3ds Max + Corona - Skyscraper architecture rendering - it has never been easier

[Music] uh huh huh uh [Music] so so [Music] huh foreign [Music] hello everybody and welcome to our open webinar today we're going to work on something i think is going to be special because there is no tutorial like this one and it's going to be in extras express time so today we're going to create this skyscraper from the grounds up the resources that we're going to be using is are going to be shown right now so uh to avoid any excess modeling on objects that are just going to be boring i took time and created this lantern a little bit earlier but you can download very similar models all over the internet also guys hello it's great to see how many of you logged in also uh well we've got quite a reach uh we've got people from italy turkey greece uk just to name a few even china so uh guys welcome it's uh an amazing honor to uh be presenting in front of you so i hope that it's going to be a great success the second object that we're going to use is this very simple block as you can see it has a few additional elements because we're going to be using um one of the modifiers which i really love and it's going to allow us to pretty much work like this so no shape that we're going to create is going to be uh let's say a problem to us and we're not going to need any kind of additional plugins so obviously we also have a 3 because well that's a ready object and modeling a 3 would take us a little bit longer so again we're going to create this beautiful object and what were the stages or steps we're going to take is first modeling as you can see it's going to be quite easy and then we're going to move on to lighting so everybody can understand how all of those lights can be added to your um to your scene and finally we're going to move to materials which is going to be the final step of our work and let's quickly examine the main scene that we have right here so let's just unhide all of the objects and as you can see it's going to be quite nice so without any further ado i think it's time to start so for those of you that just tuned in and my name is mike and i'm a teacher for viz academy visa academy it is an online school for architects designer designers and 3d artists we specialize in 3d visuals and if you want to learn how to create visuals on professional level just stay with us and also check out our website that's visitacademy.couk okay so where do we start a lot of you signed up to our email and receive this plan that's going to be very helpful to us we're going to start with that because obviously the method i'm going to show you is going to be bulletproof so if you have your own design you can also use it there but we're going to start with the design prepared by one of my colleagues and well let's just get on with this how do you start a building like that typically um the stage of visualization means that we're prototyping so there's a lot of back and forth with your clients and typically you're going to have quite a lot of questions from your clients can you move this can you change that and if anybody would be crazy enough to create floor plans that are fully detailed for a building that is still being created or let's say designed that would be a little bit crazy so um i'm first going to read the proportions of this image because we're going to be working with pixels obviously um we're then going to move on to a little bit more professional way of working and we're going to actually scale our object to the right size okay so uh first thing is uh dimensions we're going to read the width and height of our object so we can actually add it in centimeters just for now so we're going to have the right proportions on our image so it's uh in my case it's two three six two and the width is pretty much three one zero six okay and um now with our proportions in place we're going to simply start using the default shading method um by the way guys at the end of our webinar we're going to also take some questions so if you have them right now store them for later or you can post them on our chat i'm going to be answering a lot of them uh hopefully there we go there's going to be quite a lot of good questions and let's start so we've got all of our elevations in uh our viewport so what i did i just dragged and drop dropped my image in into my plane that i created if this doesn't work for you you have to create a material for the same purpose and just show shaded material so it's going to work for you we're going to start from the very basic object that is box and we're going to try to trace all of those elements and remember guys we're prototyping at this stage so it means that we're preparing this object for further changes we're starting to work on let's say a little bit different note we are prepared for changes we don't want to go into too many details that's going to come in later but the effect is still going to be mind-blowing and i hope to see some of you repeating our process to create your own visuals okay so alt x to make your object uh tr um translucent or see-through we're going to see that now it's way easier to position all of those points uh first tip for all of you that will be working with any kind of plans or some kind of objects that you have multiple views from different sides always work on instances why i'm going to show you that in a second we're going to rotate this object by 90 degrees make sure that the snap is on let's rotate it by those 90 degrees instance it and we're going to move our object to the side so right now if i add any changes to one of the objects the opposite is also going to to change this way it's going to be easier for me to trace any mistakes or just be aware what's going on with the model and now we're going to create multiple copies just for the sake of making this building work for us okay so again we're going to rotate it by 90 degrees oh sorry 180. and in this case i think we don't need to add many changes there's a small gap in here but that's not going to be really visible so we might as well just ignore it at this stage so let's rotate it a little bit more and now we're going to be working with the right elevation this is also not going to be that visible but it's going to have a significant um it's going to be significant for our whole building so we're going to move some of the vertices in order to add all the details also make sure that you move the bottom vertices so everything is going to be in place as you can see the shape the starting shape is very simple but the tricks are going to begin in a second so first thing first you can see that now by adding this simple connection i've added it on all of my buildings or let's say copies and this way i can trace all the changes but we've got those two lines that on our reference are quite an extrusion so we're going to have to do the same and guys um in our audience you're going to also find a lot of our students like theodore i have seen jake here also uh well there's quite a lot of you guys so if i don't name you now uh sorry for that uh we've got quite a movement on our chat so that's amazing and also where are the scene files if you sign up to our email you uh you can receive them right now or um they're going to be posted in the description of our file i think our team is going to be able to add it quite soon just because it's a live webinar i don't want to risk disconnecting with you so i'm not going to be doing that at the moment okay so we've got this one part that we have to do something about because there's this small extrusion and let's say an inset that we want to use uh it's very simple to do so first thing i'm going to do is delete this part add a cap on select the border press 3 and select this cap now we're going to select those two elements and i'm simply going to create an inset that inset it doesn't have to be big but the bigger you make it the easier it is going to be uh it's going to be to work with this file so let's make sure that it's going to be uh quite a big one so as you noticed uh this 20 cent this 20 centimeters it's not really the right scale yet we're going to scale our object in a second just like i'm doing it right now and i'm going to show you how to work with any kind of scaling on your buildings and any kind of additional files so now we're going to use something called swift extrude that was added in 3ds max quite recently so just select your polygon and shift drag it to make it look like this now we can just simply remove this one element by control backspace and we pretty much created this beautiful leg remember we don't have to be super precise about this whole building but if you want to move this and not lose your line we could just go for an edge constrain that is that can be found in edge edit geometry and we can move it up but at this point i don't think we need it so we're just going to ignore that because otherwise we're going to get a little bit of a headache so we're going to go for a simpler method just stretching and again the swift extrude is amazing because at this point i can go up and it's already fixed so we could remove those lines but as i mentioned we're going to move on just for the simplicity of it so at this stage we don't even need the floor plan any longer but we might actually use its scale so we know that the scale is well quite out of quite out of place why because the way i've created this object well is bound to fail if i don't grab the right measurements that is why we've got this let's say scaling tool at the bottom and at this very moment we're going to start working with edit and transform toolbox it's a beautiful beautiful tool that i recommend you to work with because it's just amazing so we're going to set the size of this box to be 50 centimeters just like it's supposed to be so let's just make sure that we scale it on x-axis set size and now it's quite large so what we can do is read the scale of this object by pressing air on our keyboard we can move on to scaling select the scale on our x-axis just select it and copy now we could just delete all the rest delete all the copies and rotate our object but rotating it now is going to be quite problematic if we don't set the pivot in some cases the pivot might be really out of place so thankfully it's easier for me because i started with box but still i'm going to center my center it at my object press z so it's going to be exactly at the bottom of it and now we can just move our object to the zero point in our scene so it's going to be easier to work with remember that if your larger building is going to be very far away from your as a beginning point so from the zero on in 3ds max it's going to cause a little bit of trouble in some cases corona render or other engine may actually glitch out okay so we've created our box but okay one element that i forgot about is actually our line in the middle so let's go back a few steps and actually add them in so let's quickly select our object and add those lines by quick connections so two connections now double click to select one make sure to use the edge constraint and we're going to scale it down until it's flat so once it's flat we're going to move it slightly to the left so it's going to be at the right spot also guys make sure to give us a little bit of feedback along the way uh if you want some questions answered or you've got some general questions about 3ds max please stay tuned and tuned until the end of our webinar because we will be able to answer all of your questions at that time okay now we're ready to actually add the center rotate our object by 90 degrees and finally we're going to position our pivot at zero or the lowest point of our object now let's uh again position that it at zero in our scene so it's going to be nice and tidy so all the objects that we create now are going to be at the bottom of our building that's very helpful because because it's easy to get carried away otherwise let's reset the x form of our object because we scale we're going to scale it we're going to have to add all the scale to all of the axes so if we start adding some modifiers it's going to be a problem so just click on this r icon here and press yes this is going to change your scales out as your object's scale to 100 which is basically going to be exactly what we need now let's move to clay mode because it looks a little bit better and as you can see our main body is ready so i'm not going to use transform toolbox for now so let's hide it and will the recording be available yes we're going to record this and we're going to post it later on our youtube channel uh with all the descriptions that you may need so let's rename this to our main body of the building so select the object let's type it type it in and make sure to create a new layer for it it's just for the sake of tidiness uh it's not really going to have that big of an impact but it's really a good practice what i'm also going to make sure that you understand at this point is that whenever we will be building any kind of scenes it's best to first model your object with the bare minimum because at this stage you're still going to be experimenting with your client you still have to talk about the frames that you will be creating so creating any kind of camera and going over some frames maybe adding some kind of elements in photoshop on top of your scene is going to be enough to at least give your project a general direction and that general direction is very important because it saves you a lot of time now with our camera placed i'm going to just move the target as slightly to the top select my camera again and we're going to use um automatic vertical tilt as you can see now it's a little bit out of place we still need to correct our lens so let's go for 35 just like in real life and we're going to go for a little bit different camera positioning okay i think this works for me and we're not going to spend too much time on it but this is important to at least understand that whatever we will be building at this stage we will be building it in frames of our camera so it's good to at least have this in mind so let's continue building a little bit of our scene so it's going to be easier for us to understand this block is going to be our ground and we're going to reposition it later um also we're going to create a plane which is going to be our water and we need it to be as close to this block as possible but not precisely in it and let's put it somewhere lower than the ground itself maybe approximately two meters something like that it's all about prototyping because the method we're going to show you is going to be pretty much bulletproof as i mentioned so during this webinar i'm trying to pack all of the knowledge in our into our uh one hour webinar but during our course we try to make sure that we go over each and every step before you get to the point where you start building anything you must know why you're using that tool why we're using this method over any other um but this time we're making sure that the webinar is going to be highly paced because i really need to be swift about it to just uh not lose you guys uh so uh first thing uh about the building we're going to add a modifier that um a lot of you will be probably surprised that we will okay i lied we're going to add something else we're going to go for section a lot of you of that are abetting architects and designers don't ever hear about this tool and this is so sad that not a lot of you know about it just look at this and we can now create a section of our building at any point and we're going to use it to create our floors so we're going to just create the first floor uh make it approximately 5 meters tall and we're going to go up and all the rest is going to be approximately three and a half meter it all depends on what is your plan in general so 57 that was a little bit too much so we're going to delete the excess amount of our elements and we're just going to select them once again and convert them to a double editable spline so again guys um remember that we go over all of those details during our course so i'm guessing that those of you those of our students that finished our course uh are probably yawning because they just want to already see the pretty picture so let's add a little bit of this uh let's make sure that the objects that we created with those with that section is going to be a full body so we're going to add all of those elements so select one of them preferably the bottom one and attach multiple so that's going to allow us to create all of those sorry connect all of those shapes this is going to be our main body and we will be using it a lot again i forgot to extrude this one part so we're going to go back this one step because this is actually quite important so let's select this element i just noticed that one of the uh quite important parts of our building was missing so uh my apologies and at this point um everything live always goes a little bit different than you plan it so again let's create this section and add this swiftly so without any further ado let's just add it in five okay and now at three and a half and we're going to need a slightly less objects than we did before so probably 50 is going to do this for us very simple very fast and we can just select all of them make sure that if you've got any kind of excess amount of splines or sections you just delete them because otherwise those are going to be phantom objects that will still be selectable but will do nothing in your scene so convert to editable spline let's change it and now we've got uh our sections uh done so again let's select it and for some reason they stayed here um wait a second guys um how's the chat going uh so at this point we're going to move this convert to editable spline and we've got it uh 3ds max it really needs an ai refresh i will agree with you but that wouldn't really make it 3ds max any longer yes 3ds max um has a program has a almost 25 years old ui which really could use a little bit of lifting but believe me any change you uh make to a program like this is going to be catastrophe for a lot of companies that already created their own workflows so it's not going to be that easy so let's create a new layer for our newly created object so um right click add selection new layer and let's make sure to rename the layer or or the object so i'm going to name this floor because we will be using this as our floor we're also going to create a copy of it so we can use it later and that's going to be a huge thing so copy okay and we're going to now uh do a little bit of a trick uh inside of our building so let's simply add a shell modifier on top of it and to in order to make this happen we first need to select all of those vertices ctrl a to do that weld them so because sometimes your shapes are not going to be entirely perfect so once we weld all of that we're going to be able to actually add a little bit of thickness so let's go 10 and minus or a third wait a second we need inner amount 30 and 10 goes down um at this point um remember guys that saving is a key element so 3ds max really likes to crash so if that happens you're going to be in a little bit of a problem so va sky 0-1 and in just in case yes autosaves are amazing tool but there there's a chance that you're going to have multiple windows of 3ds max open and at that point well 3ds max is going to override one autosave um over another and this might be a problem if 3ds max crashes okay so our general idea of the building is done but we now need to start adding all of those tricks again i'm going to create a copy of my main body and we're going to just simply uh hide our original first step is to add modifier called subdivide just make sure double check triple check if you're adding world world scale modifier with the wsm in brackets or the regular one i prefer to use the regular one because um well those world scale modifiers well can let you down so okay subdivide this is the trick really the first trick out of many uh let's make sure to change the subdivide size to something around the 750 600 all depends on your preferences at this point so we're going to do that and convert our object to editable poly with all of our objects selected we can just go for control a with a polygon inset but before we do i would also recommend you to detach your the top and bottom of your object because that's going to um allow you to um a little bit better effects and also is going to save you a little bit of guessing games with the ceiling of your object so let's detach it at this point so the top is now a separate object and we're going to and go for a little bit of an inset so let's just look how this really plays out so we're going to inset it and don't go too don't add too big values because whatever you add is going to be doubled because we're in setting by polygon so each polygon is moving 20 centimeters so those frames uh generally have almost 40 centimeters of width so let's apply this and this is pretty much uh now the part where we detach all of that what what we created and we're going to just simply and rename this to window so windows are done and now we need to make sure that the frames are visible so we're going to also add shell modifier to this object as you can see now most of our object is pretty much ready for lighting make sure to straighten the corners because in some cases you're going to see that there's a small detail and those details may matter later on and with our glass we're not going to do much we just leave it as it is and we continue building our scene from the grounds up so let's jump to our main viewport and let's see how our building really displays in 3ds max so at this moment uh let's uh see how it renders well it looks really bad so just to avoid any eyesore we're going to go for material override and uh go to f10 and go for a render setup scene and we're going to add a material override quickly make sure to restart your render and now everything is gray so it's great let's add the first map in our whole tutorial that's going to be generally the agri that you can download out of uh well any website that offers that in this case it's a very simplistic agri so we don't need to go over it i'm using a little bit of uh pre setup for for myself because i want to uh save a little bit of your time during our course we go over each and every zipper in this uh hdri and we pretty much uh tell you why we use corona bitmap not any kind of hdri uh specific um type of map so we're going to go for instance make sure to add it to your environment slot but in the scene environment and now this is how our scene is going to present itself to us at first it's very boring because we don't have anything going on for it so we're going to add a little bit of exposure so it's easier for you to see a little bit of contrast so it's generally better vignette set set it to one so uh it's going to mimic the upper aperture of camera and camera lens and we're going to also add a filmic shadows filmic shadows add a lot of saturation to the darker areas of our uh build so it's going to be easier for us to carry on from this point okay so let's continue and let's start adding a little bit of objects and generally all of the stuff that's pre-prepared for our scene so we're going to copy all of those those three objects from the different scene that i created and we're going to just simply copy them and paste them into another scene what is going to be also a generally a good method of work is jumping from one scene to another from time to time unfortunately 3ds max doesn't like that so sometimes you will be unfortunately met with a little bit of crash but still i prefer to work my way and 3ds max is not going to stop us from that so let's add a simple spline going from the left side of our ground to the right right side and remember that it's going to have some kind of impact whether you start on left or right side because it's going to pretty much set the front of our spline on left or right it's not a big deal make sure that it's a corner spline and let's uh start adding the modifiers that i gave you a hint about so first thing first we're going to go for path deform this is again another modifier that i really want you to use at the non-world scale modifier otherwise it's going to be a and well a little bit of a problem to work with later and also the ui is refreshed with this newer one and a non-world scale modifier okay our box is here but it's first rotated it's not in the right place so we're going to go over all the axis in this case it's the x-axis that we need to use this is going to be related to your object's pivot more about pivots during our course obviously and at this point let's click on auto stretch so it's going to stretch out this whole object and we need to type in 50 so it's going to be exactly in the middle of this spline um okay so uh what about the hris uh anyone has an idea so as for the hri i would recommend you to visit one of the websites uh that we do uh so for example asia i haven't um this is from our internal um from our internal uh let's say storage so and our database is riddled with a lot of surprises and if you want to you can actually find this exact map on hdri sky so as you can see our object is quite um well quite in in the air so we could use offset or to save a little time we're going to just move both our spline and our object a little bit to the bottom and not too much just so we can actually build something around it and make sure that the water is actually almost touching or touching that object so we're going to avoid any kind of problems uh 3dsmax can import a topography yes yes it can it it all depends on how you prepare the topography for 3ds max obviously now this is the moment where we're going to start working with scatters if you want to learn about scatters especially 1d spline scatter that i'm going to present to you right now please visit our youtube channel there's a video on that i'm going to go over each and every element i'm just going to show you the general method and but if you want to jump into the details i uh generally invite you to watch that video it's a short one so we're going to add a distribute object exactly the spline we created a minute ago also we're going to go for instanced objects and we're going to pick this lantern now this is not going to have any effect yet because we didn't yet pick the 1d spline to take effect as you can see we created some kind of wall of boxes that do not look good at all if we change this from the box or wire to full we can see that there's some of those objects missing but it's actually um just the display amount the amount of objects that we display is limited to save a little bit of ram so don't get scared of it now thanks to this fact we can now play a little bit with our setup so for example we can change the spacing of our lanterns so it's going to be a little bit easier and better to work with so let's do a little bit of comparison how many we want and where do we want to place them in this instance i think i'm going to go for a little bit bigger lantern so let's go for something like 120 percent in this case i think this is going to just look better in many cases when working with larger buildings you're going to see though all of those artifacts in the back forming some kind of stretching uh and if that happens make sure to um change your view um to and change its clamping to be uh to be uh sorry viewport clipping if we're going to change that and actually add a little bit of uh lower value it's going to allow us to not lose the sight of our object so basically we've done most of our modeling at this point and we're only halfway through so we're trying to create this uh beautiful building and our first stage that i mentioned is almost done because at this point we could add a few more details if we want to uh we're going to make sure that we continue with the most optimized version so now it's time for the lighting really this is at the moment uh we're going to be adding a lot of that amazing effect uh let's make sure to um to disk sorry let's make sure to exclude this object from our objects so we're no longer going to be overriding this material and we're going to do a quick render let's see how those objects present in our scene and well they look good i actually like this so it's time to add the lighting but we cannot see any light inside of our building before we add our materials so for that we're going to add them in just a second so let's make sure to um get rid of our material override and add those most important materials first so first it's the water water is very simple and i my personal recommendation for you guys whenever you will be creating any kind of materials make sure to create different tabs for different types of objects for example environment objects building and pretty much any object that you may think of which is going to be an individual entity because it's very easy to jump between them and if you if you end up with 50 materials on one tab it's going to be a huge nightmare so this view one is going to be my environment tab and let's talk about this water setup so how do you create water in 3ds max corona renderer a stream will be available and it's going to be recorded obviously so currently i'm working on 3ds max 2022 uh the newest update i recommend you to use the newest version luckily they um fixed most of the bugs and i'm really satisfied because the crash amount for 3ds max which is which 3ds max is really known for and it's uh minimized so apply preset we're going to really do it this way we're going to add glass preset okay and only option i'm changing is the eyewear on this water to 1.33 it's just something i read on the internet not really important at this point and we're adding noise to our bump this is actually going to have a slight uh significant quite significant impact on our scene so in this case we're going to go for a size anywhere around 5 to 50. depends on what kind of water you want to create and the tiling on one of the axes preferably on x-axis should be changed to a 0.1 or something similar to mimic some of the waves let's see the effect right now oh i forgot that we're not working with any colors it's already creating a beautiful effect so we're going to try to keep it up and now what we're missing is the trees uh i'm not adding them because they would eat a lot of our resources at this stage uh so we're going to continue building our um objects from the grounds up so let's go ahead and add another modifier shell on top so we actually have something to close our building now this is going to be the easier part because we need to select the inner part of our building and simply add some some material which is going to be surprise surprise corona physical material we don't have to do any changes to it because the default material is going to uh do uh do its justice i also noticed that we don't have any anything inside of our building and i'm going to actually uh make i'm going to make some changes to that because i need to have some kind of filler that is going to hold our object and it's going to be generally a good idea to allow the light to bounce off that object so um we're going to create a simple box and make sure that it's going to be big enough to actually fill in most of this building so let's make sure that it's going to be a nice and uh stretchy so that's it and now let's make sure to add another a couple of lines in in the middle of it and we're going to create this h-shaped object so it's going to be extremely easy for us to work with um this object obviously make sure that you follow any method that you feel comfortable with if you're a total beginner i would like to also inform you that most of our students also are so what i mean is that almost 70 of people that come to our course are absolute beginners in 3ds max and step-by-step uh tutorial by tutorial webinar by webinar they get better and better with their work and at some point you can see their work on our instagram all this stuff that you can see on our instagram and i well invite you to follow us is created by our students and most of this stuff is created by students from pretty much the previous group that we hosted so this is something done by quentin so shout out for it to you quentin and well this is again another andreas work a lot of those uh images that you can see here are exactly from the last uh from the last group so a big shout out to you guys thank you for being so awesome it's always amazing to see how well you perform and let's continue and now unhide all the objects that i hidden and we're going to make sure to start adding the most interesting um materials now so as i mentioned a simple corona material to our um for our main body and now what i like to do is i like to hide all the objects that already have some kind of material because that way it's going to be easier for me to um to work with all of those elements at a time so i do recommend you that you also do that i've noticed that i've created a copy of my of my floor so what i'm doing right now is removing that and making it unique because that wasn't my general plan it's just a step back so don't worry about it it's not something that's going to probably happen to you so now we need to create a material for the main frame of our building because this is going to have quite significant impact again we're going to be using corona physical material in this instance we're going to create a copy of the previously created one and uh just to save a little bit of time i'm going to add it to to my object make it a dark gray or just super dark almost black [Music] and so how are you late to the party anup welcome and it's great to see this highly recommend the course and natalia wow that's amazing thank you uh is this actually live i think it is i think it is actually live uh so uh at least i hope uh so at this point let's continue uh going through our materials sorry i get a little bit carried away and i um need to actually see a little bit of our chat so it's going to be a good moment to uh um to answer a few of the questions will uh be the same version used during the webinar um daniel rodrigo uh will be the same version yes it's the same version that we sent to you corona or unreal and definitely go for corona at this moment yes unreal engine is getting better and better but it's not going to be possible for us to work with um just unreal engine um because if you limit yourself to just unreal engine you're not going to be able to really model anything and corona gives you so much better quality yes um unreal engine is fast and that's a great thing that would be really unfair not to consider so our mainframe material is done i'm going to increase the i aware so it's going to be more reflective the effect of that can be seen in our material preview basically if we change the eyewear to maximum so the minimum is almost no reflection or zero reflection and almost maximum is almost metallic-like uh reflections so we're going to stick to uh with that also we're going to create our building's glass this is a simple material that doesn't have any big changes the only thing that i want you to consider is always adding some kind of noise to your bump uh this is something that's going to be further discussed during our course but obviously i um at this point i'm going to show you the general setup for our uh elements so quick um jump to our building glass and generally we're going to use zero roughness roughness means that we've got crystal clear surface bump 0.2 with that noise and iowa again we're going up because we want this object to be highly reflective so let's jump into our camera and see how the object presents itself and i like it but there's no um really the effect is missing we're still missing a lot of lights a lot of background some trees and we generally still have some kind of purple object in our scene that needs to be found so what is that and that's actually our ground so we need to also create a ground object's uh material in this case i want to be a bit lazy to be honest or save a little bit of time so i'm going to grab my concrete block and we're going to add this material to our ground again let's add it in so it's a simple gray material on the physical material is there a big difference between v-ray and corona i would think that um boils down to personal preference yes pretty much at this moment both programs are pretty similar but the general idea is that a corona allows you to be more creative you don't have to care about all of those slider zippers all of those small setup elements like sampling method or lighting lighting it's all generally really bad you have to be some kind let's say somewhat of an engineer to really be able to master v-ray while corona right of the bot right of the box it's just a preset and that's going to be perfect so it allows you to be more creative stress-free work and it really allows you to focus on what is really important in our work when creating 3d visuals so efficient delivery and that well v-ray is good and it can be optimized to be perfect but it really takes a lot of time to master and i by a lot of time i mean weeks months it's not worth it i did use um v-ray previously once once i tried corona approximately when it was still in alpha phase so it was really quite a lot of time quite um well a lot of time ago let's say that i never even went back it's just that easy to ma to work with corona and uh it's always some fight with virey uh when you try to do something in it can we buy the course week by week no we only use um i think that is selling week by week or it would be a just a bad idea because i need you to understand each and every element a lot of our students claim that they are very let's say experience they have a lot of knowledge but then it boils down to the fact that they really lack a lot of general idea of just simplest tools so i need you to be on the same page with us because just going into our methods and believe me we work in a little bit different way than you're going to see on youtube okay we are on youtube so that's a little bit of a bad idea to say that but what i said what i'm saying is that our method is a bit different to what you generally see online so yes it is impossible to just buy teeny bits of our course it's all package or nothing because we first of all value our quality and i wouldn't really be satisfied with just um well letting it go with partial knowledge that's not how we operate that would be uh bad idea um okay uh are you using corona yes uh we're using corona we're going to be working with all solely with corona as you can see right now we're we even have corona scatter in our scene so that's a built-in scatter that comes with corona and this is a huge time saver and i really recommend you to use it so right now i'm creating another scatter that scatter is going to be reserved for our trees because i don't want to go to the creation panel and look for the objects i'm just going to make sure to change our previous scatter and we're going to reuse it with some changes so first thing first we're going to go for instanced objects at the three because this is the right moment to do that and we're also going to make sure to add a little bit of scaling here so we're going to go from 300 to 400 you know what let's go crazy 800 is going to be the right number uh so we're going to test that if we don't like it we're going to change it uh but i think we're going to actually enjoy what we're doing uh will this uh be available to go back as i missed the start yes uh everything is going to be recorded and re-added on our uh youtube but we first need to make sure to add some notations or if anything goes wrong for example 3ds max crashes we're going to go back a little bit so right now i can see that 3ds max is lagging a little bit because i forgot to change one of the elements in my scatter so i'm going to wait for it to react or just simply jump to another viewport and before i do that i'm probably going to be better off if i actually open another 3ds max because okay um okay my ram is now emptied and let's make sure to clear out this okay do not ever put on full preview if adding trees this is the worst idea you can ever had i have and uh even with my professional setup and uh i'm working on a fairly new computer 64 gigabytes of ram currently i used to have 128 but it was a little bit of an uh overkill so i changed that to a different number just so i can salvage half of it and put it into another computer is it necessary necessary to apply uv a map modifier on in the scene no absolutely you will be uh uvw map free so it's going to be easier for us sure how to to adjust cad unit with max so if you want to adjust units go to customize unit setup and you can set up whatever units you want to work with okay and uh let's continue because at this stage of our of our webinar i think it's going to be a rather good idea to check if the trees really work out um we already have a few lights we've got okay this is quite nice so now it's time for the grand finale and that's going to be the best trick on how to make your buildings look awesome and for that we're going to select the previously created shape that i've gave you a little bit of foreshadowing so this is our main shape that we will be using in a second to really make it work we're going to create two additional scatters first scatter is going to be our let's say main light so we're going to name it like that okay main light scatter and we're also going to select our whole floor copy and just select a few of those um splines in here and remember at this point it's all about your personal taste how many or which you're going to pick is all up to you i'm just going to pick them by random because i know the dot going that is going to still look awesome so we're going to detach this and name it main light shape okay so um it's generally not needed to rename your objects each time when you create them but it's so much easier to work with your scene if those names are at least somewhat going to give you the info on what they are so let's go for a secondary light shape okay i'm going to copy this name so we don't have to um repeat that in a second and we're going to start adding our scatters again uh can you corona render gpu no corona currently is a strictly um cpu uh based rendering engine but there are some ideas that maybe they will change it in the future they are experimenting with a lot of stuff a lot of post-production and that you can do in corona uh is calculated mainly by your gpu but obviously it's not the best idea to switch from something that's really perfect to something that is currently super pricing so we're going to create a rectangle light 45 by 45 and we're going to also make it really strong so this is going to be our main light so it's coronal light one so i'm just going to add it as an instanced object and this is how our scene is now going to be lit uh as you can see there's a lot of small um boxes going on here so we're going to uh use them in a second but first make sure to turn all the options that you can see in visibility of your of your light that's going to save you quite a lot of trouble with your bloom and glare um okay with that out of the way let's also add a little bit of changes to our scattering system can i get the azure eye used please uh make sure to look through the age dry heaven um i honestly don't have the link right now and it would be a bit of a waste of time to to point this exact one to you but if you will be patient enough i may actually go for a search with you i honestly forgot to um to say store the link for it i knew that this is going to happen at some point so let's see why are we going to add some changes to the scatter first of all you can see that those boxes are exactly where our floor is so we need to make sure to um add something around 35 or 40. in the z-axis axis transformation so those lights are no longer touching any kind of any part of our building and we're going to do the same for the second light that we're going to add and but at this time we're going to copy all of the setup and we're going to probably just change one or two sliders here um okay uh so let's continue and let's make sure um guys please stay civil uh that would be really appreciated uh so let's make sure to uh add the scatter to our object again and okay this is almost ready so let's jump to our main main view and let's start our render with a little bit of that trick that i mentioned it's not going to be perfect yet because we still have two elements to add what is the processor you use for rendering i currently use tread ripper at 2790 wx but i would say that i would recommend you to go for something around 39 50 or 60 because honestly it's just better it's my processor is let's say revving to start rendering okay i don't like the colors so we're going to fix that and we're going to do it while rendering so let's go for interactive render and then here we're going to select our light once more uh change its direct input to kelvin temperature and let's go for something around for 420 so 4200 or you can go lower or higher depending on your own personal taste at this at this point also if you're annoyed with your um rona renderer jumping from one window to another whenever you make any kind of changes please open your render setup click on quad menu and here in the view render just uh click on this padlock it's going to lock your view or let's say the selection of your view um to this one and we're going to only render that one frame so for 30 this time just so it's going to be slightly different can you show us the bump effect in glass i just can't see it or yes sure it's going to be a little bit harder to see now when we added those lights but the effect is very simple without it um let's uh let's just go back to our building uh let's uh for a second make this absolutely uh you know what let's just get rid of the refraction from our buildings class and you can see that all of those small reflections that we can see here those small gradients are part of that bump if we take that bump away we're going to notice that now all of that reflection is flat so if there are going to be more interesting objects to uh to grab or there's a nice gradient on your sky it's going to be something that's really going to add a little bit something to your shot so more details about this method and how to really make it work perfectly is going to we're going to go over it um during our course now with all of that out of the way we're going to leave our render for um for a little uh for a little while to um calculate okay um now i'm going to do a little bit of cheating you can see that we're still um missing one element and that's the background so background is something that uh unfortunately in this case i had to pre-prepare for us as a texture so this texture is well something that you will be able to do on your own all you need to do is create a very simple setup first of all that's a coronal light very simple we've got our diffuse map and we've got our opacity map in this case it's black and white map so whatever is white is visible whatever is black is invisible so we're going to add it to our opacity light sorry opacity slot for our light and let's just add it to this object i know it's a little bit cheating because adding a picture and behind our object might be a bit easy for in your case or let's say uh in your in well it's easier than not so let's also scale it up and let's finally see the effect we're still going to reposition it a little bit left and right to really be able to see what's going on thank you for sharing your time and work well you're welcome um and now let's see the effect of the building okay i'm going to guess that the light is going to be a bit too strong and we're going to have to rotate this building a little bit maybe scale it down remember that this is just a picture you don't have to respect those background images in any kind of way and now we basically created a really nice effect okay still a few elements are missing we could add them in photoshop but i see that i want this to be a bit more edgy i want a little bit darker color so we're going to turn on curves i generally shy away from using them but i want those deeper darker colors in this area and i also want my brighter areas to be just a little bit burned out we could add just a notch of our highlight compression but in this case i just want this to be nice and flattened out at some point because we can see this whole spike we don't want it to go too high and at this point we could also turn on our blooming glare to add a little bit of that and also just half of it to have all the options now meanwhile while we will be rendering our shot because we still need to take it to photoshop i'm going to take uh take you on a tour uh talking a little bit about our school so this academy is an online school uh you will be able to um join us and learn from us if you decide to sign up to our course we conduct a full package courses that means that it takes you seven weeks to master 3ds max 70 of our students start with absolute zero knowledge of uh about 3ds max some of them really need a little bit of guidance on windows alone but the main idea is that uh along with our team um of professionals we're going to be able to guide you through our whole uh experience damn um we've got online support that's going to be available to you seven days a week so you're never never left alone um with your tasks because each webinar is go each group is going to have webinars those are going to be at evenings so it's easier for you to attend we know that you are we are all human so we have our own responsibilities so at the evenings we uh meet for an hour or hour hour and a half depending on topic uh long webinars each webinar ends with package of homework tasks and also videos that are going to help you um go over our tasks so um how can you um how can you actually sign up you have to log in create an account and then you're going to see all the available dates because i'm now logged to my own account i'm not going to uh go there but uh let's see what we have in 3ds max because meanwhile while i was talking i was also rendering and we have quite a beautiful shot going on here let's just stop the rendering now i forgot to turn on the the noising so the beauty of this whole setup is that it renders absolutely super fast you can see that the noise amount is absolutely super low and let's copy this to photoshop and let's continue there so in photoshop we won't be doing a lot i always try to tell my students that you don't want to add a lot of changes in photoshop because whenever you do it's going to bite you if your client asks you for any kind of redos so we're going to take this gradient so just go for a gradient go for the base gradient with a little bit of fade and let's now add a little bit of this color here so it's going to be just simple black but okay this didn't work out i also i already have this reversed so we're going to make sure that the building is nicely lit and highlighted so let's just add it like that okay i kinda hate it so we're going to lower this uh this amount and clean out some of that mess that we've made a second ago now change this blending mode to opacity and sorry to overlay and that's going to give us a beautiful gradient on the sky make this overlay not as aggressive make it subtle all the effects that you add in 3ds max should be somewhat um let's see subtle and we can also add two or three more points of post-production for example to make sure that the buildings in the back are going to create the effect of depth we're going to really just brush in a little bit of blue color which we tried to get from the front of our scene or just the middle of it it's just so the tones are correct now what i'm going to do is change this to screen and we're going to make the the fill or opacity really low remember that there's a difference between the fill and opacity opacity means that we generally have our object or our map on top of the on top of our uh current layer and it's just uh being absent or let's say going lower but if for example we change the fill it means that it's working with that map or with our scene in smaller amounts so there's a different difference between those two now we're just going to use exactly the same layer to create another effect or some saturation and we can change it to a little bit more yellowy or orange color depending on what you would like to achieve so we're going to go a little bit more artistic in this way we don't need it if you don't want it you don't i need to add it i just want this to be a very subtle effect and finally we're going to go to image apply image and we're going to add the final correction to our shot meanwhile guys if you have any questions uh regarding the 3ds max this is the moment when i'm going to grab a few of your questions and we're going to go for the q a a texture and okay i don't like this color at all i think it's a little bit too yellowy we're going to go to color mixer and we're going to change the saturation or hue of this color so go to yellows and move move this color slightly into orangish colors and we can also do the same for the rest we could saturate them to make them pop a little bit more maybe change exposure but it's all going to come down to your personal taste and what you want to show with this image because uh in the end it's all um going to come down to what you like about your work what you would like to show to your clients and what you're going to be signing up for so this is it you can actually see that there's quite a lot of the detail quite a lot of beautiful stuff and the building was done in less than a half an hour rest was me just talking and uh adding the materials so i think it's going to be something amazing so how do you uv uh uv animation for a v verb i'm not sure what you mean really uh so in this case if you want to uv and animation i think you're going to want to probably attach your camera to some kind of object that's animated but i really cannot figure out your question so if you could work this better uh it's going to be easier for me to give you an intelligent a response sorry was the price of the course uh the price of the course can be seen on our website currently it's uh around uh two thousand pounds but i cannot really tell you exact price at this moment because uh each group is going to be a little bit different and because of that we're going to uh probably need you to sign up to our website to see it for yourself lots of questions but what uh to want to know uh what configuration pc you use your um so our um our students start with laptops and you don't have to have some professional grade equipment it really 16 gigabytes of ram should be enough to handle a scene like this i i guess you're going to have no problem with that and honestly it's not going to be a problem at all if you're going to have a little bit uh let's say aged laptop because if something goes wrong or if your render takes a little bit longer than we anticipated it's going to be easier for us uh it's going to be you're going to be able to actually uh send your work to one of many um many available um render farms so it's a lot of them give a quite nice prices also there's quite a lot of options for um let's say trial periods some of those images come with some kind of watermarks but in the end it's not going to be a big of a problem so this is the lower resolution image that um i've rendered one second ago so we're not going to be able to um do any kind of super close-ups uh i'm going to show you one more thing that i think you're going to be uh um happy to see okay you missed the hdri settings i can actually show them to you it's basically just a little bit of rotation so yeah honestly it's um okay the hdri is here and uh what i did is i rotated it by uh 120 degrees and also i made sure the tiling is different because i wanted it to be stretched a little bit this way i could hide some of the trees below the line and move them by changing this value it's only for my artistic impression here so it's not going to be something i would be really that adamant about also as something really cool about corona is the custom aperture but that's going to be a topic for another video are the visionary classes recorded all of them are recorded and you will be able to watch all of the materials without any expiration date there's no trial period or let's say no period of usage you can just use it whenever you like it because those videos are just yours to keep and yours to explore i know that a lot of times you won't have time to master all the elements or you will have some questions because you forgot one or two elements so why not just go back and yes those videos are going to be well as always without any expiration date and i see that we've got quite a lot of students again like uh talking so after taking the course the only limits is your imagination also your work uh low and time improves on the top best investment ever thank you daniel um so daniel is our former student and uh that was actually a super cool review thank you very much you're giving any lesson about making video by corona render in our in your courses this um our course is focusing on archivis uh we do go over the basics and we mention some of the elements of the animation but we do not focus on it we mostly focus on efficient workflow with your visuals when are you going to make a walkthrough well we could actually show you how to do it later on i mean not today probably at some other video you're giving any lesson about okay how can you um how can you get clients for concept design like this well you have to be very creative to get that first of all you have to have a good portfolio that's going to be filled with more than just one shot then you have to get in contact with people and our architectural bureaus that actually created this kind of stuff you cannot just um let's say um it's simpler than you think because um it's you're probably one or two persons away from landing a client like like that but the real issue with that is that first you need to have at least a few of buildings like that in your portfolio to prove your client that you can go you can actually um deliver that's really how you can uh get to that point um gta 5 bought modeled and people started to create maps on 3ds max and sell okay first packs together versus chronic scatter which one is good i think that corona and scatter is way better uh compared to um to forest pack only because it comes in a package uh although forrest pack is an amazing tool and i really cannot understate uh how good it is i also have to warn you that that piece of software is very expensive and i do have the license for it but i use it a few times a year and yes it's great it saves you a ton of time sometimes it really earns you money because it comes with a lot of presets but honestly i do prefer to use just corona a setup because it's easy flexible it's just a little bit better for me because i have full control over everything and forcepack is limited a lot by a lot of things that i just cannot go over and that's why i always value my flexibility with corona renderer is there a way to is there a way to only take a 3d modeling part no 3d modeling is essential part of our our whole package and uh unfortunately we make this a full experience to to actually prepare you for the market and not only uh for uh something um as for something that's going to be um let's say imaginary uh when it will be uploaded to youtube probably very soon so guys i think we um i think we can end here so thank you very much for your attention it was a blast to uh show this um well i hope a helpful tutorial to all of you uh remember to subscribe to our youtube also follow us on instagram we're going to post more videos like this in near future so stay tuned and well thank you very much for your attention once more and see you next time on our youtube channel so bye [Music] you

Channel: VizAcademy UK

Views: 66,689

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Id: UCwDg2edaZY

Length: 80min 30sec (4830 seconds)

Published: Thu Oct 14 2021