3ds max + vray : Interior Night Time 3ds max Full video 1 of 2 (CC)

3ds max + vray : Interior Night Time 3ds max  Full video 1 of 2 (CC)


– [Jamie] Hello everyone,
this is Jamie here. Welcome to the night version of the interior penthouse apartment. In this course, I’ll be taking you through the process of turning a
daylight interior apartment into a night one. Some of the lights have
already been created from the previous daylight
version, and some new ones will be created in this
course to help capture a typical interior
apartment scene at night. So without further ado, before
we start test rendering, let’s reduce some of the
high resolution values previously entered to render
the interior daylight scene. First open the render setup dialog by clicking on this button. And delete the previously
created sunlight object. Back in the render setup
dialog, in the common’s tab, let’s reduce the render Output size to 1000 pixels by 578 pixels. Note that, because the
Image aspect is locked, the width and height values
are relative to one another. In the V-Ray tab, under the
frame buffer parameters, uncheck the V-Ray raw image file function. This will prevent V-Ray
from saving or overriding existing V-raw image files
while we are test rendering. Also, uncheck the
separate render channels. Most of these functions
have already been discussed in detail in the previous
daylight interior course. Uncheck the resumable rendering. Let’s reduce the uniform
probabilistic value to eight for test renders. Under the Bucket image sampler parameters, because we’ll be carrying
out quick and draft renders, let’s decrease the minimum
subdivision value to about one. And the max subdivisions to four, which is extremely low. In the Noise threshold,
let’s increase it to 0.01, to speed up the rendering times. Under the color mapping,
let’s keep the Mode as color mapping only,
because a gamma value of 2.2 has already been applied
in the 3ds max preferences. In the GI tab, under the
ambient occlusion section, let’s reduce the subdivision
value to about eight, to speed up the ambient
occlusion computation. In the irradiance map parameters, to speed up the pre-rendering
calculation process and have draft results, let’s
change the current preset to very low. In the light cache parameters, for quick and draft light cache
results, let’s reduce the subdivision value to about 600. Let’s carryout a quick test
render to see what the scene is looking like, without
the sunlight object. As you can see, the overall
render still looks like a daylight render even
with the sunlight deleted. The first step, is to change the texture of the building outside, to a night one. Let’s start by clicking
on the wireframe mode and choosing the shaded viewport option, from the dropdown list. Next, we are going to select
the building outside object and isolate it, by clicking
on the isolate button. Open the material editor
dialog, by clicking M on your keyboard, or by
clicking on its button on the main toolbar. Select the building outside material slot. In the Basic parameters rollout, click on its Diffuse toggle,
and then on its bitmap toggle. Choose and open the bitmap under the name of,
HighriseNight0058_1_seamless_L. All these high resolution textures came from textures.com website,
formerly known as cgtextures.com As you can see in the shaded viewport, the texture is now updated,
and it’s more consistent with a night scene. Next, let’s open the Modify
panel and change some of the length and width
tiling values to match the window sizes with the previous one. Change the length, width and
height value to about 3000. While the UVW map is still selected, use the Move tool to adjust
the texture in the viewport. Once satisfied, exit the Modify panel and the Isolation mode. Let’s close and minimize
some of these open dialogs. Before we go any further, let’s bring in a photo reference to be used as a guide for the overall look
and feel of the render. Click on the rendering tool bar and choose the View Image File option
from the dropdown list. In the view file dialog, choose
this night photo reference. As you can see, this photo
reference encapsulates everything a striking
interior night photo reference should look like. Everything that’s outside,
has a tinge of blue spilling through the glass windows, which is contrasted by the warm
lights inside the apartment. The sheer contrast of
these two powerful colors make most night scenes
extremely appealing. The following step is to emulate this look and feel in the render. Let’s minimize some of these dialog boxes and expand the viewports. Select the Vray light window
and open the Modify panel. Click on its color swatch to
open the Color Selector dialog. Enable the sample screen color and pick the blue tinge depicted
in the photo reference. We can adjust it further in
the Color Selector dialog. Next, let’s close the control panel and create a V-Ray dome light. To do so, click on the light button and choose the Vray option from the list. Next, click on the VrayLight button. In the top viewport, click and drag to create the vray light object. Open the Modify panel. In the General group,
click on the light type and choose the dome light from the list. Next, click on its color swatch and change it to a similar
blue tone as the window light. Select the window light in the scene. In the modify color swatch,
right click and copy. Select the dome light and
paste it in its color swatch. Under the options rollout, let’s make the dome light
invisible to the camera by enabling the invisible function. Also, uncheck the Affect reflections, and the Affect specular option. These two functions have been unchecked because dome light often
creates undesired results on reflections and the specular of other objects in the scene. Let’s do a quick test render
to check these latest changes. The render is looking much better, but still needs few more tweaks. Let’s cancel the render first. While the dome light is still selected, let’s change its name to, underscore dome. Open the modify panel,
click on its color swatch and change it into a darker tone of blue. Copy this color, select the window light and paste it in its color swatch. Let’s do another test
render to check the changes. The overall render is
looking much better now. However, the texture
of the building outside still remains unchanged. Let’s cancel the render
and rectify this error. Click on the diffuse toggle
to check the texture. The diffuse texture looks correct here. Click on the go to parent button, to go back to the basic parameters. Next, let’s copy the diffuse
texture by right clicking on the diffuse toggle and
choosing to copy it from the list. Scroll down to the self
illumination group, right click on its toggle
and choose to clear the current texture. Once cleared, right click again, and choose to paste instance
the previously copied texture from the diffuse toggle. As you can see, the
self illumination image is now consistent with
the diffuse texture. The following step is to
use this photo reference to place a strip light
washing down the ceiling gap. Let’s open the create panel,
click on the lights button and create a light in the top viewport. Once created, right click and
choose to rotate the light. Enable the angle snap toggle, to snap the rotation to a specific angle. Using this tool is a lot more accurate than eye balling the rotation. Move the light closer
to the ceiling opening. Rename this light as,
underscore ceiling wash. Open the Modify panel. Under the options rollout,
enable the Invisible function and then then check
the Affect reflections. The Affect reflections was unchecked, because the vraylight object itself often produces reflection
artifacts on other objects. Change the viewport to
Front, and move the light up, inside the ceiling. Next, to make this light
wash down the surfaces in front of it, let’s
enable the rotate tool and change the rotation type to local. This way, the rotation will
occur in the correct angle. Begin rotating the light so its arrow is pointing towards the
surfaces in front of it. Let’s do another test
render to check the changes. The light washing down the
ceiling is now apparent on the walls and the
curtains next to the window. While the render is still
taking place, we can quickly go through some of the
main render elements such as the window lights,
the IES lights and so on. We could quickly change the colors and the intensity of the lights in 3ds max to match more closely
to the photo reference. However, the overall render
is already looking good enough to be taken to post-production in order to control every aspect of the image without having to re-render anything. Next, let’s click on
the render setup button to open its dialog. In the render elements tab, we will select and delete all the
existing light selections and create new ones, to update the new lights created in this course. To do so, first select
all the light selections from the list and click
on the delete button. As previously done in the
interior daylight course, click on the auto
vrayLightselect script button, to open its dialog. Enable the All lights in scene function, and click on Create Elements button. Notice all light select
elements being created in render elements list automatically. For more information
about this amazing script, please check the additional
lecture in this course. As mentioned earlier, the light colors, intensity, and shadows can
easily be changed in post. The final step will be to increase the rendering settings back
up and do the final render. Let’s start by opening
the render setup dialog. In the common’s tab, let’s
increase the width output size to 4500 pixels, and the
height to 2600 pixels. These render size values are big enough for high resolution prints. In the V-ray tab, scroll down to the Bucket image sampler
rollout parameters, and increase the minimum
subdivisions to about four, as previously done. This value is often set to one. However, because of the complexity
of the scene and lights, it is necessary to increase it to four, in order to smooth out some
of the noise in the render. Increase the Max subdivision
to 100, as before. In the noise threshold, decrease
its value to about 0.003 to improve the quality of
the renders substantially. As mentioned earlier,
decreasing the noise value will increase the rendering
times drastically. As before, we will be using the uniform probabilistic option, to speed up the computation of lights, and increase its value to
32, for better accuracy. In the ambient occlusion
section, let’s increase the subdivisions to 24, as before, to smooth out the ambient occlusion grain. In the Irradiance map rollout parameters, let’s change the current preset to Medium, as previously done. And the Light cache
subdivisions to about 1500. The following step, is to
enable the V-Ray raw image file, and rename it, by clicking on its toggle and naming the file as, Apartment night. As you can see, the EXR, deep EXR, and dot delimited frame
number was enabled, as before. As mentioned earlier, this
function also saves out the render automatically, if
it were to crash abruptly. Enable the separate
render channels function. This function saves out all
render elements separately. Click on the name toggle, to pick a location and
name the rendered channels. Name the file as Apartment
night and click save. The TIF image control dialog should be prompted automatically. Choose the 16 bit color option with no compression and 300 dots per inch. Finally, you can enable the
Resumable rendering option, as before, and click render. This function is only
available from V-Ray 3.6 and recent versions. This function should only be enabled before sending the final render. So if per chance you decide to stop the render half way through, close 3ds max and continue this render the following day, you can. Vray will know where the last
bucket stopped rendering, and continue exactly from where the last bucket finished rendering. However, the pre-calculation
will be recomputed prior to continue rendering from where the last bucket was saved. This function also works
if the render crashes or stops abruptly. The final render should
look similar to this one. More often than not, you might be required to add people in your scenes,
to help sell the space and provide some sense of scale. You can find some of the best
people to add in your scene by visiting Gobotree.com. They have both 2d cut outs
and realistic 3d people in their website. With the 3d people, simply
download and unzip the file. After unzipping the file into a folder, you should see a list of
files similar to this. The ones to use in your 3ds max, are the ones named, _Standard. Back in 3ds max, you can simply
merge them in your scene. They also come at the right scale, which you can quickly measure
by using the tape tool. I really hope you’ve enjoyed this course. The next one is the
post-production course, where users will be taken through the process of transforming
this raw render, into this one in minutes. (upbeat music)

2 thoughts on “3ds max + vray : Interior Night Time 3ds max Full video 1 of 2 (CC)

  1. Download the full 3d Course : https://jamiecardoso-mentalray.blogspot.com/2019/02/3ds-max-vray-interior-night-time-3ds.html
    I hope you like it. :0)

    If you're using progressive rendering, you need to increase the, Image
    sampler (Antialiasing): Min shading rate to 32 (or higher)
    Progressive image sampler: Min subdiv 1(or 4, if it's still noisy ) ;
    Max subdivs 100 (universal workflow); Noise threshold 0.005 ; Render
    time (60 minutes or longer) ; Ray bundle size 128 or higher
    The Global DMC Noise threshold should be set to 0.004 (turn off the "Use
    local subdivs"). This should solve the noise problem while using
    progressive image sampler, without increasing the render times much.

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