D5 Render - Full Beginner Course

hello hello hello and welcome welcome to D5 rendering course for beginners in this course I will try to guide you through the whole the whole process from start to finish in creating architectural visualization with D5 and not just that we'll also touch upon animations creating animations and maybe a little bit of some more bonus content that you will see if you follow this video so I will be using this model right here that you see on the screen and this is done in Rhino but it's not necessary for you to have also a model that's done in Rhino you can use any software you want to create your architectural model the for those of you who are using Rhino well first of all this model if you want to follow along completely closely in the video description you will see a patreon link and people who support the channel on patreon get all of these models as well as the final model tools after the course for free so consider supporting the channel if you want this model but enough about that in case that you are not using rhino you can skip ahead to the importing step but for those of you who are using Rhino I just want to point out one little thing it's the layers so when you're before exporting into D5 you want your different materials or elements that have different materials to be in different layers and the reason for that is because we will use an out automated tool that's called [Music] synchronize render colors that will create a material for each layer that we have right so roof planks will get its only its own material ceiling will get its own material and so on when you're creating a bunch of materials for different types of geometries that you have that usually share the same material you're basically going to carry over those materials into D5 and thus making your life a little bit easier with switching between uh between them right so let's say all of the green boys right here arrive into D5 as one single object then all you need to do is just switch the material of the green ones with glass and then you will have your glass material there right hope that makes sense if it doesn't just bear with me for a second once we actually get geometry in D5 it's gonna make more sense so for now I will just run synchronized render colors hit enter select objects I will just select all layers right here hit enter 94 layers synchronized and you can see a bunch of materials have been created that's great that's exactly what I want then once this is done I basically can start importing it into Rhino into D5 what am I saying so the important process is pretty straightforward uh when you start the D5 render launcher you are presented with this kind of a menu here where you can create a new new file or open up existing file you can check out your recent files and open up those or describe a workflow or explore usually you just work with the top three objects here right or tools here there's also some demo scenes to download if you want to check out how professionals set up their scenes but I would suggest for now let's just go for the new file here click on that it loads for a second and afterwards it just opens up this menu so this menu let me join myself in here and maybe make myself a little bit smaller this viewport that you see here is like the default D5 viewport where I will kind of cover all of the everything that you see here but before I do that we want to import our geometry just so that it's a little bit ah a little bit nicer so so that we have something to look at right so back in rhino uh I will synchronize my view right sorry that is the wrong plugin there we go D5 that's D5 connect to D5 there we go I will connect it to D5 so click on that by the way if you don't have this plugin just make sure that you that you download D5 link to Rhino it's a free free add-on right so we convert it it says D5 converter success then we open up our D5 model and there it is as easy as that it's literally a single click and now you're like these two uh modes or these two software packages are indeed linked right so you can see that it's nothing to write home about it doesn't look that great and actually yeah of course it it shouldn't look that great because there's so many settings that are um still not applied so with this done let me just finish up by saying that you can synchronize live updates so you can every time you change something for instance I take the roof and Gumball on move the roof up this is not even the roof this is just the cladding of the roof I move it up if I look at edit here it hasn't changed right so I would need to click on the synchronize button synchronizes then I wait a little bit come on it's loading so it reloads the whole model right and yeah there we go it reloads the whole model and now it's updated so let me just undo that synchronize again and it should be fine all right then we have synchronize or enable camera position a bit so if I have this enabled then if I turn my camera in rhino let me show you let me just make this a little bit bigger there we go if I turn my camera in rhino it's synchronized with the camera in D5 which is pretty nice so so you can name your views and Rhino create a bunch of views and transfer them to D5 that's not what we're gonna be doing but it's just a nice to have also you have synchronized scene list so if you have named views a bunch of new interviews those will insert be inserted here as scenes I'll talk about those in just a second and then you have synchronized lights no we will be creating Lights by ourselves in in D5 so for now we don't really need Rhino anymore you can either close it or minimize it up to you with your model in place right if your model in place I can show you like the main tips and tricks about the the scene that you're looking at so the first thing is the viewport of course right the navigation of the viewport so this is your only screen unfortunately at least to my knowledge there you can't have more than one viewport right now so you you will be working in a single view all the time here if I select the top left most top left option or tool on the screen I can see move and rotate or scale so let's say I select this object right here I should be able to either scale it or move and rotate it for some reason I cannot oh yeah and that that is because my base model is locked right so here you can see sorry that I'm jumping around it's just because I want to show you the movement and here with this one I can't so this model right here it is locked so I am unable to neither move nor rotate it right so I need to unlock it here ma'am now it's unlocked and now as I select it you'll you see that I can move it also see that it's imported and it stays imported as a single piece of geometry that has multiple materials but it is a single uh single piece right that's that's an important important thing to note it's a single object right you can hide it or preview it but it stays single so that's moving or rotating that scaling is literally the same thing you can scale your object smash as as much as you want right typically since we are importing these oops there we go since we are importing this from Rhino you should need to neither scale nor move or rotate your object there we go so that with that being done now we have another uh setting here which is the movement uh axes basically are you following the world XYZ Axis or are you following the local XYZ axis what I mean what we mean by that is if I take this object and I rotate it 45 degrees or whatever some some amount now with this uh local movement being set you can see that the Z X and Y also have rotated 45 degrees so I'm I'm still moving the object according to its local values right but if I change this to Global right here I clicked here if I change it to Global now you can see my that my Z is my world z and my Axis World X and my Y is worldwide right so here you're changing between the uvw or XYZ coordinate system right let's not have it rotated in a very weird way typically I keep this at the global or XYZ coordinate system all the time next one is the material picker so if I select the material picker here and I let's say click on the Roof then on the right hand side you can see that my material that is picked is currently being displayed that is quite useful and I will talk about it much more in just a second once we get to the material options but before we do that I want to kind of finish up with the with the viewport so for now just know that material picker enables you to pick any material that you want right that you have on the scene and edit it it of course on the right hand side we have the camera settings and the camera settings are basically as as follows so we have the exposure if Auto exposure is turned off then your exposure control is controlled through the EV values like that and it will never adjust it will never change no matter what kind of environment the camera is in if the exposure Auto exposure is turned on then it's going to always change according to the EV uh not TV sorry according to uh exposure value according to how bright or how dark the average pixel on the screen is I think it uses a histogram but doesn't matter it's still the same thing it's automatically exposing right and you can still make it brighter or darker oh never mind you can't because if you start messing around with this the auto exposure turns off let me go back to zero enable auto exposure we'll deal with this much much later one of my favorite things with the with the camera settings here is the there we go is the field of view all right the field of view is awesome so we can change the field of view like that or a much for for me at least a much better way is changing the camera uh lens length which is the second or focal length which is the second number right here so for instance the camera that I have right here bam the focal length right now but not the prettiest boy but it is what it is right now we're at 55 millimeters for the focal length and if I do this we're at 18 millimeters so if I were to change this back to uh here to 55 this is basically the same camera or same lens that my camera is using if I go in here and change this to 18 that is also like my my lens can adjust so this is the most zoomed out lens the position of the lens that it is right so uh typically we are a human eye the focus of the human eye is very very tricky because we tend to blur things on on which we don't Focus but rule of thumb is like 45 degrees of of an angle 40 so here with 50 millimeters we get 39.6 degrees of of the focal uh area I guess which is quite natural for us so we will stick to that depth of field much later but basically the with data field the closer things are the more out of focus they're gonna be for now let's have it turned off we will come back to this much later in the below you'll see like the camera uh how is it called portion of the video camera control portion of the video and then you can change the view from a perspective to top to front to left and so on right pretty straightforward pretty self-explanatory the only the only thing that I probably should discuss is the perspective right so here we have perspective versus two point perspective with perspective you you can create a vanishing point let me actually make this very very aggressive one second I'll I need to lock my model so that I don't mess it up and let's make this like 12. and zoom zoom zoom zoom as I zoom in you can see if my camera is looking downwards or upwards a third vanishing point is created right that goes down right so all of these lines here they meet up at a vanishing point like a third vanishing point that usually is not that great for like cinematic looks uh typically you you don't want it so a tool that fixes it is called two point perspective if I tick this tool you can see that vertical lines are forced to be vertical it still will look weird because we're using a freaking 12 millimeter lens that that's a heavily fish eye lens but you know it's it's better it's better so for now I'll keep it as perspective a regular perspective and back to 50 millimeters and just for the sake of it all right with this done um I I would like to be before we move on to the display settings here I will want to jump ahead and here instead of orbiting I want to change this to fly mode so fly mode like so and now uh the the way you navigate through the viewport is as if you're in a video game W to move forward s to move move backward a left side d right side wasd movement right Q to move up e to move down Q E so six buttons very very convenient once you get the hang of it super fast you turn your your screen with the or your head I guess with the mouse right clicking the mouse you right click and drag and this you're you're turning the the screen right if you want to go faster you can by just changing the flying uh what's that eye level never mind by changing the flying height or by changing the flying speed so that's the speed if I change this to 18 now I'm going faster right if I change this to 50. I'm going real fast whoa for interiors that's very bad right so you change your speed here the eye level is basically how high you are so if I go very low the eye level changes if I go to zero that's that's my zero I actually need to take this and move it let me unlock and just move the whole damn thing a little bit lower just so that we're on the same page with the with the house so you want your house height to be at zero okay with this done uh the last one is the Tilt I don't mess with this you can see what it does so don't please don't please don't zero zero degrees for the Tilt for those of you who want uh orbit navigation that is much closer to any CAD software I personally think that the wasd controls are superior when you're dealing with like rendering and not drawing so or modeling so I will be using wasd controls now under display there are these settings you have the light sources so you can either show or enable the preview of the light sources or disable the preview currently we have none so it just doesn't matter then you have assets so if you have any rocks and grass and trees and so on you can hide them by disabling them I will show that of course later you have paths so if you want cars to go along a certain route you draw a path and you can hide those paths here and last one I guess oh that's a grid I thought that's gonna be particle systems but it's a grid particle systems are apparently a part of um one second particle systems are a part of assets the asset Library so for the grid that is just for framing if you want to frame like your your model in a nice way so that that comes much much later rule of thirds rule of thirds bad something like that um disable the grid then you have modes the first mode is lit which is literally just showing the a render preview basically right so everything is calculated second one is wireframe shows you the mesh that is currently being used third one is the clay model for some reason the clay model is very very uh shiny I don't remember it being that shiny but hey it is what it is that's fine there's also a seam here I'll need to investigate that but that's later or just hide it with a rock but so the clay model is used to just determine if your scene is to to cleanly display the objects in your scene without any unnecessary materials yeah that's the way and then you have last one real time right so real time is basically let's go back to LIT if real time is turned on uh then the clouds as you can see move slowly and there we go and like the if the rain falls the rain falls and so on so there's a bunch of settings or trees will Sway in the wind and so on so real time is quite uh quite nice to have but sometimes you don't you don't need it especially if you're working on still images so you can have this turned off review quality you can have either precise or smooth smooth is literally well you can see no Shadows no nothing but also it's very fast so if you're working on a weak computer then you don't need the precise you can just have it smooth that's it that's the viewport that was longer than needed but but we're done with this then here um you have your layers let's let's talk about the layers so you want to construct yours to construct your scene in a way where you can hide or unhide different layers right so this is the default layer and your model lives in it you want to create a new one and I'll just call it like oh right click on it rename and just call it uh trees and once I start creating trees and let me let's make this one my active layer for now but once I start creating trees those will be placed in this layer and then if I need to hide the trees I'll just hide that layer as easy as that so it works like literally any program except rabbits okay except private it works in layers think AutoCAD or rhino so we have layers here as well objects that exist in the scene currently it's only the base model if I right click on the base model uh I have a bunch of things that I can change with it but honestly there's nothing here that there's nothing here that I need to do right now and most of these settings are self-explanatory so I will not I will not talk about them as much maybe later then we have that environment which is basically our sky settings so if if nothing is selected I'm sorry uh one one thing if nothing is selected right so just click on the sky if nothing is selecting that then you access your environment settings on the right hand side right and there's like two tabs here one is called environment and the other one is called effect the environment tab asks you for how do you want to light your scene you can either use geometry Geo and sky so you can either use a direct light like a literal point of light for the Sun and then the sky a generated Sky Map that you that you see here which I think at this point the it's pretty good it's it's pretty convincing and you can change all of these settings to make it nice or you can use an hdri map to make it nice so here we have an hdri of an early morning and you can just switch between them so evening glow one second it's loading there we go that's evening glow hdri personally personally I prefer to use geometry and and sky so this this method and here just finding the the nicest possible angle messing around with the north offset until it looks great and then messing around the clouds and so on until the so this is how high the sun is in the sky you can of course do the day the night time as well and once the height is set let's make it like that once the height is set then you mess around with the north offset until you like it there's also an option here if you press the three dots to have it uh with the longitude and latitude I'm quite accurate right if you want your uh sunlight to be softer you can increase the send disk radius and that is something that I usually honestly do even though it's maybe not that accurate or not that true to life but I like to increase my disk radius to 20. okay it doesn't let me do 20 anymore so I'll do 10. and it just softens the light quite a bit or was it 2 for D5 maybe it was two let's be safe let's do two you can see that the light right here the shadow became just slightly slightly softer it's nice I like it with that done we can contract this again minimize it and then talk about clouds so the weather settings here constitute of clouds fog wind and precipitation precipitation yeah I got it the first time uh so for the clouds of a lot of Sliders here are self-explanatory you can increase the cloud coverage or decrease it up to you I like to have it a little bit increased you have the thickness of the cloud so how high do they go the density how dark do they get or How It Ends I guess the height how high are they right how fast do they go well with the speed you don't really see them now let me go back to my display and turn on that real time setting that I've turned off and now they go real fast because the speed is you know blasting let's not have them play so speed I can either have speed 0 here or I can go back to camera nope that's not camera that's under display and turn off the real time playback and then you have cast Shadow option which basically makes the clouds cast shadow on the floor or on on the ground uh one thing to test is if we press play you can see that as clouds are let's increase the amount of clouds a little bit you can see that the clouds as they're going through the ground they are sometimes uh casting Shadows sometimes letting light through let's there we go so one yeah there we go now it's darker now it's brighter again very nice very Dynamic so cast Shadow I typically have it on if I'm making animations if I'm not making animations it depends most of the time I have it off let me stop the animation there okay so that's the clouds for the fog if I enable the fog you can see here that I can increase the intensity of the fog here let's check yes it increases until the maximum of five which is fine and of course I can change the color of the fog I can make it red or white my suggestion would be always start with white always and then adjust it accordingly then we have the height of the fog so we can go really high up so it's it's much more of a smog type of situation or we can go very very low so that is just covering the bottom uh of the ground right then the fall off basically how strong the gradient of the fog is how fast does it taper the density of the fog tapers as is going upwards and the star distance basically at which height does it start right volume light means that the fog as it sorry the light as it's traveling through the fog will be bounced around inside of the fog this is an actual thing that happens and something that you should incorporate in your renders so once that is turned on scattering I'll set it to one and for the fog intensity I'll set it to back to one like that okay let's try 0.4 I think that's going to be better so that's fog in terms of wind right now I don't have any need for wind but it's basically just strength and the direction uh wind influences or affects the trees the grass and so on so they Sway in the wind I think it's a little bit of a gimmick so um it's kind of nice so I'll I'll actually just change the direction and leave the strength at 0.1 have the wound turned on that's fine and precipitation is literally rain or snow or snow so I can make it either more rainy or more snowy and if it's more snowy let's go up you can see that all of the horizontal areas receive snow and the accumulation of snow which is nice so it's it's like an additional Shader that is added to the um to an already existing Shader set right so we have our snow or our rain then if I were to increase the strength you can see that the build up just increases and in terms of puddles um that's how much it accumulates so strength one puddle one uh makes it so that the top of the roof is completely covered with snow and it's winter time great okay uh so in terms of precipitation I will have this turned off naturally for for now uh I guess for the fog also I will have it turned off just for the sake of clarity wind also if I need them I will turn them back on later so that is our geometry and Sky hdri literally same thing we have the light and the rotation so how much light do we get from hdri more or less and then we can rotate the hdri image that's being wrapped around right you can adjust the color temperature to make it warmer or colder you can adjust the or you can also add the Sun a direct sun together with the hdri and the weather is exactly the same except for weather settings except for the cloud coverage you can't have cloud coverage together with hdri right so hope that explains it then we have the effects tab right here but I will get to the effects tab a little bit later because I feel like it's necessary for us to have the materials going before we can move forward so the way you add materials is there's two ways way number one is actually just using the built-in asset library of D5 which is located right here in the top left corner assets you click on that this menu pops up which basically has a bunch of assets here and for instance for the glass I will just go for glass transparent glass oh yeah and make sure that you're in the material tab material transparent glass normal glass click on it it downloads once it's downloaded the tick mark will appear here and then I just drag and drop it onto my glass like that simple as that Escape zoom in now this is glass and the same thing for any other any other texture so for instance the Terrace planks these ones I'll just find wood grain let's see what this is Cherry a bunny maybe it's floor wood floor yeah let's try wood floor anti-corrosion wood maybe that I'll just try it out drag and drop which should be good actually a little bit a little bit could be better could be better so let's try to find something a little bit nicer maybe maybe Gray hey you need to try right so if the wood planks let me close that if the planks oh oops accidentally pressed C I need to learn how to zoom in properly one second that's because my landscape is so so large so it zooms out quite far away so with my wood here uh kind of set up I I should be able to change the size of it as well as the rotation within the within D5 without needing to go back to uh Rhino so I'll take the pipette tool click on the wood planks material which shows me all of the settings and for now I'm just going to show you the trip planner mapping option right here if if you want your material to be mapped properly onto the geometry try tripliner mapping it basically takes the material checks how big it should be and just projects it on top of the already existing geometry without you needing to do like UV mapping or anything like that in your software it's automatic it doesn't work always but most of the time it does and then if you want to you can rotate your geometry here or your UVS 90 degrees and you can see the planks kind of react to it I don't like the this wood material so I'm gonna change it where were we as you can see there's a lot of different options to choose from so I'm just gonna keep keep trying until I I find something something nice something that fits maybe that I think at this point I will forward the video fast forward the video is fast forward the video and and just choose different materials for different objects right in my scene just from here so once I've done that I will continue the video foreign foreign okay so this is how far I can push this with the current materials and since this is a tutorial I don't want to overdo it just to say it bluntly let's go for 50 millimeters um we will look at problems that you might encounter so as I was applying the materials the first thing that struck me was well the outer wall right here and the inner wall is the same geometry in my case I I'll show you this to you in rhino so let me just take these walls and look at them right so outside and inside materials well the object itself is the same so that's a problem because I there's no way for me to apply a separate material for this surface right without actually getting it in in on the interior so whatever facade material I have I'll have in the interior or whatever interior material I have I'll have on the facade to mitigate this I will need to create a thin coat of a surface well well a thin piece of geometry that sits as a facade of my building that is not going to be a big deal a big problem but that is something that I will need to do there's going to be another kind of fast forward of me modeling it besides that everything else seems to be okay there is an instance right here let's go back and look at this right here where this object and this object both of them share the same material so I will need to separate them the way you separate is separate objects is well you need to re-import them thankfully it's not going to be as tricky because all I need to do is just select these objects that I want to separate I believe I have all of them yeah I probably do I'll create a new um that should be under under doors most likely new layer and I'll just call it the metal frames Metal Frames add it to the doors layer make it C cyan whatever and for this one I will just create a new material so it's going to be using your material there we go different softwares will require you to do custom material that's fine uh different softwares different ways of creating materials but you do need a new material for this uh these frames here if you want them to be imported separately once that is done I will just hit re-synchronize right I'll go back to what's the word D5 I'll go back to D5 and now we can see that this particular frame has a new material that I can apply anything on top of so under here under online recent I will just select popular sorry I will select my black matte metal material here apply it and now I can apply a wood material for the frame that I have here because I want this Frame to be in wood so I'll choose popular apply it there call it a day a trip planner mapping probably is a good idea with 90 percent uh 90 degree rotation there we go so that that is now fixed now you know how to separate out materials um in terms of the facade yeah I do need to go go fast with this so give me one second I will just separate out sorry not separate out but I will just apply a skin around the facade another fast forward there we go okay so I have modeled out this shell that goes around and I have synchronized it with D5 which is still still loading in but yeah the there it is so now for this I should be able to just very easily apply oh no okay wood grain keep scrolling just keep scrolling is it under others yes carbon black wood that's show sugiban wood uh with tiles I'll apply tripliner mapping for it you can see the tiling is applied like that so I will rotate it 90 degrees and also I will increase the stretch just so that the planks are a little bit bigger I feel like they're a little bit too small so oops 0.5 for the stretch this is how big the texture is this is the offset so where does the texture start 0.5 seems to be a little bit I don't know they I don't really like it as much also I don't like the texture as much we might need to fix it a little bit later on but for now maybe maybe we will use something else let's take a look wood grain just kind of quickly going through the different Woods that we have here can't really seem to find anything anything nice what about flooring we can we can always use something from flooring gray childhood yeah maybe apologies for needing to watch me go through the wood I just want it to be you know visually appealing as we will be moving along come on anti-corrosion would sure 28. let's let's go for for this one later we will find something else about the pro materials I mean it's not necessary to oh it's not necessary to have Pro materials we definitely need a stretchiness of this to be fixed two five six something like that oh actually this will uh this is a good good way for me to talk about mapping the um some of the materials don't have tripe blender mapping which creates these kind of problems and these problems usually appear when you have um really messed up UVS so the best way is to just preemptively apply UVS in Rhino so let me show you how you how you can do that most of the architecture that we do is boxy unfortunately but it is boxy so you can apply just simple box UV mapping onto your geometry so for my exterior uh walls select objects I will select all of the objects I'll go to properties UV mapping or Texture mapping sorry and I'll choose apply box mapping enter enter just hit enter until it stops asking questions and here I will lock it to one one one lock and then apply a thousand millimeters for the u v and z or uvw tiling right so basically the texture will be repeat it every one meter I will dial it in in D5 so once this is done we again need to synchronize with our D5 browser not browser with rd5 program apparently NVIDIA drivers are available not right now not right now yes and now you can see that the tiling is correct except that the size is you know the size is not perhaps not the best so let's fix it so the stretch if we go back to one one then the stretch seems to be actually good so we will keep it at 1 1 maybe 0.8 just even bigger tiles something like that seems to be seems to be good we're sticking to it so that's how you can add more more information into your or more geometry into your already existing model to more assets so these are the materials will go back we'll sorry we'll come back to materials in a little while when we will begin creating uh our custom materials and I'll touch upon it much more but for now let's jump into this model tab right that we have right here so under models here you can see that there's a bunch from which you can choose so I will show you just a few uh just to kinda explain how they work so under nature come on under nature we have like trees all different kinds of trees all different kinds of Hedges wines and so on so all of these assets are available to you to just kind of pick and choose which ones you want and plop them on the scene the way you do it is well it's twofold for the trees and the rocks and whatnot you don't really want to plop them like so let's let's find a nice tree so that they can explain broadleaf sure let's go for actually I kind of like conifers yeah I want a conifer Forest here and let's go for beautiful pine trees um are there like bigger ones oh I like that okay this one I like this one clearly you should choose more than one tree there we go so I just selected plop it in place Skip and that's that's my tree as I zoom into it you can see it's pretty good quality pretty high detail like every single uh needle needle is there the trunk should have a little bit more resolution but for what it is it's fine it's it's gonna do its job so I could start you know messing around with the trees this way you know plopping another one rotating it a little bit so that it looks unique and then kind of keep keep building up my Forest that way but a much faster way is by using the brush tool so what I mean by brush is let me just move up there we go you can create this B the brush I think you just type in B yeah you just click B to brush things on right like that and you can apply or you can tick mark what kind of uh what kind of trees would you like to brush brush on so let me choose a little bit more you can see the tick mark right here let me choose a few more all of the lyrics trees uh maybe some more that one's pretty and that one's pretty okay this one too I really really love trees and I'm gonna be honest like that oops I don't need that there we go thing like so it should be fine and oh yeah one more thing once that is downloaded come on please come on okay fine while it's downloading I'll explain how the brush works so right now just a quick show showing just I'm just moving my mouse around uh actually let me make my display smooth it's it's better to see it this way so as I'm brushing on the trees are created right easy I can also use the Eraser tool to erase the trees the racer tool is that next to the brush tool [Music] there we go come on I guess that one is just placed yes that one is just placed my bad my bad okay so back to the brush tool I have all of these three selected for some reason this one doesn't download I really wish it did I really like the way it looks but for now I'm just gonna get this one and this one in just two get a little bit more of a variety of trees and as I um where is it as I click this little icon right here you can see right next to the brush eraser path tool there is this little arrow as I click on it there are the settings for the trees or or for the brushing in this case so you can change the radius so you can have a really large brush and you just kind of do a single drag and it's a hold down forest don't mind the quality or actually we like to see things pretty right so I'm gonna stick to the baby stick to the Quality to the high quality for some reason it's not changing the quality hello size please calculate maybe it takes a while for it to re recalculate it's gonna kick in eventually that's fine so the quality uh that's that's going to be sorted out back to the settings brush so that's the radius of the brush right the density of how dense should each tree oops should each tree be or the density of the forest I guess in this case the size so the size of my assets so how big should the trees be if my size is low you can see that the trees are very small if the size is large the trees are large so typically you want the size to be somewhere around the middle just so that it's not too much right and then random size so how varied the three sizes are so it goes between very very small and very very big here I usually have a little bit of random side like size variety but not too much aligned to terrain means that if you have a slope if you have a slope then the tree will be will not be growing vertically up but rather will be growing at an angle you don't no no that's not natural they tend to grow vertically up since I made a lot of boo-boos here I will just choose the Eraser tool and delete and increase the radius of the Eraser tool and just delete everything like so okay time to actually grow freaking Forest so with my tree selected here and with my brush enabled let's see if I can just literally drag around like so to quickly create a pretty dense forest around by building perfect um for some reason that let's go back here turn off the brush the brush tool all together minimize that oh there we go now it kicked in I think while the brush tool was was working it didn't really want to uh wanted to kick in but now now we have it running you can see that my frame rate drops down quite uh dramatically and I wanted to say that uh the trees should be um like the trees they are brushed on top of my of my landscape model meaning that they are a part of it which inherently means that I can't really add them to the separate layer which is very weird I I wish it was possible to disconnect um to to disconnect the trees from the geometry right and then just to have them separately but alas it's not what you can do though is you can select the trees like that and then here on the right hand side you'll see brush records option you expand that which shows you brush history you know what trees were used to brush on and then you can click on this little uh I icon right here to hide them so you can you know once the trees are brushed on you can just hide them so that they don't slow you down okay once that is done it's time to scatter some stuff close to the building guess how you do that it's exactly the same way right assets this time is not going to be trees we're going to find some stones for instance there we go some Stones here or low poly trees like low poly trees are very uh very good for far range as far range objects right something that I used right now um to create a forest should be not used as a high density asset meaning it shouldn't be used for that you typically want to use a low polygon tree let me show it to you but plop it in and as I zoom in you'll see that the leaves they like for instance here this is a good good example here they're all flat because they're all on the same plane right so this is a single polygon for instance and all of the trees tree leaves are just a single texture this is a much lower resolution tree and it's gonna mess up your files much less if you want to if you don't have a strong computer all right so just keep that in mind just wanted to you know force you to notice it um then we have like rocks and stuff like that and these are the ones that I'm actually gonna gonna be using so for instance a rock like so if I plop it in you can see it's uh quite quite nicely integrates with the landscape and it increases like the the look like it it makes it look better but for the Rocks I will use them without a brush for manually right each Rock added manually but for the for brushed on stuff I guess no first let's do the rocks first let's do the rock so I'll add the rocks and then we will brush on the remainder a little bit later so rock 11. like that editing and there it is Rock 15. download it plop it in place if you want to sink it into the ground a bit more but then again then there it is right and so on right so take your time add as much of information like landscape information into your scene as possible because that will make it more believable it will make it look nicer right I will do this step in a fast forward way after the next little thing that I want to show you and that thing is called downloading assets and actually applying them in your scene right so what if there is a rock that you want to have that is on the internet somewhere a 3D model on the internet and it's not part of your library right here you need to download it let me show you that so just a second so the website that I love using for downloading different is called 3D scans or quixel Mega scans what am I saying I'm getting tired I guess quicksole Mega scans Library and here you can download 3D assets as well as materials under surfaces you have all the materials which we will get to in just a sec in term in terms of 3D assets you have your building's food blah blah blah blah right so let me just go to nature three assets nature and just kind of get something in there in my little file so let's see Mossy Forest Boulder and here you can see you can choose like the resolution and so on for downloading it um this requires a login for you to register create an account with epic games which is free to create an account with them and then you will be able to download as many assets as you want for free completely you don't even need to look at the points here right so this is completely free if you register with epic games click on the little oops sorry click on the little gear icon here and just choose what kind of assets do I want to download so it's going to be an fbx file format that's fine meta humans we're not using metahumans we don't care and for lods this is level of detail we only care about the LOD 0. that is the highest level level of detail model everything else that's used in video games we don't really care about that so we'll use LOD 0. technically you could use high polish source as well but that is very very heavy so don't don't please don't anyway now for the texture settings we have a bunch of different textures to choose from of what we want for D5 if I were to select any kind of material here you can see the channels that we will be dealing with right so we have our texture color that's just a regular like a Albedo color we have the normals we have specular roughness metallic ambient occlusion and height so these are the channels that we will be using right so back in here where is it hello there we go back in here we need to now remember what is it it's gonna be Albedo for sure we're not dealing with cavity we're not dealing with curvature with is it glossiness it's not it's a roughness so we're not dealing with glossiness we will need roughness uh we're gonna be dealing with normal Maps perfect we will need that normal bump normal object we don't need those displacement yes bump no ambient occlusion do we have ambient occlusion here yes we do we will get ambient occlusion uh metalness yes diffuse um diffusion Albedo are virtually the same thing so I would just suggest tick marking diffuse as well just to get both of them and see which one you prefer roughness yes specular I believe we have specular yes we do specular take Mark that we don't need fuzz we don't need translucency we don't need opacity we don't need brush we don't need transmission transmission is transparency basically right unique Maps parallel available sure I have that tick mark so this is your settings for downloading the asset once you're done click back click on download oh and it's downloaded again 8K let me cancel that you don't need it here resolution for what you're going to be doing 4K is more than enough use 8K resolution of textures only if your asset is literally in in your face in the camera if it's not going to be in the camera like five centimeters away from the camera don't uh just use 4K resolution it's gonna be fine once the asset is downloaded one second there we go once the asset is downloaded it's going to come in as a zip file you extract it and I'll just call it nature Rock Mossy move it to Nature there it is and I have all of my like different different Maps here and different uh once you see settings it's not settings like a 3D model is fbx different maps and a preview right so back in the five first thing that I want to do is I want to import the 3D model how do I do that well I'll just create a new layer call it rocks rocks there we go and I'll just drag and drop in my LOD of Mossyrock right here uh doesn't want to do that why second am I already have I already forgotten I guess I need to click on the import right here so import and then we go to rock Mossy right here and click on open so that little icon right here is import once that is done then under not under object but under imported your fbx file will appear which you will be able to place anywhere you want in the scene but I just place it there it is look at it all white and shiny and nice if it Imports too small too big you can always scale it make it bigger make it smaller you can also move it around if you want to plop it on the ground you can always select it and here under my apologies okay I I figured it out I I was losing my mind because I wanted it to be plopped on the ground and I was trying to right click on this imported this rock file right here but this is the file this is basically the file that is linked into D5 this is not the rock that we currently have the actual rock that we have selected is now under object objects because it's placed in the viewport so under objects right here I can see my rock as it is here I can right click on its name and choose to drop vertically and just drops to my ground that's quite convenient because you can drop different things make sure that the table is on the ground make sure that the chair is on the ground yeah the other you understand so that's that's my rock okay now creating textures for the rock I will pick use the material picker pick the material of the rock which already has like a material template set it's set to custom that's fine with with us it's basically waiting for for us to give it a color map a normal specular roughness metallic and ambient occlusion and also we can make it Glow if you want it to be emissive but that is later we don't need it to Glow right now well we won't need the rock to Glow at all anyway so here we have all of our different maps and the first one is Albedo so let me just see yeah I can just drag and drop never mind I can't just drag and drop my Albedo map into here I do need to navigate through the base color map here by clicking on the little icon navigate to my rock Mossy and choosing the Albedo color like that Now The Rock has some color actually let me delete this and let me show you with the base color set to matte gray how you can make sure that your maps that you're using are correct because the rock needs to look okay even without the base color map sorry for jumping back and forth but this is kind of an important thing for an important thing to practice first adding all of the other colors or sorry other maps and only then adding the color because it needs to look natural even without the color so under normal I'll choose the normal map okay give it a second and you can see that the normal map starts popping in right and I will give it a more of a bump so I'll I'll switch the normal to one and check the additional settings where I basically can have a linear or srgb and you'll notice that if I have srgb it looks inverted and it's all weird so no it's going to be linear if I'm remember correctly no we don't need to use a individual apologies we don't need to use individual UVS so it does need to be straight up linear okay we have the normal which is like the bumpiness of it the bump information of it uh we have that information then for specular just select the specular map open that one up bam so with specular map I'll also increase it to one I believe this one yeah this one actually can stay being linear that's fine with specular map set to 1 um it we're controlling how glossy different areas of the rock are let me make the camera a little bit slower so that we can move around a bit more conveniently right so that's specular roughness map is well specular is the highlights basically how prone to Highlights is the surface of the material is the roughness is actually how glossy the surface is so how much how reflective it is right so I'll add the roughness map open doesn't seem like it changed much let me ramp it up to one uh the settings here they shouldn't matter the only setting that matters is roughness uh sorry normal sorry not the settings the numbers shouldn't matter the only number that should matter is normal because you can't control the strength with the normal map then for metallic you can see that there is no metallic map and clearly this is not a metallic object so let me just show you if it was set to 1 if metallic was set to one this is how it would react you can see that the shadow is fully black and if metallic is set to zero you know it's uh like stone or something like that uh typically materials in nature are either one or zero in the scale they're never in the middle ambient occlusion so let's see okay there's no ambient occlusion here actually okay that's that's interesting we don't use it but if I look at this closely I can see that there's also a displacement map here but I don't have anywhere where I can add this the displacement map in my material rollout and that is because my material template is set to custom while if I expand this right here there's a bunch of different material templates one of them being displacement right so if I use displacement material template you can see that I still have normal specular roughness but now I had the height map here also right and it's very funky if we if we just play with it but we will be using uh displacement map here for it right why um that's weird oh it doesn't doesn't work in oh no it doesn't work at all in in this uh program hey it is what it is we don't use that we don't use the displacement we stay in custom yikes we stay in custom even without displacement and typically you don't really use displacement that much this is pretty good I feel like this is a like a pretty convincing Rock even without any color right so now let's add color base color map bam our Albedo color bam wait for it to load then there we go that's our little rock right here looks fine looks like a rock okay great so it is done we're back we're back I probably I haven't even paused the video I'm sorry but basically the specular as well as the roughness all of these Maps need to be in srgb mode rather than linear mode I I'm sorry I keep jumping between different programs and I constantly forget so to keep things as clean as possible the Albedo color map is srgb right the normal map is always linear always linear normal linear regular roughness Maps both are s r g b right then you get a clean looking model all right so with that done finally we can take this rock and we can place it anywhere we want in the scene all right now I can use this where is it imported I can use this asset as my or rather this asset as my scattering object so the way you do it is you right click on the asset that you have and you add to local right here add to the local what I just did was if I now go to assets here and I choose rather than online I choose local there is My Little Rock right this one right here not sure what this is let me just quickly hit delete on it but this is my my rock which I can now place as you know like a direct copy of it meaning that I can also I believe a brush no I cannot brush brush with the uh with local assets which is unfortunate but at least I can now easily pick it and keep copying it and moving it and so on right so we have that going for us which is nice right so those are our rocks so now we have learned how you can import a 3D object and texture it with the textures that come with it um I will show or I will say rather one one thing that I feel like is quite quite important even though uh technically the roughness as well as the roughness as well as the specular needs to be set to one for it to be accurate you can't play with these values until you will get something that will look natural right so it doesn't necessarily need need to be um how do I say this it doesn't need to be one two one right so it just just direct your geometries in a way or your your maps in a way that looks the best I shouldn't need to say this but yeah so now in terms of importing materials it's quite similar so if I go to quicksole and go to surfaces let's find some wood board scroll scroll score wood board wall that looks pretty decent um planks uh amongst the planks that looks quite nice painted no uh wooden planks that one also looks quite nice yeah I usually take a long time with the with the materials but here I will just jump the gun and just choose this one uh look at the settings seems like everything that we have set up before uh stays I'll just say download right it downloads my planks I will all preemptively go back to Quick sold only that's a file anymore showing folder there we go don't look at my downloads there's nothing there actually then for wood plank let's get it in here extract you know the literally the same process as what we did before let's go to textures and I'll just add it in here so now I have my wood planks texture and this time we do have ambient occlusion which is great that's what I want to see now in here I want to replace this material with my wood planks material so I'm just going to Appetit I have it here I'll just delete all of the maps that I have here there we go delete all of the maps and slap on new ones from my downloaded so as per usual no base color map yet we start with the normal normal map up that's the wrong one where's my nature nope it's under textures wood planks and we do normal open that one Pops in it's pretty straightforward if I zoom in you can see the a plank normals right here let me expand this make sure that it's in linear it is close it so it's color uh it there it is wrap it up to like 0.5 roughness there we go this is here uh perhaps it's a little bit too much so I'm gonna tone it down the lower the roughness the more glossy it is so maybe we kind of want it pretty rough linear so roughness is set to linear I want it to be srgb like that maybe this one does need to stay linear it's always tricky to to know for a fact sometimes they they kind of flip-flop don't worry about it metallic uh we don't have any nope there's no metallic we close that and we just make it zero oh that's why so metallic is was set to one so this was acting like it's metal so actually metallic needs to be zero and roughness doesn't need indeed need to be srgb like that back to 0.5 there we go now it's starting to make sense so it was treating it as it was metal ambient occlusion we choose ambient occlusion map that is basically darkening the crevices that nooks and the crannies of the texture as you can see here this is without AO this is with AO quite quite useful right and then the height map uh well hey let's try let's try one more time to see if the height map will actually work if I increase it um really don't like it no I I don't like it I'll I'll I will not be using height maps in in this tutorial uh or this course at all so we don't need metallic we don't need height map uh um this looks fine as it is with single color but we will indeed use our Albedo color bam darkens looks pretty convincing to me a little bit too glossy so I'll increase the roughness map a bit more yep something like that seems fine okay we will fix the brightness contrast a bit later uh I know that it it's all over the place so that's how you import the texture one very important thing that I kind of want to talk about is the surface how do you call them rounding rounding over shape rounding of a corner so there is not a single also I'm looking at this and I don't like what I see that needs to be tri-planner mapped okay so there's not a single thing in the world that has a perfect 90 degree Corner which ends up at one single edge right everything is sharpened or sorry rounded if you look at your table if you look at your keyboard your mouse any Edge anywhere it has a fillet it has a small little little fillet those edges they catch light and when they catch light they make things more believable they make things look more natural right so technically you could bake in that performance in Rhino already or in your modeling software by filleting all of the edges but thankfully you don't need to do that you can do that here in inside of your material in any material you can choose round corner so for instance for these frames let me just kind of go in here pretty aggressively there we go this corner right that's super sharp I can Round the Corner to create this highlight here right and the radius is three millimeters and that's enough three millimeters is fine actually and now as I zoom out you can see that the that my frame catches the light and that is very important for realism so if if this is the only thing that you will get from this tutorial is that you do need to round the corners for all of your geometries well not all of them but most of your geometries three millimeters seems to be like a sweet spot that's a I guess that's why they chose it right so three millimeters two around the corners four everything I wish there was like a round corner for everything button but there is no none none so I'm doing it manually for instance here I wonder if we need more nah that looks fine yeah that that's catching light the way it should be that's good okay so we can we can go around and just round the corners for as much as we can but eventually I'll need to give in because I need to run the rest of the tutorial well actually here these planks right here those those really scream please round me there we go your welcome planks you're welcome all right so that's the wrong color limit color bleeding I still am not sure what that does it feels like it uh when we have the color bleeding um limited right here it doesn't get a color from the outside world so to say so these planks with limited color bleeding will not get colored by the sky as much by indirect light um or they will not color other objects I'm not sure I don't use this so I can't can't help you with that uh there are some uh areas here that I still haven't textured that are where where are you yeah there we go these paintings this gallery for for uh for the client I will leave this B for now we will uh get back to this but the principle is still the same you you take the color map you slap it on and thus you paint the painting right you add the painting but you need to download the texture we'll do that but a little bit later for now I believe it's time for me to do the kind of surroundings but I think before we do that we we should talk about scenes about making making scenes because here we already have enough material for us to choose well that that's a very boring thing but it is what it is let's just see we have enough material for us to choose uh the angles for our renders right so you choose the rendering or on which angle will you be rendering from by creating scenes right different scenes because different scenes can have different uh light conditions different objects viewing kind of conditions some some things can be hidden in one scene and shown in the other like that um which means that each scene can be custom made to fit with the feel that you're after for the rendering right so for each scene you want to make a separate render and the way you do you make scenes is you just literally frame The View actually let me go for the grid it's gonna be useful here perhaps something like that yeah something like that should be fine so and then you just create new scene there we go that's your scene and you just call it chain one or front yeah there we go that's that's your scene uh then you want to perhaps make another one let's make another one closer to the ground something like this bam sure and add scene you add another one and you call it I don't know two-thirds like that now you can see as I click on scene 1 and scene two there is there's a transition which is very nice so it's like an animation and I can jump between them quite quite easily I'll make a few more scenes on the interior let's use the central space as our framing or the look that we're after perhaps something like that maybe even further out we're all already there yep something like that add sure scene 24 that's that's fine let's say the staircase is probably nice so let's let's add a scene like this or this or the staircase showing right bam so you just keep adding scenes and you can switch between them quite quite easily okay so what about the scenes well you can now for each scene you can change some settings right so let me for instance here go to camera and or not necessarily camera sorry uh go and change the light angle to something like this and then as we are moving between the scenes you can see that my light changes so let me make it more dramatic it's night time now nighttime in the front view daytime in the into thirds view right so as I said you can make your um what oh it's back to to normal oh right right I'm sorry so as you make it into night time you need to click on this update scene button right here for it to update I have emissive lights uh in the in the ceiling so it's shining uh light by itself don't worry about it so I'll just update the scene you can see it's updated now and as I move you know it moves to the new uh it moves to the two thirds scene and thus changes the the lights so back to front I'll just find the light angle that is nice and I don't really need to see the grid anymore so let's find the light angle and also also while we're here I'll select the object at the ground and I'll just choose to show the trees right because I want to see the trees just to see uh their Shadows now let's mess around with the light something like this perhaps and the north offset we could do could do something like that like completely backlit but I feel like that that might be problematic with with assets that are here and also this is becoming very very mirror-like so that that might be a problem as well so maybe two-thirds something like that a little bit of light that hits okay and it just goes a little bit more down perfect right so we have something like this then I will control the clouds clearly uh so amount of clouds a little bit less thickness of clouds a little bit less yeah something like that then for the camera I will change my actually I'll change my house it is called lens focal length to something a little bit bigger 70 millimeters oh that Zooms in quite a bit I will need to move away that is fine we'll do that display grid I'll fix the trees in just a second for now I want to fix the grid does that work feels like that might work okay let's have it like that so you can see that now let me reset or update the scene now and you can see that the trees are now a problem quite quite a problem in this case so I need to get rid of them to get rid of the trees in that particular area where I will or I'll take the picture from it's that area right there um I need to erase them and I will erase them I wonder if it's possible apply an eraser tool yeah there we go it is possible to just erase them like so so I'm literally just erasing them here go back to front view take a look here delete that tree delete that tree I probably need a bigger eraser so bigger radius bam come on trying to get to that tree it's not as easy as it looks okay let's let's make it make it happen there we go that one also come on please work cooperate cooperate there we go that's tree disappears and that tree disappears that was harder than it should have been and we still have one more this one should be fine just erase it like that oh it doesn't want to be erased that's great still doesn't want to be erased the hell are you why don't you want to be removed why can't I remove you hello slightly annoying one second come on there we go I think I think that's that for that stream no it was no it it indeed wasn't so let's turn around and take a look at it's probably this one then I'm just gonna do this I don't care oh my God which one are you are you that one are you these two I'm gonna destroy the whole damn Force before I foreign yeah and this cannot be deleted so I'm trying to delete it and I cannot for some reason it's completely stuck so we try from the bottom and apparently it was anchored for some reason to the bottom not to the top and now this should be fine yes now this is fine now we have finally yikes finally we have our scene here so I don't need to run the Eraser tool anymore this whole thing just works okay with camera set now to 72 millimeters apparently 70 I want 70. 70 millimeters I can choose depth of field and focus in on my let's see let's see like that if I focus on the ground um you can see that the oh yeah that's the blur right so if I focus on this ground plane you can see that everything else gets blurred if I focus on the building the ground gets blurred and we want to blur the ground clearly right so um you typically we do depth of field we set the focus on to the facade and then we just tone the blur until you know it's nice until it looks nice of course we will have more stuff here so it's not going to be yes as clunky then for the exposure value this is Overexposed by far so I'm just going to disable the auto exposure and turn turn turn down the exposure value to zero point zero five perhaps something like that for now right that's our exposure value everything else seems to be a okay so I'm just gonna save my settings for this one and for now have it the way it is then for render number two for this one this is actually pretty good already um I kind of want the sun to be a little bit lower I want the Shadows of the trees to hit the facade so I'm just going to move the north offset like that there we go and the sun probably needs to be a little bit lower just a little bit there we go that honestly looks pretty good so I'm just going to reset this so as you can see I'm just walk going around every scene here and setting up the light as well as the camera right so exposure value we change the exposure until we like it something like that actually zero yeah it's literally zero EV but Auto exposure turned off um and for our angle this is where things get nasty again I do like my angle to be like 70. or not angle focal length to be around 70. yeah we're back in the woods boys back in the woods but this time we know the trick so it should be much easier to to fix let's increase the radius and just go to town deleting the trees for our camera those will probably not hurt so we'll have them uh this one gets removed okay with that done and with grid enabled let's find the camera angle that is most efficient or not efficient most aesthetic something like that let's take a look how does that I don't like where that ends so maybe like that foreign yeah sure why not so we'll have a habit like that so I'll just reset and call it good then scene 24 for this one we don't really care about the trees let me escape out of my tool um everything here seems to be kind of okay let's play around with the light until we we get something that looks nice oh I like that I like that uh we're sticking to this for camera I don't really need to do anything here oh forgot the depth of field for that one that's fine we'll go back uh set Focus uh let's focus in on that table right there defocus everything else like seven um um out of exposure turn that off yeah that looks fine that looks fine so we keep it for now reset good back to here forgot the defocus so set focus on to the facade as per usual and around six seven you can do 10. you can see how blurry this gets we'll be able to change this uh on a moment's notice oh it did it oh my bad I accidentally okay let's try again look at this uh Branch right here top left corner keep looking at it I'm increasing the defocus what now it's not important anymore right now it's not destroying our composition anymore that's very nice so update scene okay let's take a look we have that that's nice we have that that's nice that looks good and needs more stuff of course but looks fine other than that this needs a little bit more love so much deeper with light definitely hitting the stairs but I will have like a free in here a bonsai tree in here so we want like a evening light that will hit the bonsai tree so something like this I don't really want it to hit oh there we go that actually might might look pretty damn good let's try this one out adaptive field set Focus we focus on the Block and defocus the whole damn thing uh reset oh yeah exposure turn auto exposure off look at this okay we're getting somewhere aren't we right this this is starting to look like something it's still bad it's still really bad we're still far out check out where we are in the video you know or still a ways to go but this is looking like something it feels like I've been recording for four and a half hours so I will take a little bit of a break and then continue on from there for you it's just gonna be like back and I'm back okay let's stop it here thank you foreign okay so I've added a few things I couldn't leave it be um didn't didn't want to go to sleep without having it kind of done at least on the on the greenery side of things that being said there is still some some work to be done there but basically now the front view looks like this the side view like that then we have our first interior shot and we have our second interior shot so the main thing that was changed was of course the greenery right I've also played around a little bit with the light but there's nothing uh no no fancy stuff happened while you weren't looking one thing that I still haven't done was I haven't added any textures to the painting so they're kind of green um I want to fix that so I'll do that right now instead of a base color right here I'll use base color map click that uh click on the icon for the texture go to the textures and just choose one of these maybe this one my lavish there we go and yeah the base color needs to be fixed it needs to be white and now there should be no green left is it still green or is it me no no it's just residues of the calculation so just zooming in here and taking a closer taking a closer look let me turn off the depth of field for a bit it actually is pretty close already that the seam right here that's not great but I will not be fixing that that's fine with me we will be looking at this either way through that facade right so straight on in terms of roughness perhaps wait is that roughness zero that's strange it should be so if it if roughness is set to zero then it should be highly reflective right oh and it is never mind and it is highly reflective so we will find a balance for it roughness 0.75 and specular yeah it's glazed so it's quite specular 0.8 something like that so again specular highlights right so how much is it prone to generating highlights let's go back to the French View yeah you can see the little painting right there now it's gonna look a little bit more a little bit more natural one more thing that I don't really like is the glass the glass needs to be fixed so I'm going to pipette tool a glass and let's think so I'm thinking of not having it completely clear it's too clear right so it needs to be a little bit darker because this kind of a facade would be slightly tinted so to create tinted glass all you need to do is change the base color something that's a little bit darker and actually I'm gonna switch it up and change this to huh like that then a little bit towards blue that's green that's that's a little bit too much there we go then I'll push it back in and just find the value that kind of works and this seems to be the value do I like it maybe it's a little bit too much so I'm gonna bring it in a little bit closer value 95. there we go something like that just slightly uh tinted then I'll increase the roughness just a little bit 0.05 uh just to get rid of that reflection uh too soften that reflection a bit and I think with that we are done with the the glass yeah the glass is done then what's next well that corner right there needs a little bit more love so let me just grab an asset real quick from my models um nature rocks what do we place perhaps this kind of a rock be placed there oh come on placed there we go escape out of that navigate it so I'll just move it slightly in closer to us there we go and now it can rotate yep something like that so it breaks breaks apart that problem the problem here in the far background I'll fix that by introducing more Greenery oh come on go away just join there we go something like that so brushing is great remember you select the greenery and you have your brushing records and you can hide them to make things go faster right so this is without any any Greenery whatsoever looks pretty bad doesn't it Greenery always makes things look better keep that in mind all right let's go into the building and check out the interior here so the thing that I don't like is this Chevron tiling here because it's eaten up by the by the wooden kind of furniture right here right so the Chevron needs to be piles and I already have pretty nice tiles honestly that are right here these bad boys they're a little bit too glossy though I'm fine with that so I will just find the name of them Lauren Platinum light gray tile great and I'll just apply it to here so I can as I have that tile how do you call it picked pipette tooled as I have that material pipette tool I will then duplicate it like so or this I icon right here what does that do never mind I will duplicate it and I'll apply it to here right as easy as that now we have tiles here that are grayish and that Chevron that we used I will want to apply it here but but but but but we have a problem and the problem is called this whole piece of geometry like the exterior as well as the interior Interiors one piece so I can't um can't apply Chevron here without applying Chevron to my out skirting right here for the building Foundation block of the building so to fix that in Rhino I have already you won't need to wait but I have already separated out where I'll want my wood flooring to be so I do need to synchronize not connected right right so I need to connect it uh does it work yeah okay so once you connected it automatically refreshes let's wait for it and that should work besides that nothing has been changed in Rhino everything is exactly the same kind of going through all of this to just double check if I'm not missing anything yeah seems to be fine oh yeah yeah one thing I've changed the ends right here I don't remember if I talked about them but basically the ends I didn't like how this material was styling at the ends of the roof so I've just created this small little plates that are like one centimeter in thickness and these are just metal plates to added to the ends okay let's take a look yeah you can see here for instance like that uh Focus like that right as easy as that also the tiling what the hell why is the tiling so bad so now here I can actually add the wood floor ing wood flooring right so I will go to assets material wood grain wait for it or wait maybe it's amongst the recent recently used ones popular Cedarwood yeah these get removed they recently used materials get removed if you remove them from your scene right so it's not in this list anymore that's okay I will just go back into it is Underwood probably right grain let's look at the end of it Birch no it's not there oh my God so many which is a good thing in general okay it's gonna be under floor wood floor pump chevron chevron chevron where are the brown black oh uh where are you sure on herringbone oh it's called herringbone here okay so this one pretty bright that's fine with me oh that tiling was wrong but now it's okay so that's pretty yellow that's okay we will fix it later for now do I like it yeah I do I do I think it looks great so back to our front view bam now we have that all material set let's enable The Greenery it takes a while to load then especially when I'm recording so I'm done hopefully for you it's gonna be Mr if we should up here push it back should refresh yep it does there we go now with this done uh the next step is to actually introduce lights so we will be adding lights with this little tool right here all right so the first thing for us to do is to actually we need to get in there right and then start Shining Light onto different things and basically if you click on this icon right here you'll see you have point point light spotlight strip light or rectangular light for this uh part of the tutorial I'm gonna show you the rectangular light and then we're gonna build it up from there so choose rectangular light and you can see you can add it anywhere you want so let's zoom in to a part where we're actually going to add it I'll go for my scene uh 24 the interior scene go up to one of these These are wall washers right so these are like rectangles on which lights should be added I will change this to smooth display and I'll turn off the camera Focus depth of field because it's a little bit annoying and basically we will be adding the light on well first of all these two so rectangular light I choose that and as I hover my mouse over the top surface of my wall washer you can see that it's added all right if I just hover my Mouse anywhere it's also added so let me just add it in anywhere and just have it kind of floating about and let's talk about the settings of the slide so rectangular light clearly is a rectangle that shines light right as simple as that you have the location for it you see you have the rotation for it and you have the size right so I don't really like rotating the lights with a gumball I prefer using precise rotations for them so I'm just going to rotate it around the x-axis by 180 degrees so that it shines upwards that's what I want then I will change its size to be I guess six by six centimeters something like that so 16 by 60 millimeters there we go that's my light let me let me add it closer to the wall so that you can see how it shines oh by the way to zoom in to an object you press Z key Zooms in to whatever you have selected right so with the light being 60 millimeters and X and Y Dimensions it's come pretty weak because the strength of it is proportional to the size of it right so I need to increase the intensity I'll increase it to like 100 or so actually let's take a look at it with the precise preview yeah that looks fine okay so 100 for intensity then bar Dorn barndorn angle as well as Barn Door length these two control the spread you can see that right now the as I have a rectangular light it starts completely horizontal and it fills in the whole Space right so the spread of it is 180 degrees I can increase the Barn Door in length like so let's let's do like 30. just do 30. and bardorn barn door very hard angle just start making it smaller as you make it smaller you can see that you're kind of closing in on the light so you're controlling the spread of it I will keep it at let's go for 60 degrees something like that and for the length maybe a little bit less or actually this is just an indicator so it won't really matter then I will take the light let's zoom into it and I'll position it probably need to fly a little bit slower position it accordingly right above my lamp like so simple as that then we have attenuation radius which is basically how far does the light reach if the radius is pretty small you can see that the light gets cut off so you want the radius to be you know as as big as you need it to be in this case I think five meters will do the trick just I don't even need five meters probably but uh just in case I'll keep it last one is temperature so I'll make the light just slightly warmer that is not slightly warmer let's go for 4400 4600. 4900 all right then once this is done I want to copy it onto my other surface right here so I will choose the copy tool or duplicate tool right and at this point we probably want to um yeah I want to create a new layer and I'll just call it lights because all of my lights will live in that layer so might as well right so right now it's not active which is fine I can actually right click oh we'll we'll group it later uh actually yeah we'll we'll group all of them later so for now let's let's keep them the way they are where was I copying right so the duplicate command if I press that I can duplicate the light source onto another surface like so easy as that so we have two of them and I'll duplicate that one onto here like that you know I keep duplicating um the command for duplicate I believe it's D I'm scared to use it though let's try D oh no control d shifting alt d alt D shift d oh it was should be okay is it no it's all today a professional tutorial right here okay it's alt D to duplicate things Aldi again all day again or kinda now we're cooking now we have the lights shining where we want them to shine great um also while I'm at it I could add more lights in here but I don't think I need to no I will not Shine the top here let's take a look in the into the front view to see how they look like now you can see the lights are kind of blocking the view of how it actually works so I'm going to go to display and I'll turn off the light source option or node right here tool set to Tool tip and I can see my lights there um at this point I will select all of my lights that I have and I will choose to right click and group them up so I have a single Group which is very nice to have because that and then I can turn all of them off at the same time right so that's my those are my lights then for them I can increase or decrease their intensity so let's say intensity 300 you can see them becoming a brighter more more bright okay I accidentally locked one of them didn't I yes yes I did yes I did all right so we have all of these lights uh I'm not sure if I need that heavy of intensity here so I'm Gonna Keep it pretty low maybe the radius should also be pretty low or actually let's let's break it let's test it out I'll test it out so that you don't have to intensity 2000 how does that look like looks pretty decent at least I think it does it does um let's make it go fast look at them we're missing one light for some reason maybe we're not yes we are where's what where is this light oh it is here but for some reason it's hmm that's weird it's being weird why is this light being weird let me ungroup select it 2000 really big attenuation but for some reason gets ignored uh okay try that again Yep they're Shining they're Shining another now it's showing up okay good good God got me scared there for a second so with the lights done um let's look at another variation of a light source which is a spotlight and for a spotlight I will want to have some form of um second that's pretty boring let me just something like that I'll want my uh Spotlight to hit my bonsai tree right here so here oh first of all let's let's add the bonsai tree right under models uh just type in bonsai or just find one there is no okay plans is it gonna be I'm going as fast as I can I promise okay broadleaf Conifer amongst conifers did we see any Bonsai amongst conifers I don't remember if we did I think all of them were pretty large uh there are some that are okay never mind there are some that are smaller but that is not good enough should I pause I will pause or rather I will yeah I'll pause I'll pause I found it I found it so it's apparently under accessories potted Greenery there we go Chinese style Mountain Stone green something something let's load it in and then we will put a spotlight on it whoa that's huge okay you're very very big you need to be smaller do we have a smaller this is like a smaller version isn't it or maybe we just scale it down question mark let's see if it scales down properly is that look natural it looks fine doesn't it that rock though is of not not great okay so let's use something else for instance this one okay this is much better in scale maybe even a little bit too small so let me amp it up a bit something like that and now let's find a pretty nice position for it close that won't need that move it like so and then rotate it so that we can see the whole beauty of it zoom zoom move it back and that's the wrong something like that okay Spotlight from here to here you create a spotlight by choosing the spotlight tool before I do that just point light if I want a point light I just select it and add it wherever I want the point light has exactly the same parameters as what rectangular light has except it's simplified right so nothing fancy about the point light the spotlight right here that has a few more options and we will be working with those so I'm just going to add the spotlights over here something like that and you can see immediately it creates this kind of a cone so we want that cone to be accurate right or to be kind of directed accurately at the bonsai so to do that we will change the angle to be much much more narrow something like this maybe like that and you can change the IES values as well is how the light is distributed distributed from the light source right so IES is mostly like a graph type of a thing and you can see as I created an is it now is shining upwards so I want to rotate it 180 degrees so like that also it's very bright we'll need to fix that okay so is01 that's very wide let's find a much less wide IES value this one shouldn't be rotated okay so wideness doesn't matter whiteness we can just fix it so I'll use is 102 or 0 2 0 2 like that okay let's position the light back onto one of these below these spotlights it doesn't really matter where it starts as long as if it starts inside of the geometry it will not shine right so that's that's an important notion too to understand and then I will rotate it along the x-axis to direct it onto my onto my bond sign just like that right a cone angle 17.6 uh uh that actually looks pretty good so I'm gonna keep it the intensity is way too much a hundred okay and temperature could be warmer let's warm it up here 4700 should be fine visible in Reflections yes Source radius the larger the radius of the light source the sharper the or the softer the shadow is going to be if I remember correctly so we will have oops that's a one that's a one I'll have uh 50 or 10 sure for soft Shadows okay with this done we have ourselves a spotlight which kind of works you can you can see your or our uh bonsai tree now right there it's messing up the light quite quite a bit like the guys I mean is messing up the light quite a bit but hopefully when we press the render button it's gonna show up nicely and I should show or hide the display of my light sources like that okay let me recalibrate the light because now it feels like it's a little bit too dull with the greenery here and you know all of the artificial lighting so I think we can get a nicer look here perhaps evening something like that but the North from there hmm Maybe typically I spend hours on this step by the way just trying to get that that look I think this is fine for for what we're trying to do this is fine uh I might kind of do another pass at this once once I'm done with the tutorial um now let's look at the first of all let me reset this let's look at the effects all right so under environment here you also have the effects tab if I enable this here you have all of the effects that are associated with the view that you have selected so I have my Luts for instance I can apply for a desert lust or modern dystopian action LED or Vibrance C LED as you probably can see from here oops you can see from here uh you don't want to apply any LEDs to your scene unless you know what you're doing there are um there are LEDs that you can download from the internet but most of them can be replicated here or in Photoshop right so you don't don't the short tutorial don't use a Luts you don't then here you have the old familiar exposure all right so you can tone down the exposure values if you want to you can increase the contrast that is decreasing that is increasing the contrast you can play around with highlights so you can tone down the highlights or you can bump them up am I missing something or is it oh is the sky so most of it goes into the sky in this case yeah so highlights I'll just have them at zero have them bumped down for Shadows you can again brighten them up or tone them down even further to you thinking of making this image a little bit flat something like that 0.38 then you have your slope which is basically how fast does the contrast increase right I this is Cinematic way of changing contrast cinematic kind of color grading way I would not mess with the slope and then until you're more familiar with shadows and highlights right and then working with these then we have white balance which is you wanted more orange sure you wanted more blue sure right you have tint which is either purple or green right so you can have it a little bit more orange and a little bit more green something like that you have Bloom which is basically the bright areas become blurry um over over brightened right so for Bloom don't uh don't have it too intense so anything above 0.5 I feel like is too much uh but 0.3 or 0.4 is is a healthy amount right so you have a little bit of glow going in there lens flare uh that's the I can see the little flares that are happening in the camera right here that those are also directed by the Light right the overly bright areas in the scene uh so for the lens flare I usually have it in between 0 or 0.2 vignette is my favorite vignette adds uh darkening around the perimeter of your scene which is a very um well it's an accurate representation of what happens with older cameras right because of the curvature of the screen except that if you choose when you get one it's way too much right so you need to use like zero point 2 5 0.33 0.5 being the most I'll use 0.33 for this shot then we have chromatic aberration this one is actually trippy so chromatic aberration happens when red green blue channels are not in line in in the photograph this happens with cheap cameras or old and cheap cameras um photo photo photographers typically try to get rid of chromatic aberration while we as renderers we try to introduce it of course not to this extent so even chromatic aberration set to 1 is too much I would say 0.2 0.3 that's a healthy amount so almost not visible except for certain certain areas where it should be visible now you can see that I have toned down the colors quite a bit and I will bring it back up with saturation something like that not more than that then there's these styles that you can render out the ambient occlusion Style that is very helpful when you're rendering out an additional pass that you will use to get these kind of a nooks and crannies into the like darkened nooks and crannies into your scene um really makes the image pop better and then there is the Z depth map which can be used to introduce fog like that and apply Fork to your scene speaking of which in terms of the fog we can always introduce it let's go back to environment and turn on the fog that's a lot of fog let's not have as much fog so a height of the fox seems to be kind of okay actually maybe a little bit less something like that but the density is no 0.2 should be good enough hmm kinda liked it more when it was more foggy 0.4 a little bit a healthy amount of it right so now we have our little house right here in the middle of the forest uh the glass could be a bit darker honestly yep so I'm going to pick a glass and for the maybe I'll change the transparency this time so I'll have it less transparent hello there we go that's way too much 0.9 0.95 and then change the color instead of value 95 oops we will use value of 92. something like that there we go done for specular you can actually see here when my specular highlights are at one all of the highlights from behind the the glass show up let me reduce the roughness so that you see better so this is with zero roughness right so all of the specular highlights show up if my specular is set to zero neither one of them or neither of them show up so 0.2 ish zero point one that should be kinda close to what I want then let's increase the roughness to 0.02 and with that we are kinda there composition wise I dig it I think it looks good I think it looks just good so let's reset or not reset update sorry update the scene what am I saying reset look at the other angle okay and that's that's good but that's good well um not there that that needs some fixing but maybe we can fix it like that just hide your crimes just keep hiding the crimes let's go back to here yep that didn't mess anything up go back to here seems to be still working quite well those trees right there don't look that great let's actually turn on the fog uh what did I do 0.3 right or 0.4 0.15 something like this just to give it a little bit more breathing breathing room than as per usual chromatic aberration 0.2 saturation a little bit higher saturation vignette uh 0.5 or 0.3 don't remember I should check but I won't [Music] um bloom a bit more Bloom I kind of went the blooming in this one um the white balance a little bit warmer warm renders sell better by the way just just so you know warm renders people like worm tones something like this what if we increase the contrast here sure let's let's have it like that then back to our Interior right so for the interior of course you need uh furniture and Furniture is what we're gonna introduce here what we're gonna be adding here this one is very out of place I feel like uh this metal bit needs to be uh not metal less metal or maybe we we have it metal maybe these need to be black as well and then maybe this is Stone oh I know this is starting to design but uh give me a second I will fast forward this portion where I'll just kind of design it a bit so that it's less for the lack of better wordless one second foreign so let's talk about Auto saving thank God for auto saving in D5 basically under settings right here under menu preferences and their General you can choose to you know create a time interval for auto saving and the default is 10 minutes which is decent which is fine and then once you eventually do get the crash especially if you're trying to record a tutorial then you will need to open up your old file again but then you go to your menu file and then you click on view history version once you click that a menu will pop up right here on the right hand side I will not be showing you that menu but it's going to be basically a new menu which will show you every single um auto save that you've had and the oldest one that or the newest one is always going to be newer than 10 minutes ago or no it's going to be in between 10 and 20 minutes I'm tired something around 10 minutes right then you get your recovery you save the file and you're good to go so that's how Auto saving Works in D5 let's talk about the renders or what you see here in the screen I have added a few objects here so now the scene looks a little bit more lively and I've changed a few effects here so didn't touch the exposure increase the contrast change the highlights and shadows so decrease the highlights increase the brightness of the Shadows reduced the contrast with the slope so wait I'm adding the contrast and I'm reducing the contrast well the slow produces the contrast first in the and the Shadows I believe yeah it's in the shadows so while this is much more global but basically these settings I tuned them and they seem to be working okay then didn't touch the white balance or did I maybe I did uh check your numbers if the number is a little bit different from yours that means I did then we have the tent that was not touched Bloom I went full blast with Bloom because I want that top of the head of the sculpture to catch some light I think that would look awesome so I have added bloom of you know to to get blurry then we have lens flares we have ourselves uh vignette and chromatic aberration right so all of these settings were changed here and this is how it looks like you always want to have um how do I how do I say this you want to have as many objects as possible in your scene for it to look alive you know live them also all of these objects are from the library so and you know how to get them in here so I'm not gonna explain it over and over and over again then here we have another scene one thing about this scene is I have added Pokemon I have added a point light which is right here this little guy right here and the reason why I've added a point light let's go back to this scene there we go let me move it around so you can see it the reason why I've added in the point light is because the the staircase was too dark so I just needed the point so I added the point light uh dropped down the intensity and here we are be working quite well let's keep it at 10. right so with this done uh let's take a look at the exterior what was added there I've added a tree right here and some trees here to balance the heaviness of the building right so we have a little bit more Greenery going on here so is that nothing has been changed and the front view absolutely nothing has been changed okay I will call it a day with this uh with this tutorial with this project so we can already do this development for this tutorial so we can move on and start rendering things exciting I will save I will save so the render option is right here in the top they have image video or render queue well render queue is you basically add your images and videos into the render queue and then you push them out through the render queue you rendering them out so in our image settings here when I click on image you can see that now my shot is Being Framed according to a certain aspect ratio according to a certain we're not missing it no we're not according to the size as well as our fov and focal length right either this or this either fov or Focus so let me just kind of quickly guide you through if you choose Panorama view that means you're going to be rendering out something for virtual reality right or or for just kind of taking looking around on a phone you don't want that so let me just go back to the image we will not be touching upon that right now then for fov we already have set up the fov I like to set up the field of view or focal length before I render or before I press this kind of image render button so we don't need to change anything but if if you do then you can change it right here zoom in zoom out do whatever right 72. then for aspect ratio we have either the aspect ratio of our window we can go 16 by nine five by five four by three right or these presets so what I like doing is I like going for a preset of 4K and then making it punching in a little bit more of a narrow view so or maybe no let's render 4K because this feels like you can see these black bars here that they show what's gonna be trimmed away so I actually want to First render to just see if I need to move back a little bit to incorporate a little bit more of this grass and these rocks uh should be fine though should be fine then we have the channels by the way these are the pixels how many pixels you have 4K is a pretty good resolution 6K is final production ready resolution 8K 16k is if you're planning on printing a full A1 sized render or sheet then under channels if I click on this little I don't know how to call it like a slider icon here I have all of these different channels that you can use Sky mask is basically gives you a separate channel for all of these are for Photoshop right Sky mask gives you the sky as a separate Channel AO ambient occlusion gives you um the nooks and the crannies I already showed you AEO with uh the effects tab right here that's the ambient occlusion map those are basically Shadows that make your image punch better punch more then you have material ID so different material materials in different colors Reflections transparency and z-depth z-depth is already I've shown you this how far things are away from the camera okay so all of these channels I want them I want to keep them we will keep them okay that's done um we have one of these images kind of set up ready to go I will click on the add to render queue button right here um do you see my mouse you see my mouse my mouse moves to the right and down render queue add to render queue there's also cancel and the render you can straight up right start rendering the rendering this but I will be adding it to render queue because I want to set up all four of the renders and render them out all at once so that bam once I've clicked that you can see my render query has a little dot there if I look at it here's my image that's ready to be rendered you can see that it's set up so that it's rendering out a PNG file that's normal that's fine we can use that two-thirds render uh don't really want to change anything here so I'll just add it to render queue 24 don't really like that that's unfortunate perhaps we can sorry uh perhaps we can while we're still in this View come on well done not that much very annoying okay display smooth display and then here flying much less flying let's try again okay that's gonna catch ing up something like that I mean yeah that's fine uh sorry for doing this now uh but I I do want it to be pretty anyway now the strawberries are actually in frame should be oh and okay render we will probably not see any roof with this though it is what it is okay I could by the way change the focal length of the lens and maybe I will uh so let's just change the focal length to instead of 39 uh 35. degrees actually we could go 33 or not degrees sorry millimeters 33 millimeters and then punch in a little bit more something like that uh don't forget if you're changing something update the scene here that's important and now I promise I had to render queue we move on we move on what about this again same problem with the teapot and that's not showing uh let's Punch Out 33 mil camera well actually that looks pretty decent uh so I'm gonna maybe do oops 24 mil camera something like that very wide would that look pretty good maybe that's too much 26. 28 something like 28 seems to be doing just fine reset or update the scene hit that render or hit that add to render queue button now we go in here and we will start rendering so and by going here I mean click on the render queue button right here we have our all of our images ready to go so for the location I will just choose a folder called output that and here I'll just create a new one images typically I do like right now I'm recording this on March 22nd so zero three to two images I like using date at the start select folder there we go that's where they are uh gonna be recorded or rendered out all of the images need to be selected so here we select all of the images or you can do that manually by just clicking on each of them but the tick Mark does need to be there right so you're saying that I'm gonna be rendering these uh one final save now I'm very paranoid one finally save back in here and then you click render oh it saves it saves it for you so it knows it knows okay so this is calculating it's going to be rendering for me I'm gonna definitely pause the video because it's in it it's gonna take a little bit of time and once that is done we'll going to do a little bit of Photoshop work with these images once those are done we will start talking about animations and how you can record different animations which is exciting yay it's done it's done okay so let me show you what it did so here we have all of the renders and you as you can see we have all of these different layers or channels as they are called so in Photoshop I'll just grab the that one as well but that one is just Z depth is just white we don't care about C diff okay so grab all of these and just drag them over to photoshop and show you how I typically work with them and also we'll just take a look at the Quality that we get this is at a hundred percent as you can see the quality has increased when we once we rendered it out we don't have any more the weird artifacts of real-time preview hence in general much more accurate so I kind of enjoyed this render you know actually now it's it's kind of nice so here's the ambient occlusion map right and the way I take it and paste it here Ctrl C Ctrl V and the way I use it sorry not take it and paste it here what do what am I saying the way I use it is as a multiply map right and you can see that if by default I just use it as multiply like so it becomes very bad also why is that so blue oh that's chromatic aberration so I wasn't careful with chromatic aberration here you can now clearly see how chromatic aberration kind of messes up the image so that's bad I would probably re-render this also the top is being cut off that is also not good I most likely will re-render this later for for the final images that that I'll show but before I forget let's do it this way yeah that's that's a problem and also reduce the chromatic aberration so under effects that zero point zero five something closer to this and we just need to raise our camera thank you so tricky with this or actually we can do a cheeky thing here and go down with the camera to what it's one once was nope down I said down yep something like that and reset like that okay now I at least I know that I will not forget the next time I render this this will be clean so back in here and that multiply layer you can see it darkens everything way too much so what I need to do is I need to go back in here and actually raise the white values by quite a bit the brightness values by quite a bit so that only certain areas here are darker so I'm going to perhaps something like that overall brightness raise that yeah so here let me zoom in to the trees in the back without with let me increase this 33 percent they pop when it's turned on this is turned on this is turned off when it's turned on they pop a little bit more right that's all we needed from this 33 percent uh ambient occlusion does the trick right it's just fine okay then here we have all of our different uh colors of yeah and control V if I take this and I add it in here and let's say I want to I don't know what do we want to do Paris maybe we want to darken the Terrace because the Terrace is a little bit too bright uh I will take this color by going to select color range and clicking on the color fuzziness can be pretty low so five president shouldn't be that low so not five select color range try what was it 15 something like that why every time I try to record the tutorial come on that okay it's not catching it now it's catching it so holding down the shift key you can pick up more than one type of a pixel or more than one type of a color in this case it seems like there are two oranges in the planks so I just picked up both of them and you can see it I mean it's doing it but not doing it great so I'll just go to filter uh where was it not filter sorry select and there should be like grow yeah grow selection so I'll grow the selection to get more of it minimize that go back in here and then just do Ctrl L and darken my planks that way just slightly and now they're darker so with color picking tool select color range with color range tool you can pick any any object in the scene that shares the same material just make sure that apparently the fuzziness does need to be pretty big that was me trying to lie to you I am sorry so now for instance this one Ctrl l and I will just brighten this up just slightly like that right uh the blurriness oh yeah one thing to note is be careful with autofocus elements those don't transfer right so the blurriness is gonna look funky if you use the material selection with the with a blurry portion of the image we have reflections to increase the reflections you can again copy paste them in here and here you can use what's called an ad Edition linear Dodge and in doing so you you can see how much these Reflections are slapped in there added in right again doesn't work with blurriness so be careful um in my case do I need any of these let me just check not really not really so well actually maybe the grass but the grass even without this is already pretty highlighty so I'm not going to use that then we have the sky mask and this one is quite useful so I can use the sky mask right here as a and let me just show you real quick so you create a new layer and I like to color just color that layer red just pure red and for that layer I create a mask this icon right here bottom right add layer mask right I select the mask I go to channels and I enable layer 6 mask so in here I'm now gonna be drawing The Mask but not really I'm gonna be copy pasting in The Mask just like that then I disable the preview of it go back to layers and here now I have my cropped out um sky right with which I can well instead of red I can use whatever I want you know and I can just add my information on top of the sky then I would probably do something like either like change the opacity a little bit basically play around and just find some sort of a sky image that fits well and bash them together this way of course now I have it red so it doesn't look that great but if I just go for let's see some darker blue like that now I'm able to darken my sky quite quickly without any issues and one thing that I do like to do is create a gradient higher up so that the Horizon is still pretty bright right so that's uh how I work with layers and also oh my God the chromatic aberration is just destroying us right now uh let's take a look at other renders without the Photoshop part uh just just to kind of take a look at how the uh got rendered out so uh to interiors and one exterior let's just see what okay let's close these I guess oh my God stop stop please I'm trying to record the freaking video he decided that it wants to save well it didn't decide I misclicked now now it's saving okay Windows just crashed that's great uh one second I found them and not just that I found them I also have photoshopped them so now we have a new little render here with the roof being in the correct position and less of um chromatic aberration going on but one thing that I have re-added is this ambient occlusion but this time I have softened it by quite a bit and I've softened it by just taking levels for the AO Channel and moving the levels very close to the black range right here and moving the darkest possible color into this kind of gray right so thus creating this layer and then being able to use multiply to you know introduce a little bit more three-dimensionality into my scene again pops a little bit more so now I'm happy with this I will be saving this then we have ourselves this facade I think this is successful I didn't need to change anything about the facade itself it's pretty good the glare from the now we can actually talk about the glare that's the glare right the glare from the lamps is a little bit too much for me but hey it is what it is I think at least it catches the attention it catches the eye there are two things that I have added here both of them are sky related first one and both of them these are direct copies of one another so this is literally just a Sky Map Channel with a white color on it right so that's this is pure white color and this is Kai channel right so normal with opacity of 100 or sorry normal with opacity of 54 to just brighten up the sky this is without this is with and then another one 54 with saturation to make the sky less blue as easy as that so now we have ourselves a little bit of a you know grayish Scandinavian Sky and a pretty cold render all together if you want to uh warm up your render here it's a little bit trickier in Photoshop typically you could use Photo filter and use a warming filter on it definitely not on that on the main one adjustments Auto filter so that's being warmed right now I can choose LBA warming maybe that's going to be better with higher density so that's without that's with without with but it's better to use like proper how is it called color balance color bundle balance in or no temperature balance oh my God words white balance white balance pin your D5 render back in here I will keep it I think with 20 or 16 density just to have it a little bit warmer then here not much has been changed I have increased the contrast just slightly for this scene and I have also added ambient occlusion already you already know how this is done one thing though is I've I'm using a map for ambient occlusion that is the transparency map I'm sure you do here not not here uh perhaps like that yeah there we go transparency map that is also backed out together with uh all of the different uh other channels so transparency map um basically Maps out where all of the transparent objects are right and those should not receive ambient occlusion right so I'm just using that as a map for my overall ambient Evolution Channel again pops just a little bit more I like it next this one I think this one is quite successful the not sure not so sure about the light shining upwards on this particular wall maybe that's a little bit too much but besides that it's pretty good render so in here we have this one is an empty layer sorry and here we have exactly the same thing as in our previous um 3D render of this interior right okay so those are the four renders that I've made I will be saving them but before I do that uh let me show you video rendering and this is going to be the last bit and we will end with the video rendering so video rendering is done by clicking the video rendering icon on the top right corner right there and here what you're doing is you're basically creating a keyframes moments in the scene or where I should move myself here in this case there we go for where the camera should be at any given stage so now with video uh mode turned on I can create a new clip or rather we already have a clip here but I will rename it to my um exterior let's say exterior clip right and I can add the camera just like that right so it grabs whatever is in the screen sorry it grabs whatever is in the screen currently what I'm looking at and creates a camera from it which means I can just easily move the camera forward like that and add another camera right so now we have two of them now if I press play well it's lagging like crazy because I'm recording as well but this is the animation that is going to be played again and add another or actually let me do that let me go to camera two and let's move um let's look over to the right at foreign I look to the right and under camera I changed the fov to something that is a little bit more a little bit more intense and I add the camera right so it's not just the uh let's play Smooth display back to here or you're gonna need to bear with me so we're zooming in and now we're gonna whoop zoom in with the camera right so you can change the camera settings you can change the exposure values you can change everything here you can also change the environment uh lighting right so for instance let's see um which is here I will make my lighting go from here something like that don't forget to click on the refresh button due to kind of re re not refresh reinstate the camera and then as I press play you can see that the light changes nice huh so you can control the the Sun as well in your animations the speed at which things move is controlled by these little doodads here in between the keyframes you can see that it's six seconds right now I can increase this to 10 seconds and the next one can be 12 seconds or whatever or I can decrease this to 3 seconds and two seconds to make it much faster um I don't want camera 3 in this case so I'm going to remove it I'm Gonna Keep It camera one and Camera two just like that I think that's that's good enough and here for the transition I'm gonna use 10 10 seconds so very small or very short video exactly the same thing with the interior scene I will not be repeating that or rather maybe maybe we should so sorry so let's create a new clip here Great Clip and let's call this clip interior right interior gem to scene 24 and okay foreign [Music] quick and dirty way just works uh so there's no need to know so here we have it seems to work seems to work quite well we might want to change the light conditions for instance so for this I will actually you have precise preview quality so let's say we start with this kind of light condition and for camera 2 our light uh foreign don't forget to reset the the camera and now let's take a look it's gonna lag like crazy but you can see the light changing position as we're moving which is nice that is what we want okay we have to uh two clips ready to go now I will change the resolution of the clips of course so here on the right hand side you have your resolution and you have your format typically you want the format to be MP4 I I believe yeah I'm sorry that's the only format so you're stuck with it MP4 is great uh you don't need to change it the resolution for the video either 4K 2K or 1080p or 720 720p um I would argue that 4K is a little bit of an overkill for this type of a rendering a render engine so let's do 2K for this uh frame rate so how fast do you want how smooth do you want the frames to be uh I'll just do all the animation to be with 30 frames per second it's going to look a little bit more cinematic because Cinema uses 24 uh I hope I'm not lying yes they use 24 frames per second so that's done don't forget to go back to your exterior and change the make sure that exterior output is also changed it seems like these translate so that's great once this is done click on add to render queue bam check the render queue and notice that only the exterior render has been added that's important right so you do need to add every single clip right so you select the second clip of interior add your render queue now you see both of them you can tick mark them and you can start rendering except that I'm gonna for output I'm gonna choose movies new folder always let me borrow this there we go so I'm going to render this out and once this is done unpause the video that's per usual there we go it's done we're finally done with the course so we have four still images and two animations going and the two animations rendering those out took one and a half hours so 20 seconds when enough took one and a half hours to render out on a RTX 3080 graphics card and the four Images each of them took like a minute so the still images are very fast the animations are not that fast but considering the alternative even the animations are pretty damn pretty damn fast let's take a look at the quality of them alright so right off the bat I can see the problem that every one of these real-time render engines has and that problem is called the the shimmering of a high frequency detail so when we look at the this area right here and I really hope that it's gonna show up in the with the YouTube compression and whatnot in this area right here does Shimmer as the light conditions change and not just that also just when the camera shifts perspective there is this kind of over sharpness going on here also there are areas where never mind I I wanted to say that anti-aliasing which is like the softening of diagonal lines that that is kind of messing up but not really it's mostly my problem is with how the shimmering Works clearly when dealing with animations you will lose a little bit of quality compared to still images but do I consider this to be still a usable animation to show to a client yes I do there are certain parts that I would kind of take a second pass at of course but all in all I think it conveys the concept the idea quite well add some post processing in a video editing software add some the sound and it's gonna gonna be great also some interior lighting wouldn't wouldn't hurt okay then we have some interior shots or one interior shot this one is actually even worse in terms of the shimmering in terms of the shimmering effect you can see the glass probably because of the refraction the glass is struggling a little bit to show the full range not range don't know how to call it um resolution I guess of the leaves or to calculate the leaves properly so there is a lot of this noisiness going on in the backdrop but besides that I feel like this is a pretty good shot let's compare it to the still images that we have also that area right there really needs some love and unfortunately I didn't give it um comparing it to still shots clearly my render here a still image render here has already been adjusted amended to you know the brightness and contrast have been dialed in while this one is still highly contrasting some people like high contrast images I personally don't like them as much I prefer this kind of a you might say washed out style but all in all I think the quality between these two is comparable at least well okay maybe not so it's comparable to a certain extent here again that chromatic aberration if you need to pick up one thing from this course uh don't use chromatic aberration or if you're using it don't use it like I do use it much less um and then compared to here I'm now looking at the wood grain texture yep uh the material materials at least are very similar very very close to each other so I'm pretty happy with the outputs that we've gotten we have successfully made four um renders still images two animations that was the goal of the course which means that the course is finished do I suggest um using uh D5 for animations yes I think compared to the competitors only um non-real-time render engines beat D5 render engines such as Corona or v-ray or a blanking redshift and so on all of those they of course did they beat D5 in quality but in speed D5 clearly is the winner and compared to other real-time render engines 5 is pretty good pretty good so if you need to render out animations use D5 if you need to render out still images use D5 if you want to get all of the files including the final scene that I have created during this course again consider supporting the channel by being a patreon supporter Link in the video description if you just appreciate me helping out hopefully really hopefully helping out people learn these softwares then you can support by subscribing or liking the video or leaving a nice comment I read the comments I reply to the comments I love the comments if they're not mean okay bye bye

Channel: Gediminas Kirdeikis

Views: 397,912

Keywords: architeture, design, arch, architec, proces, how, client, clients, rhino, family, house, lithuania, company, verygoodarchitecturecompany, very, good, architecture, vray, d5render, render, real time, free, for free, alternative, rtx, gpu, bim, revit, archicad, section, dynamic, drawing, visualarq, visualark, visual, arq, v ray, v-ray, v-ray66, skechup, material, rhinoinsiderevit, rhinoinside, rhino.inside, .insiderevit, zaha, hadid, beam, engineering, block, ibeam, grasshopper, gh, adaptive, shecule, schedule, cinematic, d5, d5 render

Id: QoNtjh93YyU

Length: 207min 49sec (12469 seconds)

Published: Fri Mar 24 2023