From Zero to Hero - Restaurant Modeling and Rendering! Part II

[Music] laughs foreign [Music] hello everybody Welcome to our next webinar so this time we're going to dive a little bit deeper into the interior that I left you with the last time as I mentioned we are going to give you the file that I needed to make sure that it's bulletproof uh for you guys so it took me a while and uh hello Luana hello uh really nice to see you uh is it Julia I um okay guys uh so welcome it's great to have you all and let's get started so today we're going to go through few topics said that we already kind of talked about because well our webinar is from Zero to Hero part two uh so please notice how neatly I placed this part two so you can read it anyway at the same time I wanted to make sure that everybody understands that the scene as it as it is is pretty much already made but we kind of went over our environment making and I think it's going to be a great two um at least give you a quick recap on some of the elements so everybody who just tuned in will be able to follow along uh hello hi hi uh a new guy and uh well MJ hello hello hello Nora um guys it's really nice to see you so uh some of our current students joined in really nice to have you all uh I'm humbled to uh see you um those of you that just joined in my name is Michael and I am a teacher for this Academy this Academy is a school that's going to teach you how to create beautiful renders just like the one that we're going to be finishing up today and uh where we cut some Corners so we are going to make sure that we're going to create those but in just seven weeks you're going to be able to do exactly the same and more so I'm really happy to see you all and let's get started so um meanwhile if you have any questions in regarding our scene or anything that you would like me to explain to you feel free to ask questions be because we're here to have a little bit of conversation have a little bit of a nice time so it's not just a straightforward tutorial where I'm going to be clicking not looking at the chat I just want to have hang out with you to have a little bit of fun um also we're not going to be diving into all the topics real deeply because I think that that's going to be reserved for our students so you're gonna do texture and lighting too um Prince that's exactly what we're going to be doing so textures aren't necessarily going to be that complicated for the scene that we have so last time we pretty much created this setup where we kind of nailed it we've got our top which is going to be this grid once again uh just so you remember you're going to be able to download this file as a JPEG from our platform that's Vis Academy code UK at the same time our students can get their hands on the cad file because well why not um okay so as I was saying yeah this file was remade from a scene created by our student Veronica so thank you very much for being so kind and sending it to us anyway so where do we want to start first we're going to examine what we can do to all the materials because well obviously it's going to be important for us but the more important part part for us is setting up our environment so last time I shown you a very quick method using our students um Agri but I redesigned this scene a little bit so it's going to be easier for you to follow along and we remade the lighting so let's just delete the lighting and follow along or create it together um once again guys remember that in order to get your hands on the files that will be shared with our audience you pretty much just need to log into our website that's visacademy code UK and look in the freebies love from India that's nice to have that love uh from you yeah so let's continue anyway first thing I'm going to be setting up is direct visibility override this isn't really important for me but sometimes when you will be setting up a very bright light you may want to tone it down a little bit so the bloom and glare is not going to be overwhelming so that's the first part next what we need to do is turn on our drill override because we want to render everything for a second as fully white so obviously we're going to start rendering and we're probably going to see that we cannot see a lot and why because we didn't add any nice lights yet so we kind of need to do that so what are we using we're just using the white color for of the environment but that's not exactly what I want so we're going to set this scene up using Corona sky and Corona Sun it's extremely simple to do so uh don't blink because we're going to do it real fast so we go to our creation panel I have to click on our lights jump to coronasan and we're going to be placing our sun obviously so meanwhile we're going to just jump into our top view or any other view so we can actually follow along and we're just going to be placing our light at let's say designed um distinct um let's say an angle that looks nice I think that this is good enough for me so we're going to keep it this way meanwhile I'm going to hide a few elements that we don't need here so now what we can see is the sun alone already gives us a really nice effect but that's not everything we need because we still need the ambience of our sky so for now I'm going to click on our Corona Sun and just quickly jump into the modify panel lighting is Corona or if you're a full Corona training because I think that Corona is 10 times better so by default Corona Sun is going to have the settings of one by one so we're going to change this a little bit more in a second so and now add coronascoin to environment is going to be the first thing I'm going to be clicking so we're going to click on that and we pretty much introduced another element to our scene which is exactly our Corona sky so even if I turn off my Corona Sun you can see that the environment alone is already looking really nice so yeah hello from Afghanistan Afghanistan really amazing I mean uh okay Afghanistan sounds like far away Brazil Rio de Janeiro okay I really would like to go there someday so yeah really nice so we have students from all over the world and our current group proves it because we have people from Philippines we've got people from Mexico USA we even had a student from Australia quite recently so we're pretty much covering the whole globe right now so I'm pretty happy with that and thank you for putting trust in this Academy because well I'll be honest it's always nice to see um such a great range of people um now let's continue since we're on our environment I'm going to turn back on our sun so we can see what effect it really gives us not only it affects the sky how it works but also it affects the overall lighting first thing I'm going to do is lower the intensity of my son because I don't need it to be that let's say that complicated next we're going to jump into our size so the son of the size because I want my Shadows to be a little bit softer I want this to be let's say somewhere around three so it's going to be nice lazy Shadow just pouring into our scene I would have really I'm making it look weird okay next thing that I changed here is from realistic I'm changing into direct input because I want nice washed out light which still has the default a tint and that's really subtle so we're not fully using nothing uh you can also see that my blooming glare settings aren't really related to the defaults I'm lowering all those because I think that in photography you don't want overwhelming blooming glitter because that would suggest a little bit of stains or scratches on your lens and we kind of want to avoid that as much as we can so uh let's continue um Algeria South Africa guys so those of you that just joined in tell me a little bit about yourselves I mean do you use 3ds Max or you use other software um are you interested in Corona what brings you here because um honestly this is always as uh so interesting to hear about our students and audience uh honestly just now this the group that we have has so many talented people I honestly never had this experience where um at some of the lessons we didn't have a lot of them yet well from all of the students the whole group had lessons that nobody made ever um even one mistake which is something new to me because honestly as a teacher I would expect some of my students to make mistakes but it just didn't happen alright so let's continue with our lesson so since our lighting is pretty much set up we can wiggle around our sun if we want to but I'm going to keep it the way it is because I kind of like it I just uh luckily uh for me it's in the right position so now we're going to go back to our render setup and we're going to be turning off our material override because at the moment I've already added the materials to the scene we're going to do a little bit of a trick in a second so it's going to be easier for us to kind of make it more believable that we're actually adding the materials so where do we want to start we definitely want to start with the biggest chunks of our scene so probably the walls and everything that's big so all of the elements at the ceiling and at the back that's going to be the that's going to be those elements that we have to focus on the most so um where do we start okay and if I'm going to turn off the material override we're going to go back to the original scene kinda blows the effect so what we could do is simply start deselecting and selecting elements that we're interested in and start just explaining how the material was made so I don't need to click everything at the same time a Ctrl shift a to select similar elements in 3ds Max so we're pretty much going to select everything on the ceiling and that's pretty neat so my next step is going to be adding the material to those planks we've got those materials set up right here so the material I'm going to be using is going to be extremely simple and there's nothing special about it because as I said from Zero to Hero so we're going to be using the most basic options possible so change material map type I'm just going to add in runoff physical material as is so we're going to be using just this material at the moment and we can see that even cutting it off from our XM adding it to our excludes kinda gives us no effect okay this was supposed to give us no effect so we're just going to add this material right now okay and we're going to continue working with this material uh from scratch obviously the first thing we need for our nice material is some kind of bitmap I'm going to be using a vis Academy texture that is provided to our students but any wood texture that's similar will do so we pretty much need nice texture that's not going to have too much grain on it so pretty much this is what I'm going to be using um if you want to take screenshots you can but this texture is available to our students so guys those of you that that just joined in um I mean my current students you will get your hands on this texture and if you want to get it earlier because we're not yet rendering uh just requested from our support uh okay hi from Ukraine hi from all over the world I can see Uzbekistan okay Pakistan nice guys that's cool and we've got Philippines again so plank to join next by please please when will the registration open as super excited Rio uh if you want to join you're in luck because we're opening our registration in a few days so please be on the lookout um by the end of this week we should already have our registration open so that means that you can secure your spot but please hurry because we're in high demand and this time we actually had to move a few people to the next term because of that so yep please be on Lookout also you can sign up for a newsletter so you're going to get a bit more informed so Corona bitmap is going to be the go-to texture container for us and since we're just using a texture without any special properties we're going to add those extra properties because if I'm just going to add this texture [Music] not yet what we wanted why because it's not only oversaturated it's a little bit too dark but also I kinda don't like the reflection so we're going to jump into our next map which is going to be Corona color correction so Chronicle correction is going to help us to achieve the right color what we do here is we simply click on our map which is always going to be green and we just simply add our gamma gamma is responsible for the brightness of our object yes we also have the brightness in here but I prefer using gamma because in most of the cases it gives a little bit more photographic looks at this moment always when manipulating your gamma and manipulating your brightness I recommend also following up with a little bit of saturation so I'm going to go for something around 2.3 gamma remember that this is not rocket science so if we're going to be off its own five or two percent nobody's going to be um well and very mad at us so please make sure to also do that okay I think that two and a half is going to be great and we're going to take away just a dash of saturation so it's going to be easier to read the texture on our ceiling so this is the step number one step number two for my materials creation is going to be using exactly the same texture but applying it to Corona um cultural correction so again we're going to add the bitmap to Chronicle correction but this time we're going to add it as our roughness map roughness map is going to give us a nice reflection although at the moment the roughness map is very powerful so we have to do something about it a lot of times when dealing with saturation on this kind of maps that work in zero one values we want to go for -1 for a little a little bit better read in this case of positive values so brighter colors are closer to Value one of of roughness roughness one means we're going to have a very let's say um a rough surface with not too many Reflections so in this case I'm just going to go for a gamma 3 and it's pretty much going to cover everything for me because now this material looks exactly as I want it um it looks a little bit uh easy and it is uh also when using roughness Maps it is going to be a good idea to experiment whether you're you inverting the colders is not going to be a better idea because in some cases it is actually recommended to do so for the roughness instead of glossiness so we pretty much just set up our main material for half of the scene so as I said this is a basic tutorial for those of you that want to go from Zero to Hero you don't always have to go from the hoops and for the through the hoops and Loops to get something to look beautiful we could make this material way more complicated and believe me there are ways of doing that I can show you that if you would be and so well if you're going to be interested in that but at the moment we're not going to go there so the next element that I want to experiment with or just get to the same exclusion we're just going to go for the main Furniture so this is pretty much going to be exactly what we needed and since we added the mapping prior to this process it it is not going to be a problem when it comes to mapping we're going to make a special video on that topic at some point because I want to show you how to do the property video of the unwrapping and all the additional elements along the way so it's going to be quite simple so Ctrl shift a to select all the furniture pieces and we're just going to exclude those as well remember that in normal circumstances you're not going to be excluding everything along the way you're just going to be turning off your material override and working towards the new materials but since this is an online tutorial I want to make sure that everything is clean easy and tidy so yeah Mike is there any possibility for any option uh for this course all over the world uh I see it is all over the world you can actually join our training if you wish to do so uh the only restriction is the hours at which our lessons are held because we are working in a UK time zone so you definitely want to adhere to that and I must say that our Australian Chinese and Japanese students still manage to um pass our training flawlessly so congratulations to you guys okay so Swani from India I will be uploading after a live class great uh when to use gamma and when to use brightness or exposure very nice question so in in reality those are interchangeable gamma is going to add a little bit more um so to really and understand the differences between gamma and brightness you have to think in terms of curves so when it comes to brightness everything is going to the curve for the brightness is going to go like this so everything is going to over burn and get too bright really quickly so it's going to first focus on the brightness pixels it is going to essentially just make all the pixels brighter so pretty much gamma does almost the same thing but it uses a little bit different algorithm so it leaves the white color intact for a little bit longer because it first works with the brighter colors and the mid tones so the brighter colors are not as affected so you're not going to be over burning your elements and exposure that's pretty much something that I only reserve for hdris because it's well it does this for to your um Regular elements it it works best with a 32-bit textures or Maps but in this case it is not going to be a good idea what's the difference between 8 6 stain and 32 gig bit textures wait well um it's the colder range eight is going to have a certain range and then 16 bits is going to have way way broader range while the 32 range is also going to carry um light information for all individual pixels so in images like that you can literally have pixels that produce light so when you would be changing the exposure that that let's say that property is going to be utilized but that's something that we don't use that often uh that's that's the nerd stuff okay so we pretty much created our main Furniture piece and we now need to move on to the next element um I think we're just going to control a selected all of those elements together and we're just going to X and make sure to also exclude them from our current setup so yes this Granite is going to be absolutely super easy so the setup for this material is pretty much the preset but you don't need to even use anything from here because well that's going to be kind of cheating no it's not it's actually the easiest way but only change that we have to make is determine whether what level of roughness do we want to work with so again if we start rendering our shot you can see that pretty much nothing is happening because it's super simple and well as I said we're now going to even see a lot of effect because currently there's nothing happening it's just the white material so we want this to be more interesting and that's why we can change our roughness roughness is going to be set to something a little bit less rough so it means that our object is going to be more polished so it's pretty much going to have some reflection and you can see this reflection really well if we change our color to zero black where you can actually see all the reflections on on the objects I typically would add a lot of information about adding the wobble and Imperfections and all of that but this is again reserved for our students during our training although I'm going to just hint that this is important for most of the renders and my students are going to hear about this a lot so we've got our base level set to zero at the moment but this is only for the purpose of testing how the reflection works and you can see that if I'm going to go for higher roughness so 0.4 all those all of that reflection is pretty much washed out we can see that this object is now looking a little bit different due to this level of roughness so if I want to I can go to zero five uh 0.15 and that's going to be my go-to roughness and this is the neat part because we're just going to be using a granite texture that pretty much looks like Speckles we could use any textures that are going to be procedural but if you're going to type in well Granite texture I promise you you're going to find this one real fast so let's just add it in and re-change our base level to one so now we can see how the material behaves I believe that again it's a little bit too bright so in order to to mitigate that I am also going to add Corona color correction this Chronicle or correction is only going to take away some of the gamma I want to take away let's say 30 or more but I don't want to be a too harsh about it also whenever I manipulate my gamma I follow up with a little bit of saturation because you can get to really weird looking materials if you don't so right now everything is too bright that's due to the fact that our other object which is again one of the biggest is not yet filled in and that's our floor so the floor is uh yes you guessed it is going to be super basic for your enjoyment so let's go ahead and create something extra Mike some people use Gray a override material but used white white but you used white so in this case it's not that I used white I just used gray and my exposure allowed me to go to pretty much change this or move this into white color gray or let's say mid-tone gray is best to really see all the highlights and all the differences between the colors I mean once we have our scene grayed out you want to apply a little bit of brightness even a bit too much more than your scene needs and then chip it down once a darker materials are going to come in because in reality your walls are never going to be fully white you want them to have a little bit lower tones at least 70 up to even 60 percent lower than the maximum brightness the white if you try to take a piece of paper and just test it against your wall or your teeth you're going to see that there's a quite big difference and both those objects would be identified as white while in reality if you do the same if you take this same piece of paper and point it at a let's say some kind of light source for example white lamp you're going to see that that white is way wider than what you have in your hand so that's why we leave that extra room for those materials keep up the good work Tilia from Sri Lanka thank you very much and I hope I we will uh gamma is not appear on my screen okay so when use gamma by the way guys keep those nice questions coming I really really love this and thanks Mike I saw the website now joining soon Rio and welcome a really great it's going to great it's going to be great to have you um so I'm really excited for this tutorial so I get my tongue a little bit twisted so I apologize I apologize for that okay um you can see that we also have this logo around here so we pretty much could do something about that as well so unfreeze all and let's see what we have in this case okay I think my 3ds Max is playing games with me again so what type of material would you create for an object like this yes you guessed it it's going to be the most basic possible material we're going to create Corona material so that's Corona physical material for us we're going to exclude those elements and just to be a little bit more zealous and see a little bit better we're going to enlarge this viewport and and for my own enjoyment I'm going to click on this plus 2D Panzer mode and zoom into uh onto our objects we're quickly going to be able to see that during our render time uh what I zoomed in is also appearing here but my logo is not really visible and as I mentioned we're not going to be going into too much detail when it comes to a creation of every element but you might as well just uh a second to look into the process from the previous webinar because we modeled everything pretty much from scratch and what that didn't need it we just skipped and added into our scene and this is kind of easier during online webinars because you guessed it we don't want to make this five hour long series it's just for your enjoyment and to learn a little bit uh something new so we don't need a lot and if you want a little bit more reflection on it we can just pump this up with iowr and you can already see that we've got beautiful reflection all over our text so let's just zoom out and continue so 2D Panzer mode turned off okay thank you so much for free webinar I really appreciate that you always answer my questions on Instagram too thanks Swati that's uh that's really nice too um don't you say this um I'm surprised and really great to hear this and uh yes we continue and we will continue to do so so now what else where are we going to create we were going to work on our material for this floor so you guessed it it's going to be super basic it's going to be a very similar material to our um to the material used for our um for our other elements but this time I'm going to also use another texture that is provided to our students so let's just reset this make sure that we apply this material to our floor because again it's just supposed to be nice grayish color so I'm going to replug in everything and just quickly show you what we're going to be working with in this instance so it's going to be one of the textures that we gave to this student so at Veronica once again thank you and I'll just plug it in by default the texture is going to look quite nice but we kind of need to do a little bit more border Reflections so for that what I'm going to do is apply this texture which is again in our library it's actually my favorite one because it's Dirt 4 texture from this Academy and it pretty much looks like this and so it's a dirty dirty map that you can add into your renders without any problems as long as you use the proper setup and the proper setup for this is going to look like this we first apply our texture we determine whether it needs some kind of extra work and does it have any colors that we don't disagree with or can we just change something about it that's going to make it a little bit better and in this case yes we can so we're going to apply our Corona color correction first thing I'm going to do is take away a little bit of gamma I want this to be darker but yeah I kind of overdid it so uh why did this happen let's test if I didn't mess up the material at first nope nothing wrong is happening although we have too much Reflection from the previous installment also I kind of overdid the gamma part so we're going to go for 0.8 0.9 just so it's a little bit darker than it was originally but it is not going to be too dark so we can still see some detail on the floor and obviously I see everything that we're interested in so this is going to be our starting point what I don't like is the reflection so we're going to apply this map with a little bit of changes so quickly we're going to apply our chronological correction plug in our map that I just mentioned and this map is going to be used as our roughness map why do we use maps like this as our roughness map first of all they give us absolutely amazing results because you can already see that this material is now having this very nice shiny elements all over it so it's essentially going to be a bit nicer and we also follow up with the right amount of gamma but in this case you may be inclined to actually use brightness so as I mentioned our brighter colors are going to be affected first so if we go for a little bit of brightness first we're going to get a better level of our roughness and it's essentially going to look a bit better so long story short you can use it interchangeably also I don't want to use but this map fully so we're just going to mix this up so we're going to go for 50 of my roughness and 50 of that math what I could do is I could keep on working with my texture and just pretty much have it have a go with it but at this moment it's not going to be necessary for me because this setup is going to be quite uh logically um well looking good although I still need to desaturate this slightly so it's going to be a bit closer to what I planned for uh does Corona renderer use GPU GPU or CPU it's fully integrated with your CPU so in this case if you're using some kind of beefy graphics card Corona is not going to have a lot of let's say um it's not going to have a lot of use for your GPU although it eats your processor it really munches on those set and hertzes on your processor so it's definitely a 3D rendering engine based on your your CPU the only thing that Corona uses the GPU for is the um denoising but I personally don't use the Nvidia GPU denoising although I did use it for the webinar sake I typically use Corona high quality for my quality renders because it's named Corona high quality for a reason so the rest of the materials for example the metal and our glass can be really made out of presets so we can just go for a simple Corona material and go to our Corona physical click on our glass and that's pretty much what we needed once this is glass we're going to be able to apply this to our object and just simply preserve all the glass elements so let's just preserve the glass elements and we can see that it pretty much looks absolutely neat also we can see that this top material is made out of glass so again let's guide you to do it because it won't hurt to at least talk about this specific material and how it was made because I didn't want to again make it too complicated I made sure that my glass object had a little bit of thickness so I don't need to use too many fake options in it but I still use a thin shell option and just went a little bit lower with the roughness that allowed me to get this effect of very nicely looking milky glass in my scene so long story short it looks like this and there's nothing that beats this also what I did on top of it in order to have that very neat reflection and not only the milkiness of the glass I also used clear coat layer on top of it clear coat layer is a type of blending mode on top of our object that's going to allow us to get a little bit well extra reflection so clear coat layer set to 1 is going to allow us to get that extra reflection instead of full roughness now blur that is going to be normal for such circumstances and I believe that this is going to be something that you also should remember about that clear coat layer can be helpful when setting up your milky glass once you want some nicer Reflections on it okay thank you so much um it's easier to go with that and take calls instead of making a 3D logo is it easier to use Quran decals instead of making a 3D logo um yes and no it all depends on your use cases if you want to slap that logo all over the place yes it's better to use Deco but if you want to fully bump it and you want to possibly even put it at a 3D as a 3D object somewhere in different shots I would probably go for a regular 3D model because it is going to give us a few more options for bending for twisting chamfers and overall just because we set it up the last time just using Max text and the right font it was easier for me and faster because I would actually have to have had to create the texture for the same logo in Photoshop or other software so I would create text anyway and in 3ds Max that's a very simple thing because if we if 3ds Max allows me to select that object we're just going to zoom in again it's called the enhance let's just jump into it and you can see that due to the fact that this is a text plus we can just say whatever we like so for example foreign too many shift disease I guess so hi YouTube uh we've got our new logo uh let's keep it this way because uh yeah you made me to do it okay right here now let's continue and actually start um enjoying the process we went through most of the objects what you will be doing is you're going to be adding plants into your interior but that's going to be one of those things that you just uh grab from chaos Cosmos and use one of the vegetation models another update so I'm guessing we're going to have 5 000 more models to enjoy uh thank you for that chaos um feels really weird to say that out loud thank you chaos um yeah anyway um if we want to we can use any plan from this Library we just need to click download it and plug it into our scene so the process is very simple no need to really go to do it but the idea is we're going to be adding those elements in so what we really want to do is the most essential materials for our whole interior so rest is going to be either copies of our materials that we already have have been using um any kind of objects that were pre-made for example this those pies in here those are just models that we downloaded you guessed it from one of the libraries but I think it's not going to be a bad idea to talk a little bit about Corona decal because one of my students from the past and I would say just recent actually um asked me a little bit about Corona decal and where there it is worth using and I would say yes definitely please do but how do we set it up because obviously it's not something that is 100 obvious and let's just explore this together how to make a texture that's pretty much going to change the appearance of your elements in the scene so first how do we add a coronal decal to our scene right now that goal can be used as a simple tool with any kind of material for which materials we should work with Iowa and shoot should reflection or diffuse be a complete 0 or 255. pretty much you're never going to be using complete zero for anything and never 255. I mean there's always an option for that if you're going to if you want to do that for some artistic reason go for it but no material is going to be using 255 in any Regard in most of the cases you want to pretty much use ior and since we're using the PBR materials and physical setup we're either going to be going for a range between 1 and 3 for physical objects that are non-metallic and non-glass or we're just going to jump into higher values than that and use metallic option which is super simple to do as setup Okay so we've got this I don't even know what that is uh so we've got those decorative elements in our scene and we want to use those um ports to just simply um well we want to add some kind of colors and textures to it and we want to do it without really mapping this object because we're still experimenting and we're we don't necessarily have time for that so first thing I'm going to do is stop my rendering because I want to create a new object and that sometimes is going to cost us a little bit of time if we're going to keep on rendering okay so what I did is I clicked on the Chrono toolbar and the selected Corona decal so Corner decal is going to be my go-to tool in this instance so if I'm going to move it here and just simply test for its position on different viewports we can see that it's pretty neat in this position in our scene we can see where it is no problem there right so we're recovering everything so let's see see how it renders at first we're not going to see a lot of effect and it's pretty much not going to affect our scene at all because we haven't added any material to our decal so it's pretty much not a using anything so now let's go for um any kind of material oh look at that I have a special tab for decal um yeah we're going to use it in a second and I'm going to walk you through the setup in well at the same time so Corona physical and drill obviously is going to be our go-to material because we want to just click on this setup remember that if you want to dive deeper into a material setup I recommend you to sign up to our website to to check out a few extra in videos out there plus you can look for our mini training that's going to teach you how to model literally almost everything from scratch it's a very nice uh thing to test out for your um on your own on top of that I encourage you to enroll to our training too well pretty much learn everything that our students know and you kind of did see what's going on with our uh you Instagram and well this scene was created by us by our students so you pretty much self-explanatory okay so long story short I'm going to add this decal material which is Corner Physical to my object what it did it over it's some overriding everything that's related to um this area so it's a pretty neat trick because right now the way I'm placing this um Deco is allowing me to pretty much just scale it down if I want to and look what happens in this scene I'm only covering a part of those teapots or clay Bots actually in my render so I can just split them into red and white versions so it's super nice and easy to do but the same decal is pouring onto my table and I'm not really a fan of that so how do we make our decal only affect a certain amount of objects we go to our modify panel and there we're going to be using include and exclude options so we're just going to click on this exclude and include option now we're going to change to include and lucky for me I already have this pre-selection pres selection preset which allows me to quickly find the objects that we're looking for so I'm going to just add them in and we've got all five elements for my pots in this on this list if we want to we can just rename them and find them manually but the long story short is that we're going to be able to affect only those objects thanks to this small operation and it didn't cost us a lot of time so what I want you to do now is go to material editor and actually create some kind of material that's going to look nice on those clay pots so let's for example add um a little bit of opacity opacity maps are again maps that will allow you to mask out some certain elements of your objects those can be used instead of creating some kind of elaborate models with holes and you just don't need it if that's going to be flat or far away so white areas are visible black areas are invisible the Quran decal is going to project the texture on its own so we don't even have to care about our mapping at all and thanks to the fact that I've added this opacity map we kind of cannot see anything the reason for it is mostly due to the fact that um well we're affecting only a certain portion of our table and our texture is being projected in this very weird manner so we can see that is actually being projected onto one of those elements or two of them but we need to lower the size of it and we're just going to continue with our decal once it is on top of our object and very quickly I've added detail to my to my element because my camera is going to be set up from at the left um of this object I'm just going to rotate this a decal and move it wherever I want it and again depending on what we want to highlight we're going to be able to just quickly add our textures on both sides of this object and it's going to make this element a little bit more interesting but I still want to scale this element down so we're going to project only partially and it's going to look like somebody actually painted this okay this blood red color is giving me a little bit of a bad Vibe so let's change this camera to a different one now this is a happy pot okay so there's no blood stains on it we're just going to change this texture um sorry we're going to apply texture that's going to make this object look better in this case it's I'm just some kind of yellow pattern that I thought that looks nice looks like something that people would be randomly painting on as such a pots you know how it is you go to a small uh event where you create a small pot you then don't know what to do with it and you just continue by slapping some holders on top on top of it so long story short we just kind of nailed our material setup Okay so we've got most of our materials uh done but now let's talk about the effect that we uh that you all came here for um if you recall correctly and I um and I know that you do we want to also talk a little bit about this short video that we've created for our Instagram so you probably want to know how this was set up right so let's just go ahead and try to um see it once again and what's happened to examine what's happening here so some kind of thing is going to do our scene and it's adding this wireframe and also it's adding a little bit of that laser cut through our scene and it's changes changing from one color to multiple colors in uh in an instance okay so I think that I'm actually going to increase the tiling on my sum of my materials and make them a little bit brighter or darker because I actually don't like what we came up with so yeah that's way better um Okay so what now we're going to just unhide two objects that are going to be exactly the same as the one we just used but those are going to be quranicals set up in a very specific way that will allow us to get that effect okay so what the the effect is is just a white color with another a decal with a nice colder override so let's test how it looks like and what it really does so first of all this is just a Corona Deco zooming through our scene without really looking at uh behind so we're just moving it forward and backward for the effect of quite simple right um Indian hello can you do it tutorial for exterior lighting yes we can Corona is a very fast uh um it's very fast without varying or not um you don't need v-ray um compared to v-ray Corona in my opinion is faster but I know know that if you are absolute engineer in v-ray you may actually achieve better results but from independent testing that were done on YouTube so you know can that you can trust that Quran is actually the fastest one of the fastest rendering engines uh out there and it handles caustics best of all although it actually renders those quite slow but it's the best on the market so um hello from Cambodia well hello I don't know why there's an uh there's a question mark there but alone I so uh what should be the ideal unit setup and system unit setup Swati that's going to be I personally use centimeters by centimeters and I don't change that I know that a lot of Architects will prefer to use millimeters and millimeters but I don't like it because once you start using exterior working with exteriors typing in gajillion in gajillion's into your values it gets really old very fast so I don't do that um okay sir we'll be defines uploaded later after today's theme or over the visit Academy website as I'll as till now it's not yet uploaded in the website yes it will be uploaded quite soon so please be patient and I apologize for not uploading it sooner it's just that we needed to make sure that those files are going to be nice clean and easy to follow okay so we made a few iterations to it but you're going to be able to reproduce pretty much everything out of it uh I did test it with some people and it's going to be a piece of cake just for your enjoyment we've added this Small ruler so it's going to be slightly easier for you to scale everything and and make it make more sense hello from Vietnam hello from Vietnam I have Hello to Vietnam Hello Cheers from Argentina you are great at still learning nice things here uh grinder thank you that's really nice and since you have 3D in your name that only can mean that you are already experienced so learning something new um well that's always so welcome okay let's go to our material editor and test our decal setup for this um let's say laser array so it's going to be oh my God it's super simple Yes you guessed it it's just Corona physical material without any extras but the second one is going to be a bit more complicated because what I'm using here is two independent Corona decals one is just material override the same that we saw all the time and I was just exploding elements from it so it's pretty much the same material but the second one a smaller and let's say thinner one is going to have a little bit of a complicated setup so this complicated setup really boils down to it's not that complicated I was just messing around so what we have here is Corona layered material you can use this or you can think about it as a simple mix-up of two materials so what we have here is Corona physical without any special elements in it it's just the default then we've got coronav physical without any special setup but we do have our multiplier set to one in advanced options and our color set to a really nice bright orange so it's going to be vibrant and appealing but you don't need more in the self illumination self animation one is going to be just enough and those two materials are plugged in into Corona layered material the corona physical without anything is just our base and on top of that base we've got our Corona physical with the brightness on it and in order to have a nice transition what I did is a little bit of a mix-up first of all I used Corona mix to mix two maps one is a gradient so so the difference between white and black is going to be the difference that you're going to get in a rendering so if I'm going to unplug this corner mix what we're going to see once we move our line somewhere in our Corona cameras view let's just make sure that it's visible what we're going to see is just um well the same same stripe but a little bit um let's say thicker and that's not exactly what we probably planned for so let's just try using those elements why did I use this gradient the gradient allows me to have a nice transition between two quarters so I plug this gradient and as my mask and we can see that not only this got way thinner but also it has a little bit of gradient where we're just transitioning from one color to another and we can just change whatever relation between two colors we want and we're going to see a bit more of that effect so we can make it thicker or thinner if we want to we can also scale our object if that's something you would you would prefer to do I just use this as a zipper because it's faster next we've got our Corona mix that I mentioned so this time I'm using Corona wired as a main element of this whole mask because Corona wire is going to allow me to select elements um Bay oh sorry it allows me to highlight the geometry of the object so uh some of you um if you want to learn a little bit more about Corona wire I recommend you to just simply test it on a simple object but long story short it's going to show the wireframe of the element that you're currently dealing with so whatever mesh you're going to be let's say scanning or looking at is going to highlight highlight its geometry so if we're going to zoom in on the lamp we're actually going to see that we've got white and bright elements so it's pretty much uh the 80s equivalent of futuristic sci-fi so okay since we're in this on this topic we're just going to continue but I might want to just move one frame forward so we can actually see where the transition is happening so now we're just going to keep on experimenting and changing the behavior so we're going to first of all apply the smoke which is just going to be another way of adding a little bit of extra something and in many cases you might want to just use this smoke material to mix everything up and since just wire was boring I wanted to mix up my wire with the smoke so it kind of looks like those elements are burning so you can see that there are elements that are dead and elements that are brighter so it gives us more natural effect um if um Cosmic lasers can be natural but since we just mixed uh everything up and we're just going to plug this in as our mask and that way we can see that we have this scan element we've got our bright Ray and we've got our smoke so all three maps are meshed together and thanks to this fact that the laser is moving it is actually creating a very neat effect that you all were able to enjoy to set up the animation we just have to use Auto K and move the element from left to right so there's absolutely no reason for us to dive into it any further than just go to orokay set where you want this object to be at what frame set it up and now it's moving so that's pretty much the whole setup for the animation but we definitely want to also dive into one extra element which I think might be a bit uh interesting to at least some of you but before that I would like to um quickly go and well I would like to quickly uh remind you to visit our website that's visacademyco UK and because that's where you can sign up to our training please make sure to create your own account um and also you can jump into freebies to find all of the elements of our webinar soon they will be uploaded um out there in the previous section so you will be able to enjoy at this setup and build it based on our tutorials and if you want to join our new group uh we're going to okay so the start of registration is tomorrow so if you want to go for the July you will be able to sign up since tomorrow but remember guys it is always going to be good to grab your seat as soon as possible because otherwise you're not going you might actually miss it um in the previous textures and models you're going to be able to get quite a lot of elements plus new tutorials that aren't on our YouTube channel so it is actually a treat for those of you that want to learn a little bit more so uh without any further Ado let's talk a little bit about this uh short uh setup where we can actually move our elements and uh how do we set up for our rendering this is going to be the last element that I want to show you today is it possible to change or convert JPEG image or PDF file to AutoCAD it is possible and there are ways of doing that but because my clients often send me just jpegs I prefer to use jpegs for this video but we're going to be able to also talk about it later on my co-host Jazz decided that he's going to wake up so you just met my dog render let's continue um okay so the setup for the rendering uh real quickly I'm going to just guide you through this process without um well uh further Ado first we're going to jump from one frame to what frame so in my case it's range from 0 to 150. for this specific setup I had to go through the light cache because in my case only the light the light wasn't moving no objects were really changing only some materials so I could take advantage of some option because always when you click on render you're going to first see um you're first going to see this wait a second and just need to make sure that we're scratch okay uh safety button discard okay and we're now going to click on this yes so first thing you do is see when rendering is this green moment and sometimes it can take from five seconds to even 10 minutes depending on how many lights you have 10 minutes doesn't happen that often it's for super super large scenes but in this case we're going to be able to uh just take advantage of it so if we want to avoid this although fast rendering but it's still going to be 5 Seconds 10 seconds times 150. so what we can do is go to Common tab go to Range set up our every tent frame then we're going to go to scene and set up our rendering limit to one second once this is done we're going to move to Performance and in performance we want to set up path tracing by UHD cache by doing this we're pretty much going to be working with the defaults but we then switch to animation flicker free we go for precision one and we want to not calculate from scratch but we want to uh load from file or try to load and append so in this case we're going to be able to save to a file and each frame that we're going to be rendering is going to pre-render the lighting a few times so what is going to happen is that we're going to render the light cache so UHD cache light cache is going to be pre-rendered to a file so instead of rendering this 150 times we're going to be rendering this only 15 times and using it for the full animation so in this case I'm going to click in this area type in whatever you want so UHD from Zero to Hero 2 and we're just going to save it now if I'm going to click on my rendering what you're going to notice is that right now I'm rendering this specific scene um in well a little bit weird way because we're going to only render at this um every Dent frame so you're not even going to be able to see anything because we're going to render the cache it's going to store in that file build up the cache and move on to the next frame and the next frame and the next frame so as I said this is going to take us those few seconds right um You need okay that's the noising thing uh thank you I don't need that so this is why I don't use fast preview so um for smash bracing no thank you we're just going to click on that noising turn it off continue so we're creating the light cache we're not rendering any frames in reality I mean we are but uh we're skipping that part so once we're done with uh this process which is going to take us approximately two minutes we're going to change our performance to our save to file and um we're no longer going to do that we're going to only load from file so now we're using the file that we just created and look at that we actually have a 10 megabytes because I didn't finish it of data rendered for our animation so it means that we're not going to be doing those 5 or 10 seconds of pre-calculation for each frame because it's going to be used and this is going to allow us to just simply click on our rendering um Ray set the range from every end frame to each frame that we're interested in and start enjoying our render and let's just go for for frame one for a single frame in this case it's in the middle and we can just render this out without really seeing the green dots which is going to save you a lot of time and now this is it because that's how we can create our renders from scratch from Zero to Hero and whenever you will be saving your animation that doesn't really matter that much but if you want to the end result is going to pretty much look like this where every I have frame we can see that the light is traveling and it's highlighting all the details in our uh in our scene so long story short it's going to look absolutely amazing right now I'm just viewing this in a Windows viewer so it's jumping back and forth a little bit but we can just have a little bit of fun with that oh by the way I've forgotten to change my pass limit sorry my time limit from one second to passes and remember when rendering animations you typically want to have consistent amount of passes instead of noise limit because it's going to give you a little bit more consistency in the overall shot so guys this is it for uh today um now if you have any questions please feel free to ask them and meanwhile we can play around a little bit more with our files and we can answer a few questions so from Zero to Hero so if you want to ask some questions I'm going to stay with you for a few more minutes to answer all of them so um love your 3D lessons thank you so much for the videos as Seymour really thank you for that kind words um hi Swati mushroom is um mashram is uh possible very easy okay yes it is easy so if you want to you can describe the process um my account disabled I don't recover um this Academy I see please make sure to either create a new account or email our support because if your account was disabled that means that you might have created it a few years ago and didn't use it at all so you may also want to remake a new account because that's not going to be a problem hi from Indonesia do you know where Indonesia is yes but I'm not going to be pointing at it on a map because if I do and miss it if you're going to be angry but I know that it's somewhere closer to Asia but now let's continue um okay um Akash from India create uh last question is scale scatter what uh the difference of 2D on surfaces versus 3D on surfaces and can we paint the instances like Forest pack pro paint mode yes we can and actually our um I mean our Corona the scatter or chaos scatter um has a few options that diff let's say Force back doesn't we can paint objects but it's going to be a little bit different way of painting for that specific technique I'm going to refer um you to our training and we're going to be able to see each other quite soon so uh Rio I'm going to be waiting for you obviously but I'm going to show you that one specific element that I love about newest version of chaos um scatter because wait a second distribute on targeted objects this one and that one so if we go to our scattering what you're going to be able to click is edit instances and that's super cool so viewport display we're going to go for Max instances 100 okay we want to typically if you're going to be using some objects that make sense you want to just see them but let's change the number to something a little bit smaller let's say that I wanted to have all of those boxes on my roof for reasons and now we're going to be able to click edit instances and individual instances in my scatter can be moved changed or even deleted if I don't like them so scattering is no longer going to be just random messing around and just hoping that it's going to look good because now you can manually rotate objects that look weird or just are melting into other elements and that is not something first pack can do as far as I know at least uh so um next I do not speak French so I cannot help you that any Pages you recommend or textures for textures I would recommend the re uh the usual so obviously um hdri even and also um using any kind of uh 3D models repositories if you're going to go to any website that shares 3D models uh test what kind of Licensing you have and sometimes you can just reuse all the textures in your models because well that's going to really help you speed up the process and it's going to be something that I would be going for especially the bot models just go and have have a go at it um oh no I missed the video will you be saving the file uh yes we're going to save the live and it's going to be available on our YouTube channel in a few minutes just right after we finished for today uh thank you so much for this webinar thank you Swati for being such an amazing audience I mean all of you but those of you that are chatting this is especially appreciated because you actually make this more interesting so is it better or the same number of passes that uh done the set the noise for animation thanks I prefer using the let's say consistent amount of noise sorry passes because it kind of makes more sense and you can predict how long your render is going to take a little bit better I specifically do not use time limit because that's going to be fully random and some frames are going to take a bit longer because some might be a bit more complex but you're still going to have a consistent levels of noise if you're going to be using a similar passes a limit if you're going to focus on noise limit sometimes a noise limit to let's say three or five even can be achieved after a long while so you're going to have a few frames that will just absolutely clog your rendering for days and it's not going to be worth it because then it turns out that it was the small glowing orb that you were and not even paying attention to which can be really changed in post if you want to so quality uh hi sir thank you Akash that's really nice um okay see you thanks Mike see you Rio see you can you please show me how to do a batch render in Corona yeah patch rendering is actually super simple in 3ds Max actually so batch rendering can be done with rendering go to bat render and just add the cameras that you're interested in a quick tip for those of you that will be setting up your bat rendering at home please make sure to first go to Common tab set up the output file and just click render for at least a second so set it up and just go for whatever you're going to be doing whatever file you're going to be creating click render and cancel it instantly because that way what you just did is you made a 3ds Max remember this path so once you add your batch render this is going to have a specific name your output name plus the view name so it means that you're going to save a tremendous amount of time if you're going to be setting up some specific names or specific areas or specific ranges for your cameras and obviously you can go for their usual smart suspects you just go for Corona one corner 2 for your cameras and in the viewport in your bat rendering you can also go for steam States and presets presets are pretty much your rendering set setup and since then date is something that I want to make a video on which is actually very interesting for rendering especially with product design so definitely worth tuning in for that of a video at some point okay thank you brother for your channel very informative thank you vaness that's amazing uh I'm really humbled by all of those World Awards so really thank you for that hello uh will Henry yes the everything is recorded can you please explain about Corona multi-map Corona multi-map it was explained in a different video so if you want to check out our three's videos uh so that's going to give you the better explanation on that how to adjust Corona camera um Corona camera can be adjusted um just like any other camera ever in a 3ds Max so you just select the camera by clicking the camera or if you don't even know where the camera is you can press C on your keyboard and it's going to allow you to choose what camera you want to look through and then you just as a click here select camera and just um do all of the adjustments that you want for the specific camera in use so that's how I would be going for it when I applied texture using Corona multi-map it does not look as I want so in that case um I still recommend you to test our other video but if you want to you can also sign up to our full training where we have covered topics like that extensively and well it's going to be probably uh to your benefit and also once again guys please leave a like on this video make sure to subscribe to our Channel it helps us against the algorithm because honestly we need the exposure so please make sure to click a like subscribe and also turn on the notifications because next week we're going to be creating a new video on an entirely new topic and that's going to be probably related to exteriors because we did quite a lot of interviews recently so why not just go outside and touch the grass so this is it for today thank you very much for your attention if I missed any questions I apologize you can send them to us on Instagram or via email to um well at any point so thank you very much for your attention once again remember to subscribe like our Channel okay you know the drill thank you once again and bye bye [Music]

Channel: VizAcademy UK

Views: 7,877

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Id: BbwNb_lTjDM

Length: 79min 10sec (4750 seconds)

Published: Thu May 18 2023