Tutorial No.97: Learn Corona for Cinema 4d In Under 70 Minutes

[Music] thank you for watching this free video tutorial from Morales comm please make sure to visit our website and check out our premium courses for cinema 4d 3ds max Arnold v-ray Maxwell motion graphics and much more and also please make sure to subscribe to our YouTube channel and follow us on facebook twitter and vimeo to enjoy our free video tutorials hey guys how we doing all come back to more craft plus calm its comments as we here with you and in this tutorial we're gonna be taking a look at corona for cinema 4d if you go to corona website and there download tab here come down to the cinema 4d section you can see we have the cinema 4d beta 1 release which you can download and use it even commercially as long as it's in beta you can use it however you want it's a very very powerful and great render engine obviously its cpu-based unlike redshift or octane but maybe with the crazy prices of GPUs at the time being rendering with CPU doesn't look as bad as it was looking before and at the same time Corona is a very very powerful render engine first of all it's extremely easy to use and user-friendly and probably this is the first and the most important feature of a render engine in my opinion it has to be very very easy to use I really don't like to go to the render settings and tweak this and tweak that just to get a nice beautiful looking render and in corona this is exactly what's happening you just said Corona as your render engine and you're good to go you can start immediately with your lives and with your shaders and start your render without even having to tweak one single parameter in the render settings so let me just get back to cinema 4d here now I'll be trying to be as brief as possible but it's gonna be a fairly long tutorial and it's gonna be a freestyling tutorial I really don't have any plan or any script which is gonna be going through some of the options gonna be taking a look at the Alliance to lighting the light mix the noising interior lighting Sun and sky HDR a materials displacement mapping volume materials and all the magic effects some of their under settings and shadow catcher hopefully we get to finish all of this in under an hour now let's get back to the render setting and obviously the first thing is to set Corona as your render engine now let me set Corona here as my render engine and if you go to the corona tab you can see you have a bunch of settings you have the general settings you can decide whether to have global illumination or not you can define a material override you can enable the noising which we'll be taking a look at you have the camera and post-processing tab to control the exposure and some you know look-up tables we have the scene environment to define you know environments and volume materials and stuff like that you have these performance settings and this is where you basically control how the corona renders your scene obviously you really don't need to touch any of these parameters and as you can see they actually can I encourage you to not touch this unless you know absolutely what you're doing we'll be taking a quick and brief look at these parameters when we get to this and we have some frame buffer settings and by the way Corona has a very very powerful frame buffer it still can be improved upon but what it has it's really good and we have this second routier you can see this is all the GI settings that you have inside Corona really this is precision while you there's not any other parameter you can see even though you can have some you know setup for animations if you want to use UHD cache but you can actually use pass tracing or brute force for your GI and don't even touch this stuff if you wanted to and we have this team render tab as well now okay let me just close this settings and if you go to the menus we have this chironomid new corner sky sunlight camera and all of this stuff and let's start with a coronal light and added the scene and I'm just gonna be looking through that newly added light and just position it in my scene doesn't have to be anything specific no probably something like that okay so this is our first light let's get back to the camera I'm gonna make sure there you go and I tend to actually make sure my cameras are set up properly so let's make it a corona camera you can go to the quraan tab and add a corner camera or simply right-click on the camera and add a corona camera tag okay so here we have basically most of the settings are also available in the camera and post-processing tab if you wanted to but for the time being we don't want to touch any of this up we have our corner lights and let's take a look at these options but before that we obviously need to create a corner material and assign it to the objects that we have in the scene now in the material manager you have this corner tab where you have access to the corona materials or you can go to the create tab and shader tab Corona and create your Corona materials from here now compared to the 3ds max version of Cora we don't have access for example to the Cronus skin material or to the coronal hair material or if I create a new material we don't get some of the essential coronal mass like tri planar but what we have at the time being is pretty sufficient and hopefully when the main version of corner will be released which hopefully probably will be in July but I don't have any information about the exact release date but it's most likely in July hopefully by that time we will have access to all of the kernel Maps and futures but let's create a new Corona material here we have our corner material and if I open up the material at the timing we only have the diffuse channel and I don't want to go through these options for the time being but the first thing I would like you to know about Corona is the importance of this diffuse color value and as you can see by default it's set to 70% and the RGB value is about 180 and it's very very essential that you don't go above wall you have probably 210 220 because it's a physically accurate and physically based rendering engine and the whitest of white would probably have an RGB wall you have something like 220 210 so you are absolutely not allowed to use high values like 240 230 so make sure these diffuse value is very very low hopefully in the future tutorials we get to talk about these diffuse color and the concept of albedo and why it's very important to make this color to be not as white as you think it should be okay so the 112 is a very good number I'm gonna actually add it to the sphere to this abstract object also to this clock that we have and for the backdrop that we have let's create a new material I'm gonna go to the diffuse and define a texture I'm going to be using this grid dot PNG lets me just assign it here and make sure it's a bit higher quality so there we go we are set up and now we can actually start the render without any further ado so let's go to the corner menu and you can start the interactive rendering and open up the or you can actually open up the corner we have P so let me just open up the corner we have V for the time being so you can take a look at this so here we have our corner VFP and we can start the interactive rendering from this menu so just click and hold and start the IR so here is the render that we have I'm probably gonna stop the render and make sure it's just way smaller compared to what we have so 800 by 450 and let's start the interactive rendering ok so here is our coronal light and let's take a look at some of its obviously options you can obviously define the light type whether it's an area or sector or you can have some object like sphere and cubes and stuff like that but at the time being I'm probably gonna increase my area light size something like 150 or even 200 centimeters just to have bit more diffuser shadows and decrease the intensity to something like maybe 20 and as you can see you are set up the GI is correct we have nice sampling and everything they're obviously defined the color of the light some visibility options you can use a temperature while you to define whether you have a warm or cooler light source ok so in this case I'm just gonna use a simple white color so this is our first light I'm actually going to stop this and add a few other lights I'm gonna name this line Colonel lights left ok control drag create a duplicate and this is going to be on the other side doesn't have to be so there you go probably something like this is good enough and this is our right light so all right and we're gonna have another lights and this will be added to top and lets me look through that and it doesn't have to be anything specific we're just gonna probably placing it somewhere here and if I get back to my perspective view so that's the three lights that we have in the scene I'm gonna get back to my camera and start the interactive rendering now we have three lights obviously they are too bright I'm gonna select all of them and let's decrease the intensity to probably something like seven or even six okay probably something like six is good enough and maybe select this top light and just make it a bit bigger and decrease its intensity to something like five and I'll just place it in front of the objects a bit okay that's good enough and so here we have our basically basic studio lighting setup inside of Corona you can have some very simple option if I get out of this camera you can actually take a look at how these lights are set up you can see we have this directionality option which basically makes the lights more directional more focused and less spread if you want to do that you can make them bi-directional and this way they will basically emitting light from both sides and some you know basic visibility options if I select off the all the lights and can make them not visible in the scene okay let's get back to the camera and obviously I can go to my left light and probably make this one bit warmer and the right one a bit colder okay and we can actually wait a few seconds and take a look at the under that we get so now as you can see we get a fairly clean render off for a few seconds and obviously I can stop there under if I wanted to one beautiful thing about Corona when you actually stopped under you can simply go to this render menu just hold on and you can see you have this option called resume lasts and if you do that you can see the render your last render in the vfp will be resumed as you can see we have 28 29 30 years passes here okay perfect now the next thing I want to talk about here if you go to the virtual frame buffer until I take a look at a post tab you can see you have amazing options here for example the tone mapping section you can control your exposure your contrast your highlight compression you can go to the lookup table menu you can add bloom and glare you can work with the denoise if you have it set up in the render setting but if you take a look at some of these options you can see you can obviously adjust the exposure on the fly as you wish so you don't really need to make sure your lights are exactly the right intensity because you can obviously adjust the exposure as you want to you can adjust your white balance for example if I wanted to get rid of this warm tone I would probably you know is something like 4500 as you can see the white balance actually is being represented in the viewport which is a nice thing okay you can obviously add contrast and a bunch of other stuff that can be done really easily and you can always take a look at some of the other options here but for now the next option that I think is very important to talk about is the noisy if I stop this render and go to my render setting Korona and come down to the general settings tab we have this de noising option and the only thing you need to do in order to set it up is just go to this the noise mode and set it to the mode that you want which in most cases will be the Fulda noising and then you have this the noise amount and the noise radius and the default options are pretty good and this the noise amount isn't stationary amount you can actually adjust this well you after Turner is finished so you don't need to worry about that and if I come down to this progressive rendering limits you can actually set up some limits you can define a pass limit so when learner reaches a specific pass amount a learner will be stopped or you can define a time limit so you can say after for example 30 seconds stop the render or you can define a noise level limit if I go to my Corona we FB here and go to the stats tab there is this noise level as you can see at the timing is one point 67% so you can say for example I want you to stop there when the noise amount is about for example 3% so when the noise amount reaches 3% Durand er will be stopped which is very cool but in this case I'm gonna just zero out this wall use perfect so we have our de noise mode set to fool the noising and I'm just going to quickly render the scene again and stop it just to see how do the noise thing works when it reaches a you know more reasonable noise wall you hear so as you can see you obviously have a bunch of noise here so let me just stop the render and as you can see that the noise thing will go through when you actually stop the render and it's gonna take a few seconds and when the render is done in a few seconds as you can see we get this clear beautiful render in about 30 seconds okay and if you go to the post tab come down to the let's say the the noising section you can see you have this the noise amount if I zero it out you can see the render with its noisy pixels okay and you can obviously blend this noise this is the noise amount in and gets I've called the noising at one as you can see very very clear but it can produce some artifacts in more complex scenarios and complex scenes when you have more complex geometries so the world you have point six point seven point sixty five is a pretty good value as you can see it gives you this very nice the noise version of your render so as you can see the noising is one of the very very amazing features of Corona another thing that I'm really excited about is a capability called light mix and obviously you can do lights mixing and relighting in most render engines but mostly in a post-production software like no core rfx but here you can do it right inside of Corona and it's very very capable you can literally turn day into night and night into day using the light mix now let's take a look at how to set up light mix in 3ds max there's one single button called set up light mix or something like that and when you hit that button all the lights are basically set up in the light mix and you can immediately start your render and mixing your lights dear endure endure and after turn there but in cinema 4d and in this beta release we still need to do some manual work to actually set up the light mix and to do that we need to actually access our Corona multi pass and set it up there if you go to the corona menu you have this multi pass window and as you can see you have some you know standard passes direct and direct reflection refraction translucency quality metric some geometry passes that depth some ID mask passes albedo passes bloom and glare passes and down here you have this light mix passes even as you get light mix and light select to set up light mix the first thing you need to do obviously is to enable the multi pass rendering and then first you need to add a light mix render element okay and this is the first thing you need to do and then how many lights you have you need to add that many lights select unless you want to group them and have a few lights represented together but otherwise for example in this case we have three separate lights and we want to have individual controls over them in the light mixer we need to have three light mixes set up for them so this is our first light select let's rename this to light select left and lets me control drag and this is going to be our light select right and this is going to be our light select top and in the light selects left it doesn't have to be exactly the same name we just name them so we can actually recognize the passes when we do the render so this is going to be our left light to just grab our lights and put it here this is our pride slide and this is our top light here so we have our left slides or right slides and our top light and really that said I'm just gonna make sure to enable the noising for all the lights select passes okay perfect now we can actually close this window let's just start the render now as you can see the light mix tab off the virtual frame buffer we have access to the left light right like top light and we can change them on the fly the year under under and after under so even when the order is going on I can turn on and off my lights and change the color change their intensity and all of that let's just wait for the render to be a bit cleaner maybe about 20-25 passes or just take a look at the and check out the noise level here okay I think it's good enough let me just stop this and wait for the the noise thing to go through and see now the noises all the lights select passes as well so because we enable that didn't know is option in the multi pass window so it's gonna take a while to go through all of them as well but it's a good thing because we can change our lights the way we wish so there is finished and if I go to the light mix tab you can obviously turn the lights as you wish maybe we can have the top light can obviously increase and decrease its intensity as you wish and change the color as you can see we have this corona color picker which has some great capabilities we will be talking about that in future tutorials there might be an option actually in the Preferences to just make sure we have access to cinema 4d color picker not sure but there go default now so I'm not sure but there might be a setting to actually make sure you can actually have access to cinema for this color picker when in salty VfB but actually it's a good thing we have the corona color picker because it has some like the inverse picking which can be used to add a white balancing which can be very great to use now obviously I can change the color of this slide maybe make it warmer cooler or even tinted to any other color that I want very very easily let me just probably you can go even extreme if you wanted to maybe our left light can be blue and the left light can be pinkish and obviously I can adjust the intensity of these colors as I wish and as you can see down here we have some futures I can bake these light settings into the lights that I have in the scene I can basically reset all of the lights to one and all the colors to lights so there you have it so as you can see it's really powerful it's really easy to use so you can adjust your light colors and light intensities after dinner or diringer as you wish and save at their render and then adjust them some more and save them again and obviously you have access to the individual lights a select element so you can obviously do all of this in post-production if you wanted to now the next thing I want to talk about is the corner material just a quick introduction to the corner materials so let me just actually open up that scene so here we have mastering CGI straight up all and a bunch of material has already been assigned to this shader ball but it doesn't matter let's go to the corona and as you can see we have access to a bunch of Corona material we have a layered material a light material or portal material which will be used for interior and drink every switch material shadow catcher material material and evolve your material and in this case let's create a new Corona material and actually assign it to our shader bulb and just make sure we don't have their big output size 650 by 650 should be good and for the lighting as you can see we have this cinema 4d sky here and then we have created a corona light material and inside the light material we have this HDR I assign we'll be taking a look at exterior lighting and using image based lighting in a moment for now let's focus on working with the coroner material here is the coroner material and as you can see we have a bunch of channels diffuse translucency reflection refraction opacity bump displacement volumetrics self illumination Advanced tab and some cinema 4d default tabs as well and obviously you can define your diffuse portion of the material in a diffuse channel you can obviously change the color to any other color that you want you can decide how these diffuse will basically contribute to the overall material so we can obviously decrease the overall contribution of the diffuse using this level value but in this case let me just reset this to default or we can use a texture to the point the diffuse contribution of the material we can obviously start adding reflection here so now as you can see we get this a reflective material you can control basically how much reflection you want you can use a texture you can define your pronoun lalar well you here and unlike other render engines like theory or like Arnold where you need to define the fran li or world you for example you probably want to use something like too far plastic or something like 2.53 for wood for concrete for ceramic but here most likely you want to keep the final IR value at around 1.52 and just work with the glossiness to adjust the wall you but obviously you still can adjust the finale or while you to get a specific effect so in this case we probably we can decrease the glossiness value something like point 79 and as you can see we get to have rougher reflections we can introduce an isotropy and rotate that elongated reflections that was introduced with the and I said I'll be able to talking about this in more dedicated toriel's but I just want to be very quick about it obviously you can't start adding a refraction now as you can see now we get refractive material let me just make sure my glossiness well view is sent to one again and down here you can obviously control the index of refraction of your material you can control the classiness so here you can enable caustics which is at a time being as you can see it's very slow and then we have this thin option here as you can see it says no refraction and it's gonna be used for something like one sided window pane it can be much faster for interior rendering you can enable this option you can obviously enable dispersion and use the app number to control the dispersion effect but we can obviously take a look at obviously at some opacity I'm just disable refraction we can you know enable some bump mapping very simply just enable the bump define the texture that you want to use as the bump map maybe use this one here and then control the strength of the bump mapping using this strength wallet here so if I go something like 50 we're gonna get a stronger bump mapping effect okay then we have obviously displacement mapping in the same thing just enable displacement mapping define your texture define the minimum and the maximum a displacement mapping that you want to happen and basically you are done and the only thing that remains for the displacements mapping if I go to the corona performance settings here you have this displacement tab and if you don't get enough detail from the displacement mapping that you have set up in your material you can come down here and actually decrease this screen size picks up something like one maybe point by to get even more detail from your displacement mapping I'm not sure if this can be done per material or maybe per object we have a specific I'm really just trying to understand if there is any specific per object option here okay so that's good now let's just work with this material and maybe create some stuff and I disabled displacements not being a refraction comes with diffuse and let's use probably yellowish orangish color I'm gonna go to my RGB wall use just make it a bit maybe something like this is nice just a tad Oringer then we can come down to the reflection tab maybe use a map in the glossiness BW 38 as you can see get this nice look here probably we can assign a filter just just make it a tad darker so there may be a bit brighter something like this gonna be nice just 5% can actually enable this curve and just make the rougher parts bit shinier that's good I'm gonna obviously if you wanted to adjust the frontal eye overall you but I don't think we need to and we can start our interactive rendering and see what we've got so as you can see now we have this nice plastic kind of material you can obviously go I didn't adjust it let's maybe create something like wood material so if I just add with more space here let's name it would open it up go to the fuse let's use this map as our diffuse map assign it to the shader ball make sure to preview is a bit more higher quality then we go to the reflection we need to define the glossiness map which is be something like this probably okay and make it bigger you can probably just open a bigger preview just to see so I'm probably gonna go to this map and again just probably may be makes a bit darker so the glossiness is a bit more effective so probably something like this okay I think that's good we can obviously define a bump map maybe you can actually use the same map here for the bump as well and probably use something like 5% of the strength and we have a basic material basic wood material here and you can obviously start the interactive rendering and see how it works so here is our basic wood material I don't waste your time and gonna wait for this stuff to be finished let me just stop this we're gonna create something like metal material just make sure to go to the reflection probably increase the IR Walt you to something hi I don't know maybe 25 here and just make sure you don't actually see the you can see the frontal is quite obvious and how I do like 25 which is unlike other render engines in other images at something like 20 you really don't see any fernell effect but clearly the perpendicular faces are less reflective compared to the parallel faces when the IR value is high and generally speaking you need to put this Treloar while you got a high order like 999 and then you can control the color using this reflection color if you want to make it AB maybe something like you know copper something like that and we just need to make sure that the fuse also is disabled there you go and here's your basic metallic surface using the corona okay I think it's enough for the material section of this tutorial we are obviously gonna have a dedicated course for corner for cinema 4d when the basically main version is released but for now let's continue with other things and now I think I'm gonna be taking a look at probably interior rendering okay folks so let's continue on with interior lighting this is our interior scene and as you can see we have this fairly simple interior scene with some furnitures and if I get out of a camera you can see we have this two windows that allow the light to come in the room now if I get back to the camera and set corona as my render engine probably the first thing you need to take into consideration when dealing with interior setups is the secondary GI engine in this case you can see it's set to UHD cache by default the primary engine is path tracing and here you define the secondary engine for interior scenes you need to make sure this is UHD cache and for exterior scenes or studio setups or product shots you need to make sure or it's better to actually use the path tracing in this case we are dealing with this entire scene so let's make sure our Jerry solver is set to UHD cache now it's like the light cache for example if you are coming from v-ray or red shift for example now let's get back here now the next thing I want to make sure that I have a coronet camera attack on my camera that's good and just make sure we are not dealing with a huge render let's make it probably something like 800 and this should be okay now the first thing you're probably gonna do is to add a corona son and if I add this corner son and go to my other views you can see we have this corner son added I can obviously select it and make it a bit bigger so we can exactly decide how this looks now if you select the corona son you have two main parameters you have this rotation and you have this angle value and if I start rotating this you can see you're basically controlling where the Sun is right probably wanna try to make sure probably something like this so you can actually have this nice angle and this angle basically controls the sun's height let's go to probably something like 25 degrees okay now we can go to the corona interactive rendering and start to render and see what we're gonna get so this is our first render you can probably change the rotation a tad and just make it okay probably something like this now we have our corner Sun set up we need to actually add the Corona sky so from the corona menu at the corona sky and the Chronos sky and corner Sun are linked together so at the timing you can see we just see this very white background as our sky and the reason being is that we really don't have the right exposure here so if I go to my post processing tab and come down to the exposure value and if I use a low exposure world like negative 4 I can clearly see the corona sky in the background and if I sets my son to be a bit lower in the sky let's say like 5 degrees you can see now we have this sunset or sunrise lighting and the sky will adjust accordingly let me just set the angle back to 25 degrees again in this case I'm probably gonna and obviously forgot to assign a proper corner material to the scene so let's create a new corner material and as I mentioned and we discussed that the diffuse color really never should be higher than like 200 210 something like this in this case it's a to 180 I'm probably just gonna go to something like 75% just a tad brighter compared to what we had about 191 for our RGB values now let's assign this material to all these geometries in the scene and let's run the corona interactive rendering okay that's better probably gonna increase my exposure to something like 0.5 for now okay this is the first thing you need to do then as you can see the white bounds obviously needs to be adjusted it's very very warm but I'm gonna just wait for a few passes and we'll adjust the lighting based on what we see so I'm probably going to increase the exposure to around 0.75 and main issue that we have is obviously it's burn out areas and it can be very simply adjusted using this highlight compression all you so if I hold down shift and actually drag a region around this very burnout area and increase my highlight compression to something like 2 you can immediately see we retrieve a lot of details in those paranoid areas so basically by increasing this value you are making more detail visible in the highlights and burn out areas and obviously if you are rendering out for a 32-bit composites you're gonna lose some of that dynamic range by increasing the highlight compression and if I go even increase this maybe something like 10 you conceive we gets more detail but probably something like I would say five is sufficient for these renders so now we get some nice highlights and nice details as well and now we can basically start adding our portal lights now in Korea as I mentioned portal lights are added according to the interior scene that you are working with if you have a very big opening a big window you really don't need to use a portal light if you have very small opening you need to actually use portal lights to focus the sampling inside the room and I think in these paternalist portal material has some issues in Corona but I'm going to show you how to set it up very quickly so if I just stop this and get out of my camera basically the way you add portal lights in Corona is you need to actually cap your openings with that portal lights and not put a big light behind the window that's not how you do it so let me just quickly do it so this is the geometry let's gets my polygons 10 and create new polygons so here's this polygon I'm gonna select that and split it apart select this and put it out this is our first portal lights when I get back to here and actually delete this and we can do the same thing for our other window as well okay we have done okay so here's this second opening nice select that split select it let's move it out and hide it as well and the lid is polygon if I get back to my camera I can obviously unhide this to portal plains then we create a Corona portal material and assign them here okay and we can obviously start the interactive rendering and that's how you set up portal light but in this case we really don't need them but let's have them and for the clan or under we can obviously go to our render settings in the general settings tab enable the Fulda noising okay now we can actually start the render so let's go to the corner menu and start the interactive rendering obviously we can wait a bit more but if I take a look at here we've been running about four or five minutes and the noise level is about five percent stop that sometimes when you stop it you actually need to you can see that the noise thing wasn't applied so I'm gonna just resume it a bit and I stopped it again now that noising will be applied maybe that's a bug or something but sometimes this happened when the noise level isn't you know close something like two three percent but as you can see here is with the noise ink applied then we have this nice render okay perfect now we can obviously go ahead and maybe add a bit more filmic shadows maybe filmic highlights a bit of contrast and get a nice render okay so there you have it now let's take a quick look at setting up basic you know sound sky and maybe HDR lighting so if I again we have this simple scene get back use Corona and we can add our Corona Sun and cornice sky and we can start the interactive render here probably something like eight hundred so Corona interactive rendering so obviously when you're dealing with an exterior scene the better workflow would be to make sure the second result varies path tracing and now we can go to our exposure and to see the Sun and the sky be better let's decrease the exposure to about negative four negative maybe let's try negative three eighty five probably something like negative 4.5 would be nice and the way this exposure wold use work they are global values you're not just adjusting them in this VFP window in fact if you go to your under setting you can see in the camera and post-processing tab you can see the exposure is set to negative four point five so these are global values but it's very convenient that you can adjust them right in the virtual frame buffer now if I select the corona Sun I can obviously again go to a lower angle and start maybe something like ten if I increase my highlights compression we can actually see that Sun disc and you can maybe increase the size something like five to see the disc a bit better you can obviously adjust the intensity and some of these very simple options and if you select the sky you can see the camera sky tag here we have this turbidity option to add a bit more pollution and air so today atmosphere and we can actually change the sky model to this raw a fake model and basically add some fantasy looks to our renders if you wanted to so all of this can be done using the okay so as you can see it's very very simple that's how you use the corner Sun and sky I'm gonna just close this and obviously we haven't created a corner material so we can go ahead create a new material and assign it to the house and to these plane geometry here and then probably adjust the exposure accordingly okay and maybe we can create some nicer render okay so as you can see it's very nice um go ahead just stop this and save the scene lets me close this one and actually open up another exterior scene that i have this one and let's create a corona material make sure we have Corona as our under engine and assign this V geometries that we have and this time let's actually work on this HDR lighting and the way you do it is very simple you create a symbol for the sky and then you create a Corona Light material and simply in the emission section you can define the HDR image here so in this case let's use this HDR image from HDR Haven that you can go ahead and download it for free so let's just add that and you then simply assign this corner light material to the cinema 4d sky make sure the preview is big enough so you can actually see what you're doing and you can obviously select the sky and start rotating it until you get what you like right so probably I know something like this can be nice it really doesn't matter that much and now we can go ahead and very simply start the render in this case we can set the Jerry solar to path tracing and start the corona interactive rendering to see what we're gonna get obviously this is a bit too big let me just make sure it's smaller so here is our scene we can obviously go to the emission and increase the intensity if the HDRI isn't bright enough that's probably way too much I'm gonna say to about 1.5 that's much better now we can increase the highlights compression here but this wallet is very visible how it works in exercise and if you maybe go to like 10 you can clearly see how it actually changes how the highlights look in the scene so probably something like I would say 3 in this case is a nice value and as you can see now we get this beautiful HDR image you can obviously make it warmer if you wanted to using the white balance and but in this case probably a neutral just a tad warmer something like this and now if you want you can incorporate the corona sky so in this case we can sorry Cronus Sun so we can add the Cronus on select it probably go to a lower angle in this case decrease the intensity sorry decrease the intensity and try to kind of match it with the HDR image that you have and a look for the basically light sources on your HDRI and match the corners on with that but that will be at the topic for another tutorial hopefully but for now I think this would be enough so you can actually wait for this and see what we're gonna get so here you have your noise fix your lighting you obviously can't set up a basic the noise ink and with even look better we can obviously add some filmic shadows and some filmic highlights and get a nice render okay so that's about exterior lighting and actually our lighting or image based lighting in Corona as well fairly simple stuff and probably one of the other topics I wanted to take a look at is just setting up a shadow catcher material in Corona so let me just save this scene out and actually open up another scene to work with okay now let me show you how to set up a quick shadow catcher material and how to basically integrate your 3d models into your HDR eyes and into your backplates we have this car model from Singapore discount browser this simple plane geometry nothing specific and this camera okay so let's do this folks so the first thing obviously is to set up the HDR I that's you wanna have so let's create a cinema 4d sky create a corona lights material and we're gonna be using this Piazza San Marco HDR image from HDR Haven perfect and assign that to sky make sure that preview is big enough and let's just make sure I just rotate this sky doesn't really matter that much so probably something like doesn't matter that much honestly in this case I was still rotating okay doesn't matter that much I'm just gonna probably something like this let's set up our back like and we decide on the exact placement off our HD right here okay so we have this HDR a and then the next thing would be to set up the backplate obviously and the way you do that again let's just name this HDRI we create a new Corona lights material and this is gonna be our back plate and go to the emission and here we load our basically backplate is this image here and if you right-click on it and go to the properties tab but details tab here you can actually see that they have used a 24 millimeter lens so that's very useful let's open that here and what we're gonna be doing is to assign this material to the if you live the Corona go to the ec environment section you can Han see you have this direct visibility upper right so you can enable this and assign this backplate to this direct visibility and make sure the mapping is set to frontal and if I just create a quick Corona material and assign it to the car model and the ground here and run the Corona interactive we should be able to see hopefully okay so as you can see the back plate is set up correctly which is cool the HDR image probably can be a bit brighter but we decide on that later on okay now we have the back plate set up correctly and to actually see that back plate in the in this viewport what we can do is to just create cinema 4d background lets me create a new PBR material go to this luminance and use the same backplate for the background and if you hide this kind of viewport you should be able to actually see that backplate which is a just a dirty workaround for now and let me just hide this plane for now and make sure my camera is using a 24 millimeter lens which is cool and I set it up so probably something like this is nice let's get back and turn on our plane and if I render the scene we are on the right path and the last thing that remains is to assign the shadow catcher material to this plane so let me do that we create a shadow catcher material assign it to this plane go to the shadow catcher material here you need to define that backplate again and as you can see that's the only thing you really need to do nothing more than that and let's run the interactive rendering again and there you have it as you can see the car has been integrated into our backplate nicely and we can obviously adjust our select our HDR image probably just increase the intensity of beds just a tad okay folks so here we have it and now we just need to assign them as well to the car and be done with it and obviously if you are obviously rendering reflections we need to make sure that the HDR image is exactly matching this current view that we have and to do that let me just hide this background for a moment and unhide the sky and let me just rotate my sky so it actually matches we probably need to do some negative offsetting on this but I would say this is a pretty close take a look at the render here you can't see that's where we probably need to put this sky you can obviously go to the HDR image and adjust a bit more if you wanted to but okay but I think it's good enough so lets me hide this kind of viewports hide the background in the renderer unhide the plane and start earlier again okay so that's how you integrate your 3d models into HD our eyes and photographic backlights in Corona and if I just stop this and probably we're done with this tutorial and one last thing you can take a quick look at some of these sterner settings that you see here so in the general settings you have this progressive render limits you can obviously limit your render for example when you are ready to your final order you can limit it based on the pass limits time limit or noise level limit and then start your render in the picture viewer and after that's particular particular limit reaches the render will stop then you have obviously your GI mode you can obviously turn off GI we have one single bounce or full multiple bounce GI which is normally what you want then you have your GI solver as we discuss it path tracing and UHD cache you can define material overrides and a bunch of other simple options you can obviously render specific objects based on and have an include list and just those basically objects that are added to this include list here will be rendered and exclude list or just a viewport selection if you want to only a specific object that is selecting the viewport in this case when the mode is set to viewport selection will be rendered obviously we have the noising that we discussed we have the camera and post-processing which basically where you turn on depth of fill motion blur bloom and glare and hopefully we discuss all of this in our comprehensive corona' course for cinema 4d when the corona is released so basically the main version of corona then we have the scene environment you can define and direct visibility of a right or reflection over right refraction of right you can obviously define a global volume material to have automatic effects so here's the wall u material you created it and assign it here and then tweak the material to get that volumetric effect we discussed those later on as well in other tutorials then we have this performance settings tab and here you have a bunch of options and settings that I'll be quickly talking about them here we have this GI a balance and here you basically control the balance between global illumination and AAA samples basically if you have a scene which is for example an interior scene and you need to have a lot of computing power reserve for the GI and you need a lot of sampling to be done on the GI you obviously want to have this wall you higher okay so 16 is a good value and you really don't need to adjust it but in those cases you can for example if you don't have any for example depth of field motion blur you can increase the GI to something like 32 or the max value that they recommend is 64 but if you have a scene with a very strong depth of field or a very strong motion blur or very you know jagged edges you can decrease the a balance to something like 8 and this way the sampling will be more focused on depth of field and motion blur and not on the GI but generally the 16 is a nice number we have this light sample multiplier and this is basically this while you controls the light samples right but obviously this is a multiplier so it will be multiplied by the value that you have set up here so at the timing we are using 32 light samples and when you are working for example any interior scene and you see a lot of noise in your direct path so they're coming from the lights from the direct lights in this case you need to actually increase this and to actually basically figure out where the noise is coming from whether it's from the direct lighting or it's from GI you can set up your multi pass add a direct and indirect pass and if you see a lot of noise in this direct pass that means you'll have some noises in your basically direct lights and you need to increase the light samples for those lights and in this case you can obviously increase the light sample to something like four maybe so this is what the light sample multiplier does it basically increases the light samples and give you a more noise free direct pass we have this speed accuracy balance we have this max sample intensity and this wall you basically controls the maximum brightness of the secondary GI samples and obviously the more you decrease this value you're gonna get a bit darker image but it's gonna be less noisy and it's gonna be less accurate and faster but when you increase this value you're gonna get bright reflections brighter refractions but a bit noisier when you have programmed fireflies very bright pixels here and there you can decrease this value to get rid of those but normally max sample intensity of twenty is a nice value and if you set this wall due to zero you're basically making Corona to be unbiased not a good thing at the time because it's not production ready and we have this maxroy depth which is basically the maximum number of times a rate can bounce around the scene for example this is like the array depth well use for Arnold if you're familiar with Arnold in Arnold basically you have separation between ray depth is for reflections refractions diffuse but here you have this one maxroy depth wall you to control everything for example if you want to see multiple reflections of two mirrors standing in front each other you need to have a high wall you up max or depth or if you want to have multiple GIS you need to have hi wall you have mac story depth here we'll be talking about this stuff later on okay folks so here is corona for cinema 4d hopefully you'll learn something just leave me a comment if you are interested in a specific topic so we can create oriole for but at the time being I think we covered the most important stuff as perfectly as possible and hopefully when we get the main release of Corona we'll be having a comprehensive introductory course for that also we're gonna be having more Corona for 3ds max tutorials as well on this channel so make sure to subscribe and follow us on YouTube Facebook and Twitter thank you for watching it was comment fizzy from LeBron plus calm see you the next tutorial thank you for watching this free video tutorial from obrah plus comm please make sure to visit our website and check out our premium courses for cinema 4d 3ds max Arnold v-ray Maxwell motion graphics and much more and also please make sure to subscribe to our YouTube channel and follow us on facebook twitter and vimeo to enjoy our free video tutorials [Music] you

Channel: MographPlus

Views: 94,676

Rating: 4.9719744 out of 5

Keywords: Corona, Cinema 4d, Introduction, Interior Lighting, Exterior Lighting, HDRI, Denosing, LightMix, Corona Material, Shadow Catcher, Integrating 3d Model

Id: 31mPb9lHKMg

Length: 69min 9sec (4149 seconds)

Published: Mon Mar 05 2018