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Learn how to replicate three unique lighting setups in interior scenes, starting with direct daylight, with 3ds Max. Adam Crespi shows how to create and apply materials such as paint sheens, metallic finishes, glass, and wood—textures you would find in any home. Then he shows how to create a daylight system, adding in photographic exposure to see light like you would through a camera. Then learn how to use interior lights and sky portals to light dusk and night shots. Finally, Adam shows how to add post effects and composite the rendering in After Effects and Nuke.
Nuke has really terrific color-correction tools. And they allow you a great deal of subtlety in pushing around the color, fine-tuning that image, and adjusting the different pieces as needed. We can also mask that color correction through any number of different ways, and that's why we render out things like object ID and material ID, to provide travelling mats that go with objects as we move around in a scene, and let us adjust color across. A moving section of the image. I'm going to adjust my beauty pass a little bit first, before that ambient inclusion.
And then adjust the whole image after the party volume screens on. I'll start out by picking that beauty pass and pressing C for color correct. Nuke puts on a color correction note. And we can see in here it's got a lot of different features available. We can work by red, green and blue channels and also in master shadows, mids and highs and it's because of this kind of color correction, master shadows, mids and highlights that I strive to have as much range as possible in lighting in 3DS max.
As I like to think of it, and as I teach it to my students in compositing, if you give me gray, I can't move it anywhere. But if I've got a good range between highs, mids and shadows, I can push color around all day. If you've got range in the lighting, you can isolate each third of it. And if you can mask it again by something else, like an object ID, you can really fine-tune the color of every little detailed section you'd like. What I'll do is push up this color correction, to show how it looks and then get a mask in there.
I'm going to push that floor to be a little bit darker, cause I'd like it to be a little deeper charcoal tone. I'll take the gamma on this master and just pull it down, and we can see the whole image gets deeper and darker. Now I'll take the mask node on the color correction, scrolling the mouse wheel into zoom in, and dragging the mask from the right side of color correct. If a node has an available mask, it'll be this arrow on the right side. I'll pull the mask onto the material ID note. It turns back to the original image, because it masks by the alpha initially.
I'll click in the Ranges tab in Color Correct and down at the bottom is my masking. I'll change the mask over to RGBA Red, because I can see that floor is clearly in the red channel. Now the floor distinctly changes but leaves alone the rest of the image. We can also invert that if we need. Checking the invert box and everything but the floor changes. I'll uncheck invert. And then go into the color correct to do something a little more reasonable. Instead of simply backing off the overall gamma in this, which may give me some odd results such as the red halo next to the wall.
I'm going to work in shadows, midtones and highs on that floor to color correct it. I'll reset the color correction, right-clicking on gamma and choosing set knobs to default. Everything resets back and I'm back to my uncorrected image. Now what I'll do is take, for example, the mid tone gamma down on the floor just deepening the mid tones. I'll pull down the shadow gamma just a bit, and leave the highs alone. So the floor gets just a little deeper, but I need to get that mass back in.
Resetting everything in a color correct resets the masking, so, I'll jump into the ranges one more time, switch the mask over to RGBA Red. And there's the color correction on the floor and the reflection of the floor in the bridge overhead. My floor is a little bit deeper and a little darker. And now I'll just back off the saturation a touch. Again, on the color correct tab, I'm going to go into the master saturation and just gray it out a little bit, pulling it back to a warm charcoal instead of a vibrant brown.
My floor is in shape, and I can really perceive that bounce off the tile right underneath the stairs. We can really see in this how we've got some flexibility in the color correction by using those masks. Now I'll use the object ID. Just to darken the glass in the reeded glass doors. In this case though, I'm going to do it, after the ambient inclusion merge. I'll pick merge one. Press c for color correction. And take the mask from color correct two, onto the object ID. Remember in a node based work flow, it doesn't matter where your nodes are in matters what their connect to, so you can pull them around as much as you need, you can also select them and press L for layout this organizes the node flow and now we can read a little more clearly, I'll double click on color correct two to make sure it's selected.
Go into Ranges and set the mask over to red. Here's RGBA red which happens to be that object ID for the doors, and then I'll push that color correct around. Here in the Color Correct, I'm going to take the midtone gamma down just a little bit to deepen those doors, but I'll pop out the highlight just a touch, so they get a little bit of a shine on them. I'll pull down the shadows, and now I've got a deep green glass on those doors. Independently adjusted, by that mask. It's a terrific way to really push around color.
And we've got some really fantastically fine color correction tools here if we need. Lastly, in our color correction, if we'd like to move a color or introduce another color in besides just playing with values in that, we can add one in easily. For example, if I want to color correct the whole image to be just a little bit cooler, I can pick Merge to my Screen Node and press C for Color Correct. Now, I've gotta color correct after that screen. It's going to affect the whole image, and I'm going to leave it unmasked.
What I'm going to do is go into the Master Gamma, click on the color wheel. And in this color correct 3-gamma, I can start to push things around. We can grab the center note on the wheel, and really pull it. And get, well as you can see here, some fairly awful results. I'll undo that by pressing Control Z, and go a little more subtle this time. I'll take this outside wheel, and just pull it around. And we can see a subtle coloration. I'm going to swing in a little bit of blue and pull that center node over just to saturate it a touch.
I'll cool off this image just a little bit. And then I've got independent sliders. Hue saturation value, red, green, blue, and alpha. And I can pull it around further. Just a little bit of blue in there helps cool it off. And, then I'll swing that hue just a little bit more towards green, and now I've dulled down the whole image, by using a little bit of color in that gamma, in the master, after I've color corrected and merged everything. This is why we render out all of the different passes, out of 3DS Max for example.
And why you should always try to render out everything you think you need for compositing flexibility. That way when you pull those images in here, you can very specifically pick one piece, one material, one object, or a group of objects, whatever it happens to be, and really push around how they look independent of everything else.
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