening on this desk. And what's really great about this is that if we move the headphones, for example, this is organ update as well. And we can use masks as well. If you want to use mass, I can first shot we have to render a Crypto Map render element if we go to our composite and let's just add a color balance, for example. We can just crank that up to read and see that it's making the whole image read. But we can actually use this Crypto Map mask. If we click on pick and we pick the object, we want to change the color of. We can see that somebody's headphones have gone red. And you can actually turn on Show Preview when selected. And then we could add, say a number, hue and saturation. And again at the Crypto Map mask and pick this. Then in the properties we could pump up that saturation. We can even change the hue and make it whatever color we want. 23. Bonus Lecture: Camera Mapping in 3ds Max: Want to make your visuals and Papa owes him money, colleague. Or today I'm gonna show you the techniques to do just that. The first thing we're going to need is a back plate. So I grab this one off of Canvas and we can hit O to open up our viewport configuration in here, let's choose File and let's load up our image. We hit Apply to active view. We can see that it's now in our viewport and we can hit, Okay, let's just quickly change our render output. It's an HD because I know that this image is HD, which is 1920 by 1080. And if I hit Shift F, It's going to show us say friends. So that's all in proportion. Now we're going to need a boat, cosmos. Here's the yacht, bring that in. I'm going to roughly line this up and this bone a little bit smaller than this one. So just keep that in mind. The scaling is not going to look exactly right, but for the sake of this example, it should be fine. Add a, B or a physical camera, change the focal length to 18. As I saw in photo information that the focal length was 18. And let's zoom in. And when trying to line this up, show horizon line is also really useful tool. So you can see this black line. Now of course here what we wanna do is line our horizon, line up with horizon of our image. Something that we need to do is go to the front view. So press F on the keyboard and the boat's actually grounded from the lowest point. Don't actually want we want it to sit in the water. You see in the left view. So where that black line is, is where the borderline obese. All right, so now we're going to need some light. So lets just grab one from the chaos cosmos and just make sure they're roughly resembles our image. So I'm just going to bring this m being dome light we have locked to texture on. And this will mean when we rotate our light, the sun will rotate with it. So now if I run an interactive render and I start rotating our light, we can see that the sun is moving and you can see from the shadows in our image, the light is kinda coming from behind the boat. So I think somewhere around 120 in the zed is going to look about right? And now for some magic, which is camera mapping. So think of it as the camera has a built-in projector at a b ray plane from what we're gonna do is to project some water onto this plane to give the boat something to reflect. So I'm going to quickly hide our boat. And I'm just going to create a clear. And if you've watched any of the earlier videos, you will know exactly what it is transformed toolbox is. And what I'm gonna do is open up the material at Earth's I M on the keyboard and I'm going to make a very quick chrome material and apply that to our sphere. And I'm going to make another, just be reading material and just make sure it is. It's like a mid gray. And in the diffuse this meat grain material, I'm going to add a map and it's under general. And it's good the camera map per pixel. So let's add that. And for camera, we want to add our camera so we can select it, the camera and select our camera. We'll jump back in pregnancy. And for texture, we're going to load up our bitmap of our background image. And let's apply yes to the right plane. And we'll run our interactive render again. Come now we can see that we have this projected onto this plane, but I'm just going to turn on or exposure sound the V Ray camera, I'm just going to turn on exposure. Okay, so we can see if we go to our camera, that the image looks correct. But if we move to perspective and start moving around, we can actually see the image is actually mapped from our camera. So everything else will get the steward. We can delete our sphere and we can unhide of boat. And let's run the interactive render. There's a couple of materials that I want to change. What we can do, pressing M on the keyboard to open up my material editor. And let's open up the video material browser. And in the glass, I want to replace our current glass who'd like a tin with black gas? And say this one for example, if I select a new slot and use the eyedropper tool and select our boat. We're going to see all the materials in a multi sub. I can see that we have a clear glass material here. So I'm just gonna drag and drop this black glass into that slot. And that's just going to replace all our glass with the black 10 eat glass. And so I want to replace this white material with this car paint. Flakes white will look good, and there's also the chrome on the anchor. So let's go to Mel, weathered metal material. We'll call, we'll put it over Chrome and let's run our interactive again. I don't really like this black material being by the anchor as well. So what I'm gonna do is grab that white car paint and just drag and drop that over the black material. And that should make this white paint. And before we render, I'm just going to add a couple of render elements that are going to help us out in the post-production Render Settings. Go to run the elements and I'm going to add a v, right? Which is ambient occlusion. I'm going to add a reflection I want to color and we can also edit the noise there as well. And I'll hit Okay, Sing else. We can have a quick look at before we render our layers over here. So what we can do is add a background and in here, load up your texture so we can actually see the background. What was also useful is you can click on foreground. You can kind of switch between the two to see how they line up boat looks a little bit more green from the reflections. A really quick way to sort that out would be to add our white balance, add a very slight green tint. But again, a saint we can read do in Photoshop. So all that's left to do now is hit Render. And we'll save Audi separate render elements as PNGs. And then over in phase shop, I've got background open and I'm just going to drag and drop our effect results on top with the spot healing tool. And we'll use that as best we can. So I'm gonna go back to our back plate and just work out somebody's areas and see what Photoshop can do about removing them so they can do a pretty good job. But we're also going to need to use the clone stamp, which means we can just hold Alt, select certain areas and just brush them out. And it will say down here, it's quite good when you got to her. And what horizon is also quite good when you go ahead and help. It's also quite good when you've got a horizon and you can hold O and select on the horizon line and just move that across there. So, so bring on this wire color. And I'm gonna select that fear, a plane that we put in. And let's add a mask and Control I to invert that mask. So what that's done is get rid of that shadow. And then we can use a soft brush not too big, and just paint in some of these waves and you can press X to like bring back seven sections. Might also want to try the splatter brush. Things could be quite small. Spend some time on this and spend a lot more time on it. Then that something else that I find useful to do is grab that background Control J and just bring it to the top. And I am going to fill up and glacier on blur, lazy on Gausian. Gaussian Blur. Just pumped out to 1000. And we're going to do is kinda like average out the color. But down to color. And holding O, apply it only to our yoga. So it's just kinda added a color tin and just bring dance like 10 percent. And finally, let's add the AO since the ambient occlusion is just going to add some depth, put it on multiply. And we're also holding Control. And I'm just going to still the mass from your layout and apply that. And finally, there's Fred reflections on you want to crank them up and we'll do same. Grab the Mask using control from below. And I'm just gonna put down to like a soft line. We'll just have down by 50% 24. Bonus Lecture: Edge Distress Workflow In 3ds Max: Today I'm going to show you how you can distress edges of materials with him for 3ds, Max cleanse curvature is a mixed maps. What does it all mean and how does that help you become better freedom, as you're about to find out? We're going to start in a studio scene. And all I've done is bring in a piece of furniture from Cass cosmos and zoom in to a section. So you can really see this effect in action. So distressing worse idea is you get an object, you paint it, and then you sand off the edges and it comes out with this distressed look. And we're going to use materials to do this. So let's open up our material at just press M on the keyboard. And I'm just going to use the eye dropper to grab the material that's currently on our object. And this is the word we're gonna be focusing on. So what I'm gonna do is just grab all of those hold shift and make a copy. And let's plug this copy into multi sub. And I want to make this look painted. I'm just going to add a color correction. Plug that into our diffuse. And in the color correction, Let's just change the color. What was I going to make it a little bit lighter than the Gamma. And we can see we have kind of painted this object. But now we want to show the original material underneath. So for this we're going to use a blend material. So if I right-click materials, be ray and be re blend, lets plug our original word into the base and he instance. And we're going to put our blue word int 1. And if we take a look at this material, we can see that it's a 5050 blend of the two materials together. And the reason for this is it's blending based on this color. So if I make it all the way black is going to be the original color. If I make it all the way, white is going to be this blue color, but I'm going to put that on Black. And I'm actually going to use a map in here. It's going to be a general and it'll be a bitmap. And I'm going to use this distress texture, which looks something like this. You could also use a procedure if you wanted. And now we have that in our blend amount. Let's plug that into a multi-cell here, interactive render. And we can see that now we have the distress showing fruit. And we can customize some more if we want more distress than we can up the tiling so we can put it onto. Or if you wanted to stretch out the distress, you can put it on one and then two, and it's going to stretch. So that's cool. But we want to dictate where distresses happen in, and this is usually going to be on the edges. And in previous videos we've used data channels and additional plug-ins, but I believe the method I'm about to show you is probably the best yet. For this, we're going to use a VRA curvature map. This texture is similar to the V rate depth map and he's really useful for detecting mesh curvature. So we can right-click in the sleigh Edit and go to V Ray and V Ray curvature. And if we plug this into the blend amount instead and run an interactive, we should now see the blue coming through on the edges. So we actually want these the other way round back in our Material Editor. If we drag and drop this, the blue word onto the other word, we can hit Swap and it's going to swap them over. So let's take a look at this curvature map. We can turn the output color up to five. And that's going to make the word come through even more. And if we want to tighten this up, we can use the scale. So if we bring the scale down to the same 0.1, going to be really tight on the edges. So playing with these two settings is how we can dictate where distress will be. So you can play with these and play with the scale. So there's put on point to this curvature map is based on the model. So if you go really big or really small model, you're going to have to play with these settings a little bit. So that's cool. We have our edge is mapped using the curvature and we have our distress dictating the distress. But now we need to mix the two. And we can do this for a mix map, a mixed map. Let's right-click a map, a general and choose mix. And if we plug the mix into the blend amount, you'll see that we have black and white. Black is going to be blue. And if I put out all the way to 100, this is then going to become the base word. So if we actually plug in our curvature to the mix amount, which is here, we'll see is acting exactly the same as before. But now for the magic, if we plug in our distress map, we can see that is going to change slightly. But what we need to be aware of is that black is not going to show and white will show. So we actually need to invert this map. An easy way to do that is just inside the map. And we'll r, we now have the distressed effect only affecting the edges of our object. So you can see it's slightly here, but we're going to want to pump it up. So we can definitely add more repeats to add more distress sections. And we can also customize the curvature. So we could bring the scale up to 0.5 for instance. And you can crank up the max output color. So just have a plane here, see what you come up with. 25. 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. 26. 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. 27. Bonus Lecture: 4 Quick Tips To Increase Photo Realism with 3ds Max and V-Ray: Today you will learn a few more tips to increase the realism in your 3D renders. I will read them. I'm with V rated for 3ds Max, but most of these tips are going to apply to any software partner. Reason that Friday is getting more and more realistic every year is due to more computing power. So everything in freedom is made up of polygons. And the more computer power means we can render more polygons than ever before. More polygons may more details and more details make more realistic, objective. Years ago, organic objects such as trees, plants, flowers, pillars, and fabrics were really hard to make it look realistic because we had so few polys The play with, but now we have more than enough to make things look as real as real life. So taking a look at our scene, a tree and I'll say in is really adding to the realism of our image because these are organic objects. So we can always add and are used to place toads put out on top of a table. This for as well, we soften up our image. And this is going to require a bit more than just painting on the table. And you can always add an FFT modifier to this. It just quickly shape it. And luckily we can't see on that. So for both we work with, we spent a bit more time on this, or you could create your own cloth and use the cutoff modifier. So what we can do is add a pillow. And I'm actually going to import this as a mesh because I'm going to add the cloth modified to it. So let's select our editable mesh version. I'm going to delete this other one. And I'm going to move that just above our sofa. If you hold out and right-click, you can change to local. Now when I rotate is going to rotate locally. And if I add a cloth modifier to this, all right, So the object properties. And we want to make this objective cloth, and we'll just use the column preset. And we're going to add another object. And that object is going to be the sofa. And we want to tell for 3ds Max that this sofa is going to be a collision object. And we'll hit, Okay. And now we can hit simulate. And you can find a nice position for that in the simulation. Once you find what you want, you can set and it will stay and arrays and simulation. And now that pillows in position. And I just find that this works a little bit nicer than just positioning the pillow with the move axis. And so here's our same move. A few more organic objects added. Keeping things RU is important if you want to make your images look real. And these guys for lights, materials and cameras. And the closer to reality to our virtual world is, the more realistic it's going to seem. And this is why it's a good idea to keep materials on real-world scout. And you'll notice whenever you create an object, you're going to have real-world maps size on that. So if you have that ticked on and you apply material, then it's going to shop at real-world scale. And the same goes if you have a UVW map and you turn on real-world scowl is going to come in and real-world scout, so you don't need to mess around with your uvw maps. So this is a really good habit to get into as you're gonna save loads of time by just keeping everything real world. And it's also going to make your images more realistic. So what real world means is in here we have our coordinate, so we've got real world scowl on. And it's 100 centimeters by 100 centimeters. And what that means is, we're telling for yes Max that this image we've input is 100 centimeters by 100 centimeters and that's going to reflect in our sink. And this goes for models as well. If you bring an object in and it's not to scale, and you just bring it in and start trying to overlay the chances are you're not going to get it dead on. And these are the kind of things that are gonna give away your images as free day. 28. Bonus Lecture: An Introduction to Generative Capabilities in Photoshop: This is a big one and if it's not in Photoshop yet, then you can go two Creative Cloud and go to beta apps and download the Beta and then open it up. By the time you're watching this, it might be in Photoshop. So let's talk about Generative fill in Photoshop. So let's demonstrate what this can do. We can extend the size of the image. And then if we select this empty area, we need generated 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 some of the prompts. Me select an area, and we'll go degenerate if feel. 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 don't actually liked 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? But 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. The lighting looks good. That works for me. That's great. Now let's try a few other bits. Let's try an 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 gonna 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 change the door to read. This is definitely a tool you need to be aware of and start to use 29. 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. In this tool uses the power of Augmented Reality to overlay 3D models onto the real-world. Let's head over to Sketchfab and grabbed the Pokemon we want to use, go to the search and switch on downloadable and animate it. We have to grab a peak to the GLB format is ideal for WebXR Tools, but also grab a mu because it's my favorite Pokemon. And finally, the dude that is GOD. Now that we've got our models, we need to select the cards. And I know many of you probably got fossil, jungle and base set. We're going to use fossil DID and a newer full mu V. And I've known this before, but I'm sure these are pretty much the same artwork. So let's use base set, Peggy, cheers. When it comes to markers, it might be tempting to grab a high-res image from the Internet. But if you actually take a photo of the card you're going to use, your camera is going to recognize it more easily. And after all, that makes sense is this is gonna be the actual marker. So it took photos of all the cards and a crop them up in Photoshop. And I saved image JPEG files. As simple as that. Stay with me. And now for the Fun part with older models and markers ready, it's time to bring this altogether with AR, creating, Augmented Reality is simpler than you might think. And today we're gonna be using WebXR Tools. And this is by far the easiest way I've found to do this is completely free and doesn't require any coding. Hit register and you can create an account. And once you've registered and you'll come to a page like this. So let's go to Create Project Web AR is what we're gonna be using today. Alright, so let's name this one geo dude fossil. And let's head over to the rear camera and we want to use Image market tracking. In here we can navigate using our mouse. We can see we have a marker, which is this purple image. And then we've got a 3D model, which is this XOR. And I'm gonna go to Image marker. Now I'm going to load up our GOD card. Then we can select that, select the asset. And we can see how card is now in here. Now we can select the model and then load up our GI dude modal. Hit Select asset. Just like that there is. So we're going to want to move them around a bit. Let's rotate him 90 MEX and maybe even like ten in the Y, just to straighten them up a little bit. We can use these tools over here for 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 that 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 course. 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 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. So 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 al 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. 30. 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 arc 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 PT 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, you know 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 scala 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. And 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've 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. 31. 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 Freed 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 too. 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 meshy 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, this is the free model, we're going to use the 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 later 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 want 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 Mo 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, and 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 him 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. Less 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 it 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 gim. 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 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 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 some on the table. Just looking at steam, we need to get rid of that bit. I mean, 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. You've got some really cool features in here and this accent I, I really like really makes the images pop. You've got a lot of super sharp magic lighting. We can 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, so this is what we had and now we have our chef in our scene. 32. 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.