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Putting on the final polish with glinting highlights and glow

From: Rendering Exteriors in 3ds Max

Video: Putting on the final polish with glinting highlights and glow

Glow is one of those magic filters we can put on in I'll put Glow on my desk image first by I'll pick ZD focus one, right-click If you'd like, you could even use a mask on the What I'll do is mask this glow by inverting first.

Putting on the final polish with glinting highlights and glow

Glow is one of those magic filters we can put on in post, that really adds a softness and a warmth to our image. And it also lets us know when a light is just a little too bright on a surface. I'm going to put a little bit of glow on both of my flows here in the node graph, just to make those highlights pop out a little bit more. Glow actually shows where an image is over-exposed and dazzling the lens just a bit. We don't want to put glow on everything. We want to use it strategically on just a few key elements to show that they're nice and bright.

Putting on glow is fairly easy. The trick with glow is to make sure that your value, your luminance, is in the right place first, because glow is luma-based. I'll put Glow on my desk image first by clicking on the ZDFocus2, right-clicking and choosing Filter and Glow. Note that Nuke knows that I was in the Filter section last, and so it jumps to that on right-click. With the glow on and making sure it's selected and i'll press one to show it in the view everything glows and my image has a soft gauzy look to it.

What i'll do with the glow is bring up the tolerance saying the glow only applies on certain luminance after above 20% for example. Now I've got a glow right here on the windows, although it's a little bit hot and a little bit fuzzy looking. What I'll do then is to back off the size and the glow, pulling it down just under four, and I'll also back off the brightness. We don't want a giant glow fuzzing out things that we've spent some time to make clear. We just want a little bit of glow to show that it's nice and bright to really make those windows in our desk shop pop out.

We could mask if we need, making sure, for example, that plants stay nice and dark if they have bright spots. And the glow only shows on the windows. For now though, because I've got a fairly low value in the image, I'm okay with just using the tolerance and the glow to make it pop out. Now I'll put a glow in my daytime shot. Really shooting for a stylized piece here in black and white. I'll pick ZD focus one, right-click and here's filter and glow already highlighted. I'll put that glow on, press one to show it in the viewer, pull down the timeline, and my image is on fire.

Now, joking aside, and way overexposed images aside, this is easily rectified. What I'll do, is bring up the tolerance and the glow. I'll pull this way up. We can see in here that glow at zero means. Everybody glows. We pull up the glow, almost well into the mid-point here and just those white roofs and plants are glowing. What I'll do next, is to really back off the size in my glow, pulling it down, and also the mix.

Every different node, every filter, has a mix amount, an opacity. So we can say, here it is applied at 50% strength, for example. I'll back off the mix into just under 70%, we'll call it, 0.67. And there's a glow, nice and hot on the pavement, really bright trees, bright roofs, and the clouds, which I'm going to replace, are glowing. The block wall is also glowing, and it's got that period feel, that Julius Schulman. Almost scorching kind of stylization, with a big big range between the black dirt, and the white on the roofs.

If you'd like, you could even use a mask on the globe to really push around the luminance, say, on the plants. I'll show what that looks like, as well. What I'll do is mask this glow by inverting first. I'll take glow two. Drag it its mask onto my object ID and in here, making sure, I double click on the glow to show it. I'll mask by RGBA red. What this does, is mask down the glow to just the plants. I'll check invert and it will glow on everything else except the plants.

Now that I've got well, the scene glowing properly as I had done it, but my plants are not. I'll put another glow on, masked the same way, and undo invert. I'll add one more glow, mask it the same way, double click on that glow, and make sure I'm masking by RGBA red, and now. I have got just the plans getting nice and bright. I will bring up their tolerance a little bit. Back of the size just a little. And now the plants have their own specific glow.

Again I am making use of that mask channel to custom tune, the glow on the image. So I've got those nearly white plants next to this dark architecture and the bright white roofs. Remember with glow, a little bit goes a long way. We don't want to just fuzz out our entire image with glow after we spent so much time on anti-aliasing. And depth of field getting it where we want. We want just a littlest bit to really stylize. Showing the hottest parts are just dazzling the lens a little bit.

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This video is part of

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

45 video lessons · 1432 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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