Animating your digital 2D art with Lightwave 3D | Chris Scalf | Skillshare

Animating your digital 2D art with Lightwave 3D

Chris Scalf

Animating your digital 2D art with Lightwave 3D

Chris Scalf

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
18 Lessons (1h 35m)
    • 1. LW Modeler Overview 1 interface

    • 2. LW Modeler Overview 2 Toolbar and Tabs

    • 3. LW Modeler Overview 3 display

    • 4. LW Modeler Overview 4 Numeric Panel

    • 5. LW Modeler Overview 5 edit modes

    • 6. LW Modeler Overview 6 drag tool

    • 7. LW Modeler Overview 7 mirror tool

    • 8. LW Modeler Overview 8 stretch tool

    • 9. LW Modeler Overview 9 rotate

    • 10. LW Modeler Overview 10 bandsaw bandglue

    • 11. LW Modeler Overview 11 move tool

    • 12. LW Modeler Overview 12 size

    • 13. LW Modeler Overview 13 center

    • 14. LW Modeler Overview 14 layers

    • 15. LW Modeler Overview 15 surface editor

    • 16. LW Modeler Overview 16 UV map

    • 17. LW Modeler Overview 17 transparencies

    • 18. LW Modeler Overview 18 LAYOUT

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class


Here is the first introductory tutorial to my “animated painting” 2.5D animation process. This is a basic overview of all of the tools that I primarily use in Lightwave Modeler, as well as a tutorial on how to create your first scene using 2D digitally painted art created in Photoshop. I will be adding additional video clips to this collection showing more tools as people have questions regarding them.

I will also be adding my own expanded clips as needed, revising, or adding additional info as it comes up within other separate tutorial videos.

Please email me with any questions, or if you do not understand something I say/do in this video.

(you can download 30 full trial of Lightwave 3D at )

Thank you for your support!

[email protected]

Meet Your Teacher

Teacher Profile Image

Chris Scalf


Hello, I'm Chris Scalf.

I am a professional illustrator/animator working mostly in the commercial art industry. I have also done some published work in comics industry and science fiction and fantasy books. A lot of my followers previously knew me as CGSBGS on youtube, where I showcased a lot of dragon speed paint videos in the mid 2000's. I will be adding a lot of different videos and tutorials on here, anywhere from traditional medium to digital, and animation/3D. Please feel free to reach out to me and request specific tutorials you would love to see!

See full profile

Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Your creative journey starts here.

  • Unlimited access to every class
  • Supportive online creative community
  • Learn offline with Skillshare’s app

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.



1. LW Modeler Overview 1 interface: Okay, so this is Lightwave modeler. And this is the basic interface. The default for view ports that it opens up with and the default settings are this one here , upper left hand corner is the top view. Um, the bottom leftist, the back view bottom right is the right view and the upper right as the perspective window . Um, I prefer just to use this arrangement. A zit comes and default settings, but you can go in and, uh, drop down the menu and chains the view port. Have any one of these to any of your liking and make your own preferences there if you like . Um, I'm gonna create a quick object here a box just to show you also that, um, you can also change the, um, how you view the object. Right now, I have a non textured wire in the perspective window and in the other three view ports, it's just set a wire frame, but you can You can also alter that you can change this one here, just a texture or wait. Shade, smooth shade, flat shade. Why your frame shade hidden mine color, way frame. And you can also just make this the wire frame as well. I usually prefer to keep it on texture wire most of the time for when I to my various editing. And so you can also change likewise in all of these other view ports as well. The same options are there. 2. LW Modeler Overview 2 Toolbar and Tabs: over here, you have your toolbar over to the left and up. Here are your modeler tabs. Um, the various functions that the program offers for editing and creating objects. And it's not unlike, say, you know, other Softwares use. For example, photo shop where you have all of your various tabs at the top you dropped on menus, and when you hover over any one of them A, you know, a bunch of options come up. Um, that's very similar to what you got going on over here. You got your various options. But instead of a drop down menu, you, you know, to buyers over the last few could come on. The toolbar changes. That's just a a simple way to, you know, do this. What? The program doesn't become too complicated. You know, learning a three D program like this could be overwhelming. There's so much information. So I always look for a little similarities like that to make me feel like I'm at home with the stuff I'm already familiar with. 3. LW Modeler Overview 3 display: All right, I'm gonna go ahead and, uh, delete this cube here. And, uh, we're gonna bring up the display options by clicking the D key on your keyboard and with the display options, you basically have a bunch of options for her setting up how you view a lot of various technical stuff in your view. Ports like, for example, under layout, you can change the the configuration of play out. And there's a lot of settings for changing the colors when you're using the tools, etcetera. But right now, I'm just gonna touch on the real basic stuff that pertains to my workflow. And first of those on the display options at the interface. I'm using a Mac, um, and tools three tablet. So I make sure that that's, uh, clicked here to use the miles you're gonna wanna click, Miles and um, and then the other thing is the backdrop. Sometimes I like Teoh put an image here in the background Teoh a reference if I need to make something really accurate, like making a car or you know any specific references to me. Creatures are animals, so you can import photos or drawings, and you can actually set it up in the background of your view port and build your model over top of it. So, um, that's an important, uh, function of the display options. And right here, you see, like, for example, if I bring in something to create right here, I'm gonna probably want to do the front view in the side view or the back view on the side view. So I would, you know, go to the bottom left hand few ports and, uh, me to bring in an image Someone go here to the side, but the toolbar and click on image editor I'm alone. An image that I already pre made for this tutorial. And it's right here. It's a dinosaur image. And, uh, don't bring that into the image editor. Once it's brought in. You can see it there. I can close that. Go back over to my display options and, uh, with the bottom left view port selected under backdrop to have I could know So I can come down here to the, uh, to the image settings and drop that down and picked image. And there it is. See it pop up down here and then I want to put one over here as well. So I'm gonna click on the bottom, right. And there it is. Okay. And I wanna hold down my control, but zoom in on that. Take a look at it. You can see it. I'm actually darkened. The Yemen's down so that because it's really hard sometimes to read some of the information . Like when you're some of the vergis ease aren't really hard to see because they're very thin white lines. So I just a dark and down payments. We could see that a lot better, but I'm gonna go ahead and believe that and bring by display options Back up. Um, they also want Teoh center these images, so they're in the same place. That's what we would do for that is like, I want to center this over the over the access right here. X y z axis right in the center. Something that go here to center horizontal and, uh, scoot that over. Scrubbed that right over. And then same thing with this one over here. I want to scoot this guy this way, Make a nice and centered like so and then, uh, it just checks on me. Looks like I accidentally hit that Knocked out the little Here we go now they're the same size Um so once it's all set up and you got it configured how you want it, you can Then go ahead and save Save this backdrop because the next time you open up a light wave it's not gonna be there. You're gonna have to reload the configuration so you can click on this presets top down right here and hit save all backdrops, and we'll just call it die in the sore. And I'm gonna put that in my, uh, tutorials father right there and you'll see that it shows up dinosaur dot CFT config that saved in there. So the next time you go to look for it, it just feels going here and loaded little backdrop. And there it is. So I want to close the display options now. And now that we have this set up, but what I can go ahead, start creating some polygons over top of this and go ahead and create this image with the the artwork behind it is reference. So just for a quick overview, I just wanted to show you that I'm not gonna actually work on this right now. We're gonna get back to this. I think when I need to show you first is, uh, all the various tools I use for modeling. And then what? We'll get back to this and we'll start from scratch. 4. LW Modeler Overview 4 Numeric Panel: Okay, We're gonna gettinto some of the tools on before we do that. There's a couple interface things I still need to show you. First of my create tab in the most slick box. And I'm gonna just draw out a box in the back feeling and the right me. I'm gonna pull the stretch the box out. That's Cube. Okay. And now, before I hit return, And then I hit the n key on a keyboard to bring up the numeric panel What you could do in the numeric Panelists set the number of segments, sizes and whatnot that you need for your object that you're making. Um, for now, I'm just going Teoh bump up the segments and each and make it three by three by three in the X y and Z, um, did you concede you could just scrub this and make his many as you want on all A woman just really can customize your own shape. But I'm just gonna do three by three by three for right now, and then I'm gonna get at her or return. And with that close the numeric panel 5. LW Modeler Overview 5 edit modes: Okay. Now, um, there's, ah two ways you can work on your geometry. Um, first, it's the straight up geometry that you see here, or you can hit the tab key and turn it into sub patch mode. And basically, you see, it kind of turns it into, ah, like a big block of clay so that you can, you know, sculpt and edit on that, um, but before we go any further on that, one more thing I need to show you in the interface is the editing modes up here, you'll see. Um, there's there's, uh, three modes point mode hedge mode, and PolyGram own hitting your space bar. While you don't have any tools selected, just basically toggles between those three modes. The first mode point mode is you see the little crosshairs. Basically, these are the points you can edit thes points. You select them, you can right click and circle. Um, and, you know, select him to move around and what not? But that's what the points arts to the corner of the actual overseas and, uh, use those do sculpted Look around. It's next motors edge mode, the same thing. But you know, you can you use Thea? They can move him around, but it's just the edges of the the courtesies. And then the 3rd 1 is the piling on mode, which is Thea actual four sides, the polygons themselves. And by clicking Adam, clicking and dragging your mouth, you can select, you know, a bunch of, um, you know, all downshift and just click on each toe individually toe select. You know so much about like this, and, uh, you know, when you select them, you can also de selected by hitting the forward slaski. Um, but by selecting him, that's, you know, you can do all the different ending methods such as extend moving around with drag, tool or stretch. But we're gonna get into the all these tools in a moment here. But I just wanted to show you the petting modes first. That's very important. Using that a lot just smack in the space bar and, uh, going through all these different energy modes 6. LW Modeler Overview 6 drag tool: All right, we're gonna take a look at the drag tool. Um, the quick key commanders control T, or you could find in the menu right here. Translate under the modified tab. First, I'm gonna go ahead and create a box and, uh, expand that in the back in the right view, mostly gonna line up my, uh, center right on the X axis in the back view and the n key again to show you that segments explains e I have picked for segments each and I'm gonna hit enter on camera hit tab to go into sub batch mode. And the reason I centered that on the X axis from the back view as I want toe klik aan symmetry and, uh, show you how how you can sculpt cemetery mode, how it basically affects both sides. And you can simultaneously sculpt both sides of an object. This is very handy. And as you can see, you can pretty much, you know, without anything selected, you could just grab the corners and from this shape around, just basically, uh, grabbing the corners of the poly's 7. LW Modeler Overview 7 mirror tool: And, uh, if you, uh, happen to start your project without going in the symmetry mode, let's say you got besides to start matching the sides different than the side. And yet you want toe, go ahead and resume working in symmetry mode, you can use the mirror function and, uh, basically, to do that, make sure your symmetry motors turned off, hold down the right mouse button and circled the probably guns of the other side. And then go ahead and delete that side and then, uh, wondered, Multiply and click the mirror. Oh, function under duplicate. Just click away through my thing, go back in the points mode and, uh, select these points down the center of the X axis, and then you're gonna wanna hit the V key set value. What that does is it. Make sure that all these points are lined up right now in the center of the axis. Okay, so I just circle that he selected or even nature forward Slaski. Circle it with your right mouse button or de select with the Ford Slaski. So let's go back to the mirror function will click on that in there it is space bar to drop the tool and there we go. I can click on symmetry and can resume working on your character or object, and that's the miracle. You can also do the same thing with the other axes as well. 8. LW Modeler Overview 8 stretch tool: Let's take a look at the stretch tool that's under modify. And that's gonna be the age key for the quick in command that said to you till it looks like right there. One hit space by to drop the total real quick bills. I can select some points first. Um, well, im just like some polygons. First, I'm just gonna sweep over this chunk of Polly's right here. I'm gonna hit age to select my, uh, stretch tool. And in the center of it, I'm just gonna hold down control and to show you that basically what it does is stretches. You know, click on it and drag your mouse for your pan. And basically, it just it stretches your, uh, publicans. When I hit the excuse me, the space key to drop the tool forward slash to de select and going points mode. And then I do the same thing. I'm gonna select the role points and again in stuff you could just, uh, drag your mouse clicking it and it stretches the point same way. But you can also use it to straighten out services if you hold down control and drag your miles straight up straight down. Actually, it's straight down. Can you can actually, uh, straighten out surfaces? I'm calling the poly mode here. It's like the top of this thing and hit H pickle back in the streets Tool. And you can see how you just pull it straight down holding down the control button. It's straightened everything out. So I like to use the So I like these stretching tool not just Teoh. You know, resize and stretch starts parts of my objects out. But that's a very good tool for, you know, cleaning up some of your, uh, your points in your volleys. I think it's a select aside and just clicked. Uh, h and hold down control at this point. Uh, I was working on vertical ongoing to the moving my mouse cursor to the right. Now control points mode. Right click. Uh, hold on. Right, Right. Mouse button. Circle the points H for stretch. Hold down. Control. Move your mouse down. Space part to drop the tool. Forward slash To de select again. Right. Mouse button, Hold down. Right. Mouse button and, uh, circle the points that you wanna modify it. H for stretch hold down. Control. Click tag mouse straight down space bar to drop a tool forward slash to de select, and they will do this road. Um, see if I selected the right one. Looks like I might have at the corner ones in there accidentally. Okay. H key for stretch. Well down control. Uh, click the mouth straight button. Well, but straight down, uh, space bar to drop the tool forward slash Decide, and I'm going over to polygon mode and, uh, straighten out this surface here, each stretch. Hold down control, drag the mouse. Uh, hold down the mouse button, left mouse button, and drag the mouse Left your space party dropped the tool and boards last to de select. We'll straighten out this side now. H for stretch down control and, uh, move the mouse laugh. Holy mountain. The we must space bar dropped the tool Forward slash d slight, man. So far, somebody go ahead and do these with you back the points mode. And, sir, please do the same. You'll see that sometimes I hold on the right mouse button and circle it to de select as well over here in this view, H Oops. Wrong view. Here we go. Select anyway. That's, uh, that's neat little trick for straightening out cleaning up geometry using the stretch tool . And again, the start still basically is her stretching. You can just select anything and stretch it outward inward. It's pretty handy tool. 9. LW Modeler Overview 9 rotate: Okay, let's take a look at the rotate tool under modify tab. Or you could help. Uh, y key and the there's Thea. I can't for the rotate toe. Turn off cemetery for a moment here, and you can see you can just rotate with it. You can also select polygons and y for rotating. You know, rotate them like that. You can, uh, cemetery and, uh, take them like this. Um, Anyway, that's the rotate tool. You can use it all the modes as well. You can select points and also rotate them. 10. LW Modeler Overview 10 bandsaw bandglue: okay, Another favorite tool of mine to use this when I used to increase the polygons or the points it's the band saw pro It's goes to right after don't have anything selected but basically in polygon mode, you select who were more polygons in the section of polygons that you want to divide and click on bands. All Pro you could bring up here America box, and you can move your dividing line back and forth, depending on where you want. Cut the rule polygons To stop either type in the value or scrub it. I'm just gonna go halfway 50% and then, uh, hit the space bar to drop the tool and ford slash de select. And if you go back in the points mode, you'll see that it has the point selected from your last bit of work. You just did with that tool. And likewise, you can also minimalize the amount of Polly's in opposite way by clicking on your construct tab and go to, uh, there's others, uh, to a called band glue, where you would do the same thing you would if you wanted to go. Uh, simplify that back down. He would select the to, uh, polygons opposite of what you did last time. And, uh, he would It's like those and go here and click band glue, and it would put it back. Same thing. Do it here. Bangu. See, it just basically simplifies the geometry. 11. LW Modeler Overview 11 move tool: under modify. There's the move tool, which is also the just the letter T, and that's literally just just move it, move things around, remove your object or on a poly mold and select a poly in a move that, um, something with points mode, like the point multiple points above them. But that's that's the move tool. 12. LW Modeler Overview 12 size : Okay. Another tool that is used commonly in my workflow is the sighs tool under the modified tab . And basically, that just is, uh, used to resize things. You can resize your object or again select your polygons. Besides those, um, you know, however you want to do it. That's the size, tool, shift age. 13. LW Modeler Overview 13 center: Okay. Another commonly used tool in my workflow is thes center. It's under tool, basically. All that is, uh, if you know, working on some stuff. Exactly. Somehow I started modeling something off to the side or you were working on something in the metal on you. Build something off to the side and deleted the original model. You you'll forget that you're not centered. I think I need to be in the center of when you animated. Could you need your pivot point to be recorded in the center of your object? So, basically, all that is center all and it makes the object go right back to this interview. Main access. 14. LW Modeler Overview 14 layers: up here are your layers. There's a lot of different uses for those Give you an example. Let's say you want to copy paste section of this somewhere else so you could work on it without altering your actual object. Could you know they wanted to copy this chunk? Here it control, See? And then I would click on the second layer and hit control. Be and you can see it. Just copy that piece over there, but in the first layer, the original object is still intact. Um, click on the second layer. You can also click the bottom of the first layer or any of the other layers. If you have a lot of stuff in all these layers, and it just shows you a black wire frame preview of the other objects and the other layers whichever ones you have selected so you can use it for reference or whatever you need to dio. That's one use Another use would be if you wanted Teoh, create a separate object, Um, that you can animate completely separate from your first object. Maybe they just two separate parts, like a wheel on a car or on object that a character is carrying or interacting with, Uh, would, you know, go into another layer and create that object there, and they would exist separately from each other. But when you brought it into the animation part of lightwave, the layout program, you would be able to, uh, work on them separately. 15. LW Modeler Overview 15 surface editor: Okay, let's look at the surface editor. Now. I'm just gonna go back to my first layer. Will mess about this cube here, go into a polygon mode. I'll bring up surface editor. Um, another thing you want to do once you create your objects that you want to name them. And by doing so, you hit the cuchi. It says change surface. And this is where you would name your objects. I would just type in cube and check on smoothing to keep the smoothing on the sub patch. Say okay to that. And it appears over here under the surface name for right now. And you can change it. Make a double sided if you want. Um, there's all these different parameters for, you know, adjusting the three d she aiders and what not. And likewise, you can also select um, certain sections surfaces of your objects and make multiple surfaces hit queue again. You can change the color. I will say queue beside, but kind of swatch pick a color. Um, okay to that. And then you can see now you have ah, cube cube side, and you can keep going on and naming as much of it is you need for whatever your project requires. Just again. He que And you even have a big color cause when cube side, too, and it'll it'll default over the last color swatch you used, um, you could go back in and change the actual color if you need to. Um and, uh, yeah, my favorite thing to use in the service editor for my, uh, and a Matics animated paintings is the I like to switch around the luminosity and diffuse, which basically turns off the three d She aiders just said No obvious at each other. Onda basically kills the the three D and it just looks like a flat object. And then what I do is I project my are not, so you can see that there's no shading there that looks just like a almost a cartoonist. Three D three d object 16. LW Modeler Overview 16 UV map: You can also make UV maps to project images on the side of your object. I like to use my top view as my UV window, so I'm gonna switch it over to you, be texture, and you can see a grid that's basically the map for images for UV maps. To do that, you go down here, you click on T for texture and you go to this dropped out and you click new. Let's say we wanted to put an image on top. That would be the Y axis and the map type we're gonna say plainer and some tap some patch interpretation will make that be some past since our object with some patch and we'll just call this top. But also select the top and, uh, create a new map from just the selective Polly's. And it would look something like this again wrapping up your, uh, here you'll be map maker, the Plater and sub patch, and it would look something like that. It kind of gets a little wonky, so I find it better just to, uh, go ahead and just let the whole cube be in there and I will also go ahead and make UV maps for these side as well. And this one will be easy. Sub patch. You call this side and then, uh, make another new one. That's when the baby hex access. We'll call this one side too. Once I have my UV maps. I don't like to enlarge this window. So man on it pulling now control Holt clicking my mouse button and, uh, like to take a screen grab of it among the max. What? That would be shift commands three and, uh, and then go to my photo shop. And then I open up the screenshot said my crop tool and go from corner to corner zoom and make sure the corners are lined up way turn. Then I hit command I, which reverses the tones, inverts the colors. And then I hit command alpher levels pump up the whites, and then the blacks say okay to that. Copy the layer. I switched my black and white swats and fill the bottom layer or white top player. Select with the magic one Sexual white select. Similar. Cut it. So I am a floating, uh, layer of the lines. I locked that line and I fell it with something like blue. And there's my map. So this is my, uh save it in here. So see, uh, which one is this? May go back. It's aside to. So we'll say this is side to UV, and, uh, I save a PSD version of it. And whatever image I want to put in there, I'll bring into this photo shop document. Let's say it's the, um I'll just bring in this dragon here. I said it right here. But underneath the map lines, that sounds like See my map lines and not just position, however wanna, however, wanted mapped onto the object once I got it where I wanted, I'll turn off the grid lines and save Iggy. Pick version of it side to UV. Go back in the modeler reminds that window and Uncle Image editor load, and there it is. Bring it in. Now we go back to our surface editor. Can we look for Cube Side, too? Then I click on the texture button here on the color, and then I look projection. It's a UV map, and the UV map title is side. To see that down here and the image I just brought in his side to UV. Then you see, it's projected on the side. Um, we turn the transparency back, back down. And, uh so there it is projected on that side. And so likewise, I would repeat the process for the other sides. Go down to the texture. Then you down here. And I would just change the map and once again take a screen grab, bring it in the photo shop and do the same process that bringing the image and project on there and in there. Now, that's how a, uh, tell the UV map processes. 17. LW Modeler Overview 17 transparencies: All right, We're gonna take a look at the transparency channels now in the service editor. Um, first, I'm just gonna go into the create tab. Click on box. I'm just gonna create a big flat box hit, Enter and, uh, textured wire up here in perspective. Ning. See, it's just a flat panel, one sided, and, uh, I'm gonna hit cute, remain the surface. I'm just going to call this seen element. I'll say okay to that sound. And then what we're gonna do is we're gonna take a look at some artwork that I've prepared to put into this panel to create a, uh, dynamic sigh If I seen with just using flat two D images and transparency channels before we do that, um, I'm gonna make a UV map of this box first, Change my top view upper left hand of you port to UV texture. And I'm gonna go down to the T for texture button down here, click on the drop down and click on New. And I'm gonna also name this seen element and it's gonna be a plainer It's gonna be in the Z axis. Just gonna leave it on Linear. And there it is. It's created right there. I'm just gonna leave it one big square. So now we're gonna go over to, uh, photo shop and take a look at the image that I have prepared for this, uh, transparency demonstration. Okay, in this, uh, illustration photo shop document that I have to take a look at it. Um, well, just review the layers I've set up. I'm starting with the bottom, which is just white. And then I put a background sky for the very far background. There's a clouds layer. It's right here. Have to move it a little sequence. See it. And there's another cloud layer here, and it's gay. And I went ahead and, uh, pushed some of the pixels outside of the canvas. You'll see. Why it a bit. Then there's a mountains layer mountains. Five. It's called, and there's in front of that mountains for and in front of mountains for our created a missed layer. And then in front of that one, there's a mountains three layer, another missed layer the mountains to and then mountains one. And this is pretty much just a work in progress illustration. I don't think I don't think I'm done with it yet. I'm gonna finish it, Mawr, But I'm gonna go ahead and use it right now for demonstration purposes. Um, illustrated. It just is one flat image in layers. But I am going to expand the canvas size to give it some bleed room, and you'll see why in a minute here, I will say maybe 18 by 12. Why? Just give it that extra bleed, and I'm gonna turn off everything except for the background sky layer. And I'm gonna when I go ahead and give that some, uh, some extra bleed. Just kind of pushed that out a little bit here. I did notice that when I expanded the background canvas, I should have made sure that my background swatch was white, but no big deal. I can just go there. Fill that right now. We're gonna keep that bottom layer white at it, Phil. Okay. Oops. So I'm gonna just expand this out without damaging in it. The existing art spring up that, uh, sky cover up here. Maybe a little bit of dark, like so. And then I'm gonna grab the smudge tool set toe hard, edged a round brush. I'm just gonna push these out on both sides here? I think so. Same thing here on the other side. And then, uh, I'll just grab this here. Copy, paste transform. Just bring that down. Okay? Emerging down into this background layer and there we have that expanded. Now, the reason I did that is because, um, my clouds layers some of these other layers they need to be. We don't want him to be cut off. If they're well on A has a hard edge on here. When we bring it into lightwave, you'll see that a moment. But first, what I'm gonna do now, I'm gonna save each layer as its individual J pay will start with the background and we'll call it scenery. So if I seem to relate with one right, So if I scenery back ground and, uh, next one will call it a 10 on the layer will call it clouds too. I should probably say this into the, uh, same folder. Oops. I accidentally changed theme of my Photoshopped file. Well done, Certify scenery. Here we go. Okay. And that was actually clouds to Okay, Now we're gonna turn on the clouds. One layer, save it as a J peg odes one and then the mountains when we need to also believe that out a little bit. So I'm gonna grab this smudge tool and just kind of create a loose, faded can about feathered out detail. I think so. I locked that later. Get rid of this. Goes to little edge down here, sample some of this dark and just go over that. You know, that's burger camp. So we'll save that out. Has J. Paige sci fi Siri, my own Timmons five. Turn on the, uh, Mountains for later. Same thing. Smudged that out so it doesn't have a hard edge. That was a J peg. Peter. It sounds like it's really ramping up doing. Have you worked there? Making noise open? Doesn't get till out on this video. Turn on the mist to their same thing. Scenery missed to We turn on the mountains. Three market. Smudge it out. Keeping the hard edges. Three j pay. Turn on the mist. One layer. I say that out. I missed one. And then we're down to the mountains to unlock smudge hard edges it again. Cool that weight. Save it bones too. And then Lastly, we have mountains, one J Peg Mountains. Okay, Now we need Teoh. Go back saving Alfa Channel version of each one of these layers. So I'm gonna turn all of these off, and we don't really need an Alfa Channel the background right now because it's pretty much takes up the full square for work tingle from. But we do need to make an Alfa Channel each one of the floating layers, so we'll start with clouds. One moment it was Copy that rename it Alfa, and I'm going to de saturated image. Just do you saturate What is it right down here which is shifting? Tell you and, uh, shift command, you saturate. And, um, I'm gonna say that out, actually, before I do that Mina, turn off the lock. It's one erase of that heads there. So we don't have on the hard edge. Turn off the color layer. All right, there we go. So now we have There are Alfa layer and our color layer, and we just want the Alfa to be the black and white on the background. I have just a white canvas. We say that as clouds, too. El far. Don't chafe that off I m pei with clouds. When we copy it, turn off the color rename the, uh, the layer the awful air saturated shift command. Um, I Mac book and, uh, save it. Clouds one petal phone. Turn that off. Copy mountains, five off the color, renamed the Layer Mountain's five. Alfa de saturated. Now, this one we got, um, we had to go in and level that make it all black UK there hit and it filled with it locked . Or you could just level it like I just did Levels on and slide the left slider over. This is Mountain's five. Helpful. Okay, something again. Mountains for de saturate Turn it black J Peg Mountains for l foe. And then now we got the mist. Copy that, Saturated turn it dark Save J Peg that one has missed. Oops, miss Too Alfa And then we got mountains three Saturate it black Save it, J Peg Mountains three El fa We got missed one Oh, I forgot. Never got to rename its moving too fast I actually don't rename these layers. I'm just doing it to try stay organized Haste for this tutorial process the viewers All right, d saturate turn it black And then we name that one. Missed l foe Save it. J Peg missed one pill for mountains too. Copy. Exaggerate the name. Oops. Helpful Dark in it. Save it. J Peg Mountains to you Notice I'll just click on the previous titles of some of the Type it with everything. We tape everything and then I go in the tape in the word Alfa Saves time Mountains one saturate Rename it for how Well, Dark in it. Save it, J Peg. Finally previous title it was one Click out it and then just put on the word Alfa. All right, we are ready to bring all of these elements into Lightwave. Back in the lightwave modeler, we're gonna click on Image Editor load. And we're gonna load all of those recently made J pegs for the SciFi scenery and seem all here on the most recent datemodified file saved, and we're gonna open those up. Bring them in. All right, now, I'm going to, um I'm going to start by renaming this. When I first made it, I just by default named it seen element. I guess that really wasn't necessary. I more or less did. That is a linear thinking type process. I could save it and put it away and bring it back open again and use it as they work file for what we're gonna do. Solemnly seen element. Um, I'm gonna bring in. Well, go put this, uh, service senator and, uh, image editor. We brought it all the images. You see him here, and I'm just going to start with, uh, start with the foreground elements. Which the 1st 1 waas Uh, let's see Bitterness. It's mountains one. Okay, so let's go back over here, and it's open up service, senator. And let's name this Q for service, uh, editor change surface to mountains One, I will say Okay to that. I'm gonna go ahead and turn off a three d shader because this process strictly relies on the lights and shadows that you paint in your artwork. Sort of a digital matte mating process. So we're gonna go on click on the texture editor, the color section and in hair, we find the projection UV map, seen element, and then we're gonna load it with scifi scenery. Mountains one. And there it is right there. Say okay. And then you can see there's there's the, uh, scifi mountains. Okay, Now, here's the cool part. You know, I'm gonna want at the d key real quick here. I'm just gonna go in my reports top, right? I'm gonna turn off show. Good, cause that's kind of in my way. It's bothering me, and, uh, that's better. Close the display options right now. We're gonna go into the transparency channels, click on the texture editor for that same thing. You ve seen element. We're looking for mountains, One Alfa. And here it is. There you go. I just bought it in. You can see it. It basically cut out the mountains. The black retains the image. White cuts it away. That's how the Alfa channels work. But you also noticed that there's, ah, white little lying around it. There's a way around that you can go back into your, uh, photo shop and turn on the original file that you used to say that out as one way to do it would be. Do you copy the image and then the layer underneath just kind of push it out on all sides copied again. Happy it again. Copy it again. like so and then save it out has save over the old pile mountains one. And, uh, then you can go back into modeler image editor. Find it on here. Expand that a little bit more there. Mountains one. And he could hit. How could hit, reload. And then you go and just replaced it with the updated file. It looks like I got rid of most of it. There's still a little bit on there. You can go in and also just go on the original flat JPEG file helping that up here. Fountains one you could just, you know, go use your smudge toe. You want to do that Extra work going there, smudge it out. It's hard for you prefer to do it. You could end it the pig pile. Or you can edit it down here as well. Go back to the photo shop. I'll just maybe even click on that layer and hit picker, mid mid range color go color mode lips and just kind of color it, you know, just try to keep it around the edges and color mobile. Not actually paint over, um, actually paint over the pay capacity. Pick details. You've already made. That being said, it's probably better to copy it first and paint on the one underneath, so you don't damage any very variations in color tones. What you already done. So do that. Or you could just straight up create a new layer. Just paint a big blob. Emanated, sample some of the colors. We'll go back into color boat here, her normal mode. Just sample some of the colors. However, you know, however, your workflow is whatever you like doing for timing and a deadline delivery. There's a there's a way of doing that. They're save it out again. Replace lips like get the file open. That won't let me, uh, save it. You go, J Peg, Save it. Mountains one, Save the place. Okay, back to lightweight modeler. Reload. And there goes. Got rid of that little flashy ads there. So there's Ah, there's the first layer. Okay. And it's the mountains one. Now we're gonna copy this control. See, uh, tap on layer to control v que to rename it. We're gonna call this one mountains to It's going to completely wipe everything out. Turn it back into the beginning phase of this particular box going to surface out of there . There it is. It just appeared. Switch these again when I see up, diffuse down and, uh, click on the texture. Other UV seen element and again, way already imported everything. So we're gonna bring in SciFi mountains. Wait, let's take a look at the We'll make sure that's right. What was the next one? Yeah, Mountains. Who was the next one? So mountains to here use. And there it is. And again, we want to cut out all the detail. Except for mountains to transparency. You ve seen element and, uh, mountains to Alfa. Where are you? There you are. Put that out. There it is. All right, So now let's take a look. If you if you highlight both of them, they're kind of both stuck together. So what we're gonna do is I'm gonna turn on the bottom piece of layer once you can see the black line image of it. Click T for my move tool, Go to the side view. Just pull that over here a little bit so you can see the, uh you know, I should put it this way or you're not. You can do you can also go the surface editor. And every time you did one of these click double cited so that it doesn't matter what side you're on, it's ah, viewable on both sides, the artwork. And so if I turn on both layers by holding down shift and clicking the top part of the layer, you can see the two pieces of Barnard together in a three d space now. Okay, so this is where it starts getting really fun. Really cool. You can animate you to D art, so I'm gonna continue on and, uh um, go here and copy control. See? Click on the third layer control V it. Q To change the surface and turn this one into Go back to my file a ticket, Get rid of all this, uh, extra stuff that I made so I can see my players better. We got missed one. So that's the next one in line. All right, go back to Lightwave. We're gonna call this one missed one. And once again, it's back to the same default. One sided, just a just a typical freshly made box. Just one switch. Those Let's do the double sided thing this time you say you ve seen element and what's there is missed one. Say OK. And then we're gonna cut out all this surrounding detail by going to the Transparency Channel. Clicking on the texture Editor UV seen element. And where are you? Missed one Alfa. Here it is. And there it ISS. So I'm gonna move this one over me, actually. Select the polygon, click on it there and turn out all layers. Aiken, click my move tool at the Tiki and just move it like So Now we have our miss layer in there . So when we go into the layout program, we can actually you can animated. You could make the mist slowly roll by. It's pretty cool. Can a I could roll on by. That's the plans I have for that. Okay, it's ask for save. Okay. Continuing on, um, we're gonna copied the slayer again. Control. See? Click on the fourth layer. Control. Be if the queue button change surface and, uh, go back into may, Uh, Photoshopped violence you want. The next one is I believe it's mountains three. Yes, it is. And back to Modeler Mountains. Three and again. It turned it back into the default, uh, box before you switch these around again, Luminosity up to fuse down Click double sided Thea Texture editor. And the projection is UV. If the map is seen element we made earlier. And the images mountains three. And there it iss he say he was texture. And there it is. We go to the transparency Image Editor, or, I mean texture editor, editor. Click on you ve seen Element and Mountains. Three Alfa. Right here. Here we go. Like we got a little bit of something funny up there. I'm just gonna leave that right now. Uh, s for save, And, uh, next we hit control. I like that troll. See? Gun Liar five patrol V. Look for our next thing. I believe it's a miss player. Check it out. Three. It's missed two. So we are going to mean this. Missed. Did I say Mr What? I see. Missed? Uh, yeah, I miss too kind of name that miss, too. And again, with tenacity up to fuse down double sided texture. Editor projection is you ve seen element. And it's miss to J peg. And then transparency is texture. Editor UV seen element Missed two. Where you had missed two Alfa. Here it is used texture. Okay. And then, uh, I'm gonna move out over so you can see it. Hold down, shift and click on the top of all these layer tabs. I could just see everything. And, uh, it's probably mentioned that normally you would want to keep all of these centered in the exact same access when you got to bring it into the layout program. Otherwise, the pivot point, for example, the pivot point for this is gonna be over here might not matter two months. But, uh, if you're building a massive scene out of a but out of the same mountains, it can get a little complicated. So but for this particular tutorial, I wanted to pull them parts. I can show you immediately the effect, what it looks like. And you can still use it this way. But we'll get to that in a little while. I will explain it more and more detail when we get there. But as you can see three dimensional use of two D art again, um, it's kind like a digital digital matte painting. And, you know, if your you could send your camera through there and to call kinds of cool animations in the layout of the program. So continuing on, um, let's see, we got missed. Two. We're gonna die like that. That's it. What? Thea, click with the mouse, and I laid it. Probably. I'm old control. See? Go to the next layer. Control V Que Change surface on the the next one is a mountain, uh, mountains for Okay, phones, for here we go. And, uh, again during this up, turning this down double cited texture Editor. UV seen element mountains for it is texture Editor for transparency. Seen element Wilton's four Alfa. Okay, save. Pull that over here. Like so I laid it again. Cop Copy Control. See Next Layer Control V. I think the next one is another missed. Now, I guess it's, uh next mountains, mountains five final said the mountains. So we're goings who had queued to change the surface Backspace that making five and again, back to the default. Uh, polygon box double Cited texture editor UV seen element Mountain's five. Then we go there. Transparency click. You ve projection. Seen Element Mountain's five G. Permian. Sorry. Pounds five Alfa. Here we go. Cut out. We'll just pull that over here. Then. What? Control? See Troll V and, uh, real quickly. Just want to show you. Let me go back a step. Um, I highlight it before I go on the next layer. That's just more of a linear thing. You don't actually have to When it's the only thing visible. I do it because I work so fast. Said she, uh, hi, crazy pace, doing my Anna Matics that I worked that I just trained myself to always click the highlight in case there's something else in this layer I don't want to accidentally bring over. But if it's just want that you can hit, we'll see Trevi without clicking on it, highlighting it. But you know, again, that's just a preferential thing that I do to keep myself in nights. I don't screw up. So anyway, um, the next layer we have is, uh, take a look. Clouds one. So let's go back into, uh, modeler and que and rename that called one. And, uh, this up there, this down double sided texture, UV seen element and let's find it out here. Clouds one, we go saying, think again, the whole entire pictures on their Really want to cut it out. We go to the transparency. Seen element. UV map clouds one Alfa, Where are you? Here. At the top. Here we go. Whoops. That was not the right one. I think I accidentally saved out the wrong things. I'm gonna go back and fix that right now. Clouds one Alfa How I made that mistake. But it looks like I did. Sure it's dark. Save it over. Top of the original file one. Alfa save. Okay, Hand that wave. We'll put up that image editor. Find it down here. Let's see clouds When l far reload. There were no fixed. Okay, so there's that with that over a swell kind of review, Everything hold down, shift and click the top part of each one of these layers and just kind of looking when I have so far, there's my scenery. Crazy sci fi scenery. All right. It has to save my progress so far. Or maybe even save incremental, which is shift us. I do that sometimes. Just a case of power outage in the file gets corrupted. It's good to save incremental. You can have multiple virgins. You can see a pair of the increments is version 00 to hit shift ass. There is little three salons. That's something. Keep in mind. I probably saving her middle. Almost two months of so many files. Just out of being apparently losing where I'm at in the neighbor ton of 12. Incremental that are all the same thing. Okay, let's see. Next we have close to. So let's go in there. Um, turn this back down. This their copy control. See? Come The next layer Control V que for change surface loves to What's up? I was down double sided. You ve seen element clouds to ALF. Where are you? Did I save it? Yes. There. This. I think I didn't darken it enough, though. Someone open that up in photo shop and just make sure it's black. And as much as it should be someone take a look here. Clouds to Alfa not going and do it on the tape. Egg Apple's slide that over. Control ass. Save it. Go back to image editor and reload it. Clouds to whoops. That's missed. Two. It is close to reload. And, uh, you know, I'm not paying attention and doing this is supposed to be on and this is clouds to welfare . See the element clouds to Here we go. All right, get my head together. Here. Save move, Tool. Batikhi that over. And where we at? Let's go back to photo shop. A lot of detail to keep track of here. I would say we're down to the last layer, which is the very big backdrop and, uh, blend copy paste this again. Control. See troll v que and this background kind of abbreviated there. Save it double sided. Turn this up in this doubt, texture, UV, seen element background. He's texture, and there's no UV map there. You noticed that I'm at the end here, but that's not necessarily the end. There's ah, there's a whole other you can keep going and going and going. The layers gone, and I just click these little arrows here just using the first section of layers, if you will. So if I need a dad more, I just would click that arrow and keep going. So anyway, all right, let's move this over and take a look at it. Hold down, shift click. The top part of all these letters could review our work so far, it's probably hit Save as key. Real quick Turn off texture wire. Just go texture scything Close. These windows largest Just kind of take a peek head are, uh, our progress here, but goofy little detail that I think I should point and get rid of that a little bit. Anyway, you can see there's a lot of that weird edging that I didn't effects. I could go back and edit all that like it in earlier in the first layer of mountains. Um, but there, there it is. It's ready to be animated. Um, again, I all these all of these should be centered before you bring it in the layout. Um, but I'm gonna bring in the layout the next video, just to show you what it looks like, How and why We would admit it that way. So stop this video and well reasoned. Shortly 18. LW Modeler Overview 18 LAYOUT: all right. We were, uh, gonna take this over to lightwave layout, which is the other half of the, uh, whitewave lightwave is a two part program. You have your modeler and your layout modelers were you build all the fun stuff and layouts for you have made it. So one way to bring it over there. As you can click this tab up here, you could say send object toe layout. Okay, It's loading right now and my Mac book pro. It's a little slow. And there it iss it's loaded. Uh, looks like I built it kind of small scale. We was a giant light during camera. Um, of the shrink that down by clicking on the view tab and heading decreased grid, it makes it pretty much grow bigger. Um, but that's one week pregnant. Or you could just open up lightwave layout by clicking on and saying file load, object, and then take it to wherever you have your modeler objects saved. Um, but here's here's layout. I'm holding down Ault, and I'm clicking with my, uh, welcome into else three pan and just kind of panning here. I'm in perspective. You, um you know that would be like the same as a left mouse button. If I hold down shift, I can Zuman And, uh, So now if I hold down shift and right mouse button, which on my pen is the little button on the actual pen itself, go up, up and down pan up and down. So it's kind of similar to the functions and modelers fires viewing. This is just holding down. Ault spends the view. This is again just perspective. You, not camera view. There are different views on here. You got your top, which these are all flats. You can't see him. You get your front front view, which is the number one key quickie side view, which is the number three key. Again. You can't see anything because I just have Flat Poly's. And then the other is Thea Perspective Key, which is number four, Orlic said You could drop down from appear camera views. Number six. I like to go for my work for, like to go to the View tab and saying next to lay out and I like to set one to be perspective and the other to be camera. So here's the camera bot to stay standard of you right now. If you If you click on well, first, down here in the bottom, you have your objects, your bones, your lights and cameras. Those are the for Maine. Uh, when you call it the modes to use an ear and lightweight play out. If you click on camera, you click the P for properties. Um, it brings up all the information about the camera on there that there's the tab. There's other tabs with, you know, other important information regarding the, uh, use of the cameras, such as the output where you you're gonna do your actual rendering. This is all heavy information that I'll get into later with more project. But just for quick overview sake for this quick lightwave overview, just look at a couple of them. Let's just concentrate on camera right now. Camera tab. I'm gonna switch this to, uh, just for time. And so it's lower. Smaller file size. I'm just gonna go to wide screen and t s c d one and then Stephen C. It's a widescreen, and, uh, we'll take a look at the, uh we'll take a look at moving the camera, animating it down here is your timeline. Right now it's default in 120 frames, 30 frames per second. So, um, auto key is on by default. And basically, what that means is anything you do anything you move, it will record a key. So right now the camera is selected, I move that it just made a key and see the key right there. And it's now officially an animation from here to here, so you can go back over top of that hit delete key that puts it back. Um, let's, uh, I'll try to keep this simple just just for the overview sake. So that's good. Just try to set an animation with the camera going into the scene. So let's start up. Uh, let's start off by, um, pushing the camera. And there you can do that by grabbing this blue arrow and do it in the other view window or the camera view when it's in a move mode, which is, uh, see modify. It's it's default and move, translate, move mode. If you're in that, if you work your miles in the actual camera window, just scrubbing back and forth, it'll just move the camera order backward or side to side clicking your mouse. But you're a cop. If you right click, go up, down. Or you could just go over to your perspective window and grabbed the arrows and work it from there. Okay, that's that. Syria at your main your main move. Hurry about your main function that you're gonna do with your cameras. The move tool or the rotator, which is the y key. Move his T. Same is it isn't modeler and rotate is why also saying is it isn't so. If you're in rotating and see it changes to these circular handles here, and you can grab that rotated like that. Spin it like that or you know that. And, of course, in camera moment, even by default, tickles up down, side to side. And, uh, if you right click it, it spends it. So those are the basic operations for moving the camera. So I'm gonna set my camera right about here. And in order to make this, uh, to start this animation to pull back a little bit, these are the booth move Right now, Rotated is kind of kinda centred a little bit to where I wanna begin the animation. Um oh, go. Hadn't used the default 120 frames. Now I'm gonna move the camera into the scene, like so Now it looks like we need to do some editing on the actual, uh, seen elements that we created. So I'm gonna go into objects mode here. Uh, you can drop down and see all those layers that right here, I'm gonna start with the background layer leaving on frame zero. And the reason why here I'll show you will see the mistake you can make. Let's say Europe here and you go, Oh, hey, I'm gonna make the background layer bigger. So I'm gonna make that I'm gonna resize this layer and to do so. It's shift eight. Same as it is a modeler. Don't make it nice and big. So that takes up the whole, um, the holes hope window. We go to, uh, front view with this amounts. I could do that quicker, making it nice and huge. And, uh, hold on. Let me see here. Here we go. Pull it forward as well. Okay, let's say that that's that's where I wanted to be, as I'm animating it. Obviously, I didn't have it on frame zero. So it created a key frame and its re sizing it. And that just gives you undesired effects. I would say you accidentally did. Then you got it where you wanted it. Like doughnuts. Well, you can just ah, line it up with the key just made before you delete the key, you can hit, enter for selected items and type in zero, and it'll tell it to make it, uh, tell it to put their frame zero. And then you could believe that. So then everything's all okay, Dorri normal. Actually, there's one more thing I should probably show could also put a little bit more depth into this. I have seen I just posted this online on Facebook, and someone made this comment on a very good point that, uh, you can actually, uh, so even greater depth, uh, by taking the scene where the mountains and scenery that's for this back and push it even further back but enlarge it, make it big but further away and will give it even more greater depth for the scenery. So I'm just gonna push that back like so and lift it up a little bit and it gives it gives it a lot more depth. Uh, makes it a more epic. Same here. I pushed us back a little bit. Maybe not as far and again h for stretch starts this up a bit. Pull it up the streets a little bit more. Put that up there, and I quite similar pull these up here as well. Okay, let's see what that looks like. Yeah. See, that works. All right. You can't even go in there. And, for example, grab these clouds cloud layers. When I hold downshifts to select both, I get that there were no that's not it every year, okay. And click on move path. So I don't affect my animation path. And I'm into, uh uh, control C copy. Um, and I'm gonna move them back to create more, um, clouds back there. I can set it back even further. And, uh, I think I will also size them up stretch tool. Just to make him a little bit different looking than the ones up front. Here we go. You want to delete this key so that the same size and I'm just gonna slide them over just a little bit So like it's another couple rolls even further away that gives a pretty pretty good desired effects for depth. Can see him specially up here, breaking apart in giving a three dimensional, misty hyper box all kind of look. So I think we're ready them render this So we're going over to the Render tab, the kind render global's and, um, click on the output tab and you can save your animation. Um uh, let's see. Here you can save it by selecting and as a movie type, you know, like a quick time movie. If you just want to watch it straight up is a video or you can see it saves it as a scifi scenery dot MLB a quickly moving think and Windows. You have the option, Teoh, do it as a dot a V I movie. Um, I'm using a Mac Apple Mac book pro, so I don't remember what uh, Windows does for that. It's been in years since I've used this in the windows. Um, I personally like to click, save RGB and, uh, make a folder here. Scenery surrender. Um, and, uh, basically, what this does is render it out as individual files like a ping sequence. Let's find paying here. Okay, I see lol automatically named them a number of them, and they're just a individual. Um, frames at a little render into a folder. So camera change this number 24 minimum samples, maximum samples. And there's other stuff in here. We'll get to later. If you want to change your resolution for your own render. You could do that up here. You can make it HD. Um, as I said earlier, for the sake of hard drive space, I'm gonna and time I'm gonna go ahead and hit. Render, um, with the done just regular widescreen. So when everything's ready, you got everything up here, how you want and you can hit render scene, and it will start rendering. Okay, So that's how you would, uh, resize the background there if you wanted to. You could also, um, resize it and modeler let me just put it back where waas and then update it from there as well. Just, you know, make it quicker. I'm gonna go ahead and highlighted in here and shift h when I resize it. Nice eclipse. Maybe that's too big. Well, let's take a look resize it had passed for save over the layout. It should update it, and it's not too bad and, uh, might be a little too big when they see here resize it in this window, bring it down a little bit. It also hit a strand seven at the age Kiefer stretch, Look for my handles. And, like hands I do not see all their their their way there. This is the result of not centering your object. Um, you know, it's like not attached to the, uh, actual layer its way out here. Usually you would want to send everything. But like I said earlier, everything to I just want you to see some really quick results. I just inspire you. Do you know, enjoy this? I want to look too cluttered, confusing, so I just want to show you two different ways of doing it. Just give you immediate results so visually. But here's the the Stretch key, which is age Samos modeler, and you could do that as well. A sizing. It's actually kind of quicker. Seems like it takes forever to scrubbing miles and size it up. Size it now, So there we go. There's that um, what's going to the layers and find the clouds? Let's see. There they are. You see him? I'm going to size that up, but come up where they belong on camera view. Maybe slide it over just a little bit. Animate that. We'll bring that outlooks. I want to stay in the view. Stretch sighs move. Here we go. And I'm gonna move this over here just so it's animated. Here we go. Let's go to the other cloud layer, which is right here. Go back to frame zero resize that So bring it down And, uh I reckon, But over here furthers We could see it moving in front of the other ones. You see how that looks? Yeah, Looks alright. Great. And then we want to animate the mists. So let's see which ones are the mists? There's one the key. We'll start this one here and move it like so Go also stretch it a little bit with bound. Here we go. There it is, animating the best. And then, uh, the next mist, which is, uh see much later That IHS that was, like three. Maybe later. Five 5th 1 over. When you're five same thing. I'm gonna wanna stretch that. Move that up a little bit There. Move over a little bit. Put that way. You see the stuff move. That's pretty cool. Okay, that's it for the animation. Um