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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.
Rendering is the last step in our pipeline and NUKE.When we're all done with our post effects and compositing, and we're ready to render, we can choose how we'd like to render, and from what point in our flow, we'd like to render out images. In this case, I've got a node raf with two different flows in it, one of a highly stylized black and white daytime image of my house, and one of a dusk shot in color. I'll render out both of these and we have a choice in here, of what format we like to render in and where it's going to go.
For example, we may render out one frame and take it out to print or for posting online. Alternately, we may render out a sequence for important to a non-linear editor such as Apple Final Cut Pro or Adobe Premiere. I'm going to put a write node, onto my flow, setting up where the frame goes, what it's named and what format I am using. I'll start out here on my daylight image. What I have done, is to alter that rectangle pulling up the point 0 Y to 250, so I get a little more light, down at the horizon and let the darkness with the clouds, go up to the top of the image.
I'll scroll up, pick Merge Three, the last node in the flow, and press W for write. In a write node then, we specify the file and where it goes and then the format. I'll click on the File folder, here in the file line and browse over, to the finished images directory, I've put in the exercise files. I've included the finished images out of NUKE for this course, so you get an idea of, when this is all done, what it looks like. In the Finished Images folder, I'll click Save and then I'll name the file, clicking after the forward slash and naming this House Day BW and I'm going to save this as a TIF putting in .tif at the end.
It's important to make sure you put in, the file name and extension. Otherwise you'll get files and every non-linear editor out there will go, what? Because it won't recognize it as any particular format. You can also specify a file type, through the drop-down here but having the extension on that name is important. If you're rendering out a sequence, put in pound signs, for frame padding after the name. For example, if I was going to render out 100 frames of this, I'd put in pound, pound, pound, which would number it 0 through 100. Because I'm just doing a still, I'm going to leave that off.
We can choose in here what our data type is, per format. 8, 16, or 32 bit are we wording in a, different color space than sRGB, and so on. When you're ready, you can click Render, and in this case, because I'm doing a still image, I'll render out, frame 1, or actually, 1 to 1. I'll click OK, and it'll render and that was it. It rendered out that flow with the right node. It left alone my dust rendering, so, I'll need another write node, for that particular section of my node graph, to make an image.
I'll go take a look at my daytime image and see how it came out. When I open up that image, I get a terrific image of this house. Very, very stylized,with practically glowing bright plants. Black and white with, very stylized flowing clouds in the background. This is a place where I had probably put in a background plate, and maybe some stylized clouds or some more work to mask them out, so I see more of my gradient sky. However, the work I've done in post, is paying off. The masks, depth and color correction and so on, gives me the rich, final image that I'm after to showcase this design.
I'll render out the dusk image as well and show what it looks like, when I'm done. I've rendered out my dusk house. Taking out the clouds in that card and just using a gradient that I've set from deep blue to pink actually. It's a sunset look behind the house. And really makes the colors pop out. I've merged over the sky using again, the mask of the original house to mask where that merge is occurring. And it really looks like the lights are on. And the house is being lit by a very, very soft sun as well as the interior and exterior lights.
And it's against that clear, beautifully colored desert sky, this again is a place to put in a background plate or other composite, before that sky, putting in hills for example, and really setting the house in a particular place. As we're seeing, the effort to get flexibility and post, and then use that flexibility to really fine tune the artistic feel of it, is well worth it, because we get some very evocative images fairly easily
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