The rendering configuration has no special features and the parameters adopted were basic with low values. I have used the classic method: irradiance map and light cache, adaptative dmc and exponential for color mapping. In this project, I have not used the LWF (Linear Work Flow), thus I have not changed the gamma settings in the 3ds Max preferences, even though I have been using this technique in my recent work. Here are the render presets (Fig.10).
As you can see from the raw render, the image passed through a great transformation in Photoshop until it reached its final result. To facilitate the editing process and work more efficiently, several folders were created to maintain the layers organized. The use of adjustment layers and layer masks also allowed a non-destructive editing of the pixels. These tools are extremely important if you intend to easily recover any of the commands in future manipulations of the image.
The raw render can be seen in Fig.11.
The background was inserted (with some adjustments related to the lightning and saturation) below the folder (3D Base), containing the duplicated raw render (Fig.12).
In this phase, the idea was to reinforce the lights of the scene – mainly the artificial lights emanating from the museum. In order to do this, the layers of the render and the sky were duplicated, flattened and adjusted to linear dodge mode. After, with an inverted mask and a soft white brush, the effect was cautiously been revealed. (Fig.13)
In a new layer with the Screen blending mode, a white brush was used to highlight the lights of the annex (Fig.14).