Transcripts
1. Introduction: Okay. Toasted as Mike 1, 2. Hey guys, I hope you don't. Well, my name is Jake and welcome to today's class on Bua. Today I'm gonna be showing you how you can turn your pretty basic renders, something that looks like this, and turn them into something more advanced that looks like this. Now I'll walk you through every single step required to take it from a beginner render to something far more advanced. And this will include all of our materials are lighting, setting up our renders, a lot of different things that we're going to cover in today's class. Now this lesson is pretty aimed at beginners slash intermediate B where users. So if you've got some idea of how to use VI radar, really useful, by the end of the lesson, we're going to have a really good set of renders that you can use for, whether it be your portfolio to show a client or your own personal use. Within the resources section of this class, there will be some SketchUp models that you can download. So that's going to be the exact model that I'm using within this class. And with that model, you can follow along step-by-step until we reach these fine when it's at the end of the class. Alternatively, you could just apply these tips and tricks to your own model as we go through the class. And these should then give you similar results, but on your own kind of 3D projects. So I hope you enjoy this class. I'm going to throw it to me on the desktop now. I wish you the best luck, and I'll see you at the end of the lesson.
2. Opening Up Our Model : Okay guys, Welcome to the desktop. So the first thing we're gonna do is actually open up our model. Now, you can download this in the resources of this lesson. So in this lesson there should be a SketchUp version that you can open depending on what version of SketchUp you're using. Hopefully there'll be a version there be that you can use or like I said earlier, you can actually do this on your own model. So you can just follow along with these tips and these instructions that I give and you can apply them to your own model as we go. I'm just gonna double-click that and open up our model. And hopefully sketch up should load in fairly quickly, which has, so the model should open up and it should look something like this. As you can see, it's a pretty basic interior that we've got going on here. And we can navigate, we can move around. And the first thing we're gonna do is actually open up our V rays. So if you come to the top left or wherever it's saved in your toolbar. So if you find the B re kind of collection of items, we're just going to open the assets. Now I'll give a quick little overview of the saboteur. Hopefully you've got some experience would be re already. So, um, a lot of this you should hopefully know on the left to right, the tabs are all materials. Tab. So this is essentially all of our materials within our scene. We have our lights tab. Again, this is when the lights within our scene, and these are the ray lights and you know, the default sunlight, which is the SketchUp sunlight. We've got geometries. This is special geometry, say from the Bua chaos library. So that's where you've got assets directly from viewing. We've got our kind of more, This is rendered elements is a more advanced, we probably won't be looking at too much of this today. And then of course we have our textures and environments. So this is our baseline environment sky that we should have. We also have our Settings tab, which is a very important tab. And we're going to be playing around with this for our this class. Here we find all of our settings for our Render Output Settings. We have our camera, we have environment, we have a lot of different things in this setting part would say we have this extending arrow on the right-hand side, which gives us even more access, more settings for us to manipulate and play with. Also, we have our render icons. So this is the load teapot on the right-hand side. It's also in the toolbar up here. And we have this kind of box shape. This is our frame buffer. So this is where our render will actually render itself. And on the right-hand side, we have some more settings, but we'll get into that a bit later. Now that is just kind of a little quick overview or the ray as the editor. And we'll move on from here.
3. Vray Settings/ Highlighting Problem: Okay, so I'll just move my camera down here to the bottom left because I didn't want to get in the way of anything that we're doing on screen. And that's why I'm down here now. The first thing I wanna do is kinda highlight the problem that we're facing. So initially Let's just quickly run through some settings that I think you should have on at the moment for our renders. Now throughout this class we're going to be doing a lot of test renders. So it's important to make sure the quality is actually low initially. So for that I just drag the slider down to low. Also when you open up be right, you might have progressive. I'm going to untick down. So that's going to do the kind of more bucket render style, which is a pretty good way of doing things. Now, depending on the version of B where you have, you might have these options here. I'm kicked out dx, that means I'm running RTX graphics card on my computer. So if you have a video audio is called maybe take that and this is going to be more CPU page rendering and CUDA, I'm not entirely sure what Q2 is, but if you know what that is, you can take that camera, which is going to leave that for now. The only thing is genetics. Your exposure is tagged and auto white balance and also exposure value, we want those on. Now when the outputs, again, quick randomness we base essentially pick a smaller size, but mine seems a random pretty quicker, this 1000 by roughly 500. And that's a ratio of 16, 19. So widescreen ratio and these other things we're going to leave for now. And initially I'm just gonna actually did run a render to show you kind of the problems that we're facing and the problems you might be facing with your the way that was just a little test. But yeah, you can see essentially what we've got is a very flat image. It's got, it's got no realistic aspects to at the moment, you might have essentially used textures within Google SketchUp. And so we're basically going to go into this model. We're going to change all the textures and we're going to create our own textures. In some cases, we're going to apply kind of some, some little tricks to make these windows look realistic. We're going to adjust the lighting and we're gonna do that in this class today. So, yeah, so this is going to be the problem that you're facing. You got a pretty basic when they're very flat image. And it doesn't look real 2. And we're going to close that now. So the first thing we're going to actually going to tackle is the lighting. So from that, I can add them to the frame buffer. Again, you can see our lighting is very direct, and this is essentially because we're only using the V way, sorry, the SketchUp sunlight. So we're using now and we can actually adjust that with our shadows. So if you have the kind of shadows tab, now this might be in your toolbar on the right-hand side. So the go window, Default tray show trying. Now yours might be down here somewhere. Minds here in the shadows tab. If not, I'm pretty sure you can just turn it on. So if you come down to Default tray and shadows, you'll be able to turn it on there. So the first thing we're going to tackle is the lighter. Initially, you can see the shadows and we can adjust the time of year, which is really cool, and the time of day. And you can do that here on this left-hand side. That's the first thing we're going to go into and we'll move on from here.
4. Correcting Sunlight: Okay, so I can actually just turn shadows off now. And basically what we're gonna do is we're gonna use something called material, override the, Get rid of all of the materials on our model, in our view a renders. So to do that because there's a menu and click material override and we're just going to take that box. Now if we want to render, you will see what's happened. So as you can see, we've actually basically got rid of all of our materials and it's been replaced with this kind of gray texture, which obviously doesn't look great, but it's good for sorting out our lighting as we kind of have a blank slate for us to light, essentially. So the first thing we wanna do is actually allow light to come through this window. So at the moment it's being overridden. And what we're gonna do is we're going to grab our bucket tool. And I'm going to press Alt on my keyboard and select our glass. Now that is going to come up in our revenue. It we haven't glass and we're just going to open this right-hand tab. And what we wanna do here is just untick this bottom that's, that says can be overridden. We untick that. And now if you run a render again, hopefully we'll get some light coming through a window, which is what we want. There you go. We can see we have light now entering our room. So the first thing I'm gonna do with this lighting is actually I'm going to work with the SketchUp in how sliding. So I'm going to use those shadows and well, as sagely, the first thing I'm gonna do is just make it a bit more interesting. I want to have some shadow on this table, which I think would be cool. So to do that, I can basically just adjust. So I say we leap about their time of day. So if I move up a little bit, you can see that we're getting a bit of light on our table. And then I'm going to actually just dropped the time here down a little bit. Basically you want to make some dynamic shadows. You don't want any dislike, standard box, kind of leukemia and something that has a big character. So we're getting here and something here, maybe like about that. So that's pretty cool. We can see we've got kind of shadow kind of lapping onto the table, sorry, some sun lapping onto the table even which is cool. Let me just turn it down a little bit. Though. I kinda, kinda happy with that. So now if I run a quick render, you'll see that our lighting has changed. And again, we're still running this kind of overwritten. See, that's a bit more interesting than just having the shadow coming in straight onto the ground. Some leave that for now. We can always adjust it later. So the first thing I'm gonna do is come into our VMware and go to our light and then click on our sunlight. So this is currently the sunlight being projected onto our model. And you have some standard parameters here so you can actually change the orientation of it. I can change the color and everything that you go ask AI model. And this is kinda the ground color, but we don't really play with that. So as you can see, the shadow is actually a very sharp shadow. And I hate sharp shadows in renders because it doesn't look very realistic. So in order to change that, I'm just going to adjust the size multipliers. So I'm going to go from one to 10. And then press Tab on my keyboard. You'll see right away we've got a softer edge. Now if I run another render. So that is already looking a lot better and a noise fake, essentially, because we've got this kind of soft edge. That's kinda the first thing we're going to do. Another thing we can do is we can actually turn the color of the light. So this sunlight is taking the color from whatever sketch I wanted to have. We can just, you can either, you know, change the light manually so you can pick a color if you want a different kind of light. I'm just going to turn mine to direct sorry, by override. And then we're going to have this color, white as our light. So that just gives us kind of a clean slate again for us to work with. I'll click Render again. You'll see the old one had a bit of yellow tinge to it. And now we've kind of got clean white light coming through the window, which I'm happy with.
5. Adding Domelight: The first element I'm going to add to our scene is going to be a dome light. And you can find that up here in the Bua toolbars. If not, if you go to Extensions be ray lights, and if you just click on download. Now we can just place this anywhere within our scene. It doesn't really matter where we put it. Now, we open up our Asset Editor again. You'll see that within our light section we now have something called dome light. And those other two lights, I just deleted it. So it won't be in this modal anyway once I upload it. So just let me know I deleted those other two lights. Now what our dome light does is essentially it's a HDR texture, like a big map, almost like a, like a 360 image of the sky. And what that means is when we apply that to our scene, we'll get the kind of the subtle differences in the Cloud lighting. Yes. So the subtle differences in the environment that actually affect our scene. So I like to pair them in conjunction with the sunlight's. Just add another layer of complexity to the environment and kinda again a realism aspect to it. Now the one thing that you want to make sure as ticked is adaptive. I mean, it normally is already, but just double-check that that's ticked. And if we run a random now you'll see that we actually get that sky image appearing for our window once I click Render. So I'll do that now. Now you can either use fully a dome light and that will mean you can actually adjust it and tweak it to get the perfect lighting. By. Again, like I said, I like to use the standard sunlight's in conjunction with the dome lights just to create a bit more of a irregular kinda lighting scenario. So here as you can see on the render, we've got a bit of sunlight, sorry, a bit of sky showing through. And that's the environment from the HDR on that download or closed that. You've got with the adjustments here. So we could maybe let me the intensity of slightly. And that will actually bring a bit more light into the whole scene, which is never a bad thing, especially when we're doing interiors. So that's hard bone loss and we've still got our sunlight there. So we're closed down and move on. So now we have our main light sources. We can basically turn that material override ocher. And then we can just position our camera and we can just see what the lighting is looking like. 13 goals, some of the textures in place. Obviously they still are very basic textures that we're going to eventually change. And in terms of the brightness of the scene will be up to adjust that in this kind of area here. Time interiors will, you know, there'll be very dark, just naturally, the light sketch up and be ray doesn't really lie environments fully alone. You'd have to use a separate line like Omni light, which we'll get into a bit later. As you can see, the lighting is far better than when we started. We've got better that sky shampoo now, which is cool. So we're adding like a small element to our render, which is so important, which is the initial lighting. And now we can move forward with our model and we can start delving into the materials of our scene.
6. Adding Texture to Floors and Walls: So I'm going to be adjusting the floor first. And within your scene, you might have applied some of the standard textures within sketch up for this could be in a bricks flooring, would that what you remember is that these touches I just meant the sketch up and not be re materials. So they don't have any properties like, you know, like gloss, highlights, bump. So we're essentially going to be replacing these materials with the raw materials and we can pull it. So for the fluorine, I'm going to simply open up the ramp, going to come to our materials. And then what I'm gonna do is click this little left-hand error. And this should open your, your materials library for Bua. And I'm going to come down to a laminates. And I've kind of got flowing in mind that I like to use. And it is down here, it's called this one here. Now what we're gonna do is I'm just going to right-click it up to say, now, you can see it says parallel 120 centimeters. So that means within sketch up, you want to make sure that your pin it to the correct size so that when you paste it or when you put it on any objects it is to scale. So I'm just going to just start by typing one hundred and two hundred. And now I'm going to click on that. So it's in my my bucket. And then I'm going to come into my floor group. And then press B again on the keyboard and put in our texture. So straight away, that's offering and we can just double-check that. That's, you know, and update it texture from what we had. We did run a quick render. So here we can see the floor is rendering out. You can see straight away we've got some highlights, so we've got some kind of gloss. Group also got a bit of a bump. There's actually some depth to this fluorine. So I'll close that. But what I wanna do is because I like making things a bit interesting. I'm actually going to using a bucket again and make sure that lawyers will be coated. And what I'm gonna do is right-click and go to position. And I'm actually gonna put offloading a 45 degree angle like that. So that's snaps there. And what I also might do is I actually might make it a bit wider. So I'm actually just going to up this to probably 1600. I think that will look a bit better, but can come out. Now again, if I do a quick render, you'll see that our textures have updated and we have fluorine, and I'll put it in a position that I think is cooler essentially. Okay, I'm happy with that already. It looks far better than our original sketch up image. So I can now close this. Next, we're going to replace this wall texture. I'm gonna do the same when we go into our editor and look at the materials library and click on bricks. And there is kind of a brick material that looks similar to this. It's going to be this weathered brick. And I'm going to right-click Add to my scene. Again, this is one meter. So up here it says one meter. So that means within the edit tab, I'm going to put this to 1000 millimeters. Tab or enter doesn't really matter in a grandma bucket tool again. Close up and then going to select my wall and press B. And I click on that. And we've applied the brick texture. Again, I can run a quick render just to the, what it looks like, but I know that it will look far better than the existing texture that we had on there. So already are, our scene's already looking better just by adding some BUN materials. Now, just to show you quickly how we can increase the brightness of our renders. Basically, we wouldn't want to adjust the exposure on this image. So to do that, if we just click on this plus icon and then we come down to exposure, this is going to be a new layer, can adjust within the render preview. So I've picked exposure and what I'm gonna do is use up the exposure a little bit. So we can kind of get a bit more light coming in through the, through the cameras actually because you got to remember that when you rendering you want to treat it like you're taking photos. And that was a very good tip, like treaty law, you are a photographer essentially. That's our exposure. We can actually turn that on and off. You can see we kind of washed out this area a little bit so we can tweak the highlight ever so slightly. And then slowly up the contrast just to back pedal that contrasts. So that's our before. Bats are after. It's pretty good. I might actually just turn that highlight burn down a little bit more. And then yeah, just the control and Archie about there. So that's just the quick way we can not be exposure of our images when we're rendering, which is very useful and that will stay there. And when you do a new window, so you can just apply it. I'll close that. The next thing I'm going to add is actually some more paint. A lot of people leave the stock whites as their walls, which doesn't look like pain as, you know, it's got no texture whatsoever. So to do that, it's actually a really good texture. And B, where we come down to paint and wallpaper. And the one I like to use is just this one, the blue paint, fine grain. And when you click at the scene like we did last time. And this one's already at the side you want to use. And it kinda comes into bit gray. So as you can see here, it's a bit gray. So if we just adjust the color slightly, you can lighten that up a little bit, which I think is good. Closed up. Grab my bucket tool and I can just click on these wolves. Love gets to the ceiling as well. Also, I want to make sure I get the skirting services actually painted as well. And this one here. And then yeah, I think that's everything to remedy this kind of steps area. And then maybe this pair actually right now. But that's kinda of all of our main walls. We textured using VRA textures. And we'll just run one final render just to make sure everything's looking good. So you can see there's now actually a bit of, you know, there is some detail on the wall. It's not just kind of like a flat wall. This low-quality, you can't really tell, but there is something that it's not just a blank texture. Or fluorine is looking good our walls that and good. And obviously we can still like toggle the exposure so you can see the difference there. That's our kind of, our main walls are done now so we can move on into some more detailed parts within our model.
7. Applying Texture to table and chairs: The next thing I like to work on is the table and chairs. Now obviously this is quite a main feature or by rumen. So we want to make sure the textures really good on this. And now the existing texture that we have on this, it's not too bad. I mean. But you can clearly see there's like some kind of mapping issues here where we've got a static image and It's basically put an edge to edge on the images. So that basically means the texture is not, you know, it's not that high quality and it's not what we want when we're using B row to change this texture. What I'm gonna do is I'm going to come into V Reagan. And I know V Ray has a really good plywood texture. So I'm going to use again that plywood texture. So I'm going to come into woods and laminates. And I'm just going to scroll down. I think it's near the bottom. Plywood. And I'm probably going to use plywood be. So if I right-click that out to see. And again, we've got our 50 centimeters. So it's telling us that this needs to be at the size of 50 centimeters if we want. That's correct. So that's 500 mils. And and what I'm gonna do is I'm actually just going to, hopefully a lot, we're going to actually have to double-click and come into the model. And so that top is now our plywood and his legs. We double-click, select all of this and do the same to this part. And this leg here. That's our table, that's a completely covered in on you ply wood texture. There's actually an easier way to add materials to objects if we just basically select the objects that we want to change into our new plywood color. So these two chairs, for example. And what I'm gonna do is actually right-click it, come down to the ray UV tools and click Remove materials. And so now we basically have some blank objects within our sketch, our model. And then if I come to our materialists within VMware, Let's type in CLI would grab up lowered, and if I then right-click on that and click Apply to selection. And that will actually apply that texture to our objects. That's just another little quick tip. You can speed up the process instead of manually going in and changing our every material, you can just click, use that button there and click Apply to selection. But you may have to declare the materials already from their components. Because if you don't, sometimes the material it won't work, it won't add it on correctly. So I'm just gonna do that for the other two. And we'll see why in a second.
8. Adjusting the Plywood with a Coat: Okay, So I've just applied that plywood to our chairs and table. Now if I did run a quick render, we can have a look at what it's kind of looking like at the moment and see if we're still, we're happy with the texture. We may want to add them like things like a coat or some increased the bump. So again, we've got a very quick preview render so you can't really see too much detail. What I'm noticing is it's actually a bit darker then I'd like. So what I'm gonna do is actually just increase the lightness. Essentially, what I'm gonna do is it's commented, apply that on the Materials menu or be ranked. And I've opened that little side arrow. And what I'm gonna do is just turn on Advanced Settings. And then if I come down to multiply those, and if we see that color is at one, so that's actually the highest we can go. This can actually adjust the kind of darkness and lightness of R or image basically being used as a texture. What I can do is just double if I just click on texture Islam and come down to column manipulation. And then if I just increase the offset, you see that I can actually lighten up the the tone of the word a little bit so I just don't want it to orange to it a bit more kinda like pale like that. So I think that'll be okay for me. So I can just close that down now. And what I can do is run a little render. Also. I think it's actually probably quite busy. So I might actually increase the size of it and put 500 to about a 100. So already that looks a bit better. So the grain is not so tight and yeah, it just looks a bit better than that lambda. So now if I run a quick render again, I can see those changes and safe on happy with the material. I guess a straightway. I'm I'm I'm much happier with the tone of it, but I think there's actually a few more things we can do to make this look a bit better. Ideally, we'd like a fully glossed plywood. So what that means is I'm going to actually add a coat to my plywood. And, and I'll show you how to do that now. So to add a coat to apply it and increase the glossiness, what I'm gonna do is come into IB, right? And we can come back out of this menu here just by this, using this arrow here. And we're just in the generic settings. And what I'm gonna do is actually add a coat. So if you click on the code section and we can increase the CO2 amount. So this is essentially like a coat of lacquer. That's how I like to see. So I wanted to be a bit shinier, so I can use a coat to do that. Or you can actually just increase the reflection. If you don't have the option, you can just increase the reflection like you do on any other material. Really, what I like to use. I think because it leaves the original material. Either it's kind of like pure form and the code can be adjusted. We can adjust the parameters in the code to make sure we get something that we're, we're after. I'm not going to turn the coat been point and you know what, I'm actually going to reduce the bump in supply. We don't want it to be more smooth, smooth plywood as opposed to like me. Now we can see if the grain, so I'm just going to slightly reduce this a little bit more, but keep a tiny bit of grain because it does add to the realism. But that's looking a little bit better. It's a bit more glossy. So now five, again, run a quick window and we can see if we're happy with our climate. Okay, So I've just run them on the render and I've actually angled it so we can kind of get a bit of the light coming on to the table so we can actually see the effects of adding that coke. And I'm really happy with the result. I know again, this is kind of like a small-scale renders. You can't see the full detail, but to me that looks pretty accurate. What we've got going on there is of see the reflection of the coat of lacquer and, but we can actually still see the bump in the woods. So there was like a subtle bump within the CO2, which is actually how real piece of wood would look if you lack a day, that would be some subtle variation in the heights. So yeah, I'm happy with that. We can move on. But that is kind of how we can manipulate our textures and create something good for our table and chairs here in this scene, there's just one last thing I'd like to show you regarding this play with texture. We come to our chairs. You can see that we've kind of got this strange effect going on with the texture. Now most of the texture is actually maps really well to this geometry. So what I mean by that is like on the sides you can see that it kind of looks correct, like the plywood does look real. And we don't have too many issues so much he really happened with that. But on the sea itself we can see we kind of got this strange effect going on where the texture is not mapping entirely correctly. Now to try and help this out, if we come into our object and double-click and keep clicking until we find our surface that we want to fix. So it's more like this surface and I guess a little bit of this here. So what you can do is if you just right-click, come down to V Ray UV tools and where it says try planar projection world. You just click on that. It will adjust the texture of the fit, the geometry a little bit better. And if we did the same for this section here, you'll see that Australia, where we've kind of got a more realistic looking piece of plywood as exposed to that kind of mumbled mess that we had before like this. That's just something to bear in mind if you've got any areas where your texture is kind of looking a bit jagged edge or anything like that. So you can just use that tool to slightly adjust the texture. And you can see I see on this on this part of the chair as well, we have that issue. So if I come into here, right-click you V2s, try planner world. And that's actually made it just a little bit better. It's not perfect, but it's it's far better than when it was. We've got a bit of a mirroring there, but you could actually just manually adjust that by moving the texture along. But I'm not going to bother with that today. I think it looks fine. So I'll just do that. It's at rest and much as and we can move on.
9. Creating a new material for Storage unit : So the next thing I want to look at is this kind of dresser area, woods back of the room. Now at the moment this material is just our stock default color again, so this won't render with any properties. It would just be kind of like a what is it a flat white. There'll be nothing to it as well. I want to actually make this kind of glossy. So kind of like apply would be create a material and add some gloss to it. So I'm gonna show you how to do that now. The first thing we wanna do is open up our vi editor. Go to our materials, searched up louder guys, we can actually get rid of that. And what we'll do is I'm just gonna create an asset and then I'm gonna know material and just click on generic. So this is a generic material. We can open up my little window here. And what I'm gonna do is change our color to white. And then I'm actually going to apply some reflection. So reflection color. So this is kinda the color of our reflections. Actually, i'm, I'm going to increase that load bit. I'm going to increase the refraction, sorry, actually. And, um, you know, refract a bit more light as well. A lot of times people don't adjust this, but I think again, that's quite important to do. So we're not actually going to put a coconut is somewhat, I think it needs a separate coat because it is basically just a complain white gloss white that you see on cabinets. I'm just going to leave that for now. A pasty. We're going to leave bump. We don't need a bump map and I don't know why areas about my opponents. So we can just turn that off and we'll leave it at that. That's kinda glossiness and it's cool, generic. We could rename it to anything we want, but I'm just gonna leave it as generic. Now if I click on that, and if I come into our group where our cabinets, I can just apply this texture to our Cabinet. For some reason we have slightly opacity on it, which is actually quite handy. So it shows us that we selected all the parts that we want to paint white. Lu, Bu, click that bad, but as well as all selected so much you're gonna get rid of that past him. Sure why lights on surveys drag that slider. You'll see we can make it fully opaque again. So it's like that, I'm happy with that. And then I'm actually going to take our play with texture and change this kinda orange section to the same ply wood texture we had. But by grabbing our plywood, I'm going to this area. And hopefully I can just assume that we have a plywood section. So that's the material. Again, we can run a quick render just to see how it's looking and we'll move on from that. Renders just finished. And we can see that we have a nice amount of gloss on the kind of cabinet thing. I'm happy with that and it's not too glossy, so I think it's just perfectly, you can see we're kind of getting a bit of the reflections involve, which is awesome. And we're actually going to adjust the geometry of this slightly. I'm going to show you some tips to make things look a little bit more realistic. So the main issue with this is that we've got these actually perfectly straight 90 degree edges. Now in real life, if you look at any surface, you can see that nothing actually is perfectly at 90 degrees unless it was essentially like cut out of solid metal. But even then it's going to have a little radius on it, like it will be a tiny radius, but I'm not the notice. So what we're gonna do is actually put radiuses on this, these edges. And I'll show you how to do that.
10. Using Rounded corners to add Realism to renders: So the tool I'm going to be using to create our rounded corners is actually a tool called round corner, and this is an extension of the sketch up. So in order to get it, what you need to do is go to extend, sorry Window, extension warehouse. And what we're going to have to do is install this tool. I mean, you don't need it. You can create rounded edges and using other methods, but this actually speeds up the process massively. So I really recommend this talk. We're going to want to type in is six. And this is actually the developer of this tool. So the type of products x. And you'll see this one could round corner and you click on this. And what actually does is take you to another website where you sign up and you'll create an account. And what you can do is then download the Frodo six extensions and then you'll be able to download a round corner. Now all the instructions wrong on this website, so if you click onto this website, it should be really clear. And yeah, so this is the developer hair and lipid products. But it's a really good tool. You will see it here. It's a sketch location.com forward slash plugin. So this link or this link, it should take you there and from there you'll be able to install it and then start using it. So to use the round corner, I'm actually only going to put some radiuses on the main edges are, I mean, we could probably do little adduce on here, but we'll see, we'll see, let's see how we go. So in order to use it, I'm going to come into our group. I expect double-clicking. And what we wanna do is basically select the face. Or if we want to be really clever, we can actually select every single base. If I just click on round corner. And here you'll see these lines will kinda produce in a kind of a shadow and where the radius is going to be. So we can actually change the radius of the, the offset. So at amendments to it, it could be five. And you can see the radius increases and it's shown by these green lines. So that's going to be the radius on our corner. Now, I was kinda pretty happy with two actually saw in mind. Let's go in the middle. It's got three and I'll click Okay. And you'll see that all the lines are selected. Now if we, if we just hit Enter, going to execute, it's going to take a second reducer. And it looks like it's diets. So let's just come out of our group a little bit. And what it's done is actually closed off this face, but we can hopefully just the back of that. Cool. So now you can see we actually have these kind of rounded edges. I can do the same for these doors, but yeah, you know, I'm gonna do the same for the doors and then I'll show you the result once we do another render. Okay, so I've just run that render. I'm actually going to just increase the exposure a little bit so you can kind of see a little bit clearer. But yeah, well, you can see is our edges now have a radius and it's a very subtle detail birth already that looks so much better than having these dead straight edges. So I'm actually very happy with that. You can see I actually added some radiuses on the drawers and actually on this plywood section as well and on these areas. But they just either one of those small details that adds to your render and it turns like a pretty average render into something a bit, a bit better and a bit more realistic and more professional. It looks like a really in a real world item. So this looks like it isn't a real, real world. It doesn't have these perfect 90 degree edges which we see when we create geometry within sketch up and now has this kind of slight radius. And it looks really good. Well, that's just the tip. Any square geometry or any geometry that you think shouldn't have a 90-degree edge. And that's actually most geometry. To be honest. If you apply that if you use the round corner shortcut, It's very useful. There are other ways to do. Obviously, you could do a push, pull and follow me. You could do a cut on your edges, but that's a bit more complicated. But I'm really happy with that. So we can move on from here. I've actually just render this out in a larger and higher quality format so you can see the details a bit clearer on screen. So that's why it's rendered looks a bit better than the previous ones.
11. Creating wall Art: Okay, so the next aspect of the room that I'm going to focus on is these are frames. I know that when I render these, they basically look pretty rubbish within V. This is just some simple frames that I found on the 3D warehouse. But there's nothing that I particularly like about them. I thought they were just quite good place holders, but we're actually going to scrap them. And I'm going to show you how you can put your own art on the wall in a frame using a few simple methods. So the first thing that I'm going to do is actually just delete these. We don't need them. And I'm basically going to build a quick frame, including glass. And then we're going to use a JPEG as a texture, and that'll be our piece of art. So the first thing I'm gonna do is just draw a rectangle. Now, I want this to be a bigger piece. So I roughly wanted a bound by that big, I think that will work. I can just group that Australia. Okay, So the first thing I'm gonna do is just offset this by yeah, About 15 mil. We don't need a massive frame on it. I think it looks good when they're going to have some slimmer frames around pieces of art. I think that looks good. And then we're going to have it about probably about 15 again, about, and then we can actually delete this section. Cool, so that's our frame. And what we're gonna do for that is I'm just going to paint it like a satin black. And I think if I come into the paint section, the car paints that should be kind of a matte black, yellow, and black. And this is at that scene. We've got a matte black that so MATLAB page on that. That's our frame. And that's probably that's about the right size. So now I wanted to create my artwork. So to do that, I'm just going to draw another rectangle within it. And we can just link that to the side here. And we're going to group that as well. And then what I'll do is I'll just, I'll just push pull. It's like a couple of mils or actually it's a solid. Because if it's just a flat face, sometimes the textures map a bit strange into it. So I recommend just give it a few mille, just add a bit of thickness to it. And it's yeah, so it says ONE solid shape. So now what we wanna do is create a texture. And this is going to be art work that we can place into our Chrome. To do that, what I normally do is I just go onto the select within SketchUp and I just pick a random color. And then from there I can create a material. And then we're going to use a texture image. So I'll click that. And within my lesson, I've got an image that I want to use. It's a piece by Shepard barley, barely. It's an obit obey piece. I never know how to pronounce the name. So hope you're proud of psychiatry. And we're just going to use texture image, image can click. Okay. And so now we have a material I can do is apply that to our Canvas like that. Cool. So obviously that's the wrong side, so we can just knock the size here. So I'm going to put five hundreds, pulling it to be more. But what you can actually do is if you double-click on the group and click on the face, huge bucket tool again and just click just to make sure that our face is has that material applied to it. And then what I can do if I right-click from the texture position, I can basically just position or our texture to fit our frame. So when I want to give you a bit of that yellow border. So it looks like we actually need to adjust the frame a little bit, sort of fits. A little bit better. If I do, like, it looks pretty good. So come on, that. So what I'm gonna do here is just, I'm just gonna move. I'm gonna press K on my keyboard and I'm actually going to push, pull this up a little bit. This area here. Double-click on that. Which this bottom section about. What I can do is I can actually just move these two faces that but double-click on this face, hold down Shift on my keyboard, and double-click on this face. And then with the move tool, I can basically just drag these faces up. That's a quick way of doing it. And come out of that. Cool, That looks really good. So now we can run a quick render and see what it's looking like. Let's do that now. So it's rendered out. It's looking really vibrant. So I'm actually going to adjust that within settings of the era. So to do that, if I go to B and if we use our bucket tool, we press P on our keyboard and old, we can select all of the raw material. So what I'm gonna do is adjust the color manipulation. So I'm just going to offset it a little bit. So this is just kind of watch out a little bit. So it's not so vibrant within the same button, come out of that. And then also what I'm gonna do is I'm just going to apply a piece of glass in front of r, in front of our poster. So I'm just gonna draw a rectangle like this to this that which pull this the top of our frame. And then are actually just, it's quite thick, so I'll just bring it back a little bit. Caught up. And now I know that the glass, we're using this as actually the rate law. So if I could just copy that texture over and then apply it to that, we should get our glass in place. Now I can run a render again and see if our poster is looking more realistic than those other three posters that we had earlier. So now we can see the poster has kind of a glass fronts are, and it's not as saturated as it was when we initially put it in there. So it looks a lot better and it looks pretty we'll actually, so I might just move the positioning of that a little bit to the left and down a little bit, but yeah, I'm happy with that. So yeah, if you wanted to put a poster in, if you just follow those steps and if you find that JPEG online, you can use any JPEG as a piece of art. And it's a really cool way of making it. Again, your scenes look a bit more realistic. We allot that you might have in your own house or you might want to have in your house. So that's a good tip for creating art within SketchUp.
12. Replacing the Lights: So we now have a pretty good scene to work with. All of our base textures in place. And they're all looking pretty good actually. So the next thing I want to tackle is the lights. Now, we could basically just create, can't do similar things that we did, the plywood and this unit down here, we could either create our own textures to apply to this, these lights, or we could use obviously the B re library of textures to apply something to these lights. But what I wanna do is actually show you the 3D warehouse. So if you come to Window 3D Warehouse, now hopefully you have used this before. It's obviously a place where people upload their models and you can download them directly into your, your SketchUp model. And some of these models are really good, some are not so good. But when it comes to lighting, There's a really good pendant lie that I found using the 3D warehouse. And we're going to use for this model and I'm going to show you how to get it now. And so what you wanna do is just type in light bulb. And it is this one here under the products tablets called Penn and then take a light bulb. So I'm not sure if that's Italian or a sanitarium. What we're gonna do is click Download and load this directly into our sketch and model. And what we have here is essentially an image of what it's going to look like when we render it. So this light in particular as basically got be raw materials applied to it, which is really cool. And that's why I like to use it. So we can actually just delete this image. We don't need this in our model. So when it's in your module team looks like a light, it's quite dark. We are actually missing the texture of the light bulb and that's because it's just kinda like Gordon capacity on it. So we can actually just select around here. You'll see that glass is selected. What I can do just so you can kind of see, I can mess up your pasty a little bit like that. These are going to be great replacement for these kind of more substandard lights and all the materials already applied for us on this one. So that means when we render in the way, it's going to have all the materials assigned path really, really good. So what we're gonna do is I'm just going to get rid of these now. And then we can just put our lie on the ceiling. Somebody snap it to the city in a lab. And then I'm going to find roughly the mid points. It doesn't have to be perfect. And I'm just going to plop it there. And now these are a little bit smaller than our previous slide. So I'm actually going to scale these up ever so slightly, so we get a slightly bigger light slabs is pretty good at that. And move this over a little bit more. And then what we're gonna do is I'm just going to array these equal distance apart. So I'm going to Control and then click again, and then I'm going to type in star 2 times 2, Enter. And now these are evenly spaced and they look pretty central to be honest. I'm pretty happy with that. So I run a Render and you'll be able to see exactly what these lights do. And yeah, I'll show you how cool they look. I guess if there's one, I render a higher quality, but look how good these lights look like seriously, the person has made these and uploaded them to the 3D warehouse would really be used and created some really nice textures that we've got this really cool light effect going on on these like old fashioned light bulbs. And I think it looks really nice. And even this Bros is really good with this kind of satin matte black, which kind of goes with our frame a little bit. We've got a matte black gown on their matte black hair. And it's kind of brass. And what it's called that screws or I guess, which I think literally go even the cable. The cable has some irregularities in it. And I think there's actually a bit of gloss on as well. So you see the kind of highlight there. So there's a really good model and these are really good set of lights. So I recommend you want to use the light is pre-made. Use one of these, if not, you can just basically this apply textures to your existing lights that you have in the model used to be re library to do so and yet run some tests, run this, make sure it looks good and then you can be able to know.
13. Our Progress so Far: I just wanted to show you how our render compares to run the star. So this is what we're kind of looking at now we've got some really nice textures going on. We've got our lighting doing a lot. We've got this new piece of artwork, textured hair and on the wall. And after we got our new lighting, so we just put in. And if we compare that to our initial renders, you can see a massive improvement. So this is kind of how we started down. Very basic, very flat images, terrible lighting. Everything is looking very cartoony and not very realistic. And yet if we go back to our R Now version, you can see that It's looking good. It's looking very good. So now we have to do something like cool dressing the scene. And that's going to be when we place more items within the scene. And these are kinda items that you have around your house. So it could be like books, speakers. We can put something on the table. All these little details they actually adds to the scene. And that's so important for a realistic render. So we're going to probably put some curtains up because we have no curtains at the moment. And I think that will add to the realism. So against that next, and we're going to be using the 3D warehouse for this. And also we're going to be using the V Ray chaos library. Now, I know some people won't have access to this, but if you do, it's a very good resource for pre-made products. So these can be tables, lights, accessories. So kind of table accessories that we're gonna be looking at. They've got amazing library and all the materials are already assigned. So like, like these lights here. When we then go to render them, they'll have all the credit properties assigned to them and they look really good straight, straight from the chaos library. So again, it's that next and, or walk you through all the steps.
14. Adding Curtains: Well, I want to put some curtains on our window. So to do that, I'm going to go into the 3D warehouse and I'm just gonna type in letters and we'll see what we get. So make sure you don't there are models, tabs. You often get a lot more options here. The products now these are kind of, these are normally designed and made by a real company. So they're going to be slightly different models. But also that there are some really good ones in there occasionally as well. So it's worth looking in there. I'm going to use the model section. And alkaloids can use this. This first set her down to that. So I'm going to put it into our sketch and 10, and it's kind of the right size and rotate that quickly. 90 degrees or that. We've got to be a weird flatness going on with this pose. And maybe I can just adjust the poet itself. I'm going to scale it this way a little bit. That looks a bit better. I don't know what was going on. Maybe scale it this way a little bit more squished. And back. Now, I mean, these holes don't have to be perfect on the back of the cards. And I can see there's some Jose, but you're not actually going to see that. So why? It looks a bit better. So then I can just basically I can just put this not but it didn't work. So I just put this onto the face here about and when it's kinda to Scouts been as I might just scale it down a little bit so we can get a bit more overlap of the curtains on the window. Because I'm going to basically apply a occurred in texture to these cartons. So you get kind of a little bit of light leaking through. This needs to be one of these is a separate component as well. Okay. So as far as my nanometers centralized that on the windows, do that if I just grab my move tool on the midpoint of this, and then if I just snap it to that other as a midpoint, looks good. Now, you want to also kinda randomized things. When we got, when we end up rendering our final shots, we wanna make sure staff is a kind of a bit random because that's what real life looks like. Nothing's too aligned, perfectly straight or perfectly symmetrical. So I'm just going to just manage this curtain along slightly to the right. It's very subtle, but it's just something to break up the, the standardized view that you'd be looking at when you import components or when you build things in super, super regular in angle so that everything is at 90 degrees. For a bit later on we're going to rearrange the chairs. So I'm going to put them at irregular angles as well just to make them look a bit more real. I guess I'm happy with those characters. What I'm going to do is just, I'm going to let me actually going to get rid of all of our materials again on the curtains using that no truck. And what I can do is I come into my materials, a tab within the ramp. I know that there are some kind of Kurds in the material. So like kinda of this stuff is going to ask this transparent curtain, that's probably what I'm going to use. So why this, as I could apply it to my selection, I'm going to work. Let's not work. So what I'm gonna do is gonna right-click and click Add to sin. And we're using our curtain transparent 10 centimeters. And what I wanna do is make sure these are that material. So they are that material. So I will check thickness as the brightness of it like that. Very transparent. I can just reduce the opacity a bit so you can kind of see what we're looking for. And then upper we do a matte black rail at the top. So to match up frame and kind of our lights a match, you just grab the material off our lights because it's o is MATLAB paints. So here's a nice material. And then I'm going to just apply that to the top sexually on that. And then I will just run a render. We can see what it looks like. So unless we ended our curtains and I think they look pretty good, I like have a light is kind of cascading through them a little bit. And you're kind of taken a bit of the sharpness of this sunlight with the curtains, which is cool. I might increase the opacity a bit later just because I think a little bit to seafood for my liking. But I'm pretty happy with them. That is quite cool with the exposure off there actually, isn't it, Alex? Pretty cool. And yet the lights pop a lot more when I do that and that's the curtains. So we can chat. That's the curtains added into our scene. Again, we're just building the scene to add more and more things to make it look more and more realistic.
15. Chaos Cosmos Library: Okay, so the next thing I want to do is start adding some elements using the chaos cosmos library. So I'm going to click up here and open the library. So the chaos library basically has a ton of different elements that you might want to put into your model. So this includes unite furniture, lighting, so ther's plants. And it's also got HDR. It's saying we can actually change that HDR image with Pru. I'll be right at the start. So there's actually some different examples here. So, so an example is that you'd like to use. You can use them here, but I'm going to stick to one that we have at the moment. So I think it's fine. So yeah, like I said, we want to address the scene up like it's spin lived in and like it's actually being used. So what I'm going to try and do initially is I'm going to search for a rug. I know that I want to add a rock under this table. And here's one that I've already downloaded. I really like this one, has a few to choose from. Obviously, you can also look on the 3D warehouse if there's nothing within the cosmos browser that you can find at, but then you've got to apply raw materials to it. So I'm going to import this one. So I've already downloaded it, so I'm going to import it to this model. And what's cool about the V Ray assets is they don't have any really simplified within your SketchUp models, so they don't take up loads of memory space with loads a geometry, they're actually really simplified and they only show their true kind of colors and textures walks the once I've rendered. So I'm basically just going to put this on our floor. I want it to be just broadly. So it's quite big. So my scale it down ever so slightly so that it's pretty bit better. And I'm going to move it slightly to the left. Try and keep it a little bit central butters and again, doesn't need to be perfectly central because jonah create renders and nothing's perfect in real life. So that's, that's, that's good. I'm happy with that. And what I'm gonna do is just move up. Are we move up? The whole lot of them are turbulent shirts and just snap that bottom base to our carpet or that we can get it looking good. And then I want to basically dress up this area on this kind of storage unit. So I'm going to go back into the library and I wanted some speakers on here. So if I come into the electronic appliances as my subwoofers, I'm probably gonna use archon is download that into our model. And we can click on plates one pair. And I'll probably want another one here by that. Coors goods. And then I want to see what else there is in the, in the library computer, we could use a toaster. So if I just go to the decoration area, there's a lot of really cool things here that we can use. And these, we can just place them in our scene wherever we see fit. So like these books here. So maybe I'll download these and we can put them in one of these little cubbyholes. So I import this into the same. And I can put a set of books here. I've got pretty good. It's insoluble it with things that make our renders. Maybe I'll add some more books. For the top. Click on this download this one. This into our scene. There's quite a few books here, so maybe I can stack them up against our speaker a lot. And she's made sure they are actually on the bottom edge. I've got now is pretty cool. And then what else can we do? We can add some bananas to our side table area. Like I said, there's so many really cool things in the library. So I definitely recommend using if you can. We're going to add up an ion is here. And then I think I want some current somebody for the table definitely. So I'm going to see what we can use for the table, maybe some water. This is kind of like picture. We can, at the end. We are not soluble at lab coats on these elements really add to the scene and you can build up some really cool things using these. Again, like I said, it's about you want to make your your room feel like someone's actually living in it. So where we have all of our trinkets and different items in our house. You want to try and apply them to your renders and your visuals because like adds a sense of realism and makes it look really good, I think. So I'll run a render with these elements in and we can take a look at what we achieved. So now we've got that render. We can see all low-level details popping out these books that really good The speak is good. Bananas look good as well. So I'm very happy with that. And we can now basically adjust the scene a bit more. We can do some of that kind of irregular movements of our chairs and stuff to make it again more real. And then from there we can add a bit more lighting. So I'll show you how to light the scene a bit better. Because remember, we want to be, we'll be shooting this like we're a photographer and photographers always have kinda big panel lights to light objects in our scene. So we're going to get into that in a bit as well.
16. Creating irregularities : I've talked about that irregularity, a lot of our objects. So sometimes you will in that scenes they would just have everything. Like I said, unlike a straight line and it's all very uniform, but that's not realistic to real life. So what I'm gonna do is I'm just going to just adjust the chairs. I'm going to go through each one and just basically just position them slightly differently. So this from one of probably have kind of filtering out to camera allow bella that. So it looks like someone's kind of got out of this one. I just talk in a bit more and then maybe just move it slightly to the right and then lead to very small turn on a map in the ceiling and the moon shall not good. These two are poorly. Again, just tuck them in a bit more clear, quite, quite far out. A slide may with them, just give them a little nudge to the left. And we do the same to this one. I believe it's one hour, a little bit more. And then what we can do is just that slight turn on this one. Now that does look in a bit more irregular, which is good. We want now. And I also want to do the same for our lights. So these lights kind of, although they do have black and irregular code, because I've just duplicate them in a straight line. They're actually going to be all at the same angle. So y can do is I can just rotate these around. Habits of slightly but Uthman move TO and just give them a random rotates and put this one. There is one condition that, and this one. We can just go this way a little bit more of that. Now these codes are kind of more random. So if there's any objects in your scene that you think you could speak slowly and slowly cut them off, off axis and off-kilter. Uh, please do that because that will again add to the realism that we were trying to achieve with our renders. Three, I just go for your scene and make sure you do that. And it will it will look really good in the end.
17. Lighting Our Scene : The next thing we wanna do is actually start lighting on scene a bit better using some of the V ray lights. Now I know we have our sunlight coming into our window, but if we were photographer taking a photo of the scene, we probably have some fill lights to light up the subject. So our subject being kind of this table area and these kind of areas. So the tool I'm going to use is the rectangle lights. It's up here in the toolbar. If not, you can find in your trays, if you go to Extensions be ray lights, you see a rectangle like what we're gonna do is I'm basically just going to draw it initially on this wall. And what's nice about these rectangle lights is they have an arrow on them telling you which direction the light is going to be projecting out of. In older versions of V Ray. You may not have that, but once you render it, you figure out which side is which. And so you can flip it around or you can just adjust the settings within the array. So I'll create this rectangle lights. And one would do is, is mu bit off the wall. We ever so slightly. And I'm going to bring it up here. And then what we do is kinda just a little bit of an angle. And so it's kind of shooting down towards our our target area. And that being are kind of table dining area like that. Okay, cool. So now what you can do is we could use the interactive renderer to basically adjust the lighting. And the interactive renderer is, it's the teapot with the kind of fingernail. And what that does is that will give you like a live, a live feed of your render. So when you click on it, you will see a live feed and any changes you make to your setting say of your lighting will happen instantly. Gotten on now. So turn that on and you can see that our Pamela is projecting light to our table. And because I'm in the interactive render when I move around my scene, it will automatically change the direction of my render and wide camera output. So if I want to kinda set up a shot, I can kind of put my camera in position as to where we might be taking or brand reform. And then we can just full-screen that. And we can see the panel right there, that's the back of the panel lie in the corner. Um, what I can do then is just change the intensity of the panel I am. We should see the changes happen straight away in our interactive render. So currently the intensities are 30. Um, what I'm gonna do is just increases to probably about a 125 and normally use that kind of figure. And it seems to just produce a bit more lights, which is used for when we're rendering. Now if I open up my frame buffer again, we can hopefully see those changes take place. So it's much brighter now, which is really cool. We've got this kind of highlights on this front edge of our scene, which is what we want. And I think it looks really good. We can also just turn off the exposure to kind of bring back some of that cloud that we had initially. That. But here you can see the highlights on the front edge of all of our table and our chairs and mass. Basically down to this kind of paradigm that we've just put in place. So our stop the interactive render for now. And it's probably ideal to have the interactive render on a separate window. So because I'm recording on one screen icon, she put it on a separate window because then you won't be able to see it. But the interactive render is really good if you want to make adjustments to materials or adding and changing lights. That's a good way to do it because you can see the changes live Instantly. Now the pennant lighting I'm pretty happy with. It doesn't really need any more live in this. So this is kind of giving you that glow. If you wanted to, you could probably just changed the emission of the material and it would produce a bit more like, I'm happy as these are our lighting in the scene.
18. Creating a Background: And there's another thing that we can do to increase the quality of our renders. So at the moment we've got the HDR texture from outside. But say if we wanted to actually render from somewhere that we know or we have a BYU that already exists. We can basically just find an image that we want to have our window and we can use that to project into our window. So I'll show you how to do that now. Then what we're gonna do is essentially create a rectangle. And with that, we are going to basically use it like a, like a panel lie essentially except this time will be projecting a texture as opposed to a direct light. Well, just make a rectangle. Doesn't really matter how big is initially, because we can always resize them about it, lie about there. And I'll move it back a bit. Now we don't wanna, we wanna make sure that when we do this we don't obstruct our existing light that's coming into a window. So there'll be a, you know, you might then move it around a bit to make sure it's correct. And, you know, when you set your camera, you monitor, we're just this background. What we wanna do then is actually coming to our Asset Editor. And we're going to create a new material. So at this time is going to be under a missing. So you're going to click a miscible ADA. Because we've got a plain white emissive material. And what we wanna do is click on the texture slot on this right-hand side and come to bitmap. Now I've just save this image of New York here. And you can use that if, if you want or you can just find a kind of like a balcony image that you think would be cool to have outside your window. So I'll go back. Okay, so now we have a kind of image and we can make it a MIT lie because obviously when you look outside into rooms of the light coming in, so it's actually kind of quite bright. So I'm just going to set this to about only about 1.7 initially, and then we can always change it. So if I then click on my square, set my emissive material that they're not gonna increase the size to about what we're about 5000, that looks about right? And now if I just position my camera, position is initially in a place where you'd probably take when you find a witness run properly to about now about there. So you can see there's a slight gap. There's a slight gap and the top of my windows or what I might do is just move up and so slightly isn't a move TO like that. So now when I switch my camera in a space where I think would look cool, we kind of got all of the outside in the correct position. So what I'll do is I'll run a Render and you'll see what I mean when we have some emission coming from that village. So now that's one of the doubt. You can see it's probably a little bit too high, so I'll probably move the image down a bit. But you can kinda see the effect it gives where it's got a bit of a mess and emission. You can see the effects of having the admission through the material. It's kinda got a bit of lightness. And yeah, I think it looks good. So I might up the brightness a little bit more, so it's a bit more massive. But you can clearly see that. It's you can see that it works well. But it also, yeah, you wanna make sure you get the right perspective because obviously some images won't look right behind your window. So this one, I think I kind of got away with my move it down a little bit, but yeah, I think it looks quite good. So that's just another little tip for you wanted to add another elements your windows, you can apply some backgrounds. Just make sure you're not covering up any of our existing sunlight that we've got coming through the window. So you want to avoid that at all costs because we want to keep all that lighting.
19. Render Settings : Now we're ready to start doing some of our final renders. I just want to run through a few more settings within the array. We come into the Settings tab. We can close this. Now. What I recommend is that you set your quality to high if you haven't already done them. So this is obviously going to give us our best quality renders then using the low setting, which was for the quick previews that we can get when the green are set at a high. That's good to use. Also figure out the de-noise of option. I recommend telling that on That's a really good setting. What that will basically do is when you produce rendered, you get kind of a lot of noise and grain in the images. And this de-noise are essentially cleaned up. So it looks a lot smoother. Your textures will look smoother. Matlab. Now for our camera, I recommend turning on our depth of field. This, we're going to use this to create some really cool stylistic renders. And we'll probably use the fixed distance. And what we can then do is use a point. So this is going to be a point at which our campbell focus on two. And then from there we can adjust the defocus. And I'll get a really nice depth of field effect, which looks really, really cool effects we can kind of leave either. I tend not to add any vignette, so anything like that. And the Render Output, basically you can just set your image width and height to whatever you're using Windows for. So if you want a really big image, you could set it to 5 thousand by 4 thousand or somebody got the aspect ratio is down here. These can be custom square, portray it wherever you want. I'll stick to white screen at the moment, our mind change to picture. Yeah, it might be that animation, again, leave with the staff environment. You don't have to touch any of that. It's all good and well done for us. Material, right? That's what we were using earlier. But yes, so to create these more high-quality, more finished renders, these settings I recommend, I might in fact increase the image height and width a little bit sloppily do 3000. And we've got widescreen settlement. So if you choose one of these preset ratios, so if I do a portrait picture, and then if I tick this box here that says Say frame, I'll actually get say frame, which will show us the edge of our renders. So from here we can then easily figure out what is in shots. And you'll notice my field of view has actually just changed. So that is something that I'm not sure why B, where does this, but when you sometimes time this iframe on the field of view will change. So just be careful and make sure you keep an eye on that. And I'll speak in a field of view and say if I want this kind of portrait style now, you see the mythology has increased the change our field of view. If you go to camera view, you'll get this little microscope icon. And if you click and drag, you can see in the bottom right-hand side will increase and decrease our field of view. Now when you open SketchUp is normally around the 50 for Mark and light by default. And I think that's a pretty good field of beauty. Use a lot of people try and do this kind of fish. I look. That is good, but it's, I think it's pretty better for like more product shots, close-ups. But for a whole scene shots, I recommend something between 50 and 40. Always looks quite good. You get these kind of more realistic kind of flight flat images like a photography image, essentially. Two are probably going to keep mine way around, yeah, around 44, 45 mark. So I'll leave that for now. And then from here we can start doing some renders and are walking through the renders that I do.
20. Creating Our first render: Now we have pretty much everything set up and ready to start rendering. What I'm gonna do is I'm going to produce four different vendors. I'm going to do to kind of more overview renders. So that's going to basically encapsulate most of the scene. And kind of imagine taking your camera further back. And then I'm going to be two which are going to be detailed shots. So these are gonna be kinda more close-ups. We're going to use a depth of field quite a lot. And we're going to produce a really nice visuals. Now remember, when you're doing a renders, It's always important to think of it like you're taking a photo. And I also like to actually use reference photos. So if you're struggling to find a cool idea or Kuwait, take a photo, just go into IQs website or any kind of Interior website and see how people are taking photos of either chairs and tables or wherever senior doing. We really see how people are taking poses a bit. I mean, you can kind of get some ideas of where you want to put your cameras. Because like I said, this is a camera or render view is our camera. So for the first render, I'm going to do that kinda overview shot. I've still got my saved for a month so that these black areas is where my camera is projecting. So it's kind of a portrait shot. And we've adjusted the field of view already, some kind of happy with that. And what I wanna do is kind of line up everything in sharp, get a good angle. So at the moment I'll kind of clipping into this wall and I see high this because it's not, you know, I'm not actually using it and it's not Sina is not any characteristics are affecting the scenes. I can actually hide that. And what I was going to do, I was actually going to move my poster so much going to move it slightly more to the right. So if I just click the Show She group that, well, here's move it slightly to the right so there's a bit more in short, when I get this kinda the point when we render that, we're going to see the back of the panel, right, which is not ideal. But I think if you're going to be where you can see our rectangular light, if we come down to Options, we can make it invisible. So that means, you know, actually going to see the panel itself. You just see the effects of the line. So when I turn that on and off, you can see that the panel I actually disappears. So when we render, we won't get any of the back of the panel I'm showing it should just be, we should look straight for essentially there'd be no geometry in our web. So let's minimize up. Okay, so I think I want to kind of like really about like here this diagram shows pretty cool. Yeah, I'm pretty happy with that. And so what we're gonna do is I come to my settings. I'm gonna keep it on high. Initially, I'm just going to keep it small or height and width small just to kind of test render and see you kind of war. It's looking like at the moment, so I'm gonna run that now. Okay, so that's pretty much rendering and I mean it's not fully rendered yet, but I got an idea. So I'm actually really happy with this point of view. So what I might do is just save this as a scene so that I can put my camera back here pretty easily so I can XOR that now. I can if you stopped Around the first slot, the render. And then in order to save a camera positioning, what I do is I can just come down to what we got scenes I've already haven't seen, but I'm going to just add a new scene. The y just click the warning says those. So when you start credit scene, so that's gonna be my s2. If you didn't have any scenes, I'll be using one, but I already had a scene from a previous version. So s2 is going to be my scene. And what I notice is I think this image is too close, so much gradually move this further back and hopefully it doesn't come out of our camera shots should be okay. Also, it's pretty it's still quite clear. So I'm actually going to just give it a slightly, slight adjustment within the V ramp up the intensity a little bit of the emissive property. So that's going to wash it out a bit more because it's quite clear. So I'll leave that. So now if I click back on my seem to, we should slip into position that something that's better. And what I'm gonna do is I'm going to turn on our depth of field. So if you come to camera within the B ramen and we turn on our depth field. That's already on from when I showed you over. And now what I'm gonna do is pick a focal point. So the main focus is probably gonna be this lead edge here. So on. What I'll do is I'll click this little pointer, which is pick point. And then that allows me to then click on war part of my model I want to focus on. So this lead edge is probably where the camera would focus naturally. But click that and it's automatically so our focal distance to that point. Now the defocus is basically how much, how blurry the surroundings will be. I'm probably going to just up ever so slightly. Probably about 385. I'll click Render and then we can take a look at it. So the first one has finished and you can see the effects of turning on that depth of field. If we now look at our background image is kind of a nice blurred too. And that's essentially, yeah, the camera having that focus point on this front edge. So I think it's really good like, so there's a bit of a blur around these areas. And that's that's again, that depth of field on the camera. I'm not done a massive render services only thirteen hundred thirteen hundred fifty by 16, 8, 7. So it's not a huge at qualities, not insane. This is kind of more of a test, but I'm pretty happy with that. Now, on the right-hand side, earlier we turned on that de-noise. And you'll see that there's kind of like a grain on the images. They're not, they're not perfect. But now if I turn on the new noise one, you'll see how it kinda smooths everything out. And which is really cool. So this means you can actually get away with doing lower-quality when this, and it's using a de-noise. And I think that's kind of AI based denoising. So it's going to take, take an average of all the lights round and colleagues in this kind of smooth outwardly. So that's the de-noise or UGA. We've got this tab here called lended bags. Now you'll probably have to turn if you click on bags. And then the first thing you have to do is probably enable bloom and glare. And that will turn on. And what that does is basically crates balloon, which in terms of a camera is kinda when the light blue blurts out, if that makes sense. So you can see, I've got it. It's not turned up too high as you can see, if I increase the bloom, we get these kind of cool effects from the lights. So that is really cool with something to play with. There's a lot of other things you can do here that's like Lens Effects, lens dust. And I recommend actually just having a play with these because do create some really cool effects. So you can see there that we've got this kind of change we live on or turn the lens scratches on up here. So that adds to the realism. So I think that's really cool. Lens dust again, we'll do something. If we turn that off, actually, we get some cool facts from the light coming in with a window. If I turn that lens effect on and off, you can see the difference. It's more around any light sources within your shot. So I recommend having a play around with these settings because they are really cool and it can really add another dimension to your render so that bloom and the scratches and create this really cool effect from this old-school light bulb, which I'm actually, I actually really like that, That's really cool. That is our first render. Some pretty happy with that. So I can close the lens effects again, if you want to play with the exposure, are free to do that because that's without our exposure adjustments, but whether it's kinda report the image up for lot. So I'm happy with that. So to save your image, if you just click on the Save icon and I would say the current channel, and then you can basically save it wherever you give it a name. So that's gonna be our first render. And I'd have save that, learn. It naturally saved as a PNG, but you can also save it as a JPEG if you want. But I decided was PNGs because if there's any transparencies, you can then like put them into Photoshop and add other layers. That's our first wonder. We move on to the second window.
21. Second Render: So for my second render, I'm probably going to be point from this direction. And I probably want to reintroduce that wall, just engage in same shop. I don't think that well, we actually sort it. Now the thing is all backgrounds, I might just copy one over so I can guarantee it's actually in, in shot when I put my camera here so I can still see it's not cool item shop. And I've worry, scale up a bit as well actually. Just to make sure it's covering. It doesn't have to be perfect. But at least we've got something going on in the background. It doesn't really have to. It's pretty low. Move up a little bit as well. So yeah, I'm only going to take the shot from me about her just like another shot, kind of a bit more dynamic. And then I'm going to turn my focal distance again, a pretty gonna focus on probably the middle of the table would be caught my shot. I'll just click that, run that render and see what it looks like. So our second one has just finished, is not quite as dynamic as the first one, but it's just like another point of view. But if you wanted to get a few areas of the room, this is just another point at B. We have that focus point on kind of the middle of the desk area that we've got this kinda soft defocus on the background. We've still got a bit of that outdoor scene in short, which is cool. But yeah, I'm pretty happy with that. Next one, we want some more detailed shots and they are going to be awesome.
22. Creating a detail render: So now for our detailed when this, so this is where you can get really creative and use depth of field within our camera settings to create some really cool things. So for my first one, I'm probably going to do a detailed shot of this chair. I think the geometry is really cool on it. And I think it needs its own detailed shot. And I'll probably put the focal point. I mean, I might do it kinda like this, this kind of viewpoint. And I will put a, put a focal point on this, on this corner edge. So to set up, what we're gonna do is I'm going to come to our adaptive filled again, and I'm going to click on pick a point and appropriate Click about. Yeah, Let's give it a focal point. And now our focus was like 3.85. So we fill up that little bit. When we go to about probably about 495 will be enough. But we can always adjust that. Now if I click Render and we'll see the depth to take place. Another good idea to wash using the depth of field is actually using the interactive render. So I click on my interactive render. We should get a window pop up. So this is our interactive renderer. If I adjust the, the depth of field, you'll see the defocus change within our render window. So these are like some really higher. So this is a higher amount defocus and you can see it's really our focus apart from our point. I'm probably going to put ours about yeah, like I had it before. Query about Nero, the 500 mark, probably for 95. Been nice position. And I'm actually pretty happy with that camera setup. I think it's in a mass position as well. So I'm actually going to stop that, the interactive render. And then what I'm going to do is just click Render and now start a real time render. And then we'll show you what that looks like in a second. And awareness just finished. Looks pretty cool. We've got this cool kinda light coming off the table. There's a bit of noise going on here, which the denoise or hasn't managed to clean up. I think basically last because it's quite a low resolution. I didn't do these ones in massive resolution because I wanted to do quite a few of them. So they're not in a massive words. But apart from that, you can kind of see how the depth of field really brings it to life and brings it some like really cool character. So we've got the focal point in a pair. And these oxygens little highlights taken off the table, but the light looks really good. So that's thus offers detailed shot. We're going to move on to another one now.
23. Detail render 2 : So the next shot I want to set up, There's going to be kind of looking down or unit and that we have in the back. So I think it's, it's kinda cool and I wanted to see if I can get a good shot here. I'm going to position my camera fairly close to the unit. And what I'm going to try and do is focus on this kind of hand where the rest of this should be kind of blurred out, which I think looks good. I'll try and keep some of the books in there as well. So I'm going to pick my focal point again and I'm probably going to just pick it around there. And we've got a 0495. Am I up it ever so slightly? Let's do you have fiber free? I'll run that and see how it turns out, and I'll show you the results. So here's our second choice is rendered out and you can see it looks really cool. I might just drop the exposure a little bit on this image because there's no, We don't have the actual lie in the shot, so that window is not in the shot, so I think that's kind of mess with the exposure. And over here you can see it looks really cool. I think it looks good when you have using the depth of field, when you're looking down on something and you focus on one area, I think it makes it really stand out and pop. I think this looks really cool and you can see our rounded edge that we put on the table, sorry, on the top and on these doors really highlighting the area and kind of popping off the screen, which is really cool. So I'm going to save this one out, and I'm going to do a few more renders and I'll show them to you shortly.
24. Final renders Overview: So here we have, here our final visuals for this class. So these are our two kind of overview renders. I'm pretty happy with him. I really like this one here on the left. I think it encapsulates everything we've got in the scene. And it looks really good. This one's okay. It's not as good. Maybe should have adjusted the cameras slightly, but as to be your renders, you can readjust and re-render if you're not too happy with him leaving. Wanted a detailed shots. So we start first detail shot, we go, It's really cool. I like this shown off the chair. And then secondly TO show highlighting the handle area or our storage unit. And the back of the room got a bit of a flaw in there, which looks really good as well. And these are a few more that I did. Again, these are kinda more stylized render, so they're not really showing the whole room that is showing an aspect of it. And then we use our depth of field to create something that looks really nice. I really like this window here you get the grain of the wood on the table shown up really nicely and see what the carpet and fill in the background. We've got a really cool shadow here as well, which I think looks awesome. I kind of focused in on the glass on the table. I think that looks good. We won't see got this cityscape in the background blurred out. And you see the Kurt and you see the light coming in. So I'm really happy with this one as well. Another unit went, I think I focus on the bananas. So maybe this isn't quite get render. I think maybe it could have been a wider shot render. So we can have a bit more of the Union in it. Maybe the full length of the unit actually would have been better. So maybe a widescreen one, but I'm pretty happy with it. And I kinda tried to get the plant in the foreground. So that means it's kind of this is going to be blurred out and it's closer to you and an obstacle to blurred towards the outer edge. So things in the foreground is often a really cool thing to do with the depth of field and the lens defects. And we've gone to this last render. So this is just focus on those lights. Those lights are really good, likes to render and b way. And I think it's come out really well. So I've kind of focused in on on the main body of the light. The gas is slightly out of focus, but I'm not too worried about that. And with that lens effects going on, you can see it looks really cool. It's giving a really nice effect. That is our renders that we've completed water I've completed, hopefully you all turned out good and you learn a lot whilst taking part in this class. If you've got any questions about anything, please let me know in the discussion section. I'll be happy to answer them. And yeah, if you've got any vendors that you've saved, are really appreciate it if you shared them on the class in the project section. And that'll be really cool to get inspiration and to help others out there if they're struggling in any key points I want to use or any kind of ideas that you might have someone else. It's still are, that's actually really cool. So yeah, please share any of your vendors. We really appreciate it and give me a review that awesome as well. I hope you liked the video. I'm going to throw it back to me in the real-world for an outro just to sum everything up. But yeah, I hope you learned something. I hope you've taken something away from this class. And you managed to produce some really cool vendors that you are really happy with.
25. You Completed the Class!: We made it. Congratulations. That was a pretty long class and it was quite detailed and in-depth, but I hope you gained some knowledge and insight from it. Thank you so much for taking part. If you'd like to give me review, that really helped me out. I really appreciate it also, you can follow me on my Skillshare page. So that will just keep you up to date or when I post any new videos on 3D modeling, design, anything like that I'm going to post which I will be doing in the future. So follow if you'd like that, please don't forget to post your renders in the project section of this class that would really help everyone else. I think that's watches this and give everyone some coup inspiration and tips and tricks and ideas basically. So what up the sales, right? It's got really like to see your work. So thank you. Thank you for spending this time with me. I really hope you can use these skills moving forward. Whether that be in your design projects or any portfolio work or anything that you'd like to be producing using beware. I hope you have a good one and I'll see you in the next video.
Designer Jake ⭐, Sharing my design knowledge!
