corona living room furniture

okay guys. first talk of this afternoon iswith a fantastic artist presented by the corona renderer. who is jakub äœech. please welcome jakub. good afternoon.one year ago i set off on a journey. i wanted to spend one year of my life todo something that i believed in. i wanted to create a book of images about what iloved in cg. and now one year later i'm very happy and proud to be here to talkabout it and talk about much more. the book is called beautifulcomputer generated images and consists of seven manifests. giant simplicity.tropical garden. above wood. reflections. classic nowness. natural gradients andcomputer generated art. now all these

images have something in common. they have been created in corona. this talk is sponsored by corona renderer so iâ´m going to try totalk about it nicely and talk about areas where it stands out the most and whereit helps me a lot. though i think we can all agree on one thing and that's thatthe best rendering engine is the one that suits you. now corona have been mycompanion for years now. i've been enjoying it i created the series init and it's the only render that i use currently. and now let's begin whereit all began let's talk about the story and this story begins in my childhood. sothis is me yeah life has a special sense of humor.and the first ever interest in 3d was

there when i when i just saw theinterface of 3ds max. and i saw it's moving inside. it was sointeresting and then i found something a tiny bit more interesting (joke) which was marek denkoâ´s reel and i was so excited about it that i got in touch with marek andadded him on icq and we had this meaningfull chat. we were chatting until mymoment of glory came and i just played cool because i created scene that was already 22mb large and i got a response that broke my heart at the time because marek has just left. so since the moment i was very veryinterested in 3d and later on found

something that became my biggestinspiration of all time alex roman and then i started watching tutorials tryingthings and created my first model ever which is valtra tractor. this is back in2009 and then i created my first artwork ever which is coca-cola glass andthat's eight years ago i was 17 and there's some serious caustics in it (joke). lateron in 2010 i created this artwork. it was first some kind of archviz move but iwas struggling. i just couldn't get it to look how i wanted. i still was nothappy with it so i started to look for some key or something why its that so insettings and numbers and i bought this book and read it all and ithink many of you know it. it's

vray in all possible settings.thus it has thousand pages (joke). and then i also started to create analysis of greatprojects that were out at the time i created spreadsheet with 75 greatestproject i have ever seen. i created comments. all the info. making ofs. i was trying to find something that i was missing and later in 2012 i startedto push started to push hard i created california king bedi created visualization of bedroom. ring. and i started playingaround with marvelous designer and i also reconstructed alex romanâ´s auditorium justto find something that i was missing. also at the time i had my first evercommercial project which was play school

furniture and at the time i had 10 eurfor a render. but still i was struggling. i just didn't like my outcomesand later and in the same year i found something that really helps me alot. at the time i thought it was magical but it's not magical it just helped me alot. and that's my color mapping. so i would love to dive into it a bit and talkabout the principles of color mapping. now before i start i would love to say thatthis is something that helps me personally. you may find that maybe dumb, maybe you have seen that and so on. it's based on everyoneâ´s else taste.but this approach helps me a lot and i would love to explain it on a simpleexample of how i think it

works in real world. so there's real world and we can perceive it with eyes with digitalcamera and with a film camera. now for simplicity let's just say that eyes anddigital camera see the same picture because that's what digital cameratries to do. so a digital camera would see a picture like this. but a film camera would see a picture like this. and this is something that i would say is a color mapping in real world. and the reason to use it is to enhance the look of a photo.enhance how its appealing. now you may find it not appealing maybe it didn't help itin your eyes but in my eyes it helps a lot.

and that's something that i really findvery very appealing to me. now under the hood it's based onspectral responses and this is spectral response of digital camera andand the response is pretty similar to human eyes. versus spectral response of thefilm camera. and these differences in the curves makes the color mapping. now this is response of a specific film. it's a fujifilm 400h. there are so many filmsout there and there is a film for everybody. there are many films for manypeoples tastes. also there are color processes. like 2-strip color process, 3-strip color process, bleach bypass. again a lot of real-world color mappings in my eyes.

so in cg, color mapping has the samefunction to make a raw rendering more appealing. make it color mapped and just forour eyes to just be more appealing. we already have settings for color mapping andit's important to say that color mapping is almost the same as tone mapping.color mapping is a smaller part of tone mapping. but let's say it's thesame. we already have these settings available from different renderingengines and there are parameters like highlight compression or saturation, contrastand so on. but it's limited. we are just locked to these settings. but what we cando is not to use them at all and use some other software to custom color map ourimage. so let's take a look at how it works.

is it playing? it's gonna play. wait a sec.okay. so first what we need to do is to save an image in raw. that means highlightcompression at 1. contrast at 1. everything else at 0 and whitebalance and exposure just the right value. so that we're not clamping image ordoing anything. so i'm gonna hit save and save it in 32-bit format. that's exr. i already saved it so i'm gonna drag and drop it into after effects. andi need to set up after effects in 32-bit way so i'm gonna switch it from 8 bitsto 32 bits. next i'm going to create composition and now i'm going to do thecolor mapping. for that purpose i use

magic bullet looks because it's suitable for me. i love working with it. so i drag and drop that. i hit editand go inside and i just look through all the looks and choose the one that ireally like. so let's say that i like this one. i'm gonna further adjust it andalso i have feeling the highlights are too burnt so i'm going to put on theshoulder. so this way i already created color mapping and we can work on thatmore. here i drag and drop another looks but it doesn't work that way. i need toprecompose it so i'm gonna just delete it.precompose the color mapping that we already did and build on top of that. sohere i am pre composing and drag and drop

another looks and again,look through all the looks choose the one that that i'm loving so for examplethis one. and i still have a feeling the highlights are too burnt so i'm gonna put acustom curve. i'm gonna lock the final image.go inside and in the front of the color mapping stack i'm just going to dragand drop curves. and i'm just gonna shoulder it by hand. okay.that's something that i'm liking so i'm just going to save that image. so go tocomposition - save frame as file - choose the jpeg and save it. so this way itotally just jumped over the settings in any rendering engine and i createdmy own custom mapping. this workflow is

great for a finding your yourselffinding what suits you what things does and just find the lookthat you like. but it's really very limited in terms of effectivenessand also in terms of resolution. you can't really do this for every image andmagic bullet looks even has problems with high resolutions so once you playwith it a lot and try things you may find yourself in a situation wherethere are just five or six maybe looks that you just keep using. andwhat you can do is then just save this into a lut. so next i'm going to show howto save it into a lut but before we do so we need to get rid of local coloradjustments and also shoulders because

these effects just doesn't work thatwell with lut. so let's take a look here i'm going to edit the most top looks andi'm going to turn off vignette which is a local color adjustment and also shoulder. good.next i'm going to dive in further i am going to turn off my curve which is a shoulder or ahighlight compression (is the same) as well and i'm going to go to the first looks and turnoff another shoulder that i put in there. and now we're ready to save the lut. so i'mgoing to use a lut buddy for it. so i'm gonna search for lut buddy and put itin front of our color mapping stack. and draw a pattern. draw a pattern. now thispattern is going to take all the changes of our color mapping and in the end wehave to capture these changes. so i'm

going to go to layer - new - adjustmentlayer. this way it works better. and i'm going to drag and drop another lut buddy and read the final changes. so i'm gonnazoom in so that we can see the changes. so this is after all the colormapping that we've done and this is before the color mapping. so before andafter. and all these changes are going to be saved into a lut. so export - custom lut. and save. done. now let's have a look how to load it in the corona vfb. so in the frame buffer let'sload this lut. so lut. turn it on. let's browse to it andload the lut. now i got rid of

vignette and also shoulder so i'm gonna put ahighlight compression which is the shoulder actually and i'm gonna put backvignette because we got rid of that and i'm going to put bit more contrast tothe image. good. now i'm going to save it and we can compare the two. so on theleft there's after effects outcome and on the right there is corona outcome. sowhat we've done is that we created a lut that allows us to workeffective without any resolution restrictions. this is a workflow thathelps me. i just love browsing and trying and whati love about this is that you can create a lut then you can load it andyou can use it together with the

built-in tone mapping. so that means wehave expanded possibilities and also what we can do is to create a lut and then adjust our materials to work with it. and this way we're justexploring a new way of how that might look. and so this is how it looks. raw to tone mapped and this into tone mapped a plus lut.which is our custom color mapping. this is a list of software. i use almostalways magic bullet looks. it's 32 bits. itâ´s not limited but 8 bit softwareis of course limited. it's more of a postproduction and myfavorite film is fujifilm 400h. so that's something that helps me. you may find it useful, youmay not, you may enjoy it, you may not. that's

something that i'm into. so back to story.in 2012 although i found this color mapping techniques and i enjoyed iti was still struggling. i got glitches, i got crashed, i got everything that everyonegot at the time. and in the beginning of 2013 i started to do corona and this isthe first picture that i did with it and i loved it.again that's me i love how it's simple how i can concentrate on mythings not on the settings or anything else. and it had one kick ass feature. could be minimized. yes. so then in 2013 i just had a lot of projects i finallyhad a look that i loved i kept just

doing projects. and in 2014 i created myfirst commercial project where the price was more than 10 eur per picture. and i usedcorona for that because again i wanted to concentrate on my things not onthe settings or these type of stuff. then in 2016again a lot of projects, expanding the comfort zone and so on. and then in 2017 i started to release my series. now before i started to work on the series i had noreal workflow. i was experimenting all the time. just experimenting and sobefore i started i wanted to have a workflow. because i wanted to see alight in the end of the tunnel. so i created one and i want to talk about it.so that you know how i do and what

my struggles are. again my workflowis based on me. you may find it dumb, you may just feel that - whatthis is just so obvious. but i had many struggles within thesefew things. so my workflow is based on separating objects and creatingeverything separately in studio. so i want to create a floor - i'll do it inthe studio. i'm want to create an entrance i'll do it in studio. or i want to creativea material - in a studio. important thing is this studio. i'm using a hdri i that ithink most of you know and i think this this is the best hdri that's out there. ispent great amount of time working with it and it's one of the bestones that i used. and i'm gonna explain

later why.so that's what i'm using. that's my base studio set-up. then i use light balls andalso i use sometimes black background and only light balls. so in these threestudio setups i create all my materials all my objects. everything is createdwithin it. even floors even everything. so i'm gonna show you this is very quickeasy video how it looks. now. that's how it looks. so what i want to show in this video is that my interactive view is the left down corner and that's mypreference. i just never work in a big window and crop. i always work in the smaller windows and zoom. i found it more effective i enjoy this workflow. so let's saywe want to create a bench in this way so

let's say i want to create a bench likethis. one of first struggles that i had is to imagine - so i want to createthis bench - how should it look in this studio?should it look the same? oh what did i press. okay. so should it look the same like this -which is a bit contrasted and dark. or should it look, should it look what. so this is the first rule that i have in my workflow. and that is - it shouldlook so that it fits nicely within this background. and that's also beautifulthing about this hdri is that i can it always works i can always ask - doesthe object i created fits within the background? let's let's see an example.letâ´s say we want to create a yellow

teapot. so would it look like this or likethis. i'm not sure if you see the difference but this one (left) is bright andcontrasty and this one (right) is a bit more subtle, more less bright and moreless saturated. and you can kind of imagine that - yeah that what would fit the background. and that's the beauty of this hdri is thatthis background is a great benchmark for you to decide that - yeah this isthe object that i wanted to create. this is the right amount ofsaturation, of contrast, of whatever. so that's my rule number one. then let's sayi want to create a brown leather material so i want to create a diffusetexture. would it look like this, like

this, or like this. now itâ´s the same brownmaterial but in every situation it looks differently. now my rule number twois regarding a diffuse texture. the diffuse texture should look justhow you would see it when you come to the object in reality. so. because humaneyes are just great things. so would you see it like that.no, that's just too bright. would you see like that. probably not as well -it looks just too contrasty. so just imagine and always ask. how that wouldlook. would you see it like that. yeah - thatâ´s subtle contrast, thatâ´s something that i think i would see. soafter following this rule i would say

this is something that i would see inreality. this is how it should look. so let's base the diffuse texture on that.we have a picture i'm going to sample sample a little crop of it so this issomething that we're of to when we do diffuse map. so iâ´m going to create one in photoshop like this. now i'm going to try it on. so in the studio i'm just going todrag and drop the new texture we created it looks like this. i'm just going to put ona bit of a reflection because we know that leather texture just has reflections.so it looks like this. and next i have it on a bench and then just browse. andasking all the time: does it look like it's within thebackground? does it look like it's within

the background? and for me in this casethe answer is no. it's too saturated and i think it's too light. so whati'm going to do is to grab the texture, adjust it. it's less saturated and less brightand i'm going to try it on again. so putting on the texture again. this is howit looks. and again. here i created also light ball and i just rotate it andlook around. and this all might seem dumb to you but i just struggled so much withthe questions of. how contrasty should be the image. how contrastyshould be the texture. how light should be the texture. and these two rules justallows me to be within these constraints. here at this video i would love to say one more nice

thing about corona. and that's that i canmove objects around and see see the change instantly. so that helpsme a lot because i lack a bit of imagination. so it's somethingthat i can't work without. so we have done a diffuse map. next i'm going towork on bump map and i work on each map separately. so i'm going to turn off diffuse. i'm going to turn on reflections everything is smooth. and work on bumpmapping solely. so here it is. i drag and drop mapping and i just play around.and i see instantly. i do not have to crop. i do not have to anything.that's the way that i adjust bump map. and the same way goes forreflection and reflection glosiness. so

here i separated only reflection.playing around with it. let's say this is something that i like. and reflectionglossiness goes the same. so again separated. allother maps are off. and i just play around with it. so this way i create mapsvery fast. that's i zoom in, i do not crop. i just play aroundlike that. and then i turn on all the maps and fine tune.so here i have the light ball and i just play around and fine tune. playing with old bad bright saturated diffuse - mistake. should have been the new one. alrightnext thing is. this way i always just follow the main rules that ihave and i create this way all objects. all materials. and i even place objectsbeside each other and look at them

together and always just keep asking. andin this way i build the scene. next thing is lighting.now let's say i put in hdri that look like this. what i used to do inthe past is that i tried to. i just look at the picture of the hdri - letâ´s say it was some nicecity - and i say yeah yeah that's pretty nice. i drag and drop that. and ifit was not working i just adjusted settings and just wanted tomake it work. but here comes the third rule that i have. if it's not workingjust change it. again very dumb. so i change it and i see yeah that that'ssomething that's working. and in my opinion90% of hdris are just not going to

work. you have to change. you have to seeand just try a lot of them. and this way you can come to a folder of a few hdris that you just find working for you. so again this rule does notapply only on lighting. it applies also on textures. in past times i used tojust pretend the texture is going to work. itâ´s not going to work.if it's not working just change it. i sometimes i just change the texture 20times. so this is the way that i think about it. and let's see how iadjust wiewport for lighting. so the scene is prepared. this is one of thescenes from series. and here i adjusted viewport. again it's evensmaller than a in the studio and thatâ´s because

now we have more complex materialsand so on. and i'm always on the left down corner that's where i start myinteractive view. and i play within this small, just tiny small window because it'ssuper fast. and if i need some details i just zoom in. but usually i created all mymaterials in the studio so they should be ok. so that's super fast andeasy way and i like to just work in this way. so next thing is. i turn on my lutthat i created. it's on. and i just keep it on, all the time and try to playwith the favorite hdris i have. so i just rotate and you knowjust look for what is working. and at the same time i adjust the tonemapping. now these two things work

hand-in-hand. so i just keep playing.i know it's many... this is more of a not so concrete (workflow) but that's how ido it. i just keep on (trying). and here i'm trying to put on the new hdri because i don'tlike the previous one. and i'm liking this one and i'm going to adjust tonemapping. and what i do is i put in crazy values. i just don't care. here i'm justgoing to end up with highlight compression of 0,2. contrast of 0,2. whatever. i just don't care. and this is something that i found working for me.so in the end, the picture that's on the left down corner is actually one ofthe final renders that are in

the series. and these are thesettings. pretty crazy numbers. but. so i don't care about numbers but i usuallyend up with desaturated tone mapping and desaturated materials. so iâ´m not sure if itâ´s visible but saturation is at -0,112. and i almost always end up with desaturated tone mapping and ialso tend... when i put on my lut i many times find my materials too saturated so i desaturate them. and these are two things that i find myself do always. sothis is the hdri that i use for the the studio. it's the mastering cgi apartment livingroom 2015.also i love aversis hdris and if skies than cg source. next - tricks. this chair hasin this area pretty black and flat

surface. and that's again, in my workflowi have a rule. no flat surfaces. i just always look for them. it'ssomething that you can then say it is... when there is no flat surface - picturehave to be looking great. so this is a flat surface so i'm just going toput a light in, make it include seat only and create a light/shadow transitions.so there is this transition. and i many times i use include only lights. even in thispicture the seat itself has an include light that lights up thechair only. it doesn't affect the floor. so i use these lights a lot because ihave a feeling it adds a lot of studio like lighting feel. now trick numbertwo. in this picture there are two

gradients that are so so much visible.there's one, here is another one. now these gradients are created on thepurpose. and it comes down to the rule. when icreated the picture these areas were very flat.again - no flat surfaces. so what i did is just created the plains with a gradientin opacity slot. so just to follow my rule. next thing that i usually do islevels check. this is a normal photography and this is how the levelslook. in an upper spectrum you can see there's a tiny bit of information reaching the top. and that's important. you have to lookfor these information. for example in

this render, in the upper spectrum, i havea gap. that means it's not going to look right. and this issomething that i just look after. and i just keep. if it's wrong, i just keepcorrecting it either in photoshop or with the tone mapping. but that's justsomething i look after. so back to the series. i took one year off just to make these series happen and i was inspirated. i was inspirated by alex roman because he took also one and a half years to create avideo so that was my main inspiration. then when i set up my, workflow i startedto collect inspiration images. i browsed pinterest anddownloaded 5000 inspiration images. and i

created folders. i created folders ofwhat i love. elements that i love. like clouds, like reflections, like whatever,composition. and i just sorted out every image into a particular folder.then i grabbed all the folders and created another set folders. and thesefolders have no names because i didn't know what they represent. but what idid is that every.. i sorted out pictures to the new folders thinking ofthe feeling. thinking of what images may work together and say the same storyand say the same element is great. so i sorted pictures like this and then istarted to do collages. so for example in in the folder number four i had thispicture and i had also this picture

because it's similar feel and it says- there's water - it says some nice things about water. so i createdcollages and i mixed it into this picture. and i just kept and run throughall the folders and mixed all the images that i collected. so this image,plus this one, plus this one, is this one. or this equation. or this equation. i justcreated a ton of collages. or this one. so in the folder number four therewere collages of sink, of lamp and so on. and from these i created collections. sothis is actually a real collection. these pictures are my collaged images that ipre-prepared. and i pre-prepared seven collections. so this took two months andthere are two collections that

didnâ´t make it through. this is thefirst one. and this one should have been number five, which is classic nowness now. and later i'm gonna tell you why it's not looking like that. andalso this one should have been number seven and should have been called repetitions. and i think i should have done repetitions instead. anyway this one didn't make it throughat all. so when i had all these collages pre-prepared, i knew thatyeah, this is what i want to say, this is what i want to do, and this is what'scovering most elements that i love. this is gonna say the story that i want.and i started to do camera matching. i used sketchup and i camera matched all of these pictures that i created. and

then i just used workflow 1.0 andthousands of interations. of everything. of textures. of post processing. i just do something, came back one month after it was done. just a ton ofsimilar-looking picture one with leaf, one without leaf. just whatever.i kept iterating because wanted it to look the best that i can do. so let'stake a look at wips, progress and troubles for each project. so in giantsimplicity the biggest trouble was the marble because i wanted it to havea deeper and real subsurface scattering. so this was the hard part and here aresome wips. again i created all objects separately, vase - separately, floor - separately. so here's another batch of wips and

progress. f always means final image. tropical garden. tropical garden was troublesome because i wanted to create every plant from scratch. so i used speedtree.i liked that. but the most troublesome part were the textures. i usedmegascans. now i had to adjust every texture to be straight, so i had to cropit, rotate it, but i also had to bend some textures. and every leaf hadseven maps, one of them was displacement which was 32 bits, and there werelike seven leaves for a banana tree, and there were 10 plants in the tropicalgarden. so this process was a hell.

here are some wips. these two images were supposed to bepublished but i didn't like them in the end so they just didn't make it trough.above wood. the biggest trouble in above wood is about wood. i wanted to create anedge slab like this but more beautiful. and this took so much to do. because icouldn't find the great resource online to create the texture. so this is a firsttexture i created from online resources. then another one. then i even found thereal photos and got in touch with the company. but this looked too much raw.i was struggling with it so much and then after three months i found abeautiful store in chicago. i hired a

photographer and got a final texture.progress. in above wood there's also one scenethat didnâ´t make it through. it's this one. these are wips from it. i really did put a lot of work to the floor, to thecolumn and so on. it looked promising but in the end this was the last bestpicture that i could get. and and the wood was just ruining it. and it was allabout this wood. so even this one didn't make it through. reflections.the biggest trouble about reflections was with the displacement of raindrops.and here i am again going to talk nicely about corona because it handled them very well.here are wips. again seperated

objects in the studio. classic nowness. classic nowness should have been this one and should have been called gold and old. i started to work on that but ijust didn't like it during the process. these are the last images that i had andi was not enjoying how it was looking so i just threw it all away. grabbed a lotof new references and started to to do it all over again. and one of thehuge troubles were also the mouldings. because i again, lack imagination.so i struggled a lot to make them. so this was troublesome part. here are someearly tests and progress. natural gradients. so the biggest troubleabout natural gradients was terragen. i

love how outcomes of this software looksbut it's just so painful to work with. i spent three weeks to just do this tiny cloud (from series). so these are some tests i did. andthe progress. computer generated art. i'm not going totalk much about it because it's been done in different way. but what i'm goingto say is that i sampled high-resolution art. so i took image like this andcreated material balls. and then i used stylit - it's a different application.and i wrapped these material balls around my mesh. and this way icreated series and after it i created a little book which wasthe main purpose of it. so that's it. thank you so much.

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