Lighting Render Setup in 3DS Max Tutorial

so everyone but today we're going to be looking at how to create a render setup in 3ds max 2016 that will look something sort of like we've got in the image here I already have the dick bat scene set up on another screen so I can try and replicate it as best as I can so first author comes jump straight into max create our teapot that we're just going to work from as a reference mesh if you have a mesh to wear from that's awesome and do that although the size of the scene and the values may change depending on the size of the model that you have and also the placement of the lights so we can change this we'll go let's go for 40 is a value to make sure that's a zero dot in the world as well create our plane which is going to be our background or four to zero that off in the world as well I like to work with symmetry in this scene so we're going to make sure we've got one segment that we can just cut off later on length we can set that away to 50 and with Roth 400 so there's 200 on each side of the mesh we've got that straight to an editable poly not that the phone will see one get that back and delete one side add our symmetry modifier make sure that's for that and then we can start making our back wall you can also use the side wall as well if you want to add more and more closed off scene or if you're viewing it from such of an angle like this where you would see this I mean you could always just stretch this right the way out or the amount of distance you've got to go you probably will be better just pulling this up or maybe just moving this wall backwards but for now we're just going to work with the back wall as it works well with what we want to achieve so I'm just going to change this color to gray so it's working this inequality take the lid off so at the moment if we want to render this with the lighting setup we would get a quite hard edge here so what we're going to want to do is shove for this edge so we have a more smooth gradient between the background and the foreground so let's do this about fifty nothing and then add some more segments you will for maybe 35 just so you get that smooth curve upwards click ok for that as you can see already in there just the basic flat Randy you've got some form of soft wall so let's add our camera in there stuff actually before we add the camera what I'm going to do is I'm going to ally to work and layers in two years max so put all the models and things so let's call this necklace in just so then you can just always click them off and see what another model that you're working with you can just click it out and work from that model save just a lot of cluttered scene then let's create a new table move touch to do that yet also in terms of the background if you're working with quite a few different things you don't to be set in the background and change the national you can do go to object properties by right-clicking it and on tick show frozen in grey and then freeze the selection so now we can't select that but you can also still select it in the the panel over here let's now let's add our comer go into the create panel cameras still target light and drag this out here just to the side right okay I like that one select that so we're just working with the camera point over here and zero that off in the world grab the camera and let's just remove it to my little wand I'm going to do is I'm going to look through the camera view yeah just to see what sort of thing your bar so you can go do things up right then make sure this is zeroed in the one okay yeah hi ones we might want to change that move this back Oh right so now the distance that we can pull this back we may want to just something like this will do for now till this part the feather back and look yeah - you look fairly nice now so now if we go into so I'm going to work in perspective on this top one here so now what we have is our camera the mesh that we're going to be rendering and also the background as well so now let's put this camera into a new layer rename that layer we call it camera plus likes the lights can go in there as well make sure you got the blue part clicked on so then what have you created is going to go into that part as well let's add our lights into the scene and go on to you maybe start off in standard - but Omni skylights type of our free spot but click this em drop-down box and go into filter metric and click target light it will come up with this here I'm just going to click no for now but I'll show you how you can also click this on later and let's go and just go to the top view and drag one out strike it up today select this and zero the target point out on the grid and then select the actual light itself so then just pull that up so we've got one nice and icy give that a quick render see what comes out like similar to but it's so it's a start at least so what we're going to want for this part I'm just going to go into this we're going to want a light here which is which acts as a rim light and then a cold light over here and I'll warm a light over here that is showing this so as you can see this is like a rim light or just have it in all the edges here a cold light over here and then warm up orange looking light over here as you can see orange and a more light blue so the way we can do this is first of all before we start doing any of that just make sure clicked on tagged air shadows and raytrace shadows I like to work with the rectangular shape and just set that to hundred I'm good obviously depending on the size of your scene and the size of your object that you're making this for these may change drastically or everything else may be sort of a similar value the NT intensity and things like that you may just want to change a bit just to get a better feeling for your scene so let's get off it's like so to make this to make this a more blue looking light at the moment we've just got the colors this default white if we click on Kelvin it mix as you can see it when orange already so if we look this value to about 10,000 it starts to go more blue so the lower the value the more warm the higher the value the colder the light is go well one thousand four where 14,500 let's go for just can see that's quite below already to move this over to the side really see what we've got going on here just do this sometimes you come back on these as well because these quite handy so let's do that two hundred by about minus 30 about doing 90 height just show it on the edge of the scene there but still slightly in front of the Martin model to make sure we've got everything right over here so rectangle will welcome with Scripture shadow parameters and universal spherical they are all find you can change the intensity of the light as you can see it changes up and down we're just going to keep ours at 1500 for now then simply control any shift drag over to duplicate it on to the other side let's call this warm weight and then click on the other one and call it all right as you can see one called light source and then it's easy to distinguish between the two so from here we can change this that's up this about - one pass moving 100 per 100 don't let them do that I'm gonna move it then we can have it about - good so then this this one here is more towards the front of the seer this one's to the side and then the third light is going to be towards the back on the top so we want this to be a warmer light so we can change this to about 4000 I think see they go so we've got that warm warm light over here and that smoother like the colder light over until this little 4500 was that is quite a strong on to the moon is maybe maybe open this a bit so we can hide the light up a lot 120 110 110 all day so we got off it's fast in a second like them so just get that quick render so as we can see we can we've got this orange looking part over here and the blue looking over here still a bit of a way to go or it just start at least to click on this part here and just shift and drag towards the back of the scene so as you can see we've got this light over here now let's call this RIM right or you can call it X light or something out you don't need to name at all and see where we can place this I think this may be bit higher so about 155 and minus 10 so we are still using that sort of triangular three point and then maybe about 50 to show then it's still towards the back it's not directly over the model and then we're going to want to just use the default color so that's still that white color at the moment so what I'm going to do because we are quite close up to the model I'm going to move the camera angle a bit further back for now and if we give that quick render we start to get something similar to what we have in terms of light so I'm going to do is probably go back into this and move the background back so it doesn't accept that light so much my might just scare that a bit so then we get a more solid smooth gradient this would have been easier if we changed on a bigger angle of the gradient before but we can still do that now so let's go back into the lender see a lot better looking now still accept them this light here a bit too much but we can go straight back into this just move it back a bit move this back there's a lot of just tweaking values tweaking your scene of there and leaving the model in one place so that's not looking too bad but at the moment we're using scanline renderer and not mental ray which this scene is settled from mental ray which is why we use the Ray traced shadows and things like that so in 2016 3ds max the renderer can be accessed just at the top here just click on to mental ray and then I'll change the renderer but in previous versions if you are on something earlier if you scroll down to the bottom in the common tab there is a sign renderer and you can just go on production and just make sure you've got mental ray sound it's not too and then click render I see the difference of what we've got so let's get this over see nope so in terms of light and we've got we've got quite a close lighting solution here at the moment about blue lights here the orange light over here now white light here probably that way light is a bit strong at the moment so the background may need to go a bit there the back but in terms of the lighting solution we still have a fair fairly decent thing what I'm going to do is without I'm going to go on to this I'm going to go on to segments and fill all the segments just so then the model is a lot smoother further for our render and you can see that our turn lock so there you go going to do is I'm going to - yes I was going to completely and this party I'm going to pull this to pull this down a bit probably doesn't matter that bombs going to do it just in just in case we we are accepting that too much are not late I'm going to pull this come around go down let's make sure looks like 10 and about that camera so let's give this a quick final render before we go on to the last part of the scene setup so we're getting there definitely this camera angle is a bit higher as you can see that the top a bit more but we are very very close to our target setup so you can close these down so our next step is materials you don't have to use materials you can just use this as a setup itself for the materials do quite a good job of changing the dynamic of the scene so I'll just go into material to go on T so the man with this first default material is just a standard if you click onto it because it is a mental rate we can you access these mental ray materials there's a fair few of them but we are going to want to the art and design rule and what we can do we're going to apply this one as our background material so we'll call that well underscore one and then we can just access that there that do the background we are not going to want it to be reflective at all so we can just press 0 on that and then click on this and we can make a new arc arc InDesign material or it's our to think I'm too sure and call that so there's a lot of different things you can set in here but for the one in this picture here we use by IOR so which is this thing and set that to a higher value so it's a steeper curve on that and set this to do a fairly Bholu for ya so it's still quite a dark blue box them up living itself to do that backwards and then I think that would film watch it for the things going to this click render production and as you can see it's already looking something fairly similar to what we have on this here alright I will let this render and then start back up when it's done we've now rendered the image and it is looking fairly similar very similar to the one we've got here and I think that that's pretty much it you may you may change the use a bit so that's a bit more of a gradient you may change the curve in the in the wall here so it a bit softer and this may need to be a bit less of the ever blue and more of a whitish color but in terms of that that's up to what ever seen you've garden wherever your models face how big your model is and such things like that so as I said before I would show what the those exposure sounds are they are and if I can find it right they are something quality kind of cottage this place globalelin nasty they should be in here I figure give me one minute and then I will be back once I've found where they are they are in rendering and if we go into exposure control and then automatically what the if you click yes when you create those photometric lights it automatically sets them to a logger another logarithmic and this is what it does to the scene it just makes the scene a lot brighter and just gives it an overall bigger exposure to the light but you can always come in and just if you have clicked on yes I've I want those controls you can always go into rendering and then environment or exposure control and change them to something different or you can just up not at all but for this scene we don't have any at all we just got the scene itself so thanks for everyone for watching I hope this has been useful for you and hope you use it on your scenes to render your models and but other than that thanks for watching and bye

Channel: Conor Preston

Views: 146,633

Keywords: 3D Art, Artist, 3D, Autodesk 3ds Max (Award-Winning Work), Rendering, Lighting, 3D Modeling (Film Job), Mental Ray, Tutorial (Media Genre)

Id: 0FDeexXhrN0

Length: 21min 45sec (1305 seconds)

Published: Fri Nov 06 2015