Original scene created by Viktor Fretyn | Tutorials by Viktor Fretyn

Chapter 01
Page 04 | Sunset

Chapter 02
Page 08 | Broad Daylight

Chapter 03
Page 12 | Artificial Light

Chapter 04
Page 18 | TV-Lit (Night-Time)

Chapter 05
Page 22 | Mood Lighting

You can see the free scenes, textures

and final scene set up in the resources
folder that accompanies this ebook.
Note: The download for this eBook
and its resources consists of 2 parts
due to the large file sizes.

Chapter 01

Sunset | Sunrise

- Free Scene & Textures

The resource folder includes the artist
final scene set up + textures

Lighting La Salle Indoor Illumination - Chapter 01: Sunset / Sunrise

Chapter 01 - Sunset/
Sunrise
Software Used: 3ds Max + V-Ray
Welcome to this tutorial where I will try to
describe the way I set the lightning for this
scene. In this series there will be six different
types of lightning, from sunset through to broad
daylight then on to night time. In the first one our
goal will be to achieve a sunset lightning setup.
Since later on the other tutorials will be mostly
on artificial lightning I choose not to include any
artificial lightning sources here. Therefore the
scene will be lit by the sun only, as its supposed
to be at a part of the day when it isnt that late
and the sun still provides enough light for the
interior.
First we need to check our scene. We can see
that there are many windows around the room
facing three different directions. Also they differ
in sizes. (Fig.01) Straight away I can think of 3
ways to solve the lightning for this scene.
The first and easiest way is to simply use a Vray
sun as our only light source with a Vray sky in
the background slot. This sure is the fastest way
to set up and to render. Therefore I use this in
most cases when I need fast results. It is also
quite inaccurate so I dont really like to use this
for personal work where standards are higher.

just used one light source for diffuse light. In

find the right HDRI. After a little research on the

You also need to increase the HS subdivs in

this particular case the Vray planes might have

net I came one which I could download for free.

order to get rid of unwanted blotches all over

been a better solution since the Vray dome

It is just what I needed as it will give the scene

your scene.

light seems to render the longest out of all the

a nice purple wash. The Vray domes multiplier

above, but I recently used this method in a

should remain 1,0 since we will tune the HDRIs

My second was to put a Vray light plane in each

current personal project the Kumu Art Museum

multiplier instead (Fig.03).

and every window. It is the most commonly

of Estonia and I thought Id share how I did it.

used method and it might be the best. We could

(Fig.02) As you can see on this render the main

For the test renders we will use material

either set every Vray light individually (due to the

light is from above and with the shape of those

override to reduce render times until we get

fact that even the diffuse light has an angle and

sky lights it would have made it hard to put Vray

it right. The scene will be white and brown

the light flow is not supposed to be even in the

planes in them. Also note with Vray planes we

which means we should use grey for the

entire room) or use them as skylight portals.

would have the problem of lightning the outside

diffuse color not pure white, so after we apply

part of the wall. With a Vray dome there is no

all the materials to our scene we wont get a

such problem.

completely different result.

sun for the sunrays. This way I didnt have to

So now weve decided to stick to this method

By using an HDRI we can make sure that the

bother putting Vray lights in every window and

we can create the Vray dome. Now we need to

diffuse light will have an angle instead of being

The third choice which I decided to use is a Vray

dome with an HDRI for diffuse light and a Vray

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Page 5

Chapter 01

Indoor Illumination - Chapter 01: Sunset / Sunrise Lighting La Salle

even from all sides. But we have to make sure

the horizontal rotation is set correctly so that the
HDRIs sun will be at the same position as the
Vray sun.
Lets run a test now (Fig.04). The scene is
pretty dark, but its not a problem. Note that the
sun is not present yet and that the override color
is grey, not white! Render presets are pretty low
so far but for obvious reasons.
Now we need to set the sun. The position of
the sun is pretty obvious: common sense would
say we need long warm sunlight on the floor.

The position of the sun is more or less the only

camera not Vray physical camera that is why the

place to put it where the results will be the way

intensity multiplier is so low.

we want them to be. Here are the light sources

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(Fig.05). And here are the parameters for our

Lets see our final test render (Fig.07). It looks

sun (Fig.06). Note that I am using a standard

pretty satisfying to me so after raising the render

Page 6

Chapter 01

Lighting La Salle Indoor Illumination - Chapter 01: Sunset / Sunrise

quality and applying all the materials I finally

subtle way. Now days so many plugins appear

Tutorial by:

rendered the scene (Fig.08).

on the market, everyone gets their hands on

Viktor Fretyn

them, but I see many examples of people

And the rendering setup (Fig.09). I used Area

abusing them.

For more from this artist visit:

http://radicjoe.cgsociety.org/gallery/

filter and Adaptive DMC AA type.

Or contact them:
And the final result (Fig.10).

After this comes the part I love the most: the

I hope this tutorial helps and that it will come

post production. Unfortunately this is not part of

in handy for everyone who reads it and come

this tutorial so it only gets a few words. I used

across an interior where there are various

Photoshop and After Effects for Color balancing,

windows over the walls.

radicjoe@yahoo.com

exposure control, vignetting, chromatic

aberration, glow diffuse, soften edge, film grain,

Next chapter will feature the same scene with

film effect, tonal contrast, depth of field. What I

broad daylight lightning.

can give you as advice is to try to use them in a

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Page 7

- Free Scene & Textures

The resource folder includes the artist
final scene set up + textures

Chapter 01

Chapter 02

Broad Daylight

- Free Scene & Textures

The resource folder includes the artist
final scene set up + textures

Lighting La Salle Indoor Illumination - Chapter 02: Broad Daylight

Chapter 02 - Broad
Daylight
Software used: 3ds Max + V-Ray
Welcome again! This time I will try to explain
a method of lighting the scene to make it look
like its broad daylight. We have only one light
source again and no artificial lights, only the
Sun. As I wrote in the last chapter, there are
many other ways to light this scene to reflect a
broad daylight environment. Last time I used a
V-Ray dome light to provide ambient light, so
this time lets try something different!
We have the option of putting V-Ray planes
in each and every window. This is the most
commonly used method so Im not going to do
this here, but let me give you a few words of
advice if you do choose to use this method: If
your window consists of many parts (as in our
case) use as many V-Ray lights as there are
parts of the window, instead of using only one
big V-Ray plane. Make the planes smaller than
your actual window to provide sharper shadows
(Fig.01). It is a bit of a cheat but I find it
effective. Also tilt the planes a bit to the ground,
like the light comes from above. And of course
copy them using Instance. If they differ in shape
use the Scale tool.
But for this tutorial Im going to cover a different
method. I will only use a V-Ray sky in the
background slot and no actual light source
for ambient light. This might not be the most
appropriate way because it does not provide
any actual shadows. Why use it then? Because
this is fast to render and thats a big advantage!
Therefore this is what I use almost every time I
work on an assignment with a deadline.
But first lets take care of the angle of the Sun. I

just move the Sun over the target without

So lets do it already! I put the V-Ray sunlight in

do this by switching to top view and rotating the

changing this view! This way we make sure the

top view and it automatically puts a V-Ray sky

angle of the viewport. In this view I rotate it until

rays of light follow the same path as the one we

in the background slot. Thats okay, so lets just

I see through the window the same way as I

just set the view to (Fig.03).

press OK and from now on we only have the

would like the Suns rays to go (Fig.02).

I wish I could bring more sunlight to the scene

Suns Intensity multiplier to think about. Well

almost, because we will have to set the color

Then by pressing Ctrl + G, I hide all the

but I felt that it would be a bit unrealistic since it

mapping too.

geometry and only made the light visible. Now

should be about noon.

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Page 9

Chapter 02

Indoor Illumination - Chapter 02: Broad Daylight Lighting La Salle

For the direct sun light I use a V-Ray sun again.

its a bit too bright overall, even for a white

As the sky is controlled automatically theres

interior. Lets reduce the Intensity multiplier to

only one value we have to think about!

about 0.85. This will make the overall brightness

a bit lower, but will also reduce the burning

Since Im using a standard camera here lets

effect on the surfaces. So to compensate this

start by going to color mapping and changing

lets raise the Burn level of the color mapping

from Linear to Reinhard. Reduce the Burn

from 0.0 to 0.05.

level to 0.0. We can use an override material to

speed up the render times a bit (Fig.04). Render

I think it is now ready to render, but first lets see

qualities are kept low for the same reason. And

the render settings (Fig.06)! Ive had to raise the

Lets see the render now (Fig.07)! The lighting is

now lets see what we have got (Fig.05). It is

HSP subdivs and the interpolation samples in

alright so lets keep this one, but it needs some

close to white so the result will be really bright,

the Irradiance map settings due to the fact that

retouching as it looks quite flat.

as intended.

there are no V-Ray planes in the windows, so

I think it looks good already! I like that its burnt

there are no real shadows. If I dont do that the

First lets render an Ambient Occlusion pass!

render will come out full of blotches!

For that switch off default and hidden lights,

hide the Sun and put an override material in the

a bit where the Sun hits the surfaces. But maybe

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Page 10

Chapter 02

Lighting La Salle Indoor Illumination - Chapter 02: Broad Daylight

override material slot again. Use these settings
for that (Fig.08 09). Now that we have that
rendered too we can combine it in Photoshop.
Just copy/paste it as a new layer on top of the
render and turn the blending mode to Overlay!
Made a few more adjustments in Photoshop
and the image is finished (Fig.10). Out of all
the tutorials of this series this is probably the
easiest and shortest. It isnt the most elegant
way to render a scene, but sure is the fastest
and easiest to set up. Therefore I advise you to
use it anytime you are working to a deadline, or
where you have lots of windows with different
shape and locations. I hope this has been useful
and thank you for reading!

Tutorial by:

Viktor Fretyn
For more from this artist visit:
http://radicjoe.cgsociety.org/gallery/
Or contact them at:
radicjoe@yahoo.com

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The resource includes the artist final
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Page 11

Chapter 02

Chapter 03

Artificial Light

- Free Scene & Textures

The resource folder includes the artist
final scene set up + textures

Lighting La Salle Indoor Illumination - Chapter 03: Artificial Light

Chapter 03 - Artificial
Light
Software Used: 3ds Max + V-Ray
Welcome again. Lets get on with the tutorial,
and this time we will be doing a night shot. This
is going to be much more exciting since there
are more light sources and more things to play
with regarding colors, shadow and the overall
mood. The goal is to render an image with
bright overhead lighting and all our lamps will be
turned on.

afraid if I start with that I wouldnt be able to set

should remain obviously visible and should have

the smaller ones so precisely.

an orange warm color. We can leave the rest of

the settings on their default setting (Fig.01).

We will set the lighting sources one by one

starting with the minor ones like the standing

So we are going to go with the standing lamp

lamp and the smaller desk lamps, and finishing

on the right of the image first. Im putting a small

Lets see a test render. For test purposes I

with our chandelier. Why? Because that will

V-Ray sphere in the light bulb. Since its a very

use these settings (Fig.02). We can see that

be our main light source which will provide the

small lighting source the multiplier should be

the multiplier is about right but the image is

bright light overhead in the room, and I am

raised high. Lets start with 2000. The sphere

quite burnt in (Fig.03). It is very rare that I can

afford to use linear color mapping for night
shots, although I always try to do so whenever
I can. Now lets switch to Reinhard and start
by decreasing the burn level to 0.1. This will
drastically decrease the burn effect on the
render (Fig.04). I think it looks ok, so we can
move on to the other lights. The scene is quite
dark so far but thats ok. We want to keep the
minor light sources very subtle.
Now what bothers me is the dark area in the
back so lets put some light there right away.
Since there is a bulb in the lamp we need to
delete it, or just go to object properties and
remove the tick in the Receive And Cast
Shadow properties. The radius should be much
smaller here since we would like to see sharper
shadows. Therefore the multiplier should be
higher (Fig.05).

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Page 13

Chapter 03

Indoor Illumination - Chapter 03: Artificial Light Lighting La Salle

The color of the lights could contain much more
character but I am used to adding all the color
balance after the rendering in the post process
part anyway so Im going to leave it like this for
now. Maybe the multiplier can go even lower
here to keep the light even more subtle. Lets
instance it to the left where that nice Tiffany
lamp is. They are about the same size so they
should provide the same light. And what do
you know? This one has a bulb similar to the
previous light so we do the same thing here as
before: delete it before adding the light.
One other thing I did here is to make sure the
glass part casts no shadows (Fig.06). This way
not only is the render time going to be shorter,
but the shadows provided by the frame of the
lamp are going to be better (Fig.07).
So far so good. Only two smaller lamps left on
the left. Lets copy our V-Ray light sphere there
as well (not instance this time since these lamps
are slightly bigger so they might need different
settings). Well actually looking at the first test
render it looks quite ok the way it is, but of
course some minor changes need to be done.
First of all the intensity is just too high. It burns
near the walls and also the shadows are too
sharp so the radius should be higher (Fig.08).
We have to change these numbers at the same

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Page 14

Chapter 03

Lighting La Salle Indoor Illumination - Chapter 03: Artificial Light

time because they depend on each other:
If we want to raise the radius it will result in
automatically raising the intensity, so we have
to decrease the intensity multiplier much more
than we originally planned to do (Fig.09). Lets
see another try (Fig.10). I think its really good
so far. Maybe the room has too much light than
it should considering the ceiling light should
provide the majority, but its still acceptable.
Lets move on to the ceiling lights.
For those we use V-Ray light spheres as well.
For a start lets see what happens when we
copy a V-Ray light sphere from the desk lamp
there and instance that a couple times around

Tutorial by:

the chandeliers (Fig.11). Since there are so

Viktor Fretyn

many light sources in one bunch lets decrease

For more from this artist visit:

the multiplier to 15 000 from 30 000. Lets see

http://radicjoe.cgsociety.org/gallery/

how that looks (Fig.12).

Or contact them at:

radicjoe@yahoo.com

It looks just fine although its a bit unnatural

with all these lights turned on. But I think the
end result turned out pretty well after some
retouching in Photoshop (Fig.13).

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Page 15

Chapter 03

Chapter 04

TV-Lit (Night Time)

- Free Artist Final Scene

Lighting La Salle Indoor Illumination - Chapter 04: TV-Lit (Night-Time)

Chapter 04 - TV-Lit
(Night-Time)
Software Used: 3ds Max + V-Ray
Welcome back! This part will be the most
exciting chapter so far thanks to the light from
the TV being mixed with the light from the
other warm yellowish-orange light bulbs. This
will make an interesting mix with the TVs cold
bluish cyan colors. It will cause a nice duality in
the scene.
But lets see where we left off last time. Overall
the scene is too bright for now so we will have
to switch off a few of the lights. I would prefer

sphere in them to imitate a light bulb. Just to

to turn off the ceiling light because it is the

refresh our memory lets see what the settings

strongest light in the room. I will also have to

are for them (Fig.02 03). The other lamps are

switch off the standing lamp on the right. This

turned off as we established. Lets see what we

is because I would like to put more emphasis

have at this point (Fig.04). I think it looks okay

the small reading table. But overall the shadows

on the mix of colors dividing the image into two

already, so for now lets just leave it as it is! The

are a bit too sharp in the other areas in the room

parts: the right side will be the cold side and the

rendering quality is a bit low for test renders

I think. We could get rid of this but then wed

left will be the warm (Fig.01).

but hopefully we will get rid of all the noise and

have to increase the radius of the V-Ray sphere.

unwanted blotches in the final stage.

This would cause blurring of the shadows, which

Like I said lets pick up where we finished last

I adore as well so Id rather leave it as it is now.

time. We have already set up all the small lamps

What I especially love is the shadow on the wall

If it was just a personal project I would do two

around the room. They have a V-Ray light

above the red chair cast by the Tiffany lamp on

versions, one with a larger radius on the whole

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Page 19

Chapter 04

Indoor Illumination - Chapter 04: TV-Lit (Night-Time) Lighting La Salle

room, and another region render on just that
part of the wall which would then be put together
in Photoshop at the end.
Now lets move on by setting up the TV light.
First thing is to switch off all the light sources
in the room. This way we can only see the TV
light. Now lets put a V-Ray Light Plane in front
of the screen. It will get a bitmap for the texture
slot. The same bitmap will be used for a V-Ray
Light Material that will be on the screen. This
image was provided by 3DCreative and luckily
its bluish so it will be good for the color of the
light. The Intensity of the light is set to 100 and
the Multiplier of the light material is set to 10 for
the first try (Fig.05).
Lets see a render (Fig.06). It looks okay already
but the TV could provide at least twice the light.
So I have raised the Intensity from 100 to 200.
Other than that I think its alright (Fig.07). I think
it looks convincing enough. All the black areas
are gone now, the light can reach every point of
the room and still it remains dark so its about
the perfect amount.

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Page 20

Chapter 04

Lighting La Salle Indoor Illumination - Chapter 04: TV-Lit (Night-Time)

Now we can render the image. All the lights
have a Shadow Sample of 24 to prevent it from
being too noisy. The Light Cache is on 1200,
and the Hemisphere Sample of the Irradiance
map has been increased to 150, while the
Interpolation Sample is 80. I always use higher
render settings for night scenes to get rid of
the unwanted blotches on the walls, like I said
before (Fig.08).
There. I think the render looks good, although
the warm tones are a bit too strong so all the
lamps light sources intensity could have been
reduced. But I will leave it like this because I
know that Photoshop always adds a great deal
of contrast to the image, so its better to have a
relatively bright raw render.
And after a little retouching the final outcome

Like always: thank you for reading and I hope

you found this tutorial useful.

Tutorial by:

looks like this (Fig.09). I played around with the

Viktor Fretyn

Gamma and Exposure settings and added some

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color balance too. Also I used the Knoll Light

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Factory plugin to get all those nice light bloom

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auras around the lighting sources.

radicjoe@yahoo.com

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Page 21

- Free Artist Final Scene

Chapter 04

Chapter 05

Mood Lighting

Lighting La Salle Indoor Illumination - Chapter 04: Mood Lighting

Chapter 05 - Mood
Lighting
Software used: 3ds Max + V-Ray
Greetings everyone! I would like to thank you all
for reading this tutorial and I hope you will find it
useful if you are looking for some tips on interior
lighting. Since this is a part of a series I assume
you have read the previous parts as well. All
together there are three night-time lighting
schemes and this is the final and yet most
exciting one, as it has a romantic lighting theme.
As I said, I presume you have read the previous
chapters of this tutorial and so I will start with my

and for that we probably wouldnt need the main

is because the darker the room is the smaller it

bright, overcast night-shot scene. Let us analyze

light. So lights 1 and 2 get put out (Fig.02)!

feels, and our goal is to make this space as cozy

to begin with and lay down the guidelines which

we will be following!

as possible. Bottom line: lamp number 3 is out.

We have four more light sources left in the room
(Im counting the lamps numbered 6 as one) and

There is one more light Im not really

The first thing that has to be strikingly different

we know we wont need that many for our date

comfortable with and that is the standing lamp

is the amount of light in the room (Fig.01). One

night. So lets see what else we dont need. Well

(number 5). Whenever I look at that I instantly

thing is for sure: the light on the ceiling will

it will obviously be the ones in the back. That

think about a middle age or an older man sitting

have to be turned off. We want to create an

is because of two things: for one thing it looks

under it with his glasses on reading a long book.

atmosphere in the render that would exist if we

like a working space and we would definitely not

And we dont want that association with this

were on a date in this particular room in real life,

want to concentrate on that. The second reason

space and scene! So away with that too!

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Page 23

Chapter 05

Indoor Illumination - Chapter 04: Mood Lighting Lighting La Salle

Were down to our last two lights, numbers
4 and 6. So lets check how it looks like as it
is now! But before that, let me show you my
render settings for test renders. Whether its an
exterior, interior, night or daylight shot, I always
use these settings for test purposes (Fig.03). I
put the shadow subdivs to 6 at this point for the
light sources.
And so here is the first test render. Please
excuse the test render quality, but it is totally
sufficient to see the lighting. What I can see now
is that the lighting is anything but romantic. It
looks more like a bedroom of a wealthy couple
at the end of a long tiring day of work (Fig.04).
So lets start playing with the settings a bit.
First I would like to use the Linear Exposure
control here instead of what we have been using
so far in the overcast night shot, which was
Reinhard. With this we will be able to reduce
the overall light in the room without having to
sacrifice the burning brightness effect near the
light sources.
Now lets have a closer look at our light sources:

V-Ray light sphere by copying one from lamp

they are V-Ray light spheres. We can see that

number 6. No Instance this time because later

number 4, the Tiffany lamp, causes some nice

we might want to handle them separately.

sharp shadows on the walls and it was a nice

feature in the earlier scene but now I dont think

Lets reduce the light drastically by bringing the

we need it. I find it a bit distracting and I would

Multiplier down to 300. Lets see what we get

like to see much smoother shadows. So just

now (Fig.05). It is really dark but I like it because

replace this small radius sphere with a normal

these lamps have only one purpose and thats

to light the areas very close to them. But just

for some more fine tuning: lets make light
number 6 a bit less bright (200) and number
4 a bit brighter (500). Because by now it is, I
guess, clear to everyone that we will introduce
a completely new light source in the scene to
serve as our main light source: the fireplace.
How could you leave that out of a romantic
scene?
So we will do this by putting three V-Ray light
spheres in the fireplace, scattered in there
randomly (Fig.06). And render a final test
(Fig.07).

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Page 24

Chapter 05

Lighting La Salle Indoor Illumination - Chapter 04: Mood Lighting

Now its time for the final settings and then its

Tutorial by:

ready to be rendered properly (Fig.08 09).

Viktor Fretyn
For more from this artist visit:

And after some Photoshopping, the end result

http://radicjoe.cgsociety.org/gallery/

looks like this (Fig.10). I think its satisfying

Or contact them at:

enough. Who could resist this atmosphere?

radicjoe@yahoo.com

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Page 25

Chapter 05

Images from 3ds Max + Vray version of this eBook

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topics covered, as well as ways to create backgrounds that both complement and enhance characters.
The methods presented within this series can provide an efficient alternative to lengthy render test.
Original Author: 3DTotal.com Ltd | Platform: Photoshop | Format: DOWNLOAD ONLY PDF | Pages: 049

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Manimal is a Zbrush tutorial series divided into six parts, covering nearly 70 pages and addressing the process
of transforming a generic base mesh into an original creature design. The notion behind the series assumes
the task of genetically splicing a human being with a different animal class and sculpting the resultant character.
Each of the tutorials adopts a different animal class as its theme and walks through the stages of developing
a concept and sculpting the overall proportions through to the individual features and particular anatomical
mutations.
Original Author: 3DTotal.com Ltd | Platform: ZBrush | Format: DOWNLOAD ONLY PDF | Pages: 067