3ds Max Interior Modeling | From Zero To Hero

[Music] foreign [Music] hello everybody Welcome to our webinar as always it's going to be a little bit of fun a bit of talking and a lot of modeling so my name is Michael and I'm a teacher for this Academy this Academy is a rendering school that will teach you how to create beautiful renders just like those that you see all the time on our social media like our Instagram Facebook and also Tick Tock so oh by the way did you see our last reels um I would strongly recommend you to check them out because our um one of our tutors um Javier is doing absolutely amazing work with them so hello everybody well camera and render settings beat this uh discussed in this video if you want to we can talk about that as well uh hello John nice to see you um by the way guys we're going to see a lot of people in our audience that our uh that are our current or former students but we stay in touch and it's always lovely to see some familiar names in our chat so everybody say hello just so I know that you're actually online and we can start right away so today we're going to be building this interior and to help you tag along and actually allow you to build the same thing I'm going to be building I'm going to be sharing a few resources later on in our uh in the description on of this video and maybe we're going to add it to our platform so without any further Ado we're going to make sure that we go over all the details also all the credit for the scene is going to our student uh that's going to be pavos sorry piotre so thank you very much for sharing this beautiful scene uh we couldn't really do it without you so thank you very much and uh well if you want to see his work make sure to also visit his Instagram uh that we're going to be linking in our description later on our Instagram or if YouTube allows it we're going to do it here as well so as I mentioned we're going to be mostly focusing on modeling in this webinar so uh just uh that so just that we are clear um what I want to do today is focus mostly on the beginner friendly or let's say from Zero to Hero format and that is why we're going to start with the very Basics and also we're going to make sure that well as the title suggests uh from Zero to Hero so we're going to build this fireplace out of clay or whatever that really is uh it would be really great to see it uh could you explain materials yes we could go over them if you want to but we cannot really go over all of them so we're going to try to go over those that are going to be the most important I'm going to give you some tips but when it comes to materials it is going to be quite fun because uh word my main goal whenever I work with 3ds Max is trying to make it as simple as possible and as good as I can so today we're going to model pretty much the walls and I'm going to highlight elements that I believe that everybody is going to enjoy modeling on their own because those are going to allow you to repair different meshes whenever you will need them and today we're going to obviously start from the walls then we're going to probably model this fireplace which in let's say at the first glance it appears to be very simple but yes it is and we're going to try to show you how to do it with or without preference doesn't matter that much but obviously our reference is going to be our students work so that means that we kind of need to adhere to what piotro has created and we're going to make sure to go over those details without really missing a bit a beat so uh if there are any elements that you would like me to go over Asim welcome I can see you uh hello in the bonjour uh Jeremy uh Kristen Ali okay I am so bad at reading your names I'm so sorry for that for that and welcome Ivana Ginger 3D that's a super name uh and uh everybody who joins in just now Mike do you always use clay mode when modeling I do prefer to use it but it all depends on what exactly I would want to um do because I kinda like the Aesthetics and it's really clear to me uh what is uh in the model plus it has its own Vibe it is just a trademark for 3ds Max this kind of look and I really love it so I use it the most so when it comes to walls and as I mentioned I'm going to make sure that we built them the easiest possible wave and that really is going to be either tracing some kind of elements and later on as I mentioned I'm going to give you this cube with camera already set up so you can pretty much create the same thing as I am going to we're going to be eyeballing some of the elements because obviously we don't need to be precise because this is not paid job this is just us being a little bit creative we want to go over those elements that will allow us to build more complex scene scenes in the future so um first thing first what are we going to start with well we're going to begin with just a simple plane or any kind of object that will be helpful to us depending on what kind of modeling you prefer and if you are a absolute Stifler when it comes to 3D modeling you want to probably go for a full quad but just for you I made this small mistake so a if you are a strickler you're going to probably have a little bit of a bad time today because we're going to do it beginner friendly and good looking because that's really the main goal if anybody will tell you ever that the mesh Integrity is the most important thing ever and you absolutely have to model in full quads they are just beginners it just allowed them to uh well um allow them to voice their concerns and do your thing because when they will be fixing all the quads and trying to go for the right Loops you're going to be finishing your project before they really re-topologize everything but I am not saying that the topology of your model is going to be absolutely unnecessary it's just that um just as the developers of 3ds Max suggested topology is going to be less and less important over time because of the new upcoming tools especially the red topology tools that are going to be expanded on quite soon okay uh hello from New York City a city that's amazing uh okay Sri Lanka turkey uh Namaste so I'm guessing India nice to see you guys and we got moon song and that's a that's a cool name for YouTube okay so first thing first we've got our plane you know how to create planes and uh what I'm going to quickly share what are my snap settings so you can also tag along uh right click on this icon if you have anything else done this three with magnet uh make sure to select it because we don't want anything else we want just this and you're going to have this let's say mesh pre-prepared um when you will be building it later on so I don't need you don't need to panic just now so let's go for vertex midpoint and one option that you always want to go for is enable access constraints um without it your snap is going to act a little bit weird because whatever you're going to be snapping thing is going to be moving the object in all three axis and you're not going to be able to really move it in one axis and as you can see I'm messing this up already so we're going to make sure to enable access constraints this way I'm going to be able to snap whatever I want on a single axis uh for a hello from Kazakhstan hello from Palestine Palestine Uruguay Portugal Romania guys that's amazing it's so nice to see that we've got such a broad audience so guys if you have any questions feel free to ask them I'll um happily and answer all of them as long as those are 3ds Max related so first thing let's convert this plane to editable poly right click and go to convert to editable poly then we're going to slowly just drag out our elements as I mentioned we're going to be sharing this model with you so you don't need to really model it but I'm going to show you what I would really apply how I would really approach it if I would be starting over I would probably have some kind of floor plan or any kind of measurements from my client and I figured that soon when my client actually let's say signs the contract I figured that we're going to do a short um series on how to handle a client I mean not really handle it like man handle I mean we're going to be talking and going to do a commission that I am currently negotiating so it's going to be a real life work that a designer can go through I'm going to show you what kind of materials you're typically going to get and what to expect and how to work with those if anything and doesn't make sense so once I went through all of those elements we're going to just weld this area because I want this mesh to be fully um fully closed up because I know that I'm going to be creating some elements that are going to be capping the top of my building I know that I could select a border right now and create an object out of it so this is going to be hand very handy in a moment but not just yet so we're going to create our we're going to select our border click on one of the elements so let's do it again border click on one of the outer borders and we're going to be pretty much able to create shape from selection and we're going to select linear depending on what type of building you're going to have and this is not going to work for all of your buildings you may also prepare your area for the floor so we're going to do exactly the same thing we're going to just select the Inner Circle click on our create shape linear and that's it so those two shapes are going to be very helpful because the main shape that we created is as I mentioned I'm going to be used as our walls so let's add shell extrude or any other modifier that you may typically use for this kind of work the measurements doesn't matter at the moment because we're going to be editing this manually so what I only want you to always add is pretty much just two inner segments so it's easier for you to work with whatever model you're going to be going through and we're going to do a bit of that nasty part of modeling so everybody that hates modeling is going to probably like 3ds Max a little bit more because 3ds Max got easier recently thanks to the Swift extrude or whatever that and um tool was renamed because it has multiple it had multiple names at some point it was even the smart extrude but I don't think it's that smart so anyway we're going to create our Windows uh first window um typically in the past what you would be doing especially with 3ds Max to anybody too or older you would be clicking delete then you would select the Border then a second one and go for the bridge which is good but it's one too many clicks and I hate that but what we can do now is just simply hold our left shift so left hand make sure to just move this element with your shift and voila we've got our elements so I'm just going to create those windows real fast because well we're going to make sure to do the whole building in under an hour now the window height doesn't matter that much for me but I'm going to match it to whatever we had in the original version so I'm just going to snap again when you will be working with normal let's say in normal normal circumstances you're going to have all the measurements given to you so I took the liberty of not wasting your time on reading those elements that we don't really need so now we just created the main element for our uh for our building the funny part is that you always want to make sure that you only build what you need because the original building was actually this big and it had the bathroom wardrobes the bedroom it had also the extra kitchen area so you obviously don't want to build all of that and you typically want to just put some kind of doors if there are if there's a possibility for that just make sure that you build as much as you can up until you reach some kind of doorway because you want to make sure that you well have the flexibility of moving your camera around but not really go and going into too much detail so now when the our walls are done we can continue a building from at this point now on so this was the first element and remember you're going to get this model as an obj format so everybody can read it in there and 3DS Maxes so it's going to be nice and easy for you to follow um can you uh okay so from Chile and ninja and Nigeria Ethiopia Bangladesh I'm Mo uh hello Mo is there any discount for your course currently our course is already discounted and also if you're going to decide to test us out by purchasing the mini training you can pretty much get a hefty discount a four hour training because you've already let's say prepared for it so as a gesture as a good gesture of well as a gesture of Goodwill we're going to compensate the amount you paid for that mini training because that way you're going to make our job quite easier because I know that at that point you're going to be well prepared for our training um Okay so which version are you using of 3ds Max are you using currently I'm using 2024 um because I found it well and to be the newest one and why not just use it because it's nice and easy okay um are you changing all material color in red without changing it to Red um I'm not sure what that means but what I'm doing here is working in clay because I just prefer doing this uh the way I am showing it because it kind of gives the more 3ds Max ish Vibe so again we're going to continue this is the extruded element for our roof so we can remove it and remake it so everybody can see how it works thanks to the fact that we went over that border it's nice and easy to set up and now our both our walls and our ceiling are going to be sealed and that way no light leaks are going to be allowed and well our rendering is going to be slightly faster and easier on top of that my number one trick for this because obviously when you will be working with your 3ds Max at this point it's going to be kind of annoying to have is stealing so you want to make sure to right click go to object properties and click on display as box this way you're going to be looking through this object and it's just going to be a placeholder in your viewport but for the rendering time it is going to be displayed in a normal manner so again it is going to be extremely helpful and we've got multiple other layers on our roof so we can actually start playing around with those elements so guys how about we move on and start building this fireplace I know it's a little bit wobbly but wobbliness is actually what you want to achieve in most of the cases and as I mentioned previously I pre-prepared a few references so we're going to have a little bit easier time when setting everything up so it's just going to be a few screenshots from this same from this same uh nice um okay so this is going to be just this same nice uh fireplace so um excuse me for using a script because I typically try to avoid it but it's a it's a free one and uh I absolutely loved the name it's a blueprint Noob and because of that I'm going to just go for it uh and let's go ahead let's go for it and noobs or PB Creator you can find it um in Google it's just a nice way it's a very nice script that allows you to drag and drop any kind of images into your viewport in the right proportion so I kind of like it but it's not an essential one I use it just because I work a lot with products and because I love working with products it's just easier to do it this way quite recently I was working for um window manufacturer and having an ability to load multiple images at the same time um was really helpful okay hello from Turkey hello from Armenia thank you for sharing your experience and thank you very much that for such a nice kind words um also guys remember that it would be best to have questions related to 3ds Max in our chat because I see that somebody uh got a timeout for some reason so um please stay okay kind now uh how do we start with this object again I'm going to put more emphasis on this this is beginner friendly so we're going to go through some of the techniques that I would love to know when I was starting so whenever we want to start or build any kind of objects we have to kind of think about its topology or general structure we have to understand some of the elements before we actually start building so for example this object is okay I am terrible when it comes to symmetry so this object clearly has a symmetry line so we only need to focus on one side at a time at the same time we also can see that this is going to be the most important element here to make sure that we can extrude it somehow uh then we've got this nice shape that is very important and this also brings us to a point where we kind of can already predict how our mesh is going to be built because if I'm going to go here I'm going to lose the connection in this area so we can just go ahead and try to um adhere to the shape of my object so if I'm going to draw it like this it just allows me to predict how my mesh is going to really work then I'm going to make sure to create another line here and continue building up so it's just going to require me to build a few additional elements okay cool and the rest is just going to be purely straight lines to the left or right and we're going to pretty much have it done and since we're going to have that in our 3ds Max it pretty much will be the same in here where our lines are going to create this nice Arch so if the arch is going to go that way we're going to have that connection in this area and we're just going to have those lines going from left to right and then to the top so easy peasy lemon squeezy but it also requires a little bit of thinking ahead you sometimes will run into 3ds Max modeling and you're going to try to First build and then think what you're doing so as spending those five seconds to just plan ahead a little bit May save you actually a little bit of time so Corona physical or Legacy I went I was worth I wasn't really a fan of Corona Legacy at first but once I got to know a physical a little bit better and all of those easier and well beginner friendly and also user friendly actually uh tricks that it brings to the table I've actually decided that it's better now I've created this plane and well my reference is now useless or is it we can for example press alt X to make this a semi-transparent and that's exactly what I'm going to do so since this since this is a plane I'm going to convert this into editable poly and we're going to continue by just stretching those elements into position where I need them I'm going to first build what is going to be essential for the fireplace because the rest is pretty much going to be just fillers and so we're going to have a bit of fun doing it now let's make sure to place some of the vertices in position where they will actually reside but I noticed that I need a few more in this area so we're just going to do this connection I'm going to correct my topology in a second and again um am I the guy that said topology doesn't matter yes that's still me but we're going to make it absolutely easy for everybody so how do we add this element to make sure that we have this nice arch in here the best way of doing it is to First Press open one on your keyboard and just add this extra line in here then what I'm going to do is just click on my polygon select this area and we're going to be able to either shift and scale or just go for inset inset is my to the tool that I prefer in this situation and we're going to just select the bottom delete and now we're going to make sure to move those vertices slightly lower again we're not going to go for Atomic Precision this is something I tell my students all the time or during our training I try to emphasize that modeling is important but your time is more precious than the modeling itself so we don't need to go over each and every element with well super precision and no model needs to be perfect and sometimes you want to let go a little bit so it doesn't waste it so you don't waste too much time on modeling anything so with this flat surface done what we can do is create an instance of this element so um press a on your keyboard as snap is going to activate and we're going to rotate this by 90 degrees so now we're going to create an instance why are we creating instance and not a copy because if I want to do some changes to this object I can just well change something about both so I can always check if I'm not messing up my first model and just add it to the second one because it's nice and easy and whenever I select something in here so I know what I'm doing I can go back to its copy and the same selection is going to transfer so it's going to be easier for me to select some tricky spots if I need to but at the moment we don't have many of those so remember guys that if you want to join our training you want to go to our website literally just now um I got info from our from one of our Administration members I would say that we got last seats for our July terms so if you want to join make sure to visit visacademico UK and see if we actually didn't run out so that's going to be extremely helpful for you if you don't want to miss out on our training okay so now we've got those elements and I mentioned that I don't want to work with the whole model I just want to work with a half of it because if I'm going to work with everything it's going to take me a bit more time and this way it's going to be easier for me to build the right slopes the right elements and just to adhere to General and mesh topology that I want to create so if I'm going to scale it down nothing is going to be lost because now I can see exactly what I'm doing and I know that I'm going to need one more line somewhere around here to create more curvature so you want to make sure that we also have a little bit of flexibility here so we're going to connect and just add those lines where we need them you want to make sure that all the elements that we create are going to be more or less in the same at the same distance that is going to ensure that whenever we will be using our turbos move or any other technique we're not going to over stretch or overreach with any kind of elements okay so now let's move this part a little bit closer maybe this one can go a little bit lower Perfecto okay so now you want to always check with your reference because obviously if you're going to be creating a product you want to make sure that you work at least two viewports at the same time because otherwise we're going to run into some issues that your client may not be very happy about okay so now we've got our model more or less done for the most important part but now we want to make sure to build the rest of it okay so how about we actually move some of our elements or vertices in here so just on the edge I'm going to move it slightly towards the back also this area goes to the back and we pretty much have the mo the best or most of our beautiful fireplace Mike what tool it is that you are able to draw a viewport in a live feed I'm not sure what do you mean uh you mean like this it's alt one and it's called Swift loop it's a very handy tool and I use it all the time because it allows you to do those connections on Loops plus it has a few um let's say sister tools that are absolutely amazing and we're we might actually use some of them quite soon okay so now I'm going to make sure to create this line just like this so we're going to adhere to the to the model that we can see in our reference so let's just quickly add all of the parts into into position and once we reach that position we can also see that well we're not exactly in the spot where we want it to be because at this point we also need to make sure to build a little bit to the left so it's go overwrite depending on uh how you placed your references so now we need to make sure to build a little bit more like this but this doesn't really match so we're going to manually correct some of the elements and make sure to add a little bit of a leeway between those elements remember that at this point we're just being creative so I'm adding a little bit of imperfection in one or two spots is actually going to be expected and well it will make your I need this line to be in this position okay and that line this position Perfecto and we're just going to make sure to place them straight away we could double click on this line and just simply scale it down so it's going to get absolutely straight at one of the axis so let's just do that for some reason my model is going a little bit crazy so we're going to try to do it again but with vertices so yep now those are a little bit more sane okay so what do we do now we want to move this down and we just created pretty much the most of our fireplace so rest is just going to be us moving this line a little bit further and scaling it down up until it's going to be straight and at this point it's a nice per place that we're going to be able to add it to our wall okay but I said that we're going to be only working on half and how do you add the other half what do you do from this moment there is no interior part so we're going to add all of those elements in a second so I shouldn't have actually deleted it at this part but since I did we're just going to improvise because I had total I totally forgotten that we're going to be adding that so excuse me for that okay so let's stretch this in and with shift we're going to drag it in let's make sure to create at least two lines so it's going to be easier this may seem a little bit tricky because at this point we're working with a model that doesn't really read that well um but because we're looking through its interior it's almost like we would be in wireframe but it's not that at least notice that thanks to the fact that we're working on a semi-transparent model it is very easy for me to determine what elements or what edges are in front or what elements are let's say facing backwards or away from me what I mean is that each polygon is going to have the right let's say the right part and the dark part so this only means that edges also have follow this rule if the edge is going to be facing towards me it means it's going to be white when not selected and gray when it's going to be backwards so it's really easy to um let's say navigate yourself when dealing with models like this and that we're just going to do exactly that so navigation is really easy in 3ds Max if you know a little bit about this so now I've got this element and I would love to just place it so that it's going to be smaller one trick that I could do is just stretch it like this and just be done with it and that's exactly what we can go for because it's the easiest and on the most nonsense-free approach a bit of snapping so it's going to be more precise but now I am left with some triangles and as I mentioned we don't really use we don't use we don't really care about that in this case but I would say that since it's a live webinar how about we show off a little bit and actually red apologize this so everybody's going to be a bit more here um okay so those lines are going to go in and the rest is just going to be removed so that my topology is going to be a little bit clearer uh by the way I just um got into a small problem because uh I've selected all of the edges and if I'm going to control backspace I'm going to lose this one vertex but if I'm not going to control backspace I'm going to be left with a few leftover vertices so I I have to do it in two uh two steps okay let's read some chat while you were explaining topology with tool you were drawing on a viewport oh that was not part of 3ds Max that is a totally out of let's say a tool outside of a 3ds Max unfortunately 3ds Max doesn't have this option it kind of does because you can go for shift um shift alt s okay I don't remember what it was so I don't quote me on this but it's one of those uh let's say team teamwork tools that nobody uses but well I mean core post that I do but um I'm not a corporation so let's continue um by the way did you notice what I just did this was straight and now it's not it's now adhering to the topology how did I do this alt two it's um set low alt 2 in 3ds Max it's going to make your life a little bit easier and did you notice that I just didn't follow what I drew because I just didn't do the same topology that I planned for uh well that is just because um it was actually easier at the moment to model it this way but we could remake it if we want to so now my fireplace is going to stand up alt X and let's go back to my favorite clay look okay so everything seems to be fine but if I'm going to add our turbo smooth on top of it we're going to pretty much have everything um kinda melt so you want to add some kind of additional support lines that will help your object or model to stay in place and not pretty much get all messed up so we're going to add this line here and another line pretty much there this is not so that we're going to have the perfect topology again it's just so it's going to be a little bit easier for 3ds Max to figure out what you actually want and now thanks to me adding those support Loops you can see that the topology allows me to pretty much create this object the same way but it's no longer as melty or not as deformed and thanks to the fact that most of my topology is more or less in at the same distance or going to have a little bit easier time also pretty much what I do instead of this Loop instead of being here it's here so pretty much the same thing okay so uh the interior looks fine we can select this one element and just alt to it so it's going to have more organic looks to it and if we want to we can actually go for Edge constraints and just move it over forward so it's going to copy the shape of its predecessor and we're going to move it slightly towards the back so this way when I use turbo smooth the this area is also not going to I can get as deformed because we want to have a little bit of a nicer fireplace okay so servos move right cool but we first need to add symmetry because symmetry is going to well ensure that this is actually going to be a full product um the rule of symmetry goes like this whatever is closer to your symmetry line you want to keep it pretty much the same but further away when you will be modeling some kind of detail on top you want to add more and more detail further away from the symmetry line while the symmetry line should pretty much remain the same and quite easy so Mike do you use simmetry when you model things like this I use it all the time yes I do but I kind of like adding it at the very end because it is very satisfying to do it this way because it's that one let's say success that you can see and when you will be modeling with symmetry in this way all the time so you're going to click on show end result it is also cool but I kind of don't like this because it gets a bit more confusing too many elements are moving at the same time and my um well it kind of gets tiresome so I prefer to do it this way convert to Adler poly and now our object is pretty much done you want to probably also add some kind of objects in side of some kind of well stove something that's going to allow our fireplace to actually serve at the fireplace but that's going to be a secondary thing at the moment all I wanted to show you here is that models like this can be really easily done but now the tricky part because once we add our Turbo's move and the object is kind of smooth and this object is kind of wobbly how do we add this wobbliness a lot of you will say well you can model it yes you can but I prefer just use the oldest trick in the book and this is going to be just a simple noise modifier and we're going to set it to five by five by whatever and now we're going to slowly go lower up until we're satisfied with the effect sometimes the noise is not going to look really good so um either we're going to work with a little bit bigger value so it's going to get a bit more distorted on the right Axis or we can go for one more iteration so our deformations are going to be more um let's say refined a little bit well they will look more organic this way but I would strongly advise you not to use in this case at least a fractal because a lot of times it's going to glitch out a little bit uh sooner than you wish as so I would definitely just use the regular one because it has a bit more predictable um let's say looks to it at this point we can stay with noise or we can work with a little bit different technique that I think is going to be just a gimmick for us to explore but not really the tool that I wanted to show you today so what we can do is go for this place this place is a modifier obviously and we can use it as in a spherical mode go to our material editor and this time we're going to right click in the empty spot and just go to Maps General and click on cellular cellular is a very powerful um map a mask I'm sorry it's a very powerful map that I use a lot my students probably can tell you a little bit about this but the trick here is to just have a little bit of fun we're going to add a little bit of strength into our uh into our cellular but again it doesn't look that good yet because at the moment we don't yet have the right size so instead I'm going to first of all add our turbo smooth and one more level you can kind of see that what I'm talking about it's just not the right size so we're going to increase the size and at this point you can see that my fireplace is getting all wobbly all all the way and it kind of gives this object more organic clay type of look so it's right the right thing to do and thanks to this being the sphere it's going to ensure that it's going to look a little bit weirder than it's supposed to and we can also go for the for our cylindrical which is going to give us a very similar looks but spherical works best for me and if we change it to chips it's going to again mess this up but it's going to be a good type of mess up because now we can make it even bigger and at that point once it is going to be big enough we're going to start seeing those elements but I believe that instead of in making this super super complicated how about we delete this place it'll go lower with our turbo smooth iterations because those are definitely too too high now we're going to be able to use this fireplace in our scene so in this case it's just the same uh the same model with pretty much the same setup but I've forgotten to add this element because uh well I didn't really look at the reference okay amazing lesson I'm really glad to hear that alt alt 2 is awesome didn't know it uh okay that's cool uh by the way uh Andre just so you know it's uh you can use it to fix some of the topology that you messed up a lot I actually were you know when I was um let's say doing some fan art because I was playing some video games or reading a book I was trying to create characters and a lot of times I had some kind of problems with topology because I messed up one vertex and when you want to well recover from this it's always going to be a huge pain because you're not going to be that precise and it's going to be a little bit uh well bad but if you select an element like this alt to it automatically it's going to try to adhere to the curvature of your object on top of that if we have a really messed up element it's going to fix it and if we are lacking some kind of curvature in this case we're going to be able to alt two and ALT 2 to get the curvature a little bit smoothed out and well I believe it's a very powerful tool so uh Mike what's the difference to use Corona displays and modifier and displays option inside the corona material so the idea was that when you use your displacement there is an ability to set up the let's say um displacement General size in screen pixel size or World units globally but when you add your displacement as Corona displacement modifier you're going to pretty much have the same ability but from the modifier it doesn't work the way I just described it so uh okay we can override it here and we can just change the resolution for some specific objects because a lot of times you're going to run into an issue where you're going to have pretty much the same situation as I do and this is going to be a perfect scenario to show you what exactly I mean because some of the elements in our scene are obviously going to also use the displacement but displacement when it's set up to a little bit higher resolution it's going to eat up your RAM like Cookie Monster would eat your cookies okay that was a very bad but what I want them to say is that we can save a little bit of ram add the displacement modifier in Corona displacement that is to this specific object we can still use the material that we created so there doesn't have to be any change but now we can make this one element super precise and speaking of precision we're going to actually set up this to be super precise and we're going to go over some element that I actually wanted to share with you today but it's going to be a bit easier for us to to show it now so let's create a new view material get from selected okay another thing is all the objects that we're going to be creating especially with weird curvature and wobbliness that we just created are going to be very hard to to um map you can visit our last webinar to um pretty much get to know uvw unwrapping a little bit better because again it's beginner friendly so I would recommend you to test it out but a lot of times you're going to run into those issues where you just don't want to do that and that's when you want to use pre-planner map pre-planner map works exactly the same as uvw mapping boxwood but it has one extra thing in it it allows you to get a little bit of blending I'm not going to get into details about it because we go over those during our main training if you sign up you're going to get all the details about it but the cool thing about it is right now when we will be rendering this we're going to notice a but there's a very funny thing going on on my object so let's actually zoom in so click on the plus to deepen Zoom mode and we're going to just zoom in see exactly what I'm talking about you can see that there's a lot of fancy shapes going on here there's a little bit of extra displacement even going on so what gives what is the cause of it well it's displacement obviously but how do we do it we use the cellular cellular the same cellular that we used a second ago to add those details using our displacement modifier but if I'm going to go for a little bit crazier value okay 50 is actually very crazy now we're going to go for that maximum level oh that's the reason why I didn't see it minus two three and we're going to go for screen size one so it's going to be nice and easy to as to just add that nice detail on our fireplace and this way the clay is really going to be visible because now it looks like thousands of upon thousands more uh dabs were made to pretty much create this kind of structure and if we want to we can just change anything about it at real time so very powerful so definitely recommend uh okay Mike what do you think about ai's scaling for arcbus uh when it comes to AI scaling you mean upscaling your images go for it it's perfect but when it comes to any other Solutions not yet ready um I mean the solutions aren't already yet they will be at some point but they're not yet okay so I believe that we will have enough time to also model this uh small um and this small uh coffee table and I think it's going to be very useful to all of a lot of you because again beginner friendly um but uh guys tell me those of you that are a little bit more big of a beginners would you like to know how to create a clay vases and ports like those in very fast manner let me know if that's a topic that you would like to go over with me would you like to ask some questions about it because that's a super basic topic and I figured it's going to be nice for you guys that are just starting at to just well introduce you to some 3ds Max techniques okay and now our fireplace is laying on its back it's uh it's a such a calming look by the way whenever you will be using that element or let's say that plugin that I mentioned it's going to have all the elements three rows in your layers so it's going to be a good idea to keep that in mind also it's a very good idea to keep your phone on silence when you're doing a live webinars uh hello sir when do you support loops and when to use create a preset also which version of 3ds Max are you using okay presets are typically recommended for animation because that allows you a little bit more Dynamic movement and the mesh topology is and doesn't have to be as crowded but when it comes to support Loops you kind of want to use them all the time whenever you plan to use any kind of Turbo smooth or a similar modifiers it's just um there's no one way of describing it but uh whenever you want to let's say save a little bit of RAM and some numbers in topology I would definitely go for support Loops because if we go for a box and just add Chomper to it like I'm going to do right now the chamfer is going to allow me to for example add the turbo smooth on top of it and it's already nice and smooth and it doesn't cost me a lot while if I would like to do the same with support Loops it would be a little bit different because at that point we're going to go for a convert to a double poly add our creases so let's go for crease one on this kit in this case and we're going to go for open subdiv and when I do that we're going to have all of those iterations but we want to see those and in order to actually get the same curvature or softness you're going to have to go really far I mean like six iterations so all of those polygons are unnecessary so at that point um I hope that it helps because for animation having all of the topology that would be evenly distributed would be amazing especially for characters but when it comes to artbers we don't use it a lot so let's delete the ffd 2x2 so it's a nice copy table that we can unpack and build together right now uh is the couch an imported model so yes it's a minotti Hamilton from the Minot the website and you can also get it at any well 3D repository out there it's really easy to get or you can just click on the chaos browser if you want to learn how to create sofas I would recommend you to check out our different video it was a while ago when we were creating the um Soho so far but I believe that it's a very solid tutorial that will pretty much allow you to build almost anything but if you really want to get into more info about that please make sure to also consider taking part in our mini course that's going to teach you a little bit more about the modeling for the archipus alone although if you really want to learn how to use 3ds Max I invite you to join our main training because we're running out of spots for our next group so July is right around the corner and we're we're going to do okay and we're going to make sure to start our fun Kawaii um well with a bang as always okay so let's digest or let's just dissect actually this model and go over the most important or hardest parts of it on how to um pretty much approach them so let's ungroup everything if there are multiple groups click on those a few times and we're just going to go ahead and start with the simplest elements so here we've got this cage or grid that is going to serve as our legs thanks to the magic of the newest 3ds Max and modeling tools we're going to be able to do something like this in seconds typically it was a nightmare to create a model like this because it wow it required a lot of unnecessary clicks and my students can tell you that when it comes to unnecessary collects I'm a I am not a fan because I always try to make this as as clear as possible that you want to be lazy you want to do everything the way that is going to bring you uh the most fun but also is going to allow you to focus the most on the artistic aspect of your rendering and not really the engineering part so now I created the Box we're going to convert it to a digital poly and we're just going to make sure to shift drag all the walls are away because um oh I just went a little bit wait a second Mr 3ds Max what are you doing Okay so can you guys see this that's because I've had a reference coordinate system changed to working I need to make sure that I don't um use my mouse wheel uh frivolously so if you use your mouse wheel all around your 3ds Max you may do a little bit of a change just like I did so view let's move it away and let's move this element as a way as well oh this is autosave not a crash because sometimes 3ds Max can surprise you with a gift of starting over so let's just go ahead and recreate every aspect of our model Perfecto now for some reason that one part didn't go as planned so let's shift drag it yet again now this is the super fast the fastest way of building a cage like this and because this model won't require any additional turbos moving or any details we're just going to go ahead and add a chamfer to it and lower the values then we can add even two segments and it's going to be perfect always when using your chamfer as a modifier you want to check if the if you want to smooth the entire object or the chamfers alone I typically go for jumpers alone so it's going to look a little bit better but it's all depending on what you want to create so cage is done now we're going to do the slab so this might be a bit complicated when you look at it it looks quite intimidating because it has multiple levels it has all of those scary details but it's organic and we're going to just use this to our advantage so now I'm going to create a box but from a top view because otherwise the perspective is going to trick me a little bit so let's go ahead and create this remember guys that whenever you will be working with your own scenes you're probably going to have a bit more info about the measurements in your scene so um if you think that I'm a little bit putting those measurements out of my heart you're right I'm doing exactly that okay so let's read a little bit of chat how can you manage multiple shots from the same scene considering lighting changes in each frame uh typically when using Corona the light is going to be comprehensive and it doesn't require that much change but if you require some kind of additional changes I recommend you to check out what the [Music] a managed scene states that what managed scene state does it allows you to move objects save different settings and just pretty much prepare your scenes from diff for different angles and different settings it's a very nice way a nice touch that I would like to go over at some point when we will be talking about products on our Channel but at this point it's just let's say info for you to look it up because I know it's going to help you if you will be working with multiple um let's say shots and you want to save not only a little bit of time but also add some changes in between your shots um okay Mike did you learn those 3ds Max command like L2 did you learn them by research or just discovered them by exploring 3ds Max thank you John for the question because that's a very cool thing to ask when I was starting my journey I've was a little bit into let's say creating animations and I was really hoping that I'm going to be able to create something that's going to be close to Star Wars well I didn't really succeed in that but uh what I'm trying to say is that whenever I try to build something in 3ds Max I used the help manual and I literally read through the whole Manual of 3ds Max if you click on help go to Autodesk 3ds Max help I read all of it it was few years ago and since then whenever a new version of 3ds Max is out I just read the changes and notes and I kind of and I am I would say um I've got the fresh knowledge about every tool in 3ds Max at least I hope or pretend I do so how do we add this kind of detail I mean this organic looking shape because obviously it's not going to be that easy to model by hand so we're going to go freehand on it and we can go for just create go to our shapes free hand and we're just going to go ahead and create something organic just pretty much messing this up all the way okay so this is our line number one now we are going to create the second one we can even just try to blindly um draw it okay I kind of messed it up but it's going to be organic so it doesn't matter now we're going to go ahead and select both of them um okay this is a bit of a problem because those are too close to one to one another so since they're organic we're going to improvise we couldn't go for one of the modifiers called optimize spline in this case we're going not open subdiv optimize spline thank you now we're going to show all the knots um I cannot not so let's go ahead and lower the number so this way the shape is going to pretty much [Music] um keep its structure but I'm going to be able to work with the lower number of those from those vertices so generally it's going to be easier for me to add any changes or just manually move those dots if I want to so long story short it's easier um okay so let's go ahead and now attach those together so we can see that the opposite side didn't get the memo that we optimized our spline so again we're going to optimize our spline because I kind of want them to have similar number of vertices let's go for something around 50 and we're going to convert this to editable spline now since we're on the topic we're going to attach those two and we're pretty much almost in the clear but I really want to connect this element to that element later in let's say older version of 3ds Max you would have to either create a line click it and weld it which worked really well but now we can just go ahead select our vertex a Vertex shift and drag it like this this is well something very nice because it allows us for a little bit easier modeling now next thing I'm going to do is just straighten this a little bit more and just do the same on the opposite side to connect those vertices close spline yes please shift drag it Perfecto now I just for the ease of use I'm going to convert this to Corner convert that to corner and now we're going to create either a copy of this shape so it's easier for us to work with another Boolean or just we're going to draw a new one so I'm going to copy it so it's going to be easier in a second I'm going to show you what I mean so let's put it on us on a side and we're going to unhidle select the new newly created box and we're going to again use the simplest methods available extrude amount goes up we want to add as many segments as we need obviously you can see that there's a lot of unnecessary lines that we don't need if we would be using Boolean or any other modifier we would be able to add a little bit of wobbliness in between but instead of doing that I'm just going to go for a noise and add it on the axis in this case it's going to be y-axis and we're going to lower the size so it's going to be nice and smooth and everything is going to be as wobbly as we want it and it's going to mimic the organic um looks of a normal wooden element and this is where we are going to just use the most commonly used modifier for modeling and its Boolean we're going to just subtract click on this element wait for 3ds Max not to crash and we pretty much just created something super easily and fast thanks to the fact that new booleans are actually quite smart we can add a chamfer to it and chances are that it's if our object wasn't overly uh complicated the chamfer is not going to look that bad but if it does we can always at this point use another modifier but before but you know what let's do it we can go for first of all subdivide and subdivide is going to add all of that geometry but we don't want this to be adaptive so it doesn't really get messed up too much so let's wait for it to adapt to our new conditions okay is there any method to use 3ds Max as a CAD program because if the design was not finished it is hard to change and modify things like room layouts Window and Door layouts and in my opinion yes you can use exactly three at 3ds Max exactly like that but it all depends on your workflow you would have to use a lot of proxies or containers to exchange elements that's a little bit of a broad topic but it is fully possible uh thanks for the answer I want to join the classes too Abby you are definitely invited hey man greetings from Rio Brazil and I said Thank You Eduardo a hello 3D Legend I'm from India uh in Kerala we're really nice to have you samash and I hope that I didn't mispronounce your name please make a video on making pedestal a sheet in 3ds Max uh yeah why not I think we can go for it at some point please make sure to email this suggestion to our main email I am going to write this down and at some point we may create some kind of extra topic for all of us so now we're going to go for um modifier called retopology before you use root apology you want to use the subdivide because it is going to allow you to get a little bit more out of your model but it's not mandatory to use um especially if you plan on using some kind of extra chamfers or extra elements it is good to just prepare your model this way it's not a perfect solution because sometimes it's going to mess up one side and well do pretty well with it with another but I think we're going to try once again but with a little bit lower number so it's going to optimize the object a little bit better if it fails we're going to delete both and just continue and we're going to um let's say improvise other way and we're going to just make sure to fix those elements without uh looking back okay to make this happen I would have to detach those because the left side is looking Perfecto while the right side is not looking that good so I'm going to just be um as I typically try to be a lazy let's just go ahead and continue now having those two elements and well messing something up on a live stream we're going to make sure to continue messing up so first thing I'm going to do is either break this element to to have a little bit easier way of selecting or just take five seconds without talking to select one side to move it away from the other uh why I'm doing it this way because I want to make sure that I'm going to create that glass part of on top of um well our element but to really make it happen first I'm going to go for optimize spline again what part are you doing optimize it spline thank you we're going to show the knots and we want to optimize it slightly so it's going to be more like the cutout from a glass so it's going to allow us to get that extra smoothness convert this uh to spline make sure that this element is going to be smoothed out we don't want the beziers we just want simplicity so instead of that we're going to go for smooth so we're going to move those elements away and in order to add a bit of thickness we may first of all check if it fits if it does we're going to keep it the way it is but this area doesn't fit that well so we're going to just scale the bezier so it fits a bit better now the outline makes sense also makes sense here move it there Perfecto and again we've got everything now we're going to do exactly the same thing but without the extras so no extra segments this is just going to be our cutout but also our glass so in a second we're going to do a bit of a trick okay that's not a trick that's just me performing um some actions billions and let's subtract this element as well but I want to have a copy of it so we're going to first create a copy subtract this Boolean and now we're going to wait for our 3ds Max not to crash um I keep saying that um our 3ds Max and Max make trash because it really can and in some instances so now we're going to do another operation where I'm going to do a small outline so I'm not going to have everything in one position so outline inside delete the outside extrude but just one centimeter or less depending on what our table is supposed to have in this case it's going to be quite simple as that okay so now I have a problem because if this object is going to well if I want this to really follow this path or shape I kind of need to be precise with the cut so we're going to go lazy let's go ahead and select a rectangle create one and we're just going to go ahead and create another one what we're going to use in a second is also booleans but on a spline have you ever used booleans in a spline I hope that you haven't because this it was a huge uh huge thing for me when I first saw it were in action so let's attach those elements so attach make sure that your Loop is closed let's select it top view we're going to go lower subtract as well till the end and we're going to Boolean those elements away please notice that those elements aren't even in the same position so if we leave it this way those are going to go all the way down so you may want to just move them closer and then use the Boolean because otherwise the line is going to kind of try to adhere to the shape and it's not going to be that pretty red topology is a sub a subdivide is okay so uh let's read the questions now hi I want to ask about the difference between blender and 3ds Max oh there's a lot that this is a very broad question main difference is blender is gaining a lot of I would say popularity of more respects each day but it's not yet the industry stand standard also when it comes to I would say uh blender it tries to be everything at the same time in one software which is cool but if you are a master of uh let's say Jack of all trades master of none that's blender when it comes to 3ds Max 3ds Max is let's say a tool designed for specific for specific operations that will allow you to swiftly and efficiently work through your project while blender has a lot of options and as I say um it's not that I'm hating or trying to say that blender is not good it is good but it's just a bit not for me so now we've got those elements and we've pretty much just covered the creation of this weird coffee table that's going to fit into our visual thanks to the fact that we used multiple booleans in our shapes our meshes we pretty much saved a little bit of time on modeling and if we would optimize the model a little bit I would be able to use those chamfers but I honestly don't want to waste your time at the moment and instead we can use chamfers from level of our material which will look a little bit better in the end okay uh red topology is a modifier okay hello is this webinar gonna be saved on a channel yes and you will be able to revisit it at any time hey cool stream do you set the chamfer modifier to unsmooth the edges only uh I do but for specific objects depending on what effect I want to get uh like your work with laser scanner um why without turbo smooth um so what when it comes to our um turbo smooth you typically want to avoid it if you can and not all objects will require it for example here we don't need it we could use simpler model and use the Boolean but I mean the turbos move but at the same time we don't want to go over rate apologizing every aspect of our model because if I'm going to um if I want to add a turbo smooth to a model like this yeah and so to avoid this kind of problems we're definitely going to avoid using it at this instance so clay as you can see it looks quite nice and building a topology like this isn't really that easy when it comes to well figuring out all the edges so definitely Turbo's move is out of the question or if we're after well ease of use and efficiency and now we can continue so our coffee table is pretty much done we've created all the parts that we needed for it so we don't even need to continue any longer so I may as well just delete it uh by the way guys you didn't tell me if you want to see those clay pots or not I've noticed that this takes a little bit longer than anticipated because we had a few nice questions as always so let's see what we can really um what we can really Salvage from our chat Mike is there an easy way to make working drawings from 3ds Max scenes um I would say yes um not exactly perfect but it is going to be a nice um touch so you can go for something called um well in your shapes you can go for section and we can section away some of the elements so we can create the intersection action all that as well out of multiple elements at the same time sometimes it takes a while to to well materialize but we just did a section through my building and as you can see it looks pretty neat you will be able to cut through walls at different angles and if you scale your objects the right way you may actually also outline them for your drawings so it is not going to let's say um it is not going to be better than AutoCAD I'm not suggesting that but it may be a nice starting point a draft that you can use for your work because if you're going to be working with such objects anyway you may as well just start with something that's going to be well easier to use do use Unreal Engine um no but so I'm going to I plan to create some content related to it and you may actually enjoy it as always so hello from Lebanon nice to have you thank you DG and Mike is there a way okay um is there okay I would love to see how to make the clay pots Breville thank you for that so let's go ahead and actually go over that as well so we've got those clay pots right and uh we've got all shapes and sizes sometimes those shapes are going to be a bit weird and sometimes we're going to see some kind of extra fancy elements on top of them so there are generally two ways of building this kind of objects and I'm going to show you uh two ways that I prefer the most I would also like to kind of emphasize that we're already making this a little bit longer than I anticipated so guys please make sure to leave a like subscribe to our Channel because I want you to be always informed about our lessons also it helps us a lot to combat the algorithm I know you heard this from a lot of creators but it really does help us to get more recognized and it also gives us a boost of motivation so if we're going to get to a certain point we're going to be able to produce not one but even two webinars a week for you guys to enjoy and over time but together we're going to go from zero to hero and I want and I see kawaita have the number of Heroes in our chat so Vietnam is one hour uh okay uh very great to follow you thank you that's so nice Okay um what do you uh what your point of view on real what is your point of view on Unreal Engine Okay Unreal Engine is nice it's powerful but it's not yet there I mean it's great uh again it can be useful it's it is it can be fast but it will require you to First Master 3ds Max and other engines before you go to Unreal Engine because Unreal Engine is like an uh let's say something that I would call additional rendering engine for certain scenarios which is very reliable and it has a huge Library bigger and bigger over it it gets bigger and bigger over time but I think it's a little bit too confusing for beginners and I like to most of most importantly focus on Creative aspect of my work I hate when I have to figure out how many samples how many um well iterations of some some kind of algorithm I have to use for a specific scene in a specific scenario while for example Corona Rudder is just press play literally it's the easiest software I've ever used but at the same time it has a plethora of options so I prefer using it although I know that it also has its own laws by the way guys um new Corona just came out and it's actually quite nice uh it doesn't have any groundbreaking new tools but it's worth mentioning at least so thank you so much thank you to YouTube what do you think of the the future of artifice will you be done in well if to will it be done in Unreal Engine or will it be a mix of 3ds Max with Unreal Engine definitely a proper 3D software any 3D software whether it's going to be SketchUp Revit or 3ds Max blender and then the Unreal Engine is going to be an extra at the moment Unreal Engine has those it's like using paint to prepare to use something bigger I mean bigger as for example Photoshop so the first way of creating clay pots would be the easiest possible way and that is going to be CR by a simply tracing some kind of shapes and it is good to just make sure and acknowledge that whenever you want to create clay pots you don't even have to do the top part you typically don't even do the inside but it's a live stream so I want to kind of make it more fancier okay and at the top you also want to make sure to add a little bit of palette or additional vertices so why would we add the vertices or why would we add the additional elements I'm going to show it in a second and actually I'm going to just add a chamfer instead of palette because I want to show you something extra as always so now we're going to go for a lathe and that's going to allow us to create them at this nice pot in just seconds remember that depending on how you will be building your model or your shape uh it is going to have an impact on how the lathe is going to work so if you're going to be like me and you're going to start from the middle and go to the left your object is most likely going to be reversed so you're going to have to flip normals to make it look normal it's not necessary for most of the rendering engines but it is important for a lot of additional modifiers when it comes to modeling also if you want to you can weld core and try to cap everything but I don't want to do it at the moment because I want to make this nice and easy for us to use the only thing that you should probably do is make sure to add the support Loops at the bottom so we're going to do just that those two lines are going to be very important because they will allow us to not lose our objects bottom shape and thanks to the charm first and here we're also going to have nicer transition when we add turbo smooth if it's necessary and this is the easiest way of creating clay pots um but it also can um wait a second let's go back a few steps okay so um if you want to you can also add a fancy details for example by drawing additional lines so let's turn this off go to line and for example we're going to go for a circle start new shape and we can just draw a few shapes like this but let's say going from inside okay and outside so now we're going to be able to do something fancy if I'm just going to continue my going for a lathe as we did a second ago it's going to look fine but the problem is that flipping normals for one object is going to enclose a problem so it only means that we actually need to flip our in entire spline if we wanted to um if we want to avoid this problem so we can go for the three on your keyboard to segment and then click on reverse it does nothing but it moves this Dot from this point to this point this is on so-called first vertex in our in our in our spine sorry I got a little bit carried away um thank you Mike for uh this please how to achieve the noise of free render without spending too much time rendering on Corona it all depends on your scenes some scenes will be easier to optimize some are going to be harder um it all depends on the specific specific case scenario but probably the noising might be a very nice topic to look into okay so let's make this smaller let's move it in and let's select our main element but um as I mentioned we're going to also close it at the bot at this point so it's going to be nice and easy for us to work with um I want to kind of make this busier a little bit softer so we want to make sure that we don't do it this way we're going to just fuse and welded so down now it's not going to have the problem and for some reason the bezier is going to work really nicely and thanks to the fact that I actually closed this we're going to be able to now use the tool that we all learned about a second ago but this time we're going to go for the um Union and we're going to make this shape a little bit easier lace it and now we just made a fancy detail on our Clay Pot okay so this is as I mentioned the easiest way but how about we do this sad looking banana shaped um Clay Pot all of those elements here can be done exactly the same way as I did at them but some of them will require one or two additional clicks so let's do this one because um this sad clay pot is something that I want to also create and I want this to be fancy I want this to look like I cared I want this to um kinda in impress your viewers or at least the other artists so we're going to go ahead and create the most fanciest ways you've ever seen so we're going to make our vase transfer from one shape to another there's a trick to make it even quite perfect but we're not going to go for it okay line let's just create a line in any viewport I adjust for the sake of our lesson I'm going to make it nice and straight but to also allow you to actually see something I'm going to make it longer okay now this is the cool part we're going to go ahead and jump into our create from this point we're going to go to Geometry from geometry we move on to compound objects and we're going to select Loft okay so how does it work it's a very similar to Swift sorry sweep or um yeah it's pretty much similar to Sweet a sweep or extrude or any other modifier that you would be using but this is not a modifier this is a compound object so we're going to first of all get shape because since we already had our path selected we don't need to get the path now let's start with a circle because it's going to be base for our object now on the surface parameters we don't need to change anything really we only need to change that path and look what happens to this small yellow X so we're going to go for let's say y percent this only means that from 0 to 5 we're going to have still have our Circle so get shape again we're going to select another Circle you can see that now the circle moved here and we've got enough geometry in between but now let's make it fancy so we're going to transfer from one shape to another and that is going to be let's say 15. on 15. um we're going to get another shape and this time it's going to be this star so this object has just transferred seamlessly from one shape to another and we're going to move our yellow ex a little bit let's go for 50 let's again get a shape now we're going to go for a rectangle so thanks to this it's going to just twist its way so that it's going to add here to whatever shape we force upon it and then we're going to move on and for example move even further you know what I feel Eve and um more adventurous let's create another star and this time it's going to have five points oops my my bad I've created an instance instead of a copy so spline this over okay I need to make this uh sorry make unique and now we're going to go for Five Points uh only on my bones and points it is and we're going to continue getting our shapes so now five points and we're going to end up like this so does it look like a sad banana not really but it's close enough for us because at this point we can do whatever we want with our sudo vase also what you can do to all the shapes is by clicking on shape or path in this case we can go for shape select it and just scale it down or up if we need to or you can rotate it if you if you feel so and if we want to we can just change them a little bit but you cannot put them um let's say you cannot make them intersect you cannot push one object towards a lower percentage than its predecessor is so it's going to be slightly limited and in the end we can also edit our path but really it's going to just allow us to copy it so it's not going to be as fancy as it sounds but creating our phases or fancy structures is going to be extremely easy thanks to this trick but if you well if you would like to you can also go ahead and play a little bit further with our line so if we measure it we can pretty much just do whatever we want and if you really want to have that sad banana we're going to get it so this is the saddest non-banana vase ever but if you're going to 3D print something like this or just create it out of clay I bet you somebody is going to call it art uh thanks Mike for your time uh thank you very much uh okay thank you for your this time please how to achieve okay uh how are you adding the support Loops okay um this was already discussed hello uh same question I wish uh to ask it but answer them before asking that's awesome um which software best is best for making interior or exterior walkthrough a lumion or 3ds Max I would still be adamant about 3ds Max it all depends on your settings and lumion is good but doesn't have the Fidelity and quality that 3ds Max and real Ray tracing engines can achieve it all depends on what you are after if you're after seeing scenes the game quality lunion is great and uh well not to rag on the Sims if they actually have a good graphics but lumion it's just not my taste yeah I just kind of don't like it that much uh Master 2DS Max from scratch okay thank you very much now um guys I believe that we're not going to be able to really build everything in our scene from scratch so um we're going to move on to materials because honestly there are only two materials that I need to discuss with you because those are going to be the most important and that is going to be our wall um okay 3D materials uh three materials so wood walls and our fireplace so let's talk about those and then we're going to render with a few settings so our fireplace is built like this we've got our main drill and a lot of fancy stuff in it so let's delete pretty much most of it and we're going to talk about the the setup in a second so first of all our fireplace really would work amazingly only with the displacements so displacement is going to be the most important part to add that realistically looking uh fingerprints or whatever Dabs at that I mentioned so we're going to go for General set cellular and we want to set it up the opposite way to normal because if we're going to just start rendering it as is we're going to notice that it won't look exactly the way you would like it it's going to look a bit wobbly bubbly and I don't necessarily love it so let's make sure to lower our exposure a little bit okay I overdid it okay now let's go ahead and continue into our um lesson now uh with the cellular I want to swap the colors black and white so this way I'm going to ensure that this all setup is going to be upside down and this way the bubble bubbles are going to do this cutout on my object this is what I want now to make sure that it's not going to be as let's say um as aggressive I'm going to lower the white color to be a bit grayish so we're going to get more softer transition you can see that now it looks a little bit more like the dabs I mentioned we can now lower the size a little bit so it's going to look even better okay and now look at that we almost got the sponge uh looks on it so it looks almost like a coral but I kind of need this to be around six so this is going to be the perfect size and in order to add a bit of fancier look all we need to do now is add a Corona ambient occlusion so by adding the same interclusion we're going to fill in the crevices on our fireplace depending on what you will do with the settings where that's the let's say result you're going to obviously get so now we're going to swap the colors black and white and we can either have brighter crevices or darker but in this case I'm just going to go ahead and use the most let's say simplest setup on top of everything you also need to notice that I'm not using 100 of my amount because that otherwise I would have uh just black and white materials I'm just using 35 of the amount so I have easier mix in here so it's just super super easy to do this material and to make it look realistic so this is going to be pretty much the setup for our fireplace whatever material we're going to use as our unoccluded color as I mentioned previously we're going to probably use it via 3 planner map the email map as I also mentioned is going to allow you to mix in the colors so it's just going to be a little bit of a easier way of adding good textures to your objects with a little bit of blending so now let's add our first material that's I mean the texture that's going to be Corona texture and at this point because again we're just working with a percentage I'm going to use one of the textures that we share with our students during our training uh it's not going to be necessary for you to have it because you can use any dirt texture that you're going to find all of they are scattered all over the internet but this one is very dear to my heart because it's a dirt for and well it looks amazing so now once our fireplace is more or less set up we're going to move on to the next element and that is going to be the rest of the owl so what I mean is we're going to start setting up our the walls and all the rest so pretty much looks awesome but now let's select our walls so it's going to be easier to uh for us to look at this picture because again walls are quite important when it comes to any kind of setup and so you can see the fireplace the old one and the walls so walls are going to be based on the same idea but this time we're using a texture that's going to be our diffuse and we don't need the AO the roughness map is absolutely unnecessary here and the corona round edges is only added here for the fanciness all on our Corners remember when I told you that during our rendering we will we won't need to add chamfers to absolutely everything and we can just kind of build our weasel our way around it this is the way we can do it and we're just going to add this material to our wall again it's a 30 percentage mix of the colder sorry 15 of the colder and a little bit of our around the edges you can see the round the round edges out here on the crevices and again it's nice and easy to set up so there's absolutely no need for us to do anything extra I only need to ensure that I actually have some kind of mapping and typically I make sure that our textures that our students will get when this textures that our students get during the training will be typically set up so they will work perfectly with size around 200 250 when we want to fully randomize and not really care about the details that normally you people would be very aggressive about and then the next step would be actually talking about the wood material so there is no way to set up any kind of wooden material without the right texture again our students during the training will get a plethora of textures including textures that will represent wood and since we can well pretty much go over the setup I'm just going to make sure to cut out the unnecessary parts and we're going to just clear all of this and make it happen using regular textures from our library so again it's a wall shelf so change material map typed to just a simple clear I have physical material so we can set it up together and we're just going to do it like this do you use Phoenix FD for making fire and water flowing samash thank you for the question I do use this from time to time and this is something I kind of like going for because it kind of gives us that one extra step oomph or let's say that realistic look to your objects okay so now we've got this bad looking wooden element and we want to make it look better but at the same time I need to make it a bit older so how do we do that first we need the texture so as I mentioned we're going to be able to add any kind of details using um various textures so we're just going to go for a corner bitmap and select one of the textures that our students get so it's not going to be texture up and unobtainable by somebody who didn't really attend it's one of a very uh I would say basic type of textures but it is going to have one trick up its sleeves and that that's going to be ability or full randomization thanks to the fact that it's a texture that is seamless seamless textures can be described as they kind of don't have end so let's go for a little bit of randomization minus one by minus one a bit of uh scaling randomize each tile and we're going to plug it in into our base color looks awful why because we haven't yet added and two major elements those are going to be our Corona color correction and chronicular correction but that is going to be for two different channels so let's go ahead and first work on our color and the way I'm going to work on it is very simple let's lower some saturation my students can really tell you that lowering saturation is something that I go on and on and on and on again so um the reason for it is very simple yet it is one of those things that you kind of have to figure out or join our training so guys just a reminder that if you want us to create more videos like this please make sure to leave a like because I am already talking for almost two hours and we're still having fun at least I hope so thanks my great class thank you Diego nice to see you um I need to upgrade my power supply and GPU no if you want to use Corona you want to definitely upgrade your processor because everything that is done or let's say rendered in Corona renderer is going to do your processor so think about that before you update look at that just from the simple fancy yeah and uh but just from a simple texture I am able to pretty much get any result I want thanks to the fact that I am using Corona color correction it's a very powerful tool that our students go through um well for more than a week we just well Force our students into uh using it so definitely one of my best or most friendliest tools also let's invert the colors and quickly set up um this to be a bit brighter so now thanks to the fact that our glossiness is nice and let's say the roughness is very high our object is going to have that nice sheen on top of it and because we want to mess this up even more I'm going to add this as my additional bump into the object so it's going to mimic a little bit more detail on my elements but it may not be even enough so we may be tempted to either use noise in our displacement or we can try using displacement on the regular texture it's typically not going to be that good of an idea so first before you do any kind of displacement on your wood try to do some very weird values on your Bump if the bump set to something around 5 or six is going to look good and it's going to add that older look to your thanks to the fact that you're going to get a little bit deeper crevices it's going to be pretty much job done but in order to really make it look old we're going to connect this run a color correction to our unobluted caller and plug it in into our base color is there any tips or trips to tips or trips uh tips or tricks to make a realistic result well it all depends on your the materials you're using typically you have to have a nice mix of good modeling which we already discussed um nice materials which are essential and most importantly the lighting which is going to be something that we're going to also talk about in a second uh thanks to the fact that Corona is quite a nice program we don't need to do a lot so now you can see that I'm adding a little bit of darker edges around the uh well edges of my elements and you cannot see it because it's just dark color but if I'm going to change it to Red we're going to see some areas leading up let's make sure that it's going to be a very strong green so it's easier to see where this Darkness would reside now we're going to change the outside to inside so we're going to only get this on edges which is going to definitely add the older look so we want our max distance to be something around one or two but we don't want this to be too small we just want this to be well nice so something like around one or two is going to be perfect for us and now since those are supposed to be worn out edges I'm just going to make sure to add some kind of grayish tone so it's going to make it all make all of my elements look older like somebody was using those shells for years and we can add one more a level of fanciness to it but for that I'm going to go for a bit of an exaggerated values to really show you what I mean because now when everything is exaggerated it almost looks like a fancy uh painting but now we're going to go for ale distance and add a new general map which is going to be just a simple map that we're going to go for with noise so this is very you know now let's go for a value around 0.4 something that's going to create some contrast zero point five okay switch it to fractal so the noise is going to pretty much look like a burnout element um long story short white means presence black means absence and what it does it's going to add that extra worn out look on the edges so you probably want to set the size to something that's going to adhere to well the level of damage you want to achieve and at this point something around 15 is going to look perfectly for me and we're going to now go ahead and well lower the values to make them a little bit easier to look at because right now those are a little bit exaggerated and now one and two thanks to this I've got those worn out edges all of my fancy elements are now looking like they were at least this years ago placed here years ago and now we're going to go ahead and just um enjoy our hard work okay but Mike you haven't yet set up uh one very important element uh what is it uh well that would be probably our um lighting typically during um interior rendering I prefer to use hdri's because they give us way way way uh better results but because this is something I want you guys to be able to also follow we're going to do the most basic simplest setup for our lighting possible and please notice that I haven't even added one additional light into my scene I'm only using the environment so for that we're going to go ahead and recreate I did simple Corona sky connected to Corona color correct logged in like this so we're going to need to connect those um if 3ds Max allows us obviously um what is the difference between v-ray and Corona v-ray and Corona are very similar and Corona was designed as a direct competitor for v-ray it was supposed to be an easier faster and a little bit friendlier software and it really is compared to v-ray you feel like you're when working with Corona you feel like you're drawing you're creative you are pretty much working with art while in vire you have to be an engineer and I kind of hate that feeling that you have to know how many samples you want to add to a specific material otherwise it's going to render badly or you're going to get some kind of weird artifacts and yes it was highly improved upon over the years but well the trauma still resides and I really think that going back to v-ray is almost impossible for me at this point so this is going this is how your interior is going to look like when you set up your saturation to zero but if we lower the saturations ever so slightly we're going to be able to take away a little bit of that bluish tone that was a little bit too strong in this setup and thanks to this longer than anticipated webinar we're going to be able to create an almost the same type of interior I haven't went over importing objects and I haven't went over some of the elements but I believe that we should be able to do it but if you have any questions please make sure to leave a comment and we're going to make sure to answer those questions as soon as possible if we're going to get a 1000 likes before next webinar which is going to be this Thursday we're going to create a go over new topics or new elements I would say the new um things in the newest uh installment of Corona because you may not know it but Aruna 10 just rolled out also guys this would be pretty much all I had to um um I had for you prepare I had prepared for you today so this would be it for our today's webinar um our in our video description I'm going to add a link to all the materials that I promised on top of that remember to again leave a leave a like if you want to join our main training go to visacademico UK where you can learn more about our training how we really teach but to give you a bit of a glimpse how our um our training looks like I would like to first of all tell you that there's a lot of our students in the audience so they kind of like it on top of that during our training we're going to be meeting for webinars that would take a place on Wednesday Monday Wednesday and Fridays uh typically they last for about an hour and over and though that hour we go through each and every student's work to make sure that we um can move as a group and enjoy our each other's company but at the same time those reviews are going to give you important tips that will allow you to make your images and overall skills a little bit better um on top of those three webinars per week we also um will be giving you videos and written tasks for each webinar that means that you're going to get more than 40 hours of videos thanks to well you're truly on top of that we also support our students with uh season tutors so you will be uh we you will be granted access to our group chat and also direct contact to seasoned veterans in the 3ds Max so Ula Mary Javier this is this is a shout out to you on top of that on top of everything we're also going to be able to create Interiors exteriors typically our students create up around two interiors and around two exteriors so this is going to be a nice start of your portfolio so if you want to change your life and or just polish your skills make sure to visit our website visitacademico UK okay guys now I went through all of the topics I wanted for today so right now uh yet again I'm going to ask you to subscribe like this video leave a comment because it really helps us hope to see you next week on our in uh video that's going to be related to water but I'm not going to give you the details just yet uh but it's going to be fancy so thank you very much for your attention for those beautiful questions and to tell me where you're from because it's always nice to see that part where we reached pretty much the whole world once again thank you hope you learned something and see you next week bye foreign

Channel: VizAcademy UK

Views: 28,125

Keywords: brick-making in 3ds Max, architectural visualization tutorial, 3D design tips, beginner-friendly brick tutorial, architecture student, architect, 3D designer, interior designer, masonry, bricks 3D, 3ds Max, Corona Renderer, CoronaPattern, FloorGenerator, rendering, 3D render, archviz, archvis, exterior render, Vizacademy

Id: oWLZSLb3jyM

Length: 114min 0sec (6840 seconds)

Published: Thu Jun 22 2023