STEP BY STEP EN­HANCE YOUR AR­CHI­TEC­TURAL SCENES

3D World - - ARTIST Q&A -

01The Fram­ing IS a Must

first thing we have to con­sider is the for­mat of the im­age. In this case I am do­ing an in­te­rior and I am in­ter­ested in show­ing as much of the space as I can, but also mak­ing the space look big­ger than it re­ally is. With my model ready I set the size of the im­age, in this case I set a 1.7 Im­age As­pect which is the one I use the most for in­te­rior scenes like this. Now it’s time to set the safe frames, so I go to View­port Con­fig­u­ra­tion and in Safe Frames I set Ac­tion Safe to 66 in Hor­i­zon­tal and 0 in Ver­ti­cal. For Ti­tle Safe I set 0 for Hor­i­zon­tal and 66 for Ver­ti­cal. Ac­ti­vate Show Safe Frames in Ac­tive View, Ap­ply and then OK. Now we have a rule of thirds grid in our view­port. This grid en­ables me to see where I want to set the fo­cus points: in this case I am aim­ing for the din­ner ta­ble as the main tar­get and I want to bal­ance the weight of the left and right ar­eas in our im­age.

02 cre­ate vol­ume with Shad­ows

Light­ing makes a huge dif­fer­ence in our scenes, and I like to do lots of tests be­fore de­cid­ing on a fi­nal re­sult. Most of the time I use a Corona Sun, as it’s faster than HDRI and I’ve de­vel­oped my work­flow with it. Once I have the Corona Sun I like to ac­ti­vate the in­ter­ac­tive ren­der, be­cause it al­lows me to see the ef­fects of the sun. The most com­mon mis­take I used to do was set­ting my sun right in front of the win­dows. We can get nice shad­ows this way but if we look for ref­er­ences we will see that there are more sub­tle ways the light en­ters and lights the space. In this case I de­cided to have light com­ing from the left win­dows so we could have a more im­mer­sive sen­sa­tion, in­stead of only re­ceiv­ing light from the ob­vi­ous front of the win­dow. Al­ways keep in mind that we need to be able to see vol­ume in the im­age, no mat­ter how sub­tle it is.

03 Play with the MOOD

The nat­u­ral light will be the only light com­ing into our scene, so if the light is not so hard we can con­sider it as a pre-dawn light setup. So what I do next is go to the white bal­ance tool from the Corona buf­fer and change the val­ues un­til I have a more warm look. Once I had achieved a pretty nice white bal­ance I changed the ex­po­sure; we can lower the light as much as we want but al­ways keep the func­tion of the im­age in mind. Next it’s time to ren­der the whole scene.

04 add the right back­ground

One of the el­e­ments that can ruin a good im­age is the back­ground. What we have to con­sider is ren­der­ing the back in black. In Corona’s en­vi­ron­men­tal over­rides check the Di­rect Vis­i­bil­ity over­ride; we can ren­der the back in black, which can be re­moved eas­ily in Pho­to­shop. Once we have re­moved the back­ground it’s time to add the scene we want as the back of our ren­der. I have added a long field back­ground, and here comes the most im­por­tant thing: keep an eye on the im­age ex­po­sure. If we have a bright scene, the back­ground ex­po­sure will be higher, so we will have a brighter im­age. In this case we can use Pho­to­shop’s Bright­ness and Con­trast ad­just­ments. The same needs to be done for each el­e­ment we use to add de­tail to the back­ground, for ex­am­ple clouds, moun­tains and so on.

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