V-Ray Materials with 3ds Max + Vray : The Quickest Way | Jake Denham ⭐ | Skillshare

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V-Ray Materials with 3ds Max + Vray : The Quickest Way

teacher avatar Jake Denham ⭐, 3D Artist | Official V-Ray Mentor

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Vray Materials with 3ds Max + Vray : The Quickest Way


    • 2.

      Introduction to Materials in Vray


    • 3.

      Software - Downloading 3ds Max, Vray and Photoshop


    • 4.

      Setup 3ds Max and Vray


    • 5.

      How to Create a Chrome Materials in 3ds Max and Vray


    • 6.

      How to Create Gold Material in 3ds Max and Vray


    • 7.

      How to Create Plastic Materials in 3ds Max and Vray


    • 8.

      How to Create Wood Materials in 3ds Max and VRay


    • 9.

      How To Create Glass Materials in 3ds Max and Vray


    • 10.

      How To Create Nature Materials in 3ds Max and Vray


    • 11.

      How To Use The Vray Blend Material


    • 12.

      How To Use The Vray Blend Material with Glass


    • 13.

      Organising Material Libraries in 3ds Max


    • 14.

      Using the Resource Collector in 3ds Max


    • 15.

      Opening Max Files


    • 16.

      Bonus Lecture: Fast Exteriors


    • 17.

      Bonus Lecture: 3D into Photography


    • 18.

      Bonus Lecture: Five 3ds Max Tools You Don't Use


    • 19.

      Bonus Lecture: 4 V-Ray Frame Buffer Tools in 3ds Max


    • 20.

      Bonus Lecture: Camera Mapping 3ds Max Yacht Visuals CourseBonus Lecture: Camera Mapping in 3ds Max


    • 21.

      Bonus Lecture: Edge Distress Workflow In 3ds Max


    • 22.

      Bonus Lecture: Physics In 3 Minutes MassFX Tutorial


    • 23.

      Bonus Lecture: Improve Your Realistic Interior Rendering


    • 24.

      Bonus Lecture: 4 Quick Tips To Increase Photo Realism with 3ds Max and V-Ray


    • 25.

      Bonus Lecture: An Introduction to Generative Capabilities in Photoshop


    • 26.

      Bonus Lecture: How To Create Augmented Reality


    • 27.

      Bonus Lecture: AI Tools to Get Ahead of 99% of 3D Artists


    • 28.

      Bonus Lecture: Using AI to Generate 3D Models


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About This Class

Create a Library of Realistic Materials that you can use over and over again in 3ds Max and Vray in under 60 minutes.

Designed for all levels of 3ds Max and Vray users, you'll learn how to create your own Vray material library. Materials are key to achieve photo realism in your images. In this class we will go through step by step how to create and save realistic materials using Vray in 3ds Max. Here's more detail about what you'll learn in this 3ds Max and Vray Class...     

Vray Materials with 3ds Max + Vray.

Do you want to make better 3d renderings, but don't have a spare 14 hours? 
You're here because you want to create photo realistic renders with 3ds Max and Vray, right?
Are you having trouble achieving photo realistic results?

In this course I am going to walk you step by step through how you can create photo realistic materials every time, no more hoping for a good result. You can follow along and by the end of the course you will have your very own Material Library you can use over and over in your own projects.

By the end of this 60 minute tutorial series you will have

  • A strong understanding of the Material Editor and the basic settings you need to create your base material library.

  • Have the knowledge to create realistic materials in Vray of most requested material types.

  • Know the secrets the professionals use to stand out from the crowd.

It's great to have you here. I LOVE 3D RENDERING ESPECIALLY 3DS MAX AND VRAY!


This course is perfect for anyone that wants to learn the quickest way to make Vray materials. These are the exact steps I have used when working with world famous companies and featured in countless international publications.

Whether you're an Interior Designer, Architect, 3D Generalist, 3D Visualisation Artist, 3D Artist, 3Ds Max User or just want to be able to make world class 3D renders - this course will help you make better 3D images.


  • Free download of the 3ds Max Studio Scene

  • Follow along to the step by step guide

  • What scripts to use speed up workflow

  • Access to texture files

What makes me qualified to teach you?


These are just a few projects I have worked on, not to mention the hotels, cars, apartments and homes. I have spent the last 10 years figuring out how to make world class renders. I did this through a Bachelors and a Masters of Arts from Universities in the UK, working for some of the best design teams in places like Monaco, USA and UK. You can get all my knowledge . Seriously, I will teach you the most important things that will get you making remarkable 3D images.

My Promise to You

I'll be here for you every step of the way. If you have any questions about the course content or anything related to this topic, you can always post a question in the course or send me a direct message.  I want to make this the best course on how to create materials with 3ds Max and Vray. So if there is any way I can improve this course, just tell me and I'll make it happen.

Knowing 3ds Max and Vray is a great skill to have that is in demand and highly marketable. These are the exact steps I use to deliver remarkable work to dream clients. I've landed many jobs with the skills that I teach you in this course.

See you in lesson 1!




Meet Your Teacher

Teacher Profile Image

Jake Denham ⭐

3D Artist | Official V-Ray Mentor


I am a 3D artist and Official V-Ray Mentor who is passionate about helping aspiring CGI artists. Most of my work is done at Luxury Visuals - a site I created in 2011 to share my experiments in becoming a more effective CGI artist.

Originally from Cambridge, England I trained in Video Games and received a Masters in Digital Design from The University for the Creative Arts. This took me to Monaco to work for the yacht designer Palmer Johnson Yachts. From there I began working f... See full profile

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1. Vray Materials with 3ds Max + Vray : The Quickest Way: I have one month of free DS max be bringing to those course my name's Jake. And together we're gonna look at how it used to be regular under engine to criticism. Previously, materials goal of this causes for us to create a base set materials that we can use an update as required. So, for example, will create a few would materials. And then in future, you'll be out too. Change the texture of that material and it should be good to go. This'll means you won't have to start. Every material from scratch on this will save you a ton of time and means you can focus on becoming a better eyes. We're gonna look at how we can create an dude bump on displacement maps on water, look out, blend these materials together as well as organizing them into a library. So this course is designed for people with understanding free guest Max. So if you want to brush up on new skills before takings classed and please help the introduction to Progress Max, pass on. By the end of this course, you're gonna have your own fearing to library that you use all your projects forward So we're gonna avoid too much. Very. And I'm gonna walk through house. Great, great looking materials, including time possible. Let's get going. 2. Introduction to Materials in Vray: hi, guys. And working to divvy reading materials class in this class, we're gonna go over how to make the basic materials you gonna need. On going forward, you're grabs update eats and Jews eases your base. Secrets modified these onto your requirements. For example, here we have This wouldn't cereal on and say you wanted to change type with just going here . Andi up. They it on this work, they'd bump map and only other things. So basically, what we want to do in this course is create a with zero library, we update it as per your requirements. Says it is basically your base that Tim library on. So this is my attempt to create system out, create materials, making it easier possible in quickest way possible. 3. Software - Downloading 3ds Max, Vray and 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 4. Setup 3ds Max and Vray: So this talk about free, it's Max. Quickly. In this lesson, we're gonna look at opening up the material. What is the material? How to switch between slate and compact, Minty Renta. We're gonna look at changing the number zero slots. How did display of background material renaming how to show zero people on how to use the eyedropper tool? So open up Previous. Max, let's open up the scene that is in the resources off this section. We're going to be using this studio as the base for this whole close. I do have no course about studio lighting with the race so you can check that out if you're interested. First thing we want to do is open this material. It's us. It's open that we could hit em on the keyboard. Oh, here. So they zero editor shows previews of all the materials and when you click on them going to the sentence and edit them so we change it. Hundreds interior example here on if you're free, it smacks. It opened up this lame to read to you just go to Mo and compact on compacts. Fine, for we're gonna be starting today. So currently already into standard materials and we wanna changes in the race so you can do that. Make sure rendered engine is on your next. Then we go in. Yeah, we'll see the right. Unless you'd be right here and strange about that on the slots. It's now about these. It's all your materials. The new video. You can see that we have six slots. Onda, we currently have. I love 16 lots. Onda. We had two options cycle. You just prospects people. You see some fruit, the generals. So we're not limited to demand to shown here. Say, for example, if it isn't cereal, just gonna change the standard on blood to demonstrate authority. Much vellum doing moment, but on, say, all bomb to fill up on way. We have this ground material, right? We can still quite new. Do you slot? Start working on it. Change it on this zero. It's still unseen. We just need you the I drop to bring it back So we're not limited This amount of material slop if you are useful things to know in the Material editor is you click over here We've got the show that grand slop. So this is useful from a glass tools transparent or reflected zeros, we can see what's game reflected in the interior. Here is where you name your material. This is quite important, especially when we Creighton's material library. So let's get in invention along the lines of wood type. Would many more than one off that site, and then we also have the options. Shows your own. You call. So if we had a zero but this cross, you see, it's not displaying. People check. This barn is gonna show texture. She's quite useful. So zero is top layer, and it's what goes on the object. So this is the material on This is what gets rendered on day material is made up of textures and colors, and we call these maps and you match their part in it is map section, so the material dictates the sentence. How light will react with it. Andi, the maps. You take what it will look like. So an easy way to remember that is the images a mass plug into zero. So about this, his text job, this is interior on the texture plugs in. Over here we have e zero library. You get the materials. You see that we have quite a few options here. This class with using the right on here and zero is well used. My story who used to blend at some point as well in an area of the maps, but hung in Syria. So if I just jump over TV is slated to run it, he explains better. This is striving. Job this over here. This here is on cereal. So this is what is gonna render and then hear his voice have been These are our textures is there are maps these and I'm going on quite a bit about this. But it took me a long time to kind of work out. It was two in Texas materials on maps. So I just want to make that today to jump back to compact Teoh on. The last thing is this pick do object, which is really handy. So if you've got an object in your seen, you can just use this. I drop toe to grab it. I'm breeze 5. How to Create a Chrome Materials in 3ds Max and Vray: all right. Great. Really excited to get going on this goes. So let's start with some metals. So in this lesson, we're gonna have a look at making some chrome some crime, Matt on a brushed chrome material. So we're gonna look at how to copy materials, how to use the reflective bossiness. How to use a noise map ongoing. Explain what bump map is. So let's get started. These metals. First, we will open up the material editor. So gamma, put em on the keyboard on. And if you're in Slate tear editor just hit modes and go to compact. So the first thing we're gonna do is apply this toe object this material on I'm gonna name it Crow. So it's really important that we keep all of our materials name correctly, especially as we're building this material library. So next up, let's change to diffuse. We want it to be black, but we don't want to actually fully black. 000 is actually not achievable in reality. So therefore, we don't want to be doing that in three D. So let's put this is close to blacks, plus sports of +111 will be fine for what we're doing. So just remember that in reality that nothing is pure black or pure way. So let's avoid using those colors. So that being said, let's change the reflection to pretty much why we're just gonna make that again. One off. What? So let's click over here and turn our background on them. We can see what's being reflected. And if we turn Fresno off, we can see quite a nice crime material. So what I'm gonna do is open up from yourself so you can click here. We can first after 10 and I'm gonna go severe. Eight stopped the Ray Interactive on. That's looking pretty good for a crime material to stop that in this Jake and dropped this across. And let's name this one chrome matte. So this is essentially the same material. If I double click on this material slot, we can see it here on. We can change. This reflected blessedness, and that's gonna make it more Matt s. So it's just you something. My 0.7 and this Apply that to our objective. Used this bomb assignment, your selection. Just make sure you've got your object selected. Andi again. Weaken, Run the interactive Brenda on again. That's looking quite nice. So if you let it run drought there end up living quite nice and they stop We're gonna have a look at creating brush to fetch use in maths. So again I'm driving Drop this across and I'm gonna change just to Ukraine Matt brushed. And then I'm gonna go down to maths, which is down at the bottom here and in the bump. Matt, On the clip on I'm gonna choose General, and I'm gonna cheese noise. So how bumper works is in a similar way. Teoh Alphas is based on black and white. So anything, that's why it will be extremely anything This black will remain the same. So if we click this button here, show and result in turn that off. So this is actually the noise map there's on material on this isn't exactly living much like brush Mel. So it's based on black and white. So anything that's great. Well, kind of smooth out the edges so we're gonna do is bring this down to zero the tiling and zero Z. It's unsealing of these these brushed marks. And if you bring the size down, I want to make this really fine so we could actually bring this all the way down Teoh. That's fine. You see, we got his brushed Lions offense. Now, if you run an interactive Brenda should have to see these brush bonds. We can see the method is correct. So we can do is. Actually it would change the tiling from the why to visit access and that she cleared up. There's a brushed correct and enough thing to note is the amount. Death on the bump map is dictated by this saying here. So furry is erectile we're doing. If I pumped this up to 100 we're going to see it the brush martyr a lot deeper and again if you just called that down to one that be very subtle. So generally fairy thought. It's OK what we need here. I wouldn't flies going over 100 for any of these seconds. If you are, then there's probably something up your map, but that's cool. We've got first free material. So next up, let's take a look. A gold 6. How to Create Gold Material in 3ds Max and Vray: So gold is gonna be quite similar to the crime Cyril Almeida idea. So we can just drag the crime I ever. And we're gonna name this gold and we want to keep the diffuse black, and it's actually the reflective color that causes the gold color. So let's change. That is somewhere around one in 5 75 10 to give us an orange color made its darker even or light. That's something around. That should be OK, Miss Running means right, Brenda, On the second Grieco on, you can see that we can change this kind of here not as affected yes, and quite nice reflections as well. So much like the chrome. Let's self a mat on this also. So the bump. So we discovered this gold as you did the crime and something that bringing loss in its towns. Seven and this light out render. That's a really nice and saying in dreading drugs across look with his brush. Now, something that's quite useful is in the maps. In these material slots, we actually brightly copy and copy over a bump map from our chrome brush gold rush. His pace that in as a copy, misapplied its or object on. We'll see that the brush gold is now, you know, a tear of slough. That's another free made. But, um, the next 70 was gonna look out plastics. 7. How to Create Plastic Materials in 3ds Max and Vray: So in this video, we're gonna look at making a glossy plastic mat plastic and then a plastic your bump. So during this, we're gonna learn how to make plastic materials. We're gonna work out what Fresno reflections are. How too much color to a photograph on how to use a bump texture. So let's open up. The material added. So I'm very Maty ruin here its name, this plastic glossy and we might miss any color we like. Let's make it and ice blue. And that's applied at time zero. And for the reflection again we're using. I understand that background in a similar way to there bump were using Black will be not reflected. Why it will be very effective. So let's put us on around one fully. Are you okay? And then you'll notice that we have Fresno on Andi with the males. We had this turned off. So for personal refers to the way that lie works when it comes into contact with material. So D for 1.6 is fine for the plastic. But let's run Aranda. That's kind of co. So if you want, match a color Teoh an image you go tearing their style you emit. I'm just gonna have not been aiming for net from another course you've done so. This is now. I have nothing for yes, math. So if we go to defuse flick on this, I dropped a tool and weaken sample any color from this image. So if you got reference image from a client on they want to be color match. This is a good way to go about it. Celeste, use on the brown lever from the bed. Yeah. Okay. So now our plastic will match the color off that phone. So now you can change its color. The color is plastic to anything you want. Andi, just use This is your base plastic so we could make the map version by copying the over chemical. This plastic mat I know we need to do is bring the blessedness Teoh 2.7. As above, This would look quite replaced. It We're gonna need to apply that to object. Good on again. This at a to this. So this guy down on, we'll add a noise again. I'm just gonna leave in trying to run into it and see what happens. Only applied its understand that show shaded to on people. We could see it. We cannot. She see a bump on there, and I think that's because size of it is too large in a minute. Does this bring that right down? No. Stop seeing it. This pair on one on this. Also bringing the effect off. Let's try 60. Help pulled out. You see these? We can start Adan's and texture to this to find, but you have a play around with Bump Matt on. That's plastics done, so let's move on to would. 8. How to Create Wood Materials in 3ds Max and VRay: Okay, so we can have some fun here with wood. It's gonna be a little bit different tonight. The last free will kind of repetitive. So let's go to a new tier of slow. I'm gonna call it wooden planks. And so far we've only used colors Onda noise map. But we can bring any image we like into our material. So let's click next to diffuse where we were changing colors. We can click on this bar here and go to bed. And if we get to the textures, photo guys would on decide not wooden planks and you're seeing that now shows up No. Zero itself. So they supply that and showed up into with people. And then let's make the reflection meet Grant. Sorry is somewhere somewhere on here on would change your effective closeness to point a on that's run Orender and see what we get. So this looks all right, but I think we could do much better and we can do that in a couple of ways. So next up, let's have a look out and use Photoshopped to make bumps. So we've seen how bomb maps work. They work using black and white and similar weight to a lot of the maps. For example, Europe, the reflectiveness on Alpha's. So it's basis. So it basically is black and white information to determine the height. So let's open up our wood planks material a wood planks texture go to filters. Freedy generate front man push up has a brilliant tool to save us tons of time. Just wait for that to do its thing on this. Make sure detail scours on 100%. And then we're gonna here. Okay. And that's kind of come out a little bit blurry. So we don't want to shop, Not the image a little bit going shopping on sharp mask and saying around 100 50%. And I've got 2.3 picks. It was on here. No shutting that up on the most. Gonna put a levels on top just so we can get the most out this image. So I'm gonna pour these in. So now we've got So now we've got some contrast in the image, so we don't want to say this is a J pecs and go to file save as, and then switch this to Jay. Peg on. I've spent a long time there in that, but I've actually found a quicker way, which is file export and quick explores a J peg. Now, if you want to go, Teoh changes to a J. They go to export preferences and changes to Jay back here. Okay, so, no, I've also changed the shortcut to shift control Cure. So if I hit shipping joke you, he automatically saves as j picks. I know in just it wouldn't planes bum ends up and I've already got in. Yes, and that's heightened. Could be saved as J pegs. That's going to save you. Time to time. Now let's go back mats and in our bomb I mean, I have been that and we're gonna light up the wooden planes. Now it's running, Brenda, we'll see you got more that fall ready. Where these panels up, that's looking better so we can turn up. The bump is well again. You don't really want to be going 100 with this, but it does. That's, um death. Is this another way we can do this if you haven't got photo shop or you just want a quick solution? Andi, for this method, let's go over to slate zero editor on. I've been a drag and drop I would into the people making an instance, and I'm gonna delete this bump meant so we can see how interior works in the material. I've got this texture. They include the incident Diffuse on. What we can do is right. Click on, create a map. You can also find these over here as well. In general, this at a color correction. Then if we drag plug ah, wooden plants bitten into the color correction we condemn, it changes. So I'm just gonna monochrome to make this black and white. And then I put that into the bump That's gonna work in a similar way. You bring up back down to three also with this powder, correct. We've got contrast, which we can pump up. She's quite good. Now, this one Orender and see how that looks and the results aren't that dissimilar from what we create inside the shop. Now let's take a deeper look into this lame to radio on what's happening here. So over here we've got the material is seen and we got access to the materials we can create to divvy ready zeros. You can just drag and drop them here of all single access to the maps so we could drag in we like into here and start plugging them in different places on. And as I've said before, this texture plugs into the diffuse to dictate how the material looks. And then we have the color correction which can manipulate that material certain it's black and white or changing the contrast or brightness. You can double click on any of these maps and change the same small materials it. And if you double click on him that the biggest you can see about you can also minimise the materials. So you is just to show you into itself, which is quite handy, and you can use the middle mousepad to zoom in and out. We can also select all of this and holding shift. Just gonna drive you up and that's gonna make a company on. I'm gonna rename this wouldn't planes color and I want to drag and drop this into our sample slots as we will be using them later on. And I'm gonna make that an instance. It was a copy. It would only it would stay the same in any updates will be updated over here. So we'll give you an instant so it stays upstate. Andi, I'm just gonna right. Take up here. Go to maps, General Color correction. I'm gonna add another color correction in here. Just like I'll defuse him. And then we'll drag and plug this into the diffuse. It's now connected the actual color off the wood. I used the huge shift. Do that. So if you wanted Greenwood or if you just wanted to make it more red, for example, that's how you could do it. You could also use the huge Jew shift down here. So it's you tent. Click on that on if we want to make this, uh, blue, did I? Yeah, Onda, we need still just pump up the strip leave the top is 100 so you could come up more blue. So now we can manipulate the diffuse texture is in color correction and you consider that that is updated over here To know we have this base would weaken, actually update with any Wouldn't here we like and it doesn't have to the plants. So this grabber with plants among the shift drag that across and I'm gonna right click. It's maps, general bit maps. And let's load up this rough wood. I'm just gonna put that into the fierce. I'm also gonna plug that into a bump. Now, it doesn't look like this would be a reflective position going to the material. And that's as you bring the classiness down 2.1. And maybe we could pump bump that up to about 60. And another way, Teoh, apply this material. Is we complete contract right to you? No, that's from a Rendah. No, See that zero working in the people. So let's drag and drop that over. Yeah, Bacon instance. And we conclude his rough, Which on one more example, That's dues Chipboard. So I'm gonna copy that. I ever Don't click on here, Chipboard. We just started late on on this bit map on day after day here, chipboard. See how that's working. I'm gonna apply that to selected object on the run the render again so you can see just by quickly updating the texture and plugging into the color correction, we can update our materials quite quickly. So again, let's move. Diving toe a library and with stunts brought up quite nice. Library year of based materials. Okay, so now let's take a look. It's a glass and well done for sticking to class. Up until now, I know that if you are new to this is gonna be a lot to take in. And if you know some of these steps, my seem repetitive. But we are building our base library so you won't have to be doing this over and over again . And once you have these basic materials, you'll be able to create any into so consider these D fundamentalists fee to build upon. 9. How To Create Glass Materials in 3ds Max and Vray: So let's take a look at some glass. Andi. Soon as we won't be using any maps, we can just go back to the compact material and itself. I'm just getting cycle free so you can see some more sluts. Let's go over here in this great glass. I supplied it to our object on. I'm gonna turn the background on so we can see what's happening when we add when we had the transparency. So again, let's make this diffuse as black as possible. So 111 good for us. Yeah, okay. And the reflection to mid grey. So I've got one for five here and then the refraction, which is pretty much all transparency. Just off what? So to create two should work. So let's run a interactive Rendah and that glasses looking quite cool. We concede that the glass is casting a shadow on transparent objects. Don't actually cash shadows. So let's take on effect shadows and what this will do. It's actually stopped the glass from casting a shadow, so that is not a thing quite realistic. So see how we can make frosted glass and click track that cross glass first it onda we need to do is bring the bossiness down two point a. Apply that to object. We're gonna run. Render again. You can see that that's not first glass on. Now that this object is less transparent, we can actually turn the effect shadows on, so it will cost some shadows. So now how do we make this colored glass? And that's quite straightforward. Let's just drag over the frosted glass Onda. We conclude our colored that's applied is still material, and then add color is this folk color here so we can make this bright red. You can see that that is that in the color here, you can also do this with clear glass. Just copy over glass colored fly it and let's just make that never got blue glass. 10. How To Create Nature Materials in 3ds Max and Vray: nice. So let's take a look at some materials out in nature, so grass would be an obvious place to start. So let's go to the slate. Material Editor on Another wakes access days by clicking and holding on this material. Wait, it's Obama and taking on this lame to read it. You can actually create a new view up here by right clicking on creative You. We can just go this nature and we never clean pupils walking. So another way to you add textures into this. Beautiful is in Windows Explorer. You could open up your windows on Well, guys ground and we can just drag and drop these into the view port frame. These be the free materials with that With grass, we got some stones and then we've got some clay. So let's drag this material interview bookmaking instance, and that's name it grass. I'm a plug with grass into diffuse. I'm a double click on it. See, that's looking so with our spheres, Let did. I'm just gonna sign up into selection. I'm also gonna show this in people, and if we run a Rendah, we can see it's just the few, so it's not exactly looking realistic. Now, Robin, using a bump map this time we're gonna use a displacement, Andi in a similar way. How we create the bottom right click. It's maps, general color correction. Plug the grass in. Now I'm gonna plug that into displacement. Double click on the color correction on make it monochrome, and you see them Zero slot is not exactly representative off what we actually get in the interactive Brenda, you can see it looks very different. So that's why the interactive Brenda's can be quite important because I think that these the render and supple differ. But you can see what the displacements, then, much like we've been using the black equals zero on, Why was one you see how that's extrude in. Now, this is far too much and it doesn't look realistic, but we could bring this displacement down. So go to maps and this Bring that down to around 20. Also have fun with the interactive. You need to stop it on a restart. The interactive actually see how that displacement is affecting the material and that stance look quite good. So using the same technique, I I'm gonna just copy is down by holding shift. I'm gonna rename this one Stine's, and I'm gonna put Stein's into diffuse on into our color correction. Then I'll go apply that to our selection and referenda on that maturity coat. And one more that's display there's gonna rearranged, even just taking dragging. That's Freeman cereal right on. We will plug this into the diffuse and this incident color map so you can see how easy. Now we've got these bases. We just plug bit maps in and changed our here. Here's the play. So let's. But these over two into our slots as instances next time we're gonna actually look at creates a blend materials that things were about to get a bit more. And so I in 11. How To Use The Vray Blend Material: so you're getting tired. Cradle these forces and material. So let's take your bits. Fervor. Start combining them and explore the power of using some of these maps. So let's open up on T Read, sir, and we will create a new you on. Let's drag in aggress on well, driving all Stein's as well. So what I want to do is combine these two materials on. We can do that by creating a blend material. So in a right click, materials fear A on a very blend material. And how this works is we have a based material, and then we have to. Cote said. The base will be off stance because that would be the ground. And then grass is gonna be, oh, code one. No, If I make this a bit bigger, you can see that we've got blend off the stones on the grass. So if I apply this land material, run a Rendah, we can see what's happening. It's not exactly realistic. It's no how Grass and stones would really react, but it does conical. Let's stop that and look at how we can use a map to dictate the blend. So what we want to do is use a black and white map to dictate where the grass will show so white being it will be shown on black where it won't be so. I'm in right click and create a map. General noise on. Now if we plug that into the blend one, which is also here, you can also plug directly in up. Yet it's the same thing. Now we can see because this light grays it's no really blending to heart. So if I show this in beautiful, we can see we need to make a noise smaller for a start. Someone a double. Take on that a hard time Seeing everything get um, maybe this I'm gonna close. This made this across. That's better, Andi. So let's make this a lot smaller. Then we can see how that's affecting object. So this might that about seven suggests. And then if we do run a Rendah, we'll see what I still but because it's great. Still been a blend half and half, which we don't want. We don't want either grass or stone. You don't want kind of a blend because it's kind of on greatest it. So to solve this ongoing. Change your side with turbulence and see that we've got harder edges. But we can actually go even further by using this output. Andi Turning on color man on. I want to add two more points and it and uses Move stole and you can see what's happening down here. My one that pretty much just black from white. So if they're on top of each other that way, we see what's happening here. We just got black and white dots. Just click in an update in that numbness. Run around up and see that what is pure? What we can see the grass. So now we can make this size a bit bigger. Turn this on enough to see what's going on. Uh, maybe around 50 let's run Orender again. And actually, we've interactive on. We just update this. So I reckon if we make this around six dame, we can see more more of the grass on working full days up down to show more, to show, more or less said more white than more grass they'll be. And then if we pull this up, we should probably see a lot less cross. So put it somewhere you want. You see, Now we've got patches of grass on our stones. I also think that that cross zero is probably of scalp. So if I go back to a texture here, I'm gonna change your tiling to So what that means is is gonna look a lot smaller and hand because it twice tiled. So we're not limited to just noise maps. We can actually use any of these maps and create some quite cool affects. So you could use then, for example, or anything this black mourning that just plug that into blend, showing people on D C. We get There's also a sinner smoke a marble effects. So this could be quite handy if we go to tools. And I found Material Browser again. Bring out playing. We can actually plug that play into our base. And now we're gonna have plays the basement. You'll Robert and Stone's. So that's how easy we can up that this. So try some combinations, get nothing that glaze way out scale. But just for this example 12. How To Use The Vray Blend Material with Glass: Welcome back, guys. So now we're gonna take a look. Blending material was using glass on our details. So let's drag the glass material into. Are people making instance on Let's right, click materials be right for you. Blend material on. We're gonna plug this into our base, and I also want turn on background since it's a glass material. And if we go now, I'm gonna right click General, open up a bit, Matt on. Let's open up the luxury visuals academy logo, which is essentially a black more image on. I'm gonna put that into blend one. Let's at all gold Matt material and we'll plug that into one. No, we can see the luxury visuals. Andi logo is showing up on the glass. So this is our maps. Anything in white will sharpen the glass. And then what? That what material is dictated by one so we could add anything in here? We're blood in this plastic and we have this plastic like stick up. Now we applies, so object on his Rendah, we will see luxury visuals logo on this glass. So this really is just the basics of what you can dio I want to see you guys kind of explore this further. Have your own details to the glass on. Do you play with these blend materials on the maps and just see if we can come up with 13. Organising Material Libraries in 3ds Max: my guys in this video, we're gonna look organizing materials. So take a look at how to create a material library. How? Toe updating material Library on how to collect the textures used in these materials through the classes, up insane to move each material to a slightly material. Read it up on. If you're in a slanting tear editor, click up here on boats and we can change too. Compact. We can see what materials we create here. And the reason I told you to move them or over here was just to make it easier when we wanted to create our library said, we click here getting zero. It's gonna open up these windows, neither ourselves, lots, citizens on an instance of this here, close that down. I was gonna rightly and like, New Zero library. We're gonna go to space materials and you can see we got up here. So no, we have to do is drag and drop cross of materials. I didn't see that coming up here. We can right click here. We've been new. Library was drained and just display as large iPhones. And then we'll be out. See our materials. If that snow loading like my laptop is, then that's medium, so we can go ahead and just pull what a volunteer was across. Now we have a material library. You can organize these how you like by just clicking and dragging. And if you were praying quite few variations would, for example, you could actually create a new material library. Cool woods. She's now here. We just click and drag. They sedated citizens here. It can be in more than one material library, which is quite cool. Andi, it's changing display again to medium. Then we can have a would specific library. So if you make updates as a showed you in the classes on, you can drag and drop them over here. So because we've updated these material libraries, you see the stars, and that means that they've been updates. If you right click, I hate site here. You see that that's no longer there on D day, the same woods thinking, rightly, you close interior libraries and you can also open them up. All right, thinking I do library on. We've not the base words. So we needed to use one of these in a scene where he was click and drag it across. They would light up material, right? It's up. Then we apply to our objects and then say We wanted to update one of these so we could click track that Cross said she could. She Bush Andre wanted to make it chipboard so And this is for a color correct on there. Well, at a huge but is now got this green chipboard so we will make sure that we named that different meat toe original, and then we just click and drop it back in here and guardian say, that's how would update that material if we made up these Teoh chipboard here and say we changed the reflection on it already quite reflective. Return Fresno Reflections is bad, bad example. But you can see it's updated here and no here. So it's key to remember to drag and drop any updates across the uncovered of the original. These aren't actually being instance. Over here, he's removed and it's here from library here. So that's how we can creating your libraries and used them in other scenes 14. Using the Resource Collector in 3ds Max: Okay, So one thing we need to remember when using this material library is there are some textures associate with it. So on the plastic, for example, we have procedure maps which building 23 ds max. So you don't have to worry about these, but textures with paths. If you move to another computer three days maximum would be hard to find that path. So it's important to collect these textures into one folder, said it. They're accessible. So what advises to copy or of the wood textures on the natural textures? Incidents here was library folder. There is also a resource collector. Andi, this raw resource collector actually collect materials in seen not from the zero editor. So let's take a look at this. Skated a top view on great with you cookies this and then I'm gonna go and apply anything with the texture on. So let's start with this grass and then apply Stine's We've got the to 20 was there, So let's apply to play the book. This would and check board to these old Auntie Rose that have textures on. So what we can do is go to the resource collector. We're gonna turn on click bit maps. Copy. Update. Zeros, Brows. We're gonna browse Tonto Library. He's pop. And if we hit again and see that's doing something, we have not hung to his like following you See it. We now have all these textures in there on if we have a look at our paths there now mapped into library. So right, textures air in more places. So this is great on. That's how you can organize your into your libraries. 15. Opening Max Files: Hi guys. In this video, we're gonna look at how we can bring materials from other Freddie s. Maxine's in without actually opening up the scene, so it's quite straightforward. In the same way as you open a dot matt file, you can go intimate zero editor and actually opened up max files. So if we open up the material editor, I go to get material and in the same way as you can right click down here on Open Material Library, you can also click this arrow here and you'll get the same options. It's just open up a material library and I'm just gonna go to my desktop and you'll see we can't see any Max follows here, and we have to do is click this drop down and you can choose dot max and that will show your free DS max files. And you can select your file here and here. Open you see, or the material is open up here on. We can right click on display. It's medium icons and then you can go in. Andi, you can start Teoh, move things across into material editor, update em and do as you please with them And then when you do make updates, you can just right click on Save as Andi. Yes, and you'll just save it as a new dot map file. So I urge you to go ahead on and open up so you arm for yes, Maxine's. Andi, bring some materials him. 16. 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 this scene. If I select the car and press said, and make sure we're in perspective, view to P, we can kinda zoom around the car and start looking for a nice angle. So something like this looks kind of cool. We can add a camera now, so we'll go over to the Create panel. Camera, 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 graphite toolbar open so you can go to Customize, show you, I, uh, make sure the ribbon is open and object pain 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. And 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 we're 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. It's a 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 write AR 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 GYN on. And of course we can move these around individually to sell 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 open out cosmos. Think is cosmos of cars because mice, cosmos, cosmos will go to trees. And I'll bring this English OK. And we'll just use this to frame. I'll car they obey. So just have it kinda coming in on that corner. There are some really fun things you can do, like add melt modifiers and then kind of animated trees grown and stuff like that. But we can talk about at another time. And let's also bring in these junipers. This tree is also 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 scatter it 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 our free brushes. So I'm going to select those. I've got four, I've got rock here as well, but that's fine. And I'll pull them over. So I'm kind of 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 on in the foreground then. And obviously you can go to town like you could add some of these smaller plants and there's even like little Stein's that would go nicely behind the car. Anyway, this unhide 0. 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 it will go into top view in the interactive render. So quick way to solve that is in the render settings. And you can look the camera to that view to render. Now when I go to the top view, it's 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 VA camera, if you select it, is showed a horizon line. So that black line there is this horizon line and this 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, it's 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. 17. 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 v ray light material, we go back to our camera, person C, run 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, says little bit 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. And 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 Obama 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 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, 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. And we can see that it's fireball effect underneath. We can click on it and set up. And it will just open up 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. She went 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 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. Say let's create a main light. Now I'm going to make it targeted. Select that target. And we want to put 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 also in the frame buffer. Um, I've added a few other things I've adjusted to do in saturation and filmic 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 out 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 back in the same. So we can bring that down to about 20. And we confer 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. And I, my favorite possible it is Blab. And I'm gonna put down screen. See what that does. That just adds a really nice glow to these light can actually do to make that more intense. And then obviously if you wanted to put a mask on, paint out certain areas if they were too bright. And I'd like to add a small amount of fog as well. So 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 run 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. 18. 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. 19. 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. 20. Bonus Lecture: Camera Mapping 3ds Max Yacht Visuals CourseBonus 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% 21. Bonus Lecture: Edge Distress Workflow In 3ds Max: Today I'm going to show you how you can distress edges of materials with him for 3ds, Max cleanse curvature is a mixed maps. What does it all mean and how does that help you become better freedom, as you're about to find out? We're going to start in a studio scene. And all I've done is bring in a piece of furniture from Cass cosmos and zoom in to a section. So you can really see this effect in action. So distressing worse idea is you get an object, you paint it, and then you sand off the edges and it comes out with this distressed look. And we're going to use materials to do this. So let's open up our material at just press M on the keyboard. And I'm just going to use the eye dropper to grab the material that's currently on our object. And this is the word we're gonna be focusing on. So what I'm gonna do is just grab all of those hold shift and make a copy. And let's plug this copy into multi sub. And I want to make this look painted. I'm just going to add a color correction. Plug that into our diffuse. And in the color correction, Let's just change the color. What was I going to make it a little bit lighter than the gamma. And we can see we have kind of painted this object. But now we want to show the original material underneath. So for this we're going to use a blend material. So if I right-click materials, be ray and be re blend, lets plug our original word into the base and he instance. And we're going to put our blue word int 1. And if we take a look at this material, we can see that it's a 5050 blend of the two materials together. And the reason for this is it's blending based on this color. So if I make it all the way black is going to be the original color. If I make it all the way, white is going to be this blue color, but I'm going to put that on Black. And I'm actually going to use a map in here. It's going to be a general and it'll be a bitmap. And I'm going to use this distress texture, which looks something like this. You could also use a procedure if you wanted. And now we have that in our blend amount. Let's plug that into a multi sub here, interactive render. And we can see that now we have the distress showing fruit. And we can customize some more if we want more distress than we can up the tiling so we can put it onto. Or if you wanted to stretch out the distress, you can put it on one and then two and it's going to stretch. So that's called, but we want to dictate where distresses happen in, and this is usually going to be on the edges. And in previous videos we've used data channels and additional plug-ins, but I believe the method I'm about to show you is probably the best yet. For this, we're going to use a VRA curvature map. This texture is similar to the V rate depth map and he's really useful for detecting mesh curvature. So we can right-click in the sleigh Edit and go to V Ray and V Ray curvature. And if we plug this into the blend amount instead and run an interactive, we should now see the blue coming through on the edges. So we actually want these the other way round back in our Material Editor. If we drag and drop this, the blue word onto the other word, we can hit Swap and it's going to swap them over. So let's take a look at this curvature map. We can turn the output color up to five. And that's going to make the word come through even more. And if we want to tighten this up, we can use the scale. So if we bring the scale down to the same 0.1, going to be really tight on the edges. So playing with these two settings is how we can dictate where distress will be. So you can play with these and play with the scale. So there's put on point to this curvature map is based on the model. So if you go really big or really small model, you're going to have to play with these settings a little bit. So that's cool. We have our edge is mapped using the curvature and we have our distress dictating the distress. But now we need to mix the two. And we can do this for a mix map, a mixed map. Let's right-click a map, a general and choose mix. And if we plug the mix into the blend amount, you'll see that we have black and white. Black is going to be blue. And if I put out all the way to 100, this is then going to become the base word. So if we actually plug in our curvature to the mix amount, which is here, we'll see is acting exactly the same as before. But now for the magic, if we plug in our distress map, we can see that is going to change slightly. But what we need to be aware of is that black is not going to show and white will show. So we actually need to invert this map. And easy way to do that is just inside the map. And we'll up, we now have the distressed effect only affecting the edges of our object. So you can see it's slightly here, but we're going to want to pump it up. So we can definitely add more repeats to add more distress sections. And we can also customize the curvature. So we could bring the scale up to 0.5 for instance. And you can crank up the max output color. So just have a plane here, see what you come up with. 22. 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. 23. 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. 24. 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. 25. 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 someone to prompt 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 like this person here. Again, because this is layered, we can just select that layer. Let's grab the brush and we can just brush them. And let's select a soft brush and just paint back in. Some of the areas we want to keep. What we've done is we've gone from this image to this. Maybe are men on the bikes too big? Just remember as well, this is in beta and this is the worst this is ever going to be. I think this is incredible and I think that this is going to have massive impacts on our workflow. Next up, let's take a look at a portrait. What we can do is select the subject. And you can see it's going to select that guy. And what we can do is invert the selection. Let's hit Generate. And this time I'm going to put barley. Let's see if we can transport this guy to Bali. Nice, this ash. Wow. How about that? And it actually keeps the blur and the camera lens from the background. The lighting looks good. That works for me. That's great. Now let's try a few other bits. Let's try an Interior seen. 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. This is a really FUN way as well of generating images. I can see this having a massive impact on interior designers, architects. How about that? Wow. Let's add a mirror on this wall. Just thinking about having to do this in Photoshop. I love Photoshop. I think I'm pretty good at Photoshop. But the time this would normally take compared to what this is incredible. How about that? And even imagines the rest of the room. Wow, I think that first one looks pretty good. Let's see if we can add in a rug. I'll just write rug. That is super impressive. So we've gone from there. It's right, we've gone from this to this. And that was pretty painless. Alright, let's take a look at one last big cityscape here. And let's see how it fares with filling some of this. I'm going to overlap it a little bit. Let's just hit generate and will let us do its thing. Now I will be super impressed if this works. Wow, this looks great. Maybe we can add some something in the foreground here, like add high-rise buildings. Now that is really impressive. So we started out with this and ended up with this. This Interior Scene started like this. And then they'd like this. This guy was here and ended up in Bali. And this image started out like this and came out like this. The impacts of this is going to be massive. I can see this being used. I mean, you could hook up your microphone and just start talking to Photoshop, selecting areas, change this window, put changed the door to read. This is definitely a tool you need to be aware of and start to use 26. 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 to manage 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 our 3D model, which is this XOR. And I'm gonna go to image marker. Now I'm going to load up our GOD card. Then we can select that, select the asset. And we can see how card is now in here. Now we can select the model and then load up our GI dude modal. Hit Select asset. And just like that there is. So we're going to want to move them around a bit. Let's rotate him 90 MEX and maybe even like ten in a way just to straighten them up a little bit. We can use these tools over here 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 will 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 want 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 AR animations using WebXR Tools and share your creations with me. And it's not just for Pokemon cards, you could use it for furniture, turn your cab plans in 3D and so much more. So head over to WebXR Tools today and get started. 27. 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. 28. Bonus Lecture: Using AI to Generate 3D Models: We've got Chat GPT for text, we've got mid journey for images and runway for video. So what about free D modeling? Stick around as we explore a real world application of AI. Free D modeling. The current capabilities and if they can actually accelerate our workflow even if you're brand new to free D modeling. So Meshy lets us turn our text into free models and then these are the featured models, so the best quality we can expect. But I've got a plan so that we can use them in Arcs and advertising and beyond. So just remember that this is the worst that AI to Fred models are ever going to be and it's likely to develop really quickly. So if you just look at the first mid journey compared to the latest version and the speed that that happened and this is just meshy two. So let's have a look at how meshy works and then we'll take a look at a practical example. So we'll go over to text to free D. One use I see for this is creating hard to find models that I want to pose in my scene. So rather than spending ages trying to model it or trying to find models online, we can write something in text to free D. Let's say my client has a very certain breed of dog and they want it in their Fred image, so I'll write a West Highland white terrier sitting and we'll put this onto realistic. You can add negative prompts, so for example, if you didn't want any blue in the freed model, then you can type that in here and we'll hit Generate. And then you're going to get back something like this. And we're going to have a few options from far. If you look at the small thumb now, they actually look pretty good. And you can choose on which one you like the best. So I think this guy without a color. And then all we have to do is hit refine. All right, and this is the refined model. Doesn't look too bad at all. We can change the texture settings here. But what I think is really cool about this is if we go to the wire frame, we can actually change the mesh settings to quads. We can reduce the amount of quads that are here. I actually did that to quads and lowered the reds here, and I think it actually does a really nice job. This is where AI free modeling is at now. Let's see if we can actually use this in production. So let's see if mesh can help us solve the problem of finding a very specific model for our scene and not need that. Let's see if we can generate a model that we can rig, animate and then light in our free DC. So this is the free model we're going to use to first up the text prompt in mesh. I found this in the features page and I saw the text prompt was here. So I actually copied some of these prompts. Highest quality, best quality, studio quality. So let's hope it's quality with the amount of times I've written quality. So I'll paste that in. High quality photo realistic chef post. We run it unrealistic and we'll hit Generate. This is what it came back with. So we've got a few options we can choose from. We're going to go with this one, and we'll hit Refine. And once it's refined, we're going to get back something that looks like this. For what I've got planned, I think this is going to work just great. We can download this. I'm going to download it as an FBX. Hit download and we will look at rigging this character. All right, Mix is an awesome tool from Adobe that just doesn't seem to get much love, but it's a really fast way to rig your characters. All we have to do is hit uploaded character. And I'll upload the FBX we just downloaded. We'll rotate him so he's facing forward and we'll hit next. And now we apply few points as per this image. So we've got the chin to put the wrists in, elbows, knees, about here, then the groin, somewhere around there. And we'll hit next. Now our model is going to be rigged. It's going to take around 2 minutes. All right, there he is. Then we have absolutely loads of different animations we can add to our character. We can have some push ups dancing. I know. All right, so I'm going to type in table because I want in front of a table, there's some pretty interesting stuff. So like if he is cooking something like this, I actually think that that might work pretty well. He could be like sprinkling salt into a pan. I'm going to turn up this character arm space. I actually think that it's going to work pretty well. I'm happy with that. So I'm going to hit download. Fbx will be fine. All of the defaults are great. We'll download that and then we'll get into free D and we'll pose him all right in our three D program. You can use any three D program. I'm going to go file in. The defaults will be fine. Let's hide unselected and I'll go to the front view. And here he is in our three D package. So if I hit play. There he is, doing the business. The first thing we're going to want to do is scale him. I'll just group him first. I'm going to create a box that is like one I think I'm about that tool. I'm just going to ground the pivot so then we're going to scale from the ground and make him roughly that big. Then another thing we'll want to do is take a look at his material. Currently he's got physical material I'm going to be rendering with corona. Let's add a corona physical material. I'm going to plug that into the base. And I'm actually going to add a color correction just because I think them shadows are a bit harsh. If we go to advance, let's turn up the gamma and apply this to our guide. The material done, let's, we're going to hide the helpers. We can unhide all had to the top select our guy and let's put him in position somewhere around here. He's going to be doing the cooking, maybe something like this. Go to our front camera. All right, there he is, so we can position him how we want. I reckon somewhere like that perhaps we can bring him forward a little bit, but that looks pretty good. I'm happy with that. One other thing regarding that material, let's make sure there's no reflections on him. Let's go to the render settings. We'll just use single frame. One other tip here is if you wanted to, earlier I was playing around and I actually rendered out multiple frames, him in different positions just to try it out. But I know that we want this frame and I'll hit Render, and I'll come back. Once this is rendered, it shouldn't take too long. All right, so this is the render out. We're now going to head over to a tool called Magnifique. I love this tool. It's an up scaler with an AI twist. The focus of this is the chef and not the rest of the image. What I'm going to do is go to upload and I'm going to upload our image. Let's just hit up scale and let's see what this does. All right, so this is what it's done, not much better. But what we can do is put a prompt dense, I'll write a happy chef. Then we've got some other slides we can use. Hallucinate allows us to add some additional details. Let's crank that up to two in resemblance. If we increase it, it's going to stay more like the original image. We don't actually want that. Let's try it on two and minus two. All right, and that's come back. It's looking better, but we need more. I'm going to put the creativity up to six. Let's put resemblance like a minus four and we'll upscale, gain. All right. I think we are pretty close to this guy. A few things that we're going to play with, but to go from this to this looks great. So let's download that image and we'll head over to the Photoshop over here in Photoshop. I've got the original render without the chef in, and I'll just drag and drop our chef on top. Let's see if we can just select the subject. All right, not perfect, but let's use that. I'm actually going to hide the background. Let's start masking some of this stuff in and out that hands. Not too bad for AI. Will keep his chef hat on that hands. Going to need a little bit of work. But yeah, he looks pretty good. There he is, masked in. I want to add a slight brightness and contrast. I'll hold Alt, so it's just going to affect that bottom layer. Let's just turn him up a little bit. Maybe we can pull that contrast down. Another thing to get him sitting a little bit better is if I jump back down to our bottom layer and select a whitish color from here, I'm going to add a solid color. I'm just going to put that on color again. Just have it affecting the layer below, so it's only going to affect him. Let's pull that down to like pretty low. But you can see that it's just going to help with the colors sitting in the image a bit better. I think it's all right. Maybe here we need some work. As I'm going to sort out this hand quickly, he's looking pretty good. A couple of other things, obviously in Photoshop we can use some generative feel. Maybe here, let's add some steam coming from the pan. You can take your time on this, but steam looks pretty cool. Maybe we'll want to add on the table just looking at steam, we need to get rid of that bit. That looks all right. That's better. Oh, yeah. All right. That's cool. You could add like tea towels, maybe like a kid drawing over here or something like that, but this will do for now. You can use generate feel. Then I'm going to duplicate and flatten all these layers. We'll take a look at camera raw, put auto on that looks nice. I'll lower the saturation a bit. Do some clarity. Let's put some optics on. Maybe like a slight vignette. Oh, another cool tool we could actually use is Lumina Neo. We got some really cool features in here and this accent I really like really makes the images pop. You've got a lot of super sharp magic lighting and we're going to add some like atmosphere. I don't think we really need fog in here. You can relight the scene, you can even add some rays if you wanted some coming in there. I don't think we need it, but we'll leave it on. Add some film grain. All right, this is what we had and now we have our chef in our scene.