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1 Interior space in daylight

2 Bonus Chapter 1 Day Lighting an Interior Space 1.1 Introduction In this chapter, you will learn about lighting an interior scene while you work on the lighting for the living room interior. Specifically, you will learn: An efficient workflow for working on a scene s illumination once materials have been applied to the entire scene 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 Scene Before beginning on a new 3ds Max Design scene, it is imperative that you ensure that the units are properly set up in your scene. Otherwise, you will later encounter a number of undesirable results. Please refer to the appropriate section in Chapter 1 of this book to properly set up the units in your scene. 1.3 Creating the Daylight Object To 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

3 Bonus Chapter 1: Day Lighting an Interior Space Files Load: Units Mismatch dialog 3. In the Create menu, select Lights > Daylight System. 4. The Daylight System Creation dialog box appears. Click Yes to accept the default and close it. Accessing the Daylight System The Daylight System Creation dialog 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 ray Sky dialog appears. Click Yes to accept the default and close it. Creating the Daylight System mental ray Sky dialog 3

4 Realistic Architectural Visualization with 3ds Max and mental ray 7. Move the cursor farther away from the Compass to create the Daylight System object. Click to finish the creation process. Right-click to exit creation mode. 8. Click the Zoom Extents All button. mental ray Sky dialog Note: This is the reason behind having the four viewports displayed so that one can clearly control the extent of the Daylight object. 9. While the Daylight System is still selected, go to the Modifier tab of the Command 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 the Daylight object can be freely moved around the scene. At a later stage, you will see the benefits of using the other two options (i.e., Date, Time and Location and the 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 and set the rendering level to Smooth + Highlights. Changing the calculation of the Daylight Parameters to Manual 4

5 Bonus Chapter 1: Day Lighting an Interior Space Smooth + Highlights mode Enabling Hardware Shading 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 Options for viewport rendering 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. 5

6 Realistic Architectural Visualization with 3ds Max and mental ray Object filter 16. Click on the Daylight object and move the light so that the light and shadows appear approximately as you see in the camera viewport. Daylight object, positioned manually 6

7 Bonus Chapter 1: Day Lighting an Interior Space Note: Viewport rendering provides an interactive means of adjusting the shadows in the viewport and avoids unnecessary rendering time. Daylight object, repositioned manually 17. To be precise, you can move the Compass and the Daylight object to the following position: Compass Helper: X: 440, Y: 1635, Z: 1108 Daylight Object: X: 10671, Y: 16688, Z: Note: You will need to remove the Lights Selection filter (change it to All) or change it to Helpers so that you can reposition the Compass. 18. Open the rendered frame window by clicking on its button on the menu bar. Once opened, click Render to check the current status of the scene. Initial render 7

8 Realistic Architectural Visualization with 3ds Max and mental ray The scene appears dark; this could be due to the lack of FG in the scene or a required adjustment in exposure control: 19. On the bottom of the Render Frame window, move the Final Gather Precision slider to Draft. 20. Change the FG Bounces to Render the scene again. Unfortunately, the scene is still very dark. The next step is to check the exposure control. 22. In the Rendered Frame window, click Turn on Final Gather Effect of Final Gather on the Environment and Effects dialog (Exposure Control) button. 23. In the Environment and Effects dialog, mr Photographic Exposure Control rollout, select the Physically Based Lighting, Indoor Daylight selection from the Preset list. Accessing Exposure Control Adjusting the Exposure Control Preset 8

9 Bonus Chapter 1: Day Lighting an Interior Space 24. Test render the scene again. 25. In the Environment and Effects dialog, mr Photographic Exposure Control rollout, change the Shadows value to 1.0 and the Vignetting to Effect of Exposure Control Image Control 26. Render the Camera view again. The next step is to create the tint of blue normally associated with diffused shadows from the sun and often visible on indirectly lit areas. 27. While the Daylight object is selected, go to the Modifier tab on the Command panel. Under mr Sun Basic Parameters, uncheck the Inherit from mr Sky function. Effects of Image Control Next, you will reduce the directly lit areas of the image slightly and boost the indirectly lit areas: 28. In the mr Sun Basic Parameters, reduce the Multiplier to In the mr Sky Parameters rollout, increase the Multiplier to 2.0. Disconnecting the sun color from the mr Sky Adjusting Sun and Sky levels 9

10 Realistic Architectural Visualization with 3ds Max and mental ray 30. Render the scene. Note: The sky outside has become slightly brighter. This is due to the mr Physical Sky Environment map being linked to the sky parameters of the Daylight object by default. This is changeable. Next, you are going add a blue tint to the indirectly lit areas: 31. Under mr Sky Advanced Parameters in the nonphysical tuning group, Effects of adjusting Sun and Sky levels decrease the red/blue tint values to In the Command panel, Create tab, select the Lights button, and then mr Sky Portal. Adjusting red/blue tint values mr Sky Portal Placing the mr Sky Portal 33. In the Front viewport, click and drag the portal to cover the windows area as shown. 34. In the Top viewport, move the portal to a position just outside of the windows. 35. While the mr Sky Portal is still selected, open the Modify tab of the Command panel. Change the following parameters: Multiplier: 5.0 Placing the mr Sky Portal 10

11 Bonus Chapter 1: Day Lighting an Interior Space Filter color to Medium Blue (R: 0.353, G: 0.525, B: 0.714, Alpha: 1.0) Length: 3000 mm Width: mm 36. Enable the Flip Light Flux Direction toggle so the arrow icon points toward the window. Adjust the mr Sky Portal parameters Flipping the mr Sky Portal directional arrow 37. In the Advanced Parameters rollout, in the Color Source group, make sure the Use Existing Skylight toggle is enabled. 38. Test render the scene. Effects of the Sky Portal The Final Gather settings and colors look good now. The next stage is to save the FG settings into a Final Gather Map file. Saving the FG settings allows you to Flipping the mr Sky Portal directional arrow tweak the exposure and material settings without having to resave the FG Map. Note: When using a mr Sky Portal, you can use an hdr image to add realism to the light being emitted by the portal. To do so, go to the mr Sky Portal Advanced Parameters, in the Color Source area; choose the Custom function and add the relevant image from its adjacent map button. 39. In the Render Setup dialog box, under the Indirect Illumination tab, scroll down to the reuse (FG and GI Disk Caching) rollout, and check the calculate FG/GI and Skip Final Rendering function. Rendering the FG Map file 11

12 Realistic Architectural Visualization with 3ds Max and mental ray Note: This function is fast, as it will focus on computing the FG process and will not render the image. 40. Under the Final Gather Map group, choose the Incrementally Add FG Points to Map Files option. Next, you will set the name and location of the FG Map file: Final Gather Map setting 41. Click on the file button in the Final Gather Map group. In the Save As dialog, give your FG file an appropriate name and click Save to close the dialog box. Naming the Final Gather Map file Note: You should generate your FG file on one computer only; in addition, you should never use distributed bucket rendering to generate FG files. 42. In the Render Setup dialog, go to the Processing tab, and enable the Geometry Caching function. This will speed up the translation process in future renders. 43. In the Indirect Illumination tab, click the Generate Final Gather Map File Now button to create the FG Map file. Enabling Geometry Caching The Render dialog will process though the Final Gather calculation and stop before rendering a final image. 44. Now that the FG Map file has been generated, go to Final Gather Map group pulldown list, and choose the Read FG Points Only from Existing Map Files. 45. Uncheck the Calculate FG/GI and Skip Final Rendering Functions. Generating the Final Gather Map file 12

13 Bonus Chapter 1: Day Lighting an Interior Space Generating the Final Gather Map file Locking Geometry Caching 46. Since geometry will not be changed from this point onward, go back to the Processing tab and lock the Geometry 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 where other 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 final image. 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 in the Render Frame window. Adjusting the image precision Note: The image started rendering straight away, skipping the Final Gather process. 13

14 Realistic Architectural Visualization with 3ds Max and mental ray 48. If your computer is taking a long time to render, reduce the image precision settings with the slider. During the render tests, switching from High to Medium Image Precision can save a considerable amount of 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 precision settings images will still look grainy. To overcome this, start by increasing the output size: Image with high image precision 49. Go to the Render Setup dialog s Common tab and set the Output Size to pixels. 50. In the Render Frame window, change the Area to Render to Crop type. 51. Move the Render Crop window in the Camera viewport to focus primarily on the sofa area. 52. Prior to rendering, click the Clone Rendered Frame Window button to crossreference the changes in the Changing the Area to Render scene. 53. Click Render to render the Cropped Area. Changing the render s Output Size Cloning the current render Moving the crop area in the viewport 14

15 Bonus Chapter 1: Day Lighting an Interior Space The image is looking much better now; however, one can seesomegraininessinsomereflectiveareas.thisismainly to do with output size as opposed to the glossy reflections/ refractions settings. For the purpose of this exercise and for quick feedback, keep the current resolution as is. Rendering of the cropped area It is worth mentioning that common practice for visualization companies is to create final renders at resolutions of 5000 pixels or more. Creating crop/region renders at this full resolution is a way of investigating what certain areas of the image will look like. Generally speaking, final renderings of 3000 pixels should be enough for a crisp image, but some interior scenes may require 5000, 6000, or even 7000 pixels to eliminate graininess. 1.4 Fine-Tuning Material Properties Some of the materials in the scene require some adjustment to produce an improved image. Start with the small leather 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 the Main toolbar to disable the Crop Lasso in the viewport. 2. Toggle UI Overlays and the Toggle UI off from the Rendered Frame window dialog to make more space. 3. In the Camera viewport, click the Shading Viewport Label menu and select the Edge Faces option. This will make it easier to select objects in the scene. 4. Select the leather seat in the viewport. Toggling the UI in the Render Frame window Edge Faces mode Viewport in Edged Faces mode 5. Open the Material Editor. 15

16 Realistic Architectural Visualization with 3ds Max and mental ray The material slot with the filled white triangles at the corners is assigned to the selected object in the scene (third row, sixth slot). 6. Select the material slot. 7. Go to the Special Purpose Maps rollout. Change the Bump value to 1.0. Viewport in Edge Faces mode 8. While the sofa stool (ChamferBox01) is still selected, go to the Render Setup Changing the Bump value dialog, Renderer tab, Rendering Algorithms rollout, and select the Render Changes to Selected Objects Only option in the Subset Pixel Rendering group. This function will allow us to improve the render times, as it will render only the selected object(s) from the previous render. 9. In the Rendered Frame window, toggle on the UI and UI overlays. Toggle UI and UI Overlays back on Rendering only selected objects Render changes to selected objects only toggle in the Rendered Frame window 10. In the dialog, notice the toggle with a green box and teapot this is a toggle for Render Changes to Selected Objects Only option previously enabled. Note: This function only works when you do your initial render with the feature first turned off and then subsequent renders with the feature turned on. Subsequent renders will render only the selected object. In addition, the camera position and area originally rendered must remain intact. 16

17 Bonus Chapter 1: Day Lighting an Interior Space 11. In the Rendered Frame dialog, change the Render Type from Production to Iterative. Iterative rendering This change will keep intact the previous renders and only update scene changes on the Rendered Frame Window 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 normally used 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 keep your eye on the sofa stool in the lower left of the cropped area to notice the change in the image. Unfortunately, the value of 1.0 doesn t seem to make a lot of a difference. 13. Change the Bump value of the material to Test render. You will now fine-tune other areas of the scene with crop render: 15. Unclick the Render Changes to Selected Objects Only toggle in the Rendered Frame window. 16. Click the Edit Region toggle to activate it. 17. In the Camera viewport, move and expand the crop area to the top of the viewport. Effects in the change in Bump values Render toggles Moving the crop region to the top of the wall 18. Once you are done moving the crop region, click on the Edit Region toggle to deactivate it. 17

18 Realistic Architectural Visualization with 3ds Max and mental ray 19. Test your render. The render looks okay; however, certain objects could benefit from functions such as round corners and ambient occlusion. 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). The new cropped region 22. Go to the Special Effects rollout. Note that Ambient Occlusion is on already. 23. Check the round corners option and set the fillet radius to 5.0 mm. Select the Cupboard 24. In the Rendered Frame window, click the Render Changes to Selected Objects Only toggle to enable it. 25. Click Render. Effects of adjusting Special Effects parameters Note the nice corner highlights generated from the corners of the cupboard. Adjusting Special Effects parameters 26. Select the wall in the scene; its material is the first sample along the third row. Select the material slot. 18

19 Bonus Chapter 1: Day Lighting an Interior Space 27. In the Main material parameters, click on the Color map button. 28. Once at the bitmap level, select the Material/Map button. 29. Select the Ambient/Reflective Occlusion (3ds Max) shader. Color map button Selecting a new shader 30. In the Replace map dialog, choose Keep Old map as a Sub-map. 31. In Samples, change the Value to 45. Samples set the smoothness/quality of the shadows. 32. Verify that there is a map in the Bright map slot. This map 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 parameters Diffuse Color swatch. Adjusting the Ambient/Reflective Occlusion Shader values 33. Set the Spread value to 0.7. This value controls the radius value of the limit of the shadows. 34. Set the Max Distance to 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/Reflective Occlusion (3ds Max) shader will add the lost detail. The values used in this scene worked well; however, you will have to fine-tune these values, depending on the size of the scene. For example, many architectural companies work with the meters units system set up; therefore most of their objects in their max scenes will be realworld-size objects in meters. When working on these types of files, the following settings may be more suitable for a file of that type: Samples: 45; Spread: 3.0; Max distance: While in the Ambient/Reflective Occlusion map, click on the Go To Parent button to return to the top of the material. 36. In the Special Effects rollout, enable the Round Corners option, set the Fillet radius to 5.0, and enable the Blend with Other Materials option. 19

20 Realistic Architectural Visualization with 3ds Max and mental ray Note: Blend with Other Materials is used to emulate joined walls, welded metal frames, and so on. Its appearance is also dependent on the fillet radius values. Round corners should only be applied to squared objects with no bevel on, and its values should vary if the objects are too big or too small. The rule of thumb is to use the tape helper around the object, to determine the length of its corner values. In addition, the round corner may not be very apparent if the object is in shadow. Special Effects parameters for the wall material 37. Apply the Ambient/Reflective Occlusion (3ds Max) shader to all Non-Transparent Arch & Design materials in the scene. Note: When using any of the Arch & Design metal materials (i.e., brushed or satined metal), the Ambient/Reflective Occlusion (3ds Max) shader needs to be enabled, as by default the diffuse color is disabled. 38. Once you have adjusted the materials, make sure to do a test render of the previous cropped region. 1.5 Working on the Outside Environment Up to now, the outside environment has been a bit washed out and a bit too reflective. In the next phase, you will eliminate these artifacts 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, click on an unassigned material (third row, fourth material slot). 4. Click the Get Material button. 5. In the Material/Map browser, click Browse from Group and choose the selected option. 6. Double-click on the material, and it will be assigned to the active sample area. Selecting the material for the background Diffuse map in the General Maps rollout Material/Map browser Selecting the material for the background 20

21 Bonus Chapter 1: Day Lighting an Interior Space 7. Close the Material/Map browser. 8. In the Rendered Frame window, enable the Edit Region button, and in the Camera viewport, move the cropped area to the window side of the view. 9. Render the crop region. The background image is not as Moving the Rendered Crop window washed out as before, but you will need to adjust the RGB values of the map to further bring out the image. Rendered, cropped region of the background 10. In the Material Editor, click on the material s Color Map button. 11. Once at the bitmap level, select the Bitmap button. 12. In the Material/Map browser, select Composite. Diffuse Color map Switching to a Composite map 13. When the Replace map dialog appears, select Keep Old Map as a Sub-map, and click OK. The rollout in the Material Editor changes to reveal Composite Layers parameters. 14. Click on the Color Correct This Texture button. Note: There are a number of useful settings to color correct materials; however, when dealing with exposure, you need to enable the Advanced option for better control. Color Correct This Texture button 15. In the Lightness rollout, click on Advanced. 16. Change the RGB Gain to Change the Gamma/Contrast to

22 Realistic Architectural Visualization with 3ds Max and mental ray 18. Test render the cropped image of the background. 19. Exit Isolation mode and render the cropped image again. Adjusting the Lightness of the bitmap The background renders much better now. Next, you are going to change the Window Glass type: Adjusted background image 20. Select the Window Glass object in the scene. 21. In the Material Editor, select its material slot (fourth row, sixth slot). Adjusted background image with the rest of the scene Since the Window Glass object is a box object with a thickness, you should change its properties to a nonrefractive glass window material. 22. Under Templates, choose the glass (thin geometry) type from the dropdown. 23. Change the name of the material to Glass (Thin Geometry). 24. Test render the cropped area again. The image is looking much better now; however, the glass seems a bit too blue and could be a bit more reflective. Test rendering with new Glass material 25. In the Material Editor, click on the Color swatch in the Refraction group. New Glass material Refraction Color 26. Change the color to a light green: R: 0.886, G: 0.918, B: 0.859, Alpha:

23 Bonus Chapter 1: Day Lighting an Interior Space 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 Custom Reflectivity Function option. 30. Change the 0 deg. refl: value to 0.5. Modifying the BRDF curve 31. In the Advanced Rendering Options rollout, in the Advanced Transparency Options group, enable the Transparency Propagates Alpha Channel option. 32. In the Fast Glossy Interpolation rollout, make sure the Interpolation Grid Density is set to 1 (same as rendering). Effects in change in Refraction Color Advanced options adjusted 33. In the Rendered Frame Window, click on the Render Changes to Selected Objects Only toggle and change the Render Type to Iterative. Faster render options 1.6 Adjusting Materials The next step in adjusting materials will be to increase the reflectivity of the glass sheets 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. 23

24 Realistic Architectural Visualization with 3ds Max and mental ray Note: In order for the listed objects to appear together, you must make sure that the option Display Children is not selected in the Display menu of the Select From Scene dialog. 4. As you have done previously, bring this material into the Material 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 Reflectivity Function is selected. 7. Change the 0 deg. refl: to 0.3. Selecting the Glass objects 8. Assign this material to the Glass objects. The direct light does not seem to illuminate the metal window frames. This generally occurs with metal materials in mental ray and is often due to its default physical properties: Changing the picture glass material 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 works well, since it maintains the original Diffuse Color bitmap while reflecting the environment. 12. Click on the Diffuse Color swatch and change the color value to a lighter gray (value: 0.525). 13. In the Advanced Rendering Options rollout, in the Indirect Illumination Options group, change the FG/GI multiplier value to This will create a greater contrast between directly and indirectly lit areas. Changing the window frame material 24

25 Bonus Chapter 1: Day Lighting an Interior Space 14. Uncheck the Render Changes to Selected Objects Only toggle and crop-render an area that includes the windows, picture frames, and the left side of the sofa. FG/GI multiplier The changed materials are looking very good, but the indirectly lit area of the sofa and sofa stool could use a bit more light: 15. Select the sofa stool (ChamferBox01) in the viewport. 16. In the Material Editor, select its material slot (third row, sixth column) and in the Advanced Rendering Options rollout, in the Indirect Illumination Options group, change the FG/GI multiplier value to 2.0. Testing the changed materials Note: This function affects only indirectly lit areas of an object, without the need of recomputing the FG file. This function can also be used to make indirectly lit areas darker, with values such as 0.5 or lower. It is often used for photomontages. 17. In the Rendered Frame window, click to enable the Render Changes to Selected Objects Only toggle and crop-render it again. 18. Repeat this process with the sofa object. Effects of the FG/GI multiplier The sofa material is a bit desaturated; to saturate scenes, you would normally increase the color values of the image control group, with mr Photographic Exposure Control. Since you are targeting only particular objects in the scene, you will make the adjustments in the material. 19. Select the sofa stool object in the scene, and select its material in the Material Editor. 20. Make sure the Fast (interpolate) option is not checked, in order to avoid any glossy artifacts. Modifying the sofa material 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 = Click on the Bright Map button. 25

26 Realistic Architectural Visualization with 3ds Max and mental ray Bright Map button 24. Click on the Bitmap button to access the Material/Map browser. 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, drag the hue shift slightly to the left (approximately 18.5). 29. Drag the Saturation slider to the right (approximately 23.0). These changes will punctuate the color of the bitmap. Color Correct This Texture in the Composite Shader 30. Create a region to render around the sofa stool and the sofa. Render the crop region. Effect of color-correcting the stool The sofa stool is looking much better now, as there is a noticeable improvement in the color of the leather material. Note: If your computer is struggling to render, reduce the Image Precision settings by dragging its slider values to the left in the Rendered Frame Window. 31. Repeat this process for all of the sofa materials. 32. Once completed, close Color Correct This Texture in the Composite Shader Effect of color-correcting the sofa the sofa group and select the 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 Under the Lightness rollout, select the Advanced option. 36. Reduce the RGB Gamma/Contrast value to

27 Bonus Chapter 1: Day Lighting an Interior Space Adjusting the Lightness value Note: In the Lightness rollout, you can typically use the Brightness and Contrast tool to tone up or down the bitmap values. The Advanced function is the most accurate and reliable when 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 Render Once you are satisfied with the settings, you are ready to create a final render: Effects of adjusting the Lightness value 42. In the Rendered Frame window, change the Area to Render to 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 Increase the Glossy Reflections Precision (Multiplier) to Increase the Glossy Refractions Precision (Multiplier) to In the Sampling Quality rollout, change the filter type to Mitchell. 50. Change Width and Height values to In the Common tab, under the Output Size group, set the Width to 4000 and the Height to Note: When rendering images of 2 K pixels or larger, you will most likely wish to use network rendering. This process was described in detail in Chapter 4; please refer to that description for more information. 52. Render your scene. Adjusting the Renderer settings 27