Transcripts
1. Introduction to This Class: Hey guys, Welcome to
today's Skillshare class. Today I'm gonna be showing
you how we can produce product renders using
V reigns sketch up. And we're going to
create some really nice imagery in this class.
2. Creating infinite wall: Okay, So welcome to the desktop. The first thing we're
gonna do is we're going to open a new file and sketch up. And we're gonna go through the easier method
first or creating a dime light and to create our studio
lighting environment. And then from there we'll go to the more advanced lighting, where we actually create
our own physical lights and we can manipulate
and move it around to get the best lighting for our products
and our renders. The first thing we're gonna
do is open up a blank model. Now this is a matter of wall. Sketch, a version you're using. I also work in millimeters. So if you want to follow
along and work in millimeters as well, That's a
good starting point. So the first thing I'm
gonna do is actually create our background for
our studio renders. Now, studios normally have, somebody could have an infinity, which is basically a wall
that has a curved edge to it. That has no, It's got no, basically 90 degree out. It's just a nice smooth curves. So we're just gonna
recreate that in SketchUp. Let's do that. I'm just gonna
grab my rectangle tool. And you actually wanna make
this longer than you think. Normally people just draw a
rectangle about this size. But when you're doing a renders, you'll see that you'll get that. You'll see in the background
so you wanna make sure it's quite a
long rectangle. So mine is going to be about there's about 50
meters roughly wide. And then what we're gonna
do first is just which put up doesn't really
matter how high is. As long as you, you know,
your product is going to sit within that height,
should be fine. Then what I'll do is
I'll just offset mine. Who run by its offset this
face ever so slightly. And then I'm going to
grab my character. Now, just in the bottom
right-hand corner. You're going to get
sides is 12 by default, I'm going to put out to a 100. So we get like a nice
smooth transition and not like a angular
12-sided transition. And I've got to go to
the midpoint in this than I wanted it to be
tangent to the edge. So when it changes color to purple, that's
where I want it to be. And then if I just
continue these lines to the top edge on either
side of that up. And then I can erase these. And then just push, pull this. Again. I'm, that's,
that's pretty much it. That is our infinity. Well, now you can adjust this report if it's too
big or whatever you can. You know, we do
this, we draw this. It's very quick to do and
you saw how I did it. So yeah, you can always
adjust it there. That's initially how we create our affinity wall for
our studio setup.
3. Creating a light Sphere: Okay, so the next
thing I wanna do is actually create a sphere. And this sphere
will help us with our lighting and help us
assess what we want to change and how we want to adapt to new import that the crate, a pretty quick sphere. What I'm gonna do is just
draw a circle on the face. And then from that circle, or go from the center
and go on the blue axis. So it doesn't really matter
how high to go to Other. And then from here, I'm just going to
draw a rectangle. So basically we'd like
creating a little flag. It's actually, so we
can go about that. And then I'm just going
to create another curve. Now it doesn't matter
how how many sides It's got weeds want to make
sure it's a smooth circle. So yeah, I've still got a 100 that you can do less or
more depending what you want. And I'm gonna make
sure as a half circle. So on, you can see on the screen is come up with a little note saying that
this is now half circle. So I'll just click that. And then what I'm
gonna do, just arrays, these are the edges. And then I'm just
going to double-click on my bottom circle. Use the following me
tool and then click on his face and we get a sphere. I can use arrays,
these other objects. And then I'll select
that all and group that. And now that is our sphere. Now we want to open be rare. And we're just
going to basically apply a mirror finish
to this sphere. But to do that, I'm
going to come into materials and I'm
going to go to metal. And basically we just
want to probably just do just a polished metal release or element in Polish
would be fine. So if I right-click that
apply to selection. And now we have this
sphere in our model. And that's going
to help us adjust our lighting moving forward, especially with all the
reflections I will be giving off. We'll be able to actually see our lighting in a
much clear away.
4. Existing Lighting, Turning off the Lights: And now we have these
elements in place. What I'm going to
do is just open my interactive render teapot
with the like I guess, finger on and clicking on it. And that's going to
basically allow us to adjust our environment with the live view so
we'll be able to see what it looks like
as we make changes. So I've opened up the
live preview and you can see that I can move around my scene and I can see the current state of the
lighting in the moment. And if we zoom in on our model. So it's a bit tricky when
you get one monitor. So if you've actually got
two monitors and it's really helpful to the honors
on a separate monitor. But because I'm recording, I am using that one as per
my recording software. But you can see the
environment that we've got in. It's in it's chrome sphere. It kinda helps us get an idea of the surroundings that
we have at the moment. So that's going to be useful. So yeah, this is the kind of standard sunlight that
you get will be way. So any SketchUp model
where you open up, you'll be where you
will see that we have this kind of standard sun. Now it's fine for quick
renders and obviously, you can adjust it to
make it more realistic. Depending on the
scene that you're creating circuits and anterior, you can adjust it
with this lighting. But for now what we're actually gonna do
is we're going to basically just turn
off all of our lights, make sure that there's
no light being emitted. And then from there
we'll start building up the environment from scratch. So to do that, the first
thing we wanna do is open up. I'll be revenue again. So within our menu, we go to our light area. It's just hide this because we don't need
this at the moment. And what I can do is I can
just click this button here, and it will basically
just turn a class online. We've turned off the
sunlight biopsy. You can still see, we've
still got lights and that's actually coming from our
environment essentially. So this kind of blurry
background image is actually emitting
light into our scene. So in order to turn that off, we are going to have to go into our settings and within our Settings tab
code environment. And we have this second cool background and
this checkmark. And what we wanna
do is uncheck that. And you'll see now our scene is completely black and
this is our base point. We're adding lighting.
5. Understanding the Dome Light: So now our lighting
to love what we were gonna do is add a germline. Now in order to find
the dome light, if you go to Extensions V, where you can come
down to be very light and just click on Download and that will
produce a dynamite. Or if you've got
it in your kind of tuba soccer mine up here
being shown in the toolbar. And I can just click on this icon here, which
is my timeline. So I'll click on that and then just click on
the ground anywhere. It doesn't matter
where you put it. It's matching, visible to
anybody you a renders. So our Dima is basically
projecting the HDR. So that background
that we turned off before or don't like, will now be replacing that. And if we go into your settings, will be able to see or down
lights on the lighting tab. And then we can open
up this window. And I will expand
on our timeline. And you'll see kind of what we got being projected
into our sky. So at the moment or don't
mine is protecting HD I. And that is essentially
a texture that is being, like I said, emitted
like a dome and that is kind of a wall
or ceiling to our model. So the stock dome light has
a pretty good HD, HDRI. And we can see that here.
And we can actually adjust the settings on it so
we can turn it down, we can increase it, we can actually increase
intensity here. And we can change
the units as well. We can change it from a
hemisphere to a sphere, but then I really
need to do that. And if we take the
US transform tool, what that means is when we
actually rotate down lines, it will actually rotate
the light itself. So we want to actually tick that because that's
actually useful. I'm adjusting the light to effect and make it
correct for your model. So if I now run the
interactive renderer again, we can see the R don't
lie is now taken effect. We have kind of a shadow. And let me just move my things. Whereas having zoom in a bit, you can see the
shutter that we're kind of projecting
in the moment. And what's nice about
the dome lights having transform
this arrow here. Who would be the other way? This arrow here basically tells you where the sun
is coming from. So that's a good tip
actually to remember. So when we rotate that we can
actually reposition sign. So I'll show you
that now quickly. So we've got a dome light here. And if I just rotated this way, you'll see the shadow on our preview has
now moved to more, more from wood, which
is, which is cool. So I'm actually will adapt now. And you can also see the image
that I was talking about, it being projected into our sky. You can see here that
we've got that HDRI image. And what we're actually
going to do for the quick version is we're going to replace the image with a preset studio lighting
using the chaos Cosmos.
6. Chaos Cosmos HDRI: Okay, so now we're going to
access the carriers Cosmos. Now, depending on what
version of B where you have, you might not be able
to get into this. So that's where in the
second part of this class will go into the
details of how to recreate this around lights. And it's actually probably
the best method of doing it because you've got a lot more
customization available. But stanza, the chaos cosmos, if you come to this little
tab here, click on this. And basically what this is, is a really nice set of assets curated by the guys at V
Ray. See you can use them. We've got furniture,
accessories, people, cuz whole bunch of 3D models
that you can put into your, into your AI models. And then when you render them
out, they're going to have really nice textures
applied to them already. So it just cuts out any work that you don't
really need to do, you can just import some acids
are what we're interested in today is this section
called HD or eyes. If we click on that, you'll
see that we have basically a whole bunch of those
images that we can download and then put
into our dome light. And we'll get the
effects shown on screen. So you can kind of see
if you want to sunset, climate, lighting,
you can do that. They're basically a whole
bunch of different lightings. What we're interested in
today is the studio lighting. You can see the ones that
I've downloaded already. And you can see the camera fact they're giving
on the floor. So for this example,
I'm going to download this new one here. I can see it gives kinda like a nice soft shadow and we've got a mix of a slight colored
lighting in there as well, but it should give a
really nice effect. So I click download here. So the asset
successfully downloaded, we get this
nitrification down here. So if I now click on this
little green button, I will import the USSR into all the red flag
should have important. Now, now if we go into, I'll
be where Asset Editor you'll see are underneath
or our textures, we have this environment, good Studio 7, that was
underneath this tab here. And you can see
it's an image file. And what the file
does is basically it downloads it to this file path. So that is basically
where we need to now go retrieve it and place
it within our download. So if I go back into my lighting and going into my timeline, and if I click on or Texas law, and we can see where that's kinda currently retrieving
this texture prom, but we're going to click
on our little boxer. And then we're going to
go into our textures. This is the file path
way to get to it. So you go to Kelly's
cosmos packages HDRI student studio through and see the one I've just
downloaded this here. And there's our previous Volga. And this is the actual
file that we want to import into our dynamo, like evenness, the Copan. And that has imported
that HDRI into our demo. We can close up. We can
close this as well. And now we can just run a render and see what it's looking like. I guess I've just opened
up my interactive render. And you can now see
that that kind of environment has been
projected onto our sky. And if we zoom in
into our sphere, you will see those
lights kinda show up in this sphere a little
bit and you can see the shadows working
quite nicely. Now see the intensity is probably a bit too
low for what we want. So I can just adjust that
by coming into AbbVie V. Remedy and back them up online. Now, if lights up the
intensity from 0.8, That's pretty put
it to say temp. And then we can check back
with our, our frame buffer. And you can see that
starts a lot better, still pouring out
with Brian we want. But you get an idea of what
it's going to look like. Now another thing we can do is obscene rotate our deadline. So if I now use the move
tool on the down lights, I can rotate it. And now this could
be where I find a light looks better or to
again change the shadows. So I kind of like as a
shadow that dropped Canada. And I think operating in our up the intensity ever so slightly. I think it's still
a bit too dark. So I times intensity
from ten to 20. Now it's looking more
like a studio setup. So I can close that. And we can just zoom
in on the sphere to get an idea of what
we're working with. And so basically that is a
studio lighting setup within the way you can see from the reflection that we've
got these lights here. And that's projected
onto our model. And it's creating this shadow. Now we can import our product or the product that we want
to show you an example. And we can see with
the lighting looks like and we can
move on from there.
7. Importing and Render Settings: The important one of
your existing models, you can just go to
File and then click Import and then find your
file and then import it in. Or you can just have two
separate sketch up windows open and you can
actually just copy and paste it within this model. I have, for this example
I'm going to do is actually gonna use the
chaos cosmos again. And I'm gonna go, and basically it is important
to separate products. I'm going to do small
scale products. So something like a
piece of technology and a larger objects or like
a chair or a light. And then we can just compare the fact that the lighting
is having on them. And we'll have a few
good examples there. So I'll just import it to different items from
the chaos cosmos. The first is the
famous Eames chair. If you're a designer,
you probably seen the lounge chair and the Ottoman while by Charles and
aims is a beautiful job. I really want one, but
they're pretty expensive. So then also I've just
imported this cattle. So this is going
to be an example of a smaller product that you might want to render
in a studio setting. Now what I'm gonna do now is I'm actually going to
go into my B, right, and just change the settings to allow us to do
a proper render. So someone was going to change my output at
the moment is widescreen. I'm probably gonna put a square. And then initially
I'm just gonna do a 1920 by 1920 square. And that's going to be HD. We can get into probably the more technical renders a
bit later in this class. So that will be turning
on the depth of field and adjusting
lens effects there. But for now I'm just
going to show you render of the chair in this
lighting environment, in the preset lighting
environment that we downloaded. And then the cattle in
the lighting environment.
8. Render results from dome Light: So here our renders,
as you can see, it's actually, we've got a pretty good studio
setup and a good affect. The shadows and nice. And the product of solutes
good because this is one of the payoffs, cosmos products. So all the materials are
going to be on point, which is very important as well. So any products that
you are rendering, just make sure you
really good materials and you make your 3D model is good you can before you
start rendering it, because that basically makes all the difference
in terms of realism. And yet it's the overlook
or your renders. But I'm pretty happy with this. You know, like in terms of a quick way of setting
up studio lighting, this is a very
good way to do it. And obviously there was
a few different options within the cosmos. So there's a few
different studio options, but I'm kinda like this
one because it's got the color blue and yellow. And when it comes
out pretty good. So I feed the cat one as well. So this is obviously
a smaller product. So you can see the
effects happening here. You can actually see the
reflection of the lounge within the cattle and that
kinda lighting behind it. And you can see the
top-down lines, which is again in that
HDRI that we imported. The shadows, that goods.
It does look pretty good. It does look good. But
the only thing is, is we have very
little manipulation of the lighting itself. So we can see where it's, hey, our dome light. And that's going to change
the direction of the shadows. But we can't actually position
lights in specific areas, which is something
that is very useful. So say on, on this
kind of leather chair, you might want a nice
highlights on this top edge, and you're not going
to be able to do that without adding your
own additional lines. Now obviously you could do this by adding a light to this scene. I think it's best to
actually build up yourself and build a whole
lighting environment yourself. Because then you can
create all the effects and all the results that
you want to summarize how we use a dome lights to
create the studio renders. We now going to build our own studio lighting and we're going to
render the same models, but we're going to
be able to play with now and we're going to
be going to be able to kind of adapt and change the location of the
highlights that we get. And I think actually
get better results. As, as a result, we're building our own studio. So and we won't
that section now. Hopefully this section
was helpful and yeah, it's a good quick way to
produce our product renders.
9. Creating first Panel Light: Okay, so what we're gonna
do here is actually just turn off our timeline. Now, circling here, we can
just click on this button. And that will turn
off our timeline. Now when we run a render, basically we're gonna go back to that really black screen. So predominantly
we are going to be using the rectangle line. So that is this thing up here. Or do you go to Extensions, be re, re, re, lights. You can find the
rectangle lived. And what rectangle lie is, is basically it's a panel I, essentially it's a flat panel. The objectives lie outwards and we can adjust the intensity, the color, all sorts of
different things like that. And we're going to use that
for lighting or products. So it's a crate, a panel light. What I'm going to do
is click on the panel. And then basically we
just draw a rectangle. And we didn't have
to be that big. But depending on what model you're rendering will depend how big you want your timeline. Some probably going
to make them in. I'm just gonna do it by and I'm going to try and
keep them square. Well, that's probably
a good size. And what's good about
this panel lights is the arrow is where the
light is actually showing. So when we move them about, you will know that the
light will be coming out over a certain direction. So with our first
one, what we're gonna do is actually we're going
to turn upside down. And we're going to put it
directly above Archer. So I'm going to position
it roughly in the middle. It doesn't have to be perfect. And laba. And then if I move
this up, like so, we're just going to
have this above arch, probably about this high. And what else you can
do. I'm just going to hide our catalog for the moment. I'm going to hide
the dome light. We're not using it.
We can keep the, keep the sphere
there because it's not been aware of the moment. So now what we're
gonna do is I'm going to open the
interactive renderer. So with the interactive
render open, you can see that we have a pamela projector light
down onto our chair. And the first thing I'm
going to do is actually increase the intensity
of that panel life. Now to do this, we go into
our license tab as usual, and we will see that we have
a rectangle right here. At the moment we've
got the intensity 30 and I'm just going to up that to probably yeah, probably about a 100 for now. We're actually going to
build up our lighting using basically the principles
of studio lighting, which I'll show you now.
10. Principles of studio lighting: So we just put our paths panel
lie in bij common sharing the principles or
studio lighting and how we are going
to lie arsine, if you just type in production
studio lighting setup or lighting setup for
photography within Google, you're going to basically get some images that look like this. And this is kinda outline how
we want to set up our shot. So essentially we are going
to be building this studio or something similar to this
within our SketchUp model, the lights will create
the same results, say in a real life scenario. So we're basically aimed at real App Studio in our 3D model. Now there's some good
examples of this and there's loads of different ways
you can lie as seeing. Here is an example of
probably an interview saying, so there's going to be
lighting on the background. I'm sure they'll be lighting
on the target as well. Another example here, it's kind of more products
lighting setup. Again, as there's plenty of
different ways you can think, what I tend to do is I aim
to have a light source above the products and then two light
sources either side. And those ones you can then play with and adjust so we
can bring them closer. We can move them to, like I was saying earlier,
catch different highlights. And then yeah, sometimes
you want to actually light the background itself so that all they'll be like a separate field light with
building it in the sketch up, we have complete versatility, meaning that we can
adapt it to how we want, essentially which is great for any product when this
or anything like that. Now you can just
follow along with the techniques I use and
the lighting setup I use to create the same results that I'll get that by
the end of this class. That's just a little
understanding of how we're lighting
this and why we're lighting you're like
this is because we're trying to create
that studio environment where professional
photographers would take a product photos
or chair photos. Any professional photography
is normally done in a well-lit studio and the
lights are very important.
11. Adding Rectangle Lights: Okay, so now we have
the understanding of how studio lighting will work. We can begin adding more lights into our
sketch, our model. Now initially what I'm gonna do, I'm basically just going to copy over our existing panel light. So sorry, rectangle lines, the existing Mac rectangle
like we already produced. I'm basically just going
to copy that over. And to do that I'm going
to use my move tool, press Control on my keyboard, and then I can put
it anywhere for now, I'm probably going to put
it just in front of here. Now we want to basically light our subjects with two
separate panel lights. Like in the imagery we just saw. We're going to do that
essentially with our model runaway and see what it looks like and then
adjust accordingly. So for this first
rectangle light, I want to basically just
make it face Archer. So I'm going to show the
directions right away round. And it can be a
bit fiddly moving these lights when there's no
canula geometry to snap to. Because of that we got
known geometry around us. We just got the wall. And as such, it can
be quite tricky. So I recommend using
the Move tool to rotate and orbits so you can position the
lights correctly. That's kind of, you know, it's kind of front on, which is good operating
this way a little bit. And then what we're
gonna do is just tilt it down towards archea. That so now that's pointing
out archer, which is good. And now I'm going to basically recreate this on the
other side of watcher. And this is going
to come to light the side profile of the chair. And this will highlight
all the details on the side of the chair which we want to obviously
show off in our renders. The person I'm printing
the strain and backup and an alternate
to face our chair. So that's a pretty
good position. I run a render and then we can see what it's looking like. So the render just
finished and you can see up rectangle
lights in place. We've got a happy with the
position at the moment. These can also be
adjusted pretty easily. But one thing I'm going to do is just increase the brightness. Now to do that, all
I need to do is come into the light tabs. And because we've
only got basically one rectangle like that just
been copied to other times. All the properties
and attributes that you change within
this rectangle, light will affect move our
lights at the same time. But remember we've got
our power at a 100. So I'm basically just going
to double-tap the 200. And then I'll run
another render. Obviously you can be used
in the interactive render. Watch you do this now are actually definitely
recommend this, but it seems the
baby buggy when I run my recording software and
run the interactive window. So I want another rendering, show you the changes. And before run the render,
I'm actually going to move this one in a
little bit closer. I think it could be probably a pretty about this position. And then also what I'm going do, it just made my camera in there. You get kind of more of a realistic shot because you're quite zoomed out back then. Okay, so as you can see, we're getting some
really nice shadows. So that's sort of see
these two lights hitting our objects at different angles
and different positions. We get this really soft shadows which I think
are really cool. We've always got the
down line which is creating some of these
highlights up here. And within the
leather, obviously we still went on
quite low quality. So you get up the
quality and you'd see more details if you
wanted to do that. Now the only problem
here is that we don't have this kind of fill light is filling
up our background. But the moment we've
got this kind of dark foreground and sorry, light foreground and
kinda dark background. And it does look quite cool. I mean, this can be
a choice that you make if you want to create some kind of moving the windows, you know, some kind of
silhouette in renders. But I'm going to show you how we can light up that
back area next.
12. Create rear Fill Light: So in order to light this area, what we're gonna do is basically create a new rectangle lights. Now we're not going to
copy one of these because we want to give it
its own attributes, might need to be brighter
than any of these lights. And we're gonna
grab the Rectangle, like to, I'm just
going to draw it. Doesn't really matter where
I put it here for now. And then what I'm gonna do
is I'm just gonna put up basically on top of
this top analytes. And I'll bring it up above
it. We like to there. And then I'm going to
flip it 90 degrees, bring it forward to shoot
it down a little bit. So that means the
line is going to be projecting onto this area. Now if I open up BY again, you'll see we have this
new rectangle right here. These are our existing 31, so there are 200 power. And this one is
probably gonna wanna be way more powerful
than these two. So I'm probably
gonna put up two, 66 100 initially, not 6,600. And then I'll run a render. We'll see what the results are. Okay, so that renders just
finish and you can see we've got our background is now fully, fully filled up of line. So it looks pretty good. It looks like a more
professional photography image. We have no seams, so we've got that
infinity background because there's no seams
in the background as well, which goes on forever,
which is really nice. So I'm pretty happy with that. What we can do next
is actually just tweak or lighten and
make it even better. And we'll do that next.
13. Lighting Adjustments: So when it comes to
tweaking your lighting, this is now going to
be calling it down to personal preference on how you want to light your product. If your product has a lot
of really cool edges and really interesting aspects
that you want to highlight. You can actually
manipulate the lighting to kind of Vienna give more a reflection on so an edges and certain materials and
qualities of your, your product or your model. Now obviously this
is an Eames chair. So this is an iconic chair. But I think I kinda wanna, I said I wanted to kind
of add a highlight, probably more to
this front edge. So I'm probably basically you can move this even
closer to my model. But she put it exactly
where I want to initially. And I can just ease
it back a bit. And then I'll just lift up to about there are probably
like about there. Now you can see in this
render that I've just run, all my lights are visible and that's fine if you're close. But there might be times where
some of your light might be clipping and your
camera frame of you. And we can actually make
all of these lights invisible to the re-renders. In order to do
that, if you go to the menu and if you go into
the settings of the light. So we're looking at this
rectangle lie at the moment. If you go to the Options and
if you just take invisible, that will then make that light
invisible to your renders. You can see from
this little preview here, it actually disappears. So you're still gonna
get the light emitted. It just, it will no longer show this kinda black rectangle
or the white rectangle. You just have the
light emitting. So that's a very
useful little tip. If you're kind of panel lights are getting in the
way of your renders. Now I move that closer. You can't really tell convert, student or low quality
went up kind of attachment where I wanted a bit more of a highlight
on this front edge. So I'm probably gonna do a
little bit more adjusting. So I definitely recommend
adjusting your lighting. We running vendors are using the interactive render and basically just try make your product looks
as good as possible. That's the goal for renders. You want to make them
look good and exciting. So make sure you're
lighting is on point. I'm going to have a bit
more replay and then our render another one up and
I'll show you the results. So I've adjusted my lighting. And with this render,
I'm going to make sure my settings on high now. And also I'm just
going to increase the size of it to 1920. That's going to be
1920 by 1920 square. You can obviously pick
whatever ratio you want. Some can use that now for this render and we'll
see the results. Surely the renders
just finished, and we're at this
high resolution now, so you get a lot more detail
within the render itself. It looks really good. I think the lightings good. And we've created a really nice studio environment
with correct lighting, and I'm happy with them. The next a part of this class is going to be
talking about how we can actually create
stylized when this now when you run
the basic goal to think of yourself
like a photographer, and I'll go a few different tips and a
few different settings. Actually, we can change in all the way to make our renders look like they're more like photos and not so
much a flat render. So I'll be walking
through that next. And we're going to produce
some really cool imagery.
14. Stylised renders, photo inspiration: I just want to show you like
kind of how you want to be looking at your products
that you're rendering. Now in photo shoots is
not always the case that the actual full chair is the only thing that
people take photos of. So this is kinda like a nice
studio environment and you can see they're kind
of got this light infinity will behind them. There's no seams in
this imagery here. Same for this, this
kind of thing. Like you can see, this is
like a seamless background. So this is a studio
photo essentially, but often times photographers will focus on details
of a specific product. So I'd like you to
bear that in mind when you are cranial vendors. It's not always about getting the full products in the shop. Yes, you should definitely
have one of those in your renders to
show off your product, but also some shots highlights in the details really
make a difference. So I recommend checkout
Pinterest for inspiration, for ways you can stylize
your, your Wendy's. Also, I recommend
checking out websites. So here's a good example of a similar chair to the one that I'm working
with at the moment. So here is your
standard studio shot. So we've got a white background
in a simple shadows, pretty simple ready for website. You also got an in Situ shot. So this is something
that you could also produce by creating a room and actually putting
your product in place, which I also recommend you do. Kinda got the detailed shots now these are going to basically highlight some of the
details within the product. And so here we've got a
nice example of showing off the stitching and the quality of the letter with some
of the Florida. Also, we have different views, which is very important. That's basically what
we're gonna do next. I'm going to show you how we can adjust our camera and create some cool views on crates and dynamic windows that
are more exciting than just simple renders
like, like this.
15. Depth of Field for dynamic renders: The first thing I'm going
to do is actually just turn on depth of field within
my camera settings. So if you go into camera
under the main menu within Bua and then
turn on depth of field. And this is going to basically
create a blurred effect as something that's
out of focus, which is basically how
a real camera operates. So I always recommend
you have this on. And what we do is
we can basically, you can either basically keep a fixed distance,
which I recommend. You don't need to
mess around with these other two options. And what I do is I
tend to do is click on this peak point and say if I
want to highlight a sorry, focus on certain area, I'll click Pick point and
then click on the area. And that has changed
my focal distance. Now the defocus I
kinda wanna about, it depends on what
you're going for. If you're going to
promote full shot in a 300 should be fine. If you want to create like
a really kinda Artie Shaw, we can increase that. So you have advisers. Another tip on our show you
how that works in a second. But just from a random with our defocus on and our
depth of field on. So my defocus is at
38 5. Not massive. You could probably cranky
a little bit higher. But you can see that we've focused on this kind
of Ottoman area. This lever here and kind of
chair is more out-of-focus, which is basically an example of how a camera
would take a photo. You are gonna get things
that are out of focus. Although it might look a
bit wrong in your render, It's actually more realistic
to the human ions. So when a human sees it, they kind of think, oh yeah, there it is. It is looks more
real essentially because it is how
photos are taken. That's a little quick tip here. I'm not going to show
you how you can set up a more stylized render. So something more to
do with the details. They said We came
over to the arm. I care. And said we want to get
captured some of this detail in the leather on the
arm and then kinda the wood grain going into. So for this, I might set
my camera about there. Again, try and do
some references from any imagery that
you've looked at and you can get some really
good ideas from places like ikea anywhere
that sells furniture. So again, I'm going to
use my depth of field. So I'm going to click on my pick point, which
is the one hand. And basically want to probably really going to try and focus on this piece of leather here. And what I might
do is because I'm quite close to my shots, I'm going to just increase
my third little bit more. This might be a bit too blurry, but I'll show you
the difference it makes and we'll see what
it looks like in a second. But when it's just finished, you can see we've got the focus on the arm and we've got
this nice defocus, these areas that are closer to the camera and further
away from the camera. Another thing we can
do is we can actually adjust this within the setting. So if we think that this
is a bit underexposed, which I do, I think it's such a it's a little bit brighter. We go to our Layers side is open that by clicking
on this little, this little dotted area on the right of
the render window. By add a layer and add
an exposure layer, you can actually just
tweak the exposure on the image as I'm putting in
our increase a little bit. And among, turn the highlight
burn down ever so slightly. Contrast up a tiny
bit like that. And we also have
lens effects here. So I have gone over
this in other classes. In my other classes, I recommend you just turn it on. They do add something,
especially with lighting. So if you didn't anything
would not really bright highlights the
Allied paying off, whether it be in interiors
or some outdoor settings. This is really cool because
it gets at kind of like Lens glare effect happening. So we're not going
to see much effect on this one because it's
nothing too bright. In short, we might get a
little bit of Loom here, but not too much. And also the de-noised, it's unavailable at the moment
because we didn't turn on and renders by recommend you turn that on as well
because that will basically get rid of
some of the noise and grain within your imagery. And to do that, you
basically have to come into your Viera, go into
your settings. And then all we need to do
is turn on our outputs. I'm going to render bit, whereas the de-noise
or just turn it on. Then once you do a render, the de-noise will
automatically be applied and you'll see
the difference even uglier on and off from the frame buffer window
by them and I didn't have a tumble and so it's not gonna not gonna take a fracture. Now I can be saved that by
clicking the save like that. And we'll save that render. But this gives you an
idea of how you can use the depth of field to create
some more artistic shots. Remember to look
back at references, whether it be from ikea or any other upsides to get ideas. Because sometimes either
quite tricky to figure out and tricky to
understand what would look good and professional, badly already done at
every Dunleavy years when I take photos or products. So the next thing I'm going
to show you is again, it's more kind of stylized
renders our show you another example of where I've actually changed the
background and it's, it's a different chair, but you get an idea
of how you can play with this to make
your product stand out.
16. Render examples: So this is the model that as an example of kind
of a more stylized when I saw image online with these kind of
two platforms with chairs. And I thought really cool. So I've kind of replicated
that in my own way. And I also change the
background color. Now, a good way to do this
is if you go into your B ray and if you come to the tab called blue
paint and wallpaper. And basically
there's a blue paint cooled will paint fine grain I1. If you just add that to your scene and then paint
your wall with that color, and then paint whatever items you want to make that column. So that means you're basically,
he's got a white men. If you open up again and then open up the right-hand
tap to edit the color. You can basically just
pick any color you want. So I was going to this
kind of sage green color. Are trying to find it again. I mean, it was
kind of a, a light green, something like that. And I'll just click X. And
now when I render that out, I'm going to have this
kind of green background, which is really cool. So I'll show you this
render in a second and you'll see kinda what it looks like and an idea of a different kind of style of RAM that you could do. This is that render. It's a pretty simple
Windows kind of stylized. And this is using
actually the dome light. So the first method is
using the down lines, which would be nice to have
some more adjustability. And that's why we built
this the second way, creating our own
studio examples. This is another example
of the Eames chair. So we've got a
close-up render or the wood grain I think
looks really nice. This is more a
side profile shot. And to create with this one, I also changed the
field of view of the camera and within
your settings on, on your sketch up. If you go into a camera
and then fill the view. And then at the
moment, the default is around 52, sometimes it's 55. And if you kinda
drag it and make it more like more of a flat angle. So I'll normalize 20 degrees. You get like a
really cool effect. It's hard to explain really. It just means there's less fish Ins to your renders and you get
a much flatter image. So that's another way to
stylize your visuals as well. So that was the other
visual of the Eames chair. This is the one that we just did with the kind of zoomed in. So that third here, I was actually a lot of quality, so it's not quite as big. We got stuck detail on the
arm there, which is cool. And then just an example of
a small electronic products, something like a castle and kind of idea of how you could
stylized those renders. So we haven't floating
off the ground. You can see the kind of
bloom effect which is coming from the lens effects
tab in the frame buffer, and then a simple chair, the work simple studio lighting. So that's kind of a roundup of the different ways you can
render out your products. Hopefully that's helped
you and giving you some ideas of what to do. I do think using references to give you
ideas is very important because you want to
be able to render your products in
interesting ways and not be too boring
and static about it. You wouldn't get some
exciting renders and exciting visuals
subsidy the ways, two different ways in which you can create a studio environment. One was using art bone light, and one was creating
our own studio. Both have their pros
and cons books. Hopefully this helped you. I'm now going to throw back
to me in the real world. I hope you enjoyed this class and I'll see you
in the next one.
17. Class Conclusion!: Congratulations, You made
it to the end of the class. Now I really hope that was
helpful and useful to you. And you manage to produce some really cool
visuals and grasp really good understanding
of how we create product renders using
SketchUp and Bua. Now if with your imagery, if you could upload it into
the discussion section of this video, that
would be really cool. I'd really like to
see what you produced and also give inspiration
to other people. So if you do that, also, if you'd like to leave a review, that would also
really helped me out. And I really appreciate any
feedback you might have. I have a bunch of other
classes on interior design, more advanced VRA lessons, garden design, bath
and dishonor law, whole bunch of
lessons on my page. So check that out if you'd like, and if
you give me a follow, you can start to date with any new class is that
I'll be posting. So thank you for your time and thank you for
taking this class. I hope you enjoyed it. Hopefully it was useful
to you and you learn some new skills and tricks
using v where u and sketch up. I'll see you in the next class and have a good one
wherever you are.
Designer Jake ⭐, Sharing my design knowledge!
