Complete Guide to ALL Visual Settings in Enscape

what is up guys welcome back to another inscape tutorial in this tutorial we're looking at all the visual settings that you could possibly mess with when it comes with inscape and everything that you might want to tweak to get your image and your scene looking exactly like you want it to so I will say before we get into it if you do at any point learn something please demolish that like button that really helps just demolish it definitely definitely helps I'm going to pull the settings in for inscape and what I've done first they've gone to presets and reset the default and so now we are working with the out-of-the-box template we are working with the out-of-the-box template of enscape settings this is what you'll see in your scene as far as settings goes whenever you first launch in scape and for just for reference I'm in the sample project for in scape so this is free online you can find it on the website it's a great example good sample to see everything for the most part that inscape can do materiality wise and settings so we're gonna go over all of these different visual settings because quite frankly there's there's a lot there's a bunch that you need to know about there's a lot of things you don't have to tweak to make it look like you want so let's jump right into it the first thing I'm going to start with is actually the rendering quality and I'm starting with this because I want to show you the different types of quality that you can achieve based on this setting so this is hi it looks fine there's nothing wrong with this I'll go ahead and put this on draft and you'll see a drastic difference so when I put this on draft it's it's changing out a lot of the materials to some default white it's kind of removing the texture the depth the bump to a lot of these different textures it's basically just looking at your scene and maybe I would do this if you have a giant scene and you know that it's absolutely crazy it's hard to run you know your PC can't handle it but I wouldn't get really hung up on that so much because in scapes pretty easy to run you only they have the best spec PC nothing like that and we as we increase here we could start to see a little more detail on all these different materials medium not a lot different but you know you can see start we can start seeing a difference I would take note on the ceiling the ceiling is currently white but as I change this to high we can see great difference and that's basically the introduction of shadows so high really starts to get into some of the really the bare bones of having shadows in your scene and finally ultra it's gonna knock not gonna be a big difference between high but it's gonna take everything up one more step and the reason I started with rendering quality is I'm going to leave the render quality on ultra for the remainder of this video and probably for the rest of the time I use den scape ever because honestly I've never encountered a time where I needed to use anything other than ultra I didn't believe me I worked in some giant models and giant malls with lots of detail materials so having this on ultra and being able to run an ultra even on crazy high textured models is awesome and so I would tell you keep it on ultra so you never have to even forget to change it back so let's leave that on ultra so now I'm gonna go back to the very top here looking at style outlines outlines they're at 0% and as I move this up you can see that I start to see outlines around all the edges essentially highlighting every edge of really any model in my entire scene this applies to doors this applies to everything every edge in my scene so as this goes higher you can start to see this these outlines become even more bold the higher percentage and finally when I put it at a hundred percent it looks like I drew this with a freaking sharpie you know I can see why you might want some sort of effect like this because it looks kind of cartoony and fun but honestly I don't I'm not a big fan of this and it's mainly because I'm not a big Sketchup user and Sketchup has all the outlines all the time and honestly if you're familiar with Sketchup and want that look use outlines I guess so I like to keep my outlines generally it's zero but I found the sweet spot for really crisp renderings if you want a realistic looking image that is is put your a line somewhere between two and five percent and I that sounds kind of silly to put it at such a low number but just having it just introducing these outlines into your scene just barely crisps up the edge of all the elements to the point where they pop but they don't look unnatural it doesn't look too weird like you have this giant bold line on all your edges so I like them there I'm gonna keep them at five for the duration of this video just so you could see things pop a little better so before we move on anything else I want to mention this and this applies to every slider so what I can do is you can see I've got my slider and of course I can click anywhere on the line and it'll move it all up by a percentage some are different than move up one percent and so move about five whatever it is again I'm gonna leave that at five but something you can do is you can hover over any part of this line and I can actually scroll up or down with my middle mouse button and simply increase this by the same increments again we'll go to other sliders within the visual settings you'll see they jump faster than one percent maybe it's five percent of something but there's a standard increment and it's really nice if you're trying to you know precisely tweak maybe you maybe Rosie do you like me and you want it on increments of five or something like that you can always do that let's say we have this somewhere here seventy-three percent and I'm I'm I want this to be default I don't know what the default is but I just want this to be default but you can double click these this slider itself the button on the slider and that will return to the default value for that particular slider that's not resetting everything just that slider and again the default for the outlines is zero percent so that's why it's there so I'm gonna scroll it back up to five something also you can do if he's over here on the the right side of all of these different sliders you can see these three lines you have you have a reset the default which again we just did through double clicking the slider itself which it's kind of easy to me easier in my mind or you can set value so maybe you want an exact value and again we can maybe do something weird here let's do eleven point two five great well it doesn't matter it's still gonna show up as eleven point two five here but it's just gonna do eleven I would just I worry about integers it's just gonna matter a lot more and be a lot easier honestly I can't say that I've really ever used the set value because I'm happy enough just scrolling along here and put it in a particular number that way so I want to scroll back to five percent in that case moving on mode so currently there's no mode a specific mode set so it's just it's looking at the appearance tab of all my materials showing me all those materials like they would show up normally great we're looking at the other modes we've got white and as soon as I cook white everything in the whole scene becomes white I will note that the water is not white and that's because it's water every inscape material thinks water grass things like that that are automatically rendered for you in inscape based on a certain name that you have in the material itself will no longer they won't render as white in white mode doesn't matter not a big deal don't worry about that so much but I would use white if I'm in a schematic design model and I'm not trying to get the client hung up on all the different materials that you may or may not even have already applied your project that's why I would use white it's great it's gonna make everything white polystyrene this is gonna look a lot like white and I can't say that I use this mode a whole lot because of what it is I would probably just use the white mode so polystyrene it's a particular element and it's more like a foam element and a foam polymer and the idea is that it's pretty malleable but whenever you choose polystyrene mode you'll have this transmission slider pop-up and the idea is that based on the amount of transmission percentage you set this at more light will actually go through the materials so all these walls and everything as I move this up and it's gonna be really hard to tell but you can kind of see in some areas up here where there's an increased level of light and that's just because more light is able to physically transmitted through that material when I put it at zero you can see some alteration there again I don't necessarily like this mode that's just a personal opinion of mine I don't use it never have but that's what it is and looking at light view light these very interesting because it it does exactly what it does it tells you the light levels based on the brightness it gives you actual Lux up here and this is based on all your settings that you have in Revit all the the actual light values and everything the Sun this is the value of the Sun the light of the Sun coming down outside when you've got an automatic scale and as soon as I do that I am I can actually set my scale up here so maybe I want to see everything within a certain range of lux and you can see all my values start to change as I'm changing this this scale and again these numbers up here here are related to the numbers up there again they're just rounded but you could start to see and get a scale of the light that's in your scene and I don't use this all that often but I do like to use this kind of more just on the fly as I'm trying to do lights and perfect lights in my scene just to determine where my higher light levels are where my lower are so clearly we can see outside on the blank service with nothing overhead it's very bright hundred-percent sunlight it's maxed over here up in this corner well clearly there's no direct sunlight and there's very little ambient light hitting that so it's very dark and it's gonna fall closing to the left side of the scale again just use it as you want it's more of a reference that I use to tell me where I might need some extra light perfect again I'm gonna put that back on done so we can see our scene but it looks like normally moving down to camera this is gonna be you if you start to change the exposure it's going to be the bane of your inscape experience and I will say that light in general is the bane of my enscape experience and it does while that is the case it's nothing in the world so my hope is that through all these visual settings that you can manipulate the light based on whatever you're looking at throughout any scene that you're working with it's just gonna take some tweaking so looking at camera I've got auto exposure checked so what is auto exposure well auto exposure well first what is exposure exposure is how bright how much white is in your scene and as I increase the exposure you can see how much brighter my scene naturally looks like that looks absurd it's completely blown out it looks terrible I'm gonna put that back to default and again I could remove some of that light and white to where it's almost pitch black and it looks kind of stupid again default keep that at 50 percent for now but first I want to explain what auto exposure is so as you you'll see as I move throughout my scene the exposure or let's call it overall balance of light is going to be in this case balance because I have auto exposure checked so what auto exposure is doing is that every time I change my camera view what I'm looking at even just a mighty a little bit it's going to recompute the light to balance it out and by recompute I'm saying the light is going to be balanced throughout the scene you won't have any super super dark or super super light area so basically you'll be able to see everything which is kind of helpful and I tend to run with auto exposure on most of the time just so I can see what I'm doing because again the light levels are crazy different in this corner versus outside so you'll notice as I move and I look over here we can clearly see I'm moving toward the darker area and as soon as I stop the light is going to balance out ever so slightly and I can really start to look at this as I get into some darker areas so let's actually go up into this corner as I do this we can see that the light balance is out ever so slightly and once I look back at something really bright all the light balances barely you could barely see that as soon as I'm looking at something really bright bright the light will rebalance begin looking inside versus outside the light will shift as I move to balance out what I'm looking at so it's not too dark so the doors in here look too dark to look at but as I move in here you can see they start to brighten up and that's the auto exposure at work now that's all great but it turns out what auto exposure is doing is essentially removing the specific values of light that you give you know random light bulbs lights that you have in your scene it's essentially balancing it out and kind of doing that for you which in most cases is fine I don't necessarily like to use it when I'm trying to create renderings and the reason is if you're using auto exposure all the time again it's not using the lights in your scene the values that they are so it's kind of a false false level of light that you may be receiving from that particular light at that time so what I like to do is turn auto-exposure off now what is this going to do so everything got a little brighter and everything got brighter because you know there's windows right here on the south side I've got wind I've got direct sunlight nearly coming into the space I've got more ambient light because I've got light bouncing off of everything it's not balanced this out for me it has not yet balanced this scene out for me and so the reason I would like to use and winter with auto-exposure off is that now I can I can actually manipulate the light levels as they are in my scene and as I set them in Revit and you'll also notice as I move throughout the scene and even as I move towards this dark door it's really dark and it's still really dark and that's because I haven't turned auto-exposure on this is actually how dark it is back here and it's clear because there's no light back here like why would it be bright back here so that something like this tells me I clearly need a light there you know I could also look back at my light mode and do that but you watch as soon as I put auto-exposure on it's gonna balance out the light so I could see everything just like that so I can clear right there I can clearly see these doors come back to life great but I turn this auto exposure off and boom so let's the lights go out well it's because again there are no lights here so I like to use auto exposure whenever I'm just running around my scene and trying to look at everything and see what's there but a lot of times you're better off not running around with Auto exposure on just but you can see what the light levels are actually like so I can clearly see you know that looks pretty good up here I see all the light it makes sense there's a lot of open space perfect but again down here it's pretty dark I'm probably need a delight your main lead using that we're not using that based on seeing real light values as they are in Revit or not so auto-exposure i'm gonna leave it on for now we might we might change it off in the future so projection projection is basically the camera isn't in perspective or is in two-point perspective or isn't it or is it in orthographic mode inscape 2.7 introduced orthographic mode so I want to put this into to two point perspective you can see all of my verticals actually became vertical if I move this back to perspective you can see there's a slight angle here it looks kind of it's hard to tell but everything is slightly angled so the thing I like to do and I'm gonna go ahead and press H so we could see it up here the top for this perspective and fly mode so the first thing I like to do is go to walk mode let's say I want to take a rendering from this place I want to go to walk mode I want to be on the ground I just want to know that so I'm gonna see the feet but then I'm probably in perspective so I can fly around and actually see things normally but if I'm taking and rendering from the ground level and this mainly only applies at the ground level because of perspective the two point perspective is going to be based on where your eyes are at or where the users eyes are at basically at ground level creating that two point perspective and this looks really nice because right now every vertical is vertical and that's the only way you're gonna get it to look that way is to point perspective view so we also have the option of messing with the depth of field the depth of field of course is set to 0% and I can change this to any value between 0 and 100 and so what is this doing this is changing the depth of which I'm focusing at so basically zero is for all intensive purposes infinity which is you know probably what you want but maybe maybe this is you're treating this as some sort of camera and so you're choosing to focus on the interior you want a more natural-looking shot as this as if this were from a camera you might put this at 10 15 percent so as you look outside it looks a bit blurry so I'm everything outside looks a little blurry err but everything in the foreground is really crisp it's really in focus and you can get as drastic as you want if you want to simply focus on the couch that's right here this end of the couch and I just it gets even crazier now I don't use depth of field a lot I'd use it here and there when it comes to rendering just to blur out some of the background if I want to redirect the focus maybe I'm to the interior in this case that's depth of field autofocus I can't remember time where I run around without autofocus on and finally orthographic as soon as I hit orthographic I'm like shot out into the middle of nowhere and if you remember my inscape 2.7 update video you could see everything it has to do with the orthographic view it's really great so this is as if you know orthographic is basically what Revit uses to show models it's all an orthographic view which means everything is in the scale regardless of what you're looking at so there's no real perspective to it in that case it's just all orthographic and so that's why everything looks so weird and it's really hard to navigate throughout the scene this way you could see I'm having a lot of trouble and so I would almost never bother being in this mode trying just to look and move around except I might orbit around that seems to make sense I can do that at least kind of like you wouldn't rather that's nice but the only thing I would do is hit the number of keys 8 5 or 8 4 2 & 3 that will give you different views in this case is at the back view and then the side view the other side view and then like the front here that's great these are nice elevation views so I you know I would use it for that other than that I don't see myself using orthographic view all that much but that's nonetheless that's what it is going back to perspective I'm gonna go back to my view in the inside so looking at autofocus I can't tell if this is a bug or something but I don't have the option of unchecking this and if you look at the tooltip at the bottom it says automatically sets the focal point to the object of the center of the view weight and this is disabled in orthographic projection okay if this is disabled then great all that tells me is that I should be able to control it otherwise but in perspective or two-point perspective I can't change it I can't change it regardless and even north of graphic it is still checked I don't know beats me I'm gonna skip it for now so basically just kind of know that everything's gonna automatically the focal point down here yeah I'm in perspective view I am stuck at zero I can't change that again kind of the autofocus thing but the field of view I can this is somewhat useful I will say that the default is 90 and that's it said horizontal and that is because that is the field of vision of humans so if you imagine the 90 degrees that we can see that's what this is referring to so if you change this to different value let's kind of let's lower this a bit now we're seeing a a smaller angle of you know everything if you imagine 180 degrees being everything from beside you all the way in front of you then that would be 180 degrees but as we reduce this below 90 we start to see less and less and less so I'm technically still standing in the same place but what I can see is way way different it's it's definitely much much smaller and that's it's zoomed in that's because of the changing of the field of view so I can get all the way to 10% which is kind of absurd if you want to zoom in on something great do that I don't know but if I go past 90 things start to look weird and they start to look weird because it's simply unnatural we're not used to being able to see so wide really beyond 90 I think I want to say that widest I've ever gone is maybe 100 you can almost get away with this looking somewhat normal that's still even if I put it a two-point perspective it kind of looks a little extreme because you see more out here but as soon as I put this back to default like like when I put this at 100 you can see the flowers and then I put it at 90 you can't see the flowers because just the field of view and it makes sense so that is the field of view that is everything on the rendering tab I can't believe we finished that things start to get more hairy as soon as I click image so when I click image I've got contrast and again these are all the defaults by default the highlights and shadows are 0% that's great you could also just say now forget it I'm gonna click Auto contrast and it's gonna do whatever wants to do that's great ok not a big deal again that's kindly being similar to the auto exposure because it's just gonna literally set that regardless of what you're looking at I'm gonna get back to my location here and so a lot of times I'll turn that off because maybe I've got shadows that I maybe I want to increase the shadows okay well I can I can do them this way well they're clearly getting too dark or I want to see less shadow you can see the big difference in shadows as I move this throughout the slider and the same thing with the highlights the outside like the outside is somewhat blown out and so maybe I want to bring those highlights down a bit so I could see it all a little more it's kind of like removing some of the white so you know that starts to look more contrasting because it you know since it is I have less highlights and more shadows so that looks kind of ridiculous so you know in this case this looks pretty good but I want to move around the corner here back to my door and I'm actually for this I'm going to turn auto exposure off and if I look at the image I I could turn Auto contrast on once I do that it balances out a little more but it's still not quite what I'm looking for if for some reason I knew I had no light here and I there would not be a light and like had to do this without a light how would I do that well I could really bring some of the shadows back and some of the highlights up but that's about as good as I could do you know it's still kind of hella me I need some light but you can attempt to fix it by bringing the shadows way down or you can just Auto contrast and sometimes that works better in this case it's kind of better no I don't know let's go back to our interior shot saturation saturation if you're familiar with editing pictures or video at all it is really it's all the color how much color is in the scene so if I bring this down below 100 I'll begin to desaturate the scene which is essentially pulling color out I'm getting closer to black and white so I can move this saturation all the way down and I actually have a black and white image I pulled all the color out of the scene so this is a good alternative to the white mode but without it being really white even though it's yeah it is technically black and white it's not just everything white so I I you can maybe put this it like 10 percent maybe even 15 to 20 percent and you can start to see that there's a little color coming back I'll put that back in 100 we can see all the color and once I start to really move this over and get this to 200% this is like double the color so there's twice as much color that was there before and this is so unnatural so absurd I want to say the highest I've ever gone is like 110 115 and in some cases it looks really nice you could really that you can get particular colors to pop them really well this way perfect that's great color temperature again this is a video photo editing type of thing also the color temperature it generally goes from cool to warm or vice or whatever it's there's a cool side and a warm side to it who will be more blue whatever warm being more red orange yellow so all of that is related to the color temperature and this number in Kelvin is related to that specifically you can look up that whole chart where you want on line but I just want to move this to the left and right and let you see as I move it to the left the scene looks more blue as I move it to the right that scene looks more red or whatever so I'm gonna move it to the left and of course I've got this backwards moving it to the left it's going to make it look even more warm it's got that orange yellow a feeling and moving it to the right is gonna make it really more blue looking it looks a lot more blue in this case it's not so bad but there's definitely more blue to the scene beforehand and of course this can apply directly to and with the saturation I can double the saturation when the color temperatures changed and make it look absolutely stupid almost like I have the these ridiculous sunglasses on maybe maybe you want that don't know if I ambient brightness yeah I've had so much trouble with ambient brightness in the past because I was absolutely convinced that it did nothing and the way I would test that is put a bunch of lights out make it dark like completely black outside but the Sun down and once I do that move into an area where there aren't lights but there's clearly closed lights in another room I would Jack this ambient brightness all the way up and nothing would happen like it almost wouldn't work I will say there's some noticeable differences now so I in my mind it does work so the idea is that this increases or decreases the amount of ambient brightness in your scene so what does ambient brightness ambient brightness is all of the light that is not direct and the levels that you would receive from bouncing off of surfaces so if we look remember our light view show that this corner was really dark really dark and that was because there's no direct light hitting that corner and also it's naturally darker and that makes sense but if we were to affect in increase the ambient brightness that corner in my mind at least in my mind should be brighter and that's because we're actually increasing the ambient brightness the ambient brightness itself and not just the lights and themselves so when I do this there's there's minimal that you could see in this scene and I'll try and move to a place where you can start to see a little better even as I move it down all the way you can almost see there's no difference in what we're looking at right here so now what I'll do is I'll actually go let's go up here and in my mind this this area over here is a great candidate for seen and not seen ambient brightness because we've got two sides that we could get sunlight from obviously the north side here running it much but the south side we have this near direct sunlight and all of the sunlight bouncing off the services here should affect this ceiling and this proved pretty well so I've got the ambient brightness at zero my hope is as I increase this basically to 100% we could see more light just naturally show up in this area because it's considered a meal light so let's increase this let's increase this and more and maybe you can see something maybe it just barely maybe barely it's so hard to see but I'm I'm gonna still say this is not working to my liking because it's not performing like I'm expecting that maybe I'm missing something leave that in the comments section below I'm just missing something when it comes to the ambient brightness but really you should be able to see a lot more difference in the ambient brightness in some of these areas based on changing these values themselves let's go back to our interior shot will forget am a brightness because what it is just the way it is so we've got motion blur this this probably plays more into video and moving around but as you can see as I move this around I know you're gonna get annoyed very quickly but as I move this around you can see there's blur because I'm moving you know I'm moving there's somewhat of a blur and that's because the motion blur is set at 50% if I put this at 100% you're gonna be really mad at me because I'm gonna move this around and it's gonna be like so blurry it looks kind of ridiculous so I don't I'm not a big fan of this at least whenever you you're using inscape to walk around a look at your scene why would you want everything to be so blurry you have to actually stop moving for this to look normal so what I do is I put it into your percent put it at zero so literally as I move around everything looks as it is it looks static nothing is really blurred because I'm not trying to make things look blurred if I'm just moving around and looking at things in my scene that seems kind of silly to go through that again how would you I probably use it to a degree in a video and animation because it applies to that you know if you're actually moving the camera like that's real so again I'm gonna leave that at zero for now lens flare okay this is just an effect so if we look right here in the center this this real kind of it's hard to see but it's somewhat of a reflection it's it's kind of a round circle here and really bright really light kind of hard to see but it's just the the angle from the Sun and you've all seen the lens flare effects you see it kind of got brighter in this area and as I come through here you could really start to see specifically looking at the Sun as I get in this area I'm gonna put this back to perspective and now we can see my lens flare showing up there it is right there there's my lens flare it's it's it's working as though I have a lens on my camera and the flare I would get from the angle of the Sun hitting the angle glass and the lens all that working together again I'm not a big fan of that unless you're doing some specific video or maybe you want this distinctly in the shot but I tend to not necessarily want that I don't need that it's just gonna make the scene look kind of crazy now you know maybe you want a little more brightness out of your Sun the way you look at it great you can do that I also prefer to achieve that through bloom what does bloom bloom is it's the level of which there's kind of like a halo or like you know have you ever had the Outback Steakhouse bloomin onion kind of like that so it's gonna be pulled apart there's gonna be more light around it's gonna be kind of this halo effect around really bright lights and the best example of this obviously is the Sun but it's going to work on essentially everything so we look at the Sun here and I turn blum blum is naturally at 15% and as I increase that you can start to see really almost more than the reflections from the Sun so if I look over here at this the top of this canopy is I increase the balloon you can really start to see the level of which I get this kind of blown and like diffused look to it now maybe you like this and this is it looks so ridiculously blown out this at this point because of the bloom so high so you know again the default is 10 per 15 percent that's probably a good place to keep it honestly so you can get just enough so if you put it at zero it kind of looks it looks a little static like you're kind of missing something natural looking because this would be a technically reflective surface so I probably put that back to 15 or 20 percent so you can start to get that little flare coming from that reflective surface and vignette I'm not sure why this is set to be on as a default but vignette is you know if you've entered in an Instagram photo or something like that the vignette is the the circle or area around on the edges that you can add either white or black and so my vignette is currently set at 30 and as I put this all the way up you could see that been yet significantly increases I have fairly rarely used this but I'd probably use it to again focus on something specific but I wouldn't put it at 100% my gosh I probably you know you can see I only have the option of black not white or anything like that but with the d-ball default being third you could kind of see the corners or a little little darker more darker than they would be normally so if I put that at zero you can see there's no unnaturally dark area in the corner whereas if I put it back to 30 there is a little bit so I might at the very most I'd probably put this to fifty sixty if you want something a sort of effect but really as I get over sixty this starts to look weird and you can kind of see something weird happening on the edges I don't know chromatic aberration depending on the types of glass you might get a particular aberration or light splitting from white light and do separate colors a little kind of rainbow you looking you can look up from attic aberration and see exactly what it is but it's essentially adding that those extra colors split between glass or as light passes through the glass so by default a set of 25% that's fine you're not really gonna notice that but as you put it up a lot depending on the type of glass you have again the number of panes whatever you'll start to see more weird colors come into play specifically around the glass and there may not even be a good example over here and it doesn't look like there is but just kind of know that it doesn't do a whole lot but it's technically splitting more of the light into other colors and I like to reduce that because most the glass in the industry these days I think they effectively reduced the chromatic aberration that by like a 98% most of 95 90 percent so you're never gonna see that you know and you know if you want to put this at ten fifty percent great the defaults 25 it shouldn't really be a problem at 25 percent unless you have some specific weird looking glass I don't know but again there's not a whole lot to see here and I like to keep it at 25 percent or maybe just put it down to the zero I don't know it's really not something you want deemed to be in a presentation image video whatever it might be let's move on to atmosphere this is kind of fun looking at atmosphere I first got white background and so I can check this and I will get a white background there's no there's no scene outside there's no horizon there's no nothing I can move outside and look and there's just white you know great maybe you want that maybe that's good for what you want maybe not I don't know it might be better than having this you know empty horizon with nothing there no no there's fog fog intensity that's kind of interesting you could put it all the way to a hundred that's great but you could barely start to see it and I put it at 100 some of it kind of fogs up over here but that's because it's also dependent on the height so the height it's at 70 meters or like you know 200 over 200 feet so right now it's that high so I can move this down and as I move this down to somewhere where we're standing we can start to see all of this fog start to invade of course that looks exactly the same almost let's move back outside and there we go we can start to see some of the fog come into play the height is starting from the ground plane so if I set it at one I won't really see it ever but if I it's if I put the height way way high then that's how high that the falling is impacted so maybe you only have you know 10 feet of fog so there we go like the first level so I don't use fog all that much but if it does work definitely works well and if you're going for that kind of foggy effect outside it you can't achieve that through the intensity is so clear that we can make it look fogged outside just by changing all these values and I'd probably max them out if you want it like super foggy but again I don't not a huge fan of fog kind of what things look normal illumination the sun brightness this another bane again though all the light settings are really the bane of my enscape experience and I hope they're not for years so my my hope is that through this video it's all understood and makes a little more sense so the default Sun is actually 80 percent don't ask me why it's not 100 I think it used to be a hundred but if we put this at a hundred it's a little brighter I don't know but again I'm actually able to scroll up and down and the increments are moving by five so I have the option of moving this all the way up to three hundred four hundred five hundred percent the light value of the Sun so that looks completely stupid absurd and you could you can stack these things on top of each other so I can put the the Sun had five hundred percent in my exposure at 100% and we're at a white image what the heck are we doing so this looks so stupid absurd and pointless so we're gonna go back to where we were I cannot I wanna see what I've done a lot of times is I like to start with the Sun so maybe I'm maybe I'm working upstairs let's go upstairs there's more direct sunlight and maybe I want to render this scene right here so this looks kind of bright kind of ridiculous it's clearly the Sun everything's in direct sunlight but what we want to see is all of this a little clearer so I probably bring the Sun down I'm not afraid to bring it down below 25% but just notice as you do that you'll lose some of the like pure white value that you do actually get out of the Sun so if I put this at zero obviously the sun's off okay that doesn't help me at all there son out right now but if I put this as just 5% yes I can see the Sun but I don't have that white that is of the Sun it's almost like it's cloudy but it's also not cloudy it's kind of weird you could achieve somewhat of the same thing with clouds but the reason I like to put it like it's 20-25 percent is that I can get some of that white but I'm also not losing a lot of the detail and it's not so much white that I'm losing some of these details and the tile in this case so if I put this back at 80 you could hardly see the details in this tile because it's just so much white okay again I'm gonna put this on auto exposure and we could see how it balances things out and I need to move around a bit so it'll do that so yeah we could see we're looking more for something like this but I don't want the auto exposure on I want to go back to atmosphere I want to put this at like again probably 30% it looks nice moving on from that cuz we're gonna come back to Sun brightness night sky brightness this is I'm gonna move this Sun all the way to night okay where's the Sun this is a big knocker that I had with inscape earlier versions didn't have this option at all and when you'd make it dark it's just black it's just like okay thank you I can't see anything but night sky brightness I can actually Jack this all the way up to the point where apparently I can still see nothing and that's partly because I have auto exposure off I can turn it on again this is auto exposure at work you could see the difference that we saw there now everything is Auto exposed and everything looks this looks unnaturally bright because I have auto exposure on but nonetheless I can still see things turning it off again is it's just gonna kill the scene because it's completely dark that doesn't help me at all but for the sake of night sky brightness you will need auto exposure on essentially to like see the night sky so it'll balance out the scene like yeah that looks really nice really nice so going back to atmosphere night sky brightness there we can start to see the night sky come into play come out of play unless you have it at zero you'll see this the moon had that 5% as soon as you do that you'll see the moon I can bring it again all the way back up I don't quite one of the 300 I probably honestly I'd probably put it at something like 150 200 because it's nice look at that you could start to see the night now if you're looking as if you like this this looks terrible you have to affect the light some other way but for the night sky it looks really nice this way shadow sharpness this is kind of interesting you can really start to get some of these shadows more sharp with this value and again there's not a whole lot to see with this and a lot of times you're not gonna see a lot happening but just kind of know it if you want more shadow sharpness that's how you would achieve it you could kind of look down here and see how sharp this shadow is I've turned this all the way down so it's really not all that sharp it's gonna blur it on the edge and then move it all the way up it looks a little sharper and it's hard to tell but it is working than the left and moon-sized this is kind of fun you know the moon looks really small you can always Jack the moon right there that's completely absurd do not do this everyone knows that that scale is off I like to put it somewhere around 300 so it it's kind of it looks unnaturally bigger but not so big where you're thinking like whoa what the heck is that okay so artificial light brightness this is actually a really good scene to look at the artificial light so the artificial light down here and this is remember I have Auto exposure on so it's showing me all of it's trying to balance the black that's outside and the white from these really bright lights that are inside which is why I kind of get this mixture of both but I can see everything so let's start affecting the artificial light brightness this is this has the biggest effect in changing the light of all your interior scenes so as I bring the artificial light brightness down it's almost like I'm turning the lights off inside clearly if I put them at 0% they're like for all intents and purposes they're off and as I bring this back up we can really start to see some of these lights come back and this is where things can get out of hand quickly because they can go way way way beyond where they should be they can get really high so I'm actually going to turn auto-exposure off so we can see what this looks like so here we go these then this is the exact reason why I like to have auto exposure off if I'm doing a specific rendering and that's because this is actually the light values and what the lights look like in the dark like this is what I should expect essentially in real life I should expect these light levels it would look more diffused because the ambient brightness would be more natural-looking but nonetheless this is what we would expect so if I'm looking at all my lights here as I bring this up I can clearly see all these lights get really really really bright like that's so absurdly bright I can even go outside and see my house lit up like way-hey lit I'm gonna put this back at 100% that's what things should look like a little more like that so that's fine but maybe they look a little maybe you're doing a shot like this the outside and clearly it's a little dark and I would probably put that up to 120% not a bit 30% you can start to see everything a little better it's gonna pop a little more that's artificial light brightness go back to the interior back to my daytime scene horizon white ground it's a white ground you've got a bunch of options here white ground that's nice it's just gonna be this white ground that we see nothing special there I can do white cubes this is kind of cool you know this this plays really well if you're also doing white mode look at this everything's nice and white you can get this nice context jewel looking white background it's kind of fun I'll put this back to none for now and we can go back to urban Urban's interesting you know it's just like the city a random city doesn't necessarily matter you're kind of in a park all right we've got town again kind of the same thing you're just you're in the town looks a little elevated looks kind of weird but that's fine construction site yeah maybe you want this on the construction site I don't know interesting you got some crane there I'll love whatever around I also got mountains it's kind of cool depending on the location and for us you know this works kind of just if you're out in middle of nowhere great skybox is really interesting I don't have an example to show you specifically but skybox will allow you to import your own 360 image to the point where it will project that image throughout your scene and that's really great because all of this it can be rotated you can actually turn that brightest point on at the Sun direction it's just really nice you can normalize the average brightness of the value set below you can basically set the brightness and normalize it it's kind of like auto exposure but it's doing that for the whole skybox I'll have a separate skybox tutorial in the future don't worry about that but it's really nice I've used skybox in a few different circumstances where I've taken a 360 drone shot from you know let's say 200 feet if we had a tenant loan to 200 feet then getting a 360 drone shot from that location and then adding it to the tenant lounge renderings it makes it looks awesome like it's actually it's like what it would look like from the space which is just it's so powerful to do that so if you have the capabilities of doing that and putting a skybox in where your site is do that it's awesome it's absolutely awesome and there's also clear and it's just gonna look clear almost like you're you fall off and that's it I like to usually just use white grounds or at least there's a horizon but we can also go to town or something like this and we actually have the option of rotating so maybe we don't want to look at this look at the another side or I don't know you could just make it look however you want you know doesn't doesn't really matter I'll put it back on white ground for now so clouds are kind of fun this is one of enscape school perch they like to play with the clouds so looking at the clouds up here my density is set a 50% that's great I can make it more dense you can add so many more clouds if you want make it actually a cloudy day you could have it you could change the variety I do like to put the variety pretty high so you can actually get a good variety in the types of clouds but maybe maybe not cirrus amount cirrus clouds are the clouds I don't know exactly how high they are but they're basically some of the highest clouds and in the stratosphere the in our sky and they're just gonna add a little more you know not quite fog but they're gonna kind of give you that diffused look so they're pretty by default they're 50 and that looks kind of weird but they're all these streaking ones up there I'll move the density of the clouds all the way down and the variety all the way down and I'll put the cirrus down so we basically no clouds in the sky so as I start to add cirrus clouds cirrus amount you can see all our streaking clouds all the way up there and these are like the high elevation clouds this is really gonna give us all the clouds that we want on a cloudy day but I also haven't added any lower clouds which is where our density comes into play you add both of these together and you can really start to get some layered dimensions into our sky so I'm actually going to turn auto-exposure on for this so we could really start to see this come together that looks a lot better so again if I put the density down a cirrus amount down we just have our sky are without her son perfect so I can put the cirrus amount up you know maybe we want this around 10-15 percent the variety of the clouds we don't see them yet because these are just low elevation I put that 100 and then finally the density down here this is really nice and this is I'm this is probably one of the things I'm most impressive with in scape but as you move the Sun behind clouds whether you're adding clouds over the Sun or you end up moving the Sun over clouds you'll actually receive less direct sunlight which is really cool I'm gonna leave this in auto-exposure for this but I'm gonna add I want you to look at the Sun and then also look down here at some of these shadowy edges and as I increase the density to the point where the Sun is over or Sun is behind the clouds I will lose and actually once this updates for the minute auto-exposure I will begin to lose and I need to actually more a serious amount change I can start to lose some of the really that white bright light over here you can see the kind of a difference whereas if I bring all of this down and basically remove a lot of the clouds that whiteness has brought back because there's more Sun reaching my scene which that is remarkable I'm that's so cool and it makes so much sense because it's real life that's what happens and I applaud them for actually being able to get that in contrails are nice we all know though we - you mean yeah contrails we know what those are there they're all the fun you know contrails you know from like airplanes you're gonna have a max of 30 in your scene it looks kind of ridiculous with 30 so maybe somewhere in 15-20 that kind of looks fun I usually keep them around 10 so there's 10 in your scene kind of matter where you look you can see them at all times but it's not crazy just one more like a depth to it so finally longitude and latitude you can set this to where you are that's great but a lot of times what I end up using long to latitude for is not so much setting my location or anything like that but I want to slide just ever so slightly adjust the clouds to where maybe they fit somewhere within the Sun or not so again like I said you could see that there's a decent amount of white over here because the Sun is still visible but the second I end up moving the clouds over the Sun the light values in my scene actually change like look at that difference it's awesome and it's just because there's the Sun is actually behind clouds I I get to almost do this all day how fun it is like just to see this working in action so again you high end up using longitude and latitude for the specifics of where I want the clouds and what I want the scene to look like from a specific shot so maybe I'm inside and I actually want a cloudy looking day and I'm not outside to see that well I can change this to the point where okay there's clearly more clouds here I have less direct sunlight that's awesome so finally I'm gonna default some of these values again and let's go to the capture tab this should be pretty quick so the resolution that's the default to Full HD and you can see the not only the resolution but the aspect ratio and this is specifically for when you render out images so a lot of times if I'm doing a quick image I would probably do full HD I can't I've never done HD 1024 or window I've never done that because I want at least Full HD a lot of times what I'll do is I will use Ultra HD whenever I'm are basically 4k image when I'm trying to render my image for real like and sending this to a client now the thing to be wary of is that depending on the result and the size given the aspect ratio and all that are given the resolution you may not be able to email this it might be too big if you're sending four or five images it won't work if you're sending just one it will but just be aware of that I like use Ultra because it allows people to zoom in and you not lose that much quality if any shosei frame I can't say that I've ever actually used this but this is specifically when you want to basically tell and scape what you want to look at and what you want to look at like what you want to kind of say I hesitated to say focus but like what the intent is so maybe it's a pillow I really want this pill it'll look good all that it's that's when I would you say frame I never really needed to use it in my mind but that's just me image export object ID material ID and depth channel so this this is kind of interesting when you check this you have the the option of changing this depth and of course this doesn't show anything whatever it's hard to tell what's happening because really and you can't see it but what's actually happening is it's changing the depth at which it's running this material ID and this is this is one of the most valuable tools if you like Photoshop and you're like post-processing some of these images out of in statement Photoshop so what this will do is it will export a second image of the material ID of your scene and so it let's say you have this wood floor and you want to make one adjustment in Photoshop to all of this wood floor in your scene well you'd have to select all this area and then this area and then this area in it so that's like your four or five different areas to select in this one shot well what material IDs do are allow you to they will export a second image that you can use as an underlay for selecting purposes with this rendered image and it will allow you to select individual pieces on top of your other image so here I am in Photoshop and I'm looking at the rendered image from that same location that we were just looking at and you could see that in scape is went ahead and put in all the trees and people back in whatever that's fine that'll work for this but so here's my rendered image but like I said maybe we want to make some adjustments to the way this floor looks so if we look at the other exports here we've got interior depth we've got interior material ID into your object so again we've got that depth material and object all the different exports that came that came from my Revit right here I have the object material and depth channel so when I look at depth if you're familiar with using alpha channels that's essentially what this is it's taking the farthest point black and all the way up to Y it's just it's that's the way it's working if you're familiar with alpha channels that's what this is but we are more interested in material ID and this is really great because not only is this highlighting every material for us but now we can overlay the on to our finished product so I what I'm gonna do in the right click I'm gonna duplicate the layer I'm going to put this on top of my other main rendering here so let's go ahead and I will put this with the opacity at 50% and we can see what it's starting to do so what I want to do now is maybe I'm gonna change the look of this floor so I can hit W to go use my wand I need to select a layer so let's select the background copy and I'm gonna put this tolerance at zero just so I know it's selecting only one color and again it they have it's done this so where we have one color regardless we have just one color working for us here so I can select that color right there boom select it there there and there there's my floor really simple could not get any more simple and so now I've got my floor adjusted right there and I can simply go to my adjustments and maybe I want to change the brightness here well I can start to do this just to the floor maybe I want to adjust my brightness to just the floor well I can do that specifically with an adjustment of that selection see I've if you look at the mask there I've just selected the floor and I can change the look of that floor very easily just like that so that's very simple and really easy if you want to adjust and do some post process work really nice really easy to do that again you can even add your own background everything is black everything black and something else it's really easy you can select black and then you can right click and choose similar and you're gonna receive every single black perfectly selected same will work exactly with the floor right click select boom I've got my floor selected everywhere cuz it's all the same color this is so underutilized and it's awesome really great and finally object this is yeah this is kind of interesting but it's changing every color based on a specific object so this couch is one object and so it's showing up as one color this floor is one object one color you know this trees color that's fine this person okay now maybe you want I would do this if you want to change the specific of that couch okay I've never really wanted to do that I kind of want to make it based on materials which is why I would use something more like this and can you can see the legs or a different material than the actual sofa itself really nice so let's go back to in scape and the settings here moving on now we've got the automatic naming automatically name it if you want automatically name it if you don't it doesn't matter you can change the default folder they want to throw them in cool change it if you want you do PNG JPEG open eights our target files I big I'm the biggest fan of PNG s because they are a smaller file size you don't lose any quality and they have the option of having a transparent background like there's nothing more you could want you want to use a JPEG you can target whatever video this is really great I went through over this these settings in my video and animation you can see up in the card right now but there's not a whole lot to this it's more really the quality you want of your video if you want maximum and lossless glue right whatever or frames per second I typically go to 60 you know if you know your presidency from a monitor that is at least 120 Hertz to 120 it's gonna look that much smoother that much better they're gonna enjoy it you're gonna really tell a difference but I tend to use maximum or lossless maybe even blu-ray it doesn't matter so much and finally panorama you know you have the option of taking a 360 panorama from your location and again just like I would always keep this on ultra why would you bother not exporting the panorama on high I just I don't know some people do it but why not keep it on high I would definitely keep that on high so finally I'm gonna go back and reset to default yes and finally I'm gonna run through one last thing that I do as far like every time I try to set up a scene instead of an image so if I'm running around like just looking at stuff I want to look at these books okay great you know not that's awesome okay everything looks good I'd probably keep auto-exposure on but maybe I want this specific view in two point perspective I want to get the perfect rendering that I could get at least in my mind I want ultra quality I want to turn auto-exposure off and after that I really have to start working with the light and so you're gonna have to juggle between the exposure the contrast of the highlights and shadows the Sun brightness and the artificial light brightness if you can is basically there's the PERT there's a perfect balance of all four of those different values that can give you the perfect result of any rendering with auto exposure off because you want the actual light values so again what would I do now I'd probably start with a Sun I want the Sun probably down 37% let's do 30 percent for now and then I'm probably gonna change the highlights but bring those down a bit maybe not quite that much to bring it there I want more shadows so let's go ahead and put that maybe 10 15 percent how about that artificial light brightness let's go ahead and bring that down to the point where it doesn't look normal but let's bring this back up and start to bring it up I probably want this to be a little less than a hundred percent because if things look a little bit too bright considering it it is it's the daytime middle a day I don't necessarily need this on so bright or to look so bright so I'd probably do something like that and again you can take this as far as you want and dealing with the clouds maybe the Sun angle you want to change a bit and necessarily my angle the Sun angle you got a hold shift and do this you can change the Sun angle that way so this is starting to look nice I want to decrease the density so we can get more natural sunlight in here so maybe now I want to increase the artificial light brightness no probably don't actually in this case what I probably want to do is move the artificial down slightly maybe at 85 but now I want to increase the Sun brightness just a bit again you're not gonna be able to see a whole lot because of where the Sun is which is why maybe in the case like this I mean I want to brighten it up a little more so like you really want to see that glare you know just something else you can do I'd probably say this is pretty good but you know you could always come back here and adjust some of the highlights to where it's not so blown out I've had scenes where I've had to bring the highlights all the way down and the shadows nearly all the way down just so I can see what I want you know like I don't even have the I don't quite have the shadows at 100% and I like where they are now I got all right zero percent I don't necessarily want them here it seems to kind of do dark back here so I want to balance it out a little more and so that's probably better as far as balancing but if I hit Auto contrast it'll it'll kind of get pretty close to bad because it's kind of what I'm after but this is probably a little bit what I'm after getting am you brightness should do something but I don't know so anyways I'll stop boring you with all the light settings you're gonna have to adjust it and honestly I just all of these for every single angle that I'm at for every shot because you kind of have to there's nothing that's real global unless you hit you know auto exposure and if I auto exposure here it's I don't want this this is way too bright you know like the sun's just now coming up I don't want it to look like this so anyways that is it for all the visual settings in inscape and I got hope I didn't bore you to death because you know that's the way it is finally actually last thing I will say you're actually able to save these to your project and to a fight I would save these through the project this is new at two point seven you could save these to your projects so every time you open this project you're gonna have the option of going through and selecting different settings you can manage all your presets here you can even load different ones you have for like different shots if you want to it's it's real great so definitely utilize all the presets and saving presets saving settings do that for sure so again I apologize for the link but if you did learn somebody please demolish that like button it really really helps me out a lot also please consider changing the phase of that subscribe button to existing that always helps me to I've got lots more videos coming out in the very near future hope you stick around for those if you have any questions about all these freaking visual settings leave those in the comment section below I know this was long sorry about that but I hope you stick around for the next one have a wonderful day and thanks for watching [Music] [Music]

Channel: Architecture Vanguard

Views: 30,819

Keywords: enscape revit, enscape 2.7, enscape tutorial, enscape animation, enscape lighting, enscape revit tutorial, enscape beginner guide, enscape basic, enscape visualization, enscape visual settings, visual settings enscape, enscape real time, enscape real time rendering, enscape tutorial revit, enscape tutorial video, enscape tips, complete guide to enscape visual settings, all enscape visual settings, enscape image settings, enscape capture image, revit enscape settings

Id: 7KUNoF_p4l4

Length: 66min 52sec (4012 seconds)

Published: Wed Mar 25 2020