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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.
The final step in our compositing pipeline is to write or render out our images. Our right node then in nuke tells Nuke where to put the images and what format to record them in. We have different options in here. For example, we may write out a single TIF image to go to print. We may also write out a sequence of images that will import into a non-linear editor such as Adobe Premiere or Apple Final Cut Pro. We can even put out a movie if we need. And it really depends how we write on where it's going.
I'm going to put out a single image and I'll put a right node on to get that started. I'll pick my glow note which is that last in the flow and press W for write. Nuke puts on a write note. And in here we need to specify what kind of file it is and where it's going. I'll click on the Folder icon in the File line and browse out to where I want this image to render to. In the Exercise Files folder, I browsed into the render images folder I've created. I've included the final rendered images from my compositing pipeline here.
So you can see how it looks when it's all done. Once you've browsed into the folder, and designated either as a sequence or a single image, click Save. Then we need to put in the file name. I'll click after the forward slash, after images, and put a name in calling it Lobby Day Nuke. And I'll make this a TIF by putting in .tif. Nuke recognizes you're trying to put out a TIF file. And changes over the options accordingly. If you're rendering out a sequence. For example, the 72 frames of the animated camera.
You need to put in frame padding by putting in pound signs after the name. So if I wanted to render out let's say 100 frames of this, I'd put in pound, pound ,pound. Or even one more to get extra zeros. If you don't, Nuke'll give you an error, saying basically, I rendered out one, now what do you want me to do? How am I supposed to render more? Because it's a single image, I'm going to take out the frame padding and just leave it as Lobby Day Nuke. I'll make this an 8-bit TIF. And we have whatever options available per that format here. Are we dealing in deflating compression, LZW, none and so on? When you're all ready and you've chose a color space and file output, you can click on render.
Because I had set this up and viewed it in 709, I'm going to set my color space to 709 as well. And in here, I'll click render and because it's a single frame, I'll leave the input at 1 to 1. If you're rendering out more frames, make it 1 to 72 for example, and click OK. Nuke rendered out that frame going through each of the nodes and performing that operation and then writing out that final file. I'll open it up and see how it came out. Here's my final image rendered out of Nuke. It's got a nice glow on the concrete stair treads and white wall in the back.
There's a subtle depth of field blur going on on those doors down the hallway. And the back bench as well. I've got a little bit of color correction, deepening that terrazzo. And I can really tell what the different chips are in that matrix. Finally, my ambient occlusion composited over is gently settling down all the details and adding gravity into the can lights and underneath the bench. I can really see the color bounce off that luminous tile wall. And really make out the fine detail in the stair railing. It's an image ready to sell this design.
And a little bit of post here in Nuke really put that final polish on. Remember, we want flexibility out of 3DS Max. The more we can render out possibilities to move things around, the better off we'll be. And so use your object IDs, your material IDs, your ambient inclusion and even your par tee volume passes to give yourself the opportunity to push that final look in a place that's much easier on render time.
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