Study Program – Corona Renderer Course

01 7′ 30”
Chiaroscuro is the only real goal to be achieved
Let’s deepen the origins, the fundamental elements and let’s train ourselves to recognize it

02 10′ 40”
How it works and how to read the Hierarchy of Lights
Finding the balance between primary, secondary, fill and accents lights

03 10′ 05”
Applying the Hierarchy of lights in a real situation
What steps to follow to ‘sculpt‘ a scene with the use of lights

04 8′ 35”
How to create soft Natural Light
Approach based on the angle formed between the room and natural light

05 8′ 52”
How to create a nocturnal atmosphere
Analysis, implementation of lights, with in-depth analysis on Chiaroscuro

06 7′ 40”
More complex nocturnal hierarchies
Use all layers of the hierarchy to ‘sculpt‘ and enrich an image

07 8′ 14”
Each shot needs its own lighting adaptation
Manage different cameras with the Manage State Scene

08 10′ 40”
How to control Natural lighting in large interiors
Analysis and research of gradients & steps in various areas of the scene

09 9′ 00”
Nighttime lighting in large rooms
Turn a daytime lighting into a night light with the LightMix

10 7′ 30”
The inverse of the square law in Photography
How and why the decay of light produces different gradients

11 8′ 10”
Practical applications of the inverse of the square law
Practical examples and solutions based on this physical law

12 6′ 00”
The importance of reflections in photography
Extension of the hierarchy to the 5th layer for the control of reflections

13 10′ 30”
How to use specular reflections correctly
Why the detail lights increase the visual value of the image

14 6′ 10”
How to use a background in a nighttime scene
What factors allow you to harmonize a background with the render

15 8′ 30”
How to use a background in a daytime scene
Balance between light and background, direction and use of HDRIe

16 9′ 20”
How to arrange a good lighting for a single furniture
Illuminate your pieces is a white, abstract and infinite space

01 7′ 40”
The simulation of materials has a main actor: the Corona Material
Let’s see how to recreate plastic, glass, and how to simulate its internal dispersion

02 7′ 50″
How to simulate different metals, colored and with variations of anisotropy
Let’s set the Color Picker tool to make easier color selection

03 9′ 25″
Analyze real reflections and create maps in Photoshop to simulate variations
Then we get hyper-realistic reflections with special maps

04 7′ 30″
Thanks to Corona Physical Material we can quickly create many materials
Let’s deepen its use and the concept of Roughness

05 7′ 33″
Understanding offset percentages to avoid repetitions
How to use ‘step’ to randomize composite textures (collage)

06 7′ 10″
Use Randomizer in a single mesh, translating the texture horizontally
When it is convenient to use Randomize each tile

07 7′ 50″
The ideal is to randomize multiple textures, for this we have Multimap
This excellent tool can also help with single textures

08 7′ 35”
Create detailed materials by taking advantage of the Layered material layers
We simulate a worn floor and the cover of an ancient book

09 7′ 15″
Comparison between normal lights and Corona Light Material
How to combine lights and simulate displays and backlit backgrounds

10 9′ 35″
Direct sunlight often produces dominant colors, which can be a problem.
We solve with RaySwitch, which we will also use to solve ‘Fireflies’

11 5′ 05″
The simulation of translucency varies depending on the type of object.
In this lesson we talk about materials without volume such as Leaves, Curtains, Paper.

12 6′ 22″
Activate the Subsurface Scattering (SSS) functionality for translucencies in volumes
Let’s take advantage of the absorption properties to correctly create a colored glass

13 8′ 30″
The importance of chamfered adges and the simulation with the Round Edges
How to use Ambient Occlusion to create edge erosion effects

14 10′ 50″
Simulate fabrics with the Fall off and ‘Sheen’ maps
Use Corona Scatter to verify the effect of microfibers

15 16′ 00″
Decal – With the Decal tool we can ‘print’ materials on other surfaces
In this lesson we analyze the tool and its applications

01 5′ 30”
Render settings: all focused in a few practical controls
Interactive rendering for tests and 2 and 5% thresholds for the final render

02 3′ 20″
Denoiser: Basic concept and time / noise correlation
When and how to use it to significantly reduce rendering times

03 6′ 40″
Render tools: a series of tools that allow you to speed up production
The power of the Region Render, Interactive, Resume and Render Select.

04 5′ 10″
Corona Cam: technical aspects of the Corona Camera
Properties and differences in exposure control with Global, Simple EV and Photographic ISO

05 4′ 40″
Depth of Field: What it is and what conditions make it visible
How to vary the focus point and easily manage the DOF working at fixed exposure

06 5′ 30″
Motion Blur, Bokeh effect and how to improve render times
adjusting the GI / Antialiasing balance of Corona

07 8′ 40″
Simulation of natural light using Corona Sun and HDRI maps
Pros and cons of the two lighting solutions

08 5′ 40”
Artificial lights A: Power / size relation and basic shapes available for light sources
Simulation of photometric curves with the use of IES files

09 6′ 20″
Artificial lights B: Manage the color of the light and the relation between source / shadow size
Light simulation using the Corona Light Material

10 6′ 50″
Virtual Frame Buffer (VFB) A: the relevance of post production and highlights
Differences between Highlight Compress and Filmic Highlight

11 7′ 30″
Virtual Frame Buffer (VFB) B: Counterbalance the loss of detail in black tones
LUT, Bloom & Glare and more considerations about the Denoiser

12 8′ 00″
Light Mix: Manage this powerful tool to control lights in post production
How to optimize its use in your workflow and combining it with the Denoiser

13 5′ 30″
Displacement A: Definition and practical application in a red brick wall
Using Screen Size and all the differences with the World Size option

14 4′ 20″
Displacement B: Use it for towels, rugs and coffee beans
Autobump concept and how to set Screen Size to manage detail differences

15 8′ 30″
Scatter A: How to scatter numerous objects on a surface
Control of the variations of rotation, density, height and frequency of each single object

16 6′ 50″
Scatter B: Distribution of objects on splines and in 3d volumes
How to control the Scatter, modify objects and orient them correctly on a surface

17 7′ 10″
Caustics: How they are created and how to simulate them in Corona
Set the good wave and how to calculate caustics in a separate image

18 6′ 00″
Proxy: what they do and how they improve the viewport experience
How to export to Proxy, modify them and eventually reassign their material

19 7′ 10″
Volumetric Light: How to create an environment that can simulate it
Relation between Vlumetric light and Directionality. ‘Enviro Distance’ setting

20 4′ 50″
Virtual Reality (VR) A: Introduction and concepts of spherical / cubic mapping
How to set up a VR camera and display 360 ° images and 3D Strereoscopy

21 5′ 00″
Virtual Reality (VR) B: Spherical / cubic maps comparison and introduction to Layama
Create correct paths for Layama and export the Virtual Tour for a web page

22 7′ 30″
Materials Library: How to enjoy the incredible Corona’s Material Library
Use of the World size and simple editing to adapt the materials to your needs

01 12’00”
An image can be conceived as a machine with mechanisms
From Nicolas Puossin to the invention of “images at a glance”

02 8’00”
Subdivision of the analysis into 3 layers: Focal Lens, Large shapes, Density
The importance of the sense of cohesion for photorealism

03 20’00”
How to manipulate space with the use of different focal lenses
Wide angle, telephoto and perspective corrections

04 19’00”
When it’s time to use the medium focal length
Space compression and use of DOF as a compositional tool

05 21’00”
What are “Brain-Frendly” images and why they are essential
It all begins in the center: Central and amplified perspective

06 21’00”
Vertical, horizontal deformations, and broken perspective
Relative tension and application in Rule of Thirds and Symmetry

07 12’00”
Composition of large shapes with:
Compositional diagonal, Framing, Shape/color balance, Entry point

08 15’00”
Compositing images with Entry Lines
Synthesis of the various techniques and management of the compositional “Situations”

01 6′ 10”
Walkthrough animations can be simplified in the calculation
Let’s try to understand the structure of the process, breaking it down into 2 parts

02 8′ 30”
‘Emotional’ architectural animation has its own visual language
Study and learn to recognize camera movements and how to imitate them correctly

03 13′ 00”
Let’s implement camera movements thanks to the use of Autokey
Learn how to edit the keys of the animation to make complex movements

04 18′ 10”
Complete workflow from pre-calculation to final sequence
Import frames into After Effects and fix some problems

05 12′ 00”
Techniques to drastically reduce RenderTime and flickering
Interpolation & application of denoise to sequences in post-production

06 10′ 00”
How to correctly use a farm: let’s explore Fox Render
Desktop app, tests and production, with 50% discount for RI students

07 10′ 30”
Is it possible to correct some flicker errors in post-production?
Combine the power of an external denoiser plugin, with animated masks in After Effects

08 12′ 20”
Panorama animation with 1 single 360° Render
How to render 200 frames in less than 5 minutes

09 10′ 00”
How to track elements like fire, in After Effects.
– available in 1 month

10 10′ 00”
How to structure a video with an organized pre-production
– available in 1 month