I Tried Fixing YOUR Rendering in KeyShot!

by request i've decided to try improving a keyshot file submitted by the viewers of this channel and in the first episode of i fix your renderings we begin with an architectural lighting fixture submitted by a viewer named alexi so let's see what i'm up against and ultimately if i can fix this rendering okay so before i make any changes to this keyshot file step number one is identifying our goal and the person who submitted this keyshot file sent over this reference image on the right this is a photograph of the real product on the left we see what is going on in their keyshot file so we're starting from a pretty good position but when i asked the person what they wanted to do with this what their goal was they said photo realism i'm going to assume that our goal is to make what they've got in keyshot look closer to this reference photo so i'm going to try to match this reference photo and that's going to be our goal for this image today okay so step number two is going to be to perform an audit i'm going to audit this scene so we can have an understanding of what this person has done just in case there's anything weird going on i want to be able to identify and fix that first before we jump into any of the detailed stuff i can open my heads up display with h i can see that it's not a particularly heavy scene if we look at their scene tree we've got a pretty simple model structure i see a couple of physical planes they have in here since they had those turned off i will assume we're not using them and i will right click and do a lock so that those don't turn on and then if we look it seems like we only have one model set so everything in our scene is visible right now it seems just clicking through the scene tree i'm looking for things like rounded edges here it looks like we're not using any rounded edges which might come into play in a little bit if we look at our light if i click it at the top we can see the size this seems to be to scale it seems to be a reasonable scale this is about a i'm guessing like a four or five inch light uh if we go into check out just some of our materials we've got some metals going on with some textures it looks like platinum aluminum we've got various roughness we've got some cloudy plastic led housing it looks like some plastic so their materials look pretty reasonable nothing too weird in there i don't think let's check out our camera so we have a locked camera so if i try to navigate it won't move i'm going to create a new camera from where their existing camera is and we'll just leave it unlocked for now their existing camera looks like was set to 50 millimeters um no depth of field okay if we look at their environment they've got a pretty simple looking environment right now this is the three panels tilted or something like that there's another one in here it looks like they might have used for a little bit but the one that was active is the one that we're going to use as a starting point so this is just a standard keyshot hdri and then if we go to the lighting tab we can see what lighting settings they've got going on so 55 ray bounces is a lot i'm going to call that overkill at this point it's going to slow down the rendering process so for me i'm going to just throw this on product mode as our starting point one thing you might have noticed is some of our transparent materials went black when we did that that may be because we reduced the ray bounces so that may be one reason they had them turned up sometimes some weird artifacts can happen in there depending on the geometry as well whether it's normals or tessellation but typically ray bounces is going to be the setting that ensures that our transparent materials look the way they should i will crank these up as we need to later on but let's see if we can get the scene working well in product mode because that's going to give us a much faster render time already the noise is cleaning up quite a bit because of that and then in our image tab it looks like they did not make any changes we've got a basic image style so we'll just leave this as is if you want to take the most direct path to learning keyshot then check out my keyshot rendering master class it's already helped hundreds of others level up including designers from nike dell logitech sonos garmin track pepsi and lots of others see i designed the keyshot rendering master class to be the most comprehensive course available while still making it super easy to understand and what makes it different is the unique combination of bite-sized feature-based videos coupled with follow-along project-based lessons this course will help you build an intuitive understanding of how keyshot works then you'll be able to create and explore within keyshot without getting bogged down by the technical aspects of the software my goal is to help you convert your ideas to digital images when you enroll you'll get access to over 100 video lessons quizzes an active comment section private discord server channel and project files to maximize your learning so check out the link in the description below to learn more i hope to see you there alright so now i want to take a look at the camera and composition of this scene i can see that this person used 50 for a perspective value that's keyshot's default nothing wrong with it but i want to get as close to the reference photo as we can so i'm going to go to the image tab create a new image style go to photographic mode and linear response curve from here we should have a layers option and underneath there there's a front plate i'm going to drag the reference image right into that front plate file path and let go and you should see it in front of the rendering one warning is if your front plate aspect ratio is not the same as the real-time view it's going to distort the front plate to match the real-time view so you may want to make sure that your width and height here it matches the aspect ratio essentially in this case square okay so we have this slider option for opacity which is cool we can kind of use this to try to match up our camera angle which really saves us a fair bit of time but you might find out that there's some kind of mismatching going on with the sort of perspective here so to make sure we have as close of a match as we can i will increase this opacity to 1 i'll go to the camera tab and we're going to use this match perspective tool when i click on this you get these funky colored lines the way these are used is we're going to choose a plane or ideally a box a three-dimensional object and we're going to line the x z and y lines with that box in order to try to figure out or reverse engineer this perspective if the color is confusing look at the bottom left of our screen we've got this xyz coordinate you can hit z on the keyboard to bring that up so the y lines are corresponding with a vertical and the z blue and the x red and we want to kind of align these with this this object here the longer the lines are and the closer the more accurately lined up they are with your object the more accurate your results or the perspective that keyshot figures out or calculates will be it's not going to be perfect you know we're going for a ballpark here so this is telling me about 55 i think that's probably about accurate if i go ahead and hit the screen check box let's go and back to our image drop the opacity so we've set the perspective at 55. now i just need to rotate my camera so my light here more or less lines up with the reference photo and it's not going to be perfect you got to remember that camera lenses they have different types of distortion that that's going to happen and the way the image is processed it's going to be a little bit different it's not going to be truly perfect here for what we can get in keyshot but this is really close i'm happy with this so from here i will turn off that front plate pop it into my camera tab and make sure i save this now this camera's position is locked well it's not locked but it's saved i did recall seeing a little bit of depth of field on our reference photo what that means is this leading edge is blurry it's blurry back here but it's sharp somewhere in the middle we can go to our camera tab and we can turn on depth of field and we can set the focal point click this little crosshairs click on your model where you want to be in focus and we can increase the f-stop to try to bring more of the image in focus we'll try something like 10 maybe 20 25. i don't want it to be too strong because it might make some of my details kind of blur out so i think this will be just enough to give us a little bit of a hint of a kind of a realistic looking depth of field so i'll save that and finally for those of you on a computer that maybe is a little underpowered it struggles to work and update quickly with depth of field you can always create a new camera and then just turn off depth of field and you could save this one and rename it n-o-d-o-f so we know it's no depth of field then maybe we name this one dof render so we know so we can work in the no depth of field but then when we're ready to render we can make sure this one's active totally up to you okay so i've rearranged my keyshot workspace so we can talk about lighting i've got the reference image on the left and a real time right here in the middle i want to try to get this to match we see on the left a little bit better now when i go to the environment tab i think we can recreate the lighting we see here just using the hdri editor and i want to create a new blank environment map now i'll look at the image on the left and we're going to try to match the light that we see here our background is all bright white which is a little distracting so let's go to the settings and that's because we're in color mode right now let's go to lighting environment and now this will just show us the hdri we're working on back in the hdri editor i will click this button to add a pin and to place it i just need to click on the surface i want it to reflect off of so if we see a highlight here on the upper left of these bolts i will click there in my model and our light should be positioned accordingly and close enough and then i'll hit done i'm going to change the falloff mode to exponential it'll be a little bit more realistic and it gets darker so we need to brighten it to compensate so 4 looks pretty good there's also a highlight on the side here let's go ahead and create a new pin for that i will click to place and i'm going to do the same thing we're going to go right down to exponential and i'm going to scale this one down a lot so i mainly want it smaller because i don't want this highlight that we're seeing in the middle here illuminating as much of the rest of the model so that's pretty good maybe i want to make it a little brighter i'll go down a bit maybe go to eight for the size and brightness maybe like three four all right now the other thing i'm seeing is a little bit of a highlight reflection up the upper left hand corner here so let's make one more pin and i'll click right about here now this one's way too big so i want to scale it down but i actually want to go to change the fall off quite a bit which will make it very soft and i can go ahead and make this exponential as well now it's very hard to see so maybe we go a little brighter and maybe a bit smaller i think that's pretty good for now now what i want to do is tackle the background so you'll notice that in the reference photo we're on like kind of like a white papery sort of a background and here we're floating in a gray void so let's fix that let's go to our settings and now we'll go back to that background color mode when we click this button and the background goes white but now it's too bright and we need some sort of shadows and stuff like that what we want to do is take the color and actually color pick the color we want the background to be so we'll actually click on the reference photo and this gets us pretty close this is cool maybe i want to darken it just a little bit that's looking pretty good and what about our shadows well there's a ground section it looks like this person turned off ground shadows i'm going to turn them back on and now we see our shadows are pretty much matching the reference photo that tells us our lights are in the right position more or less but i'm also seeing some extra like this model looks just pretty dark overall and what we can do is we can go to our hdri editor and we can either change the color of the background which is just a gray right now or we could get some variation in it using like a gradient now this obviously gives us a lot more light in our scene but i think this comes with a couple benefits here too so we have white on the right which gives us a bright ceiling that's where lights are normally located and then we have black on the floor so if we drag this toward the middle we bring up some of those dark reflections here but we can also add another color stop by double clicking here and we can brighten this stop too so what i'm doing here is is introducing a gradient in order to give us some gradient reflections on the metal here because metal is so reflective it helps to have a little bit more going on in our environment so there's some variation in the reflections here so this is where i'm going to take a little bit of creative license if you will to kind of design this a little bit if that makes sense so we can go and play with our lighting here maybe make the ceiling a little less bright and maybe we want a little bit more brightness here in the middle not appear black now we don't want to make it too bright because if we don't have any dark areas to reflect it's just going to be washed out and gray we can also take the overall brightness of this environment and just increase it and see what happens at this point i want to if i can improve upon the image not just match the reference photo but see if we can't make it even a little stronger than the reference photo so some additional highlights here and there might benefit us i think overall we're looking pretty good i think it's still a little bit dull over here also i noticed there's a bit of a bright spot behind our light here and i think we can introduce some more interesting lighting if i recall this person had a couple of planes in here i'm curious to see if i unlock one of these and turn it on let's see what happens yep okay so they tried to put a light in here somewhere to kind of match this sort of backlit thing i think it's a good start i'm going to hit o to open the geometry view which i've positioned off to the side here and then we can see the plane this is their physical light so let's go ahead and move that i think we just need to finesse its position in its size so first of all it's too close let's move it further away and second of all let's make it bigger because it's casting a sharp shadow we don't want a sharp shadow our reference photo does not have sharp shadows so i want this light source to be very big so it's kind of just like a fill light uh and then about its position i think i want it more over to the side more toward the center of the photo or rendering it's looking pretty good maybe we can kind of tilt it down a bit so it's filling in this area and we'll hit ok i think it's also a little too yellow i'm going to double click on it and just kind of cool it off a little bit it can still be a little bit warm but i think that's better definitely i noticed the temperature of some of our other lights too are a little cool we can adjust that either on a per pin basis so like i could come in and take one of these pins maybe warm it up if we wanted to i could go to kelvin maybe warm it up the downside to doing this is it darkens the pin quite a bit so now we need to go brighter but still that's pretty helpful all right the last thing i want to do is there's still a little bit more light on the lower left hand side of this that i want to incorporate so if we go back into our hdri editor and i add one more pin i think i want to hit this somewhere down on the side over here maybe even over here i'll scale this guy down we definitely don't want it bright let's go to exponential make it pretty small and i don't even think i want it that let's go about five to eight and then because this is kind of filling this in we can also take that background and make this guy a little bit darker as well if we wanted to just to make sure we have plenty of contrast in our lighting okay and then of course while we're on the subject of lighting materials and how shiny they are play a big role in how the lighting looks so i don't want to go further with the lighting here because matching this may come down to making some of this metal a little bit shinier here i'm not entirely sure but we'll cover that when we talk about materials okay so this is the part where we talk about materials there's a lot of things i do before materials and now we're ready i think what i'm seeing in the reference is some shinier metal than they have in here so let's go ahead and take a look at this piece here so it is a metal material measured platinum preset roughness and probably some textures so let's get into the material graph huh okay this is a little bit weird so we have our metal and i expected to see the brushed we can see the brush texture that's that's not very weird but um what is a little weird is this contour i'm not sure i understand why this is here let me explain so this is weird okay so this is almost like a tune material and it's drawing a line on the edges but it's plugged into opacity which means the black parts are going to disappear so if i'm not mistaken what this texture is doing is it's literally making the edge of this model invisible which doesn't make any sense because typically we want the metal to reflect light and if we're making the edge disappear it's going to look like a broken model so i'm going to delete that and maybe this person was using it for something else i don't know but it would appear if i disable this it would appear like this this uh is like broken into pieces i don't know if this it doesn't look like it's stitched together very well let's do a quick experiment let's take this metal i'm just gonna platinum's fine but let's just make it zero for shininess and now that edge again i'm not sure what's going on with the edge but let's let's see if we can use the rounded edges tool to kind of round this edge off a little bit so selecting this from the scene tree if i go ahead and find the rounded edges and type in 0.1 that's what i'm afraid of it doesn't seem like it's really behaving correctly normally you would get a rounded edge there one see it's not working it's like i don't know if it's a bug or what um let me try something else real quick to see if that tool will work i'm gonna try edit normals try to calculate the normals doesn't look like metal anymore that's a weird one let's go to tools and then re-tesselate so this is working it seems let's make it a little bit smaller let's just try this now will it take the rounded edges aha ladies and gentlemen yes so okay a couple weird things this is what happens sometimes you get distracted and one thing leads to another now what i don't understand is why rounded edges was not working the edit normals didn't help but re-test re-teslating did and by doing this now i can add say a 0.2 millimeter rounded edge and it's going to give us something to reflect light and that's really going to make this look a little more three-dimensional now that's a little too high let's go to a smaller like a point one or a point two and honestly like the same procedure should apply to pretty much everything in the model so i don't know if we need to do a re-tessellate um on all of them but let's just try this other one real quick i think i did point five apply now this guy is working so again i'm not sure if you can see that on your computer but that little highlight we're getting here now is really going to help describe the form of this now this person i think they said that this is a solidworks model so it should have imported fine but it seems like there's some weirdness going on if we look at the screw this also has a really sharp edge but if i try let's see if i try the rounded edges it doesn't seem to be working so let's try doing the same thing here i might just need to re-teslate a bunch of these in fact i'm going to go and re-test late as many of these as i need to and we'll fast-forward over that part okay so after re-tessellating those parts i should now be able to apply a rounded edges to nearly everything in here so i can hold ctrl and multi-select these objects and let's try with these screws first to do something like a 0.2 rounded edge and right there i'm now reflecting light on the edges of those bolts it's bringing this to life in ways that we couldn't imagine when they had sharp edges let's go ahead and grab this guy make sure he's got a rounded edge too and that just brings that leading edge out so nicely makes a huge difference i'll try on this piece here maybe a smaller 0.1 maybe a 0.2 this will help especially in parting lines and stuff like that we're getting some highlights picked up in there same with this acrylic piece let's try a 0.2 and that brings out that refraction in there hugely makes a huge difference and then this piece right up here try a 0.2 okay so now that we're using our rounded edges properly this should help things fall into place and make them look a lot more convincing now remember i disabled our texture over on this leg or whatever it's called sorry if i enable it now it should bring that texture back and i think it's a little bit strong let's go in and adjust this box mapping is okay since we don't want to on uv unwrap this but i think we can improve this let's take the length and make it something like a eight so longer brushing and i think right now the bump is just too strong it's set to two let's try one we want the bump to actually be quite small let's try 0.5 or maybe even smaller 0.2 and what we want to do more so than bump is maybe use this on the roughness a little bit so i'll plug this into roughness that's going to make a big difference we're going to go ahead and use the color to number and we're going to darken this so if i preview that with c we want to bring this make it the whole thing a lot darker and that's going to make it shinier so we should get a little bit of roughness but it should also be in the direction of the brushing which should help a lot so we'll go down to point one and then we bring the output from point zero one maybe and then maybe the brushing is just a little too long i had it set to eight let's try a six that's looking a little bit better it's still standing out and pretty noticeable i'm gonna back down the reflection a little bit .05 maybe that's looking a lot better okay so i just had it too shiny overall we may need to now that we're getting more reflection we may need to go in this environment grab that background remember and we can darken this up as needed maybe that pin that we added at the end maybe that's a little too bright too maybe i can just turn it off there we go okay i was wondering where that pin was here it is so what i want to do is just really darken this so right now it's a brightness of one let's try 0.5 i think that's pretty good it's a lot better now we're a little bit too shiny perhaps here over here it looks like and these are linked so that's telling me that maybe we need to pop in here one more time take this up a little bit so instead of 0.05 we'll go to .075 and what we're looking to do is to have this part over here a little bit less shiny thinking that looks a lot better and that's probably going to make this side here a little bit smoother as well all right so now we're looking pretty good i'm going to copy paste this so shift left click shift right click to link it onto this other piece and this becomes just a little bit more reflective a little more shiny i'm going to darken this just a touch so point zero three and point one i think that just matches that a little bit better and also the metal may be just a little bit too bright so it's a platinum we can actually just choose color and we can just bring this down to whatever color maybe we want a little bit of warmth in there color matching is not my strong suit but i think overall this will probably help okay and i will go ahead and use that same material shift left click shift right click i'll use it on the side here and the top and now of course that makes it far more reflective this is the push and pull that happens when we get into materials so right now i don't know if on the reference we have brushing it looks like we might but maybe it's more subtle so maybe i need to scale this brushing down let's go to our pattern and let's go down to our texture let's take it down to 0.5 millimeters it still seems to be a little bit short to me let's take that length up to 10 and i think our contrast is still too much within our color to number so i'll take this up to 0.05 i'll bring this down to point zero eight the thing with textures especially with metal is they need to be subtle otherwise they'll look artificial they won't look real so i think this is looking pretty good now we have some vertical brushing here which probably is not correct so maybe we can select this material and unlink it go to our textures and then maybe we can just rotate it 90 degrees so now hopefully our brushing is going along with the part not up and down that should look a lot better and lastly i've got a bit of a highlight here that i think is still too distracting so in the environment is that it's one of these pins here there it is let's just dial this one back a little bit so 0.75 there we go and then i think this leading edge here this highlight is too bright so i'll bring this down and then this edge here is too bright and you'll see what i'm doing here a second i know it's looking more flat and more gray but once we've done all that we can proportionately bring the whole brightness of the entire environment up so let's take this up to like a two now everything gets brightened together and it looks just more balanced overall and i think we can still go in and take this pin right here dial it back a little bit all right thanks for hanging in there we are getting close we're almost done with this the last thing we need to do the elephant in the room as it were is to indeed adjust this central area so the first thing i want to do is check out this acrylic looking piece they have a cloudy plastic for this i can try this let's make it quite cloudy like maybe 0.9 now one thing they've done is made the transparency distance really high i don't think it needs to be quite so high if we reduce this let's see let's try 50 it gets cloudier right so we can maybe even bring that down further and then we don't need as much cloudiness so maybe 20 and then we take the cloudiness back down this is probably only a couple millimeters thick is my guess so if we select it it is three millimeters thick so if we go back to that material we could set this to three for the for the transparency distance and looks like they got a little bit of blue in there uh i don't know in real life if it's supposed to be blue i think to me i'm seeing a little bit more yellow we'll leave the color out of it for now but by making the cloudiness a little bit higher we get to take and blur some of these refractions we also want to make the outer surface a little rough i can definitely see that it's got some roughness so if we take our roughness up to say 0.05 and what about our rounded edges maybe they need to go up a little bit now if we're not sure what that's looking like i can draw a little region render with ctrl shift r around that section and what we're trying to do is get the same appearance the same frosty appearance i think it's looking pretty good overall ctrl shift r to get out of that now what about these pieces up top i think they should get a pretty similar material so i'll hit shift left click to copy this ctrl shift right click to paste it unlinked to these pieces here and these are going to need more cloudiness i think price more like a point five or something or 0.6 and of course the lights are turned off so if we hide this with control alt left click and here let's see what we have we have a plastic down here and we have these little lights let's take a look at this plastic here so that's the pcb okay we have a glass in here which i think that's going to make things a little bit complicated let me see about hiding that and then just turn on turn these plastic lights into actual lights we'll make them point lights so a point light shoots light in every direction we're gonna make them really dull like a power of one maybe even that's too bright point one and then what we'll do is turn on the part that we hid just a little bit ago and let's see how the light comes through there it's a little bit dark so we'll need to brighten those lights 0.5 maybe i think for now too that glass part let's make them all the same cloudy plastic so shift left click on this let's hide this piece we'll turn on this part and shift right click to link that now interestingly enough that changed what we see underneath here and i don't like that so i'm going to hit ctrl z so maybe we'll just leave that as it is and we will right click show all parts and i'm going to draw a region render around these to speed things up and let's see how these lights look all right so this is really noisy and really slow if i hit h on my keyboard i bring up the heads-up display we're sitting at 12 frames a second now i'm only using half my cpu but that's still very slow so i'm going to go to this glass piece and turn it off see if that helps so that brings it up to 17 frames a second and i don't visually see any major change in here by hiding the glass we're basically just simplifying the structure and then the other thing that we can do is see if we can address some of this noise by going to the image tab and then we want to go down to denoise turn this checkbox on and of course it blurs everything out let's take the denoise blend off and set the firefly filter to 0.5 and that gets rid of a lot of the noise that you see there and then the denoise will set this at like .2 or something like that that will soften the image a bit the only time i don't like using this is when it makes some of your textures kind of disappear a couple things i wanna do before we call this one quits is i wanna take this cloudy plastic material and make a little cloudier so maybe point seven and it's probably just going to illuminate these a little bit more maybe i want to make this bottom piece just a touch less cloudy so maybe point one five i'm thinking this piece has maybe like a little bit of yellow in it and maybe that's too yellow and if that's the case i can increase this value to 10 in which case i'm going to want to bring this cloudiness probably back up to 0.2 all right at this point i'm going to call the materials done the last thing we need to do is a couple of final touches and then we can render now before we call this completely done i'm just going to look at a couple more settings i want to go to the image tab and we went into something called a linear response curve earlier in this case we're getting a lot of white blown out areas now that's pretty accurate when we look at the reference image but maybe we don't want it quite so bright we could look at what say the high contrast or the low contrast response curve looks like we're looking very comparable or close to the reference which is pretty nice now we can play with it a little bit and i think this is overall too dark so i want to bring up this exposure a little bit and we can take up the contrast maybe a touch trying to match reference more or less now those lights can go brighter for sure so if we go back in here by increasing the brightness of these we should get more light coming out of them without it making the image overall too ugly and white let's try 1.5 this is a little light indicator to make it go away i have to deselect the object by clicking in the background and what's great is you can just keep pushing the value of those lights further and further without over exposing anything let's try three i think at that point we're looking pretty good maybe we're a little too cloudy here i'm going to bring the cloudiness down a little bit because i want to see a little bit more transparency in this material you can also play with the scattering directionality to see if that gives us more of what we want i think forward scattering like this is getting closer to matching the photo which is good all right overall i think that's pretty good if we go to our image styles and we take our white balance if we go right it makes it bluish if we go left it makes it warmer and this image is definitely a little bit warmer i think i want my contrast to go up a little bit more too maybe in my lighting here my hdri can go up a little bit on the contrast maybe i'll reduce the contrast here a little bit now and overall it's a little dark underneath here so maybe in my environment i need to balance a little more light up in here so i can go in the hdri editor maybe brighten this a little bit but i don't want to lose too much of that contrast we had now let's go and refresh that hdri if we want we can set it to a 10k that'll just give us a little bit better results in our reflections and then finally we can if we want we can play with the curve i don't think we need to we can play with bloom since there is a light source in here if we turn on the bloom we can make this glow make the bloom radius big this will make everything fuzzy but what we can do is increase the bloom threshold so only the areas that are really bright are getting the glow effect so we're mostly just getting it where those lights are we can maybe even increase this a bit and bring this down a bit still a little bit much i still think we're a little bit bright on the side down here so let's fix that sorry i'm nitpicking a little bit i do like this pin but it just may be a little bit much maybe the background light needs to be a little bit brighter so we'll go to this plane here and we'll darken the background of our hdri maybe we'll brighten it a bit and i know it's choosing a bit of a green but i think a little bit more of a warmer tone would be a little better add a teeny bit of a vignette if we want like a teeny bit not not much all right the last thing we need to do is determine our render settings and i'm pretty happy with how this looks if i go to the lighting tab the original person who sent this over had the set to 55 ray bounces i think everything else was the same here now 55 ray bounces ensures that we get lots of scattered bounce light within this plastic assembly and it looks really good don't get me wrong but it actually looks brighter than i'm seeing in the reference photo and because it's going to take longer to render i don't think we need that many ray bounces just the product mode preset looks pretty close to what i'm looking for what i want maybe these are a little darker in these areas these refractions so i could take my ray balances from 14 maybe up to 20 and that should brighten those up considerably and still not take quite as long to render as it would with 50 ray bounces so i think i'm going to leave this where it's at now normally when using light that's transmitting through a plastic or a lens i would turn on caustics but in this scene it's really not terribly necessary and it's going to slow things down even further i say it's not necessary because when i turn it on i'm not getting any results out of this that i like or want maybe a little more accurate it may be illuminating these a little bit better but i'm going based on this reference image and when i turn off caustics it just looks the way i want so i'm not going to render with it all right so i'll go ahead and quickly save this create a region render ctrl shift r and this is going to tell me how many samples i need to render out to now the number is going to be very high there's no way around that when using metals and fairly shiny materials and cloudy plastics and physical lights this scene is almost a worst case scenario when it comes to getting rid of noise you can use a little region render like this and see how long it takes for this to start to clean up keep an eye on these samples up here for example if our samples say 200 and you don't see any more noise or fireflies here then that's the number you're going to render to but in this case i know for a fact i'm going to have to go considerably higher than that i can increase my core account for a bit to see if i can speed that up but i'm basically going to wait here and see how long this takes to get a little bit more cleaned up now to set my render settings i will go down to the render button i want to render this out as something with 32 bit depth because of all this bright light in here i'm going to probably make a couple tweaks here in photoshop when i'm done with this just to ensure that i have the right exposure of everything and i can get that using exr or photoshop 32-bit the only time i really go with photoshop format is if i'm going to render out additional layers or passes anything like that so maybe i'll go with a 32-bit photoshop file and then i want to click add to psd and i'll go ahead and click on the clown pass and probably a normals pass i think that's it so for my render settings this is where it's going to get really ugly i could probably get away with maybe a thousand samples but i'm not in a hurry and i really wanna clean rendering so i'm gonna go ahead and try rendering this a little higher maybe 1500 samples one thing that can help with that i forgot to mention is taking up the material that's noisy so the roughness here let's set this to 24 samples the cloudy plastic let's also make sure that we have samples set a little higher 24 and the cloudy plastic in here 24 as well so anything where we're getting some extra noise by adding some higher material samples this should help them be a little less noisy at the time of render also these wires are dangerously close to the edge of my image here i think i'm just going to move the camera on over to create some breathing room there just to be safe go ahead and save that camera actually we want the depth of field one don't we let's move that on over and that was such a small move i'm not worried about that interrupting my depth of field but just to be safe i can make sure it's still set where i want it and if you're really paranoid you can open the geometry view and you can see what part of the product is indeed in focus we can increase this if we want to go 30 35 maybe 40 and we can move this a little further out 300 i think that looks pretty good to me we'll go ahead and close this up save that camera double check all of our render settings looks good to me i'm going to go ahead and render and i will check back in with you when all is said and done time to take a look at our results so here's alexis rendering straight out of keyshot a pretty good starting point and here's my rendering straight out of keyshot without any post now to take my rendering one step further i did some color correction sharpening and added some smudges and imperfections inside of photoshop and here's the result of that and here we have my final rendering next to the photo reference alexi provided us with as you can see there's really no magic shortcut lots of small changes led to the results we got so what do you think was i successful in improving upon this keyshot file you

Channel: Will Gibbons | 3D Rendering

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Keywords: will gibbons, wil gibbons, will gibbins, will gibons, will gibins, keyshot, rendering, tutorial, animation, studio, freelance

Id: 1wa4geLfF18

Length: 41min 40sec (2500 seconds)

Published: Mon Jun 13 2022