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Master core post production skills to improve your interior renders as Jamie Cardoso explores how to generate render elements in 3ds Max, composite them in Photoshop and apply Adjustment Layers and effects. REQUIRES 3ds Max 2. Photoshop CS3, V Ray 1. DIFFICULTY Elementary. TIME TAKEN 2 hours. PROJECT FILES Click here to download the files for the tutorial. In this tutorial, we will explore the process of post producing the interior image above, using the files from a real commercial job for Capital One. We will begin by exporting render elements from the scene in 3ds Max, then use Photoshop to composite these elements to form the final image. Its worth noting that the client specifically asked me to use this camera view for the purposes of the tutorial, since the project is very sensitive. The original image had a more conventional composition. However, this doesnt affect the rendering or post production techniques we will be exploring. Generating the Z Depth pass. Before jumping into Photoshop, we will look at how to generate the files we need to create the composite in 3ds Max. I cant release the original 3ds Max scene file publicly, but you may still find the information useful in your own projects. If you want to dive straight into post production, just click here to skip ahead. As well as the main render, I generated a number of standard render elements. I used V Ray for the rendering work, but I will also explore briefly how to generate the same elements in 3ds Maxs built in mental ray renderer. The first of these is Z Depth. This is a greyscale image that represents the distance of each point in the scene from the render camera light areas are nearer the camera, and dark ones are further away. This information will be crucial to creating a depth of field effect in post. Open the Render Setup dialog by pressing the F1. In the Render Elements tab, click the Add button to open its dialog. If youre rendering in V Ray, select VRay. ZDepth from the list. Alternatively, if youre using mental ray, select Z Depth instead. The Z Depth information works best in post when there is a clear contrast between the dark and bright areas. You can ensure that this is the case by carrying out test renders using different Z depth settings. For most eye level camera shots, its usual to start with the minimum depth set to 0. Well look at how to do this in a minute. But before you begin tweaking, its best to make your test renders as fast as possible. Debugging Windows Service Visual Studio 2005 Professional Compatibility. First, you need to reduce the image sampling values and disable GI andor Final Gather. The image above shows how to do this in V Ray. And this image shows how to do so in mental ray. Its also advisable to use a simple override material, as shown above in V Ray. And here in mental ray. Finally, you should minimise the size of the test renders you are generating. In the Render Setup dialog, switch to the Common tab and open the Common Parameters rollout. In the Output Size group, set Width and Height to 5. Back in the Render Elements tab, scroll down to the VRay. ZDepth parameters rollout and begin adjusting the zdepth min and zdepth max values. The figures that worked best for this scene were 0. In the rollout above, make sure Enable and Enable Filtering are checked. If youre using mental ray, you need the ZDepth Element Parameters rollout and the Z Min and Z Max values. Again, make sure Enable and Enable Filtering are checked. The Z Depth pass you generate should look something like this. Its worth noting that, by default, 3ds Max automatically sets the file path of the render elements to coincide with the one chosen in the Render Output group of the Common Parameters rollout. If you need to change this, go to the Selected Element Parameters group where you checked the Enable and Enable Filtering boxes earlier and click on the toggle the icon to set the file path. Generating the ambient occlusion pass. The next render element we will generate is ambient occlusion. The AO pass is also a greyscale image, this time indicating the degree to which surrounding surfaces block bounced light from reaching each point in the scene. It is often used to give the image more depth. To add this render element in V Ray, click the Add button in the Render Elements rollout again and choose the VRay. Extra. Tex element from the Render Elements dialog. Once the element is added, scroll down to the VRay. Extra. Tex parameters rollout and click on the texture toggle. In the MaterialMap Browser dialog, choose the VRay. Dirt shader by double clicking it. Depending on which version of 3ds Max you are using, you will find the shader in either the Standard rollout or the VRay rollout. Once loaded, tweak the default parameters to make its effect moreless visible in the render. To view and edit the VRay. Dirt shader, simply drag its toggle from the Render Elements tab, and drop it onto the Material Editor. A dialog should appear. Choose the Instance copy method then OK to close the dialog. In real projects, with realistic dimensions, the following values often work very well radius 0. Feel free to try different values if you wantIn some cases, you may also want to check the invert normal setting to generate shadows on corners of objects pointing outwards. In mental ray, to add the ambient occlusion pass, click the Add button and choose mr A D Raw Ambient Occlusion element from the Render Elements dialog list. Adding the object ID pass. The next element to add is the object ID pass. This renders each object in the scene a different flat colour a crucial time saver when selecting specific areas of the image to edit in post. The corresponding render element is called Object ID in mental ray and VRay. Wire. Color or Multi. Matte. Element in VRay. In order for these elements to work properly, it is necessary to assign ID numbers to the relevant objects in the scene. To do so, simply select any relevant object in the scene and right click to bring up the quad menu. Choose the Object Properties option to open the dialog. In the General tab, under the Rendering Control group, type a number in the G Buffer Object ID field, and close the dialog box. Repeat this process for each object you want to assign an ID number to. Assign a different number to each. If youre using V Ray, add a Multi. Matte. Element in the same way as you added the previous render elements. You could also try Vray. Wire. Color, as I have done in this tutorial, which uses the objects viewport colours to generate the ID colour. The Multi. Matte. Element uses true RGB values which are easier and more accurate to select in post but the element itself is less intuitive to use. Oovoo For Windows 7 32 Bit here. Each number displayed in its Matte render elements parameters rollout corresponds to a default object ID number, and is chosen randomly. You can change them to match the actual ID numbers you have assigned to objects in the scene. By default, only G gbuf. ID is enabled. This renders the corresponding object in the scene in green. You can enable R gbuf. ID and B gbuf. ID to render other objects in red or blue. However, since most real scenes will require you to render more than three objects, you can generate more than one Multi. Matte. Element pass from the Render Elements list to render four or more separate Object IDs. Note when you are creating additional Multi.