Alright, I've had some requests to do some interior stuff, so, what I'm going to
do is apply the stuff we've already learned for exterior; the modeling and
all that kind of all those kind of things the materials and just show you
how to apply it to an interior. It's a little different for interior the unique
part that's especially for interior is the lighting that's going to be a little
different so what I've done is I've set up a basic box here just out of polygons
and I put a camera inside I'm using v-ray again and if you're a physical
camera and I've got these windows on the side so this is just a very basic room
I'll show you how to do a basic lighting setup for an interior scene like this
first thing you have to consider is kind of well first of all let's put a generic
material on this so we can light it with just an all grey material and we'll
figure out the lighting before we really put any colors into the scene and that's
one way to do it it's not the only way to do it you don't have to do it that
way but in for the sake of time I'm going to do it this way and not spend
all the time to put colors and materials everywhere because this is just for
demonstration purposes so make sure you take your physical camera and you set
your vertical tilt to be correct minds not cooperating for me it is set
properly but it's not displaying that's okay but we need to make sure that the
vertical lines are straight up and down like I showed you in the exterior series
this polygon here I've detached I'm going to make one material for that
and it's going to be a glass and we'll make it similar to we've the way we've
made other glass set it to solid black I'm going to be going through this
pretty quick because we've gone over a lot of this before
you can see I have updated my version of v-ray but basically everything is the
same it's just moved a little bit around so for now reflections will be Vaughn
for that glass turn up the reflection a little higher for refract what we're
going to do here is make it pretty refractive
and because this is a single plane we're going to kind of take off all the index
of refraction just set it to one point zero one kind of the magic number so
nothing's really distorting as it goes through that glass because it's a single
plane the distortion doesn't work like it really would if this was a double
plane if I put a shell on that polygon which I can do let's do it that way it's
a nicer way to do it but just keep this in mind put a shell
on it of let's say 0.5 inches then you would just leave that refraction on one
point-six will work leave that index of refraction number now the important
thing here is going to be effect shadows that makes it so the direct light can
come straight through that window let's apply this to the polygon call it glass
okay so now we have a basic gray material on everything and then this
class so I'll show you how to get the direct light coming through there
remember effect shadows needs to be on for that direct light to go through that
glass let's do one other thing units move this glass into the mullions a
little bit like that that's great okay v-ray son go to the lighting tab drop
down to v-ray go to v-ray son and just click where you want the son to be and
drag where you want it to point would you like to automatically add a various
guy environment map yes let's go to the right view and raise that son up a
little bit so that will be coming in at that angle there
now one thing you need to keep in mind when doing this is that the v-ray camera
and the v-ray Sun is all set up for physical accuracy so the Sun is set to
be as bright as the real world Sun so in other words it's very very bright so in
order to get the right exposure you'd have to turn on exposure in your camera
and turn your shutter speed up like with a real camera so that it doesn't get too
bright but what I like to do and this is this is another way to do it's kind of a
workaround you can just set this to about 0.05 the intensity multiplier of
the Sun then you can just turn off the factor exposure factor and turn off the
VIN yelling as well that way the Sun is now dim enough that it's not totally
blowing out your scene and the you're just using default exposure for the
camera now all that really does is take one more factor out of your lighting
equation because it's kind of a moving target if you're trying to adjust both
of these at the same time and trying to get the exposure just right so I just
take one out of the equation and only adjust the Sun now that's one way to do
it you can also just leave the exposure on
set all your lights how you think they should be and then just adjust your
exposure up and down until it looks like the right exposure so we've got our Sun
let's do a basic rendering now okay one other thing I should mention before I
render this is what it was coming out like but obviously there's a big purple
plane outside I don't remember if I showed you before but that's a v-ray
plane so it's that and if you go to create object v-ray beer a plane you can
create that and it's just an infinite plane basically so I've said it doesn't
matter where you set it in your scene in the X and y-axis but in this is in the
z-axis the Z world axis it does matter so I've set it just below the floor the
only thing I forgot to do is assign this grey material to it
and that plane extends infinitely upwards so let's try rendering again
we're looking pretty good here we as you can see effect shadows is working the
lights coming right through the windows and of course with the global
illumination on the light is hitting the floor bouncing up through the room and
lighting the entire room super simple setup but it gives you a very nice
effect with a nice soft lighting in the whole room just from putting that direct
light in so if you wanted a scene where only direct light is coming in you could
put these big windows fill up the whole room with it and you're pretty much done
lighting your interior scene now all you have to do is fill it with nice
furniture but I am going to show you a couple other things in case you want
different lighting situations so let's let this render okay that's pretty clean
right there you can see the nice light the nice crisp light coming through and
it gets a little fuzzier over here as it gets further away from the source of the
shadow casting of course you can always take your Sun and you can increase the
size of it say like six and it'll crease the size
of that disc and what that does is make your shadow as much softer like maybe an
overcast day maybe let's exaggerate it a lot just to see what it'll do size
multiplier see what that looks like okay now you can see that the shadows are
much softer they're not very clean because my settings are low but you get
the point you get these very nice big soft shadows if you make that Sun that
light source really big now that's something you need to keep in mind when
you're lighting with v-ray lights on the interior as well let me show you that
actually before I get to that let's show you one other technique which is to put
a big v-ray plain light again v-ray lights create v-ray no lighting tab here
a light there's a couple different kinds of
lights here plain dome spare mesh disc okay
we are going to use the plane it's the one I use probably most commonly and the
names are self-explanatory but mesh is any object that you want to make self
eliminated now I made a very plain about the size of that window it's a plain
light let's place it just outside the window and we're going to pump it
through that glass to make it so that there's a nice diffused light coming in
from the windows like they're a giant light source you don't want to play this
up too much in fact two might be the multiplier we want and I remember when
you have a large light source like this the intensity increases with the size so
a really big light like this set at 2 is actually a lot of light coming out it
was a tiny little light set at 30 it would still be probably less than this
ok so the size matters as far as intensity so if we set it at 2 and if
you set it to like the color of the sky it'll basically be pumping environment
light into that room this is a technique that people use a lot to light their
scenes with a natural-looking lighting so let me render that for you now one
important thing I forgot to tell you is to make that light invisible because as
you can see that the direct light was not coming through that light it was
hitting it and you're actually seeing the solid light right there so make sure
it's invisible you can actually turn off effect reflections because you don't
want to see that in like a mirror or something because we want it to be
hidden but it can still affect the diffuse that means it's lighting the
room still and the specular that means it's putting highlights on objects in
the room so let's try that again
okay you don't really see it a lot because it's not overpowering this
direct light very much at all but it is a subtle light coming in you can see it
hitting the wall right there is bluish tint up here where we put in that wall
you might want to turn that up you might want to not have it at all because this
room is small and that direct light is really filling up the room with light a
lot so you might not need it there if you had a smaller window you definitely
want to pump some more light and using a beer a plane outside so that is another
technique now a little bit about your interior lights there's basically really
two different options and that's all you need to know essentially there's the
regular v-ray light and there's a plane a dome is for environment lights so you
wouldn't use that for an interior a sphere is just a ball that puts life and
light in all directions a mesh is any object that you assign it to will become
a light and the disk light is is like a well it's exactly what it says it's a
disc shaped light okay disc is a newer feature in the newer
versions of viewer you may or may not have it but because it's new I haven't
really worked it into my workflow yet but I've always used just planes for
lights on the ceiling but really disc will probably be what I use more in the
future moving forward because usually I'm putting can lights in the ceiling
and they're shaped like discs not planes but let me show you how to do with
planes and the same basically all the same things will apply to a disc as well
so plane light if you have like a six inch can up here put your half width and
your half length at about three inches that's exactly what it says it is that's
half the width and half the length of that light so if it's half is three then
the full six so that's about the size of a can light okay make sure and put that
up here now you'd actually model a can light too and then you'd probably put
this right in front of it so that the model of the candlelight is
probably got a self illuminated bulb on it but that's not what's actually
lagging you're seen you put a light in front of it to actually like the scene
that's the best way to do that and then this would be somewhere around sometimes
these get high like a hundred maybe and you'd put them with probably a warmer
light because most light bulbs are warmer in people's houses you have
somewhere like around in here right something like that that's like a soft
white light bulb okay and those will be invisible too because you don't want to
see that plane sitting in front of your modeled can light these can affect well
no you don't want those to affect reflections either what that means is if
you have a mirror or something in your room and you see the can light in your
mirror you'll see that light sitting in front of it so you don't want that but
it will still make highlights on objects in your room because effect specular is
on okay now the other thing that you subdivisions is kind of the quality of
light coming off of it you don't usually have to mess with the default the other
thing that you might want to mess with is the directional so zero means that
it's going straight out to the sides and down from this plane okay so it's going
like in an arc like that around the light if you put directional to one that
means it's coming only in the direction of the normal in that arrow coming off
the light so it's going straight down and it maintains that profile all the
way down to the ground so you'll see a light it's like a spotlight coming right
down to the ground you'll see a light in the shape of this plane being cast right
onto the ground so that's not what you want but you might want for a can light
they are directional somewhat so you might set this to many point two or
point three let's move it over by the wall so we can
see how it's cast and I'll just do a quick render of it for you let's make
sure it's in a good place in our room let's put it like over here and render
okay here you can see that that plain light casting light down the wall you
see it doesn't fan out too far because I did put some direction on it obviously
it's a little too close to the wall but the intensity looks pretty good I think
let's change that real quickly to a disc you'll see that it'll look basically the
same but let's make it a little more directional point six and I'll show you
how it looks let's move it away from the wall a bit
and let's put a few more in here hold down shift instance it twice and then
we'll instance it three times across the room like that now I've got a bunch of
light in there and these are all instance so if you turn down one which
because we've got so many in here now we'll probably want to turn them down so
70 that'll turn down all of them let's
let's turn this up a little bit let's turn our Sun back to the regular size
okay and we'll see how that looks really quick all right well there you
have it that's pretty much a basic setup for an interior lighting you can see
that the brightest spot of course is where the Sun is hitting as it should be
but you have a nice balance of artificial light in here too it's a
little bit being cast on the walls and over here you can see there's a lot of
light from those canned lights we've put in there's very subtle light coming from
these windows from that big plane so really it's a nice bright kind of a
little bit maybe overexposed but once you start putting color in there I think
it's all going to look good so if you want to know how to fill this up go
check out my 3ds max furniture class and you'll see how to model knickknacks
objects and furniture to put inside this scene that should be very helpful to you
and the only other thing I want to mention is that the other option here
for lighting for these cans you could also use a
v-ray IES light which is right here let's move editor talk to you to put
that in where's Matt
ah so we want okay there you go so that just looks like a sphere with a
target on it which is all fine but if you don't know what IES lights are then
they're just a file that you can assign to this light which is put out by the
manufacturer of actual lights and it gives you the exact pattern that that
light will light will be cast in so all you have to do is assign that file here
so if you search the internet for dot IES files you will find some and usually
they'll have a preview with them of how that light is going to cast so you know
each bulb casts in its own particular pattern and that is provided by the
manufacturers of lights oftentimes with an IES file so you can assign it here
and then you just kind of adjust it like you would any other light with the
intensity and here you adjust it with color and power down here so the
settings look a little different but the idea is all the same and that can give
you a more accurate look to your lights and how they're casting on the wall
they're oftentimes not necessary but if you really want to showcase a nice
scallop on your wall of light then you could use IES lights and if you need to
be particularly accurate for some reason you can get the information from the
manufacturer and plug it right into these lights so that is the other option
the only other thing is like a sphere light so if you had a big pendant light
hanging down in the middle of this room or a chandelier or something you can
just put a sphere light in the middle of the room like that and all that is is
just like the plain same settings as the plane except it's casting in all
directions so that's basically all there is it is to veera lights and this is the
very basics of how you would set up a v-ray interior so again if you want to
know how to finish something like this off with furniture materials just check
out my other courses particularly the furniture master class
because that's all about making the high poly objects that would go in seen like
this to really make it look sharp so thanks for checking this one out and
we'll talk to you soon