Okay, hello, everyone. And these last few videos are going to go through scaling the scene, setting up lights, and a camera render settings. And then we're going to export a final file. And so the first thing I want to do in this scene, as you can see right here, I rendered it out. But the first thing I want to do is address scale. So in all of these things that we make, it's hard to really tell what the scale is of anything in this when you start on the scene.

You know, you get these grid, you don't really know exactly how big things are. And if you zoom out, you know, it's just hard to tell what is going on here. And it's important to, you know, to know how to scale things accordingly, because that adds a lot to realism in renders, you know, for these kind of product renders. Scaling actually isn't that big of a deal? As far as it's not going to mess up. What you've made so much It's actually kind of easy to scale things when they're just, you know, small products like this.

And I'm just going to show you my trick for setting the scale. And the first thing I like to do is inside your polygon drop down. There's this object called a figure. Let me drop that in. Cinema has actually created a six foot tall person. That said, you can see in the height right here, 70.8 inches, which is almost six feet.

72 Inches is six feet tall. So you can change the height of this figure. And I like to set it up to be six feet tall, so I can just type in 72 There we go. That's a six foot tall person. Now obviously, you know the bottle and glasses are humongous, if that was a real person standing next to it and what I like to do To get rough scale is is think about how this glass and how this bottle will fit into this fingers hand right here. So what I'm going to do is just rotate this figure 90 degrees, and I'm going to bring the hand down to like the bottom of the origin right here.

And that's going to kind of be the spot that we use to get rough scale in the scene. If the glass can fit in this hand, or gets very close, that's basically a very good that's it goes very far towards it being in scale, realistically. Now, the thing that would be annoying is if I was just going to scale these, these things down like this, that might happen. You might scale down like last but not the wine, blah, blah, blah, like, you know, this stuff would scale down. All that like that's, uh, you know, it would be really a problem and annoying if you had to scale everything down individually, but you don't have to. It's really nice actually using no objects and putting these objects as children inside these no objects, you can actually just scale the null object, and it'll scale the glass and liquid together.

But now I want to make sure that I scale this glass and this glass and the bottle accordingly all at the same time. And the easiest way to do that is to just add another as no object in the same like that. And drop these no objects into this other no object. So now you kind of have like a chain of hierarchy going on. These know objects are now children of this null object. And it's right at the origin right there because it was just placed there by default.

Now I have to do is make sure that no objects selected and I, you know, I scaled down out here I click and drag out here. So that all these Scale handles will scale proportionally. Because if I scaled it right here, it wouldn't do that, which would be really annoying. So if I just click and drag out here, all these handles will scale accordingly. And look at that it just scales right away. And the label stays the same.

And everything so it's very easy to scale when you just use no objects. So you can scale objects, you can scale several objects at the same time by just making them children and all objects. So I think right about I mean, really, that seems like a pretty good scale. And I might actually now just scale this bottle just a little bit. Thinking about how it looks in that hand. As it was also pretty big wineglasses, but you know, I think that's kind of the nice thing about Red wine glasses, they can end up being again having like pretty big bowls.

That's pretty much the scale. And that's a really easy way of getting realistic scale by using this figure and just kind of imagining using, you know, using your own personal experience to see what the proportions are between a real size person and these objects that have been created. So now the figure can go because we've put, we've set up the scale to be pretty realistic. Now, one thing that's gonna change, since it's been scaled down, is the absorption distance of the glass and liquid materials is going to look a lot different. So let's render and see how this changed from the original. So as I thought, yeah, the absorption distances for the glass and the wine liquid are now too long because the scene has been scaled down.

To realistic size so now the what was usually what was originally the red wine is now almost completely transparent. And the, you know, the green, the dark green of the bottle is now completely gone too because all these absorption distances have need to be shortened. So let's start with the we'll start with a wine liquid. First of all it's gonna affect a lot of stuff. So going to transparency so the distance now is six inches. I think it needs to be almost like point two five inches.

So let's see how that does it. When that gets changed. That's nice. Yeah, that's pretty, that's pretty good. Maybe even just point four inches because it looks pretty thick. I mean, even one inch That's actually probably realistic one its distance and then the green of the bottle is going to add to the darkness of the one.

So I'm going to go in and change. I'm going to go in and change the bottle glass now, which was the green. I'm gonna change that to tiny, tiny amounts. Maybe like just point one inches. That's too much. point five.

Too far. Point two is okay, maybe point two, five. Let's see how that looks. That's nice. I like that. Okay, so now The scenes been scaled via distance has been changed for the transparency objects.

And now we can start with the camera. Okay, so my bomb was floating, we fix that real quick. So I'm just bringing these glasses up a tiny, tiny bit. Point 04 inches, so 407 inch to be just barely on top of the plane object. That's the floor and the bottle looks fine. It's maybe even just maybe even just point out two inches to be just barely on top of the floor.

And now that I'm gonna intersect Won't intersect, but it'll still cast shadows and look fine. And you know, it's funny how big the plane object is now that the glasses have been reduced so I can bring that down to there we go. So now the scene is getting to be more in scale. And then I'm going to just expand this band a little bit to give it more gradual move like that. There we go. Okay, great.

And then these lights are like that. So we're going to do something called a global illumination in the Render Settings, and that's going to open up a type of rendering called image based lighting. And I'm gonna do that in a second. First of all, I want to put a camera in the scene and set up the framing for the camera. And also get it set up for a depth of field, which would be something that which recently you would do in with a real studio with a real camera, you would end up having depth of field turned on for your camera, and it's going to add a lot of realism. And it's also not possible to do until the scene is scaled correctly because depth of field in a camera is determined by how big the objects are in the shot.

So now that it's all the scale, we can do really cool extra things like that for our framing of the shot, using the camera inside cinema 4d. So the first thing I'm going to do is you know, just kind of generally set the scene up that Kind of a frame that I would like for this shot. And once you do that, as you're looking through this view right here, you can hit the camera button and it says add camera. Now when I add a camera I think really happens except for these yellow dots because it adds the camera at the exact spot that you're looking through. So now that I know if I zoom out, the camera was added right where I was looking, and there's your camera object. And also, I can use these this button right here to look through the camera so but if it's white like that, I'm looking through this camera object and if it's off like that, then I can go around the scene.

And I can do stuff with it. I can tweak the scene and everything and then I can go back and hit the crosshairs and like the the camera does one more thing that's really great. I'm going to show you right now but I'm gonna turn it off for a little bit, but there's this If you right click your camera object and go to cinema 4d tags, there's this tag right here called protection. Now when you add that tag, especially to your camera object, but really for anything you want, I can't move the camera anymore. Even if I go in, and I try and move it, I can't even grab the handles. So basically locks your object in the position that it's in, and you can't move it.

And you know, this protection tag can be applied to any object, but it's super useful for cameras, because then if you go into your scene and you have your camera, and you might delete this right now, but like say you, you forget that your cameras turned on and you start doing stuff like this and going through the scene and all that and all of a sudden your frame is all messed up and you can't find anymore. You got to reframe your shot every time which can be really annoying. So it's nice to have the protection tags talk to your camera, so that you don't forget that you can't move your shot at all. And he has to uncheck that. The camera then you can move to the scene. It's great to have that when you've kind of locked in your frame and you don't want to mess it up.

But it's not for right now. I'm not going to use that until I get more of a friend that I like. But one of the things I want to do is now that I have this camera objects that you can select the attributes for the camera view in the object tab, you have this right here focal length and sensor size. Now you can type these in to be any sensor size of any realistic camera in the world. And you can just type it in like that but it also has these drop downs right here again presets for sensor sizes for different types of cameras. And I like to do the 35 millimeter movie sensor size.

Now when I click this that what happens it zooms in a little bit because the sensor size has changed. And it gives you this little thing down here that tells you this is the equivalent of focal length that I'm looking through right now because the sensor size has changed. And so this focal length is different now, because of the sensor sizes smaller, the focal length ends up getting increased. So even though I'm looking through a 36 millimeter lens, basically right now, because I have a smaller sensor size or film gate, this is the actual focal length that I'm looking through. Now, if I go through here and I can, there's a drop down right here, that gives me a lot of the prime lenses you would use in photoshoots. And a lot of the lenses you would see and movies can also just obviously, type in your focal length if you want.

But I like to start with either the 50 millimeter or even the 80 millimeter. It's pretty nice portrait camera like that, and gives you a nice, zoomed in kind of hero look of your products. It's gonna add it's gonna add a ton To how nice your renders look by framing it with a real camera like you would in an actual studio. Okay, so now I like this frame, this is what I'm gonna go with. I'm gonna render this out and if I like him, he's gonna hit the protection tag on the camera objects, I don't have to worry about messing it up once they get farther in. That's not bad, actually, I think is a little bit too low in the scene, or like having a little bit more of the shadows being shown.

So I'm just gonna come a little bit up like that. This is all just objective to it's up to you what you like. So stay right there. Under this out, I think I'm gonna be good after this. Okay, great. I like that.

That's a good start. So now I'm going to lock the camera with a protected Tag, and I'm going to start lighting the scene. Okay, well first of all, let me show you one more thing about the camera. This box right here is the focal plane. So by moving this handle, I'm changing where this camera will focus. If I go into the camera object, and I can see the focus distance right here.

If I change this, you can see how it starts changing. So this is the focal distance of the camera, this is where it's focused. So if I set this plane, basically right at the label of the, of the bottle, I can start using depth of field in this shot to blur out the foreground in the background. I haven't really focused on this part right here which is going to add a lot to just not having a nice render We're gonna come to that in a second when I get through with explaining image based lighting and global illumination. The first thing I want to do is delete these two lights. So there's no lights in the scene at all.

Now global illumination and image based lighting are really powerful ways of using the dynamic range and the luminance values inside of pictures to light scenes. And the best way to do that, and the most effective way to do that is to have it don't have a range images or HDR. And what that means is there's there's so many there's so much information between the the darkest part of the scene and the lightest part of the scene that actually the eye can't see normally. But programs like cinema Can, can interpret that luminance value from those many Different stops and exposures in an image and use that to project and change the intensity of light in an image. And so instead of having actual 3d lights in your scene, what you really have is the picture of a light and the brightness in that picture is what emits light in the scene and it gives provides it provides super realistic reflections and shadows and, and bright spots in your scene that that go a long way to provide photorealistic renders.

Now what I'm gonna do is, I have a set of HDR is that I personally like and I know this is what I purchased from greyscale gorilla and they're amazing, very high quality 360 images there 360 panoramas studios and location ones that have all of this dynamic range baked into it that can be read by cinema 4d. So the one that I'm going to use for this for this scene, I'll show you in Photoshop what it looks like. But I'm also going to say, you don't have to buy these HDR is if you don't want to. There's also an amazing website called hdri. haven. These are all free.

And this this guy has has done a lot to create his own hdri 360 images that you can download immediately and use in your scene. And they're all pretty, I mean, they're all really well done. And it's the same kind of process as what greyscale did. He just provided them for free. And when I show you is you want a 360 image panorama in your scene because it's going to play provide a lot of really subtle reflections and other like artifacts from from this 360 image that are going to add so much that'll find detail that's going to provide a lot of really, just really almost unnameable you know, qualities of your image from these reflections that you actually can't see in the scene at all until it's reflected in either metallic or glass objects. So using a 360 panorama of a real location is very powerful and goes a lot towards adding realism to your renders.

So I would say hdri Haven is great. It's a great place to find free 360 panoramic ACR images that he does, he puts a lot of effort in to create these in the highest possible way. Okay, so here is the image I'll be using in my scene and you can see See how it's a, it's a 360 image has been unwrapped and laid out in a certain way that when it's when it's projected back in a cinema will become a full scene. Now, what's amazing about this image is, if I go in here and just change the exposure of this image, there's a ton a ton of info, going from the darkest part, to the brightest part of the detail in this image, you know it, it stops being visible at negative 11 stops, and it gets to be clipped to white, and still has some detail left and 10 stops over.

So I mean, you're saying they're saying is basically 20 different stops of exposure in this image that that cinema can use to calculate how much light in color and reflection in the scene can be made. This is without having to To do anything with 3d lights at all and you're seeing you can just drop this image in and done and when it's done in the right way, this will be the entire this will be all you need in your scene to project light and light something realistically with with shadows and reflections and everything. Now this is the 32 bit image you can see right here, if you go into image mode, by typically JPEGs or you know, any kind of default image is going to have eight bits per channel of information. Now, this image has 32 bits per channel of information, that 32 bits per pixel per channel.

That is a ton a ton of information and it needs to have that much information to have all these different stops of of luminance and and brightness. And you're in this image so that cinema can use that to calculate how much light gets projected. So it's easy it's important to when you are going to use image based lighting, it needs to be 32 bit image Typically, xR file format, or dot HDR are the two ones that usually get provided when these files are made. So this is a 32 bit xR image, you make a new material. If you have the Content Browser, you can point the Content Browser to the folder where your E x RS are stored and your 360 HD Rs. And what you do is go into the luminance channel can uncheck color and reflectance because you don't need that this is going to be the image that emits light into the luminance channel of this material and you check that you see how it goes white because luminance is the ability for this material to emit light itself.

And then we do from there is going to the texture field and this is where you can end up mapping your image into the texture field but if you have it pointed to in the Content Browser, like out there do is just click and drag this file and just drag it into the texture field and it'll map it by itself. So now you can see how it has this image of the pic of so you've got the picture of that light. And it's mapped in here. And then because of the luminess channel, it's going to emit light based on this image. Now we can start with that. Now once that is made into a material, there needs to be a needs to be a sky object.

A sky object is basically just an infinite sphere. And can't really see anything until nothing material to it. Now because it's a sphere, and this is a 360 panorama, it's going to get mapped in just the right way when this gets dropped into this guy object. So now this is The image and it's all been mapped correctly back into the scene. Because the 360 panorama on when is laid flat looks kind of weird, but when it gets remapped into a spherical object, like the sky object, it ends up becoming just the way you want it to. It gets mapped to be 360.

So now you just have this massive light basically in the scene, and, and the luminance in this image is going to be emitting light into the scene. Now I just have one single light in this scene. And what you see the thing about image based lighting now and using the sky object is I can't bring this light closer per se, all I can really do is rotate the sky object, which will rotate the image and that's kind of how I'll be able to place the lights in the scene per se Just to be rotating this guy object to get the right placement of the light in the scene, so now if I go back into the camera object and I hit render, look what happens. See, I get see it's pretty gross. And you can see the reflection of the light right here. But you also have this default light that cinema provides because there's no lights in the scene.

Nothing is emitting light in this scene yet because I haven't turned global illumination on in the Render Settings. So what I'm going to do is go into render settings right here. And I've already changed the render engine from standard to physical, which is perfect. And the next thing you have to do is turn on global illumination. Now if it's not already in your scene like that, it'll be in your scene right down here in effect. If you don't hit a affect button, you can go into here and do global illumination.

Now when you set that, now that's turned on for your render settings. Now when I hit render, look what happens. It's very cool. What it's doing is it's taking the luminance of that image from that light and projecting it out in all the ways that it's possibly can and then calculating how the light is bouncing and refracting and being absorbed in the scene. And creating an image based off that bouncing. And that's what global illumination or gi does.

One is added to a render scene. And already you can see how, you know, pretty it looks really nice noise going on these little splotches right here is some noise, but they can be changed but let me look at the way that this adds. Just confirming realism to the same. And I love the way that this light reflects off the glass and everything. Now the thing to do about getting rid of this noise because like this is basically the default setting for global illumination. And there can be a couple things that get changed to increase the amount of quality in the render.

Now if we go to global illumination, and go to the preset right here, it's set to default, which is fine and it rendered pretty quickly, but it was it provided that noise too. But if I go to this drop down, you can do right here, exterior HDI image now what it means is there's a there's presets for interior renders for like rooms, or houses or anything and it's also pre like presets for exterior renders. And those are usually used either with the Physical Sky object or an HDR image. But I like that Because we have an HDR image in the scene, I'm just going to use the exterior HDR image, preset for the render and then hit render again and see what happens. It's pretty great. There's still some noise in the scene.

But there's ways to do change that later when we want to hit render. Okay, so this is great. As far as the intensity of the light is nice, I do want to rotate the light, I think is a little bit too straight on actually. So if I go in and just add the render region, and I'm just going to rotate the sky object so I turn this level of detail down render region, rotate the sky object a little bit and see where that light hits in the scene. That's better a little bit. I kind of like how It comes from the side like that.

Kinda like that moodiness of it coming from the side right there. Like go leave things really good and picked up to you, which is nice. That's pretty good. We're gonna go into the material and if I want to make this light brighter, the way I do that is not in the luminance channel right here. But actually in this illumination menu in the Material Editor, now if I go into that, it says generate gi, which means global illumination. So it's generating gi, which is where this light this luminance is coming from.

It's also receiving gi, which doesn't need to happen because it's it's kind of in the sky object is nothing else wood will be emitting light onto it. So doesn't need to receive GIS. I'm just going to uncheck that. And then generate and receive caustics. It doesn't need that either, because that's a different render setting. It's another generate GIS, the only thing checked, you have strength and saturation, so I can change the strength.

And then I'll change the intensity of the light. So if I do 150 you can see how this will change. And I can even do I mean, let's just blow it up and see if I do it like that. It gets to be ridiculous. We can do 250 Give him more intensity like that. That's that's obviously too bright because now it's blowing out anyway, but this is where you would change the intensity of your light in the luminance channel of the material.

I'm also going to turn on gi area light because it considers the image an area light, which is more of like it has qualities of a 3d light, too, which is really what's going on here it is, it is a 3d it is a light emitting object, which just happens to be an image and not a 3d light. Okay, that's getting there. Definitely going to be just a little bit more rotating. Okay, surrender and see what it looks like. Okay, it's not bad. I think this is noisiness right here.

Let's see. make some changes and explain what how to get rid of that. Part of that is just because there's only one light in the scene technically just that one image of the light and there could be other lights in the scene providing some more illumination. That will end up cancelling out that noisiness. So I'm gonna do first just as a troubleshooting. I'm gonna drop a light in the scene and make it an area light and see how that adds to it.

Or takes away from the noise. Make this do target object for the light. I'm going to drop the no object that is the bottle into glasses as the target object in that in that tag. Now I can use I can place the light where I'd like to Okay, so the noisiness went away, but now I think now it's too much. I think the kind of moodiness of the shot has been taken out. So it's okay that we just need to bring down the intensity of the light and I think it'd be kind of nice actually to make it a little bit of a blue light turned this quality down, face intensity down to maybe 25%.

See how that adds to it? Maybe 40% Okay, great. There's no there's no more noise anymore because there was some light added to the scene because it just basically an artifact of of low light in the scene. That's where that noise came from. Great, looks awesome. These dots right here are because it's an area light in the scene.

And the way to get rid of that is to go to the light settings. In the Details tab. You can do Show as solid in viewport, check that box and then showing reflection turns down, and that should get rid of it. That kind of gets rid of it hold on. So what's going on is, these dots are the samples being emitted from the area light. Now right here in the details tab, there are samples that are set to 40.

Now if I turn this up to like maybe 150, these dots will increase, obviously, the render time will increase as well. But that's how you change that amount of dots but it's really kind of annoying in general. So I turn this back down to 40. And I have these two boxes checked. I can turn the visibility multiplier up which was what that does is it multiplies the visibility in the reflections of the of the objects so it makes the light look brighter. Even though it doesn't emit more light.

It just looks brighter by changing this multiplier value has that option and if you just check ambient illumination as well then then completely disappears. So it's a little bit annoying because it looks bad initially but with a couple different settings checked, that light will end up looking solid and more of what you're looking for. Okay, that's fine. I'm going to turn down the visibility multiplier a little bit. And there we go. We have the light we have the scene lit and we have not very much noise G is turned on.

It's getting to be very close to a final render One thing I do want to get into is depth of field. Like I said earlier, depth, the field is really great and it works now really well because of the scale and the scene is now is now correct. So I turn the render region like this. And I'm just going to show you what it's like to turn on depth of field and see what happens. So what I want to do is have it be really shallow in the sense that the, the things behind the focal plane and in front of the focal plane is going to be really out of focus. There's going to be a very shallow area as well it's called that way very shallow area that is actually going to be in focus and that's going to be the wine label.

And I have that turned on. Under that I have this region's tab like this and go into the Render Settings and inside the Physical settings, right here. There's a checkbox down the field. That's it. Now I turn that, that now that's checked. Some of its, it's gonna be a little bit out of focus, but it needs to be some more settings tweaked in the camera setting in the camera object.

And that's inside the physical tab of the camera object, it needs to check movie camera. And what that does is it provides you with a drop down of typical f stops for apertures movie cameras. Now the general rule of thumb is the lower the number, the more out of focus or the shallower the depth of field will be when the lower number is lower. So I'm just going to select 1.6 as the F stop and we'll see how this how to focus it ends up becoming. Now you can see right here this class is out of focus compared to this class because this class Mass is right next to the focal plane of the wine label. So that's pretty good.

I'm gonna open it up a little bit wider. So I'm gonna go lower number, I'm gonna do 1.2. And I'm just gonna render this out and see what it looks like. That's nice. That's a pretty solid render. There's some noise going on here.

And actually, you can see right here it's kind of spotty looking. And that's the depth of field going on. It looks a little kind of pixelated, basically, that is the amount of samples inside physical render that does that. So I'll show you how to change that. But just say no, again, it'll increase render times a ton. So I'm going to just bring it down just to that glass part.

I'm going to render settings. Now the nice thing about physical render is we haven't had to do anything In the settings to make it look nice, and the only thing you really have to do is in the physical settings, change the sampling quality from low to medium. And this will go away and you'll take a lot longer to render, but it'll do a really good job of smoothing out stuff like that. It's definitely better than it was before. So now we turn it to high. I'll show you what that looks like.

Okay, so it's gone. But that took almost a minute, just to render that one section in high quality at high sampling quality. So it's gonna increase your render times a ton to do that, but that's how you'll get rid of that noise in your renders. Turn back low. This renders really quickly. You guys took five seconds to render and the high quality sampling took 45 seconds to render Just that tiny little area.

So to say no. Okay, great. So here's the scene. And it's all ready to go. Now we have to do to save a final version. This is what I like to this is what I'll be changing when I always will change the sampling quality from low to medium is when I know it's all ready to go and it looks great.

And I'm going to ready to output to a final file I'm going to change I kind of turn up the Render Settings because I know it's gonna take a long time and I just hit render and walk away. So I changed the sampling quality the medium for the final output. This is always I mean this is pretty good. In my opinion. I've always liked it, but global illumination, if you want to turn it up to 11 you can change the samples too high for the in this elimination settings. See you soon was a turn to high, your sampling quality is medium or high like medium for me always seems to work.

And that's and you know, it's gonna take a long time to render but you're also done so you're just gonna hit the render and walk away basically. So what you can do is in the output, this is where it sets your frame size. Now coded by 720 is, you know, that's an HD it was an older HD setting 1920 by 1080 is the other preset frame size to do like a Hd 16 by nine image that will fit on a TV and you can find all these presets in this little drop down right here. So you can you can have a screen preset for like phones or tablets. You have web sizes, Film and Video sizes and then print sizes as well. So I'm going to change this to HDTV 10 at 24.

So it's 1020 by 1080 is a frame size Resolution is really important, keep it at 72. Unless you want to do something for print and make it 300 DPI, you're not going to see any difference between 72 DPI image and a 300 DPI image on a phone or a computer. It's just gonna take forever to render and add nothing to the image quality unless it was going to be in a magazine. So make sure that 72 and your frame range because it's set the current frame for still images, and it'll be whatever the frame is in the playhead. And we haven't, we haven't messed with the play button at all. It's just going to be a frame zero.

So current frames important. Otherwise, if you did preview range, it would do a range of images would do 90 different separate renders at this frame size. And then so yeah, just make sure it's current frame. So it's just gonna be one image and you can see right here, frames one from zero to zero, so it's only To render out one frame There's your output settings and you can do 720 or you can do 1280 by 722 if you want as your final frame and then the save so if I check this box, this field will open up and this is where I can set my path to, to saving my image. So I'm just gonna go to the desktop, and you know, one bottle final save. I don't like tips, they like they just they're big files for no reason in my opinion.

I think to do a high quality you can do a JPEG really for for high quality output. Just make sure that the quality is set to 100% which it is usually I also like to do PNGs then they can ended up doing a lot of detail. They they save transparency if you have any. And they can also do 16 bit depth, as opposed to just eight bit depth. So as my final render, I want to do a really high quality image that I can then take into Photoshop, do some color correction and then save that as a JPEG for output. So I do the PNG 16 Bit Depth channel 16 bit per channel depth, image color profile is fine set to sRGB.

And all these settings are nice, because you're all good. outputs good saves good. These render settings are turned up for high quality, and those are all set up. Now nothing's gonna happen until we hit a certain button. So right now Everything's all set. I'm gonna hit save on the file.

So all those things have been saved. And if I just hit this middle button right now And don't hold it down like this. But if I just hit the button, it'll render it a picture viewer. Now if I hit that button, it'll start rendering the final file. And I can't stop this render, unless I go up to here to file and say stop rendering. So it's just gonna be a while basically before it's done, but when it's done, it'll be a very high quality image.

And there it is. Took me 20 minutes to render this. And that was with everything turned up, so I walked away, but you can tell how sharp everything is it looks. It looks really really nice, especially with I mean, the focus is a little bit noisy. That's just because of the medium sample quality, but everything else I mean, the way that the reflections Look, the noise for the global illumination It's really low. And I mean everything just looks pretty amazing.

And I'm just gonna bring it into Photoshop and do a couple things just to show what's possible. Okay, so here it is. I'm just gonna do like there's one thing I like to do in Photoshop. It's just kind of personal thing. But I do a an adjustment layer on top of this image and I do Color Lookup and it gives me the ability to do pre made filters inside of Photoshop. And inside the load 3d lot drop down.

There's this one called film stock 50 which just gives it an A really subtle kind of boost in color contrast and gives it a you know, more of like a film. Camera type look over that down to see. Now, because it's a 16 bit depth image, let's look at the exposure and see how deep low this can go was a lot of information there a lot a lot information. When I turn out to be really really high 13 stops over you can still see some information in this in this wind liquid and even down really low. Seven stops under, you can still see the label. So there's a lot of information here and that's one of the best things about using 3d Images when they're rendered is there's so much information way more than that would be either in even in a photograph from an SLR camera.

One thing I like to do too, just as a quick color correction is put a photo filter layer on, it's right here. And that lets you do either a warm or cool filter