3ds Max + Forest Pack: Create Realistic 3d Environments | Adam Zollinger | Skillshare

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3ds Max + Forest Pack: Create Realistic 3d Environments

teacher avatar Adam Zollinger, Professional Arch Viz Artist / Teacher

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

25 Lessons (3h 14m)
    • 1. 01 Course Overview

    • 2. 02 Basic Model Setup

    • 3. 03 Modelling The Terrain

    • 4. 04 Camera Setup

    • 5. 05 Using Megascans

    • 6. 06 Background Forest With Forest Pack Scatters

    • 7. 07 Foreground Grass Scatter

    • 8. 08 More Foreground Scatters

    • 9. 09 Finishing Touches For Model

    • 10. 10 More Finishing Touches

    • 11. 10b Quixel Mixer Materials

    • 12. 11 lighting partial

    • 13. 12 Adding Direct Light

    • 14. 13 Creating Atmospheric Perspective

    • 15. 14 VRay Environment Fog

    • 16. 15 Adjusting Displacements

    • 17. 16 Scatter Adjustments

    • 18. 17 Setting Up Final Rendering

    • 19. 18 Post Processing With Z Depth

    • 20. 19 Camera Raw Filter

    • 21. 20 Change The Look By Adjusting HDRI

    • 22. 21 Replace Megascans Objects

    • 23. 22 Adjusting Scatters For Forest

    • 24. 23 Scattering Forest Objects

    • 25. 24 Rendering Final Forest

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About This Class

*Some professional models will be provided for free to students, specifically the architecture and everything that is inside (furniture), and the basic terrain base.

**30 day money back guarantee on any purchase (through Udemy)

***Course will be updated with additional projects in the future

Photorealism is often hard to achieve because the amount of the amount of detail you need to add to your scene in order to achieve it. It doesn't have to be this way, though. With the proper professional tools, it is relatively fast and easy to add enormous amount of photorealistic details to your 3ds Max scene. In this course, we will explore those tools, including:

  • V-Ray

  • Forest Pack PRO

  • Quixel Suite (Megascans, Bridge and Mixer)

Students will use these tools specifically to quickly create a 3d environment that is fully photorealistic, complete with photoscanned models, scatters, photoscanned materials, professional models and atmospherics. Students will also go over a professional post-processing workflow for environment scenes.


This is not a beginning course for 3ds Max, but rather a course about unlocking 3ds Max using 3rd party tools to quickly create amazing 3d environments. Students will be surprised at how easily they can improve their scenes with proper knowledge of the tools and workflow. Below is a basic outline of what to expect:

  • Basic modeling of terrain in 3ds Max

  • Forest Pack PRO - all the settings you need to know to have complete control over your scene

  • Quixel Bridge - use Bridge to quickly and seamlessly import photoscanned content into your scene

  • Importing professionally made models into your scene to add realism (i.e. Evermotion models)

  • Quixel Mixer (coming soon) - Use Mixer to create photorealistic materials for your environment scene with photoscanned content

  • Atmospherics with both 3ds Max and V-Ray techniques

  • V-Ray Render Settings

  • Professional post-processing in Photoshop - add more atmosphere with V-Ray Zdepth channel, use Camera Raw filter, etc.

Join the course now to get instant access to all this content, plus all upcoming content with additional projects. All course purchases get you lifetime, on-demand access to all course content, present and future.


Adam is an industry professional, working in architectural visualization for over 15 years. He is the founder of Learn Arch Viz, a website dedicated to teaching the world the skills necessary to be good arch viz artists.

Learn Arch Viz currently has 16 courses and 60K students on Udemy, and has become one of the premiere training resources on the web for all things arch viz.

Meet Your Teacher

Teacher Profile Image

Adam Zollinger

Professional Arch Viz Artist / Teacher



Adam has been working as a professional (and award winning) 3d artist for over 10 years, but his expertise does not stop there.  He has also authored / illustrated a children's book, and created graphics for numerous mobile games, and has been teaching 3d graphics professionally for 5 years.  He has expert knowledge in the following programs: 


3ds Max




After Effects

Unreal Engine 4


Various other software programs and plugins

Most importantly, he has dedicated himself to lifelong learning, and he loves to teach others as well. 


From the artist: 

"I mostly work in the Architectural Visualization industry. ... See full profile

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1. 01 Course Overview: before we get started in the course, I want to talk about what we're gonna do conceptually with the course. What we're gonna learn we're going to start and where we're gonna get to. So the first part I've already created this project, and now we're going to go through. I'm gonna go through with you exactly how I created it. So this is the beginning of my project. The first thing that it started out, as was just a conceptual sketch which looks like this. Okay, so a little sketch. And this was kind of I wanted to do kind of a beach scene, a beach environment or coastal environment. Kind of like coastal cliffs up above the ocean. And I was thinking of making a the architectural piece to look kind of like a lifeguard tower type of thing. But also just a cube house up on stilts a little bit. Okay, so then it went to this, and I took it into photo shop and just did some basic color. This was the color scheme. I wanted very warm interior light with a kind of foggy, very blue green coastal fog, moody scene with a lot of atmosphere going on. Okay, so then I took it like this and started doing some conceptual stuff, trying to get it in three D to look similar to what my sketch looks like. Of course, before I did any of that, I had a mood board set up. Okay, so if you look at my mood board, I was going in. Gathering pictures like this was the kind of mood I wanted down here, you can see that color scheme is basically translated into my conceptual image. So I took different chunks of color out of there and made that my scheme. This was the the influence for the actual architecture, this cool lifeguard tower here at Zuma Beach in California. And then there's some other foggy atmospheric scenes that I wanted to create. And then I actually went and collected different assets from around the Internet and put them into my boot board to show what they're gonna look like. So these air mega scan objects over here and these are actual concepts that I are. These are actual assets that I was going to download and use in my scene because those have that kind of coastal feel so this would be like driftwood type stuff, Okay. And then I went and found a treaty. This was actually pretty hard, but this is this is kind of like a coastal cypress tree that you might find in California. This was the closest thing I could find. So I use this, and this is this comes from ever motion arc models. Okay, so this course isn't gonna be about modeling all this stuff from scratch. It's gonna be about using the different products assets out there on the Internet each and also some of the tools, the plug ins to make some amazing environments. And the base for all this is going to be three studio max. But there will be many other tools used in order to create the full effect. And then if we look at some of the things that were able to achieve with all these different tools and assets, these are some of the examples. So you can see that I have quick sel force pack the ray and three DS. Max is air. The fourth main things used in this and then assets purchased from around the internet. So you can see on the left. I have my coastal scene. And then in the middle, we I actually show we're going to show in the course how did to achieve this, which was original concept. But then, just by changing what we're scattering around, we can take it to this, which is pretty dramatic and awesome, and then some. And then this one is the same scene, but with some different atmospheric effects going on. Okay, so we're gonna We're gonna go through all that and get various different effects from the same assets in the same models. Okay, so there's a beach scene, some close ups. Okay, This was earlier stuff earlier concepts. There's that atmosphere going on. Yeah. Then we get into the forest stuff in the architectures and Dunya. Now the architecture is done. Okay? Different scattering going on, obviously. Here, this is This is leveraging mega scans really heavily. Okay, so we're gonna go through all this, create these cool environments. You can see the detail ing looks really good on these, even up close. And there's a lot you can do this ton of power in these different tools and assets that we're gonna be looking at and you will be surprised at how easily you can achieve these kind of realistic results using the right tools and the right work flows. So that's what we're gonna be going through in the course. Okay, so stay tuned. We're going to go through all this, and by the end, you're gonna be creating beautiful environments for yourself. And like I said, you'll be able to do it much easier and faster than you might expect because of the amazing tools, plug ins, assets, all those things that are out there that make thes work flows doable in a very efficient way. 2. 02 Basic Model Setup: We're going to start in Max here with the basic modeling that it takes to build the foundation of our scene, which is very simple. But there's some tools that I wanna let you guys know about that can help you to build terrain. Basically. So first thing I'm going to do is is extracted in the building, which I'm gonna make available for you all the architecture. It's called House X Ref to do the X refs, and you don't have to extra thin this into your scene. I'm just going to give it to you as a model so you can merge it in open it, do whatever you want. I'm just gonna extra fit in and to bring up the extra manager. It's the backslash, which is just above the enter key on your keyboard, and that brings up this manager. At least that's how it is for me. Otherwise, you might have to find he didn't menu somewhere. But there's the house X ray often or the building. Okay, it's even got some nice furniture in there for you, and it's got the lighting. The materials won't come across in the version I give you because those don't belong to me . I will show you how we make those in mega scans. Okay, so you'll be on your own for materials. But that is not really what this course is about. Okay, let's start with the terrain. Now. What I did was get the basic slope of the terrain. I'm just creating a rectangle here and converting to edit Polly. Okay. And then with the Poly, I then took edges and started dragging them off. Actually, let's drink. Take this close to the house so that the hill starts immediately after the house. So from there we go downhill because you can see, in my original image my conceptual image that were downhill from the house when we take the picture or the rendering. So then we can take these edges and drag them out while holding shift to create new geometry. Actually, this should be enough right here. We can go even more downhill like that, Maybe bring this one up. And by the way, in this course, I'm using a lot of my custom user interfaces, which I'll give you links and video of how to get all these over here. Use my hot keys if you want him. But I'm assuming some knowledge on your part of how you work in how you do things again. This isn't a beginner course starting from the very beginning, so But if you want everything to look like mine, you can load my custom. You lie. Okay. So we made a very, very basic shape here. And then let's take off from here on these edges and make kind of our mid ground. Okay, So we made our foreground. Let's make our mid ground by doing this. And then we have our background, which will have scatters of trees on them, and they'll be far away from our house, giving us a very large environment to deal with. Let's make this even further. Okay? So what I'm gonna do is probably detach all this using basic Polly tools. Detach. And then I'm gonna take this one on its own and kind of test Elated. A whole bunch. We can just put a terrible smooth on it and smooth it maybe five times, maybe six times. Okay, that's gonna be 20 for us. Okay, Now, just collapse that now in the next. So we have our basic geometry set up. This can all remain very simple like this. That's all fine. We're not too worried about the edges cause we'll clean that up a little bit and yeah, and the next scene will start sculpting this a little bit and set up a camera so that we can tell what it's gonna look like for our final image. But then we're just gonna do some basic sculpting to add a little more terrain going on in this foreground piece. And then the background will just leave, as is, it's just there so we can scatter objects onto it. 3. 03 Modelling The Terrain: Now what we're gonna do is use the built in poly tools to start sculpting this. So pain De Formacion is the tab that we want inside the poly tools. And there's a push poll right here. Transform access. We want to be the easy and you can see my tiny little brush here. That's not going to be good enough. So we want to up the brush size toe like, three feet or maybe maybe five feet and it still seems really small. So what I'm gonna do is build up some berms around here. Let's go even bigger, 10 feet. And what this will do was make sure that our I kind of doesn't really see what's going on beyond our foreground. Here we can build up some sand around the base here, we can do whatever we want, and then we can. I want to do some path, some path, stuff that kind of goes from here over to here and comes down towards the camera because the camera we know from our conceptual image that the camera is kind of sitting at a path or looking up a path that leads or i two the building so we could go brush strength like negative one. No, we won't brush. Drink that one. But the push pull value to be more so negative. One foot. Okay, now here. Weaken drag from here and come down towards the camera. And I want another path kind of going here and under building. Okay, so you can see we've now put divots in the ground where we want the path to go. And it's kind of it's kind of nice and uneven for us, which is good because it looks that's that would be naturally if we want to relax that we can do that too, and go back in. And so this carving stuff is pretty straightforward. I would say we can do negative six inches and car some of this out in here, so just get some variation with carving. Let's make it look kind of like sand. Or eventually it's gonna look like dirt, too. So we're gonna use it for both of those things. But really, just the ground needs to be not perfect and have some deformations in it. This edge is gonna be an issue because we have complex geometry going into simple geometry So that's where I was just using some of this push pull stuff to make kind of a berm on the edge to make sure I doesn't see that gap going on. So we can just pretend like there's mounded up sand over here that's covering up that transition. I want something that's not a sharp right there, just using the relaxed tool that kind of smooth it out. I don't want something that grabs there. I as a huge mound. Okay, so using these basic tools, we can easily just add some variation to our ground levels. Now let's set up a camera here to make sure that we're looking good. The camera would be somewhere around here. Let's see. I'm going to use a beer, a camera. You could also use a very, uh, three DS max physical camera. So I think that's where we want the camera view. Yeah, and I'm gonna have to go in and relax some of this ground because it's too dramatic. Now, another thing that we need to do when setting up our camera. Well, let's talk about this in the next video, but we're gonna have to We're gonna have to set up our camera so that we're making sure to match the conceptual image. But for now, let's just let's just go in and clean this up the way we want it. And then in the next video, Will will mess with the camera to make sure we're in the right place on our terrain and just with our camera in general. So I'm just gonna keep going through and relaxing, pushing and pulling, getting this to the point where I want it. And this camera serves the purpose of showing me that I'm a little too extreme on some of my terrain here, So I need to go in and fix that, so I'll spare you the details of doing all that. But that is the tool that we use to get right. And in the next video, we'll talk about setting up our camera 4. 04 Camera Setup: okay. With my camera set up, I'm looking at this terrain thinking it looks a little lumpy and really, I'm going to show you the camera set up in this scene. But the camera and the terrain modeling kind of have to go hand in hand, right? You need to be looking through your camera to see if the terrain looks right in your camera . So the one thing we're going to do is I want to look at my conceptual image in Photoshop and get the exact resolution that we want so that we can be looking through the same proportions that are final image is gonna be right, so we'll get that set up. So if you look in photo shots at, Well, here's our final image. Okay, so we'll say image size is 2400 with by 4000 tall. OK, so that's our proportions in max. We need to set are resolution to that. So right here in render settings will say 2400. Make sure it's unlocked by 4000. Okay, there's are seen now in our conceptual sketch were more like here, and we're right up against that path. So, like, right here and then looking up. Okay. Now we need to make sure that our building is the right size according to our concept and that the path is in the right place. I think we probably want to go forward and be a little closer to that path and then Zumar camera out a little bit and this doesn't have to be exact. Of course, it was just a concept. We want to be kind of looking up the hill at the building. So we're getting close already, OK? And they were just using these tools to look in the right place and then with the camera. Of course. We want the perspective to be exactly right. So we do that with the V Ray camera here. Tilt and shift guest. Vertical tilt. Okay, that straightens it out. Make sure our horizon lines in the right place. Make sure we're not seeing so you can see when we come down here, that mid ground background is not even visible. The one thing I don't like here is that my path appears to be a little bit too far to the right on the scene. Like if I come over here this is a little better and then change the camera to be looking a little more to the left that moves my path so that it comes right here, like in the conceptual conceptual image. And I think my horizon is in the right place. We're using kind of a rule of thirds going on here where the top 2/3 of the images sky. Maybe if we'd go a little bit more and then the bottom 2/3 is ground again, make sure that our vertical tilt is right and everything looks good to me right there. That looks like everything is about in the right place. Maybe spin to Seymour the building here. And we want the focal point to be on the right third of the image to not right in the center, but kind of offset to the side. So I think we're pretty close. I'm not sure I like where the path is going. So that's where that's where we need to be looking through the camera to get our model right to So now while looking through the camera. Now I'm seeing some places where I want to adjust the terrain and so we can just get in here and say I think my cameras in the right place So that's the important thing. Now I just need to make sure the terrain is looking right for exactly where they want that camera. And I'm basing the camera off how I want the building and where I want the building to appear. Let's go back to our painted formation and start. I think that I think that I want to bring this up yeah, and bring the path right through here. So let's do negative six inches and say Russia is six feet and bring the path right through here like that and from the top view, make sure that that's working. Yeah, and then going in some. Relax some of this stuff, probably or not. Now, one thing I'm not doing, but that you could do and would be awesome is to go in and, like sculpt a terrain in Z brush, where the sculpting tools are going to be much more powerful than what we're using here. And you could even make a displacement map or do whatever you want. Maybe that would have to be a bonus lecture later, because we're not gonna go into Z brush here, but that would be one option for you is to just go in and use a more powerful sculpting tools to really sculpt this thing exactly how you want. But we're gonna use some displacement materials and some other things to get kind of the effects that we want here. So we don't need to be too specific about how the terrain is gonna look. We're just getting a general a general loose feel for the ups and downs of the terrain here . The last thing I want to do is bring this up. So there's a little shoulder right there on the ground. OK, so that's our terrain. With our cameras set up, the camera ends up at focal length of 30 and position wise, it is right there. Take also get the train. Exactly. He wanted said your camera and you're going to get 5. 05 Using Megascans: Now let's take a look at mega scans. We're going to start bringing in objects here and adding them to our scene. And, as you can see our model super basic and we're just gonna use a bunch of assets to add to our environment because there's actually no way I mean, there's It's very, very hard to make your own models better than the ones that you can buy out there. Mega scans is the thing that we're gonna leverage very heavily here. And their stuff is all photo scanned from the real world and its color calibrated. And it's the materials or tile herbal. I mean, it's really, really nice stuff and very, very hard to recreate on your own without all the resource is and tools that they have. Okay, so for the price, the price is changing all the time on mega scans, at least right now, because they were just purchased by epic games. But I think it's very reasonable for the kinds of things that can do. The price point on this stuff is very, very good, So there's a couple tools that come with mega scans, and that's the bridge. Is is the essential one here. The bridge is actually giving me access to the whole online store. Okay, so you can actually just purchase right through here so you can see I've got my acquired ones. These are all things that I've gotten for this scene. Some of them, some of them for other things, but and then downloaded. You download him through the bridge. So when you buy something, you downloaded into bridge, and then you can export it directly from here into Max. While Mike Max is open, you can export it from the bridge into Max, and it just pops right in here. Fully working already. That is Thea. Amazing thing about mega scans. So we're gonna go through all that. But let's first look at the website of Mega scans. Okay, so here on quick. So we see they've just joined forces with epic games, which is awesome. That's basically just making it way cheaper for us to use all this stuff. And trust me, this is really professional, high grade stuff that is coming to for a very, very cheap price. So here you can see, try it for free, start a 30 day trial access free mega scan assets. Full feature access to quick soul mixer and quick sel bridge. Okay, those are essential parts of this whole work wolf. If we go to just products, we can see the mega scans. That's what we're gonna be bringing in. That's their huge library of scanned assets. Okay, so I wouldn't recommend getting all this stuff if you don't have it already. Download it. Not all the materials, but the bridge and the mixer. And this is on quick sel dot com. Now here. Over here, you'll see that there's free stuff that you can download. Okay, great. You could actually use some of this in our scene because it looks pretty good. There is collections. So, like an entire collection of stuff. I use some things from the dry grassland. Okay, so here you can see there's rocks. There's wood, there's grass. There's Would I use this as kind of driftwood in the scene? Okay, so it's by collections, or you can just search straight up for every every different kind of things. You would want categories, collections. Okay, So they have everything here, or you can just search in the search bar. Now, One thing that I use a lot is the types. We have three D elements. So this is a full three D model. OK, if we're looking at this Enbridge, which I prefer here, we can say and you can see this looks just like the website. Basically, Bridge does accept it has the export function. So if we go to three D here in bridge, we can look at this and it comes up over here with a preview. Okay, so that's an actual three D model. Now, if you go to atlases, these are actual also very useful, especially when you're using mixer. Okay, this is just in Atlas. That's the clay model of it. And it's not really model its displacement, maps and normal maps. So that's something you can apply on to something else, and I'll show you how to use those when we get to the quicks will mixer part of this course , and then the last thing is surfaces which are just materials. The biggest they get is two meters by two meters. For as far as physical measurements go, you can use that, but that's a lot of tiling. It's not. It doesn't work for large surfaces, so you can use the mixer to kind of break up some of that tiling to okay. And in here, we have also surfaces, which, as an example, Let's look at this. So that's what it looks like. Child. It looks like that. Okay, up here, you can see that these air with the maps are we have albedo map, the ao displacement, the normal in the roughness. All very, very nice in a three d view. It looks like this. Okay, you can move it around and see exactly what it's gonna look like again. This is a two by two meter, so that's not huge if you're doing a big surface, but that's where the quick sale mixer can help. So what we're using mostly in the scene is the three D assets like this could see it's fully unwrapped with all the textures and preview. So we're using three D assets and surfaces mostly. Okay, the one thing that I am using for my terrain on the beach scene is this right here. It's called Thai Beach Sand to buy two meters. Okay. It looks like this. The maps are fantastic. Preview looks like that now in your bridge. If you've got it all set up, it's linked to an account. You can just go to the library, purchase something that's where your acquired comes in and then you can download it. Okay, so if I had like this, I could say re down the boom. This one's already downloaded. But once you have a debt downloaded, then you can hit export. What's awesome is if you look at the download settings, you can look. You can download all the different level of detail stuff. So this is awesome. For if you're going into real time or on religion and actually comes into, it actually helps with Max sometimes. Okay, you can change the texture. Resolution. Export settings is an important thing, because here we can say we're exporting to three DS Max. Now there's a little trick of how to do this. When we export to three DS max, we tell it which level of detail we want to export, so you can actually do like a really, really simplified version of the model. In general we want to do l A d zero mesh format. FB X J peg is fine. We can change the texture resolution. Well, this one has to k. That's what we want. If we downloaded it at four K and we could export it for K as well. Okay, so that would be taken free. Download given exported to K. Now, the important thing is export to three DS max. Okay, Now, if this is your first time doing it, you'll need to do this right here. Copy. And this is a script. So you copy this script script copied successfully, and then you would go into Max and he would say, script new script and paste it. Okay. And I believe you'd actually have to download the script first and then copy it into here. And then you say tools evaluate all, and it will evaluate that script. In other words, run it. And then I think you need a reset. But either way, eventually this mega scans will come up here and you have live link going. The only setting in there is apply material. The selection. You need to be careful with that. Because if you're importing a surface and you've got something selected will automatically apply it to that. But you want to make sure this is here. And then you know your bridges working. And so when I do something like, let's take something I've got downloaded already. This is one of the big things that were going to use in the scene. OK, I brought in zero originally the Elodie Zero. Let's show how this works. Okay, Mesh. Elodie Export. Remember, three DS max is open. If I had export now it will say exporting to three DS max exported successfully. If I go into here at 00 here is my rock. Okay? And that led actually looks fine. You can get the full resolution one if you downloaded. That was the one that was really heavy on my scene. So if I bring this in and place it, you could see the materials already applied perfectly. Just great. We can also use a custom displacement map that comes in with it to make it get even more detail going on on it. We wanted up here and then we want it down. Maybe the whole thing needs to be scaled down to Okay, But you can see how it comes in quite easily. I think all adjust the terrain. Some more now that it's in here, we'll just start messing with this until it looks like we want it. Let's take that terrain and adjust it. But that's how you import things, and you can see how easily that came in. And that's how mega scans can work using the bridge. If you wanted to do that manually, just download the rock from the Internet site of mega scans and manually imported. It would be a huge headache. Trust me getting all the maps wired up properly and getting all the models in how you want a huge pain. But with the bridge, it's so, so easy. So I would recommend doing that. This asset is called California Coastal Rock, and that's the main object that we're going to use in our scene right here in the foreground. So we're gonna make sure that it looks good, but that's how mega Skins Bridge works. That's how big scanned mega skin library can be added to your scene, and we'll look more these as we go along because you're using 6. 06 Background Forest With Forest Pack Scatters: Okay, What we're going to do now is start importing some scatters. We're gonna get into scattering things around on our beach here. And I think everything looks great right now, obviously very easy so far, as far as getting the geometry up and running. So let's start bringing in the real magic, which is scattering of large amounts of geometry into our scene. So let's start by scattering the trees into our background so we can set up that kind of barrier for I to know where toe where are seen ends. So obviously this big plane here is gonna be used as our background, and we're gonna just fill it with a forest of trees. Now, as we're doing this, one thing I've realized with these background trees, I'm gonna merge them in and talk while emerging. One thing I've realized is that and these trees are all from this park. It's called fractiousness excelsior, and there's four different versions of them, which is a good number. But with trees that I put in the background. I realized that putting opacity map trees where it's pine needles or something that have a capacity map on the for the leaves can be problematic because transparency through hundreds and hundreds of levels of capacity maps becomes a problem. If you want to do atmospherics or anything like that, you can't look through. You can only look through a certain number of levels of transparency before a your rendering starts getting bogged down time wise. And also the very render will start cutting it off at a certain point and just putting a solid color there. So you run into that issue if you have fully modeled leaves than that is not an issue. So when I started putting in fog and things like that, uh, it looked better with fully modeled trees. Okay, and there's things you're gonna do to adjust that, but in general, it's just very hard to get it right when you have opacity, map trees, especially tiny tiny little needles. And your masks are gonna be really bad, too, because all those little needles will be much less than one pixel and it won't be able to mask them out properly. So you're ZDF fast is your Alfa. All those things will create problems when you have that many levels of tiny, tiny opacity maps. Okay, So that's just something to keep in mind these trees or just, you know, standard three D trees, you can get online. Like I said, these ones are from Visit Park. We'll just take a look at making some force pack scatters, and I have forced pro, and it will be necessary for this because forest pack light has some limitations. You could use first backlight, but it has limitations. I believe it doesn't let you go on model terrain. It can only go at a single level. It's obviously for this. That wouldn't work right. I recommend forced back pro amazing product, amazing power and capabilities, as we will see as we continue on. If you don't have that, go ahead and download forced back light, you won't be able to do everything we're doing. But you can adapt your seen to work with the free version. So when were enforced pro. We will select this background here to use large areas. It is recommended to use camera clipping at render time. Do you want to enable it? Yes, so that's automatic forces hiding items from your view port to keep displayed. Report max items limit the number of rendered items will see higher than what you see on screen. You can adjust the view port limits in the display rollout. Okay, so keep that in mind. Display rollout. Once you create it, you can go to the modify tab and all your tabs air here. One cool thing about force pack. There's so many different panels and here it can get very hard to keep track of. If you right, click, though, here you can open all you can also close all and then you can jump to anyone you want. So effects boom. So we wanted display. You can go into their Let's take a look at what we have in there So it's it's giving us a warning about display maximum items. So 5000 items. Obviously, we would have more trees in that, so you could put this to 50,000 or even much higher, and it will show a lot more. It's also showing the mash right now. Is it really? I don't see the whole mash. I see little dots. Maybe those air meshes. Oh, yes, because we have the We still have the default object in here. So what I like to do is look at the names of these and it's VP. Fraction is Excelsior or however you pronounce that. So that way, when we go into the geometry here, we can just select those all by name. So what we do is just go add multiple custom objects going to these four. Those are trees. Add them and then, of course, our default object can be deleted. We don't want that mixed in with the trees. That's just gonna be a plane or something. Okay, now we have our trees and is showing the mash sort of. If you go back down to display, it's showing actually appoint cloud proxy. So it's just showing point clouds, and you can adjust the density of those point klutz. Sometimes I like showing it as a proxy of pyramids. Make that so if we look at our camera now, we have we have the scene. We have trees going back, and actually we don't need so many trees. Are background is overdone because of the angle of the camera. Since we're down low, we can't see that far into background. You can see that camera clipping is working, so it's on Lee showing the ones that are within camera range, which is great. Now I want to adjust this so that it actually tapers off and on the left side of our screen . We don't see a lot of trees. Okay, so I'm gonna show is one way to do that. There's lots of ways to do that, But let's let's look at one way, which is the spines. So I selected this, this polygon as my surface, and it's now scattering trees all around that surface. But within that surface, I can also create new areas where I want things to either render or not render based on other settings. So if I take this line here and cut out a big chunk, let's just get rid of that one. And then I go into my scatter and go into areas I believe it is. It's hard to keep track of all the different settings in here, so in areas you can see my surface area that was the original polygon I selected is on, and so it's just scattering over that entire surface area. If I take this and add a new spine area and then set it to exclude it, now cuts out everything that's within that spine. The cool thing is, if I edit that supply now, it will actually update automatically. So I could do that and it cuts him out. Okay, so let's look in the camera and see what that looks like. Okay. Have cut out a little too much. I wanted to kind of come. So you see trees here, and then it fades the background. You don't see as many trees over there, so actually need to get closer to the house. Okay, We're getting closer, but I need this curve to be closer to the house, maybe. Like that? Yeah, something like that. Okay. Now, obviously, with scatters you can you want a lot of variation and randomness going on. Where else is it's all gonna look dumb and fake. Okay, So, back in the geometry, we want to make sure we have these different trees in there. That's good. We can set a global scale here. So if we wanted all the trees bigger, we could say that. And then all of a sudden they're much bigger. I might actually leave that at, like, 1 2130 Another important thing is gonna be the transforms. So let's close geometry and go to transforms. And here this, by default is not enable translation We really won't need. In this case, that's just gonna move it randomly in the X and Y direction or the Z if you wanted to. I don't need any random translation going on, but I do want random rotation. And the default is to be negative 5 to 5 on the X and Y axis, which is great. That just tilts the tree ever so slightly in those axes. And then the Z axis is set from 0 to 3 50 night. So full rotation is the is the range in which something can rotate randomly, so that just needs to be enabled. Boom, boom. And then the other thing you'd want unable to scale. And this is telling you the minimum sizes 80% and the maximum sizes 1 20 We could go even wider range here like that to 1 40 you know, like that. Okay, so that should give us basic trees, and you can see we have way more trees than we actually need. So one thing we could do is just take this plein and say, Okay, let's adjust this. I had some add some notes into the spine and just gonna do this. The other thing you could do is with camera clipping. You can say, OK, once it gets so far from the camera, just don't render it anymore. So that's another way to handle this. Lots of ways to do the same thing with Force Pack and with three DS max in general. Okay, but that's our main background. That's kind of Ah, truncating are seeing there, that's where our eye nose. Okay, there's nothing beyond that. That's where the end of the scene is that. OK, so that's our basic scatter for the background. Let's move on to the next thing, and we'll start putting in more scatters and looking at more tools within the Forest pack settings 7. 07 Foreground Grass Scatter: Okay, The next thing I'm gonna look at it is like the main scatter for the foreground of the scene. And I want that to be this kind of windblown grass look, which is typical of maybe like Cape Cod or something like that. So we're jumping around from West Coast East coast. Whatever. I don't know. You could see this on the West Coast to but anyway, it's gonna be these natural wild grasses. Ah, in the sand, bunching together in the sand to make our foreground foliage. Okay, so this is an ever motion three D model. We tracked that down, so I can give you the exact one. So if you look here in this preview file, it's a M. It's arc models 1 26 number 48 Steeper 10 10 year Foley A V three color. So if you search for arc models verged volume 1 26 you'll see. It's a collection of small grasses and stuff. If you go to show all items, a lot of these different grasses would work like this one. It's not the one I got. I got number 46 I just downloaded the individual asset 61 48. 46. You go to the project page and just get this individually Oregon by this whole collection and scatter a whole bunch of grasses, which I think would actually be awesome. This is 10 euros. OK, so not too bad. That's the one I used for this and I'm gonna import it now and we're gonna scattered around . I'm leaving all my material from all my objects over here that I'm scattering. So this is just gonna be emerge. Make sure you get the one that's V Ray open emergent in Should be at 00 Yeah, right there. Let's move that over here. Out of the way of our scene. It looks great. It renders great to have done it. So let's set up another scattered this time on our foreground. And let's look at a different way to do it too. If we take I too soft and go to forest pro and quick are foreground here, okay? And then modify it here we want to add a custom object. Just one will just add this one and say custom object and then pick it like that and then make sure that our default is gone. So now we can do is say OK, we picked this surface and it's scattering over the whole surface. But that's not actually want right. It's it's too much. So actually, rectangle one is our main surface. But if we go to areas now, we can actually turn the surface off like this. And then we can say, Okay, well, let's go in and paint where we could add using spines, we could say include and draw some spines. Okay, those would work, too. Let's see. But let's let's do the add new paint area. Okay? And once you do this, you can click on paint and you can go in and start painting grass in. You can go here to change the settings so we'll say 10 feet is the maximum for the brush size minimum size four feet. Here we start painting in where we want objects. We can also erase. We don't want where the rockets and you see a lot is not showing up yet. There is some grass showing up, but not much because we still have distribution settings to worry about. So in here distribution. This is telling it how to distribute itself along whichever surfaces you've told it to distribute itself on. So it works off this map. So this is the dense distribution map. You can go to full distribution map. Okay, so then it's just full full. But you can see that the plants are still kind of far apart from each other, right? You want it even closer together. So that's when you change the density, which is essentially using this map and telling how often for that map to tile. So if it's tiling at, say, 50 feet now, we've really filled up this whole scene, right? So we don't want full. We want probably something like dense or even these patches are pretty cool. Sometime, maybe 100 feet. Okay, so now the grass is a little patchy. So now we have two different things working on telling us how to distribute its this patches map, but also just only where we paint so you can see that's the eraser. Let's get this right on the distribution, and then we'll go back in and paint where we want it. That's too little. Maybe right around there, maybe 1 70 Okay, and then we go back into areas. Well, let's turn on our translation, not our translation, but our transforms. So used the defaults again here, like that and in areas is where we're doing the painting. Make sure a painting is selected. Let's make our brushed a smaller. Make sure we get all around here. Okay, so I want to do patches. Basically, all along here, I want patches of grass is and let's see. We also want him. Want some right there? Probably. I know what I would race this. So this this is our path going towards the house more like that and then add some over here . Go back and racism. So I basically want patches of grass everywhere except where my path is. That so there's our path. Let's put some more up here. It's a more up here. Okay, great. The only problem is it's looking too big. Let's go out of the paint brush. Let's go into geometry and say overall scale. Scale it down, maybe 70. Okay, so that looks pretty good to me right now. We'll see when we get into the rendering. If it's if it's all reading right, well, we'll just everything again Then, including displacements all our scatters, all those kind of things. Right now we're just setting up the basic bones. Then we'll set up lighting and start doing some test renders and really refine everything. 8. 08 More Foreground Scatters: OK, now let's look at some more mega scan stuff to bring in here to use in our foreground scatters some more of our 400 scatters. I mean, open bridge again, and there's some succulents in there and you spend much time on the coast of California. You've seen that in the sand. Sometimes you get these cool succulents growing. So let's just look at them real quick. There is just one succulent collection in mega scans and it's this guy here. Okay, you can export that directly in everything will work as expected again. Go to 00 You should have your succulence sitting right there. There they are. They're all right on top of each other. I'm gonna move these over to here and again. Just look at the name Asset plans, three d m. Okay, so again, let's just scatter onto this surface here, and then we'll go into the modifier and will say at a list, and it actually gives you this nice group inside your asset browser here and there. You're seeing Explorer, and you just have to select Imo Adam to your scatter and will take a second here. And then again, I think we'll do this one the same way that we did. The last one will return off the overall surface and just paint in some areas where we actually want stuff. So again we do that by going to areas are surface Area is on right now. Let's turn it off and let's just go in and paint some areas that we want. Now I'm gonna do it in camera here. Let's go back and paint some of these out with some more fine detail ing. So I want thesis Akyel INTs to kind of bunch up around the border of the Rock. I want to maybe put some succulents up in here. Okay, Now, again, it's not showing up, probably because of our distribution is too big. So let's say full here and put this down to 60 feet. Repeat even smaller 20 feet. And now we're starting to get a lot of succulents going on. I'd say even smaller, and then we could let's let's still do patches because you don't want it to look totally uniformed. Maybe a pat patches like that. It's cool, and again, you can just go in and start painting out areas you don't want succulents to be in. Maybe something like that. Painting back in areas that you do want them to be in wants him to be appear in the foreground. But we need to maintain our path. Right. Okay. We've got some succulents in there looking pretty good. Maybe put some over here path leading up to our house. Okay, good. Now, one thing I want to do is look at bunching and kind of how this is distributed, distributed. We'll look at a couple different things here, actually, so we can. It's not bunching its clustering so we can cluster the different types of succulents together so that we get colors kind of moving in groups together. And you notice some of the succulents were dead too. So we'll put little groups of dead ones instead of just one dead one mixed in with a bunch of live ones. So that will be in our distribution. And we can say its under diversity here. So right now it's random. You could make maps for it, or you could just do the clusters and use the settings here. So the size of your clusters is set by this. We want our clusters to be, like, 18 inches. Okay? And you can see in the point clouds that now we're clustering together, the different types and you can change like a blurry edge. Uh, let's say percentage will say 20%. So that means they can mix together a little bit. You can adjust that you can adjust the noise and the roughness. Okay, All those kind of things are handy. We can say, OK, we haven't done the transform yet, So here will want the rotation on. Obviously again. You can do this with a map of black and white map if you want the scale we can put on. And translation is actually an interesting thing here because we're gonna be displacing the sand. It's actually gonna move up a little bit from where the geometry is showing in the view port because it will displace up. So we could actually use the translation a little bit. Not with these ones, but maybe with this one. Put it like five and five just to move it up, move it up slightly so that it's not being buried by the displacement of that sand. Okay, so we won't really know if this is doing what we want until we're ready to start rent doing Previ renderings and refining everything, we're going to set up all the basic bones first and then we'll just go back and adjust all these settings together later as we start refining our model and getting it rendered ready for final rendering. 9. 09 Finishing Touches For Model: okay to tie up the last bit of modeling here. And as you can see, our models pretty is pretty simple, except for the scattering and things like that, which will have to refine but pretty basic stuff. Actually, a few key techniques that really help us here. So to finish it up, though, I'm gonna come into here and bring in a few more assets. One of them being the big log in the foreground. See if I can find it. Okay, so in here, you can get some nice photo scanned. Would I like? I'm liking this one. The wooden branch here, and this one is found in the collections Dry grassland. So let's just see if there's any others that we would want instead. You see, there's a lot of options in here. That's a nice one, too. I want to get something that looks kind of like driftwood. So this one would also work a lot of different things. I'm going to go with this original one up here like this one. Okay. So you can see that's acquired already. I need to download it. We're seeing the scale here, and it's fully enclosed. That's awesome. I can put it from any angle and it's fine. Then we just get to export it, converting textures and boom, It should be in Max. Okay, here it is. And in my practice stuff in the project already did. I placed it kind of like this. Bring it down here. It's like right in front of the camera in the foreground. They can see that this is importing one of the L ODIs, which, with this actual one, Originally, I had used just the full size model without any elegy action going on without optimization or anything like that. So that's a possibility in the bridge. We can see how to do that, What we do there. So you've got that. Basically, I said how we want it. Let's look at the bridge real quick and see if we went into downloads settings for this object and put hi, Polly source and then re download. Now, once that's re downloaded, if we going to export settings, weaken do Elodie zero through five or we can just do the High Poly. So I'm actually gonna try and do this. Like I said, with the practicing I was doing, I used the full Polly. It was only with the rock cliffs that I wasn't able to use the full, probably because that one was really heavy. But this log actually worked fine like this. You can see it's dense, really dense. That's all geometry. But that will read really, really nicely. And the other way to do it is just apply. Ah, displacement maps to the material of the log. If it's brought in as an l O. D. F zero, you'll get basically the same effect. Okay, I'm just gonna place it. We can actually align it with this other one just sitting right on top of it, and we'll get rid of the low Polly one. We'll just use this high poly one straight up. Make sure that it's kind of at the right angle and everything, so I'll just place that real quick and then we'll move on with the next little thing of tying up our model. Okay, I think that's good. I'm gonna take some of that grass and manually place it right here by just doing this going over here to my grass, making a copy of it for an instance and then just manually placing it in the foreground specifically for this camera. Now it kind of makes me feel like that Long is just not nearly big enough. It's more of a branch than along. So maybe maybe we could afford to scale it up quite a bit and treated as if it's a log. Let's change that a little bit. Scale the grass down, put it right in there. Okay, I think that composition is looking pretty good. We've got Are I being led up this way right to the building? We've got our path and we were gonna have a nice, highly detailed log right in the front and a little bit of grass. I think that's tying everything together nicely. The last thing I'll do is grab one more scatter of these things here, which is a little like driftwood type stuff, and we'll just export that and I'm going to do one more scatter that goes all along my path of just little chunks of wood. So I won't go through all the details of that. I'm going to do it the same way I did the succulence and the other things. The only thing that might be a little different here is that again? We're going to be in the sand that's being displaced so I might turn on the transform so that these all just scatter about two inches above zero so that they're not all completely buried in the grass, and that's it. Other than that, I'm just gonna scattered around on the path. And then we'll have enough debris and enough different kinds of plants and things that it's gonna fool the eye. It will break up some of the tiling of our sand, and I think they'll be enough detail, very realistic detail, and everything will look really good. And then we'll start adding some lighting and eventually it to test rendering so we can start refining these things to look perfect. 10. 10 More Finishing Touches: okay, I'm scattering those little branch degrees around, and I remember there's one thing that I do want to show you that we haven't discussed yet. So let's let's bring it up and we'll start looking at that setting right now. I'm getting a little bit of scattering going on here and can't really see it. I'm going to display his proxies of pyramids so that we can see it much better in display. We will say, Instead of a large dots, we will say Proxy pyramid there they all are okay. In the surface, there's one important setting. You can see that my SMI we want the driftwood or these little chunks of wood to follow the terrain, but they're really just staying straight, and we want them to follow the normal of the terrain. You can do that here, under surface. On the surface, we can say, instead of pointing up, always we can follow the normal more so you can see how it's twisting the way it goes upside down. We wanted to follow the normal like that. There's another thing I want to show you in here after we get our distribution. Right now, we have driftwood all over the place, right? Let's say geometry scale. Let's do a global scale of 50%. So adrift Woods more like that. Like I said, we will change the transforms to do some transition or some translation not on the X and y , but on the Z will say 3 to 5 and we'll see if that works. You might have to refine later. But another thing I wanted to look at was, I believe in distribution. Let's see. No, it is in areas. Yes, in area. We can change the density, fall off in the scale, fall off around the edges. So just to look at this as an example, if we turn this on, nothing will happen. But if we turn up the included area, we'll see things start disappearing close to the edges of my painted areas. The painted area counts as an included area. So anywhere were saying on the included areas go one foot radius in. And that's where we will start affecting the density of our scatter. Good one foot like that. Okay. And then the scale will work the same one foot in. We want to start affecting, so you can see, it's falling off as it gets closer to my painted area. It starts getting smaller as it gets further away. Gets bigger. We don't actually want that one on. Okay, so there's my driftwood going up We need to do. Oh, and one other thing, we can add it. The curves in here, so is basically going from 1 to 0 over the course of one foot. So we would change this distance by adjusting it here. And then we would change the amount by adjusting these notes here. So we could actually inverse this so that they only show up at the edges. Or you can say, we don't want to go down to zero. We want to go down to, like, half assed much. Okay, so you could do a lot. You can also had a busier corner here. Okay, so that's helpful. That's something I use regularly. So I want to make sure and show you that a couple other things to tie up our model here. I'm going to copy this big rock up here, and we can instance it. That's fine. Make this fit along the side of our path a little better, bringing up out of the ground. Yeah, I think that looks really good right there. Maybe we can actually add another one of these over here, too. Once a little too high. Maybe over there. Okay. Oh, the last thing we want to do is do more randomness on our transforms for this one by upping the rotation, yet perfect. And the scale and the default setting for that are great. Now that's just breaks up our sand material little bit makes it look a little more natural and realistic. So that's perfect. That's exactly what we want. The last thing that we want to do promise. This time it's the last thing. Well, we want to apply the sand to all the rest of our ground here. Make sure we've got a real world mapping on there. And then we want to put in our cypress tree and manually place some of those around for more foreground positions because that's kind of the one that we wanted to show peace a little bit. And this tree, the cypress tree is arc models to 19. Asset number 11. There's our cypress tree, and we're gonna cheat this and pretend like it's some sort of coastal tree. I'm not sure that it is, but that's fine. We just want to look at composition here and see, you know where we could use in the composition. Some some more anchor points to tie down are seeing to reality maybe something like that, but maybe more of a shrub type thing. Low to the ground and then maybe one over here. And this is all personal preference. I'm just looking at composition right now. Seeing what could help. That's kind of nice back there. Make sure it's in the ground. Yeah, I like it. Okay, let's leave it just like that right there. And you could do something cool like put one over here to make it cash shadow into the foreground. So when we put our lighting in, our foreground will be dark and the actual building will be in the light so that we could shade this and I would really be drawn up the hill to this building. That's something we can look at more as we start getting into the lighting. But for now, I think our models ready to start experiment with, add some lighting, do some override material renderings and see what we've got. So this is the really fun part for me. Hopefully, you guys are excited for it and ready to before. 11. 10b Quixel Mixer Materials: Okay, I'm gonna take a little break from our scheduled programming and talk about materials, which is kind of a bonus lecture for this course. Not really What the course about, but I want to show you how it did some of the materials for this using again mega scans. So make scans played huge in this course, the materials are no different. Okay, so one of the things that comes with quick soul sweet along with mega scans is also the quick soul mixer. OK, so we've seen the bridge. We're seeing the mega scans library and this is the mixer. So what is the mixture used for? Well, photo scanned textures specifically coming from quick Salar maximum of two meters by two meters in dimension in physical dimension, this is not enough. If you're making a huge environment that showing the same material stretched over 100 yards or something like that, you will see the tiling far too often and so quick. So mixer is the way that quick soul addresses that kind of issue. So along with bridge, you can purchase materials and then they will. If you have it set up properly, they will then show up in your mixer where you can then start. A new mix is what is called. So as you can see here, I've got this plane and it's 10 meters by 10 meters. You can change that. If you click on the plane, you can change it to any size you want. You can make it 100 meters by 100 meters if you want. Okay. And just as a side note, I taking the performance here in the latest quick still mixer that I have and I've turned it way down so that I can record my screen and do mixes at the same time. But you can adjust it to be higher resolution, higher quality by going there. Okay, so the base is a 10 by 10 plane. We can now bring material surfaces that are bought from quick soul and put them in here. So in my library, I have some things that I've purchased. And when you're a quick salon, you see surfaces for sale. This is what they are. Okay, so here's the sand that we're using in the course. Let's just take this. You can see there's a great preview for it. again low resolution for me because I'm trying to record my screen, but that's what it looks like. You can see the displacement is all going on. The lighting is appropriate, but you can see that it tiles a lot, too. When you come out here, it's it's tiling and we don't want to see that. So what you can do is get another sand material and start mixing it together for the point of demonstrating. I think I'll just get something that's obviously different. So if I go to my local library, there's also other things you can put here, too, so you can add a surface layer. You can add decal or atlas layer. So let me just show you what that looks like. So we have one atlas now. We have seashells scattered. Okay, so if I if I grab it, those air atlases so they have a pass. Any maps associate with him. And now if we come down and here we see that we've got seashells scattered all over my sand . And now that those two textures are mixed together, and now my san has seashells in it, right? So that's pretty cool course the seashells tile at the same time as the sand, so we still have a lot of tiling going on. You could take this and make it tile 10 times for every five times that. The other one repeats to make it smaller. But you still see a tiling going on in the shell. Okay, with the shell selected, though you could go instead of a passing team asked. You could go from above. And what's happening here is it's taking the displacement of those shells, and it's like applying it down on the sand. If we go from below, we now see it's coming up through the sand where those shells are, and you can take the threshold, for example, and change it so the shells go up or down. So now we're seeing all the shells. If we come up here and here, we're seeing less of the shells. That is like moving. If you picture these two materials two different planes with both of them having displacement on it, this is like taking that plane and shifting it down. Okay, so the displacement of the shells isn't showing through, except in the low spots of the sand. Now I guess if I come out here, you'll see. Okay, so some of the tiling is not as bad now because we have a little bit of random ization going on. Although it does still tile, you can also do something like apply a mask here. If we right click on this layer, add mask stack. And then if I go here, we have all these different options for how to do a mask. So we have a solid mask, an image mask that weaken import the noise ones are particularly useful on something like what we're trying to do. So if we take thes se simplex noise, basic noise and we could turn up the amplitude of it. Okay, so now some of these shell areas are getting wavy so that some of these shells arm or high , on this imaginary plane we're talking about in some of the more low. So if I take like this and bring it all the way up, you can see now we don't We're not seeing all the shells because there's actually noise going through this. Now that is random. And so only certain parts are the shells being exposed cause they're in the high spot of that noise map. Okay, so we can up the frequency and we'll see that the noise will change. Hopefully, you can see that with the low resolution. If I zoom in. Okay. So as the noise changes, different shells appear. You can change the octaves of the noise. You can invert the noise, so that's kind of controlling Where shells are gonna be laying on the sand and where they're not, you can also just set it so that this is not from below or from above. So it's not depending on the height of the shells or the noise map. It's just gonna be an opacity maps. So we use this noise mask as an A passage. A map. There you go. So that's all that's happening now. Okay, so there's lots of different ways you can do this. The main point of it is that you can have multiple layers of photo scanned textures, surfaces, atlases, and you can make them interplay with each other to create unique and interesting materials . Another very cool thing you can do is take like a liquid layer. Okay. And this adds another layer on top and you can see that the displacement is still coming into play for the sand. But now there's a water layer that could be moved up and down with the threshold. So in the low points of the sand, we've got water. And then if you raise the threshold all the way up, it's completely covered in water, Right, Which doesn't make a lot of sense. Okay, now, if we want more random ization going on on where the low points are in the sand, we can do something like adding a noise layer and then, like photo shop, we can make that noise layer apply only to the sand by holding down old and clicking there , Mike, photo shop. And then you can up the amplitude of the noise layer. Now you see large noise patterns going through your sand like that make mounds of sand So you ca ndu all sorts of things With this, use your imagination. Go wild with it. You can do all sorts of things. Let me show you how I use this basically to create some of the materials for our environment seen and that will give you enough to get some ideas to make your own. I can't give my exact textures to you because, of course, they belong to quick soul. And I have no right to give their things away. But if you're using a free trial of quick soul or something like that, then you can going there, experiment and make your own textures. Let me just show you one that I used for this particular course. Okay, so on the boards of the tower that we have in our environment seen, I used quick sel mega scans, surface materials, and I took some old boards. Let me turn up the resolution here, Okay? I took some old boards and then I just basically, you can see I was experimenting with a little bit, but what I ended up doing was just adding a solid layer on top of it. If I turned it off, you can see all the tiling going on, right? And this board is only two meters by two meters. So not big enough to cover my whole thing. You can see it's got kind of these cool lichens on and things like that and some chipped off old paint. So that's a photo scanned material brought in as this layer on a 10 by 10 plane and then had this layer which I didn't end up using. This is basically just showing me that the noise pattern I was looking for the awesome thing about this is everything's tile herbal all the time. OK, so that's you don't have to worry about tiling. It is. It's kind of fantastic. So these scans air tile herbal and then the. The mixing that you'll be doing is also anti rubble. So we're now creating essentially a material that is using these elements that are only two by two, but creating a 10 by 10 huge salable, which is much better. That's like 30 feet by 30 feet, right? So that's that's a big surface, and you can go even bigger than that. So what I ended up doing is just adding a solid layer, which is just a solid color, nothing more. And it was meant to be like a newer layer of paint on top of this old wood, so it's still getting the texture, the displacement of the wood below. But it's changing the color based on this mask here, which is just a noise map simplex with these basic settings. Okay, if I change the seed, it would change where that paint is and remain terrible. Okay, so the only other settings here is this is coming from below. This is you know, this is my threshold right here. If I turn this up and down, you'll see either more or less of that so kind of from below. That means as I turned the threshold up, it comes up above my wood. I really could just make this as an opacity mask, right? So that is not changing the displacement. It'll it's just showing through paint in places where this mask tells it to. If I am from above, then my threshold now as I go higher, is pushing down into my wood. So now you can see how the displacement works there. It's pushing. It's depressing. My would down. So this would want to be from below and come up like this, and that could change the texture of it. And of course, you can spit out all these displacement maps so that texture will actually reading your scene. But since paint doesn't have thickness like that, really, I could just put it as capacity mast. Keep my threshold about right there. Okay, Now there's a couple of things like rap to base. So if I put this all the way up, then those paint colors are gonna be wrapping onto the base in this case so much that you're seeing too much of the tiling going on again. But you can see the color changes, so it's wrapping, getting the height information from the base later below. But the color is changing based on this solid. If I remove based details, then it's actually kind of overriding those underlying height information and flattening him out and keeping the color of the above layer. So you can see you can do a lot of different things here. What I actually want is to not wrapped a base, make it a little more flat in areas and want something like that. So it looks like it's just a newer painted layer of the same boards. Okay. And then when you were ready to export, you could just go here, export all your maps, tell it where you want to export, um, export format. You can put him in a folder and choose your resolution and boom export everything. The other cool thing you could do is save this as a new material. So when you go to your library later and search all types, see the board material. I've already made it in here. So I went from this to this and now I can use this. However I want with any of these other textures, so I could add some more dirt on top of it. I can put some shells onto it. I could do whatever I want. So the sky is the limit. Your imagination is the limit. That's it. You can do tons of stuff with the mixer. So that's how I created some of the materials for this. Seeing those boards, I also used part of this rusty metal to create some of the steel in my scene. And so once again, quick sel saves the day gives us this really, really high quality content and really good tools for using it effectively in our workflow makes it super easy. So check out the mixer and excited to see the cool materials that you can make in there 12. 11 lighting partial: Okay, who's ready to put some lighting in here? I know I am, because I have no idea of what we've done so far is gonna look it or not. So it's time to put lighting into start rendering so you could see my extra having a little bit of lighting. And they're already. But that's just the interior light of the building toe like this scene. Overall, all we need to do is put in one light, and it's a view relight, but it's the dome version now. This is available in lot in a lot of versions of the rate. But thievy rain next version has a few special things can turn on this adaptive dome. And if you read what that says, it just it just makes it work more efficiently. Better? Ah, The other thing I like to do, though, is dome light lock texture. I two icon. Okay, so what that means is this little dot is pointing out exactly to the right. If I rotate this now, it's actually rotating my whole H dear I with it. So now the sun on an HD rise typical is typically on the right, pointing out this way. But you would have to rotate the age, dear I and try to guess what angle you want it to be coming from by typing it in here. If we lock to the icon, we can just rotate the icon and leave the HD right where it is. It will lock itself to this and rotate with it. So this line is actually telling us where the sun is gonna come from. So, like, I want the sun to come from over here in our scene. Now, I just need to apply an HD right to that. So to do that, we just do what I've done many other times in other courses of mine. We just click here where it says no map and save your Aah, dear I Then we go pick the one we want. I'll go. This one called cloudy for 18 cloudy, and I'll just load it. If you don't have any HD rise, you can even even use maybe some of the same ones I've got. I just go to hear each year. Ah, air no emotion hdrs dot net and you go to evening hdr and just get one of these. I like a lot of these. So that sun is gonna be exactly to the right in your scene when he loaded in. And then you just rotate with the icon. So, look, if we want to go after my original image, which looks like this, this guy wouldn't be a bad idea, right? So I could just download this, put it into my project. Okay? And this is 0406 Sun Sea. All right, there it is. I'll let that download, and I'll just load this into my seat. Okay, So once I've got that downloaded picks a second, just make sure and load it in here in our light, which we can do by taking the map that we loaded. Drag it over to here as an instance. Then we just go in and select the one you want. So I already had 4 18 cloudy in here when I had done before. Let's do the one that ISS for six sun sea hdr. Okay, so load it takes a second. It's a big file. It's in there. Now. Let's also make sure and do an override material in our render settings. So here will do very material make it just middle gray. No saturation at all. Well, put it right around there. That's fine. Go to veer a global switches. Turn on the override material. Slide this into the slot there, for instance. Make sure that we're not excluding anything and we should be able to render. The only thing that's left is setting up the camera to the right exposure. So depending on our settings are exposure will change quite a bit. I think that what we want to do is probably set the shutter speed down to, like 10. And that will give us probably the right exposure range for what we're trying to dio. Okay? And actually, when it comes to render time, let's Let's take a look at some of my render settings here and what we're gonna do. I'm actually gonna lower the resolution here. I've got a 2000 tall by 1200 wide and then in here, I'm going to go to global suits, switches in turn off displacement because displacement over large objects like this can potentially cause issues, and it also will slow us down. So let's just keep that offer now and then I'm just gonna go into the I p. R and started. You can see I already rendered approve you, But let's do it together and the I. P. R. Is going to give us something that's close to real time. Feedback, which is nice for figuring out lighting you can see right now are seems too dark. So we're gonna make some adjustments adjustments, and we'll watch it all happen in real time. Another thing I'm noticing is that the the grass scatter is too big, so I'm actually just going to go in and select our grass. Scatter. Think. Is this one using my little forest pack lister there and And I wanted to a global scale on this one to make it smaller, say, 45 and you'll see all my plans will get smaller over here and then my rendering. We'll update to show the smaller plants. I think that's a better size right there. Much better, I think when we get better lighting in here, we'll go in and see that some of these things maybe need to be denser or something. We'll see as we go, but with lighting, What we want to do is probably get a little brighter and a little more contrast between highlights and low lights on this HDR I. So I think what I'll do here sent this over here, and I'll just bring up my HDR. I in my material editor eat more screen space here. Okay, the HD rise here and it looks like this. So one thing we can do, you've probably seen this trick before, but one thing we can do is just turn up. We can turn up the overall and we'll see how that updates are seeing an update for us. I think that's a better brightness level. So that's nice now to get more difference between highlight and shadow, we can just change this inverse gamma number down, and this is basically like cheating. It's putting a It's kind of the poor man's way to kind of put a curves, curves control on our it's adjusting the gamma, which is has the side effect of making it more of a harsh contrast between dark and light. In the in the image, which will in turn light, are seen a little bit differently. So now you can see that there's there's more difference between shadow and highlight If you turn it down to like 0.5, you concede even more dramatically. You'll see it change here and then you see it change here too. So now we've got a really, really purple e look going on, which not exactly what I want. Maybe if we put it up higher 3.5 for the overall multiplier. Overall, that's a little too much saturation. I think we'd want to be more in the 0.7 range here, or we might just need to get a different HD rye. Okay, I think that's looking pretty good, though. We're at 0.7 and 3.5 for the overall multiplier. And then perhaps we could go in and add an actual son in here, too, to get us some really nice highlights. And we just make it match the location of the H dear I son and give some color to it. We can go in and try that and see if it works where we could find different HD arise that have a lot more contrast and a bright sun in them, and they would actually light this just fine all by themselves. Let's try a couple different methods here, and we'll do that in the next video 13. 12 Adding Direct Light: OK in this video. Let's look at if we wanted to add a very son into here, what we could Dio you just go to the lighting be Ray son And we wanted at this exact angle right here. We don't want an environment for it. So you can see I'm following the angle that we rotated that icon to, and then we just need to put it up in the sky a little bit. If we looked at our each dear I Well, you can see that. Basically, let's go to the view image saying Really Boggs down cause it's big. Okay, so if I bring up the image of the H here I the sun is right over here, and it's actually just behind the clouds. So, you know, we just need to raise our son up to just slightly above the horizon, and that will give us a result that pretty much matches rht rise. It would be like right here in the sky. We could put some color to it. I'm going to turn the intensity way down because it's set up to be much brighter than we want for the scene. By default, we'll start with 0.3 and see we get and then filter color sighs multiplier. Let's put this at, like, three. This gonna make it bigger over here so that it's more of a spread out light and a sharp shadows, not as sharper shadows that is casting. And then we can put a filter color on it, too. And I think that's gonna be our kind of warm color like this. Maybe somewhere in that range. And then let's again, let's see what kind of results we're gonna get from this. And we can just suggest it and get feedback from the render preview. Okay? There's not rendering the right view yet, but you can see that we're getting a lot of color on those trees. Things were looking basically right. And here comes our rendering. Okay, that looks awesome. Doesn't look like my cameras being understood properly, though. There we go. Ok. Wow, That looks fantastic. I think so. This is this is a great way to figure out lighting and get feedback on what you want. We can, of course, adjust the We could adjust the filter color of the sun. We could raise the sun up in the sky a little bit. Maybe get a little more highlights coming into here. Let's try that real quick. Just go to a light lister. I have a light lister shortcut set up over here the V Ray Light Lister tool. And we can just select our son by doing that and then doing a right click move and we'll say, Okay, right now, it's 29 feet in the Z direction. Let's set it to, ah, 100 feet and see what we get. Now we're going to get highlights down here. We're getting a much, much brighter, brighter sunlight and actually, it doesn't look good. Now it's not matching the sky at all because it's far too bright. So well, say 0.5 Maybe that looks pretty good. So remember, in the image that we saw for the background, the sun was kind of this warm pink, but it wasn't super bright. It was. It was casting soft light from behind the clouds and things sort of match that we could, you know, turn it down, turn up the size multiplier. Maybe even so, that everything is looking a lot softer. Okay, so it all depends on what kind of look you want to go for? I would probably go point No. Three. Put in something like that from my original conceptual image. Remember that It's not a lot about direct light. It's all kind of ambient light being cast through fog. Okay, so this is kind of a soft lighting scheme going on, and I like it. I think we can leave it like this. And this is aside from the idea of just putting a totally new HD Ryan here where we could adjust gamma and adjust intensity. And we could possibly get lighting like this without putting in a direct light at all, because other skies might have a more direct sun in it that will actually cast this light just from the image of the H dry. So you can toy with this end endlessly, I think for now will move forward with this lighting scheme here and we'll go with it. But of course, you could get all sorts of different kind of lighting scenarios, all sorts of different kinds of results, all by just toying with HD rise, direct lights, whatever you want to get the effect that you want 14. 13 Creating Atmospheric Perspective: Okay, let's talk about atmospheric. Since we're creating an environment here, that's an important part of our seen. Obviously, here we want atmosphere perspective going on. So the trees in the background, if there's fog, are obviously going to be less contrast ID. They're going to start blending into the color of the sky, and that will create a sense of depth for us. There are many different ways to achieve this effect. Let's look at some of them. If we go to rendering environment ad and we can use this standard fog that has been Max for years, we want to put the color something close to what our sky is. Okay, and then I typically go about was a far 10% in near 0%. We wanted to fog the background. That's a yes, it would look, it looks fake otherwise, and then what is is actually telling us? They're saying that there's 0% fog close to the camera in the near range of the camera, and there's 10% fog in the far range of the camera. We haven't set the range yet of the camera, so we need to do that. If we right click here and select camera. The settings for this air found in the camera settings themselves, and that's clipping an environment for the very can't be re physical camera in the standard physical camera. It is also in there, but in a different place, so near environment range. We haven't said it zero far environment Ranges, said a three foot four. That's not gonna be enough. This is the maximum distance across our scene that we want the fog to be great aiding between. So if we have zero for the near range read 0% fog there and 83 is the far range than were at 10% fog. So before we even get to here will be at our full fogginess, if that's a word. So let's set this to something more like 2000 and actually, we can get a preview of it here by turning on clipping and we'll say 2000 feet. Our whole scenes there may be we can start clipping. So somewhere around 488 180 feet away, we're at full. We're seeing the full amount of the scene, so if we put like we could just Turn this off now, If we put 1000 feet for a far range, we will now have our fog showing up. Now, the I P r. Rendering is not great for environment, as in it doesn't show those kind of effects. So we're just gonna have to render here, see what we get. That's how we can check the results of our fog settings. Okay, so here's what the rendering gave us. I am not seeing a lot of results here. It all, if any. I'm not sure it's even turned on. Actually, one way to check that is to go in here and we can put one of our render elements as a is in the render settings render elements add and put v ray atmosphere and that will show us any atmosphere and are seen not just the right atmosphere, but just any atmosphere in our seen. It will now render as a channel, so we can check it individually. Let's check all our settings again, make sure fog is turned on and let's turn it way up. So we get and that's actually put the the near range a little farther way. No, that's not what we want. We want to do that in camera. So let's go back into our camera here. Turn on the clipping and let's say the clipping the near range is going to start somewhere right around there may be so, like 93 feet for our fog. Could be our new range. Let's try that so that the foreground is not really being fog at all. And then after that starts getting foggy. Let's render and see. We get here. Nine. We want toe. Okay, turn this off and then turn 93 feet on here. Okay, so now we're 93 to 1000 feet is where are falling is going from 0 to 30% and render Okay, you can see the results right here is going to stop it right where it's at. These are the results. If I go to my atmosphere, that's the atmosphere we're getting. Okay, so that's pretty nice. Actually, it's giving us that depth so that this silhouette is unformed and behind it it starts fading into the background a little more. I think that's a pretty good effect. We could make it more dramatic or if these trees were going farther and farther towards the horizon. Then we could get a even longer amount of a a broader atmosphere. Perspective where it's no fog here and thons of fog in the background were just kind of fades into the into the sky. But I think for what we're trying to get right here, this gives us kind of this nice early morning haze. Maybe. Or I guess, if this was on the West Coast, this would be the late evening haze and this the sun would be out to the west on our left. Okay, that's one way to get the fog. Let's look at another way. Let's make this inactive. And let's look at the very aerial perspective and this conduce do basically the same. This can work basically the same. So let's set our sky as the color of the fog. Maybe a little lighter like that, we can say in meters visibility range will put it from, So this is telling us how far we can see into the fog. So let's set this way low like that 200 meters before it becomes totally foggy, maybe even less just so we can see the effect and then This is the height of the so it doesn't have to fill your whole scene. You can put it at at two meters, and then it's just gonna hug the ground. Basically affect background effect, environment raise. So if you turn this on and you have your view a dome light in there, this will affect the background. Let's render real quick so you can see some interesting effects happening already. The fog doesn't go all the way up. It's just near the ground. If we go to our atmosphere level, it looks like that pretty cool, actually. But we're getting full fog by the time we're to the the tower over there, which probably isn't what we want. But I do like the gradations happening here. Okay? And that's what the overall scene like, So that looks pretty foggy. If we just went full height on our atmosphere, we'll see what we can get there. Let's adjust slightly and render again. Okay, so I said it to atmosphere hiding meters. 2000 visibility range 300 because 300 times three, which would make it feet, puts us close to 1000 feet like we were doing before and 2000 should just fill our whole scene for the height. Let's see what that gives us. Okay, this is interesting, because we're getting results. This is actually blocking out the sun, right? This is that affecting environment. Raise an affecting background. Okay, so this is actually giving us, like, a real foggy scenario. It's way too foggy, So everything's looking kind of flat. And that kind of takes away from our image, in my opinion, so But that's the kind of results that can give us if I look at the very atmosphere than that's that's what RB Ray atmosphere looks like. Okay, you could. So what we would do is make the visibility range much, much further, something like that, and then render So we still have kind of a haze look going on. But it's not making it so dark and are seen. Okay, so that's what that's looking like Now if I go to the very atmosphere, it looks like that. So it just kind of turning down the effect I could go more and more so that the sky starts to show through a little bit those kind of things I could also turn off effects environment raise, and then you'll see that it look significantly different like that. So lots of different things you could do here. We still have far going on there, but you can see it's kind of strange because it's not affecting the background. So a lot of different things you can do here the third way to get fog aside from actually getting volumetric fog, which we'll talk about in a different video. But the third way to do it. And this is probably the one I use the most, because it gives you the most control, and that is actually just fake it in post. But really, you're you're kind of creating the exact same result that you would get straight out of Max here. So all you have to do is go to render settings, render elements and then add a Z depth. Pass the reason depth and then set your Z depth men and eat up max to something similar to what we were trying to get here. So we could say weaken leaves, eat up minutes zero and set the max 2000 feet again, say Mazar Environment Range and then hit Render and that will basically give us a perfect mask for creating fog in Photoshopped, which you may have seen me do before. Just using his you'd have passed to create fog. It's pretty handy because then you could just render, are seen clean and add as much or as little flogs we want later. And it's not really burned into our rendering. That gives us the most control. This is our ZDF pass. So if that was inverted, then it would be kind of a for a perfect fog past that we could just use a linear dodge and Photoshopped and add it to our color, our full color. Pass, our beauty pass if you will, and then we can turn it up and down, mask it out. We can use. Use it as a mask. We can colorize it to make it look more like colored fog. You can do all sorts of things, which will look at when we finally start post processing this image. But that's kind of the third way that you can use to generate fog. There's still more ways, and that would be like V ray environment fog, which is actually volumetric fog, and we can look at that in a later video, but those are some of the different ways that we can create depth and environment in or atmospheric UN's perspective for our environment. 15. 14 VRay Environment Fog: Now let's take a look at very environment fog, which is a volumetric fog. And that means that light will be able to kind of shine through it and create God ray looking type things and stuff like that. You can make fog kind of sit on your ground if you want. You can do a lot of different things with volumetric fog. I do have to warn you, a kin bogged down your render seeing like crazy. So the first step with volumetric fog is probably to go to your helpers. You're create panel helpers and then create a atmospheric apparatus by dropping down here and create like a box gizmo. And this will tell the volumetric fog what volume to contain itself within it. So we're actually creating a volume of fog or a volume that we're gonna apply fog to make sure that's right. From this side. There, you could make it is tall or as big as you want. But that's the volume that's gonna contain our fog. We go to rendering again an environment. We can add a new kind of fog, and that is the ray environment. Fog. Okay, So rendering every different example would take forever. But fortunately, we don't have to do that ourselves. If you go to the docks, doc chaos group dot com and look under be re environment fog. You'll see that all this all the explanations are here for what each setting does, and also examples of all the different settings. So, I reckon, would recommend going through this, and we'll go through a few now and see what kind of results we can get. But you can look at that and see what kind of results you want and then set your settings accordingly. But most basically, we just have to you say That's a sign of gizmo or gizmo. Is this volume that we set up that's where far is going to go and then lights. We can either add specific lights where we can just say, Use all lights So we want our dome and our son to be affected. Therefore, we're just gonna use all lights, and that's fine. Let's render that's actually move this box so that it slightly out of our camera. And then this looked through our camera and just do a quick rendering so you can see as its rendering that are volume. Fog is just fogging up the entire scene. It's looking quite black. Here it comes. We go to the atmosphere. There it is very dark. So that's not the result we want. That's where you can see, like our perspective, fog showing through it or something. I'm not sure what's going on, but there you can see our fog starts right there, and it just immediately is blackening are seen. So let's look at some of our basic settings here and see what kind of things we can fix. So fog color we can set to our sky color again or something similar. Something like that. Maybe fog distances how far we can see in the fog. So if we set this to 200 feet, it's gonna be a lot less dense. Fog. You mission is actually like self elimination. We don't want to do that. We do want to scatter G I and scatter bounces. If we look at our examples here, here you can see. So that's fog distance 64. We're sitting on 200 maybe even go higher than that. I want to do some noise in there like this, but also specifically looking for G. I scattered G I and scattered bounces. So G I is off here. G i a is on G I and the renderings is off, so this is only showing direct lighting. G. I is on for the rendering, but scattered GI's off G eyes on scattered GI's on scattered bounces one so you can see that the G I is being scattered through the fog. If you put more bounces, obviously it's going to be more accurate and actually more bright, too, because the G I will be scattering throughout the clouds. Okay, so that's what the G I stuff is. We'll put scattered bounces to 10 and we'll make it affect the G I. That is going to affect render times. Obviously, subdivisions is the quality of fog that you're gonna be seen. Eight is default. You considered higher. Okay, Some of the other steps that we want to look at is, let's see. You can put maps for a lot of these things. You can change the density based on a map, which is cool. If you want the fog to be more dense in some areas, all this should be on for what we're trying to do. The other thing is okay, so on density, I want to put let's put a noise map and the way that this is typically used us to say noise map and make it procedural. They said To do it, you'll have to put your noise map into your into your swatches here, and we want to make it turbulent, and we can change the size. And we can actually change the color so that it doesn't completely make the fog go away. But it does make the fog have variance in it. Change the size to 60 will try that and see what happens. Okay, so that makes the far more dense in some areas in less dense and others. And let's say let's make this higher, Thank 400 feet and let's render and see we get Okay. What we got was an enormous render time, so I'm actually gonna let's just turn this offer right now, and we'll see what kind of results wouldn't get without scattered Jeon. You see, you could see it looks a little different in the examples, but not too much different. It's actually turned this off, too, and just see what we're getting without any of those settings. One other setting I want to show you is actually the fall off. So the gizmo fall off means that it will, instead of having a solid block of fog start red at the edge, we can make it fall off. So it starts gradually. So we can say, you know something like that. Turn on, fall off for that gizmo. Let's render like this with the G. I turned off. See if we can get some results a little faster here. Okay, After letting this sit and render for a long time, this is the result we're getting for atmosphere, which is interesting and kind of cool. And you can see if you mess with this a lot you could get maybe some fog sitting in this area down here. You could do a lot of different things again. I think it's worthwhile to look at all those settings and examples and see what kind of results we want to get and then try to mimic the settings that are shown there. You can see when it's applied on the RGB. It's actually very, very subtle, and this brings up another point. That one thing I do sometimes and you see me do this and other courses. But I just render an override thing with the V, Rafe and Override render with the view a fog on. And then I just take this atmospheric channel and I My final rendering is done without any atmospherics on. And then I just take this old channel that I had and just added back on in photo shop using a linear dodge add layer, and that again gives you a lot of versatility. Like, for example, I want to change the color of this to be less purple. But the cool thing about this is that the light is affecting the the atmosphere so very subtly. These are casting shadows through this fog and these grasses air casting shadows through the fog so you could get some interesting results. Like if there was a tree sitting right here, you'd actually see the far become less as it comes behind the tree because the light isn't traveling through it and those kind of things, so you could do some interesting things. But again, you'll have to tweak and test a lot, and each each preview rendering takes quite a bit of time, so that's not my preferred way to do it in the interest of time. But if time is is no issue and money is no issue, then that can probably get you the very, very best results. Okay, so that's Vera environment fog. 16. 15 Adjusting Displacements: Okay. I think we've got our lighting figured out something. We've got a model figured out. I think it's time to start doing some actual renderings. And then the last thing we're going to do on the scene is going and make sure scatters are looking right, cause we haven't really previewed them properly yet without any real pretty renderings. So what I've done is I've turned off the override material boom turned on displacement, and then I've got up to our environment and just disable the other things that were messing with. And I'm gonna enable the actual fog, the standard fog I've taken a few liberties to with the materials that are on here that came in from megapixels. Mega scans. Remember this? Sand came in with a very displacement modifier on it. So I've put that to two inches for the displacement of this sand. The map was already properly placed on these things. Like the stone this came in. It was L A l o D zero, which is kind of low, Polly, you can see it's not the full detail one. This one I brought in, I believe, as the full detail. So it looks pretty good. This one definitely will need some displacement on it in order to work properly. So if we look at the material again, you can just manually apply the displacement. And I just did it right in the maps here. The maps a lot. So all you need to do is like, take one, take the albedo map. Copy it. Based it all pasted here just as an example. OK, but pasted in the displacement going to hear and then open the albedo map. And in the same place as the albedo map, there will be a displacement map, which is right here. Boom. Apply it. Actually, that's taking me to the sand. Okay. I actually want to be in here. This is where my my cliff was downloaded and the displacement is right there. Make sure you've got the right displacement in there. Boom on the rock. Everything's good. And then this will be by default to 100. But you want to set it way, way, way, way, way lower than that. Like two or one. You can tweak it. I'm gonna leave it to hear another thing you can do like we did with the HD rise to up the contrast. If you want more contrast in your displacement, so it's getting more accentuated. You could potentially do this. Change the gamma and that's that's again making the darks darker, the lights lighter. In this case, we don't need to do that. I don't think. Okay, so that has that displacement just built into the material. You can override that here in the render settings default displacement. You can override maxes and do a few basic settings here, but basically V Ri Displacement is gonna be used on that rock there. And that's fine because it's a self enclosed object, or at least enough self enclosed that we're not gonna have edges that are breaking apart because of the displacement or anything like that. And we can do the same thing here on this log. Even though it's high Polly, we can add slightly more fine detail to it. Maybe I mean potentially. We'll see weaken, put the displacement map on there and see what kind of results we get by copying the albedo map and then opening it up and then just changing it from albedo too. Displacement, which is right here. Now there's a little bit of a displacement on that and this will want to set way down low like one. Okay, and the sand is actually using the modifier. So that's fine. Let's go with that and let's do it. Let's do a preview render. I think we're ready to do that and we'll see what kind of results we're getting right now. And then we will fix from there. Okay, here's what we're getting right now. I'm liking something's not others. I want a little more crisp detail in the rock so they don't look so smooth. Maybe same down here on this thing in the sand, it looks like there's a little bit of displacement working, but not enough for my liking. There is. These succulents are not nearly dunce enough. And they're in places where they shouldn't be like maybe up here. Okay, so those are some of the things. Also, we're having issues with the transparency of these trees because these have little needles on them that's being transparent. And when you start getting the fog in there after it goes a few levels deep on the transparency, then it'll just start showing the fog through. And so it doesn't look quite right. And if you look at the Alfa Channel, you can see that's kind of solid in that area. And that's good. The Z depth kind of. But in the RGB, it's starting to look a little funny, so you might have to go and see what we can do about that. I think these solid trees air looking quite nice as they render in the background. So those are some of the issues I'm seeing. Let's go and address some of them. So first, let's start with sand. What I'm gonna do here is make sure what I'm gonna do here is make the displacement into a two D mapping, displace it a little more and then also shifted back down the same amount. So when you displace it three inches, a lot of parts are gonna be coming up three inches some displacing it three inches to get that way. Venous in the sand. But then also moving the whole thing back down three inches. Let's see if that works for us. Do a little region here, okay? With a little bit of experimentation, what I actually want is these settings here leave it at three d mapping. Make sure the I put it at amount for and shift three. We can actually probably shift back up a little bit. You can see now it's going down below my other scatter and these air now floating. So you probably want to shift on Lee. Like to maybe we got to get that just right. Negative. Two inches, maybe. Okay. And and then the other thing I needed to do was make sure that all my mapping for my sand was set to six feet by six feet. And my displacement map was not so. You can see it was displacing. Funny, it wasn't displacing at the right scale. So now that it is, you can see how nice the sand looks like that and that sand is using the modifier. It can also be used, built right into the texture. Okay, so that's not looking pretty good. We need to fix the scatter of the succulents. Obviously, Actually, let's move on to the next lecture and will continue to refine 17. 16 Scatter Adjustments: Okay. One thing you'll find about scatters is that sometimes they're hard to select. So with this one selected, I'm gonna change it to Succulent Forest. I don't know how you suppose succulent, but that'll have to do. Deal with it now, Once that's named, then you can use thier lister up here. This is the forest packed tool toolbar. And I can say this one and I want to select it. That just makes it easier to navigate around your scene and find stuff. So if you're having problems selecting things, you can do that. Okay. With this succulent, I want the distribution to be much, much tighter and surprisingly, it is very tight already. But we want it more. Maybe like that, Look through the camera and see. That's probably better than another thing I want to do. Is the distribution, the areas I want to raise these places where they shouldn't be growing. And, like I'm growing up there in that little sandy spot, but not on the rock. Okay, so maybe that'll do right there. Good game. Let's do a test. Surrender and see offense dense enough of a scatter for us. Especially right here in this area, and I should say right now that I'm not using any special render settings. This course is not really a beginner course where I talk about beginning render settings. But what I'm using right now is my default, which is just brute Force G I and like cash. And then I'm just setting it to render for one minute as a progressive render. And we're just seeing what we're getting here. And that's a pretty basic kind of preliminary rendering setting. And I've got my resolution lower to from the final. When we go to render out our final image, we will talk about what settings I'm using for the final rendering, and we'll make sure to get them right at that time. But for this diesel do I'm liking how the succulents are looking. Perhaps we can put them down into the ground a little bit more, but maybe not. There's a little there's a few problems right here where the rock in the sand meat and I think other than that, we're looking pretty good. I want to see some of these other parts. I could possibly go even more dense. I'd be OK with that Let's render appear. I'm still not liking the way the rock is looking. It needs to be more sharp in its detail, so we'll look at that, too. Right now. Let's stay focused on the succulents. One other thing that I didn't mention is that occasionally you might have problems with all this displacement going on in your scene, where the the preliminary part of your rendering, where it's still like building geometry. It might get stuck there because of all the displacement. Displacement definitely has a tendency to cause some issues like that. And the one place that I got stuck a few times with this scene was when it was doing the hombre. And and so I've gone and turned that off for this. And you can just going to render settings and go into there's a setting to just turn off hombre or use hombre. I think it's called, and if you and if I've turned that off, then I've had some more success was not getting locked up in that stage. So there's other issues where sometimes you have to change from dynamic to static. Geometry can show you that to KR. Succulents are looking pretty good, Great. So let me show some of those settings real quick, and hopefully you don't have to do these at all. But I did turn off the use hombre right here. And occasionally, sometimes when things were getting locked up have had to change from diesel default geometry to static. That's usually when a ram issue is happening. We're running out of memory. So with displacement, you tend to have some more of those kinds of issues that that is a potential way to solve some of the things that you might come in contact with. I can't predict everything because everyone system is different, But those air some potential hazards. Okay, let's adjust this rock to get it a little more display. See, going on down is definitely not a word. Okay? Displacement. Make sure we're on the right texture for that rock. This guy here, displacement is set to two. Maybe we can set it higher and up the contrast of it. Like I was saying so that this is that, like 0.5 and we'll see what kind of things we get with that. Now, keep in mind, displacing the rock will shift the surface of that rock a little bit like we're seeing with the sand how it shifts up and down. Depending on how much we displace, that's normal. You have to take it into account if you're needing things to be in exact locations. So this will rock will become slightly bloated when we put a displacement modifier on it. But it might had very sharp details that will add to the detail and to the re real nous of the rock. Okay, I've messed with a bunch of settings on this rock, and if you said it super high, then obviously you're getting really dumb results. If you set it too low, then you're not seeing it enough at all. So I'm just gonna leave it a 10. And in reality, what I think I would want to do with this rock is bring in higher resolution bit maps. So it reads and possibly try to bring in the high Poly model to so that it reads really, really nice right now. It's just it's kind of a smooth rock anyway, and so there's not a lot of displacement going on, but I would like it to look higher quality if I was going to focus this on the focus on this a little bit more so when you bring your rockin, maybe bring it in at eight K or four K textures and or maybe bringing in a completely different rock altogether. That's also an option. OK, but this setting I went with that I'm gonna go with here is 10 for the displacement and just keep that map on there. And I did keep the Gamma at 100.5 to add to the contrast. Okay, so I think the succulents are looking okay. Now let's talk about them a little bit more. I think what I want to do is go and possibly change the edging so that it becomes more sparse at the edges. There's not like a hard edge when I go to when I get to the path, so let's go ahead and select it same ways before and just let's close all this down. Let's go to distribution. No, it's always hard to remember where things are in here. It's areas, yes, and the density we're just gonna make it fall off. A Z gets close to the edge. So you saw that a on included areas, which includes painted areas anywhere. Ricketts close to the edge within a foot. We're going to start changing the density based on this curve right here. And it's going from one which full density 20 over the course of a foot as it gets close to the border. I actually think maybe we just go eight inches here, and that may be the curve. Doesn't go exactly to zero, but a little bit like that, and we'll see what that looks like. Okay, not a major difference. Just a subtle one, but you can tinker with that has necessary to make it look correct in your scene. One of the thing I'm seeing now is the scatters of the would. I want to be more defined and more pronounced throughout the scene. So let's just add some more paint areas for that scatter using the area brush. Okay, now we've got a bunch of wood. We've got our sand working. We've got our displacements working. I think everything's working. Let's move on to the next lecture 18. 17 Setting Up Final Rendering: okay with this particular it aeration of our environment scene. I think we're ready to start generating some final images and then we'll look at post processing him later. But let's take a look at this. Let's just take our resolution and up it. 4000 242,404,000 in V ray. I want to talk about something I did, which is turned up my max transparency levels because of those trees with the transparent opacity maps with the capacity mapped find needles on it that doesn't work very well with fog. I find lots of issues with that, and that is because it only traces transparency for so many levels. And then it stops and it will just show the fog and environment behind it, almost like it's just going into a black hole there. So even if you're fog is not at 100% where it hits these trees, if it goes through enough transparency levels, it's just going to show 100% fall behind that and sky. So it's like they start to disappear kind of. So I put my transparency levels really, really high and my transparency cut off really, really low so that it's tracing all those, even though they're gonna be so, so tiny. Yes, but But again, I mean, it can't trace the tiny outlines of needles when they're going to be less than a pixel small for the whole map. Right? So there is some issues there. I think I'm pretty satisfied with the way this is looking right now, and so I'm gonna go with it. But if this whole forest was was opacity map trees and I had it in the background trying to work with fog or really anything Alfa channels E Dept. All that stuff will get kind of messed up by it. So I wouldn't recommend doing huge, huge long distance scatters with opacity mapped objects. Okay, but this is this is one way when you can kind of address it. This can up your render times if you have a ton of overlapping opacity maps, but that's what it is, so make sure displacement is on. We want to go full full on this time. And here we're just gonna go with progressive image filter. This one was on by default. I didn't even know it was on. Ah, I usually just I mean, it's OK to go without in any image filter at all, and I'm sure this one's fine, too. I typically render without image filter. That's just me. I've toyed with all these before, and you probably have your favorite to I typically go no image. Filter it all. I'll leave this one on for now. And that's because I mean, what you use them for is sharpening, and I can sharpen pretty well if I spit out a nice 16 bit tiff out of here. I can get good sharpening in photo shop after the fact. So my mom, about having control and not burning things into the rendering, I consider the rendering more of a raw image that is yet to be processed. Okay, so minimum subdivisions we can put this down somewhere is that we don't have to do. We don't need any crazy subdivisions anywhere. That's probably fine for this. Render time. We'll just set that to zero, and we'll just wait for the noise threshold to get 2.5 So no time limit. Just get to this noise level, and then that's acceptable and my G I settings are totally basic brute force like cash we might up the size of like Cashier 2000. And then I showed you what I had done here because I was having problems with memory and displacement in those kind of things. So these are my settings here. You may or may not need to do those my render elements. Let's let's go ahead and had some or in here in case we want him later. Let's savory lighting. Just give us a very pass. I want the refraction and reflection. It was really is handy. De depth is already there. Okay, those are probably fine, and that's about it. Let's do some renderings and see what kind of results we can get. Anything else, I think that's it. So let's go to the frame buffer show, Last frame Buffer. Oh, one thing I wanted to do was, Let's just put in the camera settings down here. First of all this. My color mapping settings, by the way, camera in the camera. Let's try auto exposure and auto white balance. See what we get. This will automatically adjust for exposure and white balance. It's like setting the auto using the auto mod on a on a DSLR cameras something, and then you can actually transfer that to the camera settings itself so that it's built in okay, but that's kind of a nice feature of the very next. I think it's new for next, and if you have an earlier version, you won't have that particular option. Let's render. 19. 18 Post Processing With Z Depth: okay upon rendering thes air the results I got. So I'm already in Photoshop. I used my normal workflow to bring this in. So I took all my layers, my render elements and I have my typical render elements here. Refraction, reflection, lighting de depth atmosphere, Alfa Channel. Okay. And then just the standard color. We saved those out of the V ray frame buffer, and I brought them in by doing scripts, load files into stack, browsing for them, grabbing the ones I want and hitting. Okay. And that, of course, brings them all in as their own layers into Photoshopped. So here I have the color and my render element in this video. Let's take a look at where we can go from here using these render elements somewhat. I'm just using photo shop standard adjustment tools. First, let's look at the sea depth. 01 note is that I exported these all every save these all as 16 bit tiffs, and that gives me more leeway with the editing. Since we're in the mode of 16 bit tiff or 16 bits per channel. Now, when I do something like a levels adjustment on the Z depth, it gives me work, more range. So, like I can go to their hit, OK? And you can see the information is still there and working. Whereas if I was in eight bits than it would start to get real choppy in here when I suggested it that heavily. Okay, so all I've done with the Z depth is if it looks like this, you can invert it. I'm going to use this to add some more fog to the background. So you had to do that. So if we take this and let's make a copy of it, so we always have the original and then take this copy and adjust the levels of it and think of that white area as the fog that you want. So maybe somewhere around there now, if I put this as a linear dodge, then immediately we have tons of fog back there. Too much fog, obviously. But we can put it down in opacity and it can add fog more subtly. Okay. And then what I like to do usually is layer new adjustment layer hue saturation. Apply it only to the fog layer by hitting this and you could see that puts the little arrow there. The other way to do that is to hold down all and click between the layers. You can see that I can pop up, turn on and off makes it so. It only affects this, which is what we want and all the layers blow and then we can colorize it. Add some saturation to it. You can see the fog changing colors here, and then we would adjust the fog to be the color we want. So I wanted to. Based on my concept image, it would be like this cool morning mist type thing. Maybe somewhere in this room like that, so turned it on and off you'll see the difference. Okay, so that's adding more fog for sure. A little too much. It looks nice. That just adds depth and atmosphere to your scene. And since we're talking about creating three D environments, that's gonna come into play heavily because you want depth and atmosphere in your environments. Now there's other things you can do here. You can take this original. Copy it again that suggest it further make it more like that. So it gives us the full range of our image. There we go. Okay, Now we have a nice greeting going across our whole image, and you could put like an over. You can turn that into an overlay so that the foreground is just darker and it gets lighter as it goes away from you. Okay, so let's see what the effect looks like on and off. That seems to really lead your eye through the scene from going from front to back. And it just makes it look a little less flat because there's more atmosphere as you go away from you from the camera. Okay, so that's one thing you could do. You could even let's say, Let's make a copy of this and put it back to normal so we can see it and say in the foreground, we want this stuff to be even darker. You know, we could keep going with this for days, but now we could just put that as a multiply, maybe located draw attention away from this foreground a little bit. You could also use that as a master de saturate things. If it's catching your eye too much here and you want to draw it back there really the way the atmospherics would work is that be more saturated upfront and less saturated as it goes back, and more of this atmosphere color mixes. So, like this green here is obviously less saturated than these greens up here, or even this green. Okay, so you could use it doesn't masks to you that we could do. Let's make another copy of it again and say it just and let's get an area that is kind of just right where the tower is that maybe like right there. And let's use that as a mask. Maybe. Let's try that. So control a to select all and hit control C to copy it. And then let's just put a solid layer. You feel layer solid co owner. Let's put like some let's try this color something like this. We could change this later, and then all click into the mask for that layer and paste you were. Here's E depth, and now that yellow is happening on Lee over there, we probably want to set it to Linear Dodge, maybe turn it down a bit. Okay, I want to do this without it. Feel later. Actually, let's do it. Let's create just a new layer. Put that mask in there and then let's just manually paint in some some kind of raise. Well, let's see, Maybe big airbrush. Just kind of, Ah, experimenting on the go. You guys can watch what I'm doing and get some ideas of your own. So if I do this, just paint that yellow into there and put linear dodge or even overlay, okay, so that's just adding some more brightness coming from the left, cause we know that's where our son is at, right? But it's also only happening in this range, so it's not going over all these rocks up here. These rocks appear aren't getting affected. It's only up as you get up onto this plateau where you see the sun kind of coming through this fog a little bit. I think that actually is pretty good. I like that. Maybe turn it down. Maybe saturated a little more at a little more read into it so it matches this highlight color of the sun. That makes a little more sense. Okay, so you can see that with this v Raisi depth that you can do a lot. So I want you guys to get ideas from what I was just experimenting with and and go crazy with it and add a lot more depth and atmospheric your scene. So let's just see the difference between all those little Z depth adjustments I just did versus my just my flat rendering. So on off on off, okay. And this is also a good way to kind of look and see. Okay, what do I like about this? And what do I not like? And then you go back and adjust from there. But personally, I think this is working well, because in this scene, your eye gets drawn to this a little bit because it's very saturated. It's pretty bright, especially this grass right here. And we don't really want that. We want to be kind of looking up this hill and going towards this tower, right? If you're thinking as an illustrator, so I think this is a subtle way to not only add depth and atmosphere, make it look more realistic. I think this looks more realistic, but it also draws your eye right up to here. Okay, So those are things you can think about. Use those same techniques and experiment and make it look however you want. You have a lot of leeway after the fact. If you have some render channels that you can fool around with an ad interest, depth and realism to your rendering. 20. 19 Camera Raw Filter: OK, in this video, I am going to show how to take this to something hopefully much more striking and cool looking, using an awesome feature of Photoshopped. But always that hasn't always been there, but is now and I love it. So I want to make sure you guys are aware of it and make sure that you are using it to full effect by by demonstrating it here. So you may have seen me do post processing before and I have all sorts of adjustment layers , all sorts of render elements that I'm using. And right now I'm just using the Z depth render element to do this which is going to be shown in my course. But that's not what this video is about. Okay, But all I'm doing is eat up channels in here to add more atmosphere. But now I typically do a ton of color adjustments and levels, curves, hue, saturation, maybe color balance those kind of things. And I've always thought like, wouldn't it be nice if there was just one filter that kind of contains all those things, so I don't have to have a 1,000,000 adjustment layers, but it just contains all those things, and I can just kind of get do overall color adjustments, no masking or anything, just overall color adjustments for the whole thing. And And the fact is, really, Photoshopped does have that capability already, and the closest thing to that is the camera raw filter. So if you haven't used that before, what you need to do and and my typical post processing technique is all about nondestructive using all adjustment layers so I can turn them up and down or master not or whatever. That's not what this is about. This is like the final, the final touch on something that is otherwise fully post process. Already, in my opinion, that's how I use it. So if I do control all shift E my favorite shortcut that combines everything and jumps into a new layer. Okay, so if I turn this on and off, it looks the same. Okay, Now I can take this kind of finished rendering and do the final effects on it. So I would go to filter camera, raw filter and if you have used light room, the process photographs, which I also do photography. So I've used light room a lot, and it is taking raw images, and you process them in light room and those air raw images. Photoshopped can also process raw images, but you can treat any image as a raw image by just using this this camera wrong, right? It allows you to edit it as if it's a raw image, whether it is or not. And so if you're used to light room, you know that it's kind of all inclusive. It's like all your exposure settings all your while. You can see him here. Vibrance texture, clarity, shadows white So you don't need a curves editor cause it's built into here, right? And it's actually much more intuitive. Um, any hue, saturation, any color shifting you want to do, it's all built into here. Okay, so let's just take a look at some of the things we have. The basic tab where we can adjust temperature basically like white balance. Okay, this is also like being in the very frame buffer a little bit, right. So again, it's important to have a you know, like at least a 16 bit image here. You could even go 32 bit because it gives you a lot of wet leeway with your with your editing and doesn't start clamping the colors and things like that. So you can see you can get, like, a a really different result just right away by doing temperature adjustments. Case of this looks more like a sunny, sunny haze. This is more like a cool morning. Okay, My conceptual image book looks more like this. Yes, but I'm kind of like in this right now. We'll leave it there for now. You can do basic tent that puts it more in the green area. That actually looks quite a bit like my conceptual image right there. Day. I have to warn you, you can you can edit in here forever. I mean, I could just keep going and going its endless possibilities. Okay, so this is just basic contracts and exposure stuff, and I'm just looking at it here on the left and seeing what kind of results I'm getting and just kind of intuitively seeing what I like. Okay. The whites and the blacks, this is gonna be darkening or lightening the highest whites in the blackest blacks Daeso blacks and make him darker or lighter. So that's bringing up the shadows there. And there's other ways to do that within here to texture and clarity are cool. There's a temptation to overdo them. Sometimes. Just watch what they do. If I zoom in here, texture okay, it's like it's like sharpening kind of. I don't know how to describe it, but it's It's like sharpening. But it's not quite sharpening. It's not the same. It's doing different algorithm, Okay, but it is adding some nice texture. It's making it look very crisp, right? Don't overdo it. And then clarity is similar. It's it's It's like sharpening with a different radius. Almost it gets. I don't know how to describe this, either, but I'm just intuitively adjusting things. Just make sure to not go overboard with this, where it's just super, super sharp looking. Okay, for now, that looks good. We'll just leave it there. Cool. I almost want to add more texture and clarity to the middle up here, where I want to focus and take it away. Down here, there's this other cool thing, D Hayes, where if you put it backwards, it actually makes your seen hazier. And if you put it forwards than it makes it a lot more crisp like that. This is actually intended to be a hazy seen. So if anything, I would go this way. All right, then maybe add a little more contrast in. And this brings up one of the issues with this to like. Like I was saying, I would want to mask this out. I don't want this super sharp. I don't want this to stand out, but I do want this to stand out. Okay, so that's that's one issue with this. But I can show you some ways to address that. And in a minute. So if we go to curves, we can, Then we just have these intuitive adjustments here. So it's actually building the curve for us by just using the sliders. It was like, How are my highlights Too bright? Yes. I want him to come down. Maybe similar around there. Are the lights too bright? Overall? Yes, maybe. But then I'm getting too flat oven image. So I want you know, my darks to come down to and my I don't want my shadows, my darkest darks to kind of be lifted a little bit. Well, they're not lifted, but they're less down than the others. Okay, so I'm actually just darkening everything here, which would be similar to his changing my exposure. But this is giving me fine tune control over it. Okay? Sharpening is in here. Two different than texture and clarity. Okay. The radius. I can't really see the difference that's making from here. You can do, you know you can. You can go in toy toy around with ease and zoom in and look at what kind of sharpening you're getting. Okay, let's look at Hue saturation. We've got So here you. This is This is awesome. Because if you're saying OK, my green up here is too saturated, so you can immediately change the queue of it. Well, that would be if you If you don't like the color of it, you can change the hue of it to a more yellow and it shifts all The AUC was in your seen to the same thing so I can change all the blues to look more turquoise. Former purple, purple. If you think the saturation is too bad, then you can take the AUC was and turned them down, right? Or turn them way up to make it more aqua. So I'm looking at the scene thinking nothing really stands out except for these oranges and reds, where I would turn down the saturation of those So they fit in with the scene a little better, but not too much, OK? And actually, this green slash yellow area I want do you saturated a little bit, but I like it up here. Actually, I'm upping that. Let's see, maybe if I can get Yeah, that's the green I want. So this area is a little over saturated to me, to me, that turn up yellows. Yeah, I like the yellowy green. Maybe that's too much. Anyway, you can go forever doing this kind of thing, making adjustments and then the luminous two. So if you're green is is too dark, you can brighten it up. We don't wanna go too crazy with this because obviously you'll start making things look fake this way. I do like that, but the yellows, and then you could take the blues and make them go down. And you can see that dramatically changes the look of your seen right. So don't go too crazy with that split toning just really quickly. Not something I'm gonna use a ton. But you can take the highlights and add color to them by doing that. And then you can make the shadows a different color by doing that, and then you can change the balance between them. Some more shadow, more highlights. I'm not going to use this right now. I want to get too. Okay, Lens correction. What I use here, you can use you're chromatic aberration controls in here and your distortion control. So this would be similar to lens correction tools that I've shown in the past, but it's all built into the camera raw. The vignette ing is something I always add to two scenes, even if it's just very, very subtle. I shouldn't say always, but almost always so like here, we could do it suddenly. Great way to draw your eye to the center and also a great way to make it look a little more real. Because cameras typically have slight than getting you can add grain. You can add more than getting We're not gonna worry about that right now. I'm not gonna worry about calibrating this cause calibrated to a specific camera. OK, But these are cool these presets. This is like doing Lutz files on your scene, and it's just a bunch of presets so similar to what you would have in light room. You can now get a bunch of different effects just by using these presets. Okay, like, I think that looks awesome, right? But it's maybe a little too dramatic. Okay? There's a lot of different options in here, and I think some of these look cool like that looks really nice. This looks cool, so they're broken up into categories. There's creative, and there's also black and white ones. If you want those, then there's the curves. One. These ones I find myself using the most are curves and creative, and I guess color too que the curves. It's like none that's cross processing. So it's like a preset doing that cross processing stuff for you, flat one, lifting the shadows. This lifts up the blacks, so this is applying a curve on top of the curve. You've already done basically okay, and then there's There's also sharpening down here. You can do sharpening presets, so we were doing all this stuff manually. But there's also presets in here I'm gonna leave all the presets off for now. So we're just gonna leave this one important thing about this is you can save your presets right here, save settings, and then load him again next time. Okay, I'm gonna hit. Okay, so we went from the purple to this. I'm not even sure that's better. Some things I like about it, some things I don't. So we could go back in and adjust further. The other thing I want to show you is once you've made those adjustments, you can then copy this again. And that's when I would go in and say, Okay, let's use some of those presets now and just see what kind of results we can get. Like I like. I don't know why I like this. It's like an instagram filter. I have a hard time with those two because I'm like, I like so many of these and start for me to decide. I think that looks awesome. Okay. Anyway, so there's that now. So we went from this to this, and that's cool. You can get various different effects, and it's all just enclosed in there. So the reason I did these two separate is because I don't necessarily want to burn this in Aiken. Turn this down, you know, and say and minimize the effect a little bit. And I could even do another one. You know, like I could go filter camera, raw filter and say, Let's say we took the bright one, okay? And then we could take ZDF channel. Copy it, Put it up here. Let's copy that into a mask for this brightness one paste it here and then going here and adjust it. And I'm trying to get so the brightness is only affecting up on top of the hill, not down below If I hit. OK, so now that mask is going to do that for me now. It's slightly brighter up there on the hill, then down below. That's a pretty minor effect. But you could go on and on and on and with any of these. If I created him separate from the original, then I can mask them out too. So I can mask out this effect here on off, on off. So if I wanted in some places and not in others, I can I can use that as a mask Okay, so that's some of the ways you can use the camera raw filter. I think it's awesome because you can get all sorts of different effects. So again, I'm going from this to that dramatically different. So if that's the look and feel you're going for camera raw filters a great way to do it. And sometimes it gives you ideas for things you weren't thinking off. But it enables you to be creative and come up with new things that you weren't thinking about. But it gives you good results, and you can just intuitively kind of figure those things out. Okay, One final thought I I went back in and I readjusted. I used the camera raw filter again the way I wanted it. And I told you guys that show you had a mass Something's really all talking about is you can create how you want it. So this is the result I got this time, which I like, except for this really dull looking Sky wanted some of that blue back in, so I simply took this and masked it out. So I really liked the effect, but not everywhere. So I just made a mask and mast out the parts that I didn't want to be affected and kept the rest. Maybe I turned that down just a little bit right there that maybe I'd go back in and adjust the purple rocks to be a little more blue. I don't know, but I think I'm going to go with this result for now. So in the end, I go from this well, from from that to this. And we also saw how to go all the way to this, and my original rendering was this. Okay, looks way different. So little post processing can go a long way. So just experiment with those things. It's kind of up to your own preferences and interpretations of what you want your thing to look like. So that's the camera raw filter. I'm a huge fan. It can unlock your creativity a little bit in your post processing your finals 21. 20 Change The Look By Adjusting HDRI: Okay, now that we've taken this basically to a finished point, let's see where we can go from here. I mean, we've looked at force back. We've looked at making scans, We looked at all that stuff, and we've brought it all in and put it together in a full scene. But we can go crazy with the things that we've learned, the tools that we've already learned. We can kind of do whatever we want now to get all sorts of different cool effects to create different kinds of environments. So what I want to start with is to just experiment with different HD rise and change the lighting completely for this scene to get a different feel for it. So to do that, it's very easy. Okay, if I look at my lights here, as you know, I just have some basic interior lights and then I have a son to this guy. Let's turn him off for now and just get the h dear, I go on and then I have the hdr I which is this dome light. And so really, all I have to do here is or changes to the remap. It's your I and it'll give me all sorts of different results. Let's check out what we can do here. Okay, so let's start up bar I pr Okay, so right now, that's what the each day rise doing to get a little bigger for us. Okay, so that's what our environment light is doing for us right now, and that's cool. Let's get some different results. Remember, we had the sun on, too, so that was giving us the finished result that we eventually got. But just the environment light. It looks like this. So if I go to my very light lister, which I've created an icon for over here, you guys could do the same. Or you could just find it in your menus with the very light list. Iran, we can select the dome lights, which would be this one that says dome in. Select that. So first thing we can do is rotate it right. So with its selected, we can lock that selection. Not enough screen space here. Let's close this. Okay, so my light is off here selected somewhere. I'm gonna continue looking through my camera because that's what I want to see. Let's close that and put this over here. Okay, Now, with that locked in, I can right click in my view port and say Rotate and let's say so. It's at 1 62 right now. Let's put it at zero and see what we get. And our I p r should change here slowly but surely. Now the light on zero will be coming from the right of are seen directly to the right that zero degrees and the sun in the HDR images is usually right in the center. It will line up with whatever rotation you've got going on. So if your rotation to zero degrees, the sun will be at zero degree. Okay, so now the sun is coming from the right side and lighting up this rock face right here lighting up this. Okay, so that's interesting. We can also do things like open our material editor and take our h dear I, and we can mess with the inverse gambler like we've seen. Put it five. See what kind of result we can get. See it becomes much more purple. The sky becomes darker. It's just more contrast overall, essentially, but it's kind of harsh contrast to Okay, let's say the rotation goes back to if we go toe 1 80 were directly out to the left. Okay, so you can see that's pretty cool. Actually, it's lighting up in a very purple way. Is lighting up these rocks? Looks kind of nice. Okay, so you can get a lot of different effects by just doing this weaken. Turn up. Overall, you can also turn the Gamma way down and get kind of this overcast. He look, let's say that will put the overall multiplier at two for one. Okay, now, because that Gammas turned way down, you can see it's just a kind of a soft diffused light on everything said work for something that's more overcast. Maybe let's turn it down even more. Okay, so you get a lot of different effects here. Let's see what we can get with a totally different light all together. So that would be just replacing this map with a different one. So I have this list of HD rising here. I don't even know exactly what they are. It's giving me a preview over here on the right here. So here's one that's cloudy. Let's just put it in there and see what we get is put the Gamma again to like 0.8 and put the multiplier back up to 2.5. Something that so this is giving me a good indication of what that sky's gonna look like again. Here comes You can see that we're actually getting a sunny day looking, seen without even turning on the sun. Right? So just from the each year, I we can even get more dramatic lighting by adjusting that gamma again. Now our highlights will be much brighter. Could see. That's a cool looking daylight scene, actually. And the contrast between these highlights the sun, the direct sun and the shadows is more dramatic as we change that gamma actually like that . That's just like a bright, sunny day right there. Totally changes the feel and the look of our rendering. Okay, so the H Durai has a very strong influence on what you're seeing is going to look like, so that's an important decision every time. So I'm liking this. All they would do to this is going and probably adjust the succulence to be less saturated and maybe change the scatter a little bit and then just rendered this out in full. And it gives you kind of a sunny A sunny, bright day Wouldn't even turn on the sun. Looks great without it. Okay, let's try one more. H dear, I see what other kind of effects we could get. I'm looking at this preview here on the right. Okay, that's an interesting one. Like a stormy sunset. Almost. And you can see it change right away. Obviously, this one has different kind of lighting going on than are other ones. Because look at that. The Gammas obviously way out of whack, because the contrast is very, very high. One interesting thing about this the sun is a small point in the sky. So it's casting is very, very sharp shadow. And that's all coming from the light information in that image. That's it. Okay, so that actually looks pretty believable as faras. The lighting scenario goes, I don't like about this one how sharp that sun is. But you can see we've got the sky. We've got it lighting up this this face here. Let's put this at What was it? Negative 1 62 Change that A little bit interesting. So this Gamma. Let's see 0.95 maybe see when you put the gamma up closer to one, the contrast between shadow and highlight is almost nothing. Maybe that's better. It all depends on what kind of seeing you want. And I've seen sometimes where they use a different HD arrive for the background to make this sky show up how you wanted to and not burn out. And then you make an invisible each derive a 2nd 1 and then you adjust the began my however you want, you can do it that way. However, that will give you a sky that might look out of place because the actual light and your scene is not matching your actual sky. So I tend to just keep it like this and look at that. That's giving you a pretty nice balanced lighting scene right there with kind of a very bright sky, which is casting shadows. So this to me looks like a sunny day where the son has just peeked out from behind a cloud . So it's not super bright outside, but you can see direct light. Is there any way you can get all sorts of different effects here? then, of course, you can do things like adjust the white balance. See, now it's like a warm, sunny day. Right now, it's like a warm, sunny day can just the exposure something like that. And then in photo shop, you can added more highlights in shadow any way you can get a lot of different effects. Change the look entirely once you have an environment built now is when you have the creativity to go and change the look of it. You can add in more fog. You can do all sorts of things that giving you the tools, hopefully where you can just let your creative juices flow and do whatever your mind can imagine and actually create those imagined environments in three D. So Sky's the limit. Just use the tools that we've already used, and you can come up with all sorts of different things. 22. 21 Replace Megascans Objects: okay from here, We're going to take this to Ah, totally different place because it's easy to do that once we've set up our environment, how we want it. So all we need to do to turn this into more of a forest scene, which is what we're going to do, is change. What? Objects are being scattered because our scatters air already there. We just need to say, OK, scatter something else now. So we changed the look already of our seeing using aged your eyes, different lighting, and we're just gonna leave the lighting, as is for now. But now we're just gonna change the objects and get a completely different environment than our beach scene and turned it into something more of a woodsy for a scene. Okay, so again, I don't want to just be repetitive and show the same thing again. But really, what I'm gonna do is just show you which objects I'm replacing with, and we'll scatter some new objects and we'll get a completely different looking scene. So stay tuned. Let's get some new stuff. Okay. In my mega scans bridge, I'm looking at some of the things that I've acquired and you can search for what you want, but these are the things I'm using. Not all of these, but a lot of them. So in the woods, we're gonna have more moss on our rocks, right? So instead of this bear coastal rock that we have here where nothing is growing on it, we're going to do something different. Like it's a mossy rocks are log. Instead of being a bear kind of driftwood type log, we're going to get something with moss on it. We're gonna get some things like this. Some trees that have decomposed and fallen over tons of pine needles, some stumps, and then, instead of scattering like driftwood type things, maybe can leave that to. But we're gonna maybe do some pine cones and some little rocks, okay? And then instead of sand, weaken do forest roots of material that looks like this. I'm gay. Now again, that is something that maybe with quick sale mixer, we we need to add some variation to, or we can just do our scatters over the top of it so that it breaks up some of the tiling. So this plus scattered objects might give us what we need. Okay, so that's the kind of thing we're looking at. Let's implement some of this. Oh, instead of grasses, we're gonna have ferns to Oh, and you know what? For the scene, this would actually be something that I would use in quick sel mixer to add some variation and routes to. But my base material for my forest is gonna be this one, this forest ground. Okay, so it just looks like kind of bark and weeds and dirt, and we can add a bunch of variation to this by scattering things on top of it. Okay, So we could go into quick so mixer and makes him really advanced materials for our ground. I'm just gonna use this basic thing and then scatter a bunch of things with it. Okay, So those air what we're looking at for our forest scene. So let's kind of get started on some of that stuff. So the first thing we could do in Max is take this and let's just delete the the RIA displacement off of it. We can even select it and say with their live link, apply material to selection. Sure. Let's do that. And then just go into bridge and import this material four K that's great to export. It exported successfully. So now there it is on our scene. We need to make sure that our map is set up properly. Let's grab it into our slate editor here. So right now that ground is set to tile one, which means with our map here, we can change it to say, instead of real world mapping, we can say, set this. We know it's two meters by two meters. So for me, that means six feet by six feet. And there you go. Now our ground is there. The displacement is ready to go. It came in with the material. And so now that ground has been changed. Okay for this rock, what are we going to do? We're going to bring in a new rock. Let's say this one. And I guess we can bring in l o d zero. We could also go to download settings and say, download the high poly source and re download it so we can see that Elodie zeros at 10,609 tries, which is not that bad. I'd be interested to see what the high poly sources could be pretty bad for your scene, especially if you have multiples of them. I could actually adjust this to for our scenes. Unless you're doing real time stuff. You don't need all these elegies. You're probably for still shots and be ready. Probably gonna use L. A. D zero or the high police source so I could actually uncheck those to save myself time and memory. Now I have to re downloading. I now have every Elodie and the high poly source. Let's see if that can come in exported successfully. Remember, it's always gonna be a 00 See what kind of polygons we're talking about here? I mean, that's pretty crazy, right? But it'll look really good, too. So long. Story short. If you're seeing can handle it. Go for it. Okay, well, place this over here, bring it down into place. And the interesting thing about these is it comes in with a little bit of the ground. So you kind of just have to overlap. Make sure there's no edges showing when you place it here in your scene. Kind of like that. Okay, so then it just all comes about placing those rocks in a way that makes it look good in your scene. I could maybe use some other rocks like this one and this one. I will go with Low L A. D zero, because it's gonna be a little further back game. Make sure that when you import a new one, you don't have your old one selected because it will apply that material to the old one. Okay, so the new Rock would just place it over here. You guys have basically seen all this already? Just a little review with some new objects. The thing that's really gonna change the look of the scene is changing the scatter, and we'll do that in the next video. But there we go. There's some new rocks j like I'm like in a lot and just policing around till they look good in my scene to replace those beach rocks that we had before and then replacing some of the materials we're gonna put in firms instead of grasses, all that kind of stuff, and we'll see what kind of results we get. Let's go into the next video and adjust this scatter to make it more of a forest and well adjusted so that our buildings actually sitting in a forest rather than sitting out on a coastal cliff. Okay, let's check that out. 23. 22 Adjusting Scatters For Forest: okay, here's gonna be one of the biggest changes, and that is to change the tree and make the trees extend out on around our building. So for the tree that I'm gonna use here, it's gonna be an evergreen tree for a evergreen forest. And it's arc models. 1 71 underscored 36. So that's the when they were using We want to merge inthe e v ray version. Okay, so it looks like this guy here. Okay, so it's got this long, long trunk, some dead branches at the bottom, and then a force canopy up top again. We're gonna be dealing with the capacity map of the needles. It's really the only way to make a tree with a bunch of needles like this. And I only have one model you can You can get very different variations of the same tree or a different evergreen tree If you want. It's all up to you. But this will give us the result of you can see how tall that tree is. We might need to scale it down, but this way will be looking through trees and still be able to see our building. So this canopy won't be blocking our view at all. It'll just create a nice canopy for a forest effect. So I think it will work very well, actually. I've tried it. I know it works really well. Now, one very nice thing about forced back is that you don't have to worry about proxy ing this weaken. Delete the point. Cash. That's for animation. We just need to make sure that it's all one object and you want the pivot at the very center and bottom of the tree because everything is good there. That's all. One that it Polly. Every motion is very good at making things usable right out of the box. So it's already got very materials. It is completely ready to go. All we have to do is go into the settings of this scatter and tell it to get rid of these, visit park trees and add in our custom object, which we can just go here, click on done and click on our tree instead. Now we can see that our tree is being scattered. You can see that the size of it is much bigger than we had before. So what I want to do is adjust this line here so that the forest in ghosts are building. You see, my scatters will follow. Yes. Okay. Now what I'm going to do here is and I can add any note I want to this spine and just adjust it. I'm gonna leave kind of a bath way for the sunlight to come in and hit our building, so it highlights it. But other than that, there's gonna be trees completely surrounding our building. One thing you'll remember is that we had the trees scattered on this background, but not on this foreground material or object. So we'll need to adjust that too, and say OK, so the scatter is scattering there. We need to add this area to it as well. Where the surface. Okay. Now it's getting in the foreground as well and being controlled by the same spine. Okay, Now you can see we're gonna need to clear out some trees around the camera to let's just do that again with spline work. So he wanted to come in here, but then leave the cameras. So there's nothing directly in front of the camera. And then again, we can bring it right around the camera and just leave this corridor here has looked through the camera and see, we're getting okay. That doesn't tell us a lot yet. The other thing that we can do is when we get in here close to the camera, we can go play some trees manually, so we might want a proxy this after all, we can do that by saying I usually just make a copy of it in instances. Fine. It's already set up to be proxy it perfectly. So all I have to do is save your a mesh export. Make sure this automatically create proxies is on. Put it to where you want to go. Name it how you want and hit. OK, And what that will do is just save memory for us. Save computing power and you can place these manually in here just right by the camera. So, say I want a trunk of the tree to frame in my scene on the left side. I can just manually go in in place with a scatter. It's gonna be hard to get it exactly how you want it. So you can just manually place one in here. So that's gonna be right there. Yeah, that's pretty good. Wanted up closer, though, Like right behind those rocks. And again. The scale of this tree might be a little too big for our scene. We'll see. Okay, maybe right about there. Let's do some my PR and see what kind of results we're getting now. Care results are looking pretty weird right now. The trees don't look too bad. They look maybe too thick and two big. So it's just turning to black pretty quickly back there. And there's definitely not enough shade up here in front where we want this to be very dark and looking in tow. I want to look into our little cabin now as it's the only part that's getting light through that corridor up there. And this is old and shadow. So let's see what we can do to adjust that. Obviously, we still have to adjust our scatters to match a forest scene on a beach scene. Okay, so let's further just are scatter, and we'll do that by just adjusting our Splain more so to get a bunch of shadow in the foreground here, we want to. Well, part of that is because of our camera, right? So our camera is adjusting, what scatters we see, and we actually want to increase that angle so you can see we're only It's only scattering things where the camera is looking at, right? So that's that's the issue we're having here. We're never gonna cash aid on ourselves because we can't see where the shade is coming from . It's too far off to the left. So what we'll do is take this camera and we can expand the angle. And if you expanded so much, then kind of pointless Stephen have it on. Right? But that's fine. 1 80 even go even more. Yeah. Then it gets bunch up or in here. That's fine. Okay, lets see if that gets us, um, shadow, maybe to get us some shadow to weaken manually, place another tree somewhere at the same angle that are light is coming from. And somewhere out here, let's just bundle up some of these trees out here And remember, we can take one of our cypress trees that we had from before. It has a nice canopy on it. We can place that maybe even right over the camera to make sure and get some shade for us. So again, manually placing. Yeah, because these ones are so tall that they're not really going to cast a proper shadow for us . But these ones will and again, their off screen. So it doesn't really matter. Just there to cash shadow for us. Well, this one's not off screen. We want it to be, though, right about there. Okay, Let's see what kind of results were getting. Okay. The results have not been what I wanted. And that is because I'm working under the assumption that the sun was coming from this angle right here. Okay, so let's fix that. That puts it at not negative. 1 62 but positive 1 63 Okay, so that's what that 1 62? I think that's what it was before. So positive rather than negative. Okay, so there we go. Now, the sun's coming through this corridor properly and casting shadow. Hopefully. So let's check that out. Okay, so now the shadows casting as I expect. I don't really like this h terai. And I think we need to thin out the tree some because it's, like, super dark up there. Very creepy forest in the background. Okay, So let's continue to adjust and see what kind of results we get in the next video. We still have a lot of of scatters to change and things like that as well. To make this look like a forest, Let's keep going. 24. 23 Scattering Forest Objects: okay. I don't want to sound repetitive and just show you the same thing over and over again. So what we are, what I'm gonna do is just go in. And like I said, I'm gonna replace the scatters with new objects that look more like a forest. Gonna just, um, like we've seen before. Gonna just the tree scatters gonna just th your eyes, all things that I've shown you already. And I'm just going to see what kind of results we can get here. So just let me work for a minute, and we'll see what we can dio. And this is where artistry needs to come into play. All right, so I'm looking at those trees thinking those are too big. So let's do an overall a global scale. See those air at 1 30? What's do is global scale of 60. No. 80. Yeah, maybe there. And maybe we can, um, de density them somehow with the distribution again. We've seen this all before, So the distribution we would change it from 3 28 to 500. Maybe. Maybe. I don't know. I think maybe 400 feet I wanted to be a thick forest so that looks good. I like this little shape. It's creating here, too. We'll make sure that the shadows, air casting and everything like that we can turn on our fog again. Maybe. Which one should we use here? Let's just use our standard again. Make it active. Okay, then we're going to do simple things, like the fern. I want to replace the fern and replace the grass with these ferns. So l a d zero fine. I don't think there's anything higher than that on this one. No, l A d zero. And these are gonna be basically billboard plants. They look fantastic as their scan ferns placed on simple geometry. So they work well, its export that. Okay, When I imported the fern, here it is. And all I had to do was the material wasn't showing on it. So I just had to go and make the map show in the view port, which for some reason that bugs me when that happens. But there it is. There's the fern. You can see it's just simple geometry, and there's a bunch of them sitting on top of each other. So in the bridge, you can see There's multiples. Tell him So we just need to know what the names of those are. De bof Variation one L A b zero. And then when we go to are scattered, our grass scatter, which is this one instead of that we just need to delete that and say, I had a list of things. No, not that ad list of things here. And it's these three right here, Adam to the scatter. Okay, now we have ferns instead of grasses. Will have to render to see what it's looking like. And we're just gonna keep doing this until we've got our settings right. And you guys know how to do that. We're gonna make sure the objects look right for the scene. You guys know how to do that? Well, really, that's up to you. Your artistic license. I've showed you the ones that I'm using, and we're just gonna keep going until this looks like a forest. The succulents obviously don't belong, so we can replace those with something else. Maybe the fern is Well, let's let the I p r go and see what kind of results we're getting right now. Okay? I really like how the tree scatters looking. The fern scatter. Lot's horrible so far, right? So it needs a lot of work still, and other than that, we're just moving along here. I think we need to change the succulents, too. I'll show you one thing about what I what we can do with the succulence to maybe make that look a little better. Gave it the trees looking good. Remember, our fog isn't showing up because we're in the I p. R and not in a regular frame buffer. So that's what's going on there. Fog can change the look of it dramatically. I like how this little shape is being created right above here because their eyes really going to this area, which is which is good. We like that. Okay, let's continue to tweak a little bit with the succulents. I'm going to try and bring in an atlas and see how we can use that. So I have one atlas in here that is acquired. Its this guy. It's pine dah breeze. Okay, so this is in atlases, just a capacity map. Kind of billboard looking thing. OK, but it has the normal and the displacement map to go with it. Okay, so it's got it's got some good texture to it, but it is just a two D thing. Oh, here's some other things that would work in there. But I'm gonna show you how we can bring this in and possibly use it as well. So let's make sure we don't have anything selected in here and bring in this pine atlas que No, I did that wrong. We need to actually make a little plane in here. British had Upali. Now let's see if when we import that it actually applies that onto there. So we'll export that into here. Actually, just material. That's it. So in the material editor, we can grab this and we can see now that this isn't used. This atlas is applied to our little object here. You want to make sure it's tiling just once and fitting on there properly. Okay, so tiling wants onto this object. So there's our little atlas. It's got the very displacement on it already. I don't think we're gonna want to use that because that could get crazy and are seen. You can leave it on if we want, but really, we're just gonna scatter this around like this. So just a bundle of by needles. Let's name it pine needles and down here with our succulence, we can change that to pine needles. So if I go here, actually, let's go to Forest Pack and see if I can find my succulents. Yes, let's select that. And instead of all these succulents, we can just replace. Replace them with my pine needles, which will be here, had it, and we'll see how this works. I'm not sure it's gonna work. Well, we'll see, though. Okay, so now that's just like piles of pine needles. One thing we want to do is on the areas. Let's see, where is this setting areas? We want to make sure we're following the contours of the ground right instead of staying flat because it's just a flat plane. But we don't want it to remain just sitting there flat. We wanted to follow the effect of our terrain. So instead of so in under surfaces, we would just go to where it says direction, that saying up we wanted to actually follow the normal, and you can see how that's changing. Now it's down straight up. Follow the normal. Okay? And then we'd want to transform its in our transforms the rotations air Fine. But we'd want to transform it up. 55 maybe maybe two or three. So just barely above the ground. Maybe something like that. Let's see what kind of results were getting with with all of this. And this time, let's do it in the actual frame buffer. Okay. One thing to note when I rendered was that as I imported that atlas, it didn't automatically apply the opacity map. So I just needed to go in and manually apply it for whatever reason. And that's just something to note. Okay, as you can see here, if you look on my scene zoomed in, you can see there's now layers of pine needles that are formed up against this rock, and it looks ridiculous right now, but that's just a matter of adjusting are scattered. So it's not so dense, right? It is. The effect is working. And again, we're just gonna have to go in just our scatters. So I don't want to go through all this again. That's what we did with our beach scene. So I'm just going to pause my recording go in a. Just a bunch of these scatters replaced some of them with other kinds of objects for more forced like objects. And then we'll pick back up again. You guys can do the same. Use your own creativity, had whatever you want and then see where you can take it, using mega scans or whatever objects you have and see what kind of results you can get by using the exact same techniques and tools that we've already been using throughout the course. So we'll pick back up in just a minute with him or complete scene. 25. 24 Rendering Final Forest: with a few additional adjustments. I've taken a few minutes here probably 20 minutes or so. Just adjusting the scatters, adjusting the trees just in the fog, The lighting. I changed the h dry. I did all the things that we were doing to get everything right on our beach scene, but now getting a ride for how I want it on my foreseen. So again, this comes up to this comes down to artistic preference, basically. So I'm using basically the same composition we had before and thinking about what will what will look nice in the scene. I'm using this this tree here to kind of frame in our view into here and this where the sun is hitting this tree. It kind of frames in the building as well. One thing I don't like that I can see being generated here is the very, very bright spot on this little stump I put in and this rock here So I would go back and change That added some more mega scans stuff. Basically, that would be this. And this other stomp, which is here added that in one of those in there as well. And that brings up a good point, and that is that The key to this is building layer upon layer of realism and detail. So you saw before I showed you how I'd put some some pine needles in here which look kind of dumb, actually. But it does add a little layer on top of this basic ground material, and then when you scatter, you can scatter pine cones and other things. You just keep building layer upon layer, and it it will look very real because each object individually looks photo realistic and and you add more layers of that photo realism, and it just looks more and more believable as you go. So especially on a forest floor, you will have. You have little chunks of bark and wood and pine needles and pine cones in rocks and pebbles so you can just scatter all that stuff so you can see this trail here would have all sorts of different things scattered in it, and I adjusted my ferns so that it's much bigger and really taking up a lot of a lot of space in here so you can just keep going forever. But I like the overall look that I'm getting here, where the sun is really just shining on that building and it looks fantastic. It really stands out. And when this is done rendering, I can take a look at it. And I could probably go into photo shop and add additional atmosphere and depth to this scene. Using the same techniques we used with the beach scene may be easy. Death, maybe some atmosphere. Speaking of atmosphere of my fog is looking kind of like that. You can see as you look through the trees, you're getting a lot of fog going on. Okay, So, again, using all the same techniques was a little bit of adjustment on your scatters and things like that, you get a totally different scene. You can continue to play with the settings of your fog. You can play with settings of your scatters all those things, and I'm excited to see what you guys can come up with. You can make a totally different environment to mega scans can make that pretty easy for you because they've scanned all sorts of different things. So I'm gonna put a place where you can post your images for the course and I am very excited to see what you guys can come up with, using the techniques and tools that I've shown you in this course. I've shown you how we can go from a beach scene. Changed the lighting in the beach scene to a totally different mood than we can change the entire environment overall, using all the same scene essentially and just scattered around different models. So I hope that's really useful to you guys. And what I really hope is that it inspires you to come up with tons of ideas of your own, and I'll put a link in. The resource is for this particular lecture to go to a place where you can post your images and I'll try to feature some of those images on Instagram and to you, Timmy students and on my website, whatever but long story short, I'm excited to see what you can create, what kind of environments you can create, using these tools because pretty easy to just be creative and the workflow is simple, and it's easy to just experiment, change your mind and do whatever kind of creative things your mind can imagine. So that's it for now. Thanks for hanging in there, and I hope you've learned a lot