Original subtitles

Hello, welcome to this next iMesh masterclass video.

This is gonna be another interior visualization tutorial

where we're gonna cover everything from the very beginning

from an architect's floor plan

all the way up to a finished render.

Just like the last two videos we've done

for the last two years,

this one's gonna go over all the topics that you need.

But in this one, I'm trying to go for a certain aesthetic

which I keep seeing on a lot of portfolio websites

for architectural visualization.

And this aesthetic is a very soft lighting

with a certain focal length and certain colors.

This could be a very modern piece,

but hopefully if you can follow this tutorial

all the way along,

you're gonna have a very wow factor image

which you can for sure add to your portfolio

and hopefully gain some clients in the end.

Now, as you can imagine, this tutorial is quite long

but quite short for what I'm trying to achieve.

I'm gonna go from an architect's floor plan

all the way up to a final portfolio piece.

So there's a lot to cover in a short amount of time.

And in every single video,

I always get so many commenting

that there's a better way to do something

or there's a more efficient way of doing something.

And if that's what you prefer, then go for it.

I'm gonna presume that you have some sort of understanding

on how Blender works.

So if you find a better way of doing something,

then please go for it.

My specific topics which I wanna cover in this tutorial

is gonna be more covering how to get to a certain aesthetic,

the type of lighting which I'm trying to go for

and the coloring and generally to try to make it look

like these images which I keep seeing online.

All the tiny details in between which I might have missed

or briefly gone over it in a slightly different way.

If you think there's a better way to do it, go for it, please.

But I'm sure that you're gonna learn a lot of interesting

things and some really good techniques

on things to look out for when trying to achieve

such a final interesting portfolio piece.

Now halfway through this video,

I will start populating the scene with 3D models.

And as we are a 3D model website,

we will be using iMesh assets.

We do have a lot of free iMesh assets on our website.

So do check that out.

But if you find other free resources online,

then please go for it.

But we will be using iMesh assets to complete this scene.

If you do wanna follow along exactly,

then please do check our iMesh.

At the time of making this video,

it is actually Black Friday.

So we have quite a good offering at the moment.

But if this isn't Black Friday,

I'm sure we're gonna do some sort of deal in our description

for people who are discovering us through this video

so that you can follow along exactly.

But one thing I keep seeing every single week,

even though I've been saying this for the last three years,

if you're using 3D models for architectural visualization,

that is not cheating.

And I wish that I don't need to keep saying that.

I keep using the same example.

So imagine that you are a photographer

and you have been asked by a client to photograph a living room.

They're not expecting you to come and photograph

the living room and also model,

also build all of the furniture yourself.

Who in their right mind would ask a photographer

to also build all of the sofas, beds, tables, you know,

they'll be there for years

before they can actually get the photograph.

And that is the same concept with architectural visualization.

You are visualizing the scene

to try to make the scene look as aesthetically pleasing

as possible.

You need to choose all the right furniture,

all the right coloring, the right composition,

the right lighting.

It's not about modeling the furniture.

And I just wish that I just don't need to keep saying this

every single video.

Every single time I keep seeing comments

on all of these various Facebook groups,

Blender groups on somebody's architectural visualization piece

and someone comments to say,

did you model this furniture?

And they respond, no.

And then somebody says, oh, well, you're just cheating then.

It's just, I just cannot, I just cannot.

By using pre-made assets,

you're going to be able to complete your work

a lot more efficiently

and your clients are going to be much more happy.

If you were to model your furniture yourself,

there's a chance desire that you're not going to be very good

at modeling your furniture anyway.

So your clients are just going to see bad models.

If you are a 3D visualizer,

then please use pre-made assets.

The benefit of iMesh is that you'll get instant access

to 1,500 assets at the time of making this video.

So you'll have an instant library

that you can pick and choose from

and find something that should work for most clients.

Okay, so there are six topics

that I want to talk about in this video.

There's going to be finding mood boards

and finding the right colors,

importing the floor plan and making a usable room,

adding the key furniture items and materials

and trying to find the camera positions

and some basic lighting.

Then going to the smaller details,

the smaller, finer lighting and the finer details,

including materials and fine colorings.

Before going to completing the render,

going over some render settings

and then post-production and some tweaks.

Now, throughout this video,

also I have to apologize,

I'm using a mechanical keyboard,

which is very, very loud.

So please ignore that.

I'll try to get a quieter keyboard next time.

Right, I think that is enough of an intro.

I think we should just get stuck into it.

If you know how to do certain things

and please skip to those parts,

I'm going to try to remember to add those chapters.

But otherwise, good luck with this tutorial

and I'm sure you're going to end up

with an absolutely beautiful piece.

Please comment on the video if you're unsure on something

and I'm going to try to respond to every person,

every single peoples and yeah, good luck.

Okay, so let's talk about mood boards.

For everybody who is just starting out especially,

you can't possibly know all of the styles,

all of the furniture and all of the details

that you could possibly want in a visualization.

There's no possible way that you can just have

an understanding of this before you've even started.

Even professionals, they will use mood boards

every single time so that they can get an idea of the feel

and the look that they want to go for in their finished piece.

That's across the whole creative, all the creative fields.

And architectural visualization is no different.

So that's what I've done here.

I've put together a mood board of the type of images

which I want to go for to give me some ideas

of the type of lighting, the type of feel

and everything like that that I want to go for.

Hopefully I've already shown you the final image

and if so, you'll be able to see by looking at this

that it should look quite similar to this,

quite a similar aesthetic.

In general, the lighting is gonna be very dynamic

with strong shadows, strong blacks

and also lots of highlights.

The lighting is not necessarily 100% natural

but it still doesn't look unrealistic.

It's almost like a photographer is coming to the scene

and place a very specific lighting into certain areas

to give a certain look that they're going for.

And that's exactly what I'm gonna be doing

this tutorial as well.

Also, the focal length on a lot of these images

are gonna be quite high.

They're gonna be using a focal length

of probably around 60 to 80 millimeters

so that it removes a lot of the perspective.

So the images are gonna look quite flat

but to me that is the aesthetic which I'm trying to go for.

And there are various images here

which definitely follow that kind of vibe

and that's what I really like in these renders.

There's also certain renders like this one

which uses glass and the use of curtains

which I really, really like.

And so there's certain details throughout these mood boards

which I'm gonna pick up and try to use

in my renders as well.

Of course, the idea of mood boards is not to copy exactly

but just to get some inspiration and some ideas.

Here is another one here which uses also some glass

which gave me the idea of using more darker glass

which is what I'll be using in the tutorial.

And we can also see when we're looking at these visualizations

here in these renders that a lot of the images

are very monotone.

There's very simple coloring going on here

and usually just a few colors, for example,

this one's gonna be mostly black and gray

with a bit of green.

A lot of the other ones are gonna be maybe beige

with some black areas.

And that's the kind of look

that I'm gonna go for as well.

Of course, if you want to bring in more colors

then please do that.

But this is the specific type of vibe

that I'm trying to go for.

Now, after looking at these visualizations,

I also saw the idea of doing a studio.

One of these renders came up

and I thought that's actually a really good idea

for the whole tutorial as a whole.

So I tried to split it up into three renders.

So I'll be doing a living room, a kitchen and a bedroom

as a full studio kind of piece.

And I thought that would be quite fun to achieve as well.

Now, in the previous renders,

I did actually use a mood board program on the computer.

But just for this one, I've literally just used Pinterest

because I think Pinterest is just very good

at suggesting other images.

If you want to download these images to your own computer

so you have a direct reference, then please do that.

Okay, so I think that's enough from this side of things.

I think that you get the idea that I'm going for.

So let's move on to the next step.

So for this tutorial,

we will be working with a rough floor plan

I've put together.

Now, I'm not an architect,

so I'm sorry if these plans are not up to standard,

but they should give you a good idea of what to expect.

If you're working for a construction company,

architecture company or professional interior designers,

there's a good chance

that they will have professional CAD plans available.

If they do not, please request this

and they will try to get hold of them

and send them to you in a DXF format.

If they only have a DWG format,

then you can use an online converter.

And sometimes they will offer you the 3D model itself,

but these are notoriously difficult to work with

because they'll be made in CAD software.

So don't offer them a reduced price

just because they've given you a 3D model

because you're going to need to rework it anyway,

but they can be a good point of reference

to understand how the building is going to go together.

If there are no CAD plans available,

then you're going to need to go on site

and measure these rooms yourself.

Just be sure to measure more areas than you think.

Take photographic references with a tape measure

and that will help you later

if you forget to measure something.

Also be sure to charge them for this time.

Often CAD plans are filled with a ton of information

such as electronics, to water outlets, to furniture.

You'll want to go into the CAD software

and remove these layers and hide them

before importing them into Blender.

Now I understand that not everybody has CAD software,

so you're going to need to import the file into Blender.

To do that, you're going to need to make sure

you go to preferences and go to here and type in DXF.

Make sure these are both enabled

and then convert your file to a DXF format.

Then go to file import and select that file.

Now as you'll see, it's going to import a ton of information

and generally it's going to be really far away

from the origin point, but we can go into here.

And the idea is that you're going to need to sift

through the information and just try to clean up

a little bit inside of Blender.

As you can see, also a ton of stuff is also parented.

So you're just going to want to go through here

and find the most important pieces.

I think this piece is probably one of the most important parts.

I also want to select some of these architectural pieces

and just try to get most of these in.

And then once that's done,

you can then join everything together

and then probably delete everything else.

So now we have some easier, cleaner plans to work with.

You'll also want to make sure

that this is to the correct scale.

So in the original CAD plans, there should be an area

which tells you how long a wall should be.

And then if you go into these plans, this is a curve,

but if we go to F3 and type in convert to mesh,

then we can go over to here and make sure

that we go in edit mode, select here and select edge length.

Now if we select an edge,

it should tell us how long that edge is.

So now we can see that this wall is 6.37 meters.

So we can compare that against the plans

and check that if that is correct.

Now some of these plans might be made in inches,

some of them might be made into centimeters.

Sometimes it's a factor of 10 out.

And if that's the case, you just want to select everything

and just do S.1.

But the idea is that you want to scale the plans

to the correct size so that when you're working with it

later on, it's all going to work correctly.

Right. And as mentioned,

I have put together a little floor plan.

It's not going to be architecturally fully correct,

but it should give us all the information

that we need to make this tutorial.

If there are parts which are missing,

such as the height of this recess,

I'm just going to tell you throughout the tutorial.

But if you get these plans from the architect

and there's no information there,

often the architect will also send you some sections

which then you can use to check the height of certain areas.

And that will basically be a cut through the,

that'll be, that'll basically be a cut through here.

So there would be one that potentially goes through here,

through these skylights and through this recess

and then you'll be able to see how high these areas are.

But I'm just going to tell you throughout this tutorial.

What I'm going to do is I'm going to attach this file.

I'm going to put a link in the description

and you can just import this in.

It's probably just going to be a dot blend for now.

Right. Now that we've imported this,

the first thing I'm going to do is move this

to a new collection and I'm going to call this plans.

And then we could just give it a certain color,

such as brown.

So from the very first step,

because this is going to be multiple renders

and multiple rooms,

we're going to want to make sure that everything is organized

and easy to manage.

Next, the next thing I'm going to do

is I'm going to actually start working

on the shape of the room itself.

So what I'm going to do is I'm going to press shift A

and go to single vert and add single vert.

If you don't have that,

you're going to want to go to preferences

and type in extra objects and then enable those.

Right. With that vert selected,

make sure you've got vertex here.

I'm going to do a shift tab to enable snapping

and make sure you've got it set to vertex mode.

Then I'm going to go over to here

and then I'm just going to press E

and do these like this.

Now this is where the door part is actually going to close.

And then this part is going to be

where the door kind of overhangs a little bit.

So I'm just going to do it from here,

but there won't be too much visual difference going on

if you don't, if you do it to these edges instead.

This part of the actual wall is going to be a glass wall.

I've just put that as reference.

Generally, there should be some text here

that would say glass,

but this is going to be not part

of the actual structure of the room.

So I'm just going to ignore that here

and just go up to the top and continue over here.

Then I'm going to get to the windows.

Now we can see that these windows,

they're going to be generally the last part of the room

before it goes to the outside area.

So I'm just going to go to here

and I'm just going to go straight down and work on that.

We will add an extra plinth here,

which will be 20, 10 meters high.

And then we will also extrude this part out

until the outside wall,

but we can ignore that for now.

So I'm just going to continue going around

and go like this.

I'm also going to ignore the recess,

but I'm just going to add some points here.

These points are very helpful

because they will add an extra edge,

which we can then use to extrude later on.

So let's just go like this and go all the way around.

And let's say for here, we're going to,

oh, we want to go straight across here.

And then this is going to be the kitchen

and this isn't a recess.

This is an actual part of the construction.

So let's go all the way around

and then select the last, the first one,

press F and now they're joined.

So now we have the actual shape of the room.

We're not going to work on these rooms.

So we can ignore them.

We want to see inside them,

but we can extrude an edge later on when we want to.

Right, so the next thing we want to do

is work on the actual room heights

and try to make sure that we then add in the windows and doors.

So what I'm going to do is we can first see

that this is going to be the ground level.

Generally, these two sides will be filled in,

but this is kind of the symbol to say

the level of the floor is going to be a zero zero.

So let's actually just move everything down

before we continue.

Okay, these are now a zero zero.

And then the next thing I want to do is select this edge

and we can see that it wants to be 2.45 meters tall.

And my units for this particular project are set to meters.

If we go over to here, we can see the units

and I've got it set to meters

and that works quite nicely here.

So what I'm going to do is go into edit mode

and select all the edges and press E, Z, and then 2.45.

So now that is going to be the height of the room.

Now as you can see here,

my inside walls are actually red, slightly red.

And that's because I've always had,

I always have enabled face orientation,

but for you, you might have bright blue and bright red.

But what I have done is I've gone to edit preferences

and for themes, go to 3D viewport.

If we scroll down here,

we can see that we have face orientation back and front.

Now that refers to these colors here.

Now for you, it's probably going to be bright blue,

but I kind of don't need that information.

I'm going to turn that all the way down

and then for the red value,

I'm just going to set that to a low value like this.

I want it to be that I can see it all the time,

but it's not going to get in the way.

And that allows me to always make sure

that my normals are going to be facing the correct direction.

And as these are going to be the inside walls,

that's going to be incorrect.

I don't want the normals to be facing this direction.

So I'm going to set everything.

You can do shift N to make sure everything

is facing the same way and then do alt N and click flip.

So now we can see that the face is now going to be facing

the correct direction.

Right, the next thing I want to do

is actually add some heights.

So we can see here the width of the door

and the height of the door.

And the same here, we can see the width of the window

and the height of the window.

Now those are the cuts that I want to work on now.

So what I'm going to do here is we can also

see that this door is also 200 centimeters.

So what I'm going to do here is go into edit mode,

do control R, add a loop, and bring it down to the bottom.

So it's directly at the bottom and then press GZ200.

Whoopsie, GZ2.

So now that's 200 centimeters tall.

And now we can see that we now have some nice loops

for these doors.

So with those selected, I'm just going to press E

and extrude those out.

So now we have some doors.

I will delete these bottom faces

because these are going to be part of the whole floor

on the bottom.

And now we can work on the windows.

So we can see that there is a step here

and the height of that step is 20 centimeters.

And then the window itself is 210 centimeters tall.

So there's different ways to approach this

and it's entirely up to you.

You could add a loop cut here and go to the bottom

and press GZ.2.

And then you can, if you'd like, join these together

and add those plinths.

But that's not necessarily so important.

You can add the steps later.

And that's what I'm going to do.

So what I'm going to do is now that we have this edge

that's 20 centimeters tall,

we can then work on the loop cut

that's going to go 210 centimeters up from that.

So let's just add a loop here.

It's probably going to be higher than this point.

Let's go GZ to this point and then do GZ2.1.

Now this is going to be the height of the window itself.

Now the window doesn't start until here.

There's an outside edge.

So this wall does go like this

and it goes out to the outside edge.

But the window itself has an overlap.

So we can see here that the window

goes into this corner part.

So that's what we're going to take into consideration.

So let's go to here and then just add some loop cuts here

and go over to this part here.

And then there's another one here.

And then let's do it for the other ones as well.

Now these are probably going to be different for your plans.

But if it's not entirely clear,

you can always ask the architect.

Because sometimes they just don't put

certain information in that's important.

Right, so now we can see that this height

is the height of the window.

So let's select these faces

and then we can extrude these out.

So let's extrude this to here.

And then if you want to delete that face, you can.

So now we see that this is going to be perfectly fine.

And you might be wondering,

oh, but we haven't done the outside walls

or the walls have no thickness.

But that's not important.

We won't see the walls anyway.

Right, so now we have the walls, the windows,

and now we can work on these recesses.

So there is a recess here and there's also one here.

Now for these recesses,

I'm just going to use one of these loop cuts

that we already have,

because then that should be around the correct height anyway.

So let's just select these faces here

and I'm going to extrude that out to here.

And then the same for this recess here,

I'm just going to use this one as well.

Now this one, the purpose of this one

is just going to be for like a bookshelf

or something like this.

But again, I just want to delete that bottom face

and this one as well.

The idea is that now we can select the whole bottom face

and press F and now we have the whole floor.

I will just bring this up just a tiny little bit

just so we can see them.

And then we have this here.

Now I'm going to work on just creating this step.

Now like I said, you can use some of these loop cuts

that are already there

or you could just make it a new object

and it's not super important.

What I am going to do,

I'm just going to make it a separate object here.

So let's just duplicate this and use the edge

because we have it already.

Let's just bring that over here

and then select that face

and then just extrude it over here.

And then let's do the same thing.

Shift D, bring that over here and use this one.

Right, this one is a bit too far over.

So let's bring this over into this corner.

Now generally there will actually still be

a bit of a step here,

but whatever for the purpose of the video,

it should be fine.

And then let's just duplicate this over

because it's already built

and bring that into this corner.

And let's bring this one over.

Now this one's a little bit longer,

so let's just bring this over here.

Right, so now we have the steps

and now we have those areas.

So what we can work on next is let's work on the ceiling.

So what I'm going to do is go into edit mode,

select this whole top face.

You should be able to select the whole thing

and press F as well.

Now we can't now see into the building

and what is a useful thing is that what you can do

is go over to here and press back face culling.

So now we can see entirely always into the room

and that's very useful, especially for architecture.

You can also change the focal length,

so you might want to go to quite low.

So when you're in the room,

you can see quite a lot of the room

because with AT it's kind of a bit cramped

so you could just reduce this and see inside the room.

Okay, so for this next point,

what I'm going to work on is this glass wall.

Now this is a very technical detail

and the architect should send you some details

and that might look something like this.

So these are like extra details

which show you specifically how this piece is going to work.

If they don't, then maybe there's a chance

that they haven't figured it out themselves yet.

But for this video, what I'm going to do

is I'm just going to make this point extruded

and then make the glass sit inside the extrusion.

So let's go over to here and I want to add some cuts.

So what I'm going to do is just press K

and add a cut here.

I will do some snapping later.

Let's just do this roughly here.

You can also do this with loop cuts

if you're working with perfect quads,

but that doesn't make too much difference here.

So let's just now make sure that these are in line.

I'm with snapping GY and GX.

I'll make sure GY and GX.

Right, so now these are in line.

We can now select this edge and press E

and let's just extrude this a little bit.

So this is where the glass is going to sit

inside this little piece.

Now this is probably not going to be 100% correct

and the construction might be done in a different way,

but for this visualization it should work fine

and you can't actually see into this detail anyway.

Okay, now the next thing I'm going to work on

is these skylights.

Now what we can do is again cut these out,

but what you can also do is do a boolean.

So what I'm going to do is select these edges

because these are already done for me

and let's just shift D, bring these to the top

and then separate these.

So now we're going to work with these

and let's just join these together.

Select them all, press F to make sure

that they have a face and then extrude these up.

Make sure that there's enough thickness for the roof.

Generally the roof thicknesses are going to be quite thick

so make sure I bring that up like that.

Then what I'm going to do is just join that to this wall here

and I'm going to select these here

and press F3 and boolean.

Now we can see that one of them has worked

but the other one hasn't swapped.

What I'm going to do is also just bring these down a little bit

make the calculation a little bit easier to work with.

Right, there we go.

And these are the settings.

So I've got Union, Fast and Swap

but I don't think that one actually does anything here.

Right, so now we have some skylights.

So what I'm going to do here is just delete these faces

and that works nicely.

Now don't worry that these aren't perfect quads

because it doesn't really make too much difference.

It will make some difference

if you do want to do more cuts or do more stuff

and you have to kind of cut things out yourself

but in general, this is fine.

We don't really need to do any more work to the ceiling

so that's going to work perfectly.

Okay, so the next thing I'm going to do

is add the more architectural elements

and that for me is going to be some of the windows and doors.

So what I'm going to do here is go to the Imish

as a manager, I'm going to go to my door folder

and I'm just going to import this folder.

And I'm just going to bring that in place.

So we can see that this door is slightly too short.

So let's bring this over to here.

So this edge is against this edge.

And then let's just bring this over here.

Let's go into the mode for both and this over.

Okay.

And then let's also bring this down to the bottom.

Are you snapping here?

Right, and is this tall enough?

I could probably make it a little bit taller

because I think this edge is here.

So let's just make sure there's some overlap.

Something like this.

Right, the door is opening the wrong way.

So we can see that on the plans,

the door should be going this way.

But that is not the case.

So what I'm going to do here is select this object

and go to object, mirror and this way.

So I can bring that back over.

And now that should open in the correct way.

And as you can see, we haven't worried about the other room,

but we won't see that anyway.

And if anything,

there is going to be a little bit of a gap down here

and we're just going to see darkness anyway.

But what you can also do is,

if you wanted to move this up just a tiny bit,

so there is a bit more of a gap underneath,

otherwise it's going to be scraping against the floor.

And then let's just copy this over

and move this to the front door.

So the door is going the other way for this one.

So the door will be opening in the opposite direction.

So let's select this door, rotate that 180 degrees,

and then let's put that in place as well.

Now, generally the front doors I got

are going to be a little bit different.

And I think I've made a bit of a mistake in the plans here,

but never mind, that does go right up to this edge.

But the doors are generally going to be a bit thicker.

So what I'm going to do here is move this over here like this.

And this is the edge I've created,

so let's actually bring this over a bit more.

Like that.

Okay, and generally also the door will have more locks

and other things, but we won't be able to see that anyway,

so let's just leave that here.

Right, the next thing I'm going to want to work on

is these windows.

So we can see here that there is a...

Okay, I've just realized that when I removed these skylights,

we did remove loose parts.

So I'm just going to join those back together again.

Let's just select this all and join these back to one object.

Right, and then bring these objects back.

Right, so the next thing we want to do is work on these windows.

So we can see that one side is going to be opening

and the other one is not.

So we can work with that.

So let's find some doors that look mostly similar.

And we do actually have some iMesh.

I think I've got it under windows.

Okay, and this one should work fine.

I'm just going to add a point here and append that in.

And bring that roughly into place.

And we can see that the window starts at this corner.

So let's bring that in.

Turn off snapping.

Bring that in.

You can just bring it into the wall just a little bit

so that there's no edge here.

And then they're going to edit mode and bring this window over.

Something like that.

Now let's bring this up.

And there we go.

Okay, and now at this point,

so there is a mistake that I have done.

And that is kind of also fine.

That's also my fault because I haven't created the full plans.

And these are the kind of things which you will also come up against.

So you've done these plans and you notice that now the window

isn't hitting the top of the roof.

And you should then ask the client for a section

so you can see how actually this window is constructed

and at which point it goes down and where this piece goes.

So that is kind of my fault,

but I guess that's also part of the experience.

You will always be finding these pieces which don't line up

and how they don't work.

So according to my plans, they don't work.

So what I'm going to do is just work with that

and fix that here.

So it's going to be quite easy.

Let's just add a new cut here

and bring this over to the end of the window.

And let's add another one here.

And just bring that over to the same edge here.

And now let's just delete these faces

and then we can just bridge these together.

Right.

And sometimes there will be a bit more of an overlap

like it will go something like this,

but it doesn't matter if it's going to be entirely flush.

So we're going to bring that over like this

because there are sometimes pieces which are like a piece of plastic

would go down and meet the window.

So let's just say that it is that part.

And I'm not going to be actually doing any renders facing this direction

so that's also fine.

Let's bring this over maybe a little bit.

Like that.

Right.

I would want to do the same for these ones as well.

So let's just delete this edge.

Okay.

So that works fine.

Now we want to work on this window.

Now this window doesn't actually have a door.

So what I'm going to do is just duplicate this piece over

and move this over roughly.

So it's just against the wall.

And then I'm going to...

But we only want...

But now we only want one side.

We only want the piece which is the glass.

So what I'm going to do is add a mirror.

Move this up to the top.

And then what we can say is bisect and then we can flip it.

So now if we go like this,

we can see that we are cutting into the window

and now we have a perfect window.

So let's bring this up to the top.

And we might want to apply that in a second.

Let's just see.

I've actually made that basically perfect.

I think that should be fine.

And then for this next window,

what we want to do is just duplicate this over

because this is a similar one.

There is just one window that opens

and one that doesn't.

So let's bring this over here like this.

And this is a similar construction issue here.

There is going to be a little bit...

The window is actually going to start about here.

And then there's going to be like an additional piece

which connects there.

But let's just bring this over.

We literally won't see this piece anyway.

And bring this over here.

And what I'm saying, we won't see these pieces anyway.

It is ideal to actually make sure it is correct the first time round.

But I'll be here all day if I make sure everything's 100% correct.

Let's bring this window over.

There we go.

Okay, now we have the windows and these things.

We do see some weird Z-fighting here.

But that is simply just because I have the clipping too low.

So it's a little bit higher.

Now it looks a bit more pleasing.

Now for this window, we will actually have that open.

The origin point is in the wrong place.

So let's just make sure we fix that.

Set the origin point here.

Set origin to 3D cursor.

Right, now we can do this.

We will change that a little bit later.

Now for windows, it is very important that you make sure

that you have the correct material.

So you want it to let in as much light as possible.

You don't want to have any shadows.

So you want it to look like glass when you look at it,

but you don't want it to affect much in the scene at all.

Of course, real world glass does have some shadow

and does reduce some of the light going into the scene.

But for architectural purposes, that's going to be so minimal

that the outside is probably going to be overexposed anyway

that you won't really see.

It won't really make too much of a difference.

But what this does do is it makes it much faster

and it renders a lot quicker.

So we're just going to use this node setup,

which is already part of the glass.

That's basically saying if it's a shadow ray or a diffuse ray,

it's going to be 100% transparent.

And it's very important that you add this onto your glass.

Right then.

So now we have the doors and the windows.

And for this one, you can add a skylight window up here,

but I don't think we'll actually see that anyway.

So let's just ignore that for now.

The next and final probably construction piece

that I'm going to do is I'm going to add some...

Let's just turn off back face coloring.

I'm going to add some light portals.

So let's select this face,

select these edges,

shift S, cursor selected,

and then we can do shift A and add a lamp.

Now, if you're watching this video when path guiding is available,

I don't know if you'll actually need portals at that point,

but let's just add these in anyway.

And let's just bring this down

and make sure that it fits nicely over this edge.

Okay.

And then let's go to here and set that to a portal.

And that's telling it that there will be some outside light

and the outside light should be going into this room.

So let's just duplicate these.

I'm going to do alt D and bring this over and S, Y.

I did alt D because if we decide to change these values

for whatever reason of this light,

maybe it's not a portal anymore

and you want it to actually have light,

then they'll all copy the same value.

So do the same again.

And then we can also add some over here.

Okay, great.

So the next thing we're going to do is actually work on the glass.

So over here, I've represented that as a checkered line.

Again, the plans will have specific details,

but just for this video, I'm just going to add some cubes.

I'm going to bevel the cubes and that'll be my glass.

Now, I haven't actually added in where the door is going to be,

which is a mistake on my part.

So what I'm going to do is just add in the glass

and then we can add in the door where we feel like.

Let's just add a cube.

Now, according to these plans that I've created,

it does go right up to this edge,

but it's probably not.

It's probably going to go have a bit of an overlap,

but whatever you want to do.

And let's bring this over here like this.

Let's just duplicate this, rotate that 90 degrees

and then bring this over here like this.

And then we can bring this over.

This will go all the way up to the top.

Let's just bring this up like this.

Now we have some glass.

Now to make the door,

I probably actually do that a little bit different.

I'll probably bring this over a little bit.

Actually, duplicate that and then bring that over.

And then...

And then you create this piece

and bring this over here like this.

And then we can bring this up to the door height.

Then you can add the doors in.

Okay, then when you have that door shape created,

what I'm going to do is just add a bevel

and just give that a bit of a laby

and do this up here like this.

Okay?

Then I just,

Just add a bevel and just give that a bit of a nicer edge

Right the next thing I want to do is add a door and as this is going to be a glass object

What I have found is that we do actually have an object in an eye mesh

Which will work quite nicely and if you go to here you can add a shower door, which also comes with the hinges and stuff like this

So what I basically did is I was it pen that in just delete all the pieces which are not important such as the shower and

Delete all of these edges because what we want to have is these hinges

Maybe there's like this plastic piece which connects them both to stop any wear and tear and we can do that and

That's basically what I've been working on

Okay, and I continue with that and then what I basically did was I should just delete this piece

And then we can bring that into place and move that over

Like this

Okay, and then it will look something like this

I'm not going to go into too much detail

But I basically just made sure that I overlapped these hinges so they go over the glass and then I make sure to

Make move that over correctly and I've opened it just something like this

These pieces are those plastic pieces. I've just added them as a connector that adds a nice little detail to the object

Okay, and now for the actual material and the glass material

I will be using the advanced glass material that I created

And that is available over at iMesh also put the link in the description

But I will unplug the volume so you can add a volume and in a lot of my test renders

I was actually having a volume

I gave the glass some absorption which basically made it so that the edges of the glass had a nice natural look

But because that will cover so much of the actual final render

And we want to actually see into the glass and see what's behind it a lot more

It made the render times quite considerably more so I've just disconnected that for now for natural base color

I made it not fully white because I want it to be a little bit darker

So that when you can see through the door the bits which you can see through will be lighter when you can see the glass

It'll be a little bit darker

But the rest is a kind of basic values that I've got added here

So what I'm going to do is I'm going to select this object here and give that the same

Advanced glass shader material if you're using the iMesh asset manager

Then you can add that in using that and that is basically what you can do here

And just import that and add that on one benefit of this material as I've already set up the alpha channel

So we can actually see what's going on inside it

The annoying thing is that we can't actually see any of these technical pieces behind these windows

Which would be nice if blender could release that so we can actually see still some of these details

Right, I think that is generally going to be most of the details that we want to add for the main construction

So what I'm going to do is just organize these files and move these to its own layer

So let's select everything here and let's move that to this new layer and call that

Construction you can name that whatever you like, but I think construction works for me and these are all

When you import the assets through the asset manager, it will create its own category you can keep those if you like

But for this purposes of the video, I'm just going to remove it for now

I

Okay, now I'm going to give that a orange color

So now we have the plans and

We have the construction and now we can work on the other parts of the scene

What I'm probably going to do just very quickly is I'm going to actually just add this floor because I think that's going to be quite

Important so let's let this face

And let's just bring this over the reason why I'm selecting this face is because it's one that's already created and it just saves time

Right and just bring this over here. This will basically be the terrace

and bring this over here and

We can bring that up as well

There might be a step here. There might be some other detail

But again, that should be details which you can see in the plan

But for this that is good enough and I don't think we'll actually see it anyway

So let's just leave that there

Okay, so I think we're in a good place now and now we can move on to the next step

Okay for this next step, which is going to be key furniture cameras material and lighting

It's just going to be like the basic setup for the main room

So the main purpose of this step is to block out the scene and try to get an idea of what we're looking for

test out a few furniture arrangement ideas and test some lighting and the key furniture for me is going to be the

Main block furniture says could be like the sofas the tables the the beds like the main focal point of the room

Because then the rest of the room will follow where these pieces of furniture go

And as I've already created this scene

I know where I want to have the roughly the furniture and roughly the furniture which I want

But this is a very good time to experiment with different types

So what I'm going to do is I'm going to start by adding some of the seating. So we go going to go to my sofa folder

Again, these are all available at iMesh and I think I'm going to go for this one here and append that in

And it's going to be a little bit too big. So let's just scale it down and I'm going to put that roughly in place

So I think that's going to be a nice place for this sofa

But I'm not going to need this piece. So I'm going to delete that piece

Again, you can choose any furniture that you think will work here

Maybe you want to go for a more stylish scene and then something like this will be could work quite nicely as well

Again with these kind of objects, you can scale them a little bit. They do have some play especially these kind of sofas

They're going to be block sofas

So the the part where the seats going to go there could be quite low to the ground

But obviously don't go too crazy

But I think scaling them by roughly 10 cent higher 10 cent smaller should work quite well

If it is a specific piece of furniture, which the customer wants then of course, you're not going to want to scale it too much

Okay, so let's just move this one over here

I think what I what I want to do is get some light in from here

So there might be some light coming from outside that we can get onto the back side of the sofa from this window

And then this alcove will be where the bookshelf will go, but we probably won't see that anyway

So let's just leave that in there like that. The next thing I want to do is add in a bed

Let's just add this one in here

And we will be changing these the materials quite a lot a little bit later on but let's just add this in here

Okay, and for the next part I will be adding in a kitchen now

We do have some pre-made kitchens and the one which I actually used in the scene

I'm actually going to upload that to iMesh as well

But I will just import that into the scene from my other test scene. Okay, so when you import the kitchen

You just want to make sure that you fit these in nicely like this

So I have made it so that it will fit nicely into this edge and then this piece will fit into this alcove

I have got a little bit of an overlap here

But we won't actually see that from the angle that we're going for but you can move that over but just for the purpose of this video

I'm just gonna leave it where it is. So these are going to be for me the main focal points

So this is going to be important for me to now figure out

Where is my camera going to go and then we can work on lighting and work on the base materials for the scene

So one thing that I want to do is make sure I add a camera

And go into that camera what I'm going to do is

I'm going to set this to 90 degrees and I'm going to lock that here

You don't want the camera to be slanted in any way. I say this in every video. You don't want it to be like this

Like this now all the edges they're gonna be sloping and that's going to give the impression of a sloping or it's gonna

Give you an uncomfortable feeling if you go on any photos online for architectural photography

Architectural visualizations, they're always going to be square

Please make sure your cameras are square. Otherwise, you'll feel slanted. I have done a video

Archviz top tips which goes over this in a bit more detail and to why it's quite important

Of course, you there are some beauty shots, which you can do like this

But generally if you're going to be looking forward into the scene you want to have straight balls

Next thing I want to do is go over to here and set this to 1 350

Because I will be putting this on social media and generally in social media

You want to be more portrait, but if you want to do another kind of angle then that also works

The next thing is that there's a lot of room on the outside of the camera, which is going to be very distracting

I want to focus exactly on what I'm seeing and nothing else

So I'm going to go over to the camera go to a viewport display and the past but to I think it's called and slide that to max

now in a lot of my

References the camera focal length is actually going to be quite high and for this kind of shot can look very aesthetically pleasing

I think I think probably a value of about 60 and

Then we can move this around and now this as this

Oh, I've got to lock it now it is locked

We can move it around without worrying that it we're going to be looking slanted

And then what I want to do is just move this into into space now as we have back face culling turned on

We want to make sure we took disable that right now

Otherwise, we're going to not realize that we're outside of the room and

This is something which is very useful for architectural visualization that we have the ability to clip and we can cut into the room

So if we slide this up we can now clip into the room and we can see more of the room

Which we wouldn't have been able to with a standard camera now

This does cheat a little bit, but generally clients from my past experience

if you're not cheating too much and you can see a lot more of the room to them that's more important than not using any

clipping and really trying to fit the room in and

Ending up with a super low vocal length

So I'm going to play around with this until I found a position which I think works for me

Okay, now this is the position which I found so one thing to take into consideration when you are working with cameras and where edges line up

If we move this over just to this edge like this

That's going to be too close and that light that edge is now going to line up with the edge of the camera

Which can be unpleasing and you then become not too sure what it's actually going to be happening at this corner

So it's better just to give these edges a little bit of space the same over here

So if we go right up to this edge

It's a little bit unpleasing and you don't really get any context here

So I'm just gonna move this over and make sure that there's no kind of edges which over which line up except the same thing for this

Let's say we close the door just a little bit like here

Ignore that it's not on the right pivot like this

We get this edge and they line up which makes it really hard to understand what's happening at this corner

And that's a general theme that you should be taking into consideration throughout your whole architectural visualization

Career especially let's say you add a curtain you had this curtain and it lines up exactly at this edge

Just move the curtain over a little bit

You don't want these edges to lead into each other because it helps separate the objects from other objects

Okay, so I think that this is a good position for this camera

And now let's work on some of the other cameras. So let's duplicate this one crossover here. Oh

And this one I've also

set the focal

I've also given it some depth of field and I've set this to a value of eight

Which is quite high if you want it to be even more dramatic

You can set a lower value, but don't go too low

I've set this to eight because I want most things to be in focus

But then things which are further away will be out of focus and I've set the focal point just to be on the edge of this

So far if you look the the eye your eye is going to be led to probably this point of the of the photo

So that's where my focal point is going to be so for this one

Let's line this one up where we want it to be

Okay, so I think something like this we can see a tiny bit of the terrace here

But later on I will be adding a plant

So that isn't too important if you wanted to work on this and if you want to go a little bit further back

Then you will want to make sure that you include the outside wall here and you want to work on the terrace

I'm just trying to save some time if I don't need to do it. I'm not going to worry about it

But if somebody is probably going to be taking over your project later on

It's probably gonna be a nice thing for you to complete this part for them

So let's just bring this in

Like this and as I said earlier

I have closed the door a little bit so that it kind of leads into the room and it brings some interest

So over here will have the reflections of the outside scene

And then the inside will be where the focus is and we'll have maybe some details around here

And we have some lighting and all sorts like this

So I think that's gonna be a nice setup for this one

And then as we have a very lovely kitchen going on over here

We want to see maybe into this direction here. So let's let's also work on that

I think actually on this one. I've also changed the focal length

Yes, this one is a little bit. This one's a little bit wider

Or a little bit actually more narrow and but again, you can play with that to what you prefer

Okay, and then this is going to be my last camera and then let's just check where the focal

The depth of field is going to converge. Is that the right word depth of field is going to focus and that's going to be here

So that's about right. I probably move this over a little bit more

Because over here is going to be in some chairs. So probably want these chairs to be mostly in focus here and

Yeah, then that's good

I reckon that's going to be nice for that camera. So now we're probably a good idea to actually label these so over here

I have selected this camera. So if I press the

Point

full-stop button on the number pad, it will take me to that point. So I'll name that as the

Kitchen shot actually, let's write camera at the front

Cam kitchen shot and then right cam

Living that's right and then name this one bedroom

Then I'm going to select these cameras I'm going to move them to their own layer

And I'm going to make that a yellow

Okay, now just as a little bit more explanation of what I want to see in this particular shot

So this one will be leading into the kitchen now

I could go closer like this and go further down on the focal length

But if we do this render, we then have no context at all where this is happening

Whereas if we go back, we can see this corner edge of the sofa

So if we want if we go to the living room shot, we can see that this is the sofa here

We can see into the bedroom if we go to the bedroom shot

We can then see the bedroom when we know we know where that is

We can see a little bit of the kitchen but in general that will be covered by a lot of reflections

You can't really tell what's going on in there

So for the kitchen shot if we were to go forwards, we'll have no idea where that is

So we want to make sure that that's a

Bit further back so we can see this sofa edge and now we get an idea of where this sofa is

So now we can get an idea of where this kitchen is as well

So the next step that I want to work on is probably going to be the materials and the mood

So after looking at my mood board

I can see a lot of the walls are going to be like a darker color

And then I want to have maybe a lighter floor as a nice contrast

So for the actual wood floor, I thought that a nice white one would probably work

And I'm probably going to go for this one here

And that was one is available over at iMesh and I don't have this one yet

So I'm just going to drop that one into my wood floors folder

So now if I go to blender and just reload this wood floors, we can see that wood floor is here

Let's import this material and okay now

We can see that adding this wood floor has now added wood floor material to the whole room

But we obviously don't want that to happen

So what I'm going to do is just quickly add a separate material for each and then we can work on what the actual material is going to be

So I'm just going to select the top face

Select by normal now it's going to select all of the top faces

But I probably don't want these alcove pieces selected and probably not these pieces down here

And then I'm just going to give that its own material

And then we can now select the bottom floor as well

And just deselect this

And then select this top one as well

Okay, and then press control i now we have all the other faces and

Let's just remove the terrace. Okay, now we can add that and then what we're going to do is call that walls

And then call this one ceiling

Now what I want to do for these walls and the one thing that I'm always looking for is to have a nice glossy map

And a nice normal map the diffuse map is not going to be so important because as you imagine

You will be painting the wall all one color anyway

There might be some slight variations, but for me the most important thing is going to be the roughness map and the normal map

So I went online and I found

I look found cco textures and have a nice gray plaster here

Which has a lot of detail which I imagine will come out nicely in a normal map and also some nice glossy variations

Which could look pretty cool for

um

For the actual wall texture

So this is the texture which I've downloaded and then I'm going to show you what happens after I've imported that

Okay, so this is the gray plaster. This is just the roughness map and the normal map plugged in

As you're watching this video if you don't know how to set up nodes

Then I would recommend you watch another video and come back to this at this point

But the most important thing for me is setting the base color and I've set that to like a gray of this value

Because I think that will be quite a nice value and add some nice mood to the scene

I've also then gone to viewport display and set that to the same color

And then for the ceiling I wanted to actually have the same material as this but instead of being a gray

I want it to be a white. So let's actually go up to here. I select everything

Copy that with ctrl c go over to here and delete that and do ctrl v

And then I'm going to set that to a lighter value

Maybe something like

this

Okay, nice. So now we have a

A room we have the wall color the floor color and the ceiling color, but obviously it's not unwrapped

So that is what we're going to do now

Now the beauty with these kind of scenes is that it's going to be very easy

Just do a quick smart uv unwrap

Now if you do have certain walls and you do and you are focusing on in on a certain area

It might be ideal to actually unwrap that correctly

But as this is just going to be a very quick scene and the the actual material is going to be quite subtle

Anyway, we can just do select everything and do you and smart uv unwrap

Like now that we have smart uv unwrapped it at this point because we don't really have any lighting

It's very hard for us to actually see how this tiling and how the texture is going to look in the scene itself

But we can set it as a very rough guide for now

Just to see how it's going to work and check if the floor size is about the correct size and then go on from there

So what i'm going to do is enable node wrangler that is edit preferences and node wrangler

And then what you can do is hold down shift and ctrl and click and then we can view that output directly

So we can see that material

Like this I do actually have a hdri turned on and that one is called in that one is called

Artist workshop and that one is from hdri haven but that's not so important because even with that turned off

We're just previewing in these nodes anyway, so we don't really need any lighting at this point

But we can see that the texture size is generally way too large

So what i'm going to do is go over to here change the mapping to something like 20

And we can see that there is some banding happening here

But I don't think we will necessarily see that

Because as you remember there is this one. It's just the glossy map

We might see that there is some roughness or glossy variations going in stripes like this

There might be some tiling so we can see some repetitions happening here

But as you will remember in the finished scene, there will be some glass going down here

So we won't even see the ceiling and there might be some some lamps going across the ceiling which will break that up as well

But I do see that this is diagonal. So let's just fix that

Let's just unwrap that on its own and just rotate that

Okay, so yeah, there's definite banding happening there

So we might want to change that a bit later

But just what i'm looking for at this point is that I don't want the texture to be too large

I would much prefer it to be smaller and what i'm looking for specifically is just these micro details

And they just want to be a very fine

Very fine layer of detail happening across these surfaces. It will be very very subtle

So we might not even see the tiling

So i'm just going to leave that like that for now. I'm going to do the same for the walls

Let's just view that output. That one is also very very large. Let's set this to 20

And we can see here that there there is a couple of tiling pieces here, but there will be a plant going across

Just like this. So that's going to cover most of that. So all that we can be left is nice

Micro detail on the back wall. This is all going to be covered. So we won't see that anyway

But this should be a just a nice point for us just to continue

Let's just make sure we remember to set that output like this and then for the wood floor

I think this one might already have the displacement plugged in already

So i'm just going to disconnect that and just work with the bump map instead

So if I just view this output, we can see how that's looking. So this is generally going to be way too large

If we set this to something like four

And when you're working for a client, they might specifically ask for wood planks at a certain size

But just for visual reference like this

I think that should be more than enough because later on we'll have a sofa going across here

And then maybe something here and then the rest we won't really see anyway

So that is just nice for now. That is almost correct

But that's enough for us just to move on and just to continue with the next step

Okay, so for the next step, we actually want to see the materials

So I will be using hdri for that just to bring in a little bit of light

But that is not going to be the focus of my light. That's just going to add some nice ambience

But it's going to be not contributing much at all

So the hdri which i've chosen is going to be the one and it's called urban street

And i'm going to be using the 2k value because the resolution doesn't change anything to do with the lighting realness

The 2k version works if you can actually see the hdri and it's in reflections or you're visually looking at it

Then you'll want to use a higher resolution, but for this reason i'm just going to be using the 2k version

I'll be using my imesh asset manager and i'm just going to click import

And that will import this here like this now if you have some other nodes in here already

It's probably going to shuffle things around

Um, but these are this is the main setup that you want to have

I will be using the urban street because also that is going to be bought a street

And as I was seeing we'll be actually going into an urban setting that fits quite nicely and also there is a very overcast sky

I don't really want to have any direct sunlight with this hdri. It's just meant to be for um background ambience

But what I do want to do and that's going to be a little bit different is that I'm going to change the saturation value from

To zero and that will make a black and white scene because what I want to have in this particular scene

I'm going for a very specific aesthetic

Which I've seen in other references and I want to have as much control as possible over the lighting

So for this reason, I just want to use the hdri as like a more ambient lighting

That's not going to be contributing any color information to the scene. So I'm just going to set this on like this

We can roughly kind of see how this is going on. Let's just turn it off

We can kind of see how that's doing. It's not going to be contributing much to the scene

But the way that I will be making light into the scene mostly is going to be using area lights

Now, I know some people are probably going to be thinking that you cannot get realism unless you're using hdris only

But that is just not true

I see a lot of people online and they get stuck in using the same lighting method

So they they think that they can only make realistic renders of hdris

And they don't try anything new and the reason why I'm making a big point with this

Is that I want people who are watching this tutorial to try something new

There are so many different ways to get lighting into your scene. There could be hdris area lights

Sunlights the nishita sky texture point lights

There are so many different ways to add light into the scene try something new because then you might

Find a style which you much more prefer you might prefer to use area lights because you have more control over it

And you can still get realism. Most people have probably seen a brochure with furniture

Now these brochures are most of the time photographed inside in a studio with no natural lighting

They have artificial lighting set up

So they have their own form of area lights

They have area lights to to focus the light on specific areas of the scene to make it look like it's actually lit from the environment

So a normal person looking at a visualization which uses the same method of lighting

Such as a studio lighting with specific area light placement their eye is tricked into thinking

Oh, yeah, I'm very familiar with this type of lighting. This must be real

So the eye is very familiar with this kind of lighting and that's what I'm going to be using for this

I'm just going to be using area lights to place very specifically the lighting which I want to go into the scene

Now if you just want to use hdri go for it

But there is a very specific look which I'm going for and that will involve area lights to be lighting most of the scene

We can see already that there's some nice ambient light coming from outside

And you'll find that the very end point that it will still be a very realistic render

And I hope that you learn something new just don't get stuck in one way of doing lighting

Try new things and you might find something which you really enjoy

So to do that what I'm going to do is I'm going to add a big area light

And these are going to be more of the main focus of the light

So you grab this point and you can point any face in it or face that way

And we're just going to maybe bring this down actually make this a bit bigger

And I want that to be shining into the room

Like this and we can just see how this looks and there's one thing which is now a part of blender

And that's really cool. And that's being able to change the spread value. So it's probably like 46

Now we can see we have much more angular lighting with stronger shadows. So if we check that out again if we check

here

There's some like a nice sharper shadow here, but if we set this back to 180

There's still a sharp sharper shadow here, but it kind of gets lost very quickly. There's no more detail left

So if we change this to something like 10 we can see that the the shadows are much stronger

So let's go for something like 46

And then I also want to copy that over to the other side

So I'm going to go into the camera view. Let's do a test render and watch this render as we move the other lighting over

So let's do like this one do shift D

I'm going to do shift D because I might want to change the values of these later

But now we can see we're already adding light into the scene

Okay, I've just changed these values just a little bit

And this is you can say kind of the direction where the sunlight will be going because this this will be quite a concentrated beam

Going in this way we can say that the sun or the main brightness of the sky is going to be facing this direction

Let's go back into the camera view where we actually have some of the other objects in the scene

And we can see where we might want to place some more lights

Okay, so one thing that I would quite like to have I want to have some focus more here on the sofa

And maybe some more light going into the bedroom because the bedroom is very dark at this point

But we can already see the moody aesthetic which i'm going for is already starting to be apparent

But it is nice to have some nice

Contrasted areas where it's maybe a bit brighter. We can actually see what's going on

So for that, I'm going to actually duplicate this one

Maybe make it a bit smaller and then I can actually make that face this sofa like this

Actually just do something like this

And face that into the scenes

This is hitting the sofa and it's going to be the same concentrated beam

Okay, and then we see if we can actually see this one in the scene

Okay, there we go

So now we have a really nice focus going on here from this light here

So if I move this other way it's gone if we bring that back we can see it

It might actually be worth also turning on the denoiser here at this point because it helps clean up

And we can see the materials and lighting a lot easier

Okay, and then I'm probably going to want to do the same over here. Let's just move this one over

Okay, and I've got this light here. Okay now this light is adding a bit more focus on this part of the bed

But I think we want some more light. So I want to bring some more light into the actual scene

And then let's just bring this round

Let's set the value to maybe a bit wider something like this

And now that's adding a bit more light into the back of the room because what the back here

I'm also going to add some cabinets and stuff like this

So I think that's going to be nice in the scene, but we're going to have to be careful

So this is actually going to be hitting the ceiling here. So if we go to the actual room

We will be able to actually see whether whether light is actually going to be intersecting with the ceiling

So that's one thing to keep note if we're going to see it later on

But I don't think we're going to see it from now on so I'm just going to use it as a beauty light

Okay, so this is going to be a really nice look and I think this is coming along quite nicely

Okay, and the next part I want to maybe add some more light in here because this wall is going to be way too black right now

So what I'm going to do is just duplicate this light from here

And bring this over like this make a bit smaller maybe and bring that over here

Maybe make it a bit taller like the glass itself. Okay, and let's maybe make it a bit brighter like 20

Okay, so now we can see this actual wall effect here. Um, we can actually see how this is going to look in terms of

Actually, let's turn off the dino so we can see the detail

So we can see how the the final look of this and if the normal map is going to be too strong or not

Um, but I think I think that's probably going to be fine. I might actually want to reduce that a little bit

Out the walls

Maybe 2.5

Okay, I think that's probably good fine. You can see that there is some detail on the wall

You just don't want to have a completely smooth wall because that is very unrealistic. Um, generally there is going to be some variation there

So that's going to be fine for now

Okay, so this is looking really nice

I think this is getting the aesthetic which I'm looking for

The next thing I want to do is now start adding some of the smaller details

Some of the smaller lights

Change some of the smaller materials and in general start populating the full scene because I think that this look that we're getting

Is very close to what the look is that I'm going for

So I think that this next step is probably going to be the most fun part to be honest

This is the part which I enjoy the most the whole construction is done

I've got the lighting and the camera which I like

So now I just want to work on fine-tuning it and making it interesting

And that is a good concept to go for so you want to block it out and get work smaller and smaller and smaller

Smaller details smaller details until you have a finished product

Actually before we move to the next step what I'm going to do is actually just move all these objects to the same

To the same collection so that everything is nice and organized

Okay, move these to new collection call this lighting

Call this lighting

And we can set that to another color

Maybe orange

Oh, let's change this to blue. Okay. Then what I'm going to do is I also select these sofas and move these to this own layer called

let's say

living room

Let's select this bed and move this to new collection called

bedroom

The next thing I'm going to do is work on again some of the more bigger objects

And then I'm going to work my way down to the smaller objects

So what I'm going to do is I'm going to go and add a coffee table

I'm going to go to tables and coffee tables and then I'm going to select this one here

So this is a nice one which uh, we recently released

Now most of these objects are going to be coming from iMesh

And this is going to be the paid subscription

And if you do want to follow along exactly like I said, uh, you're going to want to get this subscription to iMesh

Um, there are obviously other free resources or resources online and things like this you might get a model yourself

Um, but when you're doing architectural visualization, you're not expected to model the furniture yourself

It's a waste of time use pre-made assets and then you can very quickly build the scene

Architecture visualization is about the visualization the cameras the composition the materials and lighting

Not about your modeling skill if you want to follow along exactly

I'd highly recommend you get a the subscription if you're watching this at black friday time

We have a black friday deal going on if not then there will be another unique code in the description

Which will be having another offer check that out and you should be able to get this at a discounted price

Just because you're very nice and you've been watching this tutorial up to this point

So yeah, i'm going to continue if you don't have this exact furniture and you don't want to buy iMesh

That's also fine

Just find other sources to get 3d models and i'm going to talk you through the reasons why i'm going to go for these

Specific items, so then you can also choose appropriately

So this is the coffee table which i'm going to go for um

I'm probably going to make it a little bit smaller and move it over a little bit like this

The reason why I chose this one is because it already has like a frosty dark glass

The same and this is going to be a similar effect to the glass here

So what I want to have is some details which kind of match each other

So this is going to be like a dark glass and this is going to be a dark glass as well

So I want to make sure that they they are similar. Let's just make this camera a little bit smaller. So it's a bit harder to see

Okay

And then the next thing I want to do is also there's something here

There's like some empty space and one way that I like to feel empty space and that is with stuff like plants

And of course we have some plants

So let's go into our plant library and it will be using this monstera

And I'll append that in now this one does actually come with like a fur on the

Block probably don't want to see that so let's just hide this from the viewport

And it should make things a bit quicker

But it still might be a little bit slow, but this is a very beautiful plant

So let's just use this and drop this into place. So we want this to be on the back wall somewhere

So I think I think a placement like this should be fine

I did make this plant so that it can actually go against an edge

Which is one thing which I freaking hate when I download plants online

They end up being so big and you end up having to put them like two meters away from the wall

So there's actually some space so I did make it so it can actually go up against the wall

And hopefully people can appreciate can appreciate that

And what I'm doing here. I want it to be going off the camera

So it is leading interest in this direction

But I don't want it to cover too much of this area. This edge might be hitting too close to this edge

So maybe some overlap would be a little bit nicer

Maybe something like this

But I think that should be quite nice. We can do a preview render if you want to

And just see how this is coming along

Okay, so one thing that I'm immediately seeing and that monstera is almost pitch black

So we need some more lighting and one way to do that is actually add some more actual physical lighting

One thing that I like and one thing that I've seen some of my references and that is using some spotlights

So we're going to do the same thing. We can add some spotlights

Probably going to go for this one here. I'm just going to pen that into the scene and bring that up

Now what you can do is edit this

Quite easily. So you select this object and then we just want to select these

I'm actually going to edit that one here and go into this mode here so I can see what's going on

And then I can bring this over into place

So roughly where I needed to be and I also want it to be completely flush with the with the ceiling

So let's bring it down just a little bit like this and then we'll do some cuts later

and then I just want to place these and

and

Make these ones connect. So what I'm basically going to do is do this

Actually, let's also select these points here

And rotate this and then I'm basically going to make going to make them connect like this

And I want to create like a cross here

I'm going to do that now. I'm not going to waste the time in this video

And I'm going to come back in a second when it's done. Okay. So this is how it's going to look

But now we also what we do want to see this

This piece

Let's actually bring this piece down a little bit more

So we want to make a cut in the ceiling here. So I'm just going to select these pieces

And the ceiling I'm going to go top view and then we're going to just do some really quick cuts

Okay

Now with these cuts created I'm just going to select the faces

This one's here and then I'm just going to extrude them up

Okay, now these are in set there is a little bit of a join here, but we won't really see that too much anyway

Okay, now with these lights the beauty of these spotlights which are created and they're available at iMesh

We can really point them in any direction that we like and they'll follow they will look nice

So I'm going to I'm going to show you the angles which I have so I have one light coming down here

That's going to be hitting this edge of this sofa here

And I'm going to have one spotlight which is the reason why I created this in the first place and that is to be hitting

this uh

Monstera leaf and then I've also got another light coming over here

This one is going to be hitting this coffee table and that's going to be creating some nice lighting against this edge

And then there's also this one here

Which is going to be facing and also contributing to that that nice light which is going to be shining in about the same point

Now these lights they do also come with an ies light which is more realistic and it has a nice fall off

Just like a normal spotlight

We can kind of see how that's going to look here like this

You can quickly see that these lines are quickly adding up

So it's just nice just to quickly turn this off if you want to okay, so we can now see these effects going on here

If you one thing that I really like about these spotlights and that is that this glow is very realistic

When you import this for the first time you might find that this emission value is just too strong

Like this and it's you can end up blowing out the whole thing

So you can no longer see the detail

But I like it to be set like this so this still looks realistic, but you can still see this nice details going on here

And those are also the details

You want to also remember if there is detail in that light you want to be able to see it

Otherwise if it's completely blown out, you know, it's not really contributing much

Okay, so this light isn't actually doing much this monstera. So I might need to add another light here somehow

But we can see that there's a nice leading edge against this coffee table

There's a nice light here and it kind of looks like the lights are on

Like it should be which is kind of giving like a nice evening vibe now

And these lights also I really like having a value of

4800 so going throughout this tutorial. I'm going to be using all of my artificial lights inside

I could be with a value of 4800 if there is like a light which is going to be more of a

Like I'm going to add a light here, which is going to be more of a focus on

Highlighting an object rather than an actual artificial light. I will make that as just white

Okay, so how can I add more light to this and like I said, I'm going to add a highlighting light

So what I'm going to do is just go to here and let's just change the view down so we can actually see

I'm going to add a new area light and I'm going to move that over

and focus that on here

Okay, so in the end I've gone with a value of two just a little bit of a highlight

So if I turn that off it's going to be black if I just set that to two

It's quite nice and I've gone again with the same kind of spread like a 46 spread now. You'll also notice

I've just imported this from the other from another scene and the color of the monstera is also different

So I'm going to talk you through that now

So what I basically did was the color of the monstera is nice. It's a very realistic green

But what I did find is that it didn't really fit the mood of the scene and the green was just too overpowering

So for these leaves there's different materials here. I basically just tweaked the material a little bit

So you can see here I've added a hue saturation, which is going to be going into the color

Which is going to be going into the base color. This is just a bit of dust

There's like an additional shader to give some realistic dust on the monstera

But the actual color information itself this one here

I want it to be a little bit darker

A little bit desaturated a little bit darker and also the hue

To be a little bit different. So these are the values, which I've got here. Basically just copy this across to all of the leaves

So I think before it was like one and it's just a bit too much

So that is just one thing that I've already controlled and that is also a concept

Which we're going to be doing quite a lot here

We want all of the colors to work in harmony

Make sure that you're looking at your color swatch

If there's just one color, which is just doesn't fit in you just want to tweak it

You just want to work with it and see if there's another color which you can pull out of that specific material

Okay, so I think that's looking really nice. I think that we're getting a really nice vibe here and talking about materials

So one thing I also like to do throughout my scenes is I like to make sure that all materials are very similar throughout

So if you're using a nice material, this is this is one of my favorite sofa materials that we've created iMesh

And I think that it just has a really nice color which fits this vibe

This sofa in the back has a different material

Let's try and connect them and make it so that they have the same materials and then that should work a bit better

So let's click on this one and see what it is. It's called beige fabric

Let's just remove this so it's easier to find and click this one and

Let's just find out what the material is

Let's go

So this one, okay, so it's this soft lever and then let's just change this to

Was it beige fabric?

Beige fabric, yeah, okay. So now these have the same material

So if we do another preview we can then see I'm going to turn on de-noising so it's a little bit quicker

We can then see that they now should work a little bit better together. So this sofa is now quite lighter

You might argue that there's a bit too they're a bit too close to here

But I think because it's in a darker setting there's still a bit more of a difference

Which which looks quite nice

But now we can see that this bed also fits into the scene a lot nicer if it's the rest of the vibe that we're going for

Okay, so now for the next step

So one thing that's a big open area and that is this big piece in the back

There's a lot of empty space there. So we want to fill it with some details

Again looking at my references. There are some really nice shots which are using some sorts of clothing

Closet which has some nice detail. So that's what we want to go ahead and do now

So the following along as previously I'm just going to go to here and set this to storage

And let's choose one. So this one I already know works. So I'm just going to pin that in here

Let's bring this up to the floor level and then let's bring this over

Let's just bring this

Like this and then I'm just going to do alt D and bring that over

Because I want this to be covering both this piece is going in the wall

But I don't think we'll actually see it here

So that's also fine if you want to make that perfect that you should probably do that and make that only have this many doors

But for this reason, I think that it's fine

So now if we do a render preview, this one does already come with lights inside. So it should already highlight quite nicely

And as you remember, we also added a light in here

We should be adding some nice light onto this area too

Okay, so that is already instantly added some really nice detail to the back of this room

It's adding some interest, but we're not finished yet. We want to go into the smaller details

So maybe like a bedside cabinet, maybe some lighting here

some plants and

Some curtains as well. I think so I'm just going to go ahead and do that now

And then I'll be back in a second once I've added those objects in

Okay, so now I've added in those objects

So what I've basically done is I've added a few curtains because I think curtains they break up this area quite nicely

It is a bedroom with glass walls. So they probably want some privacy

Even though this is a studio apartment, you know, they might maybe they have guests

And then they can spread over here if they if they need to

I've added this one over here and I've just crumpled this up a little bit

The good thing with curtains is that they have a lot of

Because they're fabric they have a lot of play in them. So you can stretch them a little bit

You can

They shrink them a little bit and they still will look like a curtain and look quite nice

So I've added those pieces in I've also added in this light, which is also

I mean everything is available on iMesh

But I quite like this light because it's like a nice soft light that adds some interest over here

And I've also added like a book and these things this thing here and again

This bedside cabinet and one over here now

I did realize that there isn't actually enough space over here for the other bedside cabinet

But maybe they like they prefer to sleep on the side of the bed

But as this is your own piece you can if you want to stretch this piece out further if you want to but

I've hidden it basically. We can't see it anyway. So that's also fine

And over here

I've added a pan pass grass because I think personally they're my favorite ones

I always think they look great. And if you just look at these colors how perfectly these all work together

It's a perfect plant that fits in a lot of situations. I've added some candles that sit in the front

And I've just tweaked their the colors a little bit. I've made them a bit brighter because they were just a bit too dark

So then they kind of fit a bit nicely with this but the colors also

Contrast this a little bit more. I would probably tweak these

Maybe you could tweak these a little bit so that they do they are more similar

But I think in general that is a really nice touch

And lastly there's a book here because somebody who sits here likes to take notes about something

But in general you want to make sure that you add some elements which make it really feel like somebody actually lives here

And maybe there is some story to tell so

Shoes are a good one. You can add some shoes here like some maybe somebody has just sat here

And maybe they've just left an item and they've just gone off to the other room

Add some sort of interest here and that is believable or makes it feel like you could just jump into that scene

For example, if this was completely square that might look less pleasing, you know, that's just too neat

Maybe just turning it a little bit could add some really nice variation

So now I think that they I think that this is almost done the ceiling. I keep looking at it

It looks really disgusting at the moment. I I'm probably going to tweak this a little bit, but I'll come to that in a bit

Um, I think that this is maybe a little bit too dark

There is a light on here

So it would be nice if there was some sort of light being cast down here

And I think some sort of cushion could be nice here because it wants to be a bit more comfortable. I feel like

Um, I think that that is probably

Fine, so let's add a cushion and let's add a light here and then I'll be back in a second

Oh, actually the cushion, um, I'm probably gonna look in seating. See if I have one

already made

Because this is could be quite a minimal scene so

Yeah, I'm probably going to add this cushion here

I'm just going to import this whole sofa

I'm then going to extract the cushion itself and then place that in okay now when you import cushions

There's one thing to note

Is that you'll probably find that the cushion doesn't fit exactly onto the sofa that you're trying to work with

So there is a thing called proportional editing if you press o

You can't enable this mode and you want to make sure that you have a set to smooth

And then you can adjust this cushion use the middle mouse wheel to scroll this out

You can then move this so that it fits nicely onto the onto the

The object you don't want there to be a too big gap

And you don't want the the gap to be non-existent

One thing that I do find with fabric materials is that if there's just a little bit of a gap

It can look a bit more realistic that it kind of leads underneath and has a nice

dark shadow underneath

But not too crazy that it looks disconnected. So I think that is a nice touch and

It should already be look at the material. Um

It should already be a nice

Material and color which fits nicely into the scene anyway. So that's good. Next thing I want to do is add this light

Okay, so this is the light that I've gone for again

It's an interior light which is going to be more of an artificial light. So I've set the value to 4600

I've set the spread to 60

So there's a bit of a spread but that also mean that they should get some on the on the curtain here

Now this won't be 100 realistic because there will be a lot like going down

But not up or to the side which you might expect from this light. I still find it doesn't look unrealistic

And it still adds just a really nice touch and a bit of glare and light to this object

Okay

So you can see that light being cast on here and it doesn't look unrealistic to me

This looks like it is being cast here

If you're looking at this you think where the whereas the light coming from it must be from here

If you wanted to you could always turn it and add some light coming cast on to here as well

But in general, I think that looks quite nice. So let's check that with the new cushion

And I think that's looking pretty good

I would probably say that this is being pretty close to

completion

So I'm going to move now on to the kitchen scene. So let's just see how this kitchen is looking

Cameras and kitchen shots

So it's very black. There's not much going on here

So we want to add some more lights going in over here and then let's add the details as well

So the first thing I want to start working on is always going to be the lighting

I want to see how the lighting works in the scene. So I'm going to go over to here

I'm going to go to lighting. I'm just going to look at some

ceiling pendants and

I already know I'm going to go for this one. So I'm going to click on this object here and append that in

Bring that down

Now this is a really nice light and it will also cast light onto the reflections on the on these areas too

So that's one thing that we want to make sure we don't lose. Let's bring this to the ceiling

Now I'm going to let it down

Okay, and that's just like a stopper point that goes in and holds that part of the light up

Okay, I'm going to set this to 4800

And I'm going to turn it on

On off and then that should add some light in over there. Okay, that's cool

And then I'm just going to see how this looks from the living room shot because we should be let's see some

There we go. So we see the reflections over here, which is a nice touch

And I think that's cool. So now let's work on the other lights. Again, it's too dark over here

Okay, so after some experimentation, I end up resorting to this light here

It's got quite a wide spread, but and I've also lowered these a little bit. So what I wanted it to do

I don't want to bring that down a little bit more these portals

Um, I wanted to just cast some nice light on this wall here as if it's you know, it's the same light direction as these ones

Very roughly. Uh, so it's casting some light here. Um

And I think that's probably fine. The next one is the lighting for the

The kitchen I will actually make these lights come with the kitchen

But basically what I'm going to do is just add some area lights underneath here

So to simulate leds in the light in the in the kitchen as this will be part of the model

I'm not going to go over this part exactly, but I'll be back in a second to show you the end result

Okay, so this is what I've ended up with again

I've got a black body and I've set this to 4800 and I've just added these underneath here

Probably move this over a little bit more and underneath every single shelf

There is going to be a light so that should add some really nice

Lighting here and again, we can already see that we're getting that nice

Aesthetic which we're going for in the other scene and now the lighting is done

I want to now work on some of the more furniture items some of the bigger items and then work down to the smaller items again

So the most important thing for me is um this area here and then I'm going to add something small over here

So I'm going to add a bit clothing rack here and then some chairs and I'm probably getting a chair here and

Yeah, we'll see how that works. So what I'm going to do is I'm going to add a

I'm going to add a lounge chair. So let's um add my cursor here and just append that into the scene

And then let's rotate this it is a little bit too big and using artistic license

Let's just reduce it a little bit and we just want to see the leading edge here because this has a really nice detail

So that's the only thing that's important here

And then I want to add some chairs here and then the back area. So let's add a

chair

And I already know this is the one I want to go for it's again

It has a similar kind of color going on here

But I'm probably going to change the back wood a little bit

But this actual vibe of this chair is what I'm really

Digging so let's append that in

And let's move this over here like this I might make the chairs a little bit narrower and I'm going to do Alt D

And rotate this over like this let's turn off render preview

Okay, and then let's add in a couple more here

And I think that's fine one thing that's always nice to do with chairs is just to make them a little bit off

Not make them a hundred percent perfect

Okay now for the actual wood I am going to change the little bit because I do think that the wood is just a little bit too dark

Yeah, because as you can see here the wood is too dark

So I'm going to I'm going to choose a lighter wood

Go to the IMS Asset Manager. I'm going to go to woods and let's see if there's one which I think looks quite nice

Um

I'm probably going to go for wood 35. Let's import this material

And then let's select this wood

And then let's give it this material instead

Okay, now that's already lighter and we can already see the effect going on here

I think that the string also has a bit too much color

So I'm just going to reduce that a little bit to 0.5 and maybe increase the value to like two

So now the the the string is also going to be like a similar color to here

But it should be in in general terms all matching right. So now let's work on the back wall

Okay, that's looking pretty good. I think for these items here

what I've actually done is I've actually given this one a white material and this one is also a

A lighter material because I didn't want any color information going in

From these particular objects wanted it to be all in harmony. So that's what I've ended up going for

So they are like the blocking items. I do think we need some maybe some more light here

So I'm going to add that more light in here and then I'm going to just fill these shelves with

Plates and things and then also add a sink so a tap and then maybe some decorations here

I think we actually released some decorations recently which would work really nice here

So I think this one would it's literally the same colors

So I'm going to go for this one

Maybe drop in adds half here and half over here

Then I'll add an area area light and then I'll be back in a second

Okay, so this is now populated

We now have another pan pass because I think that's also going in in working quite well with the

rest of the scene

I've also changed some of the materials in this one

so I've made it so that the the wood itself the sticks and the pan pass itself is going to be

Whiter because there was too much color in there and I've also given the material on this object here

I made it more of a white material than what it already was

And then for the highlighting lights, so again, there's no color information

It's just going to be white, but it's just going to be a nice highlight

That should be enough over here and it's going to be facing towards these chairs

To

To bring some nice light over here

Now you might be thinking oh, but that's unrealistic because there's no actual window here

But that doesn't matter so imagine a photographer has come into the scene

They're finding that they don't have enough light on these objects

They are going to bring their own light anyway

So that isn't 100% unrealistic and I'm sure your client if you show them such a render

They could be like wow, this is amazing. They might say this is too bright and we can darken it

But in general for this specific render, I think it looks great. So that's what I'm going to go for

The next thing I want is maybe a bit more of a light on this pan pass here

But the rest of the items are really working quite nicely. One thing I did over here is that this tap was actually

Rotated like this like straight

Which is it's a bit hard to get any context of what it actually is

So just rotated it a little bit so now we can actually see it's a tap

But yeah for the light on the pan pass

What I'm going to do is just let's just duplicate this one

Make a bit smaller

I'm going to make this to

Five

Five

I'm going to make it focus onto the pan pass itself

Um, you can also set these two discs if you prefer

It doesn't make too much of a difference and I'm going to set this to 40

So now there's a bit more of a focus light on that

So if I move this out of the way, we can see it's darker. I'll bring it back. It's just a little bit little bit lighter

So that's nice

Okay, one thing that I'm really noticing with this right now along with the ceiling

Which is looking pretty disgusting is that this chair has a very strange color to it in this particular scene

I don't think it matches this color and it doesn't really match other colors in the room

So this is more going into the green direction

But it would be nice if it was going into the more of the red direction

So we can see if we can tweak that a little bit

Um, so let's have a look here. So there's this is the color

Okay, so is that going to affect the color here?

Okay, that is affecting the color. So let's bring that back

And

Then let's just bring this over here like this

I think that might already that might actually be all that we need

Okay, yeah, I think that actually works perfect. So I think that looks closer to this

Maybe you can desaturate a little bit. Um, but I think that's working pretty nicely

I'm probably going to leave that there for now

I think this tutorial was also already incredibly long

And but I hopefully you get some ideas from concepts that we're going for

Okay, so this is going to be the final room

I've just gone into the camera view for now just to get an immediate impression of what I can see

So the first thing that's coming to mind is the reason why I put this camera here is to see the reflections

The problem is the reflections are black and white, but we want to actually see the reflections

So what I'm going to do is go to the world tab

Um, I don't actually have a reflection saturation value here

So it shouldn't be too difficult to make just add on to the answer. Let's add a mix shader

And let's plug that in here and add a light path node and then we say is this a

Glossy ray if it is yes, then that will be

With color if it is not then that's going to be the black and white

So basically all the reflections coming through here will be with color

But the rest of the scene will still be illuminated with the same lighting as we had before so that won't really change

If you think that that is a bit too oversaturated that green is a bit overpowering

You can add a hue saturation node here and then just reduce that a little bit if you want to

But I'm probably going to leave that for one for now and then maybe adjust it later in

Post-production if I want to but I do feel like these colors are a bit overpowering right now

But that it doesn't help. It's not helped that the rest of the scene is very monotone

But let's see if we can bring out some more colors in here

So one thing I'm going to do is I'm going to add a carpet with

Maybe some shoes

Because shoes for some reason always work nicely in the bedroom. Somebody's just walked in and

Getting ready for bed

So let's add a furniture detail. Let's add a carpet

And let's move this over here like this

And then let's also add some clothing

Again all part of the iMesh collection and we can see how easy it is to make visualizations

I do

Genuinely think that if you're looking to get into artfills that this is probably one of the best investments

I don't mean to like blow my own trumpet, but I do think that for the library that we're offering for such a price is

basically unheard of um

So yeah, anyway, something like this

Maybe these are too similar. So let's just rotate one a little bit add some more variation

Somebody's just kick them off

Yeah, I'm trying to see how these are working together, but I don't know if this is too close or if it should be closer

But I think some edge so we can see this edge here would be nice

Um, I also want to make sure that the focal point is here and it looks like it is

And

Okay, so I think that should be fine and like I said, I want to add some sort of plant here

So as this will be an outdoor scene, let's go to plants outdoor

and

um, I think that this one

Is probably one I'm going to go for

I think something with a bit of color will be nice because it is such a monotone scene. Um

And let's add that in

Okay, so I'm just going to bring this over here

Now this is going into the floor now

That is one thing that you need to take into consideration

Is what is the purpose of this scene? Is it for a client? Does it need to be 100% accurate?

If yes, then you would probably want to move this off a little bit and maybe

Have it so it is possible to be in a pot, but as this is actually

I feel so better

Uh, I quite liked it how it was here, but now I'm thinking it might be better over here

Hmm

I think maybe a bit of both

So I think that would be quite nice to be honest and let's move this away from the

thing

Now the idea of this is to be out of focus add some color and

Um, make it so that this corner isn't completely bare

And I think that will work quite nice

Okay

Now this is a little bit too dark

So I'm going to add another beauty light here

Let's just turn off the rendering

Maybe lower value and set this to something like 40. So this should be a nice highlight onto this plant. I reckon

Okay, yeah, that's already you can already see the immediate difference here

So if I bring this off it's dark and bring it back. There's some nice highlights

So this leaf also has some nice glossiness and reflections which was being lost

So if I bring this back we can then see some reflections here another thing to note

It's because we have an area light here

And an area light here. We might be seeing those in the reflection. So what I'm going to do is go over to here and set this to

Turn off the transmission and the glossy so that's no longer be affected

This is actually a light which I only really want to add diffuse light into the scene

So it's not too important for me not to have these turned on

But that you could probably leave that one on if you want to it's not too overpowering but

I don't think it was too accurate. So I think that's fine

And then the final detail this wall is a bit too plain so you can you can all you can either add a piece of artwork

You can add some some planks. So if you follow my other tutorials, you know that I'm a huge fan of adding planks

So let's just do that now

Just add a mesh cube

Now I want to give this the same material as the wall, but you can also give it like a wood material

Let's select everything unwrap

And then the edges are too sharp. So let's add a bevel

Let's add a little light bevel

If you want to smooth it you want to make sure that you have a shading hard and normals and then turn on

Auto smooth

Okay, there we go. And we might want to also adjust the UVs, but I'm not going to go into that too much now

I reckon saying that to scale of five should be fine

And

Yeah, let's see how that looks

Yeah, let's see how that looks

Okay, I think for that that's going to be wrapped up

I think that's going to be fine

And I'm just going to get on to the rendering because this is already dragging on quite long

But the main concepts here are are correct. So the camera is facing into this room. There's depth fulfilled. That's quite strong

Maybe it's too strong

But it's going into this room so that the focus is on the the edge of this chair and this area here

So there's some story going on here with some nice interest

So there's a there's a definite focal point of this camera

And that is the main focus

Maybe it is too dark here and maybe a lighter frame would be more appropriate

But I think right now that is fine. Let's just check out the other cameras

And this is the main living room shot

Again, this ceiling is too strong. So let me just let me just actually add a

Mix rgb and set this to I know a value of like this

So it's going to be quite rough

Something like this, but yeah, so this general shot

I'm really liking the curtains add a nice way to break up this

Area that the glass itself is quite black. So if you were to peek through it

You can see that there is a difference in the in the lighting

And this whole setup I think is just working really nicely. So I think this works really well

And then for the kitchen shot, I think that all works nicely too

Now the one thing to take into consideration here is I think this shot and the living room shot are

closer together

In terms of color, but there is definitely some colors that are missing. So this one it has a lot more reds and

Terracotta colors going on

But the living room shot doesn't so you might be worth bringing in some terracotta into some of these areas

And then also in the bedroom, I think that one is the most different from the others

But that does have the terracotta here

But I think in general they are close enough together to work

But if you want to make these renders all work together even better that is with post production

So that is what I'm going to get on to next you can of course tweak the colors add some more light into the background

Make make it so that the renders are closer together and do share more colors

But I'm going to move on to the post production side now

Okay, I've just come back to this and I thought that it could do with one final detail before I start rendering it

And that would be a light that sits into this little little section in the top now

This is not entirely necessary, but I thought that it just adds a nice little touch up here

I always think I always think these kind of glows look pretty nice

Again, I've set the value to 4800 because they are not highlighting lights, but more of actual artificial lights

And as for lighting values

These two here have the same value of two

I gave this one at the back which runs along here the same value of two

But I found that the perceived light value because it's going through the corrugated section was a lot less

So I've set that to a value of 10 and now the perceived brightness of that light all looks the same

And it looks like this light is continuing along

So that I feel like finishes off that section really nicely and now I'm probably going to render it

Hopefully I don't see anything else I want to change, but that should be fine for now

Okay, so when you get to finally to rendering you will be very limited to your vram on your gpu

If you're doing gpu rendering, which I'm sure most of you are

I have an 8 gigabyte gpu down here

Which we can see and that is what I imagine most users will have

If you have less vram then things can get a little bit more difficult

And you just need to optimize things a lot more

Your best friend in the whole wide world

It is going to be the simplify tab and turning that on and making it set to texture limit

So setting I'll basically set this to 2k. I set this to 2k in my test renders and it looked perfectly fine

There are certain details such as the wood floor which could have been better with a 4k texture

But I will promise you that if you go too low, it doesn't make too much of a difference

If you try to remember this is going to be rendering at roughly about 2k when I'm finished with it

So that full scene is 2k. So if you have imagined your 2k texture is this big on this sofa

You're not going to see the difference in in texture size

But the texture limit as considerable detail to the vram

Another thing to take into consideration is the amount of textures that there are actually in the scene

So for example in here in each of these objects, which are hidden behind one bit of glass

Two bits of glass is awesome clothing. So let's just hide this. There's some clothes here

So each of these clothes have one two three four textures

We won't see any of these the only thing we might see is the diffuse so we can very easily just remove all of these

Plug in the diffuse and be done with it now

There's only one texture and I guarantee you're not going to see the difference the same for this object here

So this object is it has a clear coat material and it has some glossiness and normal maps

It has two two principal shaders

So we just remove all of these. We're not going to see any difference

I can guarantee you can do some before after

Ren is if you like

But this has already saved considerable amount of vram by removing these the same for this one

Just go through all of these objects in the back

And just remove all of the unnecessary textures at this distance between these glass

You're not going to see any detail other than the diffuse map

Just make sure that your glossiness values are roughly about correct

And it will it will look fine

Of course, if you have more vram go crazy, but we are limited unfortunately in blender

With vram coming from corona and vray when we mostly render on cpu

You are not limited in whatsoever and we can just throw everything at it until you run out of your computer's ram

Which can be 64 to 128 gigabytes or more

So that is one thing to keep taking consideration as for the actual render size. I will be rendering at

200 percent of this

Rendering at higher percentages is actually better for the denoiser

So what you can do is if you set this to 200 percent you can then lower

Your sample count by 4 so if you do divide by 4 you can lower it by 4 because basically oops

If you double these values you will be increasing the size four times

So if you decrease that by 4 you can still get a very beautiful render

I think that the denoises are actually trained on higher resolution images

So they perform a lot better and there's just generally a lot more a lot more information in those renders

You can get away with lower sample counts

But for the actual for this actual render, I will be going higher and I just want to preface

That I've set the noise threshold to 0.01. So I think if that's correct that is one percent noise

So I want to wait until the the image has rendered so much until there's only one percent noise left or

It will hit 400 4096 samples. So for certain areas, let's say you have a perfectly white table here

This might hit one percent noise before this pampas grass

So when this bit has finished rendering and it's hit is one percent noise threshold

It will then stop rendering and it can then focus on other objects instead

So I've set it to say if it doesn't hit the one percent noise one percent noise threshold

I want it just to keep rendering until it hits 4096 samples

Some of you might think that that is ahead of a lot and it is

This is going to be a production ready render. I want this to be as high quality as possible

I want it to be as many samples as necessary. So the denoiser doesn't need to do as much work

The denoises are made by AI and they have mistakes. They will remove detail which should actually be there

So don't give it the opportunity to remove all of that lovely detail and set a very high

Render time. I see a lot of people doing renders and they say wow this rendered in two minutes

And I just say well what detail are you losing because you're only rendering it for two minutes

Let it render for an hour. If you're not in any rush, just let it render in the background

You know go to bed set up all your renders and come back in the morning. You have everything done

But to the max maximum quality there is a big problem. I see in in blender users 100 relying on the

On the denoises and I just really need people to get away from this

The renderer is doing its best job to most make the most realistic render as possible

If you then completely destroy it by adding a denoiser on top, you're just removing all of that lovely detail

So that is the detail which I'm going to use if of course it's going to take three four hours to render

And you don't have the time then probably don't do that

And also if it is you're probably going to take three to four hours

Then there's a good chance that you probably need to optimize something anyway

But these are my default values. So for this one, I've turned off denoise

This basically means once it's finished rendering it will apply the denoise onto the image

But I want to have more control. So if I go to the compositor, I've added a denoise node here, which can be found

here

Denoising data and that basically means that after the render you can then decide how much of the denoiser you want to apply to it

So if I was to add a mix

Here and then a mix in the denoise to the final image

I can then say I want it to be the 100% denoised image or I want it to be the 100%

noisy image and so you can just adjust it a little bit

So I often find that 0.75 works quite nicely

So the denoiser can't work too much but it does take off a lot of the unnecessary noise off of some certain objects

Okay, and if I go down here, so light paths, I've set these all to 32 and for transparent, I set that to 50

Now that's only because I have the pan pass and that will slow down your render quite a lot

So if you set this to a lower value, the pan pass will start to become black because there'll be lots of overlapping

Transparent planes, which is why you need a higher value

If you go for another plant, you don't necessarily need this and somebody commented in the previous video

That said if this is set to 32 and you set this to 50, then it will cap at 32

That's not true. The transparent bounces are independent from the total bounces

So that you can set this as high as you like and you're not going to be capped by this value

So I will set this to 50

Clamping, indirect and direct, I set these both to zero because clamping it basically reduces the value of the light in the scene

Which brings it to be more unrealistic. I want that to just be full lighting 100% as real as possible

There is a downside to this that it can cause fireflies and you get there's some random specs throughout the scene, but I do find that

Having a 4 000 samples can get rid of that

But if you are having problems set this to a value like 10 or set this to a value like 3 if you're having a lot of problems

But generally I don't seem to have too much problem if I set this to zero and it will look better under film

Blackman Harris, I would probably set this to 1.1

So the the lower the value the more sharper the image gets

But then you can have problem with aliasing where certain edges if there's high contrast edge

So if one's a bright light and next to a very dark object you can get jagged edges

So be wary of that, but I do find that for archviz a lower value is quite pleasant

Now a another interesting thing to check is also persistent data. So let's say I want to render each frame

So I maybe I set up a one camera to render the next camera to render and following the next camera to render

I will probably enable persistent data

That means that every time it goes to the next render

It keeps hold of all the information and just moves on to the next camera without having to do all the calculations all over again

Then that is very useful. So I'm going to leave that enabled

And make sure that you've also got it set to to film it in terms of the

Render passes these are the render passes which I have enabled in this particular render

I'm not going to be going into light groups and light groups are part of the

Lights themselves. We can add them to a certain group. So when the render has totally finished

You can then have additional render passes

So you can just highlight these lights for example and then get a render pass just with those lights

So then you can do some mixing afterwards to adjust the values if you want to

I'm not going to go into that in this tutorial. I think it's already quite a long

So I'm going to ignore that for now, but you can enable those

But I think just for this video. I think I'm not going to go too much into these. I think that these

These are probably fine. Maybe set the indirect glossy enabled and we can mix that in later if we want to but I think

I think that's probably fine

In my previous tutorial. I have also gone over

More into the render passes. So do check out the archive is tutorial two if you're interested in that but that is probably fine

Okay, so that's probably fine for the render passes and render settings

Okay, so the next thing I want to do is also go through and make sure I do some cleanup. So basically

Certain objects are not seen by certain cameras. So I want to make sure that those objects are hidden when they're not necessarily going to be seen

So what you can do is just select all of these objects that are going to be in certain cameras and then move them to certain collections

such as kitchen

And then later on you can hide them from certain cameras if you need to

Um, and then you can do that for all the rooms. So for this particular camera

We won't be able to see anything that's in the living room. So if we select all of these objects here

We can move all of these into the living room shot

And then we can just turn that off. Oops

And then we can just turn that off when it's not being seen

So if go over here

It makes no difference here and then that saves on vram and it should make things a bit render a bit quicker

Okay, so that is now everything set up and I think we're ready to render what you can do

If you wanted to we'll set certain cameras onto certain frames and set it to render as an animation

So it just does one after the other you can also move things to certain scenes

So that they all render one scene after the next

But i'm going to save that for another tutorial

I don't know some people are going to be commenting that saying

There's a way to automate that and there definitely is but there's no harm in just rendering one go to the next camera

Turning off certain things and rendering that camera

Okay, so i'm going to render that and once that's done i'm going to move over to photoshop

Okay, so i'll come back to this a few days later and this is the final output from the last image which I rendered

And we can also see that i've also done the living room

Sorry the kitchen and we've also done the bedroom and i've also saved these out as a tiff

It's very important to save these out as a tiff

So if you go to file save as on the render and make sure you set it to tiff and 16 bit

That's to make sure that you have as much data as possible

If you do have some alpha information that you want to take into consideration

Then you can also tick that box too

But this for me are the settings which I used in the compositor which can be found here

All i did was make sure that i've had i enabled the denoise node

Which is found like this just denoise make sure you leave it as accurate and leave this one enabled because that makes it as

accurate as possible

And then when the final image rendered i just plug this in like this and then i save the output

Okay, and then with that saved all i'm going to do now is go over to photoshop

Okay, now that we are inside photoshop

The reason why i like photoshop is because i like the camera raw filter

Which which can be found here and camera raw filter because that walks you through all the steps for editing

And you can do most of the editing that you need to get the image finished

Of course, there are other steps which you could take later

But i'm just going to go over this for now because it's so powerful and you can really pull out your image and make take it to

The next level just with this filter if you're using affinity photo

That also has very similar tools

But i will be using photoshop for now and i'm sure you can translate the edits which i do over to affinity photo

I believe affinity photo is about 30 or 40 dollars for life

So if you're on a budget, that's definitely a way to go, but i really like photoshop

So i'll be continuing with that

So the first thing i'm going to do now is after i drag this image into here

It says background, but what i want to do is turn that to a smart object

So now that's a smart object if i if i also do any edits for example if i click camera raw filter

And then if i click okay

It then saves that here so then i can go back into the camera raw filter later to make the edit

If i do not do that

Then the edit which i create is going to be baked into the image and then i cannot go back and change things

So you always make sure that the image which you're editing is a smart object

Okay, so in the camera raw filter

We can see here that it's just a list of edits which you can do and then there are some also

Some more tools up here which are very very helpful and which we will be using a bit later

So the basic section i won't be touching this too much

But that's very helpful for changing the temperature

And at some of the light values and also some

Vibrance and saturation values. I'll be using this just a little bit here

I think mostly i'm just going to turn down the exposure just very very slightly

Because i'll be bringing out some of the other lights in the highlights

I think that this as a value of zero is probably going to be fine and

Let's just maybe turn up some contrast just a little bit

These highlights and these sections i'm going to do in the curves

So i think that's probably fine for now might just turn down the vibrance a little bit

Okay, so it's not too much of an edit, but that should be fine for now

Okay, so i'm just going to minimize that and go to curves

So if we look at this graph we can see that this area over here are for the highlights and this over here are for the shadows

So we can see most of the image is in this shadow area, but not much of the image is in the lights

So if i was to adjust the lights we can see that it makes quite a big difference but nothing too crazy

If i was to adjust the darks we can see it makes a much bigger impact because that's where most of our colors are

I'm going to use this section a bit more lightly and i will adjust the lights even more because i have a bit more room here

So what i'm going to do here is first start with the highlights

So the highlights are referring to literally the highlights

So if we look at all these lights here if i turn this up to the max

We can see that the highlights are brought out and the shadows kind of makes it go very flat

The good thing with being a tiff is that we do have a lot of information

But we are losing some information down at the lowest highlights

But what i'm going to do is just bring this up just a little bit

Like this because i think that the this area which is going to be the most focal point of the image

I want that to be highlighted more and then if i bring up the lights

We can see that it's mostly affecting this area down here as well

So let's just bring this up like this. So now we have a nice highlight here and i think that's working well

The darks like i said, i just want to be very careful with these but i want to bring those down just a little bit and the same for the blacks

Okay, so we can see here that this area is now starting to pop out and the rest is starting to get quite black

Um, these areas are also very very black

So i think i'm going to try to bring those back a little bit and the way to do that is i would use this adjustment brush

So this brush you can basically brush on

Any of these effects. So if for example, if i set this to temperature minus 100 and paint onto here

We can see it getting very cold in those areas, which actually looks pretty cool to be fair

So what i want to do is because i want to make mainly bring back the highlights

I'm just going to bring back the exposure

Something like this and then i can paint on where i want the bright areas to be

So we can see that these areas are coming back and it doesn't look unnatural

It really does look like the lights are creating that

And i think that maybe this area is just a bit too dark. So let's just paint a bigger brush on here like this

And i think that's looking pretty good

Okay, so these area these highlighted areas are looking pretty good

Um, but i also want to add some highlighted areas to the back now if i was to click now

I would be creating a brand new brush and that's what i want if this was red

That means i'm going to be adding to that same brush

But because i want to edit this area separately, i'm going to go over to here and make sure that this is white

And then i'm going to add a brand new brush

So if i right click and just do this and then i can paint in some light over here

Maybe some light over here

And that's making that area brighter

So now i can adjust this separately to the other highlight. So i just paint it on

But i think something like that is quite nice

Okay, and now another thing that i'm noticing is that these are very red and there's no other red in the image

So this is really popping out to me. So i want to reduce this redness here

So i'm going to make sure i have a new brush selected and i'm going to paint over here over these red areas

We can see that it's getting very bright because it still has the exposure value turned on

But i'm going to turn that down in a second

Okay, and then i'm just going to use the rubber and maybe just remove it from these curtains

Okay

Okay, now i'm going to turn this exposure down

So that should be look like there's no edits at all and then i can also just adjust the hue

Maybe bring it more into the oranges

So that's more like the lights themselves

Maybe just a very very little

Okay, and then i'm going to turn down the saturation

Something like this, but maybe i might add a bit more here

Okay, so now we've removed most of those red areas there is still a little bit of color there

But it's not too crazy. The rest of the images is

Very black and white. So that fits in better now rather than that red

Okay, so my computer was completely failing to keep up with the recording for some reason and after editing it

I realized that it was basically unusable footage. So there's a section now

Which i'm going to try to rerecord and then i'm going to continue on from where i was recording previously

Okay, so from this point what i want to do is maybe add some more highlights here. So i'm going to make a

New brush i'm going to go over here and just paint in some highlights here

Maybe take some off of this dog

Let's maybe make this a bit bigger let's make a bit softer

I think it'll be just be nice to have some highlights on the side of this bed

Okay, and then what i want to do is i can see that these blacks are just way too black

So i'm going to click on this one which i've already done

Then i'm going to go to shadows and just try to bring that up a little bit

And we can see that we can now see the detail on this section. So bring that up

Yeah, something like that is nice

I think that's way better than this because the thing is getting lost

You would not be able to do this without a tiff you need some

You need an image which can hold a lot of information. So this is a good thing with that file format

Okay, now that's done. I'm going to go back to edit

And go to detail

So for detail what i want to do is add some sharpening

So when you're adding sharpening what you want to make sure is you find a part which is already the most

Part in focus and then adjust the sharpening there

If you tried to adjust the sharpening for an object which is already out of focus

Then you're just going to end up sharpening far too much because you're trying to sharpen the wrong part of the image

So i'm going to go to this section here

Oops

And this part is meant to be in focus. So what i'm going to do is just put this up to something like 36

And I think that is enough you don't want to go too crazy because that really hurts your eyes

But just enough to bring out that edges a little bit like that

And I think that looks pretty nice

The next thing I want to do is the color mixer

Okay, now for the color mixer

I've just reset the values back to what it was and i'm going to talk you through there

So what I want to do is you can adjust the brightness the saturation and the hue of different colors in the image

And it's really helpful to use this button here

So let's say that you think that this green could be brighter

You go to luminance click on this button and find the green that you like

And then you can bring this to the to the right and it's brighter bring it to the left and it's darker

Now this is very subtle because these this color is not very saturated anyway, but you can make it a bit brighter

And it kind of makes this section in the middle here a bit brighter, which is quite nice

I'm going to go I'm going to go to saturation. I'm going to do the same. I'm going to bring this down just a little bit

And for hue if I bring this to the right it's going to make it more blue if I bring it to the left

It's more yellow

So I think the yellow is very much in line with the image, but I think that's just far too much

So it would be nice to have a little bit of green left. So let's go something like this

And I think that's going to be fine for now

Okay now going to effect what I want to affect here is the vignette and that adds a ring around the image

Which can always really help with focus the image into the middle

So I'm going to bring this down just very lightly

Something like this and then you can adjust the the midpoint and in this case

I don't want the ring to be so close to the middle. So I'm going to bring this out to something like here

And then you can also adjust the feather amount if you want to so this is very sharp or you can soften it up a little bit

so I reckon something like this should be fine and

I think that those are all the edits I'm going to do for now for using the camera or filter

Hopefully this is very similar to what I had done just a second ago, but I'm rerecording it. So anyway, I'm going to continue on from where I left off

Okay, so I've gone online and I found a glare

Image which looks like this if you search for glares or lens lens flares

You'll be able to find some images which look like this

So I've just grabbed one and I'm going to bring it over to my light

And I'm going to set that to screen

There we go, and I'm going to make sure that's centered over oops

I'm going to make sure that's centered over the image centered over the light

Sorry, okay, and then I'm going to reduce that maybe it's something like 50 so we can actually see the light as well

Okay, you can also bring that up just a little bit more

Okay, then I'm going to duplicate that and to do that you just click and drag and drag that over to this button here

And then that would duplicate it. So I'm going to bring that over to here

Okay, and then we have some glares which are a lot nicer than you'll ever get out of blender

Um, and they still look very natural. So actually just make sure that these are definitely centered

Okay, and then we can also add them on other bits

So are so when there are like specific highlights like these where they are very very bright we can

just bring those down

here like this

And maybe onto the top of this dog and then do control t and then just make it a bit smaller

Just to add a nice highlight onto that dog

And that's how I do my lights so you can render these out and try to use the flares and stuff inside a blender

But and I just find it a lot easier and I generally think that these lens flares that you can get online

Just look way more accurate. So that's what I'll be using here

Okay, and the next thing I want to do is try to give this an

Instagramy vibe and that'll be basically by bringing up the blacks

So the blacks are not too strong and it kind of looks like a fade

I think is what instagram calls it

But as this is going to be like a portfolio piece and a bit more artistic

I'm going to try to I'm going to try to emulate that effect. So at the top of here

I'm going to click on this button and click on curves

Now to do that what you can do is just slide this up

And then you're telling it that the blacks the lowest black value is going to be this value

So bring this to the top the lowest back the lowest black value is going to be white

So that means the whole image has gone

So I want to bring up just it to something like this

But we can see that it's adjusting the whole image and I don't want to do that. I want to bring up

Just this bottom area here

So what I'm going to do is I'm going to find maybe the biggest point here and click make click here

But then if I was to do the same again, it still adjusts the whole image

It already looks a bit more appealing, but it's still not quite right. So I'm going to add another point

Like over here and then that will keep this curve in line

And then if I was to adjust this we can see that I'm now only adjusting just the black areas

So I'm going to do that very lightly

Something like this

So now if I do this we can see that these blacks look a lot more appealing here

So if I go into the monstera plant we can see these black areas are very

These black areas are very black

But if I do this they get light and I generally think that's quite nice to aesthetic

And that's kind of the aesthetic which I kept seeing and all of my references. So that's the image. That's what I'm going to go for here

Okay, now that image is just looking quite good. I think they might be too dark at this point

So I'm going to go back to the camera raw filter

And I'm going to go to the curves and I might just bring up the these bits

See how that looks

Okay, I think that if I was to re-render this I'd give this area just a bit more light

Okay, and I think that one more effect which I think could look quite nice is to give this

Plant a bit more light. So one way to do that is that you can create a mask inside a blender

But I haven't done that. So I'm just going to quickly paint over the top

So I'm going to select this camera raw filter add a new brush and then I'm going to go over to the plants

So

Then with the exposure turned up I'm just going to paint over here like this very roughly

And then adjust this

Something like this and then I'm just going to remove

Around the edges

The good thing with these brushes is that they always look still very accurate even if it's just quite rough

Okay, so that gives a nice glow to this pampas plant

Okay, and another thing which I think could be a bit brighter are these curtains

So these curtains are getting very lost into the background

But I think that they should stand out a little bit more. So over here they blend very much into the ceiling

So I'm going to do a cut out here

And then I'm going to edit it. So I'm going to be back in a second while I cut this out

So

Okay, now with these selected again

I would recommend that you go on to youtube and search for how to create masks inside of blender

But just for now, I've just done this a very rough cut out. This should be good enough for this tutorial

So with that selected I'm just going to go to see how I'm going to click on this button here and click on levels

Then I can just bring this up and bring up the brightness for these curtains

So I'm just going to go like

Very roughly like this

And I think that already looks a lot better

Okay, I'm just going to bring this down below the curves because that would look a lot more natural up here. So that looks

Better already

Again, I would just make sure that you go round and make sure that your your masks are correct

I think I've just done it very roughly right here

Okay, now I can see that there's actually a mistake in the render itself

And let's say you don't have time to re-render it because this curtain is going through the wall

You can actually fix it quickly inside a photoshop using this stamp tool over here on the left

So I'm going to make a new layer just above the edit the main edit

I'm going to set the stamp tool to current and below

And then if I hold down the alt button and right click I can bring this down like this

I'm going to click on a point maybe here

And just paint that in now we can see that these points are disappearing

Something like this the good thing is that curtains generally have a lot of wrinkles increases so I can just reuse these pieces

There are some duplications happening here, but that already looks better than the mistakes anyway

Okay, so if I do before and after we can see that I've just fixed all of those pieces

And that looks a lot better

Okay, so I think that's probably fine for now. I'm going to leave that there and then I'm going to move over quickly to the next image

so with

These layers here. So this whole section here is for that image itself

This is like a beauty pass over the top, which I might want to reuse for the other images

So what I'm going to do is select these ones here and then click on this button to put it into a layer

and I'm going to call that

Living room and if you right click on the folder you can set this to a certain color like red

And then what I want to do is then add a new image

So I drag this into here

There we go and we can see that it's already picking up that layer which is nice

and

Just to see how this is going to look because

I have already done some edits. I can drag these edits onto the new image here. So

If I was to click on the smart filters hold down the alt button

Click and drag you can drag that onto here. You can see how that's going to look

Okay, now with this

Dragged onto this one. It's very very bright in certain areas

And that's because we also brushed on certain exposure values. So if I double click onto here

We can go over to the brush section and just delete those brush

Entries that I created because those are not going to be the same for this image

And that looks a lot nicer

Okay, now with those brushes removed. I think that looks a lot nicer

But we do want to pull it in some more bright areas

So what I'm going to do is go to the bright section and so this part I think can be highlighted a bit more

I also think that this

This can be and this bit as well

Perhaps we can add some bright areas over here because this is getting very dark

And maybe over here because this is a focus. There is already a lot of light over here. So I'm going to leave that as it is

Okay

And because we've already done those over edits, so there's the vignette

There's the there's the sharpening and all those other details. I think that's looking pretty good. And if I click okay

Okay, and I think that this is looking pretty good

I think that this is looking quite in line with this other image over here

I think that it would be nice if there was more terracotta colors in this image

Like I said earlier because this is kind of feeling like a slightly different image over here

But it does still have a similar kind of vibe in terms of the lighting and the focal areas

So it's a very beauty kind of render

That maybe your clients wouldn't like something which is as artistic, but it definitely has some sort of wow factor

Now one thing which I didn't really mention while creating this scene is I didn't really bevel these edges on the walls

You can do that

But I found that in the past the amount of times where I beveled the edges

Then I needed to separate the floor or the ceiling for certain reasons and then the bevel gets really strange

Then you can get light leaks in these corners

So I just left it off for this tutorial

But if you want to bevel these edges, I would recommend it because it does look more realistic

Because these are very very sharp

But as these are in the distance

They are they are getting blurred anyway, and there are some denoising artifacts anyway

So you can't quite tell that they are super sharp, but that is something I think that you want to take care of

Also over here, there is some aliasing happening here. So this is a very sharp contrasted area

So this doesn't look so appealing. So you might want to blur these edges to make that a bit softer

If you wanted to you can also inside of blender add a glare node

And then plug that in and that would have probably saved this point over here

But I think just for this tutorial. I think that that is fine

So we can also see here the point which I was kind of aiming for in terms of the wall texture that the light areas where

The light is reflecting you can see that the wall isn't completely smooth

So there is some nice textures going on in the wall, which is often something that is missed

And also in the ceiling there is just a very light texture

Nothing too crazy, but they did but there is definitely a texture on the ceiling. So nothing is too

smooth

And as I rendered this image as a texture size of 2k, we can actually see that the floor might do with being a higher resolution

But it's so subtle that

It might not necessarily make any difference

But it allowed us to render more objects anyway

And then what you would do now is then move over to the final image, which is the bedroom

I was to do the same thing. I would just literally drag in the

Drag this in and simply grab these filter hold down the alt button drag this on and see how that looks

I think that looks pretty fine. I think that this green is way too overpowering

So that's something that I would adjust

But by copying the camera raw filter it's given us a very good starting point just like before

Okay, I think that's probably it for now. I really enjoyed making this render

I really enjoyed finding these references and trying to find a specific style that I was going for

And I hope that this has given you some good ideas of the kind of quality that you can get out of cycles

I think people think that cycles is free and you can't get good quality

But this is absolutely a production ready and professional grade render

I hope that this has inspired you to make some of your own kind of renders

And if you ever have any questions, do try to mention it in the comments

Of course, like I said, it was very hard for me to try to cover every single specific detail

So I'm sorry if I miss certain things, but hopefully this has just given you a good idea of at least some starting points

Okay, and if you're watching this video about

Black Friday time, then we do have a Black Friday offering of $75 for the whole entire library

If you're not watching this at Black Friday time, then do read the description because we might do a second offering

Just for the people who are watching this tutorial

So do read the description

Um, but for now it is $75 which is for the whole entire library of 1,500 assets at the time of making this video

Which will be an insane deal if you were to get that that would be $75

dollars divided by

That would be five cents per model if you downloaded the whole entire library, which is

Actually ridiculous because at most other websites, they would cost you anywhere between like five to seven dollars for the same amount

So it'd be about seven thousand five hundred dollars worth of assets

So that's uh ridiculous

So all you need to do is once you've signed up you just go to the shop and you can just download any item

You like just hover over and download

Anything we keep this library updated so every single month there's new models coming out

and every single month is

Not just quick models, but actually also incredible models that you won't be able to get in most other places

We think that some of our models are just incredibly

Top of the line blender quality stuff. So if you're interested in that do check out iMesh

It would be probably the best investment you make all year guaranteed

So, yeah, thank you very much for watching this tutorial

I really hope that you guys have learned a lot from this and I hope that it's giving you some ideas on how you can

Make some incredible renders inside of cycles and hopefully push your portfolio to the next level and really ultimately

Just to try to make sure you find the clients that you're looking for and trying to make money

So thank you for watching and I'll see you guys very soon