Keyshot Interior Scene Tutorial

hey I'm Sam and I do design and in the video today I'm going to be teaching you my tips for interiors in key shot so recently on my Instagram I've been posting a lot of interior scene so I wanted to make this tutorial to try and teach you guys how to do that type of thing in keyshot we aren't going to be talking a lot about photography in this tutorial and I would just like to say that this video is sponsored by skill sure skill share is an online community where you can learn anything from creative skills to how to run a business and I actually watched a lot of tutorials on photography and that is what has got me into interior rendering in keyShot as well so I can give you guys two three months if you want to learn all about photography on Skillshare if you click the link in the description below two three months you can cancel at any time you can binge all of these photography classes and learning about photography is really going to help you we've renders because it's all about that theory that I'm going to touch upon but if you want an in-depth tutorial you can head over to Skillshare and get two months for free anyway we're gonna jump into the tutorial you can see now that I've already got an interior setup and I already get the question on Instagram did I model everything in the scene and the answer straight out the bat is no I did not model these I downloaded these various places online but I will get into that in a minute what I want to talk about firstly is the three elements that make up a good photo those three elements are subject matter composition and lighting and between those three things that is how you get a good photo the difference with rendering is it has an extra element and that is materials so the first thing that I want to do is talk about subject matter that we obviously have an interior scene here if I come over to my geometry view you can see that I've got this interior modeled I modeled the actual room itself in shape of 3d on my iPad and then I imported all of the assets and the furniture and things like that from various sources so it's really about dressing the scene and making sure that your subject matter is something you're happy with I've gone with showing a kitchen and living room open plan type of scene and I want to focus on the plant so mainly the plant on the table is the subject matter that I'm trying to show here and that is what's going to draw the eye into the scene another way to draw an eye into the scene is by having a different camera setting so not only subject matter you need to have it in the frame but you need to also frame it properly with the camera settings that you've got so I can come over here to my camera and you can see that I'm on an 80 millimeter lens here and this is what I learnt on Skillshare the difference between let's say a 30 millimeter lens 30 millimeter is what is going to start to give you more of a fisheye effect so as a rule of thumb humans see between 40 and 50 millimeters and we liked the look of 80 millimetres as well that's as in the human eye and the brain interprets things around 40 to 50 millimetres and it's all about the perspective that you get so let's say 30 millimetres is quite fisheye let's go to 10 millimetres and really start to see the difference here so you can really start to see the crazy fisheye effect and only if I go to maybe 100 millimetres things start to flatten out you get a huge jump and then 200 millimetres things flatten out even more and then at 300 millimetres which is really not great for interior scenes that is more for landscape or architecture or city getting City skylines you get this effect where the background is bought right the way up to the front and anything in the foreground is pushed right the way to the back so 300 millimetres not so greatly antarious so I like to stick it on 80 millimetres and that tends to get a nicer sort of natural perspective but it still looks nice and flat doesn't look distorted when you can play around with it 50 millimetres 40 millimetres anything in that sort of range is going to be good for your composition the next thing I want to talk about is depth of field so I know I'm tripping straight into this and I haven't really spoken about the modeling or anything like this but like I said it's it's about adding assets that you fine online really fast and effectively so you can then really start to delve into making this thing look realistic like this so the next thing I want to talk about is depth of field anything that you have in a camera is going to have depth of field and you can see it in the geometry view over here is going to have a plane of focus I'm just going to change it to wireframe so we can see so you can see this darker blue section here is my focus area and it's actually not even quite on the plan yet I think I missed focus on the plant so I think I need to change this up a little bit so the plane of focus is anything that's going to be in focus and as you move further away from that and closer to the camera it's gonna get slightly less in focus so I've got an f-stop of three and a lower f-stop means that only a sliver of that element is going to be in focus so you can see the two lines now that is they are symbolizing what is in focus they are really close together now and also over here you can see that the rug has even started to blur out and that's even quite close to the plant so an f-stop of one is going to be not a lot of focus at all and then an s-stop of 10 or something like that I'm gonna need to zoom out to get those indicators back you can see that everything in the frame is going to be in focus right the way up to the edge of the rug which we don't even see so the difference between an s point 1 and NS top 1 and then s top 10 is how much focus is going to be in the image so I'm going to stick at maybe an f-stop 1 I know that naturally I'm going to use an F 1.2 because I have a 1.2 lens on my camera I don't know I like that look so I'm gonna go for an F 1.2 because we're trying to make a good photo just with the added element of textures as well so it's all about trying to replicate what you would use in real life if you were photographing this scene so I'm gonna move on to do where I actually got these models from now and I got them from a variety of sources online I'm always searching for more models so I can add that to my online collection but I got most of these models from a website called demon Sivir polygon grab CAD turbosquid and CG trader I will leave all those websites in the description below so you can go and check them out for yourself some of them have free models in fact all of them have 3 models some of them have paid models and I find that the paid models are obviously a lot better quality I've paid for these models but I don't say that you need to pay for them you can get the free models if you like to try out but once you've practiced and once you've got the hang of these things and you want to go into it even more and I would recommend going for those paid models because they are nicer quality and makes your job easier when you come to light scenes and stuff like that as well so we'll leave those down in the description below but we're going to move on from composition now and we're going to start talking about materials so if I said the three things for a good photo is subject matter composition and lighting why am I going to talk about materials before lighting and the reason why I'm gonna do that is because we need to set up the scene so that the light is bounced off each surface in the correct way so if I set up the lighting before any of these materials were set then as soon as I start adding lights and as soon as I start adding in different materials with different reflectiveness then actually what's going to happen is the lighting is going to change so let me take for example this wooden flooring I'm going to be using textures from polygon polygon is a great website for textures it's made for blender and and rendering engines like that but it also works in key shot now I'm not going to go through the exact ins and outs of adding in the polygon textures because I know that as binocs film has got an amazing tutorial on that in fact that's the tutorial that I needed to learn how to do it so I'm gonna link that down in the description below and you can go check out as Ben's tutorial on that because it's essentially the same thing for every material once you've downloaded a material from polygon you're gonna have stuff like the color and that is gonna give the material its overall color like we've got this wood down here now you'll notice that this may be a little bit too saturated and this is less saturated so all I've done is added in a color adjust node in the middle of those two just drop the opacity of the color drops the such variation sorry of the color and that's going to give it a more natural neutral tone down there so once you have the textures from polygon you can actually really start to play with them and add in all the different details that you need on top of those things as well so polygons also comes with a reflective map and what that does is tells keyShot what is glossy what is maps what is reflective and that goes into the specular mode Glaus map again is all about the reflections that you will see and that goes into the roughness panel you have a bump map which is going to tell key shot that the surface is actually bumpy and it's going to simulate having bumps without actually adding any more geometry in as well so this is actually just a flat plane so you can see over here all it is is a flat plane on the floor and I've added in this bump map and it's going to tell keyShot okay these sections where the wood paneling in between there's a slight bump there and keyShot will simulate that on top of that we also have what is called a displacement map and that will actually tell keyshot to give the surface extra geometry based on the texture that it's got here so if I double click that texture I can press C to preview it and it's actually not a very contrasty texture right now but anyway that is dark will be low and anywhere that is light will be high so that is how a displacement map works that goes into a displacement mode and you can see I've changed it to five millimeters with a one millimeter triangle size that tells keyShot how big the triangles are for the extra geometry it gives and how many is the match triangles in millions so I've already got quite a complex scene so I've kept that at six which is six million triangles and if I press H on the keyboard we can bring up the display and you can see that I've got a total of eleven million triangles nearly 12 million triangles which my computer can cope with the more powerful your computer is the more triangles it can cope with so you need to bear that in mind if you're going to put a displacement map on every single material maybe it's going to overload the computer so you need to carefully select which materials are gonna need the most detail so you can decide which ones to add the displacement maps to I think in this scene actually the only thing that I've added a displacement map to is the floor because I know that I want some really nice reflections when I turn the interior mode on which I'm gonna get to in a minute so I've mentioned as binocs home he has some great tutorials on Keith Shaw and the material graph I also want to give a quick shout-out to will Gibbons and his material graph Monday I've been learning so much from that series so you guys need to go and check that out too because once you know how to add materials of things and you can add them all together in a scene like this an amazing series that I learned so much from let's say that we have added in all of the different materials and now we want to start talking about the lighting now this is the bit that I wanted to talk about today the lighting of the scene can add in a huge difference to the way that a seed is interpreted so in order to set up the lighting for the scene I'm gonna need to switch over to interior mode and that is going to tell keyshot how to interact with the light that is bouncing around the room product mode is great if you're using a small product in a studio or one-off product in a studio but if you're adding in walls and you're adding in furniture in tables and things like that an interior mode is gonna tell keyshot how to use that light and make it behave like it does in the real world before I starting to set up any lighting I'm gonna change that to interior mode then I can come over to environment and I'm just going to go ahead and make a new environment so we can make it from scratch so I'm gonna call this one tutorial and the HDR editor which is over here is going to be where we can start to add pins to light the scene so effectively what the HDR is doing is wrapping the entire scene in the image that you can see there so if I come over to settings I can change the background to the lighting environment you can see that the sphere that we've made is matching the HDR I over there so if I come in here and add a pin you can see that on the HDR I there's a pin there as well so once I've added a pin I can move it around and that is going to move it in the environment as well but let's say for example I've got ten pins already and I want to rotate the whole thing I can also go into the settings and rotate the whole thing without needing to go in and rotate each individual pin so how do we simulate sunlight well there are a couple of different ways to do that over here in the library panel if you come down to environments Sun and sky you can see the key shot comes with a few different presets for lighting that you can drag in and then that is gonna simulate again Los Angeles at midday but what I like to do actually is to make my scene from scratch because then I have more control over where each pin is so let's say I want this pin here to be the Sun I can name this Sun and it is really important to name your pins for the exact thing that you want it to do because once you've stuck it in 10 15 20 pins maybe that's a little bit excessive but once you start to get a few pins then instead of just turning them on and off all the time you know exactly which ones you need so the radius over here I can change with this figure and what we want for the Sun is a really small figure here because actually the Sun is so far away it is just a pin in the sky but it just happens to be that is so bright so we need to change the radius from anything between 1 and that's gonna give us some really hard shadows and 3 or 4 and that's gonna give us some softer shadows so you can see on the side here the - shadow is pin-sharp because the depend on the a CRI is tiny and I can move that up to 3 and as the pin gets larger so does the brightness as well so if you increase the size of the pin you also increase the brightness of it so you can compensate by making the brightness slightly lower as well I like how this is looking actually and you can see already just with this tiny pin one tiny pin then the light is coming through the windows I've got blinds up again I'm trying to replicate real life so I'm adding in as many details as I can to replicate that real life so I've added in some blinds here and you can see that already on the floor we've got this nice blinds pattern there as well so I don't quite like the position of it I want the the Sun to go and bounce the light off this back wall so what I can do to change that is change this these figures down here so azimuth is kind of like the rotation of the Sun and that is going to change the rotation of it and elevation is going to change the height of it so you can see in the HDR I'm if I move the elevation the pin changes and if I move the azimuth it changes as well so I'm gonna move the azimuth to something like this and I also had a nice effect where something like 2015 let's check that out move this a little bit more yes so now already I've got a nice interesting effect on the back wall there and I kind of like that so if I come back into my camera's I can come to my bokeh camera preset which is the camera that I've got with f-stop so what photographers called the blurriness in the foreground and background of images is bokeh so yeah I've got a chemical bokeh and you can see already just with one key and it's as easy as that can get you a really nice looking scene but what I do think is that the overall scene is looking a little bit dark right just with the wrong pin and the background of the thing is quite grey or HDR is quite gray so what you can do is change the background color or you can even add in another pin so I'm gonna come in and add a pin to give it some area lights as a whole so I'm gonna make this maybe 50 I'm gonna change the fall-off to 1 so it's nice and soft and it's not gonna be as bright as the Sun at all it's just gonna give a little bit of extra light so maybe let's make this 10 and this is gonna brighten the scene up just a little bit just to give us some detail in the shadows as well what I've also done in this scene is gone ahead and added in some area like some some local area lights that is also lighting the scene from within as well and I'm gonna quickly talk about those now so let's say we've come over to our lamp I've got a cylinder within the lamp which is exactly where the light bulb would be and all I've done has changed that cylinder to an area light and I've given it a value that is on the Kelvin scale now that is really important there is something I've gotten to do in the hey CRI the Kelvin scale is basically simulating every single light temperature that we have in the real world and lights inside like indoor lights tend to be on the warmer spectrum of things because humans like to have a nice warm cozy light when we have lights on in the evening so adding a lighting that is on the Kelvin scale not just the RGB scale that's going to give you some unnatural colors the Kelvin scale is going to make things look more natural so I need to come back over to my environment because I forgot to do this I click the pin that I want to change and you can see color is white and there are no things in the real world that have white light so what I need to do is come over to the color changer over here press Kelvin and just click anywhere in the middle because I want it to be a neutral color still so I'm gonna press anywhere in the middle of the Kelvin scale and just press okay now you'll notice that the color is now a lot darker than white so it's gonna be a lot dark in general so what I can do to compensate for that again is just change the figure to have a slightly higher figure to compensate for the fact that it's not pure white anymore okay so we're just gonna come back over to our scene panel actually our material panel and you can see that I've got this set here to Lux as a rule of thumb you want to keep things in locks because what that does I know that we measure in the real world we measure in watts and lumens but what looks does is it takes into consideration the size of the object as well so if this object gets bigger now it's also going to get brighter so that's why it's such a small light and I've got such a high value here what's that fifty thousand or five million I can't even see on this small screen you can see that the lux value is gonna give us a nice area here depending on how big that bulb is same again I've decided a piece of geometry into this shade over here change it to an area light giving it a slightly warm glow on the Kelvin scale and that's going to bounce some light down and give you some extra details down here so I'm gonna bring this full circle now and as it starts to raise up you can see that the reflection in the woods is being nicely defined by those four or five different textures that we put in we had the color texture the specular texture the gloss and the bump and the displacement texture and they're all working together to give us this nice smooth but slightly bumpy reflection in the wood and I really like that in a scene so that's just bear to give it a little bit more extra realism along with a displacement map as well okay one last thing that I'm going to fix is by having the outside visible here so I we can slightly see on the outside so what I need to do is come over to environment come over to settings change the background to have just a blank color outside and that's going to help with blending in the background there as well what I'd like to see sometimes is maybe if I saw lightly more at the window you can start to see the outside exterior so a horizon or a skyline of a city but what you need to remember in those scenarios is that we're exposing our camera our fake camera for the interior scene so that means that anything on the exterior is going to be washed out or overexposed so if you are going to put a backplate image of a an exterior over there don't forget to make sure that it is really blown out because that is what's gonna make it look more realistic okay I think we are now ready to render so the render settings that I use and I get asked this a lot I render as large as possible so this is three thousand five hundred that may be slightly too big for this instance if I was going to export for Instagram for example all I need to do is maybe 1600 by 1200 that's because of the aspect ratio that I've got it in but anything over 1080 for Instagram is gonna be great the options that I use for the rendering is the maximum samples so I see some people using maximum time which is fine to render if you have a specific deadline you need to hit but what I like to do is maximum samples because effectively what a sample is is how many times light is going to bounce around the room before it decides what color that pixel is going to be so the more samples you have the more accurate it's going to be and what I use maximum samples is let's say for example I've got this set up as an animation and I set it to maximum time okay and let's say for example that the camera pans across and we start to see some more stuff for some more products with more details okay let's say that we pan across and we see this he says he can't zoom around the scene as he wants to let's say that we pan across and we've got some interesting and competent complicated materials in here right and we just change to perform smooth so we can see it and if I've got a animation and it's set to the same time each frame as I pan around to the more complex things it's still going to spend the same amount of time even though it's got all of this to render inside right so what you see with an animation in that case is the simple bits look really good and then as the animation moves over to the more complex bits you can see that the quality drops within each frame so what I like to do is just set it to the sample option and what that means is it doesn't matter what how long it's going to be some frames it might do in 10 seconds some frames it might do in 5 seconds some frames it might do in 30 seconds but each frame is going to be the right quality so I can use that all the time even in the stills as well and 1500 samples is a crazy amount of samples but I really like to get a nice smooth interior scene but you can play around with that buy let me see and I go to my Boca you can play around with how many sample you need by coming up to the region and only rendering a certain specific region so I recommend the most complex region and if you've got the HUD up here by pressing H you can see how many samples you've got live so when this starts to start to look good he can reference how many samples you've got up here and you can say okay I only need a hundred samples for it to look good for example I would still maybe use a hundred and fifty sorry I'd made me still use five hundred samples to a thousand samples and it seemed like this just because we've got the blinds at the side and we still thought to get these lines that I want to get rid of by having a high sample over there as well so at two hundred and thirty you can see that it is starting to get really nice and smooth but we still have those lines in there so like I said five hundred to a thousand samples depending on the time that I have so all I have to do in that case I would just need to press region again come down to options five hundred and then add to queue and then that's essentially everything that I would do to get a render up and running Liz have been a really long video and I feel like I've spoken a lot about theory behind why I do different things without actually showing you doing them itself but like I said the tutorials that I learned from I'm linking down below you guys can go and learn from those as well Skillshare to learn about photography don't forget to free months and you can cancel at any time so I would recommend learning as much about photography as you can in those two months cancel at the end it doesn't bother me doesn't bother Skillshare at least you learn something in the process and then you can put that knowledge into your renders as well don't forget to like and comment and subscribe and hit the bell button and everything else that YouTube asked me to do and I will see you guys in the next video bye

Channel: Sam Does Design

Views: 107,871

Keywords: keyshot, keyshot tutorial, keyshot interior, tutorial, keyshot interior scene setup, keyshot render interior, interior, 3ds max tutorial, keyshot render, car rendering tutorial, 3d interior rendering, keyshot rendering, animation tutorial, keyshot 3d rendering, keyshot sketchup, keyshot product visualization, plugin keyshot for sketchup, keyshot model, keyshot sketchup plugin, 3d modeling tutorial, interior design, 3ds max chair modeling tutorial

Id: 8flwD_h7xAo

Length: 27min 13sec (1633 seconds)

Published: Sun Nov 03 2019