Am I missing something here? Why not just turn off glossy on the glass window panes object?
I tried maybe 10 times in 2.8 and it would not work for me. I was clicking on the window panels in a 2 panel window. Maybe I needed to click on the main window. I will try it later when my render has finished. Thanks for your advice FireMe.
If you mean object/visibility/glossy, that will make the whole object invisible to reflections rather than just the panes. I don’t know how archipack does windows, you might want to separate out any non glass stuff and leave them glossy visible.
Here is a new render.
If you have no wall behind the camera, you are killing a lot of the realism of the lighting.
My advice would be:
- keep all the walls
- to have good illumination in an interior, you need a lot of bounced indirect light, in render panel -> light paths select the “full global illumination” preset, or at least crank all the bounces to something around 24.
- the windows glass… if the glass is clean, and perpendicular to the camera, it should have no reflections, so, you can delete the glass or give it a transparent shader, the result will be the same and it will render faster. For glass not perpendicular to the camera the archipack material should be ok.
- try to keep the world strength to 1, and play with the exposure in color management, if you render with a lot of bounces you should get good results and not need to augment the world strength.
- avoid limiting the AO bounces in the simplify panel for the final render.
Huh? I start out with sky texture strength 40 and sun strength 400, then tweak the exposure - this gives me a fairly realistic starting point that is compatible with my indoor lighting assets (wrt strength). And no clamping whatsoever initially; observe first what it should look like before starting any clamping hacks so you know how and where to compensate.
Lots of bounces will help clean up, but only marginally at some point. How many bounces you need is strongly dependent on the geometry of the space you lit. 24 sounds like an awful lot for a square box.
If you do use a tiny hint of global AO over tons of bounces, keep in mind that Principled shader sheen parameter reacts very strange to that (last I checked).
Sorry, I was thinking in the use of an hdri when talking about the world strength.
HDRIs are not absolute, so all bets are off. Are you using a sunlit hdri, overcast, night city scene, or milky way?
In this case, I’d start with sun&sky (or just sky) to set my initial exposure. Replace it with HDRI. Then adjust the HDRI strength until it approximately matches what you’d expect for the HDRI scene at that exposure. And then there is the problem of the sun very often being clipped in brightness.
This isn’t science, so impossible to get it “correct”. There is eyeballing it involved since HDRIs doesn’t contain absolute values. The final render may be off a little in exposure, but light sources should end up in their respective area automatically.
There is nothing “wrong” by using neutral exposure, except your indoor lighting may need to be tweaked every time they are used, in order to stay in adequate relation to the HDRI used.
Personally, I don’t see the advantage to using HDRI for indoors anyway over sun&sky (I prefer just sky if I can choose to avoid the sun). High contrast HDRI takes long time to automap and long time to render. Sky texture resolves much faster, and although not very intuitive, you can still manipulate colors around if you want (or mix stuff).
I wish we had a physical sky, with camera visible sun disk, corona, position and time controls, north setting, and the whole lot.
Thank you everyone. That is a lot of information. I will try to make sense of it. You guys are really helpful. I will answer some of the questions later. It is a daytime scene. I am looking for a non-reflective glass. Can anyone tell me where I can get one?
oh I thought the glass panes were separate objects, if not just separate and all with be good.
Fresnel to mix between Refraction and Transparency for refractive glassware would be my first attempt (Transparency replaces Glossy). It will look weird, as there is no such thing as nonreflective glass.
Trying to “power” the fresnel curve such that it outputs more refractive and less reflective (for facing angles), will end up causing black artifacts anyway if driven too hard.
Windows - you don’t care about the reflections for a day shot, just hide the panes completely or assign a simple Transparency shader to them.
Glassware - for glass to look like glass you need reflections. The transparency for glossy trick above is garbage wrt realism. You’re way better off setting up the scene correctly, by closing off the wall behind the camera and adjusting your lighting/exposure.
If someone can tell me how to make the Sofa look the same as in the shot above I will enable my walls. If I enable the walls the Sofa looks like in the second picture of the top post. I don’t want that. If I make the wall behind the camera transparent and with a glossy node I can adjust the roughness. Will this bounce indirect from light from the full global illumination? Thanks everyone. EDIT: I have decided to add two triangular windows in the roof area of the gable end and two rectangular windows between the lower and upper cupboards on either side of the stove and vent hood. My glass could now be a transparent shader, glossy shader, mix shader and material output if i don’t want reflections in the windows. The glossy shader allows me to adjust transparency by adjusting the roughness. It should solve all perceived problems. This setup should keep the Sofa looking the way I want it to look. I will post some renders when I am done. These are now non-glare windows so things will hopefully look real.
If all else fails, cheat!
So the basic problem is if the HDRI background outside is bright enough to light up the interior, its image in the windows get washed out? And if you reduce its intensity to avoid that, the inside gets too dim?
Then why not selectively use two different intensities? Namely, a bright one for indirect rays, and a dimmer one for camera rays? Then you get to have it both ways.
Here is an example of what I mean by selecting between two different intensities, based on whether the ray is a camera ray or not:
And here is what the inside of the “Select” node group looks like:
What do these nodes get tied into. I used a world sky texture. How do you bring them up in the shader nodes. I tried a 16k hdri but it took 1 hour for it to start rendering at it’s default setting. Thanks Ido
You’re a patient man, I’ll give you that Consider using two or three; a low res one for lighting, and a higher res for reflections, and a very high res but LDR backplate. Unfortunately HDRI haven don’t include very lowres “Env” hdr, so use the lowest possible. HDRLabs do come with these (and appropriate spherical backplates as well, which I’d use for camera), but most of these are clipped so you’d have to setup a sun to match (where sun is there).
Carl I need to do some research to understand how you use 3 hdri. My scene was pretty dark with it at default values. What strength do you need to turn them up to. Edit: Ido thanks for the info but I don’t know where you use the node setup. Thanks
I show such a setup here:
Here are my computer specs. I can only render with my CPU right now. I may have to wait until I get a new computer unless I use low res HDRI. Thanks CarlG. EDIT: Here is a render with the wall enabled and glass out.
Feed them into a strength input, in your lamp or background for example.
FYI … this whole thing might also be a good use-case for compositing. Because, in the latest render, “the sofa and the table look pretty good, but the shelves, the walls and the ceiling beams are taking a beating.” (Fuhgeddabout the stuff beyond the window.)
Well, since this is "computer graphics," it might be easiest to separate the problems: (1) the contents of the floor; (2) the walls, ceiling and bookcase; (3) outside. Render each one without the others, then composite.