How to model/render a photorealistic living in 3ds max/Vray for interior designers

1. Intro to how to model a realistic living: Everyone. My name is Urea and I worked as an interior designer for more than ten years. I'm using Pre DS, Max and VA to create my project renders. And I would like to share with you my experience, especially the process of obtaining the photo realism in our renders, and also the experience of creating real interior projects. This course was created for interior designers, especially for those who are at their start and seek a working method in how to obtain photo realism for their renders. Like a step by step practice of recreating a part of a real interior project, a modern living using Preds max. And this course will follow real project orders so we can simulate the working process of a real interior designer. The main questions that usually appear when interior designers aim to obtain photo realism in their renders are linked to approaching details as much as possible. To how they look in renders compared to reality. The way how real finished materials are applied and arranged in real life and how close we simulate that in our images is one of the main factors that influence the appearance of realism we try to obtain. That's why we'll focus mainly on enhancing details to obtain desired photo realism. What is this course about? First, we will start with the main finished materials that are present almost in every interior project. Like tiles for example, we will analyze how we can adjust their settings so we can obtain real tiles appearance. Next, we will analyze floor finish like wood and the way how to obtain real wood structure and random bump and glossiness. Wood will be used not only for our floors, but we will use it for decorative wood panels and elements that are linked to modern style. We will need medium density fiber board, what we call MDF board for our furniture. First, we will use our plans to model with exact dimensions, them using Chamford edges. This will increase our realism and we will also learn how to adjust furniture settings, although it's a lot easier to use standard settings. But we will use advanced settings to simulate a more realistic appearance of that material. After we finish with the hard surfaces that are more common to construction, part of the interior project, we will pass to soft finishes like fabrics. We will start, of course, with the curtains. They are present in every interior as someone said, curtains dresses the room and they will fill the whole interior with the warm touch of a home comfort, as well as of the fabrics that are present in our project. And the main focus must be on enhancing the realistic appearance. So we can show visually in our renders that the warm home effect is present. Usually when beginners don't increase their realism, the images look cold and crude, Not refined, but an inferior designer's goal is to create that warm home comfort effect, a place where we desire to find ourselves. We will start by the way. We will do this for every material, not only for the fabrics with simple tests where we will upgrade the material appearance so we can understand the main principle, how we can adjust and reach that advanced look. All the textures, Fred models and materials that we use in this scene will be attached so you can follow along. For example, for fabrics, I will attach a pro Similes fabrics library I'm using for my interior projects. And you will be able to change and adjust any texture with the same realistic appearance, depending what colors you use for a specific future project. Of course, we cannot forget about our sofa. We will use velo material. First, we will create a test to create that advanced material. Understand how we can control the velo appearance effect after we will apply it on our model, in our project. And we will adjust it as a final touch to obtain the desired deepness for our effect further, although it's a part of construction and in real remodeling process is done in the first stages, we will model our ceiling. We will model it in the end so we can easy navigate through our scene. We will use ready plants and exact dimensions and we will use for this project magnetic light tracks light. By the way, it's health of realism in our images. We have to adjust our lights as close as possible to reality and interior standards. So we can obtain a very close simulation of that same light appearance. In other words, same as they would look like in our real interior. We will use our under tools to adjust and finally, to check every light apart. By the way, this is a big problem for beginners. They don't control usually all the intensities according to their hierarchy overall position. Thus, the light issues are brought in front because of the unnatural contrast we obtain. And in that way, we can lose our realistic effect no matter if our materials are set right, light and materials must be in a balance. And finally, we will analyze our render settings and post production in Photoshop. To gain a pro level in interior design, we have to complete at least one time a real interior project in order to obtain experience of how to act from the start to the end. And it's a lot easier to force that technical level using a ready structured example. 2. Meeting with the clients phase: First stage of any project, it's about meeting with the client and finding out what we, as interior designers, must do. Further, I'll stop too much to talk about the first stages of our plan. Still I would like to point out a few things before we start our project, so we can understand what we are doing and why we talk about an old house. It was a project that I've done not so long ago. Clients wanted remodeling, so you can see that even some walls are not quite perfect. I mean, the walls lines in different rooms, although we will talk only about the living part. These are the dimensions I'll attach, by the way, the dimensions, so you can follow along on stop as well to recreate the walls in that way. This course will just take too much time. In this course, I would like to focus mainly on Prides Max and V Ray part or we can say how we can create the interior project image part. Mainly how we can obtain realism step by step. And of course, if you will follow along and repeat this whole process, this material should help you increase your interior skills. We discussed with the clients that we will use modern style for this project. We will use as well wood texture to create a warm home effect. And colors will be as well in brown and base tones. Shortly, we also talked about the level of complexity. This is very important when you appreciate with the clients your work volume, deadlines and other details. These are as important practical parts when we begin our projects. But the last thing I would like to show was the sketch. This was also done during our meeting in a rough form, just to set some anchor points in what direction we should work. So let's begin with the freed modeling and we will begin to raise our walls. 3. Using sketch to raise the interior walls: Let's talk about walls when we appreciate the starting points with the clients and we understand what we have to do. Of course, some changes may occur after we show our images, and this is something normal. We have to draw our exact sketch and use it to raise our walls. I'll attach, by the way, a DWG file with the walls so you can download it and follow a. In this case, we recreate a ready project and as I said, our main focus in this course is to understand how we can obtain a realistic image and how we use Preds, Max and VA instruments. But even when we begin an absolutely new project, we still maintain this order. Everything always begins with a sketch. And a lot underestimate this first stage, which by the way, we discuss first with our clients proposal of our feature steps. But the shortest way to obtain a good design is about obtaining a good proportion from two D. When you raise your volumes, it will look good in three D as well. I know this is true mostly for beginners when they hurry to get quickly to install and adjust lights and combine textures. And it seems to be the most interesting part of any design project. But you can't skip the gray stages. I know they seem not so interesting. Everyone wants to feel as a decision maker in a design project, but the professional approach, it's about the scale and proportion. And this is done at the sketch part. And only this will create, as I said, a good design. Proportion will be like the bones of your overall design. Okay, let's get to our plans. These are our plans. These are the dimensions. This is the floor plan. We will use borders, 200 millimeter width. First, let's get to max and raise our walls. I'll create a copy. I'll delete these details for now. We will need only the walls. Let's use stream. First of all, I would like to say that we will have to model all our balls so we can simulate the real light appearance for our interior light must be simulated as in reality. Only then it will look very realistic. I'll use extrude. We have 2,800 millimeters height. I'll use a white Vira material. By the way, you can see that the materials are already set. I had already accomplished this project, and I'm repeating it from the start. One more time, I'll put the walls back on our sketch. Although it's a floor plan, our sketch will appear a bit later. Now, we will have to check the flipped polygons as you see in the DWG process. When we create our project or our sketch, we may have to surfaces and we must delete them. We don't get artifacts in our renders and we must check for that. Also, we will check for unflipped polygons. As I said, I'll use flip for surfaces that connects with our living. As I said, light is coming from different directions and we have to create a correct distribution, correct light distribution. I'm using connect to create windows and doors. I found it to be the most correct and the most clean method. You can use it as well. In this case, in our living, we have a window, a big window. The height will be 2,000 millimeters. And for the surfaces, after we use flip, we will use bridge so we can connect them. In this case, the mesh will be clean. The same process for the doors. By the way, we appreciated that. We will have no doors, we will have just door portals. We'll create them a bit later. Same height, 2000 millimetres. We use bridge. You may ask why we model these doors. This is very important for our light situation. All the doors will have the height of 2000 millimetres. The entrance door as well, we have to flip this polygon. We will use connect with two segments. Here we will set 900 millimeters. Same thing, we will use bridge. These are our walls. Next we will get to the floor. 4. Creating our floor using Floor generator: Let's talk about our floor. If we seek to obtain the photo realism in our images, we have to recreate the same details from reality for our floors. We will talk about materials a bit later. But first, let's take a look at our floor. This is our floor plan. We will use wood and we will also use borders made from tiles. They will be 200 millimeters wide. Okay, let's get to max. Let's try to model our floor. First of all, I will make a copy. We will use that unnecessary details that we talked about in the previous lessons. Here we will have our wood in the center. I'll create a rectangle for every part. We will use floor generator. I'll select them all. I will put them apart for a bit. I'll convert them to edutableplants, and we will apply floor generator. Now let's talk about the settings of our flow generator. In our case, we have the wood dimensions 1,200 by 200. I'll use a 35% offset. This seems to be the most pleasant look for our wood planks. I will use a bavel of 1 millimeter and an extrude of 8 millimeters and we have to set our grout. 1 millimeter will be enough so we can imitate or simulate our wood planks grout. I'll copy the same settings for the second and third floor. Here we have to rotate our direction. We will talk about the materials a bit later, as I said. Now let's talk about our tiles. Let's create the contour for our tiles. And this will be the most fast way to model them. I'll move our floor plan and I'll attach these pieces so we can use floor generator on an interior contour. Sometimes it jumps. Now let's set our tiles. Our tiles will be 1,200 millimeters by 600. I'll reset to 0% the offset probably we will change that direction 90 degrees. We cannot say for sure where will be the starting point. We have too much corners still. We have to find, let's use this corner for example. We also have to take into account how the materials will be applied and how they will be cut. I'll continue the tasks under the window. Let's use refine to at some points. Oh, snap. And one more point for the exterior part. Same thing here. That's it. This is our floor. 5. Creating the main sketch: Next let's get to our sketch. This is our sketch. As I said, we have to reconstruct this sketch exactly. The sketch is like a business card or a visit card that you give to your client and it's like a rough appreciation of what you will be doing in the future. It's the first stage of first phase where you and the client decide the direction of any project first, we always draw a rough sketch by hand. When we first meet with our client, it must set the basics. And after that, we will have to present to our client a detailed in dimension sketch so he can understand and perceive visually the proportions and the scale of our future design. Let's get to Max. First of all, we have some details from arcade. I'll remove for now the floor plan. And I will set the sketch under our walls. These will be our wood panels. We will have lights in the middle of our panels. Now let's create a copy. And we will try to model that wood panels. By the way, you can check the dimensions here. I'll attach the plans so you can follow along. We will use these two textures as well a bit later for our panels. As you can see, we have 2,800 millimeters, our overall height. We have 200 millimeters our ceiling, and these panels will be 2,600 millimeters. I'll create a copy of our sketch. It's a lot easier to model, and then we will drag them on our main sketch. I'll create a box. As I said, we have 2,600 meters. I will convert them to poly. We will have to create the middle part where we will set our lights. I'll use chamfer so we can set our middle part. And I will use with local normal, 5 millimeters will be enough. I think our wood panel will have two pieces connected. Now let's use ring set here as well a middle part. I'll reset the selection from unnecessary polygons. As well From the down part. Then same thing, less use extrude. We are more interested in the front parts of our wood panels. Every element should have a chamfer so he can interact correctly with light. Usually, I do set around 678 segments. It depends, but it will be enough. Our corners will interact with light and create a more realistic appearance of our wood panel. When we finish our panel, we will copy. I'll set two copies. Now let's talk about the middle part of the part between our wood panels. I'll create one more copy. So it's a lot easier to model them. I found it to be a lot easier to model them using lines. I'll create an element and I will copy it before that. Let's use as well for these elements so they can interact correctly with light. I'll delete those parts. We will adjust a bit our elements, I'll attach them so we can obtain one element. I'll delete these and we will use free form deformation modifier so we can bring it just exactly on our line. Let's set the element on our sketch. And we will use the same height as our wood panels. Yeah, and I'll copy one more time. Let's select them all. I'll group so they don't jump. And I will set them on our main sketch. That's it. Let's get further. 6. Creating wall shelves using real dimensions: Next we'll model our first piece of furniture. I'll attach a DWG file so we can follow along. You can use the plants as well if you prefer. But as I said in this course I would like to focus on image or prides Max and V a part and not on modeling despite the fact that we will have to model before we get to our desired stage, the light textures and render part or what we call the design part. Let's get to Max. We will model this part, this furniture part. You can use the plants, as I said, or you can use the DWG file as you prefer. Our elements will have 300 by 400 millimeters and the doors will use MDF board, usually 24 millimeters wide. By the way, you can use Chamfer as a modifier, but I will use, in this example, chamfer boxes. Let's set the upper part in the down part. Now the side parts. We will adjust the details Cher a bit later. Here we have two pieces, all use instance. All four pieces will be the same. Again, let's copy using instance. Sure. In our back part, usually it's not so wide as it is not seen and we will have elements above it. As I said, our doors will be 24 millimeters wide. Usually, this is the width of MDF board. It depends, there are more wider, but for this furniture, I think we can use 24 millimeters. It will be enough. Let's model the last elements. Now let's try to chamfer or elements. As I said, you can use 67 segments. It will be okay. It depends what we are modeling. We use the instance for our elements, so we can input those segments only for one element, and the other will change as well. Let's select our furniture. I'll create a copy. Simple copy. This part, by the way, should be on one line still. I would like to drag it a bit up. Now let's set our furnitia in its place above our sketch. Rotate. I think it will be a lot easier using a line. We will use maximum. In this case, we will use X on Hive. We will set our furniture in its place, old group, our wood panels, and we will use this element. Our back part was moved 5 millimeters, so we will have to move this part as well, a bit. That in part it's a bit wider, so we will have to double our element. I'll create an additional box so we can understand where our width ends. I'll delete these parts, and no snap that element here, and we don't need those parts as well. I'll attach. Let's move first, let's change the pivot point. It's a lot easier to work with it. Let's delete that polygons. We will use a free form deformation, so we can drag a bit to close that gap. This is our first piece of furniture. Next we'll get to the second one. 7. Creating TV furniture using real dimensions: Let's talk about the second part of our furniture. First, let's take a look at furniture plans. I'll attach them by the way, so you can follow along. We can say that the fern is made of four pieces and two of them mirror themselves. We will begin with the lower part. I think this will be easier so we can have some base where we can install all our pieces. Our fern is made as well of MDF board 24 millimeter wide. And as you can see on the final image, when we pass a bit later to materials, we will try to recreate a more realistic appearance of our furane using some advanced settings. Okay, let's get to Max and let's try to recreate this lower part. These are the plans, I'll attach them as well. As you can see we left some space for the curtains and for the door portals. 200 millimeters and I'll try to measure our height will be as well, 200 millimeters. Let's start with the rectangle. I'll use on 200 millimeters so we can create the main part. ' I'll snap it to the plan so it's a lot easier to find the sections or the dividing parts. Let's use connect. Look, we have the middle part as well. Let's use connect. As you can see we have 30 millimetres from both sides, so Wible use inset. Inset by polygon. Using 30 millimeters here we will have to change a bit, so we can obtain only 30 and not 16. I'll move on x in the segment, so we can obtain the same width. Let's extrude for these parts, by the way, you can see the reference on the images. We will leave 2 millimeters the space between the elements, the furniture elements. Then we will use extrude inside. We will insert 2 millimeters and we will use extrude outside using as well 30 millimeters. We will chamfer using 2 millimeters and seven segments. This will be enough. We must always use chamfer if we seek to obtain realism for our furniture, it will interact correctly with light. In reality, we don't have perfect edges like in Max. I'll have to select them and apply the chamfer as well. And for the back part, we will repeat the same steps. Now let's champ for these edges. Same settings. This is our lower part. I'll put it above our sketch, so we maintain the dimensions and the sketch proportions. Yes, I know there is a small difference there because of the champ, but we will put it very close. Okay, let's get to the other parts, the upper parts. 8. Adding details to our TV furniture: Okay, let's get to our next parts, the upper parts. I'll begin with Eric Tango as well. And let's see, extrude, I'll use 224, then I will extrude 2 millimeters. It's a lot easier. So we can create our door effect. We can use connect, but there are too much steps. Oh, put this piece of furniture above our sketch and we will chamfer it in its place. Okay, first of all, let's create our door effect. I'll use Loop. Let's select the polygons and we will use extrude local normal -24 Let's use chamfer as well. 2 millimeters with seven segments will be enough for our door. I'll grade a copy and using snap ball and stalled above our sketch. And we have to raise it 200 millimeters so we can put it above our lower part. Okay, Next the shelves, same thing as for the first part of our F. As you can see, we have 300, sometimes it jumps. It's okay. We will use chamfer boxes. There are other methods as well, but I do find it to be a lot easier using chamfer boxes. For this example, we will champer them. In the end, like for the first part of our furniture, let's create a copy instance, the same height instance. The side birds. Same thing. Okay. These parts are ready. Back part, I'll use five millimetres, it will be enough. Let's select them. I'll group and I will rotate. I'll hide other objects so it's a lot easier to put it in its place. And the same thing, we will have to raise it 200 millimetres, a mirror Y. The modern elements, they, by the way, imitate the columns, the ancient Greek columns. Although what we call now modern style, it's not the original modern style anyway. Let's use the vertices so we can cut or adjust our pieces. I'll delete those polygons and let's use a free form deformation so we can adjust that piece. And we will convert to poly. Let's see, this champer for our elements, Two millimetres will be enough. My son, I'll create a small space between the side parts and the shelves. Okay, let's copy using intense or on X. We have chamfer on corners so we cannot eat snap. We will set it very close and this will be okay. Now, the last part. 9. Creating the doors of our living: Let's talk about doors For this project. We decided with the clients that we will have no doors for the living. We will actually use a part of the door to create some door portals. I'll attach the model that I'm using. Let's get to Max. This is our door portal. I'll create a copy and let's try to install it. I'll drag until we pass all the details above the wall. Same thing here. One more thing. I would like to UVW map in this part like this. Let's convert this all to editable poly. And I'll create one more copy for the second portal. While we decided that we will have no doors, if we would install some doors, the living would seem too small. Here we have the hall. In the next room, we have the dining and the kitchen. That is also connected to the living at some kind of open space. These are our door portals. Next let's get to our base port. 10. Creating baseboard using instrument Sweep: Next, let's talk about our baseboard. I'll attach a file library of profiles that I'm using for my projects. You can pick any profile you want. Later, we will use the profiles for the ceilings. In this case, I use this profile. We also do have moldings, but in this project we have only the baseboards and the ceiling. We usually use moldings for Art Deco style. This is a modern style I'll create with the line, the path for our baseboard. In fact, we will have so many elements that our baseboard will not be seen almost still have to model it in real life, we have to cover the link between surfaces or we can see the link between different materials. Oh, sweep. We'll use a custom session and let's adjust. This is our baseboard I'll and hide our objects. First of all, we have to raise it a bit above our extruded floor. Second thing, I'll delete the parts that we don't need. We will adjust these parts. Actually, we will not need these parts later when we will style our wood elements above them. I'll move it until it hits the door portal. I'll delete this part as well, and I will actually scale it a bit so we get a higher baseboard. It would be correct to modify the profile itself. Okay, this is our part. 11. Creating wood wall for the door portal: Next we'll create an element with element like on the previous wall, so we can cover the surfaces that are remaining after we used door portals. We'll have to extend. I'll delete those polygons so we can copy. And then we will create one element by attaching, we'll actually need one more. Let's attach all our elements. Let's put it above our wall. I'll just a bit so we don't see the wall itself. And I'll delete these polygons as well. I'll drag the vertices up and we will have to create the door part. Let's use a box and we will use our old instruments using subtract. Let's delete the remaining vertices. This is because we deleted the previous T is. I'll drag them. They will be covered by our door portal, so we will not see them. I'll hide. Let's adjust our door portal. As I said, this part of the baseboard actually won't need this as well. And let's adjust all verts Bardo portal. Something like this. Okay, let's get further. 12. Creating realistic wood floor Vray material: Finally we got to the part the designers love so much, we got to materials to V materials. As I said previously, we will create some tests before we will apply these materials into our scene so we can understand the principles, how we are creating these materials and how they interact in our renders. We will begin with our floor material. First, we'll get to Max and we'll create one more file, test file. I would like to explain how materials form from their core. Okay, let's get to Max. As I said, we will create one more file. I'll use a Vra plane, an infinite plane. We will start with the first material, a simple ray material, all applied to the V ray plane. And I'll create a sun. I won't raise the sun so we don't have to deal with V ray physical cameras and adjust the light and it will feel a bit more comfortable to work. And I'll create a teapot for this floor. We will create a wood plank. Our teapot will be for round surfaces or for curved surfaces, so we can see how these materials interact on plane and curved surfaces. I'll include real dimensions of a real wood plank, saying that we use for our floor generator. We will use rate material library. So we have some kind of examples before we create our own materials. I'll choose, for example, this sample, so we have some ready material, we will try to analyze how it's created and then we will use the same settings for our material that we will create. This is how this material looks. At least some kind of preview. I'll pass the Slate material. It's a lot easier to visualize how materials are formed. I'll create an instance of this material. As you can see, this is the structure of our material. We do have a diffuse, we do have a reflection and we have glossiness and bump. We will have to recreate the same things for our own material. First, let's apply this material. I'll read a copy. Let's apply this material to another teapot and a plank so we can see how they look in render. Mostly we have to observe the reflections and the way how material interact with light. That's why I created a teapot. This is our texture for our floor. I'll attach the texture. I'll create a copy of this material. I will have to recreate, as I said, our own material. I'll delete this one first, we need a Diffuse. We will use a color correction as well. Let's apply these materials to our teapot and our plank all enable showing viewport so we can see what is happening. Let's use a UVW map so we can adjust how our wood looks on our plan. We'll have to rotate and let's fit. I know we have some scenes, we are not looking at them. Now, the main thing that we are looking at is the reflection and how it interacts with light. We must obtain the same thing as here. Our reflection is flat. So we have to adjust this. By the way, you can change here the appearance of your wood, but we will leave it on the fold. Now let's get to our reflection. Same as here, our bump and glossiness as well. They do use color corrections to adjust. I'll show in a bit how it works. Let's use for color correction the same texture as you can see in the render how it changes. And here we can adjust the level of our reflection. As you can see, we already got a strong reflection for our wood. Same thing will be on our plank. We have nothing almost to reflect in our plank, that's why I choose the teapot. It's a lot easier to understand that on a teapot, same thing on the Glossinus. We will have to adjust. As you see, our reflection faded a little bit, so we'll have to raise the glossiness it is, using the texture itself to create random glossiness and thus we are creating a more realistic effect, not just a straight reflection. You can adjust the level of glossiness and obtain the wood that you need. I'll set the level of glossiness somewhere at this level for our project will be enough and we have to talk about bump. I'll grade a copy of our texture and I'll drag, I'll drag it to our bump. You can control the bump here, or you can control the bump here. It will be the same thing. This is our wood floor that we will apply in our scene. You can see it even here, how it looks. 13. Creating realistic tiles Vray material: Next we'll talk about our VA tiles. First of all, let's create one more copy of our teapot. I'll create a tile. We will use, as I said, the same inputs that we used in our flow generator. We can use a height of 8 millimeters. That will be enough. We do have a babble here, but for this case we can skip it. Let's search for a tile in our V library. We will need a glossy tile. I'll drag this sample here, and let's try to analyze it. First, we'll have to obtain a glossy effect. That's why we'll use a reflection. Our Bompsy, it's very low. And the other settings we will copy from this sample. Let's copy it and let's try to analyze. We do have Diffuse and we have bump. Let's apply this material to all these three objects and let's see how they interact in render. First of all, we have to understand how they reflect an interacted light. After that, we'll have to repeat this effect for our tiles. As you can see, we have a very glossy surface, so we will use the same settings. This is our tile texture. I will attach it. As you can see, we will have 1,200 by 600. I'll drag our texture here. I'll delete those parts, and I'll use our texture to create our own material. I will use the same texture for the bump, but the bump will not be the case for a tile. They usually are very straight still, our bump will be at a low level. The main feature, the main tile feature is its gloss. As you can see, the effect of our reflection, we'll have to obtain this effect for our tiles. Still, we have to take into consideration that the tiles are straight, although our tea pot is curved, but the lights and the materials will reflect in our tiles. We will obtain this effect in our project. Now let's get to Max and we will apply this material. You can see how it looks. We will have to adjust a bit the floor generator so we obtain a pleasant look of our tiles. The distance here will be 750. If you remember, we will have to cut one tile. We cannot skip that here. We'll have to install the tile. Close to our corner may be lay this, we have too much corners, so we don't have a straight point where to start. We'll have to adjust this. If you can see, even changing the direction will not look so good as in this case. So I'll leave it like this. One more thing, The window, I'll tell our window. I'll use the sketch so I can put it exactly in the middle. And I will crack the board until here. Okay, something like this. 14. Creating wood panels Vray material: Next, we will continue with wood material. We will talk about our wood panels based on the previous settings and how we obtained our wood floor material. In this lesson, we will try to create the material, the wood material for our walls. These are our wood panels. This is our previous material, previous wood floor material. Based on its settings, we will try to recreate the same wood appearance for our wood panels. We will use these two textures. I'll attach them, I'll get a slate material. It's a lot easier to create materials here, and visually it's a lot easier to understand its structure, their structure. Let's begin with the first texture. I'll bring the textures into our material. I'll create a copy, I'll delete the previous textures, and I'll put our new texture so we can obtain our new material. Still the settings will remain the same. It's a lot easier to understand how material will interact when we appreciate this material applied on a sphere. In color correction, you can adjust the level of glossiness, play with a high light. Still, we will maintain a semigloss for these materials. Let's create our second material, Same thing. I will apply the first material to our wood panels and the second material to these elements. I'll drag just a bit so our surfaces do not overlap and let supply them to the rest of the panels and elements. Here I will drag as well a bit. I'll apply a UVW map so we can adjust a bit our texture, we are not seeing the side although we will in our second render. Here I would like to adjust a bit our texture so we can get rid of some details, some details from our texture. I'll copy this UVW map to the other elements. I will adjust one more time. They don't look similar. When things look too perfect, they tend to break realism. Now, our second elements between our wood panels, same thing. Uvw map. I'll use a box. Let's adjust the side parts and no copy. Same thing here. I don't know why it doesn't want to copy. Okay, then I'll copy just the element and we will adjust. Let's use a line now, let's apply this material for this element as well. Let's apply VW Map. We will have to adjust a bit. Okay, these are the very materials that we obtained. The very wood materials that we obtained. We apply them to our wood panels, and further we will get to our furnishre material. 15. Creating realistic MDF furniture matte Vray material: Next, we will talk about furniture material. In this case, we'll have MDF Board. Before we get further, I would like to point out a few things when we talk about furniture materials. And by the way, not only for the living, also for the kitchen and other rooms as well, interferes an issue. Usually that lack of realism that we are trying to obtain. All that is happening because of the standard settings that we are using, the materials. In this case, the furnished surfaces look just too perfect. That's why we'll create first a test with our standard settings so we can understand how these settings work. And then we will apply a difference in our surface settings. A fingerprints map, ll attached map by the way. In that way we'll try to create a more realistic appearance by fading out that perfect look. And at the same time trying to create the effect that the furniture is used by people. And this will bring us a step closer to our realistic perception of the furniture surfaces. Okay, let's get to Max and let's try to create that test. Let's open the previous file. I'll select a plastic with the settings that are close to our MDF board. These are the settings for our material. As you can see our glossines, it's not too high still, it's present. We have to obtain that effect of MDF board. First, I will apply the standard, as I said, settings for our material. Let's take a look how it looks in our render. As you can see, this is the perfect look that I'm talking about, is just too perfect. The settings look right, but still it's too perfect. These are the reflections that we are trying to obtain on round surfaces. As I said, on curved surfaces, it looks much better. We can understand how the light will interact with this surface in our render. Now let's try to use, as I said, this map of fingerprints. I'll attach the map by the way, and I will use it in our reflections, our reflections not perfect. I know the Ti pot God seems. We will apply a UVW map to our Ti pot. We will ignore for now the Sims. We are interested only to see the effect. Now as you can see, our material looks a lot better. This will create this realistic appearance that we are searching for. Let's get to our project. Let's try to apply this material to our furniture. This is the material that we obtained. I'll isolate the selection so it's a lot easier to work. Our doors will be white. We will get to that in the next lesson, but the rest of the furniture will be black. I'll enable our texture so we can see how to adjust it. We must adjust the reflection map. Something is let's convert to polygons. Let's group. The end is now our second part, Second furniture. This part, the T part, it's also black and this lower part as well. Same thing. Let's apply UVW map. Let's adjust. We will adjust on all Xs and all copy UVW map. For the second part of the let's adjust this TV part. I don't know why we cannot convert to Polly. I'll convert a part. Okay, let's get to our next material, the white material. 16. Creating realistic MDF furniture glossy Vray material: Okay, let's get to our second white material, MDF Board material. This will be a glossy material. First, let's get to our test file and Max so we can adjust our settings. This was our previous material. In this case, we'll have glossy material. First of all, we will change to white. Our reflection will use these settings. The glossiness we will have to raise the frenal reflections so we can obtain that glossy effect. I'll apply the material and let's see how it looks in our render. As you can see, we obtain this glossy effect. Now let's apply these settings and this material in our project, this is our material that we recreated in our scene. And we will apply this to our doors, the middle elements, and for the fern as well. For the doors on group, I will choose the doors and I will apply the material again. Let's get further. 17. Using Unwrap UVW to correct our textures: Let's get to our last part, the furniture lower part. Actually, I didn't plan to get to deep into this, but there is no other way how we can texture our lower furniture part. We'll have to do this, we'll have to unwrap it, I'll make a copy. It's a lot easier to work by the way. As you can see, we can use any wood. We can say that we can use any wood. But there is a problem with such long elements. You'll see that in a moment. F I will apply UVW map. Let's suggest we have a big issue. We can see our seams, such big and long ferentia elements require only seamless textures. I'll pick a free sample and I will copy the settings that we use for our wood panels. We only change the texture. Oh, a name material and I'll activate showing board. Now. As you can see, we have no seams but our material has to be adjusted. I'll create one more copy, all converted to polygons. As you can see, we have issues with our texture. First of all, health of our element is mirrored, so we can use only one health. We have to set the texture in the directions in that way this texture will look as it should. Okay, let's apply. This will be a quick method. I don't get too deep still. We have to do this. Let's select the side part. We have to rotate now. As you can see, the texture lies as it should. I won't play with these small elements. Although it will be correct to do this in this way, it will take just too much time. Now let's take the shelves. Let's create a pill. As you can see, we selected all the elements. In this case, we'll have to adjust every single polygon and it will take just too much time. We will adjust only the front part. In this lesson, I would like to show the basic principle, how we wrap, quickly wrap our parts of Ferentia. Same process for all the polygons. We select the polygon and we adjust the angle. The level of unwrapping, of course, we can do it perfect, but the level of unwrapping depends how close will be our camera to our object. If we have to present and show only one object, of course, we will play with every single element. Usually these elements for the furniture are cut at 45 degrees. That's why we will use the polygons in this way. As you can see, the angle, the 45 degree angle between these polygons or elements, they are actually different elements if we talk about furniture. In this case we just thrushed how they look now The less shelf and we will adjust on the front part like this down part, although we are not seeing it in our render and our part, although we are not seeing it either. Okay, let's get to our editor over scale our elements so they feed their size and scale. This is what we obtained. All copy one half will mirror it on X. And now let's snap it like this. I'll convert to Polly actually, I'll make one more copy now, convert to Polly, I will attach, and I would like to weld the sam between these two parts. We'll have to adjust it. Should be okay. Now we have one part. This is our lower financial part. I will use a line. It seems to be the most quick way to put it in its place. In this part, I will delete, but we can move it in case we need it later. I will then check the reflection map for the furniture so we can have a perception of how the furniture will look in the end. Okay, let's get further. 18. Creating a very realistic velvet Vray material: Finally, we got to the, one of the most interesting parts of this course. We got to the fabrics. In this lesson, we will talk about curtains. And we will try to understand how the velvet material is formed. We will create a test with free option curtain material. And we will keep upgrading it until we obtain a very realistic appearance of our material. First of all, I've downloaded some velvet samples. We must watch how these surfaces look and we will try to obtain the same look for our material in V ray. As you can see, the highlights are very specific. I'll attach, by the way, my library that I'm using for my curtains. And not only we will pick a random texture from here and we will create a test. And using the same settings, you'll be able later to change only the texture for your projects and the realistic appearance will remain. You can see here, written by the way, it's like an artificial velvet. Velvet being a natural material. In reality, people do use Lu usually as it is a lot easier to maintain. I'll attach the curtains as well. I picked three curtains. Actually it's the same curtain, only I made three copies. Now let's try to apply this texture and we will create, as I said, three different materials. First, we'll be very simple and we will keep upgrading it. The first most simple material is just using diffuse and bump. In this case, by the way, the textures are seamless, so we will have no seams for our curtain. This is like a one color curtain. It doesn't look bad still, it's not so realistic. Mrs. hold gloves. Let's get to our second option. In this case, as you can see we have different shades on our surfaces. We'll have to recreate that using a map. I'll attach by the way, this map, first of all, let's use a color correction. I'll apply the texture to diffuse by the way, you can change here the color of your texture. If we seek to obtain a complicated effect on a surface, we'll have to use composite here. We can control the effect, how deep our effect is. Let's try to apply this material and compare the first material and the second one. By the way, you can see that it looks much better. In this case, we have this type of material. You can see, by the way, that the first curtain looks, okay. It's one color of course, but this material looks more complex. And as you can see, it gives a more deeper look and a more interesting appearance in our images. Next, as you can see, we have a specific highlight for the velvet material, of the lure material. Anyway, and we will try to obtain this advanced effect. Let's copy this texture. This is the settings and the material that I'm using for my curtains. Let's use a color correction. First of all, as you saw on the samples, we have different colors. At least it seems that there are different colors on the same surface and we have to obtain this effect using the same composite map only. I'll add four layers. I'll copy the texture for the third layer, and I'll apply a color correction. For the first color correction, we set a bit value. In this case, we will set a more lighter value. These two colors or two textures interact or mix between them. I will use the same map for the second layer so we can obtain this velvet appearance of luer appearance. And we also have to set these values for our layers. Actually, I will use one more map. As I said, I will attach these maps and I will use it as a mask. Now I'll input a follow off map. I'll decrease the white to 20 and as you can see, this effect of velvet highlight begins to appear. I'll use one more color correction. And here we'll have to, if you watch, you can see this highlight and you can control this highlight from here. I'll set it to 50% And one more thing, we have to give some structure to our curtains. Here we have normals that we will use for our bump and we will use a mixed up. Let's try to apply the material to our curtain. I'll start the render, and as you can see already, you can see that the highlights create a more realistic appearance compared to the second option. I'll in so you can see it better, I'll get the curtain a bit closer to the second one. Yes. The second option doesn't look bad. By the third, it's a lot better. Okay, let's get to our scene. In this case we will use for this project this texture I, I've recreated one more time this material, and I applied it to our curtains. By the way, as I said, I will attach the curtains so you can use them. This is how this material look. I'll drag the curtains. We'll have to adjust the curtains after we create our ceiling. This will be a bit later. For now, we will just put them here. They already have free form deformation modifiers applied. As I said, I've already accomplished this project once. We will have to adjust them according to our furniture and different objects that they interact with. Okay, let's get to our second and third curtain. 19. Creating realistic curtain Vray material: Let's talk about the second curtain. And the third curtain, we finished with the first one. I brought the curtains here so we can see how they interact with light. Let's start with the second curtain. I'll create a copy. Let's choose a material. I'll switch to slate material. In this case, we can use, for example, fabrics. There are different options for the second curtain. Let's create the same two option in this case will be two option for our second curtain. I'll pick the fabric. I will apply the texture to the curtain. As you can see, first of all, our texture is seamless. We have no seams on our curtain. I'll a bit so you can see how it looks. It's not bad. But we have to create a bit more advanced look for our curtain. First of all, we talk about the highlights. The advanced highlights, we use the same structure, but we will use a follow off. This is a very strong effect. We will adjust the effect. You can see how it interacts with light. This is our first and second option. I'll bring it a bit closer, and as you can see, the highlight gives a more realistic appearance to the curtain. Now we will adjust a bit. This effect, the effect, it's too strong. We must control from here how strong will be our highlight. You can see now why the materials with fall off and advanced highlights look a lot better than the diffuse and bump alone. I'll have to add some structure as well to our material. You can control the bump here. The bump depends on the distance. The distance from the camera. In this case, we will use this texture. The clients demanded some accent for the second curtain. I'll apply UVW map so we can adjust our effect. We have to adjust so it looks right. The last one, we have to use a great two sided material for this one. First of all, we have to give it a structure, the same structure that we use for our previous curtains. I'll use this structure in the bump channel. In this case we have a white color. These are the settings that we use for our third curtain. And as well, I will apply a free form deformation to adjust its position according to the objects around. This is how they look in our render in the final render. 20. Creating realistic Vray velour material: Next I would like to talk about our sofa. We will use a Lue material, so we can link with the curtains and our style. In the library that I've attached, you can find different samples of textures that you can use the texture sofa still for this case we will use a Lu material. We will try to create some advanced settings so it feels like the veluer effect. This is our library. Previously we use this texture for our curtains. There are different textures that we can use for our sofa. Still, we will be using a beer lure for this sofa. These textures will be attached. First of all, I will create a copy of our sofas so we can test our materials and see how they interact and render and they interact at light. I'll switch to Slate material. Let's create a simple very material. We will use this Luer texture or you can use the. I'll attach both. They are similar textures, all copy three times our texture and we will use composite. We will watch how our sample changes although it's a lot clearer when we see it in our render. First of all, we will have to use the fall off. I'll add some points to our fall off so we can create a more visible effect. And I'll add one more fall off, it will create another effect using three points. I'll convert the points to bezier. Let's use a color correction for the first texture. As you saw in the previous material, we have to blend different colors of the same texture so we can obtain that bluer effect. We will use three different values, and of course we have to use bump. I'll add a mix. This is another way how we can create a bump for overluer using a procedural map. You can see here the effect, it's too big. We'll have to, you can watch it here. And of course we have to use our map as a mask. We will create a copy of the whole material and we will use V A blend. So we can blend or mix those textures. And this map will be like a mask. It will be set here. Let's apply it to our sofa. I'll enable showing the part so we can see what is happening and let's start our render the liar effect. It's not so strong for now. We will have to adjust using this map. As I said, we have to obtain the effect of different surfaces, more dark surfaces combined with more light surfaces. There is no specific value. You can play with the values until it looks like you expect. As I said, this map or this mask create the blend and you can control zero effect will be no effect. And we will set a percentage of how deep the valuer effect will be perceived. This looks fine, same material we will use for the pillows. The only difference that we will change and we will use this texture, this previous texture. Let's create a copy of the whole material and we will have to replace this texture so we can obtain that effect. This material will be for our pillows. Now let's get to our scene and we will apply the materials. And we will set our sofa in its place using our sketch. We'll use a fine tuning here. Our curtains interact with our sofa bit. Perhaps I will drag the sofa, exclude those interactions. That's why we use free form deformation to adjust the curtains. Still we have to not pull it too much. That way we can deform all curtains appearance. We have to adjust to the space. Okay, this is our Sopa. 21. Creating a realistic Vray rug material: Let's talk about how we can create a realistic rug. I'll attach these textures. If you see we have the diffuse and the normals. Let's get to max and let's try to test it. I'll create a VA material, We usually use composite when we have to interact different surfaces and obtain a complicated surface or a more complicated appearance. The same thing as you saw in the previous examples. Usually we use color correction for different channels and adjust the values. Then we obtain different shades on our surfaces that interact. Thus, we create a more complicated appearance in our images, our old son. So I will create a more intense effect. Will use one more for the third channel, you can already see the effect. Of course, we have to use the normals so we can obtain the volume for our rug. Let's start our render. As you can see, we already have some kind of effect still. We have no volume for our rug. We will add that volume using our map, normal map. We also have a noise map. We will use a normal map so we can create the volume for our, let's use a normal map. And by the way, for the glossy, I will use the same first texture with the color correction. We will set it to a gray tone so we don't have to do this in Photoshop. Same thing here, we have to use composite between the noise map, no texture, and our normal map will be mixed with this structure. You will have to adjust some settings. I'll start the render and you already can see that our surface changed. We created that rag effect. Okay, let's get to our scene and we will try to apply it. We will raise it a bit above our extruded floor, still not too much, so we don't have shadows under the rug. Second thing we'll have to adjust according to our sketch. Now we have to add our arm chairs and our table, coffee table. I'll attach the models. This will be an exercise for you using the lure settings to create this piece of furniture. Using this type of lure to create the effect of Lure on our armchairs, I will switch to wireframe view, so I can find the armchair position. They are placed right in the middle. These effects you can obtain using the same settings that we used previously for our lure and our coffee table. Let's find its place. Okay, we are close to finishing our living. Let's get further. We will install our lights in our decoration. 22. Adding decor and details to interior: Next we will get to a phase that usually beginners designers don't like they found it to be, in most cases, like a waste of time. Of course, we talk about interior decoration or our details. The thing is that you won't obtain photorealism if you don't add details, details add life to your image. We have to create the effect that the interior is used by people and very important, we have to close our composition using a composition ratio. I don't want to get too deep into that now. Shortly 60% big elements, medium elements 30% and details or small elements are 10% So if you don't have details, your image or composition will be not finished. And all the design, it's about ratio and proportion. You can use a small tip to do this phase faster. Of course you cannot skip it. Usually I do load some models like stands with already made decoration. But in this lesson, I'll use the decoration that I've already adjusted once. I don't want this lesson to grow up to two or 3 hours. The principle, how we use decoration, I think will be very clear. Okay, let's get to Max. As I said, this is the decoration that I've already adjusted once I'll pick them and I'll try to readjust them a bit for our image. Usually I turn off the angle snap, although it's always turned on. We have to pick random positions for our objects. And of course, they must not fly something like this. If our objects fly, we will see this in our render when they create shadows. So be careful how you adjust the objects. By the way, we will have lights under our shelves for now, we'll leave them at ten intensity ten. And as you can see, I'm using temperature. I made these lights invisible and I'll drag them next to the corner. Let's install our TV next. Let's get to our shelves. I'll pick a few models and we will adjust them and the lights as well. I think this is a bug by the way. You can scale ability or objects. We have to adjust their proportion according to our furniture ratio and the space ratio son group and will lights. All the lights will have the same values as our first light. One more time I'd like to point out we have temperature. We use temperature color. If we are creating interiors of one more very important thing, do not scale lights. I know it's a lot easier, but they can perform correct. After that, it was a time when this was crucial. I'll try to do this phase a bit faster. There are designers that love to play with those details. Usually I focus more on the technical part. When we will add lights, all those spaces will look much better. Let's bring the lights as well. As I said, we know skill. I know we have to repeat the same process over and over. But that's the phase of ins, styling our details skill a bit. As I said, we use scale to adjust our proportions. I will pick the last objects and lights and we will drag them so we can adjust them. I would like to see the level close. Almost finished. I'll copy one model up there, group. Oh, copy light as well, let's kill me. Oh, copy in a sense, this slide, something like this. Now I'll select, I'll select all the objects and we'll mirror them to the next shelf. You can use different objects, but as I said, the principle, I think is very clear. It's the same process over and over. And this process, it's only how much you want to play with this decoration. Still have to install it. Okay, let's get to our next fish. Oh, be delight as well. I'll bring them to our corner and we'll adjust. And now the objects. Oh God, fish you up to some, Let's me the lights as well. A few option served, the last two options. So okay, that's it. I know it's a process that repeats over and over, but we cannot skip this phase. 23. Adding wall lights and adjusting them using Vray: Next let's install our wall lights. But before we go further, I would like to point out a few things. A good light is the key when we try to obtain photo realism in our images. First of all, because it interacts with all the materials and objects in the scene. And if we don't have a balanced light, we cannot obtain that effect of physical accuracy that we have in our reality. That's why some renders fade a bit into blue, some into yellow, it depends. And it seems like the image was filtered with some color filter a bit. This is one of the biggest issues when we talk about light. If we try to obtain a good light. First of all, we have to understand the hierarchy of all lights in the scene. There are main lights, their intensity it's more higher, there are secondary lights. Their intensity of course, it's more lower. We don't have a specific value for all those lights. All the interiors are different and the dimensions and how the lights are applied is different as well. Usually the Fredy models, when they are created, are adjusted at a medium intensity. And by the way, of course, we use temperature, not color for interiors. And this medium intensity, it's like a starting point where we start to adjust our lights. But before you adjust what value you should give to your light, you have to perceive how that light will look in the interior that you are creating. For now, we will load the Fred model, free light model. I will attach the model and we will use for now its default intensity. First of all, we have to install our equalizer, the very physical camera. Okay, let's get to max. This is our free model. You can see the light source here and here. As I said, we will adjust not color but temperature for our lights. Now let's put our lights on our walls. I will use a line using center. I will drag a bit, usually behind the sofas. We install lights, world lights. I'll use instance. And same process with a line. These are our lights. We will leave them for now, at default, until we install our VA physical camera. 24. Creating our ceiling using dimensions: Let's talk about our ceiling. This is our plan. Our ceiling plan, we have 500 from both sides. Here we have 300.200 are left for curtains. We will hide our curtains. We will have tracks. In this case we will have 15 millimeters, but they are different. This is our plan model, our tracks. I'll attach the model, we will use spots in this slide. We also need a profile for our. I'll attach as well the library of profiles. Oh, snap. And let's visit a tango in this part will be 200 tres. I'll select the rectangle and I will apply a sweep so we can apply our profile. Let's bring it at our height. We'll have to mirror. We'll have to move it. Delete on X. Same thing here. And I'll apply a white color to all profile. Now let's talk about our tracks. I'll make a copy. Let's delete these parts. We won't need them. We will use only the spot, by the way. We'll have to finish the track. The models don't have usually the end part. In reality, there are different parts, something like this. Not only if the tracks are in a square shape, they usually have connectors. We do have three types of tracks. In this case, we will have this type. We will set our tracks inside our ceiling. First of all, let's adjust our tracks and then we will copy them. We missed one part, the width, the tracks width is always adjusted. In this case it's 50 millimeters, but they can be different. And we will extend the track, same thing from here. And the end part, as I said, we will use just a color. Our track doesn't have this part. It's strange, but a lot of models, this part, let's use a line to set the light in the middle. You can move the lights, but we will try to find a symmetry for them. Of course there will be instance in this case we cover this part. But for the spots, we'll have to do the same thing, same thing, copy instance. Let's grab those details as well. And I'll group all group and we will copy them as incense. I'll delete these parts and we'll use spots for our second track. Same thing here. All assigned for this site as well. Now let's copy our spot. We'll have to turn our spot, Let's adjust it something like this. Let's see as a land to set it. Oh, so we can set our lights. Exactly. One more time. Same thing here. I'll select them all. Let's copy. Same thing here, intense. I'll mirror and let's adjust them. And one more thing, we have to install our main light. I'll use a line and we'll adjust, now we can adjust our curtains as well. I'll move them closer to our wall so we can hide that gap. Maybe just a bit more. Looks okay. Okay, that's it. Let's go further. 25. Adjusting our Vray Physical camera: Next let's talk about our gray physical camera and our lights. First of all, we have to install HDRI outside. I'll be using standard settings. We'll have to install our ceilings so the light won't come from upper part. I'll use a simple box in this case, and I'll give it a white color. Next we will have two frames. One frame will be from this direction and the second will be from this direction. I'll get to cameras to via physical cameras. Physical camera now we'll have to adjust the focus, will be in sofa area. I'll use clipping. We will adjust that clipping in a bit. First of all, we have our furniture and we will have to hide it. Now, we'll have to play with our frame and the camera position. If you can see our furniture, we will have to hide it. And we must bring the camera clip as close as possible to the wall so we can get all the details from the room. I know it's a lot easier to cut. In that case we won't play too much. But we must set the frame right from a good frame results, a good render. As I said, we will have to hide our financial for the first frame. Our group. In this case you can see the rug. If we would clip the rug, the frame or our render would look not so interesting. One more thing about curtains. I always do adjust the objects a bit for different frames. We will use Lister and you can use all the lights or you can use selected lights. I'm using selected lights, it's a lot easier to adjust. Okay, let's get to our render. Let's see what we have. Festival is too dark. These are the camera settings, so we will try to adjust. We also have light, but light mix will not correct our light at a critical level. We have to do this from physical camera. These are the three instruments that adjust the light. First of all, we have to play with our environment. You have to feel the daylight by the way. Daylight, It's a lot easier to create than nightlight. We have an issue here. We reflect our missing door, and from the next room, we have too much light. We'll have to adjust this. I picked an image image that will simulate our environment. We have to create a plane at segments and apply a band. This image will reflect from our windows and it will create the illusion that we have an environment outside. Some do use HDRI environment, it's not always in the best quality. Sometimes I do prefer images, it depends. Oh, had one more time. French, we will cover part of our light. It will be a bit darker, but we have, in our reflection, our environment. We'll have to play with our lights to adjust them. If you adjust your lights here, you won't have to play in Photoshop. One more thing, you don't have to expect from light. Makes super results. Yes, it will adjust a bit. Your lights still, you'll get artifacts. If you overplay that, I usually don't touch F number. I leave it at mid level. At eight, we have a white wall there. I'll copy an element so we can simulate the room. It's not empty A, and now we have to balance our lights in our room. Until we feel a good balanced light, we must feel the hierarchy of our lights. I will pick the wall light and we will use very lightly, Sir, to adjust the lights. I'll increase. Usually the models come with a mid intensity, but you'll still have to adjust them a bit. It depends these lights are at the lower intensity. We'll have to adjust them as well. There are a lot of lights there still. We'll have to adjust them all a bit more. That's better. We'll have to play at every single light until we get something very close to our desired intensity. We will adjust this a bit later In light still, we have to be very close. Let's get to our tacks. I'll apply region, do that a bit faster. We are getting closer to our life situation. To balance it, we are close. Something like this. One more thing, we'll have to check our lights, like wall lights, our environment, our upper lights. As you see, I'm scrolling down for my lights. We must check every light so we can understand if we have an issue. These are our spots. Look okay. These are our tracks. We must feel the intensity, the overall intensity for our lights. This is our main light. Okay, let's get to our first image. It seems to be right. This is what we obtained in the end. Now we'll get to our second frame. I'll create a camera, all check clipping and we have to bring back our furniture. One more thing, I don't use too often decrease zoom as it messes up a bit the render. But in this case, we'll have to do this. We can have all our room in one frame. I forgot about the wall colors. We are not seeing them almost at all still. This is the color that I use for our walls. And let's set the frame a bit. We'll have to find a good spot. Our lights are almost adjusted, but I'll start the renders so we can check. We will adjust a bit in light later. Still our overall intensity is very close to a balanced one. This is what we obtained finally, in our final render. Okay, let's get further. 26. Final render settings for Vray: Let's talk about Over settings, the final render settings. Before we go further, I'd like to mention one thing. All the settings, although so called secret settings, are almost automated. And the eternal beginners question why my render, it's not looking as I expected. I did input all those settings. Of course there is a part of the truth in the settings, but if people were struggling in the earlier versions of V Ray with finding out the perfect balance or the so called perfect balance for the images. Now you can say that all those settings are automated. Still, this didn't change a lot, the renders and the beginners keep blaming the settings. First of all, you have to input all those settings. It's like a technical structure. How you render will be form, but realism, it's about layers. The principle is like Photoshop, only difference is that they are all in free D. One more thing, you have to feel all those layers including lights and realistic materials. In the end, when you will mix all those things with small adjustments, you will obtain that desired photo realism. Okay, let's get to Max and let's see what settings I'm using for my final renders. First of all is the size you can use 2000 by 1,000 It's like a medium size. It's okay for the clients. There are different ratios. We won't talk about ratio now. Still try to use fixed standard ratio. Don't go with random Ratius. Next we will change to bucket I. Don't use progressive the noise threshold, you can use the setting lower values increases the ander time. It depends on your deadlines with your clients. For the color mapping, I'm using exponential. There are different methods. I'm not using rain hard shortly because I'm doing my post production Later in Photoshop we are using gamma 2.2 and don't forget to switch to no gamma. Next, I'm using brute force and light cash I used to work with the radiance map because it's faster. But I switch to brute force, even if it takes more time, I think it gives better results. Next about light cash, you can use even the standard settings. You can use 3,000 higher. It doesn't make sense, you won't see any difference. And you can lower a bit the sample size and the render elements of I'm using radio Nis. I do use light mix, we will talk about this in the next lesson. These are the settings that I am using. 27. Using Vray lightmix to adjust our lights: Let's talk about light mix. I would like to start with a disclaimer light mix. It's not an almighty instrument. Yes, it can help you to adjust light details. Still, your overall light situation has to be in balance. We have to adjust before the render our lights as close as possible to their intensity. And light mix is like a fine tuning that we use in the end. If your lights are out of balance and you try to use light mix, you'll get a lot of artifacts. Anyway, it's still a good instrument that we can use. Let's get to max and let's try to apply it. First of all, we have to enable light mix in the render elements. These are our lights. We can turn them off all. Now we have to check every single light until we find our issues. Those lights are the lights from the furnisher with TV, we will get soon to the lights on the wall and the ceiling. You can name your lights, but it's too much time. These are our lights, for example, on our second piece of furniture. So let's adjust them. We will adjust just a bit, Otherwise we will get artifacts. Now, we will find all the lights and we will try visually to apply the same intensity. And intensity will be also according to our overall intensity in the room. These are our wall lights. As you can see, this blue type of color are the artifacts that you will get. If you increase too much or decrease the lights, we will adjust just a bit. These are our spots. Let's try to adjust the intensity. As I said, we have to be very close to our intensity. In that way, light mix will help us. We have self elimination for our main light, something like this. We will get soon to Photoshop. Let's get to the second image. These are our first lights that we checked. I'll increase a bit the light. Same poses for all the shelves. I don't get to that far. Lights, we almost don't see them, we are just only the lights that are in front the wall lights, they are important. I would bring the intensity of bit up just a bit. As you can see our HDI, usually I leave it at the intensity of one. And our self elimination from our main light, we can play a bit, whereas I said not too much. Okay, that's it. Next we will get to Photoshop. 28. Conclusion: Next let's get to Photoshop. There are different techniques of post production in Photoshop, but if you set your things right in Max, there is not so much to do in Photoshop, For example, you have to play with contrast if you balanced your light in Max, I don't want to debate about different techniques. I'll show you how I'm doing my post production in Photoshop. Okay, let's get to photo. First of all, you have to check the levels. They must be in a balance. If you set your things right in Max, there will be a balance. You can use auto contrast and auto tone still. You have to be in a balance so they fine tune your image. If your image is not almost balanced in Max, don't expect super results. Contrast changed a bit our image, but tone didn't. I'm using Smart Sharp for my image. Usually I use it at default to increase a bit. The sharpness, it depends what technique you have to use. Some do prefer blurry images for interiors. I'm using sharpness as we have to visualize all the details. Same thing here, levels first contrast, you can see the difference. Still it's not a big difference, we are almost there. And same thing, sharpness, it pumps up a bit all the details. I'll show the before and after effect, so you can watch it one more time. Well, that's it. I would like to thank you if you watched the scores. I hope it was useful and I hope it will increase your skills.