Viewers: in countries Watching now:
In this course, author Adam Crespi takes you through the full production pipeline for lighting, rendering, and compositing the exterior of a house in 3ds Max. First he'll show you how to create mental ray materials like wood, metal, and glass; customize the Daylight system for realistic daytime lighting; and adjust the lighting for dusk and nighttime shots with photometric lights. Then he'll render the scenes, optimizing and styling the bounced light with Global Illumination and Final Gather. Finally, Adam takes the image into post, adding the final polish required at the end of the pipeline with Nuke and After Effects.
For a dusk rendering, but really shows off the design are of course the exterior light fixtures. I'm going to put some lights in and turn them on. Now that I've got my sun well, muted way down. I've got, a sunset rendering going. And I'm ready to turn on the cam lights, the pendent fixtures in the carport and also the three that are over the entry walkway. What I'll do for ease in this, is hide everything but those fixtures, pressing H to select from scene and scrolling up to find the cam lights. I'll pick all of the cam lights housing objects, hold control, and pick all of the cam light lenses.
I'll click OK, right click, and Hide the unselected. Now I can get my lights in, and I'll press F3 to go to a wire frame and T for top view. Z zooms extents and I'll choose Create and under My Lights, I've got Photometric Lights. I'll click on Free Light > Zoom In, and Create One, right on that light fixture. I'll go in a front view, and pull it down out of the shaft, and into the light properly. I'll pull this light, right in the fixture.
And then I'll go to the Modifier panel. We can light by putting a bulb in and letting it bounce off the fixture. But some ways it works better, is to aim it down as a spot, and light up the fixtures in other ways, such as an, self illuminating material. I'll turn on my Ray Tray Shadows, and in here, leaving the light as not targeted or free is just fine. Under Light Distribution, I'll choose Spotlight, and now it's a cone of light that aims down from this fixture. I'll make the hot spot 45, and take the fall off out to 75. And this gives me a nice, wide spread on it, with a good, soft beam right across that difference between the hot spot and fall off.
Additionally, I'll take this light and change it over to maybe, a warm white fluorescent or something similar. We could also say it's some kind of, halogen or mercury. Depends on the lighting quality we want. Actually, I'm going to make it a halogen, that way it's got a good warmth to that light. I'll leave the intensity alone until I can get a render going and see where I need to adjust it to. The last thing I'll do though on this light is to scroll down to the shape, and here in the shape, I'll change over from a point to a disc, and this way, I get the right emission area from this light.
I'll scroll back up and, there's that shape area shadows rollout. In here I'll put the radius at three, which is the size of that bulb roughly. Now I can clone this, before I do though, I'll call this, Can spot a one. And this way I can recognize them by name is the list. Now I'll clone this over. Pressing T for top view, space bar for selection lock, zooming back, holding shift and dragging on the red x-axis. As a side note, holding Shift and right clicking you can see I've got Enable Axis Constraints on, and my snap is set to vertices but not grid points.
And this way I can snap to my geometry easily. Now I'll hold Shift, grab it on the red x-axis, and snap right on to the next light. I'll make it an instance and put in, two copies. Pan over, and get the other light snapped on. These are somewhat asymmetrically placed because of where the front door is. So, although, they are, in even rows towards the door, the rows between first and second and second and third have different spacing. Now I'll take these lights and clone them. Picking two lights. Then three, holding Ctrl and now holding Shift, dragging on that y-axis, zooming in and snapping that light.
I'll deselect one by holding Alt and dragging a window around it. And now I'll hold Shift and clone out the last two. I'll zoom in and verify that I got it in the right place. And it looks like it needs a little help. I'll get that right on. And now I'm ready to clone the lights over for the other cam lights. I'll pick one of my spots, hold Shift and drag it over. And for these I'll use my Align tool. I'd cloned it as an instance, probably because I'm moving too fast and I'm going to break that or make it unique by clicking on the Make Unique button. Now, I use my Align tool, pressing B to go to a bottom view because these polygons face down and backface culling is on and clicking on the Align tool.
I'll align it, on the x and y position. Center and center. And it should get me on to that light. I'll move this in, because it looks like the Align tool didn't fly. Which is not a big deal. There's always a dozen ways to do things. Now, press spacebar for the selection lock. Register that snap, and snap it over. Copying this time as an instance with two copies. Now I'll name these objects, canspot, walkway01, and copy it to the other two. It's important to make sure that you're named in here, either by, naming before you copy, or copying and pasting afterwards.
As long as we can find things in the list, as you've seen, it's immeasurably easier to run around in Max. Now I'll go into my camera. And, it looks like my lights are in a good place except that my, walk way cams are a little too low. In my front view I'll pull them up and I'm ready to try a test render. I'll right click and Unhide Everything. And region render just that driveway. We can see in here that we really need to kick up the value in those lights. As their really being muted out by that daylight. I might mute down the daylight a little bit more, but I'll definitely increase the value on those.
Because they're instants, I only need to change one. I'll hit Escape, as it's not worth wasting the time on the render. And I'll pick one of my pendant light spots. And, I'll go up to the intensity. We have a couple of different ways of affecting this. We can either put in more candle power here in the intensity, or. Check, Dimming and in the Dimming we'll dim by a percentage. I'm going to boost this up considerably. If 100% at 1500's not doing it, 1502 is probably not going to be it either. I'll try a 400%.
Remember that because we're tone mapping with the exposure we probably have to push our lights around. And because it's a cinematic rendering not a lighting analysis, you can push your lights wherever they need to be to show up properly. I'll do the same with my spots from my walkway cams. Again, I'll turn on my Dimming and run them at, let's see what 350 looks like. I'll hit Render again and see how that render goes. I'm starting to see, even in the final gather, small wall washes from those lights on the wall, which lets me know it's working really nicely.
I'm going to dim back the sun and push up that intensity one more time. And I'll have these lights really showing. Don't be afraid to really go low with the sun, and really mute it down to get your lights to show like you want. It's a hard one to, get the combination of dusk and, interior lights, but it's worth it because there's such a warmth and softness to it. I'm going to push these up to, 600%. I'll do the same, picking my, pendant cams, and trying 750, and then I'll pick my daylight and boost it a little bit more.
With the daylight selected, I'm going to take this sky multiplier down to 0.1, and I'll take the sun multiplier down to 0.1 as well. I'll also scroll down and pull back the haze just a little bit, as I feel like it's bouncing a little bit of light in. I'll try one more render. And it should be in pretty good shape, for the exterior lights. I can really already see, the light on the wall from those cams, and it's showing nicely on the walkway. I've also got a good warmth in the driveway from those halogen bulbs in those pendant fixtures. You can keep playing with it if you need.
And you can also play with the exposure, stopping it down so we get less light in and then boosting up the amount of light from those fixtures. What we want in here overall is a good warmth in the scene, letting us know that the lights are on without being giant searchlights on the building
There are currently no FAQs about Rendering Exteriors in 3ds Max.
Access exercise files from a button right under the course name.
Search within course videos and transcripts, and jump right to the results.
Remove icons showing you already watched videos if you want to start over.
Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.
Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.