Rendering Interiors in 3ds Max
Illustration by Richard Downs

Rendering Interiors in 3ds Max

with Adam Crespi

Video: Setting blending modes and adjusting opacity

In Nuke, once you've read in your nodes and set Now, with merge 1 in, I can look at merge 2.
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  1. 3m 54s
    1. Welcome
    2. What you should know before watching this course
    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

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Watch the Online Video Course Rendering Interiors in 3ds Max
3h 21m Advanced May 05, 2014

Viewers: in countries Watching now:

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.

Topics include:
  • Creating and applying materials with luster and shine
  • Creating a daylight system
  • Casting light from interior lighting fixtures
  • Lighting with sky portals
  • Creating an ambient occlusion rendering pass
  • Fine-tuning Final Gather and lighting
  • Compositing in Nuke and After Effects
  • Adding depth of field, highlights, and glow
3D + Animation CAD
3ds Max
Adam Crespi

Setting blending modes and adjusting opacity

In Nuke, once you've read in your nodes and set up the merges, you can start to change the operation. I'll double click on merge one, to make sure that it shows up at the top of my properties tab. And, up at the top we can see the operation is set to over. I've also got merge 2 selected and showing in the view. You can switch around what you're viewing by, picking that node for example merge 1 and pressing, 1. There's that ambient occlusion, over the beauty. I'll change this operation from over, to multiply and now we can see the occlusion, multiplying over that beauty pass.

Remember in multiply, we're multiplying the over color by the under color in the red, green, and blue channels, and dividing by the color space. For example, if you're working in an 8 bit image or 256 possible values of red let's say, we're multiplying the over value of the red times the undervalue of the red, and dividing by, 256, that color space. The result is always darker and multiply. And multiplying by white, is like multiplying by 1, there's no net effect. So, in this case, with my ambient inclusion being mostly white, just the dark shows through and the white areas leave the under image alone.

Now, with merge 1 in, I can look at merge 2. I'll double click on it, press 1 to show it in the viewer, and set the operational for the screen. Typically, if you're running a lighting pass like this, such as a specular highlight or par T volume, you can screen it over. You can also use plus or add if needed, but that does blow out to white really quickly. There is another issue here. And I'll take care of it before I go any further. We can see in this, by selecting that par T volume, and pressing 1, that it was run at 640 by 360.

It's a half size render. In this original merge then, when the merge is set to, over, we can see there's an issue. We're getting some streaking there, because this image is simply repeating the last color. What I'll do then, is insert a re-format note before that merge, selecting the party volume, right clicking, choosing, Transform and, Reformat. Reformat, as the name suggests, allows you to reformat an image to a distinct size. I'll drop down here under output format, and choose, 1280 by 720.

Alternately, you can put out to a box, such as a bounding box or a scale. Now, that, that's reformatted to 1280 by 720, it's going to fit over correctly, and we'll get rid of the streaking. I'll make sure I go forward and press, 1 to show merge 2, double click on merge 2 to make sure that it shows in the properties tab, and set the operation from over, to screen. Now I've got my par t volume showing, and it's a soft, gauzy haze over the right side of the image. In my view then, I can click here and press, F to fit and Nuke will fit, that image as big as it can in an even magnification.

Alternately, if we drag down the timeline just a little bit, to make a little more space, we can click in the viewer and press, H to fill. The difference here is that, F for fit, fits at an even multiple, or at least a whole number. H then, goes at an odd size. When I was pressing F, I was getting a 1 3rd size image. Right now though, pressing H gives me, well divided by 2 and one half. So, it's an odd size and may introduce some, visual aliasing artifacts, which are not actually part of the image.

But, simply a result of the magnification. What you need to do is decide if you need to see, the overall colors, or to be able to focus on fine detail, and zoom in accordingly. Now, that I've got the blending mode set, I can start to look at, mix or opacity for each merge. Every merge in Nuke has its own mix amount, as do most of the other nodes, that involve an A over B. They allow you to, back off how much of that you're seeing. For example, I'll double click on Merge 1 and, back off the mix.

With my ambient occlusion at 0% in the mix, there is no occlusion there. And I can really see I am, missing the detail on some of the doors. As I pull it all the way forward to 1, we can really see that darkness showing up, and all the joints and reveals, and the little steps in the geometry. I'll back this off to about .75. So, it adds some grounding darkness without, overly darkening areas I have worked hard to light. For merge 2 then, I'll back off that mix as well, pulling it down to about 0.75 or so. So, I get a little bit of that lighting that par t volume showing, without it totalling blowing out the white wall.

You can always come back and adjust this later, but, it's a good idea to. Put it in full strength, because you have the range, and use that mix to adjust where that sits, so you get the right, look as the, different read notes are merging together.

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