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Putting on the final polish with glinting highlights and glow

From: Rendering Interiors in 3ds Max

Video: Putting on the final polish with glinting highlights and glow

Like depth of field, glow is one of those effects The default glow is rather harsh.

Putting on the final polish with glinting highlights and glow

Like depth of field, glow is one of those effects that's I think is better to put on in post. Here's why. Glow is an increase in brightness and a blur, and if it's baked into an image, it's very difficult to get rid of or composite around because of the softness on the edge. Putting it on in post then is as easy as adding an effect and adjusting where that glow should sit. And again, like depth of field, this allows us to very interactively tune that final look. I'll use my same Adjustment layer that I had added on to put on the depth of field.

Under Effect, I'll choose Stylize, and Glow. The default glow is rather harsh. We need to adjust where it sits and what colors it's using to really make it lay down a little bit in the image. Remember that professional photographers will really try to minimize glow very heavily. And so just a little bit is acceptable, but an excessive glow like this makes the image look, well, frankly, terrible. The first thing I'll do is pull up the glow threshold. This is the point and luminance at which the glow starts, what brightness the glow begins with.

Because I've got a great deal of white in here, the hot stairs and the white wall in the background, I'm going to pull this up to nearly white. Now I've got a glow just kissing the stares and it's still a little bright on the back wall. And so what I'll do is back off the glow intensity, pulling it down to maybe 0.3. Now there's just the tiniest bit of hot glow on the white wall on the glass in the upper right in the image. And lastly, I'll back off the glow radius to maybe seven or so. Every different image is going to require different settings and glow.

So don't be afraid to play with them to really get it to look right. We also have a choice here in the glow as to what operation we're using. We can choose in here any of our standard blending modes. It defaults to add, and add as the name suggests adds together the luminescence of the images. So it blows out to white really quickly. You may want to try it at screen. And so it's going to mute back that glow. Believe it or not, the little subtle glow here is much more acceptable. What we want is just the idea that, that sun is really warm and bright on that back white all.

And there's just the littlest bit of bloom around the glass. And the other part is that we want to make sure those stairs treads have that bright, white, concrete, luminescence look without being, well, excessively on fire. Remember, as with all of your effects, play with them don't just stick with the defaults. Push them around to get the artistic look you're after, and really fine tune it. And then pull it back a little bit. It's too easy and too tempting to run these full strength, and take what was a good image and really make it kind of garish.

Depending on how the glow sits and what the colors are in the image, you may want to change around color as well. We can see in here that the glow colors default to the original. That is if, for example, there's some orange on the stairs from that bounce off the warm tile wall, that glow will go in yellow and orange. We can change over, instead of original colors, to A&B, or an arbitrary map. I'll choose A&B, and it gets rid of some of that hot pink that's blooming on those stairs. Once you've chosen some different colors, you can start to play with the intensity again.

I'll try 0.6, and now we get just the littlest bit of warmth on those stairs, and a little fuzziness, as if they're nice and bright and white, and soft in the sun, without that excessive red and yellow on it. If there's a color that works better in here, you can always use the eyedropper for a and b colors to find one. For example, I'll pick the B eyedropper and go grab one of the deep browns from my wall. This puts in just a little bit of warmth for my glow. We can see it right here on the stairs, and it's just a nice soft, subtle effect.

Again, experiment with it. You can play with all kinds of different properties to really fine tune it. So, don't think for a minute that those are set in stone. Make it really come across with the look you want. In this case that the sunlit lobby has the light flooding in and showing off all the crisp modern architecture, and really making that tile sparkle and shine.

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This video is part of

Image for Rendering Interiors in 3ds Max
Rendering Interiors in 3ds Max

42 video lessons · 2711 viewers

Adam Crespi
Author

 
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  1. 3m 54s
    1. Welcome
      46s
    2. What you should know before watching this course
      20s
    3. Using the exercise files
      2m 48s
  2. 43m 2s
    1. Assessing the design possibilities
      3m 53s
    2. Changing the rendering engine
      1m 57s
    3. Creating basic paint sheen and colors
      8m 58s
    4. Adding luster to wood
      7m 43s
    5. Polishing metals and metallic finishes
      9m 16s
    6. Making glass and tile sparkle and shine
      11m 15s
  3. 19m 1s
    1. Creating the Daylight system and positioning the sun
      6m 23s
    2. Softening the sun and shadows
      3m 17s
    3. Adjusting the Photographic Exposure for stylized imagery
      4m 36s
    4. Using global illumination and Final Gather to change the lighting
      4m 45s
  4. 25m 22s
    1. Casting light from interior fixtures
      7m 24s
    2. Lighting from pendant fixtures
      5m 0s
    3. Adjusting the sun for a dusk shot
      2m 23s
    4. Adjusting luminous and lit surfaces
      7m 41s
    5. Fine-tuning Photographic Exposure for dusk
      2m 54s
  5. 13m 23s
    1. Adding the Physical Sky shader and Photographic Exposure
      2m 5s
    2. Creating Sky Portals by direction of light
      3m 39s
    3. Testing the luminance and balancing the lighting
      3m 16s
    4. Adding interior-lighting accents
      4m 23s
  6. 34m 7s
    1. Creating an ambient-occlusion override material
      5m 19s
    2. Creating an ambient-occlusion rendering pass with custom materials
      7m 22s
    3. Lighting a custom specular pass for sparkle
      6m 16s
    4. Setting up custom masks for compositing flexibility
      5m 50s
    5. Fine-tuning Final Gather and lighting
      3m 36s
    6. Caching Final Gather and rendering the image passes
      5m 44s
  7. 31m 33s
    1. Importing the imagery and arranging the layers
      4m 45s
    2. Setting blending modes and adjusting opacity
      4m 49s
    3. Fine-tuning color using rendered masks
      6m 59s
    4. Adding depth of field
      7m 44s
    5. Putting on the final polish with glinting highlights and glow
      3m 28s
    6. Rendering the composited images
      3m 48s
  8. 30m 28s
    1. Importing the imagery and arranging the layers
      3m 48s
    2. Setting blending modes and adjusting opacity
      3m 55s
    3. Fine-tuning color using rendered masks
      7m 10s
    4. Adding depth of field
      5m 44s
    5. Putting on the final polish with glinting highlights and glow
      4m 5s
    6. Rendering the composited animation
      2m 55s
    7. Viewing the final rendered animation
      2m 51s
  9. 43s
    1. Next steps
      43s

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