What’s happening ladies and gentlemen, this is Minh from Architecture Inspirations. Today I’m going to show you how to use Vray Render Elements in Photoshop to make your Rendering look more Realistic. Let’s get started So this is an image I rendered from the model that I did in the last video, check that out if you haven’t yet. Whenever an image is done rendering, you can find all of its Vray Render Elements in this drop down box here. So what are render elements? Vray Render Elements (also known as Render Channels or Render Passes) are a way to separate the different parts of a rendering such as diffuse, material ID, reflection, etc. These are very powerful images that you can use to composite your rendering in post production softwares like Photoshop. To get render elements, you would have to add them in BEFORE you start the render. In Vray 3.6 for Sketchup, you can find them in the settings tab click this arrow to see more options, and expand the Render Elements rollout and add whichever elements you want. In this case, I added the denoiser to reduce noise, the diffuse channel, the extratex channel with a Dirt texture to serve as an ambient occlusion pass. I went over this in another video so check that out for more details. Next is Material ID, Raw Light, Raw Shadow, Reflections, Refractions, and finally Z depth. There we go now after you render, you will see all the render elements in this drop down box here. Of course you don’t have to render all of these, I’m just doing it as an example. Also keep in mind that the more render elements you add, the longer it will take to render. Before I save them, I’m going to make some adjustments and add some effects. If I click here on the force color clamping button, it will show me the areas that are too bright. To fix this, I can open up the correction controls and turn on Exposure, click here to show its settings, and turn down highlight burn until I can’t see the clamped colors anymore. Now to add some effects, I’m going to click here to open up the lens effects settings. Here you can add different types of effects, and in this case, I want to add a glare effect. So I’m going to check this box, and make some adjustments here. Once that’s done, I can save all the render elements with this button here. Now that’s done, I’m going to find my RGB channel which is the one without any extra name at the end, and open it up in Photoshop. If you look closely, our render has quite a bit of noise, this is when the denoiser come in handy. I’m going to import the Denoiser and compare the two. As you can see, the Denoiser did a great job of reducing the noise in our rendering. But let’s say I want to reduce the noise even more, I can go to Filter – Noise – Reduce Noise. Now I can set the strength here But keep in mind that if it’s too strong then you’ll start to lose details. If so then just go back and reduce the strength to a more appropriate setting I think that’s pretty good. Since the denoiser channel is our base render now, I can turn off or delete the RGB channel. Next I’m going to adjust the base render, just click on the layer, and go to Filter – Camera Raw Filter. Here I’m going to increase the Exposure to brighten up the image, then I can pump up the contrast a little, and also brighten up the shadows. There we go, it’s already looking good. Next I will bring in the effects channel to add glare. You can see that it’s darker than our base render. So I’m going to hold down Alt and Left click then camera raw filter to Copy the adjustments from base image to the effects channel. You can see that the glare is affecting everything in our render. But let’s say I don’t want that, then I can just go down here, and Alt+Left Click the layer mask to put mask out everything. Now I can paint white on parts where I want the effects to show which is where the lights are. There we go. So for the background of this picture, I’m going to add an ocean. Then just like the base render, I’m going to apply a Camera Raw Filter to adjust the image. I just want the shadows of this image a little brighter so I can increase the shadows like so. I really like the mountain right here, but not so much the water. So I can press W for the magic wand tool and use it select the part of this image that I don’t want, I can change it to the quick selection tool as well. Once I’m happy with my selection, I’ll go down and Alt+Left click the layer mask to mask that part out. Now I can import another background image of the ocean with the water that’s a little more blue. And I’ll place it below the other background then resize it and reposition to however I see fit. To clean up the image, I can select the layer mask, and use the brush tool to paint white on the that I want to be more visible, and paint black on the parts that I want to be less visible. With some quick work, you can make it look pretty good! Although the water is too blue and it’s a little distracting, so I’m going to use Camera Raw Filter to adjust it a little bit like so. There we go, that’s better. For the next part, I will bring in the Extratex render element, which is also an Ambient Occlusion pass in this case. Now I can put it on top and set the blend mode to Multiply and reduce the Opacity to 20%. There we go, now it gives the render a little more depth. As you can see, the floor looks a little too bright, and it seems to have lost some details of the wood flooring. So I’m going to bring in the Diffuse render element. And set it to Soft light, you can see that the floor looks better, but the other parts of the render looks terrible! So we only want this render channel to affect that part of the image. We can do that by manually make a selection with the lasso tool, and then mask it out using layer mask. But, there’s a better way to do it so I’m going to delete the layer mask and show it to you. First, we need to import the material ID channel. This is a very useful image that you can use as a selection tool to make it easier to select surfaces with the same material in your rendering. Let’s say I want to select the wood material on these shelves, then I go to the Material ID, select it with the magic wand tool, hold shift to add and hold alt to subtract selections. Also, you can turn off Contiguous to select all of the same color at once. In this case, I’m not interested in selecting these shelves, but rather this wood floor, so I can go to the Material ID layer and select it then turn that off, go to my diffuse layer, and click this button here to mask out the rest of the image. As you can see, with the mask, now the diffuse channel only affects the wood floor. For the next part, let’s import the RawLight render element. Then I’ll set the blend mode as soft light and drop the opacity down to 20%. Next I’ll bring in RawShadow render element Then I’ll set this as Soft light as well, and bring the opacity down to 25%. As you can see these two images are good for adjusting the lighting and shadows of your render to give it a bit more contrast. Now I want to add a reflection of the ocean water on the refrigerator to make it look more realistic. So to do that, first I’m going to hold down Alt and Left click then drag the ocean background layer to duplicate it and bring it to the top. Then I’ll set it as Linear Burn. Next I’m going to use the Material ID and select only the material of the refrigerator. Now I can turn the Material ID Layer off and select the ocean layer, then click here to create a layer mask base on our selection. As you can see, it’s starting to give us that reflection we want, but it’s a little too much. We can decrease the opacity but the reflection still looks darker than it was. So I’m going to import the Reflection render element and set the blend mode as screen. Next I’ll hold Alt and Left click then drag the layer mask from the ocean background to our Reflection channel. There you go, that’s already looking better. If the reflection is too bright, you can turn down the opacity like so. Now that looks good, but if you look closely, the reflection of the ocean is actually on top of the door frame as well, and that’s not right. So we can select the mask on our ocean image, and use the brush tool to paint black wherever the door frame is. That way, the reflection of the ocean is only visible wherever the glass is. Now I can group these two layers and compare the before and after. The effect is very subtle, but it looks more realistic now! Next we will add the Refraction channel, and set the blend mode as screen. Then turn down the opacity to 50%. As you can see, the refraction channel is really good for adjusting the glass materials in your rendering. Next I’m going to import the Z-depth render element to create a depth of field effect in my rendering. First, first I’m going to turn this layer off, and select the top visible layer, then press Ctrl+Alt+Shift+E to merge all of the visible layers into a new one. Then I’m going to add a layer mask by clicking here. To make the file more organized, I’ll select all the layers below this and press Ctrl+G to group them up, then I’ll turn them off for now Now I can turn on the Z-depth channel, select that layer, and press Ctrl+A to select the whole image, then press Ctrl+C to copy. I’ll turn the Z-depth channel off and Alt+Left Click on this layer mask and press Ctrl+V paste it there. Now I can click here to go back to the main image. As you can see, it’s looking a little odd, but just hold on for a second. With the layer selected, we can go up to Filter – Blur – Lens Blur. For the source of your depth map, click the drop down box and select layer mask. Now you can just click on a part of the image that you want the camera to focus on. There you go, pretty cool huh? But if you notice the window, there seems to be some kind of error happening around this area. So let’s cancel this and go back a few steps. I’ll turn this off for now, and turn on the Z-depth. As you can see, this area of my Z-depth is transparent, that’s why it created those errors. So what I’m going to do now i go down and click here, then create a solid color layer, I’ll set that as black and I’ll place it under my Z-depth layer. Then I will select both of these layers, and right click, merge the layers. There we go, now I can Ctrl+A and Ctrl+C to copy this, then turn this layer off, and turn the other layer back on, Alt+Left Click here to go to the layer mask, and press Ctrl+V to Paste the image here. Now we can select the main image, go to Filter – Blur – Lens Blur you can see that there are no errors at the glass area anymore. Now we can press Okay. But it still looks weird here, all we need to do is just Shift and Left click the layer mask to turn it off. There we go, now we can turn on the group and compare the before and after. For the last part, I’ll just add some glare to the image, then stylize with Nik Collection, make some final adjustments with Camera Raw Filter and I’ll use the Curves on here as well and there we go, our image is finished! And that’s how you can use render elements to composite your rendering in Photoshop. If you want this file along with my model, remember to sign up on my Patreon before the end of March to get it at a cheaper price. After that it will be on Gumroad for $10. I’d also like to thank my members on Patreon , you guys are amazing! And that is all for today guys, leave a like if you enjoyed the video. Comment below if you have any questions. Stay inspired guys, and I will see you, next time ^.^
What’s happening ladies and gentlemen, this is Minh from Architecture Inspirations. Have you ever added a background to your rendering but things just don’t turn out the way you expected? Well, today I’m going to show you some advanced tips for adding a background to a rendering in Photoshop. Let’s get started First I’m going to open up my RAW render in Photoshop. This was an image rendered from the Sketchup model that I used in the previous video, check that out if you haven’t yet. Now I’m going to import my background image, there’s a couple reasons I picked this specific image. First is the perspective. When you first pick the background, pay attention to how the perspective of your rendering compared to the perspective of the background image. For example, my rendering is a one-point perspective photo, with the perspective lines converging to the middle. That’s why I chose this background photo because it has a similar perspective. What we need to do first is to make it wider. So select the layer, press Ctrl+T to activate transform mode and drag one of the corners to make it bigger. You can hold down Alt and drag to scale from the center, make sure you also hold down shift at the same time to keep the right proportion. There we go, now we can place it behind our rendered image and position it. But where do I place the background vertically? To know where, you need to find the horizon line or eye level of your rendered image. To do that, let’s go into our Sketchup model and select this button here then look at the bottom right corner of the screen. This tells you the eye level which is at 4 feet. Now I’m going to press L for the Line tool and draw a 4 foot line from the ground up, then go across from there, that’s my horizon line. Knowing that, we can now go back to Photoshop, and position your image so that the horizon line is around the same height. I’m going to left click and drag the top ruler to create a guide where think the eye level of our render is, which is around here. If you don’t have the ruler visible, then press Ctrl+R to turn it on and off. Now let’s drag the background image so that its horizon line matches our guide line. There we go, that’s better. To get rid of this guide, I can just drag it back up to the ruler. Number 2 is lighting. Sometimes people don’t pay attention to the lighting of the background image and it results in a bad composite photo. I’m not just talking about using a night background for a daytime rendering. That’s super obvious. But I’m talking about using the wrong sun angle. For example, if my render has the sun shining this direction, but in the background, the sun is shining the other way, then that will not work. It’s a little hard to tell where the sun is in this image but it seems that these buildings over here are brighter, so the sun is coming from this direction. Which is the opposite direction to that of the render image, so I need to flip it. To do that, make sure this layer is selected, press Ctrl+T, right click, and flip the image horizontally. Number 3, Color The third thing is very subtle but important. It’s the color of the background image. Not necessarily the whole image, but parts of it. For example if you look at the brick color in my rendering compared to the color of the brick in the background image, you can see that they are slightly different. Let’s make some adjustments to the background image. I’m going to select it and go up to Filter, Camera Raw Filter, then make some adjustments in the Temperature and the Tint to make the brick color looks a little warmer. Since this layer is a smart object, the filter becomes a smart filter automatically, which means you can easily turn the adjustment on and off like so, or open it up again and adjust your Camera Raw settings whenever you want. I’m going to set the tint as 28 and there we go, looks good. Let’s compare the before and after again. You can see that it affects the whole background image, but let’s say I don’t want to affect the buildings in the background, then I can just mask it out using the layer mask here. Just select the layer mask, Press B for the Brush tool, make sure your foreground color is black, and just paint away parts that you don’t want the adjustment color to affect. If you right click, you can adjust the size and hardness of the brush. Alternatively, you can hold down Alt and hold down the right mouse button, you can drag left and right to change the size or up and down to change the hardness Painting black will make that part less visible, and if you press X, you can switch the background and foreground color. Then if you paint the layer mask white, it will make it more visible. You can adjust the opacity and flow of the brush here as well. If you want to make it easier to see the area that you are masking, you can use Alt+Left Click to isolate that mask. And if you press Shift and Left Click, you can turn the layer mask on and off like so. As you can see, with the adjustments we make using the camera raw filter, the rendering and the background photo seems to blend in a lot better. 4. Refine layer mask Now let’s take a closer look at our composite photo. If you look closely, there seems to be a white edge around our rendered image and we need to get rid of that. I can do that by using a layer mask but First, I’m going to right click and turn this into a smart object. Next I’m going to Ctrl-click this layer to create a selection based of the visible part of that image. Then I’m going to go down and press this button here, to turn the selection into a layer mask. Next I’ll select the mask, and on the Properties Window, click on Refine: Select and Mask. At the top here you will see the different types of view modes. I’m going to switch to On Black to make it easier to see the white edges. You can adjust the transparency to see the background image better if needed. Now I’m going to go down here, and shift my edges to the left. This will get rid of those white edges. Experiment with other settings like Feather and Contrast to see what works best for your image. I’m going to change the view mode to Onion Skin to see what it looks like. Once you’re happy with it, press okay. And here’s the before and after. That looks way better. 5. Add Lens Flare. Next I’ll add some lens flare. I’ve walked through this process in my previous videos before but I’ll do it again for you guys. Just import the lens flare, and I’m going to place it between my rendering and the background image. Then I’m going to put the blend mode as Screen. Now I’m going to click here to add a layer mask then paint away parts of the image that I do not want. There we go, looks good! I’m actually going to add another lens flare. This image is already a PNG so I don’t have to set the blend mode as screen. And this time, I’ll place it on top of my rendering instead. But the problem with this is that the lens flare are in front of my window frames, which is not what I want. So I’m going hold down Alt and Left click then drag up here to make a duplicate of the layer mask on my lens flare layer. We need to click on the layer mask, and press Ctrl+I to invert the layer. There we go, now that looks correct. Now I’m going to use the brush tool and paint black on the parts I want to remove, now I’m going to switch the foreground color to white, and paint white on this part here to make the lens flare more visible, There we go now it looks like the sun is going Through the window. That’s the reason why I place this layer on top of my rendering. And those are the 5 tips for adding a background image to your rendering in Photoshop. Now I will just finish the image with two more things. 6.Adjusting the rendered image The rendered image looks a little dark, so I’m going to use the same method as before to make the adjustments. Select the layer and open up Camera Raw Filter. Increase the Exposure, contrast, etc. And once you’re happy with it, just press okay. There we go, it looks brighter now. 7.Stylize with Nik Collection Next I’m going to select the top visible layer, and press Ctrl+Alt+Shift+E to flatten all these layers into a new one. Now I can edit this using Nik Collection Color Efex Pro4 There are a lot of different presets that you can use here just choose whichever you like most. I’m going to use this Cross Processing Preset here. There we go, if that’s too much, then you can lessen the effect by using the opacity slider here. Remember that you can always add another preset. For example, I’m going to use this Sunlight preset. And there we go, Looks good! This was part of the Architectural Visualization Package that I recently released on my Patreon. I’d also like to take a moment to thank all of those who supported me by signing up. It’s only been one week and the support is amazing! This package has been sent out, and won’t be available on Patreon anymore but it’s on Gumroad now for those who want to get it. If you’re interested, I will be releasing more models and files on my Patreon at a more affordable price. You will only pay if I release a package so you don’t have to pay for the months that I don’t create anything And that is all for today guys, leave a like if you enjoyed the video, comment below if you have any suggestions. Stay inspired guys, and I will see you, next time!
What is happening ladies and gentlemen, this is Minh from Architecture Inspirations. In the previous videos of this series, you’ve seen me transferring a Revit model to Sketchup, then apply materials and finally render it with Vray. Today I’m gonna show you a breakdown of my post-production process in Photoshop. Let’s get started. The first thing I do is open Photoshop and import my files that I’ve saved after the rendering. This include the VFB Channels and most importantly the Raw render that I use as the base image. The VFB channels can be anything that you’ve chosen to export prior to your rendering. The most useful one for me is the Material ID which I’ve mentioned in the last video. Sometimes I’d also like to export other channels like the Z-depth, Reflection, and Refraction channels After importing the render files as different layers, I only leave the base image on and turn all of the other VFB channels off and save them for later. There are essentially two parts that make up background, first is the sky, and second is the surrounding buildings. Adding a sky to your rendering is one of the easiest thing to do in Photoshop, but I advise you not to overlook this part because the sky really sets the mood for the whole image. If you want to know some tips on choosing a perfect sky for your image, Alex Hogrefe wrote an amazing post on this topic. I’ll put the link in the description box below so you can learn it from the master himself. The second part of the background is the surrounding buildings, which is just as important because this will show the context of the site. Without it the viewer will question: where the f*** does this take place? is on an island? or is it just floating in space? Adding background buildings is necessary if you have empty spaces in your rendering like I do in this one. I didn’t model anything there because sometimes it’s just easier to add surrounding buildings later in Photoshop I usually don’t spend a ton of time on this it doesn’t need to be perfect because it’s such a small part of the image that most people don’t even notice the flaws. The ground plane consists of well anything that’s on the ground Like the grass or additional texture that makes your rendering looks more realistic such as these textures that I’ve overlay on top of the roads and curbs. Adding trees, cars, and people to your image is really important because it really make the scenery more lively and exciting. There are two ways to add these entourage in your rendering, One is by using 3D components of them in your model and render it altogether. Two is to use 2D cutouts later in Photoshop. You can always use a combination of both, like for this rendering here, I found that using 3D model of the cars and 2D cutouts of the people and trees worked best for me. Now that you got the hard stuff out of the way, It’s time to have some fun and add some sweet effects to your image, like: Fog Depth of Field Tilt shift Motion Blur Bloom effect Lens Flare You name it just add whatever feels right for you. Now that your image is complete, finish it off using plugins. Google has a plugin for Photoshop called Google Nik Collection. It used to cost money but is now completely free so grab it while can and use it to make your rendering look f***ing awesome I’ll leave the link in the description box below so you can try it out yourself. I’ll also leave a link of this article by Alex, in which he gives some amazing tips on managing your Layers in Photoshop. This video was actually inspired by that article so I gotta give him tons of credits for that. And that’s all I have for today, but that’s not all that I have to say about this topic. You know everything that we just went through, I will create a more thorough step-by-step tutorial for each of these process in the upcoming weeks so Smash that subscribe button if you want to see more. Stay inspired guys, and I will see you, next time.
What’s up guys, OU Graphics here! In this video, I’m going to show the process of post-production of a render using photoshop All of the skills that I use to compose this image were already taught in our previous videos so if you haven’t seen them already, there will be a link in the description as well as in the top cards however, if you have any questions, please drop them down below just a quick announcement before the video starts we’re posting a lot of content in our Instagram account OU.Graphics, so please follow us there so you don’t miss anything. And once we hit 1000 followers, there will be a giveaway Just one more thing, subscribe to the channel if you haven’t already and if you enjoy the video, don’t forget to leave a like Please use the settings on youtube if you need to slow down the video And without furder ado, let’s begin!
When you import textures in Google SketchUp, you will have three options… … “Use As Image”, “Use As Texture”, and “Use As (new) Matched Photo”. The “Use As Image” option will import an image as if it were a billboard. The “Use As Texture” option will import the image as a repeating texture, like wrapping paper. If you select the “Matched Photo” option… … you will automatically be taken to the “Match Photo” interface. This is where you can align perspective lines… … to create a 3D model from the image.