Rendering Interiors in 3ds Max
Illustration by Richard Downs

Setting blending modes and adjusting opacity


From:

Rendering Interiors in 3ds Max

with Adam Crespi

Video: Setting blending modes and adjusting opacity

In After Effects, once you've got your images brought in, imported, and laid on to the Timeline, you can start setting your blending modes and fixing minor issues. Such as the size of that Part 2 volume First, I'll look at the blending modes in my images, making sure that the ambient occlusion multiplies over and the Part 2 volume screens. I tend to look at these one at a time, turning off the parti volume so I can see the occlusion clearly. I'll also drop down under the zoom here and choose fit so I can see the whole image. In this case, I'm magnifying at 39.4%, and that's relative to my screen size.
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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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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
Subjects:
3D + Animation CAD
Software:
3ds Max
Author:
Adam Crespi

Setting blending modes and adjusting opacity

In After Effects, once you've got your images brought in, imported, and laid on to the Timeline, you can start setting your blending modes and fixing minor issues. Such as the size of that Part 2 volume First, I'll look at the blending modes in my images, making sure that the ambient occlusion multiplies over and the Part 2 volume screens. I tend to look at these one at a time, turning off the parti volume so I can see the occlusion clearly. I'll also drop down under the zoom here and choose fit so I can see the whole image. In this case, I'm magnifying at 39.4%, and that's relative to my screen size.

If you'd like, you can always drag around these windows, and show it bigger. It's a good idea to make sure you check at an even magnification. For example, we can try 50%. Lose a little bit of the image but make sure that we're not seeing any giant artifacts in the way these lay together. Now set my blending modes. Typically what I'll do is to right-click on the title bar here in the timeline and choose columns and modes. Now I've got blending modes available as a simple drop down, and I'll set the Ambient occlusion over to Multiply.

Remember, in Multiply, we multiply the over-color by the under-color and divide by the color space. Let's say, for example, we were working in a 256 color image where there is 256 possible values, each of red, green and blue. We'd multiply the overvalue for the red by the undervalue for the red, and divide by the color space. Two fifty six. So in multiply everything that is darker than white yields a darker image. Multiplying by white is like multiplying by one, and so there is no net result.

When we lay over an ambient occlusion then, we get our grounding darkness showing in all the details, but the white in the middle of the wall disappears, leaving our bright clear light alone. Now, I'll set over the party volume. I'll turn it on and set it's blending mode to screen. It works, although it's the wrong size and so I need to get this sized right by transforming it. What I'll do is because this is rendered at a percentage of the size, 50% as a test render is just to fit it to the comp. You can always go and look in the project window and see what size an image is.

I'll pick party volume, and you can see here it's 640 by 360, half size render. I'll right click here in my composition window, and choose transform and fit to comp. Now with that fitted over, I can just see a little bit of haze in the right side. That's the dust and the sunbeams coming in. As a side note on party volume and compositing, make sure you test your party volume in a composite solution first so that you can ensure that when your run the party volume you're not standing in the blinding white of the direct sunbeam.

Often, what I'll do, is to run a simple gray scale image, and then apart the volume ambient inclusion. And take them all the way forward in to a compositing app like After Effects, and test it out, even before the beauty render is done. Making sure there's no giant issues with where those sun beams are aiming. Now with all these pieces in, we can back off the opacity if we need. I'll hit T, for opacity here on the Part T volume. And I'll back it off just a little bit. I'll do the same with the Ambient occlusion. It's always a good idea when you are fine tuning the initial passes to make sure you isolate them and really check out how they are behaving.

I'll hit T for the opacity and Ambient occlusion and test it out comparing and contrasting 0% with a 100. I'll pull this back roughly in the 75% range, so I get decent darkness without overly darkening the corners I've worked hard to light and the Ambient occlusion, then, won't completely obliterate the color bounce I'm getting off the tile wall underneath the stairs. Before you get into color correction and post effects, then, make sure everything is laying together properly and that you fine-tune how each layer is behaving, so that you don't accidentally overwrite any of the lighting data you went to great length to produce.

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