day lighting and interior space - routledge

Interior space in daylight

© 2009 Elsevier Inc. All rights reserved.

Bonus Chapter 1Day Lighting an Interior

Space

1.1 IntroductionIn this chapter, you will learn about lighting an interior scene while you work on the lighting for the livingroom interior. Specifically, you will learn:

� An efficient workflow for working on a scene’s illumination once materials have been applied to the entirescene

� The use of Daylight Systems and Sky Portals to illuminate an interior space� The use of Final Gather to generate indirect illumination� Adjusting Exposure Control to get proper illumination in a scene� Creating a Final Gather Map file to speed up test renders� Fine-tuning material properties� Adjusting background settings� Adjusting saturation and color correcting bitmaps to produce better materials� Adjusting settings for a final render

1.2 Preparing the Units in the SceneBefore beginning on a new 3ds Max Design scene, it is imperative that you ensure that the units are properlyset up in your scene. Otherwise, you will later encounter a number of undesirable results. Please refer to theappropriate section in Chapter 1 of this book to properly set up the units in your scene.

1.3 Creating the Daylight ObjectTo get started, open the version of the living room scene where materials have been applied:

1. Open the file “LR Direct start.max” from the Files folder.2. If the Units Mismatch dialog appears, make sure that Adopt the File’s Unit Scale is selected and click OK.

2 © 2009 Elsevier Inc. All rights reserved.

3. In the Create menu, select Lights>DaylightSystem.

4. The Daylight System Creation dialog box appears.Click Yes to accept the default and close it.

5. Click and drag from the center of the Top viewport to create the compass rosetta of the Daylight System.

6. When you release the mouse button, the mental raySky dialog appears. Click Yes to accept the defaultand close it.

Accessing the Daylight System

The Daylight System Creation dialog

Creating the Daylight System mental ray Sky dialog

Files Load: Units Mismatch dialog

Bonus Chapter 1: Day Lighting an Interior Space

3© 2009 Elsevier Inc. All rights reserved.

7. Move the cursor farther away from the Compass to create the Daylight System object. Click to finish thecreation process. Right-click to exit creation mode.

8. Click the Zoom Extents All button.

Note: This is the reason behind having the four viewports displayed—so that onecan clearly control the extent of the Daylight object.

9. While the Daylight System is still selected, go to the Modifier tab of theCommand panel.

10. In the Daylight Parameters rollout, Position group, choose the Manual option.

Note: For the purposes of this exercise, the manual option was chosen so that theDaylight object can be freely moved around the scene. At a later stage, you willsee the benefits of using the other two options (i.e., Date, Time and Location andthe Weather Data File).

Next, you will set the direction of shadows from the Sun in the viewport:

11. Select the camera viewport. Select the Shading Viewport Label Menu andset the rendering level to Smooth+Highlights.

mental ray Sky dialog

Changing the calculation of theDaylight Parameters to Manual

Realistic Architectural Visualization with 3ds Max and mental ray


12. On the Shading Viewport Label menu, select Lighting and Shadows>Enable Hardware Shading.

13. Click on the Shading Viewport Label Menu button again; under the Lighting and Shadows selection,make sure that only the following options are selected:� Illuminate with Scene Lights� Enable Hardware Shading� Enable Shadows

14. Zoom out of the Top viewport about 50%.15. Select the Lights Filter. This will make it easier for you to select the Daylight object.

Smooth+Highlights mode Enabling Hardware Shading

Options for viewport rendering



16. Click on the Daylight object and move the light so that the light and shadows appear approximately asyou see in the camera viewport.

Object filter

Daylight object, positioned manually



Note: Viewport rendering provides an interactive means of adjusting the shadows in the viewport and avoidsunnecessary rendering time.

17. To be precise, you can move the Compassand the Daylight object to the followingposition:� Compass Helper: X: –440, Y: –1635,

Z: –1108� Daylight Object: X: 10671, Y: 16688,

Z: 13017

Note: You will need to remove the Lights Selectionfilter (change it to All) or change it to Helpers sothat you can reposition the Compass.

18. Open the rendered frame window by clickingon its button on the menu bar. Once opened,click Render to check the current status ofthe scene.

Daylight object, repositioned manually

Initial render



The scene appears dark; this could be due to the lackof FG in the scene or a required adjustment in expo-sure control:

19. On the bottom of the Render Frame window,move the Final Gather Precision slider to Draft.

20. Change the FGBounces to 1.

21. Render the sceneagain. Unfortunately,the scene is still verydark. The next step isto check the exposurecontrol.

22. In the RenderedFrame window, clickon the Environment and Effects dialog (Exposure Control) button.

23. In the Environment and Effects dialog, mr Photographic ExposureControl rollout, select the Physically Based Lighting, Indoor Daylightselection from the Preset list.

Accessing Exposure Control

Turn on Final Gather Effect of Final Gather

Adjusting the Exposure Control Preset



24. Test render the scene again.

25. In the Environment and Effects dialog, mrPhotographic Exposure Control rollout,change the Shadows value to 1.0 and theVignetting to 10.0.

26. Render the Camera view again.

The next step is to create the tint of blue normallyassociated with diffused shadows from the sun andoften visible on indirectly lit areas.

27. While the Daylight object is selected, go tothe Modifier tab on the Command panel.Under mr Sun Basic Parameters, uncheck theInherit from mr Sky function.

Next, you will reduce the directly lit areas of the imageslightly and boost the indirectly lit areas:

28. In the mr Sun Basic Parameters, reduce theMultiplier to 0.8.

29. In the mr Sky Parameters rollout, increase theMultiplier to 2.0.

Effect of Exposure ControlImage Control

Disconnecting the sun colorfrom the mr Sky

Adjusting Sun and Skylevels

Effects of Image Control



30. Render the scene.

Note: The sky outside hasbecome slightly brighter. This isdue to the mr Physical SkyEnvironment map being linkedto the sky parameters of theDaylight object by default. Thisis changeable.

Next, you are going add a bluetint to the indirectly lit areas:

31. Under mr Sky AdvancedParameters in the non-physical tuning group,decrease the red/blue tintvalues to –0.2.

32. In the Command panel, Create tab, select the Lights button, and then mr SkyPortal.

33. In the Front viewport, click and drag the portalto cover the windows area as shown.

34. In the Top viewport, move the portal to aposition just outside of the windows.

35. While the mr Sky Portal is still selected, open theModify tab of the Command panel. Change thefollowing parameters:� Multiplier: 5.0

Effects of adjusting Sun and Sky levelsAdjusting red/blue tintvalues

mr Sky Portal

Placing the mr Sky Portal

Placing the mr Sky Portal



� Filter color to Medium Blue (R: 0.353, G: 0.525, B: 0.714, Alpha: 1.0)� Length: 3000 mm� Width: 10000 mm

36. Enable the Flip Light Flux Direction toggle so the arrow icon points toward the window.

37. In the Advanced Parameters rollout, in the Color Source group, make sure theUse Existing Skylight toggle is enabled.

38. Test render the scene.

The Final Gather settingsand colors look good now.The next stage is to save theFG settings into a FinalGather Map file. Saving theFG settings allows you totweak the exposure andmaterial settings without having to resave the FG Map.

Note: When using a mr Sky Portal, you can use anhdr image to add realism to the light being emitted bythe portal. To do so, go to the mr Sky PortalAdvanced Parameters, in the Color Source area; choosethe Custom function and add the relevant image fromits adjacent map button.

39. In the Render Setup dialog box, under the IndirectIllumination tab, scroll down to the reuse (FG and GI DiskCaching) rollout, and check the calculate FG/GI and SkipFinal Rendering function.

Adjust the mr Sky Portalparameters Flipping the mr Sky Portal directional arrow

Flipping the mr Sky Portaldirectional arrow

Rendering the FG Map file

Effects of the Sky Portal



Note: This function is fast, as it will focus on computing the FGprocess and will not render the image.

40. Under the Final Gather Map group, choose theIncrementally Add FG Points to Map Files option.

Next, you will set the name and location of the FG Map file:

41. Click on the file button in the Final Gather Map group. In the Save As dialog, give your FG file anappropriate name and click Save to close the dialog box.

Note: You should generate your FG file on one computer only;in addition, you should never use distributed bucket renderingto generate FG files.

42. In the Render Setup dialog, go to the Processing tab, andenable the Geometry Caching function. This will speedup the translation process in future renders.

43. In the Indirect Illumination tab, click the Generate FinalGather Map File Now button to create the FG Map file.

The Render dialog will process though the Final Gather calcula-tion and stop before rendering a final image.

44. Now that the FG Map file has been generated, go toFinal Gather Map group pulldown list, and choose theRead FG Points Only from Existing Map Files.

45. Uncheck the Calculate FG/GI and Skip Final RenderingFunctions.

Final Gather Map setting

Enabling Geometry Caching

Naming the Final Gather Map file

Generating the Final Gather Map file



46. Since geometry will not be changed from this point onward, go back to the Processing tab and lock theGeometry Caching function.

Note: From this point onward you can choose multiple machines to render with using network rendering(strips) or distributed bucket rendering, provided that the FG Map file is in a location in the network whereother machines can “see” it. Refer to Chapter 4 in the book for details.

In the next several steps, you will fine-tune the materials and the mr Exposure settings prior to rendering a finalimage. With the FG file saved and locked, we can now test render a higher-resolution version of the image.

47. In the Render Frame window, change the image precision (antialiasing) to high and click on Render inthe Render Frame window.

Note: The image started rendering straight away, skipping the Final Gather process.

Generating the Final Gather Map file Locking Geometry Caching

Adjusting the image precision



48. If your computer is taking a long time torender, reduce the image precision settingswith the slider. During the render tests,switching from High to Medium ImagePrecision can save a considerable amountof time.

The render still looks a bit like a draft rendering;this is due to its small resolution size. Often,with interiors, even the highest image precisionsettings images will still look grainy. To over-come this, start by increasing the output size:

49. Go to the Render Setup dialog’sCommon tab and set the Output Size to1200� 939 pixels.

50. In the Render Frame window, changethe Area to Render to Crop type.

51. Move the Render Cropwindow in the Cameraviewport to focus primarilyon the sofa area.

52. Prior to rendering, click theClone Rendered FrameWindow button to cross-reference the changes in thescene.

53. Click Render to render theCropped Area.

Changing the render’s Output Size

Changing the Area to Render

Image with high image precision

Moving the crop area in the viewportCloning the current render



The image is looking much better now; however, one cansee some graininess in some reflective areas. This is mainlyto do with output size as opposed to the glossy reflections/refractions settings. For the purpose of this exercise and forquick feedback, keep the current resolution as is.

It is worth mentioning that common practice for visualiza-tion companies is to create final renders at resolutions of5000 pixels or more. Creating crop/region renders at thisfull resolution is a way of investigating what certain areasof the image will look like. Generally speaking, final ren-derings of 3000 pixels should be enough for a crisp image,but some interior scenes may require 5000, 6000, or even7000 pixels to eliminate graininess.

1.4 Fine-Tuning Material PropertiesSome of the materials in the scene require some adjustment to produce an improved image. Start with the smallleather seat. The graininess of its surface is due to the bump values in the material being too high.

1. Click the Select and Move button on theMain toolbar to disable the Crop Lasso inthe viewport.

2. Toggle UI Overlays and the Toggle UIoff from the Rendered Frame windowdialog to make more space.

3. In the Camera viewport, click the ShadingViewport Label menu and select the EdgeFaces option. This will make it easier toselect objects in the scene.

4. Select the leather seat in the viewport.

5. Open the Material Editor.

Rendering of the cropped area

Toggling the UI in the Render Frame window

Edge Faces mode Viewport in Edged Faces mode



The material slot with the filled white triangles at the corners isassigned to the selected object in the scene (third row, sixthslot).

6. Select the material slot.7. Go to the Special Purpose Maps rollout. Change the Bump

value to 1.0.

8. While the sofa stool (ChamferBox01)is still selected, go to the Render Setupdialog, Renderer tab, RenderingAlgorithms rollout, and select the Render Changes to Selected Objects Only option in the Subset PixelRendering group.

This function will allow us to improve the render times, as it willrender only the selected object(s) from the previous render.

9. In the Rendered Frame window, toggle on the UI and UIoverlays.

10. In the dialog, notice thetoggle with a green box andteapot—this is a toggle forRender Changes to SelectedObjects Only optionpreviously enabled.

Note: This function only workswhen you do your initial renderwith the feature first turned off and

then subsequent renders with the feature turned on. Subsequentrenders will render only the selected object. In addition, the cam-era position and area originally rendered must remain intact.

Viewport in Edge Faces mode

Rendering only selected objects

Changing the Bump value

Toggle UI and UI Overlays back on

Render changes to selectedobjects only toggle in theRendered Frame window



11. In the Rendered Frame dialog, change the Render Type from Production to Iterative.

This change will keep intact the previous renders and only update scene changes on the Rendered FrameWindow dialog box. 3D companies normally use Iterative rendering to fine-tune specific areas of a large render.By default, it ignores network rendering, multiple frame rendering, and other settings. Production is normallyused for final renders, where you have all settings available.

12. Click Render in the Rendered Frame window.

The rendering will proceed, and you will have to keepyour eye on the sofa stool in the lower left of the croppedarea to notice the change in the image. Unfortunately, thevalue of 1.0 doesn’t seem to make a lot of a difference.

13. Change the Bump value of the material to 0.7.14. Test render.

You will now fine-tune other areas of the scene with croprender:

15. Unclick the Render Changes to Selected ObjectsOnly toggle in the Rendered Framewindow.

16. Click the Edit Region toggle to activate it.

17. In the Camera viewport, move and expandthe crop area to the top of the viewport.

18. Once you are done moving the crop region, click onthe Edit Region toggle to deactivate it.

Effects in the change in Bump values

Iterative rendering

Render toggles

Moving the crop region to the top of the wall



19. Test your render.

The render looks okay; however, certain objects couldbenefit from functions such as round corners and ambientocclusion. Start with the cupboard:

20. Select the Cupboard in the Camera viewport.

21. In the Material Editor, select its material slot(second row, fifth slot).

22. Go to the Special Effects rollout.

Note that Ambient Occlusion is on already.

23. Check the round corners option and set thefillet radius to 5.0mm.

24. In the Rendered Frame window, click the RenderChanges to Selected Objects Only toggle to enable it.

25. Click Render.

Note the nice corner highlights generated from the corners ofthe cupboard.

26. Select the wall in the scene; its material is the first samplealong the third row. Select the material slot.

The new cropped region

Adjusting Special Effects parameters

Select the Cupboard

Effects of adjusting Special Effects parameters



27. In the Main material parameters, click on the Color mapbutton.

28. Once at the bitmap level, select the Material/Map button.29. Select the Ambient/Reflective Occlusion (3ds Max)

shader.

30. In the Replace map dialog, choose Keep Old map as aSub-map.

31. In Samples, change the Value to 45. Samples set thesmoothness/quality of the shadows.

32. Verify that there is a map in the Bright map slot. Thismap will control the diffuse color.

Note: When only using the color swatch for the Bright value,you would need to copy the color from the Main material para-meters Diffuse Color swatch.

33. Set the Spread value to 0.7. This value controls the radiusvalue of the limit of the shadows.

34. Set the Max Distance to 100.0. The Max Distance controls the fading distance of the spread values.

Note: This technique is often used for directly lit areas of an object that appear “flat.” The Ambient/ReflectiveOcclusion (3ds Max) shader will add the lost detail. The values used in this scene worked well; however, youwill have to fine-tune these values, depending on the size of the scene. For example, many architectural compa-nies work with the meters units system set up; therefore most of their objects in their max scenes will be real-world-size objects in meters. When working on these types of files, the following settings may be moresuitable for a file of that type: Samples: 45; Spread: 3.0; Max distance: 0.2.

35. While in the Ambient/Reflective Occlusion map, click on the Go To Parent button to return to the topof the material.

36. In the Special Effects rollout, enable the Round Corners option, set the Fillet radius to 5.0, and enablethe Blend with Other Materials option.

Color map button

Adjusting the Ambient/Reflective Occlusion Shadervalues

Selecting a new shader



Note: Blend with Other Materials is used to emulate joinedwalls, welded metal frames, and so on. Its appearance is alsodependent on the fillet radius values. Round corners shouldonly be applied to squared objects with no bevel on, and itsvalues should vary if the objects are too big or too small. Therule of thumb is to use the tape helper around the object, todetermine the length of its corner values. In addition, the roundcorner may not be very apparent if the object is in shadow.

37. Apply the Ambient/Reflective Occlusion (3ds Max)shader to all Non-Transparent Arch & Design materials inthe scene.

Note: When using any of the Arch & Design metal materials(i.e., brushed or satined metal), the Ambient/ReflectiveOcclusion (3ds Max) shader needs to be enabled, as by defaultthe diffuse color is disabled.

38. Once you have adjusted the materials, make sure to do atest render of the previous cropped region.

1.5 Working on the Outside EnvironmentUp to now, the outside environment has been a bit washed outand a bit too reflective. In the next phase, you will eliminate theseartifacts in order to bring out the environment material:

1. In the scene, select the object named Background.2. Right-click, and in the Quad menu, select Isolate Selection.

3. In the Material Editor, clickon an unassigned material(third row, fourth materialslot).

4. Click the Get Materialbutton.

5. In the Material/Mapbrowser, clickBrowse from Groupand choose theselected option.

6. Double-click on thematerial, and it willbe assigned to theactive sample area.

Special Effects parameters for the wall material

Diffuse map in the General Maps rollout

Selecting the material for thebackground

Selecting the material for the background Material/Map browser



7. Close the Material/Mapbrowser.

8. In the Rendered Framewindow, enable the EditRegion button, and inthe Camera viewport,move the cropped area tothe window side of theview.

9. Render the crop region.

The background image is not aswashed out as before, but youwill need to adjust the RGB values of the map to further bringout the image.

10. In the Material Editor, click on the material’s Color Mapbutton.

11. Once at the bitmap level, select the Bitmap button.12. In the Material/Map browser, select Composite.

13. When the Replace map dialog appears, select KeepOld Map as a Sub-map, and click OK. The rollout inthe Material Editor changes to reveal Composite Layersparameters.

14. Click on the Color Correct This Texture button.

Note: There are a number of useful settings to color correctmaterials; however, when dealing with exposure, you need toenable the Advanced option for better control.

15. In the Lightness rollout, click on Advanced.16. Change the RGB Gain to 128.7.17. Change the Gamma/Contrast to 0.2.

Moving the Rendered Crop windowRendered, cropped region of thebackground

Diffuse Color map

Color Correct This Texture button

Switching to a Composite map



18. Test render the cropped image of the background.

19. Exit Isolation mode and render the cropped image again.

The background renders much better now.Next, you are going to change the WindowGlass type:

20. Select the Window Glass object in the scene.21. In the Material Editor, select its material slot (fourth row,

sixth slot).

Since the Window Glass object is a box object with a thickness,you should change its properties to a nonrefractive glass windowmaterial.

22. Under Templates, choosethe glass (thin geometry)type from the dropdown.

23. Change the name of thematerial to Glass (ThinGeometry).

24. Test render the croppedarea again.

The image is looking much bet-ter now; however, the glassseems a bit too blue and couldbe a bit more reflective.

25. In the Material Editor, click on the Color swatch in theRefraction group.

26. Change the color to a light green:R: 0.886, G: 0.918, B: 0.859,Alpha: 1.0.

Adjusting the Lightness of the bitmap

Adjusted background image Adjusted background image withthe rest of the scene

New Glass material

Test rendering with new Glassmaterial

Refraction Color



27. Render the cropped area.

The image looks less blue, but it is not very reflective yet:

28. In the Material Editor,open the BRDF rollout.

29. Select the CustomReflectivity Functionoption.

30. Change the 0 deg. refl:value to 0.5.

31. In the AdvancedRendering Options rollout, in the Advanced Transparency Optionsgroup, enable the Transparency Propagates Alpha Channeloption.

32. In the Fast Glossy Interpolation rollout, make sure theInterpolation Grid Density is set to 1 (same as rendering).

33. In the Rendered Frame Window,click on the Render Changes toSelected Objects Only toggle andchange the Render Type toIterative.

1.6 Adjusting MaterialsThe next step in adjusting materials willbe to increase the reflectivity of the glasssheets covering the picture frames.

1. Open the Select From Scene dialog.2. Type the word “glass” in the Find field. Then click on the Name label to organize all objects by that

name.3. Select the three objects named Glass and close the dialog.

Modifying the BRDF curve

Advanced options adjusted

Effects in change in RefractionColor

Faster render options



Note: In order for the listed objects to appear together, youmust make sure that the option Display Children is not selectedin the Display menu of the Select From Scene dialog.

4. As you have done previously, bring this material into theMaterial Editor so that you can edit it.

5. Copy the sample sphere to an adjacent sample area.Rename the material Glass Picture (thin geometry).

6. In the BRDF rollout, make sure the Custom ReflectivityFunction is selected.

7. Change the 0 deg. refl: to 0.3.

8. Assign this material to the Glass objects.

The direct light does not seem to illuminate the metalwindow frames. This generally occurs with metal mate-rials in mental ray and is often due to its default physi-cal properties:

9. Select one of the window frames in the scene.10. Bring the window frame material into the Material as you did

previously. The material name is “metaldvdjk (stained Metal).”11. Change the Diffuse Level value to 1.0 to help pick up diffuse

light.

Note: The metal material option is checked; this function workswell, since it maintains the original Diffuse Color bitmap while reflect-ing the environment.

12. Click on the Diffuse Color swatch and change the color valueto a lighter gray (value: 0.525).

13. In the Advanced Rendering Options rollout, in the IndirectIllumination Options group, change the FG/GI multipliervalue to 0.04. This will create a greater contrast betweendirectly and indirectly lit areas.

Selecting the Glass objects

Changing the picture� glass material

Changing the window frame material



14. Uncheck the Render Changes to Selected Objects Onlytoggle and crop-render an area that includes the windows,picture frames, and the left side of the sofa.

The changed materials are looking very good,but the indirectly lit area of the sofa and sofastool could use a bit more light:

15. Select the sofa stool (ChamferBox01) inthe viewport.

16. In the Material Editor, select its materialslot (third row, sixth column) and in theAdvanced Rendering Options rollout, inthe Indirect Illumination Options group,change the FG/GI multiplier value to 2.0.

Note: This function affects only indirectly litareas of an object, without the need of re-computing the FG file. This function can alsobe used to make indirectly lit areas darker, withvalues such as 0.5 or lower. It is often used forphotomontages.

17. In the Rendered Frame window, click toenable the Render Changes to SelectedObjects Only toggle and crop-render itagain.

18. Repeat this process with the sofa object.

The sofa material is a bit desaturated; to saturate scenes, youwould normally increase the color values of the image controlgroup, with mr Photographic Exposure Control. Since you aretargeting only particular objects in the scene, you will make theadjustments in the material.

19. Select the sofa stool object in the scene, and select itsmaterial in the Material Editor.

20. Make sure the Fast (interpolate) option is not checked, inorder to avoid any glossy artifacts.

21. Click the Diffuse Color Map button.22. If you have not already done so, add the Ambient/Reflective Occlusion (3ds Max) shader; its parameters

should appear. Make sure Samples= 45, Spread= .7, and the Max distance= 100.0.23. Click on the Bright Map button.

Testing the changed materials

FG/GI multiplier

Effects of the FG/GI multiplier

Modifying the sofa material



24. Click on the Bitmap button to access the Material/Mapbrowser.

25. Select the Composite shader and click OK.26. In the Replace Map dialog, choose the Keep Old Map as

Sub-map option, followed by OK to exit the dialog.27. Click on the Color Correct This Texture toggle.

28. In the Color Parameters rollout, dragthe hue shift slightly to the left(approximately –18.5).

29. Drag the Saturation slider to theright (approximately 23.0).

These changes will punctuate the color ofthe bitmap.

30. Create a region to renderaround the sofa stool andthe sofa. Render the cropregion.

The sofa stool is looking muchbetter now, as there is a notice-able improvement in the colorof the leather material.

Note: If your computer is strug-gling to render, reduce theImage Precision settings bydragging its slider values to theleft in the Rendered FrameWindow.

31. Repeat this process forall of the sofa materials.

32. Once completed, closethe sofa group and selectthe sofa in the viewport.

33. Select Render Changes to Selected Objects Only toggle and test render it.

The color of the sofa is looking much better now; however, it is too vivid.

34. In the Material Editor, reduce the Saturation to 5.0.35. Under the Lightness rollout, select the Advanced option.36. Reduce the RGB Gamma/Contrast value to 0.8.

Bright Map button

Color Correct This Texture in the Composite Shader

Color Correct This Texture in the Composite Shader

Effect of color-correcting the stool

Effect of color-correcting the sofa



Note: In the Lightness rollout, you can typically use theBrightness and Contrast tool to tone up or down the bitmapvalues. The Advanced function is the most accurate and reliablewhen tinkering with an object’s brightness/darkness.Professionals often use it in conjunction with the bitmap’s FG/GI multiplier values, in the Indirect Illumination Options group,for the ultimate bitmap’s self-energy reflectance.

37. Use these settings on all sofa materials, except the sofa stool.38. In the viewport, select the sofa objects.39. In the Rendered Frame window, while the Render Changes to Selected

Objects Only toggle is selected, click Render.40. If you have time, repeat this procedure to color correct any material in

the scene that may require it.41. Adjust exposure settings until you are happy with the overall illumination

of the scene.

1.7 Preparing the Final RenderOnce you are satisfied with the settings, you are ready to create afinal render:

42. In the Rendered Frame window, change the Area to Renderto View.

43. Disable the Render Changes to Selected Objects Only toggle.44. Open the Render Setup dialog.45. In the Renderer tab, under the Global Tuning Parameters

rollout, make the following changes:46. Increase the Soft Shadows Precision (Multiplier) to 4.47. Increase the Glossy Reflections Precision (Multiplier) to 2.0.48. Increase the Glossy Refractions Precision (Multiplier) to 2.0.49. In the Sampling Quality rollout, change the filter type to

Mitchell.50. Change Width and Height values to 5.0.51. In the Common tab, under the Output Size group, set the

Width to 4000 and the Height to 3127.

Note: When rendering images of 2K pixels or larger, you will mostlikely wish to use network rendering. This process was described indetail in Chapter 4; please refer to that description for more information.

52. Render your scene.

Adjusting the Lightness value

Effects of adjusting the Lightnessvalue

Adjusting the Renderer settings



day lighting and interior space - routledge

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