Hello everybody!At the forum there are such questions:How to adjust interior lighting?Why do I have a light on the ceiling?Which settings are better for using in rendenge?How to properly model and text the walls?Where to begin?There are a lot of settings, all different, someone uses one, someone else ... So how to do it correctly?This is exactly what you are most interested in.So let us understand together how this is done. I'll show you openly how I do it. Since I really love the site RENDERSTUFF, we will use the settings that we are recommended in the lessons on lighting settings.Let's start from the very beginning.I drove to a stop, measured the whole apartment, drew a plan in the autocad and that's what I got: Above this plan in AutoCAD, I will draw only the contour of the walls with a polyline and save this file separately (removing all but the polyline).I want to make a children's room (the others I've already done). This room is upper left. Open 3ds Max and configure the units. Then, by dragging from the window into the window, I move the AutoCad file with the polyline to the 3ds Max program. We will center our plan on all axes 0,0,0. Include snapping on vertices and corners: We start building the walls in the TOP projection window.The height of the ceilings is 3 150 mm, I take the primitive box, I am attached to the tops, the height in the box is 3 150 mm: I translate the box into Editable Poly, I cut an extra rib: I drag the edge to the desired place, with the included snap to the top it is very convenient, you will not miss: I select the polygon, I squeeze it out to the required distance: By the same method (cutting additional ribs and extruding polygons) I receive a box without windows and doors: Next, we need to make a door and window openings, from the measurements I see, the height of the doorway = 2 100mm, the height to the window sill = 910mm, the height of the window is 1 800mm. We will use an additional primitive box with dimensions of 910 * 910 * 910 in order to find out where the window begins: On it we learn where the level of the window sill and cut the ribs, the same thing we will do in order to measure the height of the window: Remove unnecessary polygons at the window and use the Bridge tool to sew sidewalls: The same will be done for the door (with the help of a box with a size of 2 100-2 100-2 100, to measure the height of the doorway). Remove the unnecessary wall plan for us, which we were targeting, and additional boxes. We will be saved.Create Multi-Sub-object Multi-Component, create 2 V-Ray sub-materials in it, the first one - some color, our walls, the second - white, there will be slopes (do not put the value of pure white 255, put less than 242, for example, it needs To ensure that our white later did not have overexposures). Assign it to the walls. Now we will see that the materials are distributed incorrectly, not as we want. Select our object "walls", go into the polygon mode, select all polygons (Ctrl + A) and set the ID to them first, then again in the polygon mode, select only our slopes (the partition next to the window), set the ID to them 2. Here's what happens at the moment: Let's make the floor and ceiling of our box, draw a spline with the line taking into account the binding on the vertices, using the Extrude modifier, we squeeze it out by 1 mm. Get the floor: We'll copy the floor, put it upstairs, we'll get the ceiling, we'll assign simple materials to them for the floor, brown for the floor, white for the ceiling 242: Put the camera in our room. We will use a standard camera. We'll place it in the room, better with a sight on the window, tk. We will soon adjust the lighting. Adjust the FOV - we'll drive a little further to see more, not just one window: Render. Here's what I got now on the render: It immediately shows that something is wrong. More precisely, we do not have the settings.Change the settings.Adjust the gamma: Settings for Wi-Fi: Render: It's better, but realistic and does not smell.Add lighting to the scene - put the sun, turn on Global lighting. Render: What do we see? The sun is shining. Turn off the sun try to see how without it: Without the sun turned it looks better.Let's connect the sun with the sky, make the sky brighter (we'll put the intensity of the sun 2 in the editor of materials), select the sun, go to its modifier, turn the sun back on, set its intensity to 0.1. With the combination of the sun with the sky it is important to understand what is responsible for what. Those parameters that are in the material editor are responsible for setting the celestial glow, the parameters in the sun modifier are responsible for the intensity of the sun's rays.Put the windows, make the background outside the window.For windows we use free models from Renderstaff, download, attach to the scene, remove the door and the three-winged window, we put the one-stepped window in the right place. We will slightly correct the model by height and width, by moving the vertices, make a copy of the window, arrange it next to it, mirror the copy so that the handle is in the center. I use a single-winged window model, but in this case we will have two windowsills. On the second window we go into the element mode, select the window sill, delete it. Select the first window, enter the vertex mode, select the side vertices of the window sill and pull the window sill to the desired distance. Render: We see that there is no overexposed zone on the ceiling. But behind the window a clear overexposure. Let's correct it by substituting the background for the window. There is at me here such photo which I have made on object: In the max, draw a plane of a fairly large size and put it outside the window: We create a new material for the light beam, in the color slot, where none, prescribe our texture (photo), put the chevbox Emit light on the back side, set the luminous intensity to 15. (the luminous intensity is adjusted depending on what day I want to do. We see that a picture of a cloudy day, and I want to make a sunny day, so I'll put a glow more. If we want to leave an overcast day, we need to turn off the sun in its modifier altogether and make the glow of the plate outside the window less intensive). Render: What do we see? The sun's rays are gone, there was a clear noise on the walls. Let's correct this situation. With the selected background (background), right-click anywhere, a menu will appear, select Properties from the menu, select the Receive Shadows, Cast Shadows checkboxes, click on ok. Again, select the background, right-click, open V-Ray properties. Here, tick off the Generate GI, Receive GI, Visible to GI. Render: The sun reappeared in our room, but still somehow dark. Put the W-Ray light out the window. We draw a light of type Plain, a little less than the size of the window, we have it on my screen. We use the following settings: turn on the Skylight portal and Simple checkboxes, remove the Affect reflections checkbox, Subdivs will put it until 32. Render: Well, the basic lighting settings are made, we'll try to texturize the walls, make a beautiful ceiling, floor, hang curtains, put some furniture, get high-quality visualization ... and night lighting, too, will try.
Hello!In fact, everything is simpler. Doing walls with thickness is not an error. Worse in terms of visualization of this will not happen. Walls with thickness are a rudiment dated back to the times of V-Ray 1.0, when the main engine of GI was a photon map. So Photon map, if I'm not mistaken, just somehow took into account not only the integrity of the geometry, but also its thickness and if the camps were one-sided, light music began, especially in the corners. Now, everyone uses more modern algorithms, such as IM, LC and even more so BF, which is important not for the thickness of geometry, but for its integrity. That is, if you make a box simply by lifting the walls, then all the peaks of the neighboring walls and ceiling must be sewn. That it was one total volume.Now I do this:- As Alexey has told, I cut on Plane a floor under the plan- I lift one-sided walls around the perimeter- Sew the ceiling on them, making sure that the walls and ceiling are sewn into one solid constructionAs an option, you can simply apply symmetry to the raised walls and floor, then you get a ready-made stitched box- At the right height I cut windows, doors, etc. And, doorways do not just make a hole out right through, but necessarily in the form of a wired mini corridor, so that the environment does not leak from under the door- In the windows I pull out the arch slightly to simulate the thickness of the slopes inside the interior- In the properties of the model I put "Backface Cull", making sure that the model's faces are turned inside the interior. Thus, from any angle, even looking at a fully enclosed box, you can always see what's inside. In fact, this is the main thing, why one-sided walls are needed😁- Meplu- Texture and material- Again I go to the properties of the object. I remove "Show Frozen in Gray" and put "Freeze". Thus, the object becomes inaccessible to the selection or movement, without becoming gray.That's all. It turns out a transparent box through which you can see from either side, while the front walls are visible, at the same time the box itself does not interfere with the movement of objects inside it, as it is blocked.But again, this is not a question of the presence or absence of artifacts, this is just one of the approaches to usability in the scene. At the same time, the quality of the rendering is not affected in any way, when using IM or LC. But it is more convenient for some people to work with thick walls, they are so tactile, clearer. And it's just a matter of habit. I also always did the thickness of the walls and even the thickness of the ceiling. And then I just got tired of messing with them and constantly hide the walls, trying to move something inside the interior. So this is just a matter of convenience and nothing more😉
The problem was solved, the model is transparent windows had glass in the viewport, but they were white in the render. But the proposal to fill exchanger want to take, so that you could see my scene😁 There is a small request, I'm sure it will not take much time, I can not understand how there were strange shadows, inside the arch with a mattress, already 3:00 delete objects one by one. settings are taken from your lessons, nothing can`t cope with lighting 🤔 Actually the problem:
Hi Andrew.In your scene there is some source of light (it's not clear where it is located), which I could not find. He's probably standard and very well hidden😁 He probably joined the chandeliers, so be careful with them. Firstly, they have a standard light source inside them (not a Vray), secondly they carry an additional common light source that illuminates your scene even when the sun and sky are turned off, although if the sky and the sun are off, the scene should be black when the Global coverage. At you the scene all the same is shined, only here than - I did not find. What I did: I selected the walls and tiles on the floor, kept the selected one, added to the clean max, made the initial settings, set the sun, connected it to the sky. Then, in the old scene, she singled out the sofa zone, attached it to a new max, also with curtains, vases and a table, then put the portal in the window and excluded the curtains from its lighting. Some paths to the textures were cut off from me, so I stuffed them with ordinary Virey stuff.The glass in the windows has the wrong material, so you do not see your background outside the window, remove the glass and the background will immediately appear.I still give you a link to the corrected max, I will save it for the 2010 version (it will not open much if)Be careful with attaching models to the scene, always save before you want to attach something, so you can roll back a step, if you have such problems, rather than rework the whole scene and search for mistakes for hours, losing precious time. Even look, your main arch has pronounced steps (when you draw a spline for an arch, wind the interpolation steps to smooth this moment)Http://f-bit.ru/361207Good luck!
Well, I want to say - if you did the scene yourself, then I do not understand how. I myself wrote a lesson, just have to go through all the steps and get normal lighting. Let's say you made all the settings, you turned on GI (global lighting), put the sun and the sky. Now I have the following:If I turn off global lighting, the sky and the sun, right here,Then I'll get the black square of Malevich, about which you wrote earlier.If you do all this in your scene, then I will not get a black square - everything is just something shining. The question is what? I probably do not know everything about lighting, but I will have a question for you - What should I do to remove all the lighting in the scene? And, your sky does not react to any changes in the intensity of its glow, as well as the sun. Therefore, you can not adjust your scene in the light, you can not achieve normal lighting, despite all the repeated settings. A bunch of sky and sun should be true and SHE SHOULD BE ONE !!! I had a situation when I did two bundles, maybe three (by instance - the sample), then all of them were lost due to the release of the balls in the materials editor, I made the last fourth, tried to adjust it, and she did not respond to the adjustment . I realized that you only need to bind and regulate once.The way out of your situation is exactly the same as for your predecessors - to allocate the geometry (walls, floor, ceiling, cube near the window), save the selected one, attach to the new pure max by Merdge, and then put the sun, bind to the sky, set the initial settings Render and enjoy the work.By the way, the scene called "Nikitosik" Max did not open it ...Your corrected scene (I'm returning your portrait)Http://f-bit.ru/374705
All right, make a bunch and everything will be fine.Katerina, all your problems come from a misunderstanding of the essence of the bundle. You do not understand why you need it and what to do with it.Imagine that in the scene there are two sources of light: the sky - it is it that illuminates the room, and the sun - gives the sunlight. When we connect these two parameters to each other, they begin to work together, give a realistic light, yet they can be adjusted separately. Let's say that now, without a bunch, in your scene you can adjust that yellow spot - the light from too bright sun rays, by reducing the intensity of the sun's glow. But in this case the scene will become darker - the sky will automatically lose its luminance brightness. If you make a bunch, then each parameter can be adjusted separately: too much light from the sun? - Reduce its brightness, the sky will not change its glow. Is it too dark? - Increase the intensity of the sky - the sun's rays will leave their brightness.In general, I do not know how else to explain. It is necessary to sit down together, so that you do, and someone corrected mistakes and explained. As the saying goes: "It is better to see once than hear a hundred times." Look at the lesson, there is no bundle in it, but maybe it will help you in some way.Http://viscorbel.com/interior-lighting-with-v-ray/And yet - why do you use the Mental Ray materials in the Vireevskaya stage?There are many different visualizers, the most famous: Skyline and Mental Ray are built into the max. Wi-ra is a plug-in that needs to be installed additionally. At the same time, you will notice that a new type of material has appeared - Vira. They are specially created for this plugin, and if you use Vira as a visualization engine, then you must use the Vira materials. For skylight - standard, for Mental Ray - Mentalaleevskie materials. Stirring is not recommended, they are not friendly with each other. 😉