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Rendering the composited images

From: Rendering Exteriors in 3ds Max

Video: Rendering the composited images

Rendering is the last step in our pipeline and NUKE.When we're I'm going to put a write node, onto my flow, setting up I'll start out here on my daylight image.

Rendering the composited images

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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This video is part of

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

45 video lessons · 984 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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