Interior Visualization

Special Course by Stanislav Orekhov

www.d-e-s-i-g-n.ru copyright 2009

The Content
1. System customizations. Scene organization The Actual version of the software/ Computer configuration System Units The Important settings in 3D MAX Import DWG Proxy Vray scene convector Layout of modeled objects in the scene Archive of the scene 2. Correct and effective Modeling Scaling Groups Effective and simple operation with Layers Rules of modeling. It is necessary to know and perform for effective operation Recommendation of modeling. How to make scene easier and faster Modeling main mistakes The Main modifiers, and ways of usage Example of fast classical interior modeling Design rules in interior 20 main sizes and dimensions in an interior Furniture modeling rules Groups of objects Layout in the scene Design and elements The Description of models library The Description of textures library Fast work tips 3. Visualization
Work explaining The Quality standards on interior visualization Decorative objects in an interior Background UVW Coordinates Materials. All you need to know Textures. All you need to know Batch Render: the Step-by-step instruction Final image standards

4. Camera

Detailed customization Vray Physical Camera with all important parameters Shared data Optimal height of the camera Focal length Color balance ISO Composite setting of the camera

5. Light Used light sources Vray. Application in an interior Arrangement of light sources Detailed customization of all light sources Vray Parameters Vray which is responsible for speed-quality Render Ideal customizations Render setup Essentially different two ways of customizations render in Vray An operation Expedition Principles of lighting of an interior Day lighting Step-by-step Day lighting settings The Mixed lighting Step-by-step Mixed lighting settings Night and evening lighting Step-by-step night lighting settings Lighting of difficult space Final materials settings after visualization Super efficient scene settings Preview visualization Final visualization 6. All problems in Render and ways of solution
Ways of revealing of problems and struggle against them Algorithm of revealing of the problem object Work with incoming scene

7. Photoshop for a visual analyzer

Application The Most important keys and operations Brushes of color effect The Step-by-step instruction of usage Photoshop Hot Keys Usage Example

8. Composition
Fundamentals and composition laws The Main sense of visualization Ways of creation of art integrity of the image Perspective and map size Splitting on areas Visual stability of the image The Rhythm

 Light

Light Brightness Contrast The Sunlight The Mixed lighting Lighting day/night

Cameras Installation of an ideal foreshortening Balance of the map Equal corners. Frames The Cut off subjects The Relation of the sides of a frame, a lens choice Cuts Special effects. A usage Interior filling The Most important objects Vegetation The Life in an interior Subjects, large and small. Fillings with a binding to a room

Introduction
What does effective visualization ,mean?
I consider to be effective such work that 1. Does not request much time 2. Commercially profitable. You get previously foreseen, high quality result satisfying the client. We will try to reach this goal during our course.

Why is so important: economical

You may heap a cool picture, but if it takes a lot of time to create it and design is problematic, it will be hard to sell it and get permanent clients for this work. I strive to be in the market. To create what other freelances do, but quicker and without errors.To put the whole work on production line. To get a bit ahead, I may say, that it is much easier with exteriors. Exterior visualization should be payed more, than interior.(if you get direct orders without subcontractors) Working process. Working process organization is very important. It saves a lot of time while fulfilling the task by group. Even if you are alone, you should get used to adjust work. It will play an important role afterwards. You and your colleagues will not lose time studying composition of others' scenes. It is rather complicated to implement the task and to get an expected, easily editing material without concrete instructions how to fulfill the job. Besides the comfort, you will have an advantage while being recruited by any design/ Visual studio either close to you or distanced from you. During the job interview, together with your portfolio you may describe to the administration your systematic approach to project and easiness of your scenes to be accepted by others. Also make people to understand that you are well aware of design rules and it will be very easy to any architecture or designer to work with you. Show to employee's technical specialist your model as well as adjusted system of scene organization. Such behavior ensures your preference against other candidates. And even more, you will be able to ask for a salary 10-20% higher, than a modeler, whose scenes need to be amended to a large extent.

This is the reason, which stimulated me to make a description of the whole visualization process. That is the way we work in our studio. We strongly lack qualified personnel, willing to work in team and not individually. I want to see highly organized level of work and logical attitude to tasks. Usage of such system may reveal best the above requests. Taking this course, you will also learn to lead your own team.

Detailed elaboration
Object elaboration should be maximum. Forget about polygonal restrictions. Do not hesitate to add small elements, to remove flat faces. Scene having more small details looks more presentable and will be appreciated by the client. When I pay for the model, I firstly pay attention to geometry and details.

How to achieve realistic scene

Human "eye" immediately fixates false unreal scene and especially designer's or architecture's "eye". Therefore, there is a rule - if you doubt in an element, do not put it in. Better to check with designer or client. And even better to analyze by yourself - to widen your knowledge searching for samples in journals or books. Due to this I have attached to the course additional material with reference scenes which might widen your outlook. Believe me, this what you need, have this always at hand and enrich the basis.

10 main beginners mistakes leading to % loss of project attractiveness .

1. Wrong composition and shooting - 20% unprofessional view 2. Wrong light installment - destroys the beauty in 30% 3. Wrong texture - small defects revealing hasty work 10% 4. Details not thoroughly worked out - look like slapdash 20% 5. Unnatural plants - lower the quality to 50% 6. Illogical details arrangement - lack of basic interior knowledge - spoils impression to 10% 7. Lack of contrast effects - 10% (all seems ok but something is missing - contrast effects) 8. Durable modeling - 20% (performer losing time) 9. Durable light installation - 20% (performer losing time) 10. Low quality materials - 20% (flat - unnatural, not reflecting) All mentioned above may substantially decrease visualization quality. And on the contrary avoiding all mentioned above failures may lead to a perfect result.

5 professional success additives

Attention to technical task The customer prefers to be totally understood and all his requests to be totally met. Professional work is mainly distinguished by the way how performer studies the technical requirements and follows them. If something is missing you should ask and not invent. Pay much attention to the details and go deeply inside the task. Value the clients time. Model and texture library Without this you get nowhere. This can be compared to competition with IKEA in production of cheap furniture. Remember, you should have a production line. Changeable part in the project itself is the building (visualization object).All other filling elements may be taken from the 3D library. They are mostly the same or they can be modified on the spot. In bonus materials you may find all necessary models. Basic design knowledge, observation It is very important.Study the books, reference pictures, photos, renders, unless you learn to see and automatically add small necessary design details: drainage system, pipes, windowsills, door-handles etc. All details are described and given in this course. Working speed

It is very simple: the more you succeed to create in a unit of time, the more you earn. Competitive prices My system enable you to work quickly and quote to the client competitive prices. Elementary design knowledge enables you to avoid revision and will increase customer's respect to yourself providing you with new orders.

System settings The scene organization

It is necessary to begin with it. In work we should use identical options of the program to receive similar result.

3d max version
1. 2. 3. 4. 3D max 2009 Vray 1.5 sp2 without plug-in. You can use EGZ materials for glass egzMaterials08_for1.5.mzp, 001_SYSTEM_EGZ.jpg Max files must open in Autodesk 3D Max 2009 without plug-ins and dll errors. It is preferably to use Windows XP64 6-12 GB RAM, because for 32 bit you can not use more than operative memory 3 GB . It will restrict your usage of vegetation which will disable you to render the scene even in Vray Proxy.

Computer configuration
For today the best computer on a parity the price-quality. (Cost of the system block nearby 1200-1500$) It is worthy of it: 1. I7-920 2. Asus P6T 3. 12 GB of RAMM 4. GeForce GTX 285 5. Another things - not important At present it is the best computer for the parity price-quality. System block cost is between 1200-1500$: For better comfort 1. Logitech revolution MX mouse is very comfortable in use as you may register buttons. 2.as for monitor the larger the better. The best size is 30mac

Unit setup
I always use mm. This is good during import from AutoCAD and correct from architectural point of view. Sometimes when you open scene the system signals about lack of coincidence and recalculation of system units. You may ignore this signal 001_SYSTEM_UNIT_RESCALE.jpg I advise you to do the same to avoid mess in dimensions. 1. 2. 3. Unit setup 001_SYSTEM_unit_setup.jpg Displayed unit setup - mm or cm Important: at the end of modeling before you archive and resend file return it back to mm.

System settings
System options 3D MAX, necessary for correct visualization. 1. Vray Materials settings by default 002_SYSTEM_vray_default_settings.jpg 2. Real-World Texture Coordinates settings by default 003_SYSTEM_real_world_default_settings.jpg 3. Snap 2,5 004_SYSTEM_snap_settings.jpg, S hotkey (for modeling geometry). 4. Viewports configuration back after modeling 005_SYSTEM_back_view.jpg 5. Settings by layer 006_SYSTEM_layer_default.jpg 6. Mouse correct scaling settings 007_SYSTEM_mouse_zoom.jpg

7. Texture filter off 057b_VIZ_filter_maps_off.jpg (it make render faster) 8. You may switch over projection views to Space. 001_SYSTEM_space.jpg to speed up navigation.

Gamma
What is it and why 2.2? 001_SYSTEM_gamma.jpg As shown in scene at gamma we get a wider range of shadows. It gives more grey color gradation and not absolutely black color at once. If this explanation is not very clearly seen, nothing happened. Just install as shown in the sample and do not care too much. Its the best way. Gamma setup 2.2 057a_VIZ_gamma_setup.jpg (is very important , further setups will be connected to gamma 2.2). Sometimes while opening file in another gamma 3d max may ask you whether you have gamma from your max or have imported it. You should always keep your gamma setup to . 2.2 all_prints\001_SYSTEM_gamma_convert.jpg

Scale
1. Before you start modeling be sure you use correct scale . It must be in real size dimension 1:1. 2. You can use box to check it (2,5 snap). SCALE_box_dimension.avi 3. If something wrong in scale, First correct and only after continue work. Typical mistakes while opening the file
1. Mistake while opening the file 001_SYSTEM_old_version.jpg is that is was open in old version vray. The program notifies you of possible mistakes. Always agree. There wouldnt be problems. 2. Scale or measure unit incoincidence of existing scene and that to be open. While opening the scene do not rescale - leave as it is 001_SYSTEM_UNIT_RESCALE 3. While opening the scene with another gamma you may receive a notify 001_SYSTEM_gamma_convert.jpg 4. miss dll, dlm (ColorCorrect.dlm ColorCorrect, QuickDirt.dlm ) during opening the scene the program notifies about lack or loss of dll. These means that plangines were not supported. We should agree with it and change problematic materials in scene if they are stuck in render. To get universal scene you should not use any additional plangines, except egz. 001_SYSTEM_miss_dll.jpg 5. miss maps if some textures are while opening the scene. Those textures might be either lost or not used in scene. Textures of old or deleted objects. While opening to confirm.If you see any problems while rendering, you should change the texture for another from your library. 001_SYSTEM_miss_maps.jpg

Import DWG
1. First clear drawings before import (in AutoCAD we open a file and it is deleted the superfluous information. In some cases, when there is a projection sideways and from above, it is necessary to create 2 separate dwg a file and to import them by turns. One in a kind above, another sideways accordingly). Import drawings from AutoCAD file -> import (in 3dmax) It is changed Nothing in options at import in 3D Max 007a_SYSTEM_DWG_import.jpg The imported plan or a cut that it is easier to communicate and not to lose with it slices at moving At once is grouped.

2. 3. 4.

Proxy
We use proxy when in a scene there are many difficult repeating objects, for example, decorative elements on all eaves. In general, it is more actual for exterriers and vegetation. 059_SYSTEM_ vray_proxy.jpg, SYSTEM_ make_proxy.avi 1.Making of proxy. 2.Proxy - it is the link for geometrical objects.

3.You can see Proxy in Viewport like a box. 4.Before Proxy convertation you need to be sure object has Multi-Sub-Material and all paths of object
attached in one geometrical object. 5.You can't create Proxy from Max menu file. Object must be merged from max file.

Vray scene convector

It is an auxiliary option of converting of all materials of a scene in compatible with Vray. 058_SYSTEM_vray_scene_convertion.jpg. If Render goes slowly, problems in materials are possible. It is necessary to execute a command "Vray scene convector". Also it is useful to execute just in case this command when many models of a doubtful origin are imported to a scene with doubtful materials.

Name of objects
The name should display a subject essence. It is a good form. People who will probably work with a scene after you will tell to you thanks. 1.Example of name Project Name _ Furniture Name (Name of project, Name of furniture). 2.Instead of space use _ 008_GROUP_name.jpg 3.Names of materials: wood wallpaper water stone marble brick stucco parquet carpet fabric water metal decor glass plastic 4.Names of object of Interiors: sofa chair armchair table lamp bra luster curtain background window decor wall ceiling cornice plinth panel profile radiator shelf book

picture frame poster decor flowers vase bar Object place in interior
All objects in a scene to have close to a scene of coordinates. So that it was not necessary to search for them on all three-dimensional Universe. A scene on a zero mark. Accurately and clearly. Same concerns and Pivot point. 009_OBJECT_center_position.jpg 1.The correct place of the object is in the middle of axis (0,0,0). 2.Down plane must be 0=Z. 3.Pivot point must be in the center of( XY axis) 010_OBJECT_pivot_point_center.jpg, 010a_OBJECT_pivot_point_z=0

CLEANING AND CHECKING THE SCENE

Before archive you should check the scene and delete geometry you do not need. There may be lines, parts of imported subjects and other construction rabbish. 009_SCENE_erace_objects_good.jpg, 009_SCENE_erace_objects.jpg

Archive of scene
Often there is a necessity to give or send a scene to other person. That on other end have received all files, it is possible to collect all of them this simple command. 1.Use archive command to make zip package of scene with all textures 011_SYSTEM_archive_scene.jpg 2.But Proxy can't be packaged this way. Use hand to find and attach it in archive. 3.After archive command all max, jpg, ies & proxy files put in one directory (with name of correct object) without sub folders 012_SYSTEM_archive_files.jpg Team workuing It is much more effective to work in team especially on complicated projects. Working in team means distribution of tasks. You should model the objects in such a way that visualizer should not lose time on technical editing But should check the models before accepting them for visualization. Such double test helps to avoid mistakes. The customer should see final variant and not partial work. If anything is wrong, the customer cant blame the modeler for having wrongly read the drawing. Task distribution goes in 2 directions: Box modeling (all fixed objects in the room)

Furniture mideling ( filling elements and furniture)

System of work organization 1.Getting ready for team work 2. Competitiveness while being recruited 3. High production quality 4. Calm work without pressure 5. Possibility to forward something not finished to another team member 6. Possibility to use the same models in other projects

Working speed up means

Sometimes you do not have enough time to follow all the rules dur to urgency of task If the project is very urgent you may omit following all the rules But do not get used to it and take it for granted.

1. Working out the customers comments The clients comments should be followed on the spot. There are 3 priorities while working on comments Speed to make all as soon as possible Peculiarity to do exactly what is being requested If not clear better to clarify It is very good to make a list of all comments, not to miss anything This will underline concentration and professionalism of the performer. 2. Filling elements If you import furniture model from the library Multi-sub materials no need to sign, to save time you may leave material without changes. It is worth to check materials from time to time to change and raise Subdivs in case of need.

3. Scaling and editing You may scale the objects if it does not lead to size/proportion changes You may use modificator FDD box (with 20% object scale) to scale them along the wall. You should avoid geometric and texture perversion MODELING_fast_fdd_panels.avi You may move the dots to change geometry

3D MAX Correct Fast and Easy Modeling Rules

What do I mean by correct modeling? It is system of the organization of objects and a method of their creation, observed by modeler and strongly simplifying life to a visual analyzer, and also the person who will bring comments from the client. If to observe all these rules, changes will occupy a minimum quantity of time and objects will be intuitively clear to the person, their changing. Also will fine agree that all objects are disbanded on the identical layers, one scale and are closed in certain logic groups. This simple standardization will save many hours of human work.

Layers
Layers make navigation on geometry more easy. LAYERS_interior_01.jpg - LAYERS_interior_09.jpg 1.All objects must have correct layer organization. 2.All wrong or not used layers must be deleted. 3.Before save file close all hidden layers. 4.Law of Layers name in interior: default only for Camera, Vray Lights, and background.. 0-plan draw from AutoCAD or sketch. Must be Hidden layer. GLASS window glass. ROOM room elements (floor, doors, windows, walls and wall panels). Recommended varieties of additional layers. Are used modeler for convenience, if the scene difficult. ROOM-floor ROOM-dw (door-window) ROOM-ceiling

ROOM-wall FURN - Furniture all furniture in inferior (sofa, armchair, table, chair...). You can make some add layers if scene has many objects and hard organization FURN-room1, FURN-sofa use logic. LIGHT - all fixtures in interior. DECOR - all decor elements and objects SHAPE - all shapes for bevel profile. Objects must be in zero coordinates. Don't `use any another layers. Before saving Delete all not used layers.

Groups
To group objects extremely important, quickly to move and change their site in a scene. 1.All objects must be close in group with correct name. 2.If you try select group it must be selected with all small sub-objects. 036_GROUP_fireplace_and_elements.jpg) 3.Logic close objects (restrain table with all filling, chairs) - all objects must be in one big group. 038_GROUP_table_and_elements.jpg). Filling put on DECOR layer. Table put in FURN layer (look at layer organization next page). 4.After that , you merged new object it must be closed in one group or converted in one Edit Mesh/Poly. And put it in correct layer. (I prefer to use group method. Not Edit Mesh/Poly object) 5.All types of geometrical objects in the same room (floor, wall, panels, floor tiles) must be union in one group by type 048_GROUP_tile_elements.jpg 6.All fixtures (Sconce, floor lamps, chandeliers and another) Must be grouped with Vray Lights Sphere 039_GROUP_lamp_luster_light.jpg 7.Cameras and lights no need to be grouped. 8.The General rule of the union objects in group - representation that the object in a future will need to be moved to other place with all sub elements. There should not be difficulties with selection of its parts. The object should be selected at once entirely.

Materials
1.Use only Vray materials. 2.Materials must be imposed on all objects. 3.The way to make simple material MATERIAL_main_parameters.avi 4.On all Glossy Materials, include importing materials make 20 Subdivs on Reflect. 5.We use materials from library 050a_MATERIAL_library.jpg 6.Library materials can be modified if you need this. 7.It is forbidden to multiply identical materials. One material of the physically-real world should be and in a
virtual scene one material. For example, all identical tree on all subjects of an interior - one material. It is necessary that then in one action to change properties of all tree in all scene. 8.Wood direction on panels UVW_mapping_panel.avi 9.All materials must have Diffuse (100) and Bump (5-30). To create Bump copy texture from diffuse to Bump slot Instance. 10.For brick material make special Bump texture 050_MATERIAL_textured_brick.jpg 11.For objects Mesh/Poly (furniture, luster) use Multi/Sub material. 12.Write names of Multi/Sub Object materials in sub-material slots 051_MATERIAL_different_multi-sub.jpg 13.Always use simple types of material VrayMaterial, VRayLightMaterial. 14.Don't use Blend/Mix/Composite and other difficult materials. 15.To Replace a difficult material with a structure where it is possible - make it in Photoshop.

16.Absolutely all materials must have Glossy. Carpet and fabric too. It good for final image and not slow with
render if you use Irradiance map method. From 0,6 Refract value 10-15 (ceiling, fabric, walls - not refract surfaces). To 0,95 Refract value 50 (wood polished, parquet, ). 060_VIZ_Material.jpg, MATERIAL_main_parametres.avi 17. If Glossy has small value 0,6-0,7 and Reflect 30, add more Subdivs "30" Subdivs, else possibly noise on render 061_MATERIAL_subdivs.jpg 18. Most important Reflection on black materials. Than it is more dark - more reflection. Dark materials must have more Reflection effects. 19. Another situation with light materials. More light - less reflection. 20. All materials should have reflection. Fabrics and carpets too. 0,6 Glossy 10-15 Reflect. It is important for expressiveness of a scene all_reference\black_interior_material_example

Final work with materials

After light adjustment, it is possible to pass to materials. For fast result to operate according to the plan: 1. It is studied render image. We remember materials and the objects which quality does not arrange. 2. It is changed at once ALL materials of a structure and objects which need to be changed on Render. Usually it Bump, Subdivs, Glossy, Refract parameters of materials, UVW map, brightness and color of structures, 3. Not to consider Preview, all changes noted on the previous are not made yet. 4. Often meeting error at visualization - change of any one parameter and to look this change. It is time loss. 5. It is chosen and worked at first only with the most significant objects of an interior: a floor, a ceiling, walls, a tree. We adjust / we correct materials and structures. 6. We Pass to an accessories and filling. And trifles as a rule imported, Materials and structures it is not necessary to change filling for them. Only if they obviously ugly. It is not necessary to waste time on small objects. 7. We Correct any last defects. 8. Special attention to give to objects with a dark structure. At scale 1 if on a dark material they are not present a patch of light, it will be black at Render. It is necessary to correct brightness in color correction and to add reflect on a material with dark structures. 9. Render final preview. 1200-800, we keep. 10. preview we can show It to the customer, accept comments, correct, count the second preview - then a final picture. 11. That the material reflected more strongly, and the patch of light was more, it is possible to press button "L" opposite Highlight glossiness. Experiments are required. MATERIAL_reflect_L_parameters.avi

Textures
1. Textures must be included all materials and all objects except metal and plastic. 2.Texture must lie correctly on all sides of object. 3.Use Real-World Scale and make correct scale 052_TEXTURE_1000x1000.jpg 4.Most important make wood direction 053_TEXTURE_wood_map_direction.jpg, UVW_mapping_panel.avi 5.No tiling. 054_TEXTURE_tiling.jpg 6.If texture no good quality - don't use it. Make new. Make better. you can use texture from library and
change it. 7.Texture can't be small size. 8.To make texture without tiling use Photoshop. PHOTOSHOP_texture_no_tile.avi 9.Sometime the option mirror mirror can help in texture properties. 10.That has not been swept up tiling, the structure should be homogeneous for illumination.

11.Use cropping/placement for redact visible path of texture. Push view image and change used area
062_VIZ_material_crop,jpg 12.If you make special texture for project name of it: NameProject_NameTexture.jpg 13.Texture size minimal 300-300 mm in Real World Scale, else you will see tiling. 14.For large areas use large textures and large size in Real World coordinates. 15.And on the contrary on small object. small size texture Real world 16.The scale of a structure imposed on chairs and walls (panel) can not coincide. For example, wood fibres on walls are much larger, than on furniture. In this case it is supposed to do 2 identical materials with different parameters of scale Real World Scale. It is obligatory to sign a new material in appropriate way that it was clear, what where. 17.For easy change texture color or tone use Color Correct TEXTURE_color_correction.avi This option like Photoshop but without physical texture change. 18.Floor tiles texturing example TEXTURE_floor_marble.avi 19.Rotate texturing for 90 degree. Change Angle in properties "W" on "90" degree. 20.Example to simple Real-World texturing room TEXTURE_room.avi

Texture library 1.You must have you own Texture library. 2.Library must include no tiles good quality textures sorted by materials. 3.Library can be fill up with new projects and interesting textures. 4.Hand made special project textures must have project name ProjectName_TextureNme.jpg 5.Activate fast search in texture library. 6.Examples of main section: Wood Stucco Metal Wallpaper Carpet Parquet Stone Marble Decor Fabric Sky Background IES Decorate

UVW Real World Coordinates

UVW coordinates are responsible for correct texturing

1.Always use UVW Real World Coordinates 024_MODELING_uvw.jpg 2.This option is necessary that each time on each object not to impose UVW map manually. 3.Once we set a binding to dimensions in a material, and then UVW map object refers to the specified sizes
of a structure. Always there is a correct imposing on any object with appropriated to it UVW real world coordinates. 4.To include the given method, the parameter is put in 2 places: In properties of texture to set the real size in parameters of the sample (for example 1000-1000 mm) On object to impose UVW map in a mode box, to Put a daw on "UVW real world" that value of a structure undertook from properties of a material. 5.In UVW mapping modifier of object 055_GROUP_no_tiles.jpg

6.Sometime you can not respect real-world scale if it necessary. UVW Real world UVW
Real world UVW is used in most cases UVW without real world is sometimes used for artistic correlation and if image is stuck, or imported room other sphere with unknown dimensions. It happens sometimes with others models. UVW without real world is used if the object with the same texture looks differently from close distance than from far distance.

Modeling
Modeling rules 1.The Room should be simulated according to drawings, sketches of the customer with observance of
proportions and materials, with the maximum detailed elaboration. 2.Attentively to study a material and to pass nothing. If any part of the information is not clear - ask for explanation 3.All similar objects must be Instance 013_MODELING_instance.jpg 4.Before coping object be sure all geometry, UVW, dimension, scale, chamfer and fillets are correct. 5.My recommendation make all modeling with 2,5 snap and modificators Spline+Bevel Profile(Sweep) and Spline+Extrude. This is main modificators when making any interior. 6.Use adaptive for all splines 014_MODELING_adaptiv_bezier.jpg 7.Don't use Polymodeling for cornices and profiles . 8.All cornices, plinths, moldings must be created line and has editable profile 015_MODELING_cornice_shape_bevel_profile.jpg, 016_MODELING_ profiles_in_interior.jpg 9.You can change edit snap and place of profile with Gizmo Bevel Profile. MODELING_gizmo_bevel.avi 10.All profiles must be put in SHAPE layer in the middle of coordinates in FRONT view. Easy change shape of object. 017_MODELING_center_position_profile.jpg 11.Every element of room: ceiling, cornice, walls, floor, doors, windows, must be modeled separate 018_MODELING_room_modeling.jpg 12.Make chamfer for all objects. Its good for visual effect in final image 3 mm on all visible corners and sides of object geometry: wall, tiling, panels, window sill, ceiling. 019_MODELING_wall_chamfer.jpg 13.For make chamfer you need to use Edit Mesh modify, select side and make command Chamfer 3 mm MODELING_chamfer_making.avi 14.For making chamfer or fillet use spline chamfer or fillet in spline modify options 020_MODELING_line_chamfer_fillet.jpg 15.Use geometry, not textures to make tiles. Chamfer 3 mm 021_MODELING_floor_tiles.jpg 16.On joint of different materials must be chamfer (example marble-marble, marble-wood) always make chamfer 3 mm 022_MODELING_materials_chamfer.jpg 17.To change size of model you can use Scale but only for Vray Light Plane and group of objects. 023_MODELING_scale_object.jpg, MODELING_chess_scale.avi 18.Be careful in copying objects. Don't make intersection in one plane. It can activate render errors. 19.UVW Mapping Box and Real-World Map Size must be on all objects 024_MODELING_uvw.jpg 20.All objects must have weigh. Don't use or make plane with zero weigh, except objects with transparent (curtains, plafond, glass). 025_OBJECT_width.jpg 21.Glass in window must be put on GLASS layer. If you need it can be easy hide/unhide or make more width with modify Shell 026_MODELING_shell.jpg 22.After finishing modeling return all Viewports for standard view 005_SYSTEM_back_view.jpg

Modeling recommendation 23.Walls and windows can be modeled this methods: Cut window Power Boolean with converting in edit mesh/poly. Polymodeling (if it is without radius) Spline+extrude on walls and Spline+extrude for window. This is more effective method
MODELING_room_modeling.avi

24.Bricks, panels make separate objects Spline, with Bevel Modify. This need for easy change geometry. In
hard objects with chamfers recommend use Edit Mesh/Edit. MODELING_bevel_panels.avi, MODELING_bevel_panels_chamfer.avi, 027_MODELING_spline_rectangles.jpg, 028_MODELING_spline_rectangles_bevel.jpg, 029_MODELING_spline_rectangles_bevel_mesh_chamfer.jpg

Modeling errors 25.Don't use Editable poly and Loft for modeling cornices and moldings. (use Spline+Bevel profile) 26.Don't use Poly for modeling radius. All radius objects must be modeled Spline(adaptive)+Bevel Profile. 27.Don't use Boolean in final model. Convert it in Edit mesh. 28.Don`t use Scale for room main elements (wall, window, door...). This kill UVW and object proportion
030_MODELING_scale_wrong.jpg. 29.The correct way to change size is to move dots. 031_MODELING_correct_change_window_size.jpg, MODELING_edit_mesh_window_size_change.avi 30.Don't use Multi-Sub Material for main room elements.

Main modify and room modeling example

MODELING_room_modeling.avi, Modeling_test_room 1. Walls - in top view lead round Spline with AutoCAD plan, use Extrude modify. 2. Windows - in top view lead round window aperture with Spline and Extrude on height of window still, Copying duplicate on height of window. Union in group. 3. Door - in top view lead round Spline door aperture on plan view and Extrude. Move object on door height. Alternative - Polymodeling and Boolean window in monolith wall. And then convert it in edit mesh. 4. Making cornice, plinth, portal, platband - Spline + Bevel Profile. 5. Floor, ceiling - Line+Extrude or Box on all plane. 6. All objects must be modeled independed with UVW Mapping. 7. Windows, doors, plinths, you can import from 3d library.

Design elements in interior

032_DESIGN_examples.jpg 1.Still window under all windows. 2.Under all window there must be radiator or radiator net/plane. 3.On window - curtains or windows there should be curtains/tulles/jalousie. Hidden in cornice or on an arm. 4.Don't forget plinth. In any interior. Color should be like floor or wall. width 20 mm, height 100 mm for modern style interiors. And use special profile for classical plinth. Make adaptive Spline around room in top view and Bevel Profile. 5.Don't forget hands for doors and windows. 6.Doors and windows must be in depth of wall. 7.Horizon line must be respected. It line height like camera = 1600 mm. 8.Connection between panels and elements must be good readable 033_DESIGN_panel_modeling.jpg 9.Don't forget to put some elements on far empty planes. 10.All wood color must be one in interior (red or yellow). Wood can be different tones light or dark. 11.All metal in material must be of similar shade. 12.Cornice light must be made by Line and hidden in niche (look down by text cornice light screenshot). 13.Pictures and posters always in frame connected design of interior style. Picture gamma must have same interior. 14.Luster position - in the center of room.

20 main dimension in interior

These sizes it is necessary not only the nobility, but also to use at modeling. Here the most widespread sizes of an interior, and also those things in which make mistakes beginners without base building formation more often are collected. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. Height of chair sits 400-450 mm Height of bar chair sits 600-800 mm Height of standard table 750 mm Height of bar and reception table-top 1000-1100 mm Height of armchair, sofa, sofa small table 400 mm Height of standard window still - 900 mm Height of standard door aperture 2100. Door height 2100, 2200, 2400, 2600 Height of sconce installation 1800 mm Height of plinth 80-100 mm for modern room, 120-180 mm for classical room Height of wall panels - 900 mm Height of stair protection - 900 mm Width of door. Minimum 700 (for WC), Standard 800-900 mm. Main entrance door 900-1000 mm Tiles sizes 300-600, 600-600, 600-600, 1200-600 mm, on floor can me square 450-450 Width of kitchen standard segment 600, 900, 1200 mm Width of case for cloth, wardrobe 600 mm Minimum Width of corridor 1200 mm Width of bookshelf 350 mm Height dimension shelf's 350-400 mm Standard ceiling height 2900-3200 mm. Minimum pass for walk between furniture in room 600 mm.

Laws of furniture modeling and placing

1. All objects should be, are simulated strictly according to drawings, sketches of the customer with observance of proportions, overall dimensions and materials. 2. Use maximum detailed objects. All small elements must be respected. Don't use Polymodeling for round elements 034_MODELING_wrong_polymodeling.jpg 3. You can make furniture by any method but in the end of modeling collapse all in Mesh/Poly. 4. Ready objects can be present in one object Mesh/Poly or include several objects union in group ( I like this method), 035_MODELING_group_or_mesh.jpg 5. Depend of model making on furniture use one Multi-Sub Material (mesh) or several materials (object group) 035a_MODELING_mesh_materials.jpg, 035b_MODELING_mesh_materials.jpg 6. Objects with transparent (curtains, a tulle, a fine fabric, a floor lamp fabric) must be modeling like one side geometry and used 2 side transparent material from library curtains1,2,3 7. Before merge new object in scene be sure it have good materials. Better way is to open model in new max and make Vray Scene Convector, check all materials and textures. If all ok - save and merge in main scene.

Groups in furniture 1.All elements included one object must be in his group (Pillows on a seat, fire and fire wood in a fireplace,
etc.). Grout this elements with main object 036_GROUP_fireplace_and_elements.jpg, 037_GROUP_table_decor.jpg 2.All decor elements of furniture put in DECOR layer and give name "FurnitureName_decor" 038_GROUP_table_and_elements.jpg 3.Put Vray Light Sphere in the Lamps. Make group 039_GROUP_lamp_luster_light.jpg

Coordinates furniture in scene

009_OBJECT_center_position.jpg 1.Object must be placed in the center of coordinates of. 2.Object must be stay on virtual floor plane..

3.Pivot in the center on in down of object on virtual plane 010_OBJECT_pivot_point_center.jpg,

010a_OBJECT_pivot_point_z=0

Design and elements

1. In places of joining with a ceiling of pendant fixtures always to do fastening washers. 2. To Model geometry the small elements provided by a design and object details. 3. To Create object of the maximum quality and detailed elaboration. Not to feel sorry for ranges. 4. It is recommended to model objects without their connection in one Mesh. At a post processing stage there will be a possibility to allocate an object part on ID, for example, separately a leg and a table table-top 040_MODELING_furniture_ID.jpg

Models library
The archive of models should be. It not an option. If you do not have good archive and preparations you strongly lose to colleagues at all points. That the usual person can make for one put, namely, almost any room, using models from available preparations, another modeler without three-dimensional base will do in 3-5 times longer. And not the fact that will turn out to get to proportions. Do not experiment. Be prepared. 1. For fast modeling work you need good model library. It must include correct and all time use models: The Architectural part Filling The Accessories and light 2. The furniture and light archive should be spread out on styles Classics Ardeko Modern 3. Accessories on each style Sofas Seats Chairs Desktops Cases 4. Fixtures on each style Chandeliers The Sconce Desktop Floor lamps 5. At the concept of an interior the customer can show models. Probably it will pick up something from library. 6. At modeling of furniture on the instructions of the customer, the similar furniture can be taken from library and to change. 7. Library of models can be enlarged with new projects.

Vray Physical Camera

We pass to the following point. Chamber adjustment. In the numerous tests, I have achieved understanding and laws of work of the virtual chamber and real (as real I used Canon Mark II with an objective 16-35). Tests have shown similarity in options of real and virtual chambers which I give more low. Not to touch and not to change that data, functions which I do not describe better They to me not to time in a life were not useful.

Main data
CAMERA_vray_settings.avi, 063_VIZ_CAMERA_interior_settings.jpg 1. Light system ideal works with VrayPhisicalCamera. 2. Use only VrayPhisicalCamera with target. 3. All cameras must be made Instance. 4. Camera position in the corner of room. Target in opposite of room through center of room . 5. Camera angle can be changed outgoing room size. We can change focal length move target in XY coordinates. 6. First camera settings must be like 049_CAMERA_interior_settings.jpg 7. After slight setup you can change ISO and color balance in camera settings 064_CAMERA_color_correction.jpg 8. First camera angle 18 mm CAMERA_focal_leight.avi, film grade 36 mm 9. Camera must be make by customer task. 10. And then place cameras in all corners 049_CAMERA_Interior_settings.jpg, CAMERA_room_angle&position.avi. This is camera for full view room different angle. 11. You can add interesting composition camera. Focal length can be any parameter. You can use distortion (round angles) and another effects - color balance. We search for additional interesting foreshortenings of a premise. We please with them themselves and the customer. all_reference/distortion

Height and Camera target 1.Camera must be with target. 2.You can move Target horizontal XY), not to force down vertical lines. 3.You can choose camera or target click right button in the left corner select camera/target. 4.All different by properties cameras must be uncial. Otherwise properties will be transferred on all cameras
in scene (Instance) 5.Standard height for Camera and target 1600 mm. 6.It possible to make camera a little down about 1500 mm, if composition need this. For example, restrain you need to show tables, not ceiling. 7.You can move target in vertical, if it need for composition. Use vertical shift for corrections/ Vertical lines must be equal.

Camera angle 1.We use width angle for interior visualization. 2.Focal length parameters from 16 to 24. Most popular 18-20. CAMERA_18-20_1500_vertical_shift.avi 3.Focal length must be 16 if room are small and about 24 if you render big hall. Composition rules. Also you
can use camera clipping and move camera in wall. 4.If Focal length not width (24) you can use vertical view all_reference\vertical or move camera in wall and use "camera clipping" option.

Camera clipping
CAMERA_clipping.avi 1.Camera can be moved in the wall. This can a little more space. Possibly can be cut some objects near wall. 2.Often used clipping parameters 1000-1500 mm 3.It will give less distortions at the same area of visibility of an interior (focal length). 4.From minuses: complexity of installation of each chamber and cut possibility any the objects getting to a plane of section. 5.Therefore to accelerate process of arrangement of chambers and to protect itself from "the cut off" subjects, we often refuse this method.

Color balance
Very much and very important function. It is necessary to devote any time to its studying and concept of a principle of work. A principle of work same, as at the real chamber except that all real chambers adjust color balance automatically. In 3d max it is not provided, therefore we correct it manually, achieving the effect necessary to us. Correctly using only this function of the chamber and adjustment of artificial fixtures on intensity and colour, it is possible to achieve very interesting and different results. 064_CAMERA_color_correction.jpg, CAMERA_iso_color_balance.avi 1.Color balance used for change color of image (Blue-Yellow balance)

2.Standard sun angle 45 degree horizontal - color balance - white, but color can be yellow on image if
interior has yellow tones in textures (Brown Floor, beige walls). 3.White color in Color Balance - first step. After we cam calibrate, by hands. More yellow or more blue.

Step-by-step scheme of color balance setup

CAMERA_iso_color_balance.avi, 064_CAMERA_color_correction.jpg 1. First choose focal length. 2. Second ISO parameters. 3. Position Sun stain on floor from the sun, like you wish. Shot shadows long shadows. Color balance on default - white. 4. Render only light cache Light cache. Not necessary wait end of render. 5. Pick white texture (ceiling), most white sample. 6. Make down it 1-half tone and use this color in Color balance. 7. Render scene with correct color balance. 8. Maybe you need increase ISO parameter. Image cam be more darker.

Film gate
Value "36". Never to change

Shutter speed
1. Value "100" 2. In the phototechnician - at such number we can receive a correct shot without trembling. I use it like start point. 3. ISO parameter combined with real world. 4. Don't change parameter Shutter speed "100"

ISO
CAMERA_iso_color_balance.avi 1.Most important parameter is ISO. This is brightness of all image. 2.ISO in the phototechnician - sensitivity of a film. 3.For interior start value of ISO 400. 4.After you use interior lights iISO can be corrected 400-1600. Sometimes 2500 or more in dark interiors. 5.If interior dark - make ISO higher. 6.It set ups with Light cache.

Vignetting
065_CAMERA_vignetting.jpg Blackout on image corners. I use value 0,5 in 3D MAX. You can add it in Photoshop

Composition camera setup

1. 2. 3. 4. 5. 6. 7. Correctly position of camera and target. To Search for the elements creating illusion of volume the lines leaving in depth of a shot, voicefrequency prospect (the foreground is more dark, back is more light). Lines and a rhythm can create interesting effect. We Search for color shades and their contrasts. To Clean from a shot the superfluous and not worked subjects: backs of chairs, curtains, flowers, plants. To Place in a shot special beautiful subjects (vases, flowers, figurines, table layout). The Chamber needs to be put so that it show the plan of an interior designer. If the interior designer is boring - to search or create interesting elements and laws.

DOF effect
It is better not to use DOF in interior visualization. The image should be equally exact in all directions.

Light
Vray light fixtures in interior
Here all light sources which will be useful to you. Forget about all the others: 1. Vray Light Plane - long line lights (Cornice light, light in the window, fake light). 2. Vray Light Sphere - Sconce, chandeliers, floor lamps. 3. Vray Sun - sun direction light. 4. Vray Sky - light from the sky, reflected. 5. VrayLightMtl - cornice light, dot lights. 6. Vray IES - projector lights.

Arrangement and application of light sources Vray Detailed adjustment of light sources Vray
Each applied light source should be used on the mission. On everyone there should be optimum picked up and unique options. It is possible to change only intensity parameter on final adjustment of render. 041_LIGHT_all_lights.jpg, 042_LIGHT_interior_position.jpg

On all Vray Lights, except Vray IES need make 20 Subdivs Window lights
Window fixtures are necessary to "catch" light Sky from street and to direct all photons to a room. The more light gets to a room, the quality of a picture is better. Should be present at each window in each scene. Options of light for visualization of window sources: 1.Before all windows and curtains indoors should stand Vray Light Plane in mode Skylight portal in size with a visible part of a window 043_LIGHT_window_skyportal.jpg 2.Window light sources should not cross geometry, walls, curtains. Accurately to place. 3.The intensity Parameter is established automatically. 4.To scale Light Plane under the size of a window it is used Scale on one or on two axes of co- ordinates (XY). 5.If the window is partially closed by opaque curtains, a window light source to scale to size of visible light aperture LIGHT_curtain_position.avi

Self Illuminate material 1.For cornice light. Line value 20 mm. Vray Light Material. Multiplier "30" 044_LIGHT_self_illuminate.jpg 2.All small lights (build in ceiling or wall, lamps in luster) make light material with multiplier "30"
045_LIGHT_self-illuminate_MTL_parameters.jpg

Lights inside fixtures

1. 2. 3. 4. 5. 6. Make Vray Light in every fixture. Make Instance for logical light groups. By default all lights this type must be "off" All fixtures (Sconce, floor lamps, chandeliers) must have Sphere Vray Light 046_LIGHT_lamp_luster.jpg By default Radius Vray light 30 mm. Multiplier "100", color of lamp yellow. In order to make efficient lamp shadow, you should turn off store to irradiance map within the parameters of light device. Its worth to perform, when you do not have much light in the room and it will not increase rendering time.

Vray IES
047_LIGHT_vray_ies_parametres.jpg 1.Vray IES Instance by local zones.

2.All direct lights must have Vray IES Instance multiplier by default. 3.Subdivs 8. Self Illuminate material
045_LIGHT_self_illuminate_MTL_parameters.jpg 1. The self-luminescence Material is used for light on a difficult contour or when illumination has long extent. In other cases it is possible to replace vray Light Plane 2. Neon light becomes a visible line in diameter of 20 mm with material Vray of a selfluminescence the Multiplier "30". The multiplier can be changed at detailed adjustment of light to 100-200 and above 044_LIGHT_self_illuminate.jpg 3. All small fixtures (built in a ceiling or a wall. Bulbs on a chandelier) to do light by a material with value of intensity "30" 045_LIGHT_self-illuminate_MTL_parameters.jpg 4. Neon light must be visible on all visualization. Intensity of all below the listed sources are exposed on the basis of preliminary Render. Subdivs on each light source "20".

Vray Light Sphere

046_LIGHT_lamp_luster.jpg 1.All fixture (Sconce, floor lamps, chandeliers) must has Sphere Vray Light. Multiplier by default. 2.Dimension a little more lamp size 30-50 mm. 3.Multiplier 30-50-100 or more. Detailed Multiplier setup we make on preview stage..

Vray Light Plane

1. Use on long line lights. 2. Picture light. 066_LIGHT_picture_linear.jpg 3. Cornice and niche light instead of Vray light material 067_LIGHT_cornice_and_hole_light_parametres.jpg 4. on self illuminate ceiling, multiplier "1-2". Double side. 068_LIGHT_ceiling_self_illuminate_parameters.jpg 5. Fake Light for replacement group IES lights. 069_LIGHT_fake_vray.jpg

Fake Light
1.Fake light used for replacement groups of lights. It not attached with any scene fixture. All_reference/fake_light 2.If lights numbers more 10 in one place possible replace it all for 1 fake light plane Light. It will increased render speed. 3.As a rule are replaced plural ies the sources which are not in the foreground.Lights in far corners, behind matte glass all_reference/fake_light 4.Fake light - it plane light in ceiling. One side. Shines down 070_LIGHT_fake.jpg 5.Fake Light as a rule are in far corners on a background where it is not visible a real light source. 6.Multiplier "5-10". More or less tuning on render. Depend of fake light size. 7.Caustic Omni simulation 071_LIGHT_omny_caustic.jpg

IES lights
047_LIGHT_vray_ies_parametres.jpg 1. IES works like projector. 2. The form take from ies special file. 3. It is actively used two files of IES: nada1.ies, spot.ies. 072_LIGHT_vray_ies.jpg 4. Multiplier of IES about "2000-4000" 5. Color yellow 073_LIGHT_IES.jpg 6. IES Vray light beautiful and looks natural. A bright picture, contrast colors. Ideally for night views. 7. The floor in a bright light. Ceiling can be a little dark. Mode good if you have some environment light. 8. It is possible to change shadow size in parameters Area Shadow. This parameter can increase render time. If you use area shadows Increase Subdivs "12-20". Standard parameters of 150 mm 250 mm. of shadow size and 12-16 Subdivs. 9. Don't use many IES in scene. Use fake Plane Light for simulate. 10. All directed fixtures should be supplied Vray IES Instance with value by default.

Sun+Sky light system

LIGHT_sun+sky_senttings.avi 1. Sun+Sky work in union system. 2. If we change Sun position it will be automatic change Sky parameters. 3. It is light system at which the corner of position of the sun to horizon is responsible for time of days and colour of light in an interior 074_LIGHT_sun_day.jpg, 075_LIGHT_sun_evening.jpg 4. Neutral Sun position - 45 degree horizontal. Beams directly target in window. Sun stain from windpw on floor middle size. not long and not short shadows 076_LIGHT_sun_front_position.jpg 5. We can change sun position down and up, increase and reduce sun stain. Color will be changed from Blue (short shadows, day light) to yellow (long shadows, evening). 6. Color balance can be used for correction. 7. Not to exclude from illumination translucent half-open jalousie and curtains. 8. Completely closed to exclude.

Sun settings
1. 2. 3. 4. 5. Sun - directly Sun light. Shadow parameters. 077_LIGHT_sun_size_multipler.jpg If area shadow "on" Subdivs parameter increase to "12-20". Sometime possible to reduce Sun multiplier 0,5-0,75. This Automatically reduce Sky parameter. Need exclude transparent curtains from Sun light if they are all window size.

Sky settings
1. Sky automatically appear with Sun installing. Sun attached Sky. Sky - environment light. Can be put in material editor 078_LIGHT_Sun_top_position_attach_sky.jpg 2. Don't change sky parameters , except night view settings (look down instruction). 3. Possibly to change sky parameters only in night scene.

Principles of lighting of an interior

Light in an interior shares on 2 categories artificial and natural. The most beautiful images turn out at their combination. And, one of directions, differently the image should prevail will be flat. This one of the main rules whom it is necessary to adhere. The basic mistake if light set up is flat image. All_reference\light_logic This is one of most often problems. Not understanding light characteristics, logic of light distribution, interior lightening laws. Below paragraph will represent basic knowledge of interior visualization.

How to avoid image from being flat

The main rule of interior visualization is that image should have only one main light source. (usually its window light), which means if to switch off the lights, interior should remain light. There should not be too much light and to lighten the room from all directions. Only necessary amount of light sources should be switched on.

Main rule very important light direction. In daily view the light should go from the window to inside of the room. This is the main light source. Such light effect makes the volume. It is a big mistake to put lights sources of the same intensiveness all over the whole interior. If you want to get a volume image, there should be consequence of light, dark, bright spaces. That is why if you switch on all light sources, the image would not look natural. Light should be divided into zones, consequence of light and shodow. One additional rule artificial light serves only to determine light spots.

How to avoid mistakes in light dislocation?

The only right way is to fix image step by step. Please follow given below 3 steps image set up system. Step 1 Work only with natural light. Sep up the day light in the way you like it. ISO in the camera as there will be no artificial light. Then go to step nr. 2. Step 2 Put on only necessary artificial light sources. Necessary light sources are those that are located at enough distance from main light source for example somewhere in the corridor or in shadow. Those light sources should not be too bright and should not beat the main interior light source. Do not switch on all interior lights simultaneously. Step 3 To fix set up of ISO camera (maybe it will need to be lowered slightly) Example: Day and combined light all_reference\day_mix_light.jpg, bonus_scenes/Kabinet_1.zip cabinet scene

There 3 variants of interior lighting

All_reference/Day_Mix_Night 1 Only day light, when scene is lightened by day light and rays from the window 2 Combined day light and artificial light 3.Night when dominant light artificial Please read over and look once again references for logical lightening as this is mostimportant.

Day light Feature:

1. Natural light shines only from windows. 2. Used light sources Sun + Sky + Vray Light Plane in mode Sky Portals. 3. The Camera should be located near the window, differently the window will be lighted and round the camera - is dark (as in a real photo). These are properties of light and an exposition. The picture will seem photorealistic, but architecturally not informative. Very contrast, with overbright in places of a light source and dark stains in the distance from windows. There are ways of the decision of this problem. 4. For the chambers located on removal far from window, scale it is possible to do hardly overestimated 1,2-1,8 It will reduce contrast a little and will relieve of darkness. Contrast can be lifted at postprocessing. 5. There is no sine-yellow light. Only white illumination, because a light source one. The chamber adjusts balance white on it. 6. That is not enough light sources (only window), the picture usually in 2 times is considered faster. (It is possible to use Subdivs a method described above.

7. If windows much (shine an interior from the different parties) most likely it will not be possible to include artificial illumination is will not give the necessary effect. Because of good distribution of a daylight, artificial illumination will be lost against the day. 8. Day illumination equal, quiet, predicted, photorealistic.

The step-by-step scheme of adjustment Day illumination.

Day_light_settings.avi 1.Open a scene. We find all windows. 2.Put / check presence of fixtures in window apertures. (If the scene becomes removed modeler - this point should be executed). Parameters of light sources 081_LIGHT_light_sky_portal_parameters.jpg 3.It is established Vray Sun + Sky system. It is directed at an angle to a window in the top view at an angle 30 degrees and at an angle to horizon in a face-to-face kind of 45 degrees. Value Sun, Sky by default 074_LIGHT_ sun_day.jpg 4.Put / we check chambers. (Should be put by modeler) CAMERA_vray_settings.avi 5.Edit a site of chambers - a composition. If necessary we put the new. 6.At the given stage at a scene there should be only a natural illumination. 7.Render preview. It is possible only light cache (above), the lesson see the given stage important - to understand light overall picture: whether the premise where are available , where on the contrary, darkness is enough shined. The general light stains. Simultaneously we check as solar beams through a window fall. Whether beautifully light stain. 8.Further we twist ISO on the chamber towards increase (value from 400 and above 600-800-1200-1600). 9.We Achieve a bright solar picture without overwrites. 10.At correct light exposure beams from the sun on a floor and a Reflect on a ceiling about a window will be almost white (on near, but not owerbright it is important). 11.It is possible to change only site Sun in the sky, achieving the necessary composite effect and the necessary reflected light of beams of the sun on a floor. 12.If necessary, we change options dispersion shades Sun. 13.It is inserted Background by a structure on box for windows. Background should be more light, than interior illumination. The color scale of an interior and light should coincide. If thanks to color balance of the chamber from a window there is bluish light - background too should be with a blue shade. All_reference\Background_blue 14.It is excluded background from illumination Sun. 15.If necessary we exclude curtains from source Sun. 16.It is checked once again ISO. 17.Day illumination is adjusted.

Mixed light Feature: 1.The Mixed illumination is day (Sun+Sky) and artificial light sources for illumination of the dark areas kept
away from a window and the corridors/rooms getting to a shot. 2.If natural illumination is adjusted correctly - all picture looks is realistic, but is not effective enough. Dark stains there are places kept away from windows. That of them will get rid - we light sources of artificial light. Color yellow-orange. 3.This most effective and presentable illumination. A bright mix of artificial and natural light. 4.Thanks to different light temperature of light sources, illumination "plays" colors and shades. From dark blue to the yellow. The beautiful pictures sated with different colors turn out. All is regulated Color Balance and yellowish colors of artificial illumination. 5.Blue light from windows - property of phototechnics also is visible only in photos. The human eye itself adapts for color and considers its white, automatically underestimating intensity of the artificial fixtures burning in brightly shined room. Light from them will be invisible. 6.Therefore, at addition of artificial illumination, when the room is very brightly shined by a daylight to see artificial illumination, it is necessary to reduce value ISO of the physical chamber and to raise intensity of artificial fixtures. 7.Bluish light from day illumination turns out at the expense of displacement of balance white in the yellow party. Artificial yellow fixtures become not such sated, and white window light turns to the blue. 8.It is important to switch off fixtures which are close to a window that there was no imposing of a luminescence of day and artificial illumination. It we will avoid .

9.To Include not all artificial fixtures, but only necessary on a composition. If to include the whole world
simultaneously with day illumination, the picture will be flat and ugly. 10.The necessary number of artificial fixtures Should be included. It is important to make their necessary color and correct capacity that they without overbite were combined with a sunlight. Were both not dim and not overbite. Light_mix_example 11.At adjustment to use the information on a composition, contrast and other art effects.

The step-by-step scheme of adjustment of the mixed illumination

Mix_light_settings.avi 1. We Include light sources, except what are close to a window that there was no relight, and the source of artificial light was not lost in solar beams. 2. It is lighted not all sources, but only the most interesting on the compositions which have been kept away from solar beams. 3. We Adjust balance white chambers CAMERA_iso_color_balance.avi, 064_CAMERA_color_correction.jpg 4. It will give the necessary bluish shade of a daylight and half will clean yellow artificial light. 5. The Effect should not be shouting. It is possible to strengthen or weaken in Photoshop at post processing. 6. Now it is included all effects of a self-luminescence, light, illumination of pictures, installations. 7. Again we correct ISO chambers adjusted for additional light (to lower value ISO on 100-200 points). 8. The Result: we have double illumination of an interior day + included fixtures. It in regular intervals and beautifully shines all interior, gives a life to a picture. From a window there is cold light, from artificial - warm.

Night or Evening light Feature: 1.The Basic light sources of an interior - internal lamps, a sconce, chandeliers, floor lamps. 2.All light sources of an interior As a rule are included. 3.It is possible to play intensity and to create mood of a shot at the expense of different capacity of sources. 4.VraySun it is switched off. Sky and Vraylight Skyportals are included, work on 20-50 %. 5.All artificial light sources in an interior Are included. 6.Background should be self-shone night. A greenish, dark blue or violet shade. 7.It is a lot of Light sources. They different. Vray Light Plane, Vray Light Sphere, IES. It is a lot of shadows. 8.IES sources can add Area Shadow (dim shades). 9.The Night kind will be render longer day. 10.Lights are bights and contrast. 11.Strong effect of reflexion on materials, especially dark. 12.The Night camera can be saved in 16 bits tif file for change of a exposition. The step-by-step scheme of night lighting SETTINGS
Night_light_settings.avi 1. The day scheme of illumination Should be adjusted. 2. It is switched off Sun 3. The Structure sky from environment it is placed in material editor by a method instance. 4. We Reduce intensity Sky with 1,0 to 0,1-0,5 depending on time of days and the necessary mood. 5. It is left adjusted before ISO chambers. 6. It is lighted all sources and we add capacities to artificial light sources. 7. It is checked these parameters on Render Light cache. We achieve the necessary result. 8. We Correct intensity under the night chamber. 9. Render preview. 10. We Correct all materials (Reflect, Glossy, Color). 11. Render final Preview.

Illumination of difficult space 1.The Difficult space is an association several zones in one file where light passes from one zone in
another.

2.Set of the divided rooms rooms_many

3.It is recommended to change ISO and options of balance white chambers on premises. Depending on a
chamber site, for example, it is close to a window or it is far in a corridor. 4.At adjustment of light day and mixed, prevailing illumination - day, light goes from a window. The rest auxiliary. The basic small shades go from window illumination. 5.In night - on the contrary. Set of small shades from different light sources. 6.That the image was not flat, it is necessary to watch this difference in intensity. 7.Should prevail obviously on a saturation natural over artificial illumination or on the contrary. The average should not be.

Speed-Quality Vray parameters

1. 2. 3. 4. 5. 6. 7. 8. Number of lights. Glossy materials Irradiance Map/Subdivs. Store to Irradiance map on/off Geometry don`t matter. Use maximum detailed objects. Scene must be maximum detailed. "Use glossy rays" parameter in light cash increase render speed 2-3 times. Use standard Vray material for maximum speed without Blend/Composite. Cornice light make VrayLightMTL, instead of Vray Plane Light for fast Render. Many Vray IES make time render long. It can fix if you make fake increase of IES.

Best render setup settings

Main
1. 2. 3. 4. 5. 6. This settings has ideal balance of time Render and qualities of a received picture. This settings can be apply for 99 % of all interiors without any changes. The Further tuning conducts to time losses and especially that does not improve. For example, improvement of quality of the final image on 10 % conducts to twofold increase in time of the miscalculation and adjustment time. Not Necessary. It is much more important to spend this time for correctly put composition of a shot and the light scheme. The Key rule - Image should not contain absolutely white and absolutely black stains. Should be enough equal. Sometimes even in a victim of contrast. Contrast can be lifted locally in Photoshop.

Main parameters Render setup

Frame buffer - need be "on" to have right correct image. Color mapping -use only Exponential. 1, 1, 1 parameter. Don't change. Indirect Illumination - I have best parameters for render final image. Don't change. Light cache, show calc. phase - preview light cache. You can make light settings only on light cache. Global Subdivs Multiplier Parameter 2,0-3,0 if noise on materials. Fast result.

Format, resolution
Using a proper correlation of the parties, it is possible to print the image on a paper without fields and without an image of the image. 1.The Relation of length to width 1,5. It is format 4 at the press without fields. 2.Resolution 600-400 for fast light cache render, 1200-800 for preview, 4200-2800 for final. It depend configuration of computer.

Two different ways to render setups in Vray:

Influences for the speed and quality of a picture.

Irradiance map: The description and features of a method 1.This is the best way to render. I use it Always. 2.It Best method if you need render several pictures of you scene for short time. 3.Vray Lights main parameter should be Store to irradiance map "on" 4.Render time less 2-10 times faster, in depend of Subdivs. 5.From lacks - absence of shades from small objects that is no critical and on final Render is imperceptible. 6.At a lack of options of quality Render - there are dim stains and a dirt. 7. Predicted time of the miscalculation. 8. Well and very quickly works with Glossy materials. 9. The Easy way of adjustment. Only one parametre which is responsible for quality Render. (Inter.
Samples). 10.Inter. samples can be increased from 50 to 80 (if there are stains of divorces on a ceiling). 11.Numbers of Vray Lights in scene not strongly depend on render time. If it use "store to Irradiance map on" option.

Irradiance map: Render setup settings

1. 2. 3. 4. 5. RENDER_setup_interior.avi 079_VIZ_Interior_settings_50_50_parametres.jpg Preset for fast load. 080_SYSTEM_load_vray_settings.jpg The Given options on speed-time are given for the permission of 1600 pixels and above. Possibly gamma correction. If there is a necessity in increase images and contrast decrease, to add gamma from 1 to 1,2-1,8. It will make less contrast and make image more lightness.

Subdivs: The description and features of a method

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. Longer and qualitative way: In parameters Vray Light of light sources should stand Store to Irradiance map "off" There are shades from small objects. There will be additional small patches of light from light sources. At the expense of it quality, but much longer time of the miscalculation is a bit better. The Method demands attentive adjustment Subdivs and in general more detailed approach. If light sources 5 and more, Render can be considered very long. To 10 times longer. For example, it is not recommended to insert some light sources with parameter (Store to Irradiance map off) into a chandelier. If it is a lot of Glossy surfaces - it is considered longer. If Subdivs insufficiently - there is "noise". In modern empty interiors - it is possible to consider as this method. Method Subdivs is good, if one becomes qualitative high detailed Render.

Subdivs: Render setup

1. 2. 3. 4. 5. To Reduce quantity Subdivs on fixtures, Glossy materials to 12. To Reduce quantity glossy objects to a minimum. Store to irradiance map on a light source off. Global Subdivs in options Render scene 1,0 We carry out test Render, we define materials with shortage Subdivs, we add if necessary.

Accelerate you work

Effective settings for set up scene with light cache

LIGHT_cache_render.avi 1. Sense of adjustment of a scene on Light cache that there is no necessity to consider a picture up to the end. The initial problem approximately color stains to catch intensity of light and the general color balance of the image. 2. If all actions are executed under recommendations more low - you receive predicted result. 3. The Only thing that it is necessary to make for the ending - correctly to pick up ISO, color balance and intensity of artificial illumination CAMERA_iso_color_balance.avi, 064_CAMERA_color_correction.jpg

Batch Render
Batch Render - the function, helping to carry out Render at once several chambers by turns. You can charge some kinds for the night, and to receive Render results of yesterday's work in the morning. 082_SYSTEM_Batch_render.jpg, 083_SYSTEM_Batch_render_elements.jpg Step-by-step Instruction 1. Add view. 2. Pick camera. 3. Pick path to save. 4. Name of exit file (scene name, version, camera view). 5. Example: ProjectName_RoomName_c02.tif 6. Add more views Batch Render. 7. Add masks from Render Elements add Vray_RenderID, Z-depth,. 8. Pick path and file for safe. 9. Write name by scheme (scene name, version, camera view, type of mask) 10. Example: topdom_bedroom_v2-02 ZDepth.tif (camera view add automatically)

Visualization
All good things of modeling will be lost, if we fake on visualization. Excellent adjustment of light and Photoshop are capable to work wonders and transform even the most simple interior into excellent work.

Main Visualization work: 1.Visualizator must made picture with quality standard (look down). 2.Visualizator must know and use all modeling rules (shown up by text). 3.Visualizator must search modelers errors and fix it in final scene. 4.Visualizator must know his texture and models library. 5.He can add more elements and decorative objects in scene. 6.He must Know laws of composition and light. 7.Cameras position. 8.Make lighting. 9.To check and change materials if it need. 10.To check and change UVW Mapping if it need. 11.Make Preview. 12.Final render settings and final Render.

13.Photoshop postproduction. Quality standard: 1.Mapping Real Scale World need to be absolutely all objects in the scene. Textures should be in a correct
scale. 2.Texture size should be enough for visualization 4200-2800 pixels. Recommend to use textures size not smaller than 600 pixels. 3.No any tiling 056_TEXTURE_tiling.jpg 4.Mapping on object with respect to its direction 057_TEXTURE_wood_map_direction.jpg 5.Materials - readable and knowledgeable 6.Scene is beatify by the use of objects of decoration (vases, flowers). 7.Right composition and camera position. 8.All empty spaces and far planes should be with lights and objects. (032_DESIGN_examples.jpg) 9.Lighting beatify, bright, contrast, play of blue and yellow color, natural and artificial lighting. 10.The image must have lighting planes. With different intensity. Use composition laws for setup lighting.

The most frequent errors of visualisation and design

all_reference\errors

Decorative elements in interior

To decorate an interior it is possible interior subjects. It is necessary to do it accurately not to be overzealous and to bring down the spectator an abundance and diversity of details from the main thing. 1. Arrangement of decorative additional objects, subjects of a life and accessories in interiors should be made according to wishes of the customer, the manager and the art director. Recommendations: 2. Objects should not be much. The room should not look cluttered up. 3. Objects should be beautiful with well worked by geometry and materials. 4. Subjects should be large, instead of small all_reference/small_objects 5. Special attention should be given to structures, models and materials in the foreground. 6. On little tables - books, magazines, on a sofa - pillows, on an armchair at a fireplace a plaid, in cases books and souvenirs, on kitchen - kitchen accessories, in glass cases - ware. 7. The Fireplace and its interiors should be necessarily worked: a metal back, a lattice, a brick wall, fire wood, fire and chimney accessories. On a fireplace: candles, a figurine, hours, etc. all_reference/fireplace 8. Plants should be realistic. It is necessary to do them of different scale and try that they do not look the same. At scaling to leave pots of identical size. all_reference/Palms 9. The Dining table - to serve according to style of a premise. all_reference/main_objects 10. Pictures, it is necessary to select posters, carpets for color gamma and style of an interior. 11. Using decorative subjects, to do the complete and sated image is composite. (It is desirable to use reference pictures from the picked up library on design). 12. Sometimes it makes sense to add wires from lighting devices and the socket. In empty modern interiors it will add realism all_reference/decor_objects/wire 13. Use reference photos for understanding of style and interior illumination. (magazines, internet, and other) 14. Check interior design rules. Don't forget elements. 032_DESIGN_examples.jpg. 15. Glasses and reflections in Interior.

Background 1.For windows should be background image. Backgroung can be created by box. It is possible to use box +
modifier Bend that the structure has exactly laid down on the bent plane 056_BACGROUND_environment.jpg BACKGROUND_window.avi 2.Back must be big and close all areas you can see in window from all cameras in interior. 3.You must exclude back from sun lighting. 4.Material must be simple Vray Material. 5.If you need make more bright picture texture - use Color Correction or RGB in texture output. 6.Horizontal line must be 1600 , like camera view.

7.Background can be in radius with tiling texture. If you don't have special background from customer you
can use you own picture simulate landscape outside. 057_BACKGROUND_circle.jpg

Rules works with final files

Files received from render should be saved and worked out correctly. These rules show how to organize file server.

1.All files final image must be saved with 8-bit in TIFF format with LZW compression. 2.All mask files for final images must be saved with 8-bit TIFF. 3.Preview files - saved 100% jpg

Types of visualization.
All visualisation is reduced to three gradation from approximate representation about intensity of light to the final.

Super efficient customization of the scene

1.It is not necessary to keep results light cache. 2.Render time at adjustment light cache should occupy no more than 1 minute. 3.It is possible to break on half when the general atmosphere of illumination is clear. 4.Serves for a rough estimate of the light scheme.

Preview visualization
1. 2. 3. 4. Preview for client 1200-800 pixel. Preview must be shown to client for revision. Don't need make ID mask for preview. We use only minimum Photoshop correction. Sharpen, brightness/contrast/color balance.

Final visualization
1. 2. 3. This is visualization of scene with maximum quality in 4200-2800 pixel A3 format printing. Length / width = 1,5 Visualization of masks Render ID and Z-depth. Save render ion you special file organization structure on file server.

Main problem with Render

Problem can be in geometry, max file or materials. If you make all with my recommendation all must be clean. But be careful with importing models. It can have wrong materials. 1. 2. 3. The Scene is not considered in general, Light cache pressing of button Render or the scene begins it is considered, but Light cache hangs on any moment and further time inadequately increases. Light cache the miscalculation of the image the long comes to the end successfully, but. Dark render, errors in illumination.

Let's disassemble each case separately:

The scene is not considered in general, light cache at once in infinity

Most likely, a problem with materials. That of it to be convinced, we follow algorithm of revealing of a problem (see more below). We check first of all: 1. Displace. To disconnect Displace in options and to check up in all materials presence active Displace in maps 2. Errors in materials: usually it occurs at import of models. Errors can be in Raytrace, Opacity, Displace, Refract. 3. The Decision: to eliminate difficult materials Raytrace, Opacity, Displace, Refract.

Long render time

Problems in options of light sources, miscalculation degrees (Subdivs / irradiance map) and Subdivs on materials.

Dark Render, errors in illumination

Signs: 1. The image dark, is not enough light. 2. Increase ISO at the chamber does not help. It problem with the chamber and Sun+Sky. Such a thing happens. The decision - to import only geometry to a new pure scene. In a pure scene to adjust anew light and chambers under the resulted instructions.

Step-by-step actions if there was a problem at Render.

Each subsequent point is carried out, if the previous has not helped: 1. It is convertible all materials in Vray Materials it is tried Render. 2. One grey material Is appropriated to all objects of a scene. We look, if it is considered it is considered problems in materials - we search for the reason. 3. The Reason can be in materials Raytrace, Opacity, Displace, Refract. These things can create problems. 4. If it is a lot of materials, we reveal object on which the problem material is imposed. It is convertible all geometry in Edit Mesh. We Hide half of geometry under the list of objects and we try to consider. If works - it is placed all geometry in group Work_geometry and we continue to search in the same way, hiding half from the remained half of objects. Thus we will reveal problem object and we can change and a material on it.

Work with incoming scene 1.If the scene is collected in ArchiCAD or imported from any other program, often happens it is impossible
to work with objects. Objects are in each other that at Render gives black planes. Sometimes objects are not grouped in a way and at a choice one plane will be manufactured only. With such scene it is impossible to work. 2.The decision: 3.To Search for laws, to allocate objects, in the top view and then to use select/deselect. 4.Organize of group to scatter on layers. 5.Only after that it is possible to continue work, differently there will be a chaos. 6.We Use a choice on a name, materials, color, a site. 7.Some things to make anew easier, than to change.

Not global problems:

1. Long render time the final image, it would be desirable faster.

 2. 3. 4.

The decision: We Reduce quantity of active light sources. It is replaced all IES sources fake Light. Visible noise on the image from light sources and separate materials. The decision: We Increase value Subdivs on Light and rustling materials. Without changing anything, we increase Global Subdivs to 3-4 (the most simple way, but, probably, long). A problem: glitches and noise on a ceiling (it is especially appreciable on equal smooth surfaces). And insufficient quality of the image To Increase 50-50 to 50 - 80 (100). To Increase the permission of the image 1500-1000 A problem: chaotic white stains on all room. It is a problem with any material, most likely a transparency. Vray Light is in transparent object or beams pass through it. It is not imposed uvw structures on any object. Any material contains Refract and through it pass beams Vray Light. The Decision: to exclude from illumination object with a transparency (a chandelier, a sconce, a curtain), to replace Refract on Opacity falloff, to make unilateral object without a thickness and to apply a material 2 side Vray. The Problem: the image flat is not visible small shades. The decision: To Leave included as less as possible light sources or to reduce their intensity To Create the basic direction of illumination from a window. Intensity of light exposure from a window and from artificial sources should be different. From a window several times it is more, differently shades self excluded. To Increase the permission. On the big images of a shade will appear. A problem: discrepancy of scale at import. The decision - all imported files should be one scale in one units of measure. If there is a discrepancy - to find a proportion (we use rules "20 basic sizes and dimensions in an interior"), and scale object then to convert in Edit Mesh and anew to impose UVW Mapping Problem lack of textures from other file Decision: preliminary render and replacement of lacking textures to new ones from the library Solving - uvw mapping is out of order, scale is destroyed Decision 1. Create object and attach Decision 2. Use not read world sustem coordinat UVW, but usual and match necessary meanings Lack of memory error to solve adding the memory or deleat memory hard elements Also you may use xreff, when filling is deleted from scene and loaded only from other file calculation Problem incoincidence of gamma during rendering at other computer or while opening a new file render is too dark Decision to check gamma setting. 2.2 001_SYSTEM_gamma.jpg miss maps, dll error, overbright error, - to ignore if not influences render If influences and rendering goes wrongly - to replace material for texture

5. 6.

7.

8.

9.

10

11

Photoshop
About Photoshop I write exclusively as the applied tool. There are many alternative ways of processing of the image. You can pass courses on Photoshop. If you are still absolutely unfamiliar with the program, I will show, what actions and functions are used by me for the projects. I always use this and only this limited tooling. It is enough of it for results which satisfy me. Photoshop_example.avi

How to use

1.3d image from max must be more close for final. 2.This is not real all times but this is our target. 3.Photoshop can help the 3d image to become more realistic but is essential to improve the image, locally by adding contrast and brightness to the necessary sites, also it is possible to strengthen the color balance of the image.

Most important keys and actions

1. Duplicate layer - duplicate layer and work on it, do not change any on the first image. duplicate_layer.avi 2. Screen - layer with brightness addition. 3. Brightness/contrast - Editing on bright tones br_contrast.avi 4. Lightness (ctrl+l) - The general brightness should be on average levels. The increase and reduction in brightness without relight will result in minimum loss of the color information. lightness.avi 5. olor balance (ctrl+b) - color_balance.avi 6. Hue/saturation (ctrl+u) - Work with color and saturation. hue.avi 7. Sharpen sharpness is used one time to sharpen the imagesharpen.avi 8. Distort lens Correction - We add aberrations at the expense of blue-red effect, the image looks more volume. Aberrations works on small images for gallery (to 15 points), but it is not applied on big and final images 9. Blackout on corners distorce_vindating.avi

Brushes with color influence

1. Brushes for color influence tools have the same action on all layers, but operate locally. And the brush should be scaled when it is used in a given area 2. The Scale varies with Keys 3. Always use a standard brush with soft edges. .

Variants of brushes 1.Dodge tool - bush of lighting dodge_tool.avi 2.Burn tool - bush of darkness burn_tool.avi 3.Sponge tool - bush of saturation and desaturation sponge_tool.avi Each brush can work by three variants to influence on color
High tones It is used for the same action brightness and contrast Ideally for clarification. simultaneously it works on brightness and contrast. Ideally for brightness of light objects. Middle tones It is similar on action Ctrl+l Levels Works on average ranges. Ideally on blackout. It is used to black out the area or a subject by this method. On clarification works, it is necessary to use it more softly. Shadows It is similar on action Ctrl+u lightness Working in shades if the object can be clarified almost black it a little. It is used for clarification of almost black and matte surfaces..

Other useful brushes for local influence 1.Erase tool - erase area on correct layer erase.avi 2.Clone stamp - cloning of an image area. Used for the correction of render errors. clone_stamp.avi Free transform
Ctrl+t - Scaling influence on the chosen area transform.avi How to use: 1. Choose an area. 2. Copy on new layer through buffer Ctrl+c, Ctrl+y 3. Press Ctrl+t (hot key) 4. Scale, deform the image to the necessary effect. 5. It is possible to use Shift and Ctrl for fixation of scale and a binding of a mouse to horizontals and verticals.

Hot Keys trl+e - merge layer trl+b - color balance trl+l - levels trl+c - To copy in the buffer trl+v - To insert from the buffer trl+t - free transform trl+u - lightness trl, shift for a snap, selection and move of layer. Step-by-step instructions of use
1. The Image should be as much as possible beautiful and realistic with correctly put light on initial Render. 2. Photoshop it is necessary to decorate images, to strengthen or weaken any effect. 3. Image Processing should occupy a maximum of 5-10 minutes. If it occupies more that means that there is something left unfinished in 3D max. 4. Post processing it is possible to paint over, clean small glitches and other flaws Render. 5. Sometimes it is possible to clean tailing structures stamp/cloning. 6. It is often necessary to add brightness/contrast to the image. To do it on a new layer. After addition. 7. It is possible to use Ctrl+L on 1,1-1,2 to soften the image. 8. Use Dodge tool and high tones for brightness are given to already bright objects and their patches of light, for example, lamps, a sconce, floors lamps brilliant surfaces. 9. Burn tool middle tones for blackout and giving of expressiveness to sites.

Step-by-step use
1. 2. 3. 4. 5. 6. 7. 8. To final Render always there is a sense to add brightness (+10) / contrast (+20) on a new layer. If a picture dark to make a new layer screen 20-30 % on the general clarification screen. To erase formed owebright and owerdark area use erase tool. Locally to clarify or black out sites. A brush blackout for clarification. Color balance. (Yellow on midtones, dark blue on hightones) color_balance.avi Using allocation, layers, transform, clone stamp will get rid of errors of a scene, such as , cracks in model. Using ID on objects, to change their color. ID_photoshop.avi Ceiling Clarification on ID. As a rule, the ceiling turns out dark. It and in a reality dark, but on a picture it is visible at once.

More detailed information on functions can be read in help or any management Photoshop. It is important to understand that it is enough these tools for reception of worthy result in the shortest terms. It is more nobility it is necessary than nothing. Search for the detailed description only these functions.

Save
1 After editing - It is recommended to safe files to multi layers with compression LWZ 2 Do not erase basic layer to be able to come back to it 3 File render ID to 8 bit format TIFF

Printing
It is better to lighten the image adding lightness (ctrl +L to 0.20 points and contract in Photoshop) Also you may calibrate the printer as print goes out darker than image on the screen

Interior composition
Sense interior visualization - to show design and architecture of interior, materials and light. That the image looked effectively, it should have prospect and beautiful illumination.

Creation of prospect and image volume

Planes
1. 2. 3. Forward, average and an image background all_reference/plan Self objects with a contrast color, the invoice, illumination. (One object against another with the obvious is distinguished invoices and color. And whether one object in shades, other bright. The Foreground, average, back: on everyone there should be any objects. It is necessary to give especial attention to objects in the foreground.

Visual stability of the image

Condition at which all elements of color, light, materials are balanced among themselves, connected by sense or idea.

Rhythm 1.The Repeating elements exposed in a foreshortening, leaving in prospective all_reference//rhythm 2.These objects can serve as a line and a direction for a sight. The rhythm, as well as a line adjusts
movement of eyes of the spectator on object. 3.The Rhythm can be set geometry, a structure, color. 4. The Rhythm can be conceived the designer or is found/is created by a visual analyzer. 5. The Rhythm creates prospect and dynamics, directs a sight of the spectator.

Light
Illumination can create space and prospect composition/light_perspective

Composition Rules
The map becomes live and interesting if composition rules are observed. To add mood and an emotionality to the map, it is necessary to follow these simple rules at arrangement of subjects, camera and light settings. The visual analyzer can effect 3 making maps:: 1. light. 2. camera position. 3. Filling objects.

Light

Brightness
Picture should be bright and contrast maximum

Contrast
Should be present division the image on light and a shade. And also a saturation of tones. Otherwise it will be flat. The picture should be the greatest possible contrast. To twist in Photoshop contrast to a limit, then to erase areas of a limit and to increase other image by 10-20 % of contrast..

Mixed lights
The best images of interiors contain a mix both artificial, and day illumination. Thanks to physical properties of the chamber and color balance, we can observe all scale of light temperatures. Colors are combined, as opposite: green/pink, sine-blue/yellow-orange, and simply white.

Sun light beams

1.It is desirable, that beams got to an interior through a window at an angle everywhere where it is possible. 2.The Hade of beams is across usually equal 30-45 degrees. 3.The Hade on vertical usually 45-60 degrees or are more. 4.It is beautiful, if beams get on object in an interior and reject from it shade Object_shadow 5.Thus, light and a shade from the sun it is possible to construct a rhythm, prospect and to show volume of interior Light_perspective 6.It is necessary to remember that in the real world the more low the sun on , the along toward evening, that light from the sun more and warm, shades are softer and longer. To use this information at adjustment of balance white and shades. 7.In a bright sunny day when the sun in zenith, the sun beam does not get almost to an interior. Therefore there is no sense to do the sun image in zenith if it is not required to transfer illumination model physically precisely. A hade of beams in a bright sunny day to leave 45 degrees.

lighting day / night

1. 2. 3. 4. At time presence to do 2 variants of illumination. Mixed and night. To Give these images to the customer in the form of a bonus. To Place in a portfolio. To Turn out images and experience..

Camera position
Additional beautiful camera position
1. 2. 3. 4. 5. If the premise is worked in the sufficient image, we create pair of additional foreshortenings. We Please the customer with additional kinds for the same money. To the full opens the created interior from different directions, replacement of video of flight. Several times skill of composite construction of a shot faster develops. At sufficient study it is possible to focus attention on details, to do close kinds and foreshortenings with the big focal length. It will give sensation detailed all interior.

The camera is directed to a window at a bright daylight

All_reference\window_camera_position 1. If we put the chamber opposite to a window very strong patch of light on a floor turns out. 2. Light from a window very bright. 3. It is obligatory to include illumination. 4. To Level a composition symmetrically concerning a window

Angle chamfer
1. you can use distortion effect with not real Color Balance. 2. Only for new add camera. 3. It need for make image more art. All_reference\distortion

Equal lines and corners

1. Camera should be have equal position.

2. 1600 mm height. 1600 mm - Target height. 3. Always on Vertical Shift if target have vertical moving. CAMERA _18-20_1500_vertical_shift.avi

The cut off objects 1.Not to suppose trimming of a subject of filling only on the one hand a picture. 2.It is possible to leave subjects if they are cut off by borders of a shot from two opposite sides.
All_reference\cut_2_side

3.Subjects located at edge and completely getting to a shot should have at least the minimum space
among themselves and shot edge. It is impossible, that the subject rested the side against shot edge.

Ideal foreshortening. Balance of the image on a composition 1. The interior Composition should be visually counterbalanced across and verticals. 2. Dark visually it seems more and more hard, than white. 3. Depending on it to build a shot and a composition. 4. The Floor and their ceiling should be approximately equally the size. From above and from below a
shot..

Foreshortening on a dining table or tables at restaurant

1. 2. 3. 4. 5. To Put a foreshortening correct on a dining table or a table in cafe, restaurants. Correct will be hardly lowered on a table and laying Target Target to lower more low and to level on a vertical vertical shift CAMERA _1820_1500_vertical_shift.avi Attentively to look at backs of chairs. They should not cut a shot. If necessary to hide stirring objects under each kind.

Equal and inclined lines along the edges of an interior (Frame)

All_reference\frame 1. The Lines which are framing a foreshortening and being near to its borders, are strictly horizontal And strictly vertical. (For example, a door, a wall piece, a portal). Strongly inclined lines leaving in prospect are supposed. 2. Not to leave slightly turned lines if they it is close to shot edges. Or to level or turn more strongly. 3. This frame of corners of the image (columns, eaves, through one object, for example, through an arch, we see all interior). The composite Effect gives prospect, breakdown under plans and opens interior space. It can use, especially in the limited and difficult space.. 4. It is possible to show a wall part sideways a shot that the spectator could estimate the real size of a premise, Sometimes, on the contrary, to hide. 5. In a combination to a wide corner of the chamber, it is possible to present a small premise to the volume.

1. Large-format foreshortenings and parity of the parties of a shot

2. 3. 4. 5. 6. 7. The permission of a shot with proportions 1,5 on press 4. Formats 600-450, 1200-800, 3000-2000, 2400-2800 pixel Large-format corners: 36-16, 36-18. Corners of an average format 36-20 (36=film grade - 20=focal length), 36-22 The usual formats are 36-24, 36-26. To Put the widest corner without visible distortions. Approaches 36-18 more often. For vertical kinds - the corner of the review is closer to standard, 36-24, strong distortions from above and from below a shot (a floor, a ceiling, details sideways) differently are formed 8. Vertical kinds are pertinent in corridors, bathrooms, two lever rooms spaces - everywhere, where height of a premise more than its width. All_reference\vertical 9. Square cameras (800-800 pixel) works not good. Now I don't use square proportion All_reference\box

Elevations
All_reference\elevation 1.Very evident architectural giving. It is useful both to the customer and builders. 2.Cuts become a cup plane chambers cropping. 3.On a cut sideways and from above it is important to hide other subjects getting to a plane

Paths of Interior.
All_reference\Path_of_interior 1. Don't use camera angles special on some objects. Show all interior. 2. Professional art - whole interior. Not elements. 2 side opposite width height cameras.

Filling
Main objects
All_reference\Main_objects 1.On the foreground is better to put ideally worked object. 2.On a composition on the map should be a variety and scale. The different forms, different colors. 3.Object of environment must be large. 4.They should not be so much. 5.They should be beautiful and carefully worked. 6.You can make more scale of object if it need for composition.

Plants
All_reference\Palms 1. Add good plants. 2. Plants should be placed in the corners of room. 3. For close views you can use Photoshop 2d plants. 4. Use only good and realistic models. If plant looks like a fake - don't use it better.

Live in interior
1. Should avoid monotonic. To add lives to interior objects. 2. For example, slightly to turn chairs, on desktop to put a beautiful vase or the open book.

Small objects
All_reference\small_objects This is one of main errors - there are many small objects in scene. From it the room looks cluttered up with trifles. If object small it need to be scaled or deleted

Filling objects in corresponding rooms

All_reference\main_objects Always it is possible to use a small amount of qualitative subjects: On a dining table - laying, flowers, candles. All in style of an interior Desktops, curbstones - flowers, bouquets The Glass and / or binge on a bar rack The Seat for a fireplace - binge, cigars Kitchen, a table-top - flowers, fruit The Little table journal - chess, log, the book, fruit, flowers The Sofa - the book, a plaid, pillows The Case - books, figurines The Case for ware - plates, cups, services For classical kitchen - clay and copper ware The Fireplace - fire wood, fire, a lattice, a panel From above a fireplace - hours, statues, candles, a mirror, a picture The Wine case - bottles, on it is possible glasses, a tray, towels The Bar - a case, bottles, wine-glasses Kitchen - a teapot, coffee the computer, copper accessories for a plate, ware in cases. Plants in all corners A rest Room, a relaxation corner, tea - sweets, apples, coffee mugs

The Nursery - children's toys. The unique room accepting trifles and The Bed - a tray, a plaid Curbstone of a bed - a lamp, the book, frame photos The Locker - frames of photos, flowers The Toilet little table - flowers, a cosmetics set The Bath - a towel a pile, flowers, pair of tubes of cosmetics or spirits. The Drawing room - TV, DVD, columns. In a corner - a plant, bamboo, a floor vase with backs Hotel - champagne in a bucket, the book or the directory on desktop, a firm pen and a notepad On all lockers are pertinent to steam of photos in frames The Sofa before a fireplace the plaid, the book, a wine glass are pertinent The Wardrobe - hangers, boxes, dresses, trousers The Bath - omni and candles for evening maps Pool - towels on plank beds, water or a cocktail in a glass Reception - flowers The Workstation - the screen monitor, the computer, phone, documents, pens Office - notepads, pens, books, flowers, a notebook A cafe Little table - easy table layout, napkins

If you have any questions - just ask me support@d-e-s-i-g-n.ru

Stanislav Orekhov
copyright 2009 www.d-e-s-i-g-n.ru