From Zero to Hero - Exterior modeling!

[Music] foreign [Music] [Music] remember [Music] foreign [Music] Academy here it's so nice to see you and I've already can see that there's quite a big audience today so it's really great to have you guys and welcome everybody so Mustafa Abbas Marco uh yasurback also everybody else who's going to join in it's so nice to see you guys I can see that as always we've got a few as students from our school so welcome it's nice to see you guys uh so guys uh those of you that are joining in to our lesson for the first time my name is Michael and I am a teacher for this Academy this Academy is a rendering school that will teach you how to create photorealistic visualizations in less than seven weeks if you want to learn a little bit more please make sure to visit our uh website which is visacademyco UK and there you're going to be able learn even more about our training structure and well pretty much about every tutor that we have in our let's say team okay I see that okay it's so nice to you hello Masa nice to see you hello Nick um it's so great to have you all here okay so let's get started first thing first we're going to be creating this Visual and it's mostly going to be based on the assets that we're going to be downloading but also we're going to use some nice tricks and I'm going to show you how to speed up the process of modeling especially for exteriors that might not really rely on as much detail as your normally would think so what are we really going to do and what are we going to start from well we're obviously going to need some resources and one of those resources is going to be our floor plan so this floor plan is going to um it's not exactly what you would get from a client per se but it's going to be a little bit easier because what we try to always do during our webinars is to accommodate those of you that are absolute beginners but also I always try to add one or two tips and tricks that is going to be also interesting for those of you that are a little bit more advanced so okay this is going to be our base floral plan then this is our first floor and we pretty much have a side view just for our convenience uh hello Jose here and nice to see you uh truck from India okay uh nice to have a nice that you're sending so much love that it requires a trunk uh hello Mike I'm from Algeria nice to hear that also I would like to point out that our webinars are more of a conversation than uh just a simple uh rush to the goal so we're going to answer some questions we're going to have some fun and if you have any questions along the way feel free to ask them I'm going to try to um I'm going to try to answer all of them uh clean uh live or restream this is live so you can ask questions I can see you took back your question uh this was a nice coincidence because I just had a chance to read it York um what you said okay so as always we're not only going to be using assets that we have in form of a floor plan or plan we're also going to be using some 3D models that come from either chaos Library so you're going to be able to download that if you have Corona or v-ray installed because that software also comes with a chaos Cosmos so it's a hefty and quite big library that pretty much has everything that we may need and in this case I already downloaded what I'm going to need in here but you're pretty much going to be able to find something similar or even do the same pick the same stuff although I'm not going to be showing you one by one which one was it uh let's just agree that it's from max3 okay so and now we've got a few trees that we're going to be adding for our background because our shot is going to definitely require quite a lot of threes and those are going to be manually placed so we obviously need to have a need to have control over that we're going to scale some we're going to move some but mostly we're going to be just rocking those assets so we've got a bonsai today that I downloaded from let's say one of the friendly websites some curtains shutters and obviously some random furniture that you can also find on chaos Cosmos but let's get started so one of the best in Corona renderer thank you for that uh hello from India nice to hear that Kurdistan uh you look pretty good bro hello from Uzbekistan that's so nice to hear and especially that you know people online tend to be a little bit uh harsher on pretty much every possible aspect so getting compliments thank you uh one of the best Corona okay so first step that we're going to take is use our floor plan so as for the floor plan you may be asking okay where I'm going to get it I'm going to post it in our video description right after our webinar so you can pretty much watch and try to attend instead of following what I'm doing I'm also going to be cutting some Corners so you don't have to see me Trace every possible box that is really in 3ds Max okay with all of that out of the way what is our first step me personally I love using one of my favorite plugins and that is blueprint Noob uh really it's the name noobs or BR Creator I love it because it's a little bit goofy but it's also super easy to use what we do is we drag and drop our uh floor plan to our plugin and we just drop it you don't need this plugin because you might as well just use regular um plane and set up this using the size of in pixels because it literally does that and funny enough because of the size in centimeters uh somehow magically being the right scale I know I never intended for this but we've got this measurement here right it shows us the distance between zero and one it's one meter and if we're going to uh wait a second if we're going to try to create something we're going to see that the size of this box is actually matching exactly one meter so I never I was never lucky at this lucky to create a PDF or um any kind of floor plan that would not require scaling so this time it's going to be one step easier but we still need to delete the copy that we don't need and we're going to make sure that we only work with what we need okay so there's a lot of stuff in here that I already had a little bit of a go with but we're going to just delete all of that and we're going to start from scratch so how do we really start because uh whenever you have a floor plan like this the chances are that you're not even going to be able to see the details um in such case you want to go to this plus icon in the left top Corner go to configure viewports and we're going to set up our textures uh just because I'm lazy I set up everything to 4096 and make sure to do the same because by default you're going to have a little bit smaller values and when you do when you do have those you're going to see that whatever we have in our viewport is going to be slightly lower quality and no details are visible right now that is why we're going to go first 4096 and it's going to vastly improve how our textures are going to be viewed and in the end we're just going to make sure that every aspect in here is going to have it not only because it we're going to display our Textures in a higher in a little bit higher quantity because this is texture but also any kind of background images that we might be adding along the way and baked procedural Maps it will also look a little bit better what it means is for example noise maps are going to look better this makes your textures so any kind of bitmaps looks better look better and whatever is in the background is also going to look slightly better if we top up though okay I have 32 gigabytes of RAM Intel Core i7 and a very powerful one but image still takes about two or three hours as a per uh regular resolution is it normal or what I what I can do so Mustafa in such case I would really need to see the scene because um the render length is going to always be dependent on your computer specs but also your com your uh composition so if your um scene has obscure amounts of iterations in Turbo's move gajillions and gorillans of uh these it might be the reason why it takes so long but uh it's always a case-to-case scenario so um you can also check that this sounds like a laptop so check if your power management is not set up for um let's say power saving mode because it has to be for asset to Performance otherwise you're going to a risk a little bit lower performance overall okay uh hey are you going to render it we're going to try to and we're going to try to do it in under an hour so how about we now get started so since we already have our floor plan and this is again an image and not any kind of uh plan that you would get in a form of a card file but this is increasingly more and more common to get files like this and we're going to try to use the most common tools possible as so it's going to be the most beginner friendly ever okay so as I mentioned we're going to be adding a lot of stuff that is going to be random in here because the interior is not going to play as much of a role and more environment and well everything that's not interior so uh as you noticed I started with a simple plane and then I can right click on it and converted it into editable poly this allows me to quickly change the properties or values in my object so I'm just going to make sure that it's actually on zero Z value because I've already set my blueprint to be a little bit lower than zero so it's easier for me to find myself in the whole scene I can also freeze the floor plan because I'm not no longer going to need to select it at any point so I'm going to do just that okay so we've got this plane and we're just going to try to trace using this simple editable poly method this will allow you to test or let's say 8. train yourself a little bit with the 3ds Max UI it's a simplified version of a regular commission that I get but the scene that we're working on was created by one of our students I if I recall correctly it's Dominica and I would like to thank you for sending us your scene what you can see is I'm leaving out a gaps or let's say I'm making sure that I have enough geometry for each element that I'm going to be working with and I made sure that I don't pay attention to details like wall thickness or any kind of details like one or two millimeters because that's a hugely redundant uh thing to do in the end we're going to be viewing this object from a distance of 15 meters and since we're going to do this that it would be a huge waste of time to pay attention to details like one centimeter or two or even five at this point so we're just going to ensure that we trace the best we can because we don't want to be sloppy and also we're going to take into consideration that not everything is going to be perfectly done because in the end it is uh just a Creative Image not a commission typically when working on commissions you're going to be super precise but in this case we don't have to so I already have my main ring for this building I can also add this inner wall by quickly adding a few lines and just stretching it out I think I'm going to do just that because we're going to need this ball regardless a little bit later so um it's like we're doing some of the Interior part in doing please tell us the basic brief a PC config for a fast and effective renders thank you from India so there is no such thing as fast and reliable computer um okay there it is but I can only tell you what I consider minimum uh valid specs I cannot give you any kind of hard work um let's say recommendations because that would be against our policy but um for a swift work in 3ds Max I would say that you're going to need at least 16 gigabytes of RAM Ram is not the most important element of your computer but it's what will allow you to have more items in between your scene and it also has a little bit of an of an impact on the rendering time especially if you're going to be out of your ramp so now you can see that this side view is going to be extremely helpful to us because we're going to add a shell modifier to our already existing the ring this way I'm going to be able to add the outer value and just simply trace it up until I'm going to be satisfied with the height I also want at least two additional segments because this way I'm going to be able to tackle all the issues a little bit faster so let's convert this to another poly and oh no I'm actually not going to do that I'm not going to do it because this is an instance and if I'm going to convert this to a little poly it's got the instance link between this object and that object is going to be broken it's already broken because I didn't pay attention and just copied it so I might as well just convert this to Adobe poly after all okay so 16 gigabytes is the minimum I would say that a fairly motor processor AMD or Intel really we have only two choices is going to be uh your best bet when it comes to Apple devices it's not that they're bad because they're not but I wouldn't necessarily recommend them for your uh for the word purposes it is good and typically uh they serve their purpose but the thing is that I'm not a huge fan of Apple devices due to the fact that you kinda they are designed for a little bit different applications and those applications not necessarily do not necessarily include a 3D rendering so if you're working with Photoshop or video in video editing you can go for Apple but in 3D it's just not yet there so don't get tricked because uh yes apple is great but it's just not for this purpose Okay so we've got our first main element so I might as well just delete what I had as my leftover um this culprit may come from the model itself if it was me I tried to disable all models and render it enable the model one by one and try to find the culprit give it a try yes that's a very uh healthy uh advice I would say Arif thank you uh what is the recommendation you give for people that render with GPU instead of CPU things from balloon Bogota okay that's a new one uh do you save this Workshop yes it's going to be recorded and you're going to be able to re-watch it at any time so if you're going to be working with GPU um I would say stick to software that handles a GPU that would be probably um what is that software that the Tyson Guy created uh I really don't remember the name of it because fstorm that's a very good at the software when it comes to 3D rendering on gpus but I would say switching to processor rendering is probably your best bet okay now since we are going to add some details let's look at our Windows we're going to need to create this we're going to need to create this um I would say a very nice shape in in our building so we need to leave this wall but we need to make sure to do the cutout so what we're going to be cutting is pretty much all of this leaving that and then we're going to do something like that okay so since we're going to be doing it in a second we're going to jump to 3ds Max and refer to our floor plan so let's go ahead and see what elements are we supposed to really be working with okay I want to make sure that we work with the right hand walls so I'm just going to start deleting them one by one first I'm going to select the top two elements and just shift and drag it in 3ds Max 2022 and older this Swift extrude option was introduced and I believe that this is one of the best um updates that 3ds Max had for a long long time because modeling becomes super super efficient and we're going to continue adding those details oops I went a little bit too far with my selection so we're going to alt and one to do a swift Loop so let's Swift Loop this and deselect those two elements and shift and move those now we're going to shift delete that and we've got our window here so we're going to also do the same soon I'm going to show you a magical trick I would say because it's going to be one of those things that um nobody's going to tell you about but I will because I know that this is going to vastly spit up your the rendering process and also overall modeling in 3ds Max for you guys so now we need to make sure that we also have this block in the middle so I'm going to make sure to grab one of the polygons shift and drag it as Ctrl shift drag it and we're just going to scale it up and make it happen so I need to make sure that we have exactly what we need to flip it shift drag it to the top okay and now we're going to swiftly align it where we really needed it okay so this was quite easy so far and I hope that everybody's going to be able to follow with uh just a basic modeling uh art plot if you have any questions feel free to ask hello sir hello sir to you as well enter your 3D designer uh nice uh okay hello from South Africa how could we have the same 2D floor plan you are working on we're going to have it uh you're going to have it in our video description uh as a link so we're going to be able to download it for yourself and it's going to be in the form of jpeg where can I send my work with Corona render to know my level and your recommendation for an advanced course from this Academy that is suitable for me Mustafa that's a very uh very uh I would say specific question please go to to okay Notepad um allow me to just quickly enlarge it so this is the email I would like you to use to contact us and send us your work for the evaluation with the questions about our training also guys this is our main website so if you want to learn more about our training and overall uh well ask questions here so you're going to be able to pretty much um talk to either me or one of our of my colleagues and we're going to answer your questions and if you need some uh an evaluation we don't do let's say a portfolio evaluation but we're going to be able to at least tell you if our training will help you or not because there's there are there's a chance that you are already very Advanced user of 3ds Max and you might not need me I mean um I'd love to have you as my student but I'm not going to push it it's all about making sure that you come to us when you need the training because it wouldn't be fun to have somebody uh waste their time and be bored because they cannot learn anything because you might be just the pro with some experience and at that point I doubt I'm going to be able to give you uh the knowledge that an intermediate or a beginner user would gain but I must also point out that we had a quite a few Pros joining our training and I must say we had quite a lot of success with them as well because we do not limit our knowledge so whenever you come to our training you're going to gain a little bit of an option that nobody else really gives you access to professionals to ask them questions either related to our training or just simply um about the industry and this is part of our online support so now the trick comes in since we've got our walls we probably need the floor and all the rest so before we continue we're going to make sure to um Trace that ceiling and luckily the ceiling is also the top for this element so we're just going to copy this uh this part and thanks to the uh to this pillar we're going to swiftly align everything now I'm going to use a simple line to create this roof element because I believe it's going to be the fastest way of doing it and let's just make sure that we have everything in position I'm going to also make sure that we do not waste time on anything that is going to be let's say redundant because we already covered quite a lot of stuff during our different webinars and I don't want to repeat too much knowledge because it's going to be boring to you and that would make it a really really bad experience for for all of us so long story short I want to make sure that those webinars our webinars are going to be interesting to you as our audience so we pretty much have most of the building now we can hide the cell and and finally do the tricky trick now okay adjust and the next object gets lost in the bigger object thank you hi from Canada I was going to ask how would do I would be able to model something big like stadium with real world measurements when I make a big project with real world measurements Max camera doesn't so that would require you to work a little bit with additional options and in that case it's going to be actually related to something called a camera clipping a lot of times when you have too big of a scene uh your um your let's say 3ds Max world is going to get a little bit distorted and for that we're going to need to use camera clipping wait a second where is it um I've forgotten where the viewport clipping was and at the moment plan viewport uh I during live streams it's always something that you have in front of you and sometimes it's going to be just a big problem so viewport clipping may help you because it's going to allow you to look into your scene at different ranges so you're going to have to uh we're going to be able to increase and decrease the range so viewport clipping is probably going to save your life otherwise everything is going to get distorted so thank you for the Canadian question uh now uh hello Rafael nice to see you adjust the next object gets lost in the bigger object yes so that's pretty much what I would go for thanks so much really you are a great man so are you Mustafa uh something wrong with the with the voice what do you mean a wrong with the voice uh can you elaborate on that because I want to make sure that you can hear me is there any kind of extra sound or is there a kind of any kind of problem please employment I would highly appreciate that hello um Mewtwo uh you can try into Royal clone also adjust the unit setup that matters care limiters yeah that pretty much will fix it how to mix default shading and edges in the view Stefan uh what you can do is simply go for F4 in the viewport and that's going to go for etched faces um that's pretty much it uh voice is good thank you and we're going to continue Okay so we've got we're already overdue for the window strike okay so first create a plane we're going to do a plane for one surface make sure to turn on autograph go to length and the web segments set it set them to one for our upcoming window so the first thing we're going to do is make sure to only have those two elements selected and we're going to more or less put the window inside in in the middle of our uh in the middle of our wall so now I'm going to convert this object into editable poly right click convert to interpoli and we're only going to use x y z axis for this object so quickly we're going to adjust all of the properties please remember that in this particular case we're going to create one gigantic window and we're going to split it in half and there's pretty much going to be four Windows fifth window and another um six windows then four and then uh so on and so forth so we're going to split those but we're going to start with a simple plane and the tricky to trick is going to be fantastic you're going to like it if you don't um you get your money back um so let's go ahead and continue I'm not going to need this part here so we're going to remove it so shift and drag it down and we're going to also remove this part because it pretty much is the same so now we're going to continue probably we're going to still adjust some of the elements but let's continue alt one to create a swift Loop and now we're going to continue yet again okay so all we need to do is drag our plane so it's going to more or less fit our walls so in this case I'm not going to go too much into detail but thanks to the snapping I'm going to ensure that I'm in the middle of my wall because that's the funny or important part that in need to remember about as we're going to use use you know it trick so now we connect this and we pretty much have almost all of our Windows done now for an opposite side or let's say um or a 90 degrees of all we're going to do almost the same but we're going to copy this object because it's important for me to have the pivots correctly aligned in some cases when you're going to have gajillions of windows it's not going to be that valid but for a simple houses like this one it's going to be a godsend option for you guys so now let's add snap everything or want it okay this part is going to be gone we're going to apply one more Swift Loop here and we're going to split this one okay here um Perfecto but this came out a little bit wrong so let's hope it's going to work flawlessly it will but now I'm just making a little bit of attention so let's add another Swift Loop and this is where the trick really comes in so did you know that you can select all the edges in your uh in your building and just simply go for split this will create individual polygons that are going to now represent separate elements that being said we can now select all of those and create borders out of them so this is going to allow us to create shape from selection linear so what that allowed us is to create a new set of splines that will be um let's say working as our windows but this cannot be a window yet because we need to add a special modifier to it that's special car is also going to be related to the fact that I pre-prepared something special for you guys a super duper trick so we got a sweet monster which is a basic version of the modifier so there's nothing fancy about it just yet but we also have this very nice section of a window which is going to carry a few very important elements first of all with our splines we can also apply material IDs so what it means is you can add different material sorry you can add different IDs to different splines which Probably sounds a little bit far-fetched because how would I be using it well you're going to find out a second because everything in this window is going to be material id1 but some parts are going to be a material 2 and material ID 3D so now if we're going to inside the suite go to custom pick and pick our shape like I did right now we're going to be able to create this window based on a spline so what we're literally adding a suite modifier following a window profile and adding it to an object so if I'm now going to for example add some kind of modification this window is going to follow so I can add a palette and this window is now going to have a little bit of curve but it has a perfect shape of the window that I wanted so I can copy the model here because I don't want to go through the process of throwing a window profile but you you can pretty much just copy something similar to this one I actually based this on one of the commissions I had I just dropped a few details out of it so now we're going to select our shape so this is the spline and there can be a little bit of a problem after so we're going to paste and we're going to see if it worked more or less than like I predicted it did so the reason why we went for this sweater is very simple it allows us to decide where where we want to set our windows and how thick they will be on top of everything because we've got all of the details we wanted we also set a free repaired our Windows glass which is a super huge Time Saver if you're going to work with a custom made windows so all we need to do now is literally um copy the same track into this part and we're pretty much done so select all the edges and now we're going to split them we're going to go for borders select all the borders create shape from selection linear and thanks to this we now have the shape again all all we need to do is paste the modifier and make sure that it's set to the middle of the window and we just took care of all of the windows in a second plus we've got quite a hefty number of details in here so it's extra cool because you didn't have to even do the detail inside but it magically appeared so it's going to be one of those very nice things to have okay so now we can go back and try to unhide our ceiling okay so this pretty much means that we're now going to be creating some additional elements due to the fact that building the top floor is almost going to look the same way I kind of cheated and repaired myself a little bit to this webinar so we're going to try to turn it on and turn it on and it's going to look exactly the same and it's already aligned so what I did here is I've added the same tracks and the same ideas but I've added one more element which is this ring around my um around my let's say ceiling so this roof is going to be now copied we're going to copy this element and also create a copy of this one part so shift and control Ctrl V to create a copy without movement so actually we're going to create a copy now since we've got this element and I don't need this Extrusion I'm going to delete it so now we're going to paste the sweep modifier but this is the different one this is now the ring around our ceiling so I first need to make sure to move it around that what an amazing tutorial thank you so let's go ahead and just make sure to add a few mirrors here and there okay so I need to move it slightly higher and allowing it as best as I can remember that at this point the differences between those two parts are not going to play any role because our camera is already pre-set up to be in the right position because whenever you will be working with your clients and you will be probably um planning ahead which is very important in our industry you need to remember that whenever you um you're going to take a commission you're going to have to do some re-renders or let's say sketches for the building you have to first decide with your client where they really want that house to be what angle we're looking for always you're always going to have to adjust something but uh the difference between starting and building absolutely everything around your building and actually knowing what you're doing because your client specifically wants you to do a shot from the garden side if that's the case you're going to place your camera suggest a position and do as much as you need without doing the opposite side so you're going to save a tremendous amount of time unless it's going to be a 360 of a house you're going to be a little bit you're going to need to do a bit more but in my case it's none a non-issue so the windows were done exactly the same way I shown you at this balustrate or this in this Carriage um or a balcony actually was done using just simple boxes so there's no trick to it there is no need for me to describe it but if you are an absolute painter and you you feel a little bit intimidated by that what I would do to make this as efficient as I can is first I would create a huge box then I would convert it to a little poly and split it wherever I need it so let's say we could we want this to be symmetrical and have their nice connections not some kind of random so we're going to go for connect and we're going to wait for my 3ds Max to respond to autosave remember guys always save your work because it may be the difference between uh life and death I once worked for Mike in let's say interior design company and I was smarter than the I hope than the life itself and because of that I thought that it's going to be a good idea to save a little bit of time on while turning off the autosave I turned it off and yeah I was working extremely fast because I didn't wait those 30 seconds for the auto save each 15 minutes and well two weeks went by and for some reason my file got corroded even the copy of my file that I saved so many times got corroded and well I started panicking because tomorrow we're going to have our clients and uh well Auto saves weren't there and you can imagine that I was absolutely thrilled about that lucky for me I had one of the copies from like a week ago so I was able to quickly do the changes overnight well not everything was ready but it wasn't it at least wasn't nothing but you can imagine nobody was thrilled about that okay so now we've got this very simple epoxy object what I like doing is splitting or chamferring the elements just to introduce a little bit of the difference or let's say distance between those elements now we're going to add a shell modifier so it's going to not look like a huge block but it's going to be one centimeter and this is the main idea behind doing those kind of balustrates real fast without really thinking about it hello world hello from Nigeria and nice to have you okay I've been using 3ds Max for two years now for asset creation on games I feel like I have learned so much from this life already Jordan that's oh thank you that's super nice of you sir how a good 3ds Max organize for fast renderings like can I do it a 10 or 15 views a day especially interior visualization work yes but um it's not the case of can I do um 15 or 10 images yes but it all depends on resolution the scene complexity because if I'm going to now turn on rendering of what I have literally built in this scene where I'm going to be able to drop a two hour long video for you in less than an hour but the quality is not there so it all depends on what you would like me to create for you or what you're going to be creating for your clients so this is not really a that good of a question in this case because it's all going to be dependent hello everyone just joined in hello Michael I will add I will be you'll be will the video be available later on yes Chara it will be so if you have joined in uh just a second ago it's okay we're going to be able to still accommodate you okay so we've got the vast majority of our building done whenever it comes to well the environment and building everything for our scene typically you're going to do split it in three elements first it's going to be the ground of the building itself so typically what I do is I try to be as lazy as possible because and just like somebody smarter than me just once said uh laziest people do the best type of work that's a huge lie and I tested it don't ever believe that but they at least try so create cheap from selection is created we're going to do another linear and again we're going to select this shape because shapes are absolutely amazing 3ds Max and let's just go ahead and create Extrusion so this Extrusion is going to be our floor or let's say our lower limiter because what our floor is going to be really made out of is a simple line inside so we might as well just select every line inside now I'm going to do this Swift loop as I'm doing now double click it and it's not working why because this Loop is not exactly the one I've just selected created so let's double click it now I've got this inner loop I'm going to again create shape from selection linear because it's going to be easier for me and now what is going to be a good idea is to probably remove this part unless you're really really into details here but for now so we're going to effect pivot only make sure to this to Center view object and go back now with that out of the way I'm going to press 0 or -1 on my object and this is going to be my floor for my interior so let's go for floor generator yes so floor generator is the most commonly used plugin for 3ds Max in most of the cases you can just use the free version but if you are a little bit more ambitious go ahead and purchase the full version like I did I recommend those this kind of software because well since they are giving you a the most popular software out there for free you should at least test it hello from South Korea Pakistan uh and again Pakistan a nice art studio I would appreciate if you would limit yourself to one message at a time and hello something 47 nice to see you again do you recommend rendering video animation from Corona or is it better to use real-time rendering like lumion or 5D rendered um it's a again a tricky question it all depends what your goal is if I would be going for quality and photorealism Corona all the time if I'm only going for the juggling ideas and showing the overall concept to my client I would consider different software not because Corona cannot handle fast rendering but well if something is built for low quality fast rendering and that's what I'm looking for I'm probably going to take the software tailor to or that although I still would use Corona even for the easier ones uh hello from India hello from Iran this is my friend's project you copied I would say that it's probably not really possible although this is um our students work that is based on one of The Inspirations that she chose but if your friend has designed it say hello to him because we're using uh one of the concepts that we're going to in our Stream So now with Lord generator we're going to make sure to just add this quick uh floor into our interior so again looking through our camera you can see that we pretty much nailed absolutely every aspect of our interior but now if you if we're going to be is uh Corona or Vera better for photorealism um both are fine at the moment I prefer Corona due to the fact that Corona is simpler and it allows you to be an artist instead of an engineer yes Corona has also its ups and downs and it's not a perfect solution to absolutely every uh possible problem you may encounter but I work with Corona since the Alpha version of it and if I recall correctly the first open Alpha that was uh that you had to uh to obtain it you had to create something that looked for the realistic and at that time I remember that huge huge leap or in quality of my work once I started working with Corona um in v-ray you typically have unpredictable results okay by the way um I just selected the floor cap that we created previously and we're going to make sure to go over and just simply create a new shape that's going to be well part of the floor plan we're only going to do the outline because as always we're going to do it as fast as possible in a second we're going to look at our reference because it's one of those things that we always have to look at from time to time so let's make sure to add it in okay so this is pretty much it um I hate doing part two um when it comes to our webinars but I can already see that we're a little bit slower than I anticipated and uh without talking I'm going to be a little bit faster but I kind of want to have a little bit of a conversation with you guys so I apologize if you came here for just um twice as says well double speed that we usually have okay so now I'm going to go for shapes select and we're going to select the shape that I had previously created let's go for attach and now I can go for extrude and considering that I'm going to create steps for my uh for my Terrace we're going to make sure to do the Extrusion on a minus a value you can see that there are some artifacts visible here and that's due to the fact that my two elements are not exactly aligned so I'm going to make sure that the line number one and not line number two are going to be perfectly aligned and that's going to be pretty much it so let's go for zero and now when I extrude everything it's going to just work absolutely fine so with everything unhidden we can see that it works okay for the ground I'm going to just go for a simple plane and put it slightly below my scene so plane and we're going to go for a minus 40 in this case because again this is how much we need for our floor I don't really uh well to really show it okay now we have the vast majority of our building done now what we need to do in order before we can render anything is prepare all the details so yes you typically will be using some assets so I'm going to just go ahead for it and save you a little bit of a pain of me as placing a few curtains and elements in the scene so second floor detail let's just turn it on and let's examine what it is before we really dive into it and go further because I really want you to also consider that we don't have to trace each and every box I'm just going to show you what's going on okay so we've got our floor generator for the walls to create this kind of effect at the same time we've got the floor generator in the two strategic uh spots so it's pretty much done okay so we've added one material for all the wooden elements and you're going to enjoy it but I want to show you how to add the bottom part or let's say the bottom um raw generator because that's one of those things that is not entirely that clear how do we build this kind of floor generator so that it fits to our interior because normally you would probably want to trace some kind of shapes and that could take a while but thanks to the 3ds Max being absolute genius we don't need to um this is better if you keep talking since you remove some doubt out of the questions thank you uh so hello or or Hello nice to have you um assembling us assalamu alaikum I cannot pronounce this sorry uh but uh yeah hello to you too um Diner okay um can you please make a webinar about interior vegetation ivy and hanging plants how to get realism in interior vegetation that's a nice idea we might just do that okay so as I said we're going to go ahead and convert one of the elements oh Ricardo nice to see you Ricardo is one of our recent graduates so nice to see you um also we had Masa earlier on which also just recently finished this Academy with a really amazing results so converting this element to editable poly we can now just go ahead and use inset to create those shapes as I remember what I was doing earlier I'm just going to type in the values that I needed and you guessed it we can trace the same shapes and do exactly the same thing we did prior to our editing so let's go ahead and go for some detachments go for element and in this case I'm going to detach this as an object so it's a totally new object in uh on its own so again we're going to detach it but as an element as a clone and we're going to go ahead and do it now we're going to go ahead and just select those polygons that are opposite so detach this as well because it's pretty much the same thing behind the element that I don't need okay just did a huge huge um what did I just do wait a second foreign wait a second uh I got a little bit Bamboozled yeah so okay once again we're going to detach this part now it doesn't there's a clone so this is going to create a new object I got a little bit carried away because I I talked too much so let's go ahead and do it again so at least I noticed my mistake so let's hide and now we've got those two parts here this is going to allow us to add our floor generator without any problems since this is a flat surface I'm going to be able to go for a floor generator yet again and with uh floor generator actually being a smart modifier it remembers exactly its own settings so this way I'm going to just paste the copy and rotate it by 90 degrees where I need it so we're going to go to the direction go for 90 degrees and this way we're going to have all the details that we're building in seconds again work working in a way that's going to hours to be efficient it's not going to be a good idea to follow some kind of magical special pro tricks that will take you two hours to complete the basic task um that's the type of tutorial I hate watching because um that is something that I all often find myself confused by the raw methods that in the end are pro only because some guy said that it is and I think that the best method of working with 3ds Max is the fastest one so if you can do something faster than I can show me it but for now we're going to stick to the methods I have in here so be that has clone as well we're going to do this one detach as clone as well and we now hide this element and we have everything done paste Bravo and again paste and we pretty much just finished modeling our all building because all the details are there now um we probably will need to add some Labs on the elevations and unhide a few additional objects but let's focus a little bit on the environment and how we can tackle it because I am Adil from or on Morocco nice to have you thank you I have a box can I have every face a different material without detaching the spaces Mustafa yes you can and that's that's actually the default uh weight 3ds Max creates boxes did you know that so whenever you have a box in 3ds Max luckily I got a gray one um by default you're going to have a box with different polygon IDs so I would recommend you to uh dive into the following topics first multi-soft object material and also material IDs so we've got our polygon so this is our box our polygon and we go slightly lower to the IDS so by default your box is going to start with six different different IDs so ID number one number two and number three and so on so forth each is going to represent a different set or selection of polygons and in your multi-sub object and basic parameters material you can really read it as a host material for any kind of folders and qualities that you may want to add to your object I'm not going to create multiple materials because that would be a little bit of a waste of your time again guys but we're going to just show you that we can quickly add different colors to different polygons but oops I just goofed it because I've added this material to the whole object so now we can see that some of the elements are black because those are unassigned IDs so there's no material it's just this place has nothing and we've got a purple one we've got a gray one and the rest is black because we had nothing in here so let's see what else we can do with our IDs your IDs can be used for a different modifiers and they can also decide on some properties of your objects but that's actually going to be a bit more complex if you want to add multiple materials to one polygon or one set of polygons that's when you're going to need to use um masking and Corona layered material or blending material long story short it's just like Photoshop but in 3D Okay so we've got the building we've got the details we kind of need to copy the details for the bottom but this time we're going to spend some well we're going to cut some corners and I'm going to start copying some of the elements that I shown you at the beginning of our webinar because why waste time if we can just simply take already made objects so you are just amazing that was great honor to be your student and I wish the course didn't finish okay Masa thank you that's so nice of you I'm I'm really humbled uh that actually brings a smile to my face that's so nice of you thank you uh calling from Mozambique okay but how can I uh how can you be each faced with one UV or plane that's another good question Let's uh spend a few minutes on that so you cannot really do multiple UVS with one UV but 3ds Max is very smart and so if we convert an object to a little poly what you will be able to do is again we're going to have to create a new material to uh to actually talk about that let's go for a checker and we're going to go for this purple material and it let's go for four four and now since our object is going to have this material we have it as our base uh so this is a physical color now we've got it on our all material by default your box and all the Primitive objects in 3DS Maxwell start with some kind of update mapping there are multiple ways of handling your VW mapping and I recommend you watching our uvw mapping video for an app bot to answer your question we can go for uvw uvw map and simply while you have your polygon selected you can set up individual polling or sorry individual Grid or projection or this specific polygon so let's go ahead and just rotate it slightly so the rest is untouched convert to a double pulley again to kind of burn it in or fake it in and that way we have an individual mapping for this one object you can also use multiple levels of mapping which is called uvw um channels but to go over the channels we would need a few extra minutes and I don't want to go into that from a too deep uh hello from turkey and nice to have you bakri I just recently was in turkey and I must say a lovely lovely place so I must say that I'm probably going to visit uh some other point as well okay I've got we've got more than one person from Turkey then um let's continue as I've said we want to build this area here this small area with those Pebbles so let's call it a small um how would you call it yeah small play field or just area so and we've got those two three at the area really with additional elements and I was about to copy some kind of extra assets but we're going to go back to it in a second first we're going to go for books uh let's just create it make sure that it's big enough lower it and we're going to make sure to do a bit of a cutting using some objects so guys let's stick to English please that would be highly appreciated um I don't want I cannot translate Turkish just yet so it would be really highly appreciated to know what you're talking about because um it's hard to tell so now let's add those uh lines I could use Boolean because Boolean is faster in newer version but I kind of don't want to create another copy of a copy so we're just going to create those two another line here and we're going to be able to use those lines in a second so this one will go higher for that one element and this one is going to go lower and we're going to use this box as our small pond or swimming pool let's just convert it to edible poly and I'm going to show you how to go for an inset well which is really easy 10 centimeters no 25 will look better and we're going to just shift and drag it to the bottom you can see that I've already prepared a little bit of extra area on my ground so it's easier for me but I'm also going to copy this one polygon to create a new object because this object is going to be crucial for us for our water so in the previous webinars I've explained and how the glass and water works but we're going to create this um yet again for your amusement guys how can I deal with repeated material or Texture and make it more realistic by breaking this of repeated material um I would say that you can use methods that I would have to unfortunately send you to our training at this point but um okay let's just say it uh you just use Corona mapping randomization which is uh pretty much going to be part of Corona renderer it's a very it's a hugely powerful tool that I'm going to show you how to use in different scenarios and how to use it to your advantage to create smart materials that will take into consideration the shape and uh well size of the object in order to make sure that it's going to have the right projection Without Really without real need for a product for mapping that's going to be fun and it's going to be good for different solutions so how can I create bump and displacement pump just using color correction please tell me please um Art Studio I'm really going to need you to um well stick to one um question at the time um now let's go ahead and talk about this there's no real way of creating those just by using Corona color correction because it's not going to have enough info when it comes to map height maps and maps that we typically use for displacement and any kind of uh special um solution so I'm going to show you a good displacement that we're actually going to use in a second so Pebbles displacement so when it comes to displacement Maps it's all about the height Maps where it will be pretty much representing uh White is going to be maximum value black is going to be minimum value so long story short whatever is going to be white-ish on a texture it's going to be higher for the displacement and what's darker is going to be lower or even zero if it's going to I have no impact on the effect itself so long story short there is no way of creating those reliably but there are methods that will allow you to change objects into displacement maps and then using those Maps um on your objects but unfortunately that's a very uh broad topic that we're going to talk about probably some other time okay so since we've got our building and I'm mostly done I want to show you how to do those at this area and actually use some Pebbles so the magic of 3D is that you don't need to be very precise a lot of times 3D is going to be extremely forgiving so we just need to create some kind of object that's going to be good enough for us I'm going to set it on minus 39 because I just want it to be one centimeter above my main ground so when I would be looking through my main camera if a small glimpse of ground is going to slip through it's not going to be a problem it's just going to be a safe uh even for me so now we're going to take this object and create those nice um um brick concrete yeah sidewalk we're going to create a sidewalk and that's what I was looking for in my brain so uh we've probably going to create something that's going to be 15 16 centimeters but we don't have to make it big I want to convert this to a dual poly and quickly get it done so I'm not going to go for precision this okay so we're just going to select it and without any snapping or whatever we're just going to select shift and drag and just simply adjust the scale of it so into element and we're just going to scale it again a shift and control to the copy and we can adjust some of the values if that's necessary typically it's not even going to be I could also save a little bit of time by going for a regular rectangle and not starting and not not with any auto grid and we're just going to draw a new rectangle turn off the option start new shape and this way I'm going to create new shapes but are going those are going to be part of the currently existing one so if I'm going to now add shell that's going to have similar values to the one I've used a second ago it's just going to be a huge Time Saver because editing in each box or setting each box height would be a bit of a problem and in many cases it's going to cost you a few additional seconds again it were not on a timer we're not going to break any records we're just going to have a little bit of a chill conversation like we have right now as but it's good to at least not waste time on something that just does is not worth it okay so now what I'm going to do is Select my plane and we're going to add a Boolean modifier to it one previous Max 2024 has a Boolean as a modifier which is super powerful now to make sure that we can subtract we're going to select and subtract objects so this is going to probably be problematic if we're not going to um select the other operands that manipulate operands or was it in the modifier use live references okay display create uh where was that because I don't want to lose my objects like this so um line and we want to retain the original okay from selected extra selected okay but wait a second this place circumference wire shaded display okay so in this case I've totally forgotten what exactly um I should do with those modified with to make this modifier work the way I want I must make sure that all tags okay I just messed up real bad so I just made my object invisible for a second hello from India carella nice I have a so now thank you hello from Angola okay sir we'll wait for that moment um although um I just got a little bit lost in what I hello from Cardella again hi sorry for the question will you be sharing the assets and the floor plan so we can try it out or I'm going to share the floor plan but the assets can be obtained from chaos Cosmos because most of them are here but I don't want to hunt for each individual but considering we have 3151 different objects you're probably going to find something even more exciting that I chose and it's not going to play a big role and what it uh what type of tree you're going to take or what chair you're going to be using as long as the overall setup is going to be more or less proper Okay so since I've had a little bit of a problem with this I'm just going to create a copy and deselect everything and we're going to start using booleans so Boolean and let's subtract it but I honestly method mesh okay but where is the option to retain the original okay I just got a little bit confused but we're not going to be confused for too long so let's convert this object back to editable poly and let's continue [Music] um uh and from Israel okay we had a few students from Israel um very nice people so let's continue um if I remember correctly our student name was Moshi um sorry if I mispronounced it a very nice guy so let's continue I also remember one a lovely lady but I apologize I cannot pronounce her name at the moment and I don't want to try uh too hard because that's going to be annoying to some of you so let's see what we can want or the objects that we're missing okay everything is here the shape is there Perfecto let's see if we're not overdoing it we are so now it's time for the lighting and for the details like the environment that we're going to be using scatters for so before we really get into many scatters I want to kind of prepare the environment so to do it I'm going to just select render setup and we're going to go for our material override in here I'm going to go for a none and we're going to choose Corona Corona physical just for the starters and our setup is going to be extremely easy um so first thing we're going to do is we're going to select another Corona map which is going to be Corona Sky Corona sky is super powerful and I believe it's one of the most powerful elements of Corona whatsoever but we're going to find out about this in a second if I'm now going to start rendering you're probably going to notice that the render itself that doesn't yet look that exciting because we don't have all and that it takes for us to have a good setup first I'm going to go for -3 on my exposure in this case it's going to be quite important I can also see that some of the elements are standing out a little bit so we might want to adjust them but it's mostly going to be this balcony which is slightly above what I wanted so I missed calculated at some point or maybe moved one of the elements slightly lower so let's just move those so those are not going to be an eyesore as they were a second ago so now we're going to just quickly go for our Corona video frame buffer re-render this because that was a huge mistake of a second ago and we're going to start in the details that detail is our sun so Corona again and we're going to go for Corona's son in this case and we're just going to make sure that it's going to be set low enough uh to have this nice mood probably we're going to lower the exposure even further and thanks to the magic of Corona we're going to start adding some additional properties I would say so one of those properties is going to be ours hours clouds clouds can be added as soon as possible because for exteriors it's uh actually quite important to have a nice environment earlier on because the environment is going to um set up the mood so I'm going to turn on the clouds because we can we're going to add a bit more variety and we're not going to change the face but I really want to have quite a big amount of clouds this way we're going to get closer to the mood that we're really looking forward to okay now a little bit of cheating is going to be at hand so we're going to start pumping even more objects from our previous scenes or let's say my students scene and so let's start copying because this is going to be pretty much me playing some Sims online but um long story short we're going to to copy all of those assets and place them in the right positions first I'm going to grab those threes and we're going to use them as our environment mostly so are you using Agri no we're using Corona sky and that Corona Sky allows us to add clouds and we're going to but are you asking in general a lot if you're asking right now right now I used Corona Sky when you use Corona Legacy and when Corona physical material thank you for the question you go so this is a debatable question answer but I believe it's going to be simplest to just say whatever you like it so Corona physical is the newer version of let's say physically based uh standard it's closer to what is supposed to be it looks closer to what it was intended to do and it has an updated algorithm it renders almost the same way but it also the physical material also has a few as safeguards and so those safeguards are going to stop you from creating some kind of material that is going to make no sense so it had no refracting Metals no self-illuminated glass and whatever because that would be a little bit physically impossible but thanks to the magic of Corona Legacy material you can pretty much knock yourself out and do whatever you like and create some materials that make absolutely no sense in logic from a logical standpoint but is it better no is it worse also no is it something that I would recommend you to use yeah but only when you need it so we're going to now place a few trees in strategy strategic positions uh those positions are also marked on our um on our floor plan so we're going to have an easier time whenever you will be working with our floor plans and now we pretty much are at the point where we just need to start adding the right materials and still work a little bit more on our environment because this is not yet it so I'm going to show you one of the scatters I'm going to be doing and one very important material that I think is actually going to be cool to have and there's also going to be a quick answer between do I scatter this or do I just use textures and in this case we're going to be using and using um texture but scattering is not going to be that bad as long as you don't have a better texture so long story short let's create our first material for today's webinar and that's going to be Corona physical as always right click go to materials go to Corona and then run a physical material once this loads we're going to just um make sure to start by adding base color so we just drag go for Corona Corona bitmap when it comes to textures unfortunately um I cannot uh really share those with you but I promise you um our students get all of those textures one way or another so and unfortunately this is one of the assets I cannot really give you but I I tried I really did so let's go for clean Pebbles this is going to be for the holder but we might as well just take any grayish tone a clean Pebble displacement can be used in this case for our base color but this would be a little bit counterproductive so we're just going to stick to this placement we're going to add this in and thanks to the magic of Corona we're not going to be um really asked to do much more because this is the simplest material ever a bit of roughness for the stones and we're going to probably just work with the displacement itself because I want those Pebbles to be three or five centimeters tall and the one thing that's going to be super important for material like this is making sure that the mapping on our on our object is going to be correctly set up so uvw map let's go for a mapping and we want to go for simple plane and just set it to something around 150 by 150. okay not the moment I cannot see this at all why is this well mostly because this material is now being assigned just like that and we need to click on show shaded material in viewport if it doesn't work we're going to click on our main drill and click on that and for some reason it still does work so panels okay so sure she didn't realize again okay so 3ds Max decided that it's the right time to do something really weird but as long as we're going to use this map you can see how the mapping is being projected I think going for 200 is going to be okay ish in this case so let's just test how it looks like when we try to render hello teacher hello uh hello agboro um I cannot read your name but the second part was easier okay hello from Kurdistan I think you knew that viewers from Kurdistan we do have a few and of them from there but I cannot really vouch uh any for any specific name and it's always new for me to hear such nice place about such nice places so keep them coming guys if just start traveling the world because I want to hear more locations uh it's always fantastic to hear that okay so you can see that now we don't have any effect on our scene because we're still using the material override so let's turn it off or just add this object to exclusion or we can go to preserve and we're going to preserve displacement Reserve displacement okay in okey-dokey and and we're going to just wait for a few seconds and we've got our Pebbles perfectly done on our um on our ground so now we unhide everything and just wait for it to um show this beautiful detail one thing that you may be um wondering okay why does this part doesn't have any Pebbles the reason is very simple displacement is being calculated for the current view so if you're going to move your camera some of the displacement was calculated for this area and now we were looking at this area so because of that we didn't see the pebbles in this part and because they just didn't load and now we can see that we've got beautiful details so let's just start finishing this up because we're not so far off from at the last touches so how to include an exclude option in Corona Light uh well all you need to do is go to Corona chaos Lister oh sorry uh light Lester um and we're going to unfortunately I only have one light in here so we can just go ahead and add the elements in here if you mean that specific object is going to have specific quality you probably have to work with the material but if you want a specific link to be invisible for reflection refraction or whatever option you want you want to go for a for the Lister and go do it um on mass you don't want to do it individually for each element because that's going to cost you a tremendous amount of time but it's doable so we just copied our threes so let's copy this huge fence you can see that it's absolutely gigantic so we're going to copy this one element we could again use scatter for this but we're not going to make a movie uh in five minutes make a movie a movie I do I think you're going a little bit closer to getting um I would say uh spammy so I'll just let's continue okay so we're pasting in our assets and let's go Rona and paste from by the way you're probably wondering how am I copying from one scene to another this uh is going to be easier than you think it's just a simple plugin a lot of you guys use a copy door but I use the one called copy2 because I just like it oh and by the way instead of copying objects that you need to be next to one another let's go ahead and go for array and array is going to be slightly faster this way because in this case oh I forgotten this is a proxy so we're going to dial that back convert the proxy to edible mesh and now go for array so this way we're going to introduce those copies faster and it's just going to be more convenient because you don't have to work with any kind of opacity or sorry offset because those are going to be literally just touching and that's a very cool thing as long as your object is going to be nice and flat any similar the tutorial while using v-ray unfortunately not at the moment where uh well I would say since I fell in love with Corona I am not using any other software because I really think it's the best out there and I would really feel bad about going back to v-ray although it's just as good um most of the techniques that I'm using here so far weren't even related to v-ray so you probably could do exactly the same up until this point and even Beyond because v-ray and Corona are super similar at the moment and I believe you're going to be able to deliver quite similar result can you make more tutorials about Phoenix FD and active bodies I think so but we need to make sure that we actually have audience for that and at the moment I'm focusing on making sure that we work mostly with dead beginners as so uh let's uh not get into two complicated topics just yet but we will at some point um okay so we got the trees and now I'm going to look at the cheat sheet of the original scene by our student and we're going to just examine some of the parts because I think we're overextending this up to two hours and I don't want to make this uh five hours long tutorial so we're going to just see what was done here and we're going to copy some of the parts so here we can see some kind of weird um shapes that are all around the scene and what are they doing exactly well the long story short those are either light blockers or those are the threes so we're going to copy those elements we're going to copy just those surfaces because I want to add the scatters to my scene as well and I don't want to necessarily build those because that's going to take us a few seconds extra and again it's just not worth it so we're going to everybody can see how it uh how with this build those are just rectangles that I didn't want to aim for and so we're going to paste it in now let's paste it again hope you can forgive me and and that I'm cutting some of the corners it's just that I want to make sure that you guys are also going to um well spend some less time with me talking all the time okay talking is not that bad but wasting your time will be so we're just going to speed it up now let's go ahead and create our first Corona scatter so we go to our creation panel creation geometry and then go to chaos scatter and let's just create our first Corona scatter in this case we're going to use all of the threes that we have in this area at four are scatters the goal in here is to ensure that what we're going to do is a small wall or environment that's going to pretty much fill in the gaps for our environment so distributed distribute on targeted objects we're going to distribute on three of those planes those are pretty much going to be close to our um zero surface then we're going to go for instance objects and we're just going to copy those in here so now the funny part is that everything is just too big because everything is not supposed to be like that but we can go to our Transformations and type in scale and type in 50 so that way we're going to pretty much just sweetly and seamlessly transition to our environment and now if I'm going to continue and start rendering still with our material override on with the fence and a little bit of environment that we built this is going to be slightly easier okay your work is very uh commendable and thank you very much for taking time to share your valuable knowledge and experience you are welcome and I'm really glad to you I like it so thank you for that I'm waiting for more Phoenix FD tutorial oh well um yes that's great but please Chris I would highly appreciate just sending one message we still don't have as so many viewers at the moment at two or let's say the chat isn't as active uh to be well spamming and I don't want our automatic Bots to to grab you and ban you that would be a shame because I love talking to you guys and by the way guys what software do you use on a regular basis I noticed that some of you use um it's not Rafael it's not yet either finished so it's going to take a while um Okay so now we need to go guys do you have sound issues I hope you don't do you think in the future Corona will be available for different softwares rabbit I guess catch up dinosaurs um it was available for SketchUp at some point but they didn't really um well they just didn't do it in the end um but right now it's available for Cinema 4D and probably is going to transfer to Maya at some point but I can't vouch for it you would have to actually ask the developers and were unfortunately not associated so now the materials glass material is the simplest material you can create and when it comes to Corona and we're just going to do it in seconds so don't blink um because we're going to do it so fast Corona going to select it apply it and this is the funny part glass then done now our our glass is already a part of our scene I have because we can be lazy I'm going to introduce a few objects that I kinda didn't yet build with you but I hope you're going to forgive me that I'm introducing stairs and a few props that kind of wasn't weren't there but they are now so I hope that you can forgive me this because we're getting closer to what we really wanted and that's the finishing touches so closer don't want to take this here second I see that my assets are a little bit lost so let's put them here we're almost there we're almost there I'm getting more and more excited for this but our materials are now the main focus of ours uh okay so you guys use rabbits in SketchUp and 3ds Max so thank you Marty um God will Oslo uh okay um wait a second I see that I didn't see that one question uh Rafael that you're currently answering uh so I might be on a different chat hi how much time is the render high quality if for this exterior scene thank you so much it all depends on your Hardware but for me it to have a good quality I needed approximately 20 minutes but it was a print quality and well YouTube Instagram quality is going to be slightly lower so it all depends on what you want to do with your assets so now let's go ahead and render it for one more time because we're getting closer and closer so let's look at it I'm really getting excited because now oh I've forgotten to turn off uh one of the overrides we still need to make sure that we're not overriding our glass so let's go to render setup go to preserve and now we're going to preserve our glass materials so that way our render is going to update and we're quickly going to see a little bit more of the overall reason why we went for this additional three line all around our building this is going to result in a nicer Reflections especially in those lower parts of our glass okay this is starting to look really really good I think we're going to adjust the position of our sun a little bit so I want to move it slightly to the left so that there's going to be a bit more um overall okay I lost my son in here so let's select it move it to the side and make sure to put it at an angle so we're going to have a more exciting view to work with look at that it even at this distance a Corona doesn't fail so let's make sure to just lock our view to this one viewport at a time okay this is starting to really look good look at the reflections I love it okay should I be getting excited about my own work I hope that you can forgive me that so let's go ahead and make sure to log in this screen okay so what is our next step we're probably going to have to go over each and every material in the scene to make it work but I don't care I kind of don't want to go through this process because overall overall we kind of need to do just the main four we need to do the ground material we need to do the walls material we need to do the wood material and the windows material so you know what we kind of can do it let's look at our reference what are we looking after so we're looking after grayish concrete ish material a little bit metallic material that's going to be also used for frames and some wooden material so we print oh and another concrete material so let's do it now to do it we unfortunately need to turn off the material override which is going to result in a very a weird um in a very weird effect but to avoid having this funky town type of rendering we're going to control a everything which is kind of a problem sometimes but we're going to click and select the gray color so whatever didn't have any color at all is now going to have a regular grayish color that is default for 3ds Max which is going to just make it a little bit faster and easier for you I'm returning all the windows together how can I solve this I'm watching many weapons all of them have the same problem for example I can't find the drawings models textures and materials used in the exterior and exterior working object so if you want to we can upload those for you in a second but it's going to be um well I'm going to need to finish at this webinar first also some of our webinars are going to be greatly limited to our website so you have to visit this Academy co uk to get your hands on the latest and best versions of our um of our floor plans so that would be probably the best bet where you can get most of those if the repository is free to download so you're not going to have any problem whatsoever so let's select all the windows and apply the right material to it or the Windows window frames as I've already described it earlier we have three different material IDs for that I'm going to be able to use multi-sub object and we don't necessarily want to go for any super complicated material because we just want Corona physical with a little bit of extras in it I would say that my students know exactly what I mean by a wobble but I'm going to just leave it out for our training and now I'm going to do the basic version so uh you know our students have to get a little bit of a special treatment so I hope that you can forgive me that and now we're going this is our material number one material ID number two was in the metallic part so we're going to just go for metal and I'm going to copy this element here so we can just quickly go for some super special Maths for our Windows since I got all the all of our frames selected that we are using you can see that now parts that are supposed to be black because that's the let's say rubber part it's black now we've got white part for the place where the filters or the metallic element is that is going to result in a slightly better view for our overall object now I want to make sure that also okay that's not what I was going for but I just use um I used some kind of shortcut for software that is working in the background uh but yeah that was interesting so now we're going to make sure that our wood is also going to be applied with the same materials so since we teach our students how to create materials that are more or less Bulletproof I want to make sure that we also try to go over something very similar and right now I need to select this object material gets selected and you can see that this material although is looks slightly complicated it's actually very easy and this is the one of the first materials that we teach our students how to do unfortunately again I'm not going to go into details here because I'm just going to show you that um what were what is this and what it is made of is just a simple texture that works flawlessly for floor generators and other surfaces that would be perfect honestly you can just use a regular texture and it's going to be um just A-Okay but because our students well they need to get a little bit of a special treatment and if you want to be one of those students that get it make sure to visit our website although if you have any questions feel free to ask because I'm not going to be that kind of person that won't tell you anything I just am not allowed to tell you everything so let's go ahead quick the glimpse of the material arcade and let's just go ahead and apply it to our objects and again Perfecto it's going to work flawlessly on all those Services now copy as I said um we're going to teach you how to do smart materials for your scenes and this is one of those so smart materials means that it's going to be you're going to be able to adjust it for the surface without really needing any kind of additional help with it so long story short as long as you can Master some of the basics you're going to be able to work faster and more efficiently so paste okay now let's go ahead and apply it once again and we're just going to add it in okay so long story short now we pretty much covered most of our walls we still need a darker tone for the elements here and element there and possibly the walls and so we're going to a Kill well all the birds with one stone I'm just going to copy this material and we're going to get it rougher slightly brighter so we're going to put the roughness slightly higher something around six and we're going to make it slightly brighter for those parts and uh I think 30 or 45 is going to be perfect and now let's try rendering yet again I've forgotten about the bottom so the bottom needs some kind of marble to get marble textures what you can do is you can go to chaos Cosmos browser and just type in some kind of in Marble so horrible let's see what they have for us I think this one is going to do so let's just add it in material editor let's turn it on let's go for our chaos Cosmos download this material wait for it a few seconds okay great and now let's just drag and drop it into our material editor the material is going to be one of the best possible case scenarios although I hate this part I despise this part because it's Marble who needs That Base iow air you're kidding me so long story short all we needed all along was just a good diffuse and thanks to the fact that it has Corona mapping randomization plus three planner it's going to be so much easier for me to add this material to my whole scene but we're going to have to actually add it so how about we select the right polygons to do it okay that's that'll be it that that's the amount of polygons I wanted to add this and Peter thank you I got my questions answered and that's great um do you aim and the sun directly to the project or is it better to aim far with the target like and the example that's a very good question I typically don't care I just make sure that the sun is not in my way and so my plan is to put it somewhere where it just doesn't um bother me I set it some in a position where I can easily grab it when I need it but also I don't want to make this a two much of a hassle um or let's say I don't want to make it too small too big I just want to have an easy selection of it when I am doing exteriors I also do something extra and I'm going to show you a neat trick for you because you asked that question and I think it's going to help you a lot if with your projects so give me a minute we're just going to apply the materials foreign thank you okay so now the materials are added it took a while but um we just did it so now with our Corona Sun you want to go to this bracket here manage selection sets you added here you name it sun and let's imagine that you have your scene right you are setting up this in real time and your sun is somewhere out there in the scene um in between billions of objects so what you want to do is um well go for this bracket go for the selection and it's always going to quickly grab that object so it's uh long story short not going to have impact where the position is when this where the sun is positioned in your scene because you're going to have a quick way of selecting it also what's going to be cool whenever you want to enlarge it never scale It Go for local coordinates in your um for local and move away the further away you move it the bigger it's going to become but the effect is going to be absolutely exactly the same you can even put it below your scene as long as it's at the same angle as long as it's at the same angle it's really going to have exactly the same impact on the scene overall you can put it in a box you can put hide it in a sphere you can even find it but at that point you're going to have to live with other um problems so this is going to I hope it's going to be helpful uh probably we're going to actually use this sun for a second and actually put it slightly lower because I want to create a bit of a different mood slightly Lower Side position so the sky follows and it's going to have a little bit of better looks if we put it lower because I want a bit of that um I'll say this um Sunset effect in our scene but I believe okay we're getting there but now I overdid it we're going to increase the exposure slightly and this is going to be a common problem a lot of times when you will be setting up your scene it's not going to be that easy because if your Sun is going to go too low and this and your clouds are already on uh at some certain angle it's going to be impossible for you to set up nice shadows and your nice sky at the same time so what we can do is fake it um and I mean it we can just pretend that we care about Auto realism no I it is going to be for a realistic but physical correctness is what I wanted to say so we're going to create an instance of our sky and look how much different it's going to react to our overall scene our scene is going to actually react and how much sun is going to change based on just the position of the sun you can see that now we've got more of the light in a light visible and it's cool but I think we're going to put it slightly higher so we can see more of the sun use chronic color correct for HRI yes we can but what I'm going to do is we're going to create a nice copy of our Corner Sky we're going to enable clouds for the copy and we're going to move it via Corona color correct so Corona Corona color correct and we're going to apply it in here right now we're also experiencing quite a lot of Bloom and glare which isn't the the worst problem to have but you can see that it really ruins some of the reflections if we're going to allow it to be like that so we're probably going to change the angle or what we can do is turn off visible in Reflections and it's going to pretty much fix it because it's no longer going to have that impact on our scene at the same time it's going to be softer on the overall scene because the reflection is no longer going to be that problematic or we can just go for Direct input so what do we do with this setup we turn on the clouds for the corona sky that is a copy and we apply this to our direct visibility and we just apply it in here so it's going to be instance and I could go for a bit higher turbidity so it's going to be slightly uh more uh yellowy so this way we're going to have this option to add the sky independent sorry clouds independent to our sun's position and long story short it's going to look just perfect and now the funny part is that we're pretty much done with setting up our environment we still need to position some of the threes rescale this and that but long story short were mostly done but because we are running a little bit out of time I'm going to speed up the process and actually cheat again and we're going to examine where do we position our additional um additional lights okay so in the original we can see that the sun is at the very shallow angle that's what domain and what Dominica has decided on and the funny funny funny funny funny part is that we've got a plethora of Lights in our interior itself so we're going to examine what's going on here because I don't want to copy each okay you know what we're going to copy them we're going to copy all of those lights and we're going to see exactly what impact they have on our scene so you can set them up as well but we're not going to be experimenting on this one regard because it's going to cost us additional 15 minutes but I think it's going to be really easy to set up for you as well because we're going to walk you through the process and let's try to set up more similar angle okay I think it's uh this is going to be fine now let's paste the lights and we're going to examine them in a second can I watch this live webinar later YouTube will save it live it's not going to save live but it's going to be re-watchable on our channel so yes you will be able to watch it at any time so we're going to move those elements slightly to the left okay Perfecto and now we've got it done so let's examine what's going on here those are LED lights that are going to be working with our curtains mostly all of the options for visibility are off same goes for the huge spheres inside which are going to act as we would be having some kind of additional light inside or just well just light so this is going to make sure that we have a little bit of extra mood we also have some kind of mood lights on the top of our ceiling second I think we're overdoing it let's just select one length at a time okay now with that light selected we can see that it's actually behind I've selected the wrong one uh wait a second this one we've got those mood lights that are IES so IES lights are going to be special light profiles that will allow you to work with 3ds Max and sorry that will work with 3ds Max and will create a special effect for the light right now there are a little bit too low or too high actually we're going to select those lights and move them lower perfect those are supposed to go lower as well then okay those are fine let's move those slightly lower in my case and that's pretty much going to mean that we're mostly done with our exteriors okay I kind of need to readjust those elements so you know what I I feel tempted to move to our students scene because all of that is getting a little bit out of hand right now because there's hundreds of small elements that we need to handle and long story short it's just about positioning and some of the smaller lights and I just want to walk you through the process so we're probably going to do it together okay so let's go to the scene of our students sorry for that um Okay so we've got our rim lights that are on the top of the building they follow along the the roof so it's quite easy we've got two lights with IES and that is built in Corona so again it's just two lights here two light here simple three lights at the bottom and some mood lights on the walls again super simple we've got additional light that adds a sum of the mood to inside of the scene so we're basically just shining a little bit of light out of the um of the building to make sure that it's going to produce the proper effect and since we're already on the topic of setting up the light we also have those gigantic sphere light inside of our interior again those are invisible for reflection refraction direct visibility and all the rest of goodies so um we typically want to set up them for some neutral color because if you set them up for a neutral color you're going to be able to use one magical trick that I really love about this Max Corona That's right actually we need to go go to our open material light mix editor we're going to go for that and we can go for create where do did those 21 million polygons came from I've actually opened the original version of this scene so effect um that looks sorry for that I've uh remember when I told you about copying the assets I didn't copy all of them uh because I wanted this webinar to be a bit faster I've actually uh and well didn't go for it and our scene although is uh well we can copy the light and we can adjust all the elements we're going to move on to the scene done by our student because we're running out of time and this is going to be a little bit longer but long story short we're on the very last step of it and right now we would have to just set up our lighting and tracing All of the Lights is going to be a bit of a problem for me because it's going to take us a bit additional 15 minutes and I really need to do it under two hours so we need to move on to this version so I hope that this explains this uh difference but we long story short did exactly the same setup but one additional light that I didn't disclose is right behind our camera it's a very strong orange light that's going to be set to 2000 Kelvin so it mimics the effect of our sun so although we're not going to see a lot of it it's going to be more or less a giving us the same um in the same mood so at this point we're going to go ahead and start rendering from this scene because I kind of don't want to test the angles on our sun but I might just copy it and it's going to be exactly the same so interactive light mix that we just set up is going to give us a one ability that Corona are you going to add a fog in the background in this tutorial no this is not one of those tutorials where we add the fog for our for our scene because it would take us a little bit too much time so toggle all we can now go to in interactive light Max turn on on and off everything the environment alone looks exactly the same as the in the scene that we did so all we need to do now is Trace the Sun so the Sun is going to give us this effect let's see what setup sorry guys I'm new on this sorts of webinars uh don't worry about it there is nothing to be sorry about as well what we need to also adjust is the sun size once you have your son um the size is going to determine how big or how soft the Shadows are going to be right now we could just adjust our miscaters density and that would result in a little bit of uh change between this between the density of our environment and again it would cost us a few minutes so please excuse me for that it's just one of those experiments we're going to be able to do um offline um so uh with um with our lights we just need to go over some of them you can see that most of those lights are not going to even play a role but we've got two lamps in front of our yard so we can see that we pretty much have those in here so those are quite strong and this gives us a bit of a mood so this is the light I mentioned because this is the light behind and that gives us this extra small but very significant orange-ish gold and effect that kind of mimics Sun from behind the trees and that way we're getting a little bit more of a mood next we've got our lights that our um around our elevation so it's just an extra light it's going to give us extra reflection inside long story short it's all about adding a little bit of the beauty now we're going to turn on all of those lights that are are part of our Rim so long story in this um in this instance we're just adding those rim lights that will create the extra mood and that's pretty much how we can do it so those lights are going to be again really easy to set up if we just um set them to Value around 50 and then in light mix we can go a little bit lower or higher depending on our individual needs and depending also on what you want to achieve in your scene whenever you want to work with 3ds Max grouping your light and making sure that you have a lot of instances is going to be the golden ratio you want to go for next to the fact that earlier it thanks to the trick that I shown you earlier our direct visibility allows us to have independent environment to our direct visibility so again we're gaining a little bit of an additional um additional advantage over um our and sorry we we have additional option to set up our environment the way we want it and long story short you can quickly change the night mode and sorry day mode to night mode if you want to by turning on the lights off and on unfortunately due to the fact that I don't want to do that part 2 or not going to be setting up all of the lights but if that would be a big issue for you guys I can go over that in the next webinar because I don't want to leave you hanging but I promise we're going to set our um floor plan and give our uh sorry add the link to our floor plan in a second under the video description so you're going to be able to participate just like I did and remember all of the Assets in the scene where uh either chaos Cosmos or freebies so you're not going to have any problems redoing exactly what I did Mike uh do you have any plans for post-production webinar later you know that also sounds like a good idea but I shy away from any kind of post production can we use this personal portfolio when we do it and possibly share it with you for some feedback again I apologize for the questions a redact no need for you to apologize you can use this for your personal portfolio just make sure to name it case study because otherwise um the um it's going to be easier this way and since it's not going to be possible to uh call it illegal drawing something that is in real life as long as you don't claim that the design is yours it's absolutely fine as far as I know um how how do you set a glass with wobbliness reflection that's one of those things that I'm going to probably keep for our students amazing webinar Mike thank you Malad it's a very nice thing to hear also I think this is going to be enough for today two hours is enough so uh guys we're going to create another webinar next Thursday so uh if you want to you can email us some suggestions also adjust to make it absolutely clear if you want to send us some suggestions go to infovis academy co uk name those emails suggestion otherwise we might miss it and it's going to be easier for me to look into that and we're just going to have a nice list of topics over the week we're going to have a few polls on on our Instagram so you can participate and decide what interior or exterior we're going to be working with and also if you want to sign up to our training you want to go to this Academy co uk we just launched a new um new group so we're going to now have a recreation or enrollment for September so if you want to join that group you might want to um try grabbing this spot as soon as possible because 9th September is going to be probably one of those groups that will have even more elements in the um in the curriculum not because we're limiting anything but we're constantly creating new videos and we're and making sure to and let's say enhance the experience for all of our students so if you're going to join our training you're going to have at the webinars per week which are a little bit different to the one we had today typically we go over work of our students so we review your progress and based on our videos you're going to be able to achieve excellent results uh due to the fact that you will be working five days a week and we are going to be um let's say demanding a little bit uh because the training is um well going to be quite highly based but uh you can read our reviews that it's exactly worth it plus on top of everything you're going to have unlimited access to all of our perform materials tasks videos without any expiration date and for the whole iteration of our training you're going to have access to our brilliant support which is now being handled by Ula Mary and Javier which are available at different hours but seven week days a week so you're going to have access to not only me but also our amazing tutors which are seasoned professionals um okay guys this is it for today thank you very much for your attention sorry that it took longer than anticipated and we didn't do exactly everything I planned but I believe it was still educational so next time I'm going to try to be even faster and we're going to do even more but this time we're going to finish the right way so thank you again tune in for the next webinars make sure to leave a like subscribe to our YouTube channel it really greatly helps us I know this is a very long way of saying goodbye but I promise this is it for today thank you very much and see you next week bye [Music] please

Channel: VizAcademy UK

Views: 313,945

Keywords: Exterior modeling, 3ds Max, architectural visualization tutorial, 3D design tips, architecture student, architect, 3D designer, interior designer, rendering, 3D render, archviz, archvis, exterior render, Vizacademy, exteriors, corona, Corona renderer, Corona 10, Scatter, Chaos

Id: h7CSgx2ByzI

Length: 127min 10sec (7630 seconds)

Published: Fri Jul 21 2023