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Casting light from exterior fixtures

From: Rendering Exteriors in 3ds Max

Video: Casting light from exterior fixtures

For a dusk rendering, but really shows off What I'll do for ease in this, is hide everything but those fixtures, I'll pick all of the cam lights housing objects, I'll turn on my Ray Tray Shadows, and in here, Under Light Distribution, I'll choose Spotlight, and now it's Additionally, I'll take this light and change it over I'll leave the intensity alone until I can get a I'll scroll back up and, there's that shape area shadows rollout.

Casting light from exterior fixtures

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

Show transcript

This video is part of

Image for Rendering Exteriors in 3ds Max
Rendering Exteriors in 3ds Max

45 video lessons · 1446 viewers

Adam Crespi
Author

 
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  1. 3m 52s
    1. Welcome
      55s
    2. What you should know before watching this course
      24s
    3. Using the exercise files
      2m 33s
  2. 43m 37s
    1. Assessing the design possibilities
      4m 3s
    2. Forming paint colors and sheen levels
      7m 15s
    3. Making brick and concrete sparkle
      4m 7s
    4. Adding subtle detail to wood and siding
      8m 50s
    5. Polishing metals
      8m 13s
    6. Adding luster to glasses
      4m 33s
    7. Converting foliage materials for mental ray
      6m 36s
  3. 25m 9s
    1. Creating the Daylight system and positioning the sun
      4m 23s
    2. Softening the sun and shadows
      4m 46s
    3. Adjusting the Photographic Exposure for stylized imagery
      5m 56s
    4. Lighting using HDR imagery in the Daylight system
      5m 48s
    5. Adding extra lights for glossy surfaces
      4m 16s
  4. 26m 30s
    1. Using the Daylight system for sunsets
      3m 18s
    2. Casting light from exterior fixtures
      8m 13s
    3. Lighting interior spaces for night
      7m 14s
    4. Adjusting luminous and lit surfaces
      4m 7s
    5. Fine-tuning the Photographic Exposure
      3m 38s
  5. 20m 35s
    1. Rendering and optimizing rendering
      4m 49s
    2. Fine-tuning Final Gather for speed
      4m 49s
    3. Pushing Global Illumination values for visual impact
      4m 47s
    4. Stylizing the bounced lighting
      6m 10s
  6. 32m 24s
    1. Creating an ambient-occlusion override material
      5m 56s
    2. Creating an ambient-occlusion rendering pass with custom materials
      8m 33s
    3. Lighting a custom specular pass for sparkle
      7m 15s
    4. Setting up custom masks for compositing flexibility
      6m 51s
    5. Rendering the image passes
      3m 49s
  7. 39m 12s
    1. Importing the imagery and arranging the layers
      3m 28s
    2. Setting blending modes and adjusting opacity
      3m 13s
    3. Fine-tuning color using rendered masks
      5m 57s
    4. Adding depth of field
      6m 47s
    5. Putting on the final polish with glinting highlights and glow
      5m 1s
    6. Adding quick clouds and sky
      10m 14s
    7. Rendering the composited images
      4m 32s
  8. 31m 25s
    1. Importing the imagery and arranging the layers
      2m 49s
    2. Setting blending modes and adjusting opacity
      3m 28s
    3. Fine-tuning color using rendered masks
      5m 47s
    4. Adding depth of field
      5m 19s
    5. Putting on the final polish with glinting highlights and glow
      3m 56s
    6. Adding quick clouds and sky
      6m 9s
    7. Rendering the composited animation
      3m 15s
    8. Rendered movies
      42s
  9. 42s
    1. Next steps
      42s

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