Blender Beginner 02: Bring A Stylish 3D Graphic To Life With Animation | Matt Lloyd | Skillshare

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Blender Beginner 02: Bring A Stylish 3D Graphic To Life With Animation

teacher avatar Matt Lloyd

Watch this class and thousands more

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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

18 Lessons (48m)
    • 1. Welcome!

      1:36
    • 2. Importing Footage

      3:09
    • 3. Animating the Ring Part 1: Keyframes

      2:35
    • 4. Animating the Ring Part 2: F-Curves

      4:08
    • 5. Animating the Ring Part 3: Interpolation

      2:00
    • 6. Animating the Ring Part 4: Rotation

      2:24
    • 7. Animating the Ball Part 1

      2:21
    • 8. Animating the Ball Part 2: 2D Cursor

      2:06
    • 9. Animating the Ball Part 3: Offsetting A Loop

      2:29
    • 10. Rigging the Parasol Part 1

      3:05
    • 11. Rigging the Parasol Part 2: Hooks

      3:45
    • 12. Animating the Parasol

      1:37
    • 13. Animating the Water part 1: Mapping Nodes

      2:32
    • 14. Animating the Water Part 2

      2:40
    • 15. Rendering Animation Part 1: Errors

      4:42
    • 16. Rendering Part 2: Adaptive Sampling

      1:35
    • 17. Rendering Part 3: Clamping

      2:58
    • 18. Rendering Part 4: Make a Gif

      2:02
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About This Class

You’ve learnt some of the basics of 3d modelling, now it’s time to bring things to life!

In this class we’ll again explore the wonderful work of Núria Madrid and Cristian Malagón Garcia, this time as a way of getting to grips with the basics of Blender’s animation toolset.

We’ll carry on exactly where we left off in the previous class, 3D Illustration in Blender, and it’s strongly recommended to complete that class first as this one assumes some familiarity with Blender.

That said, scene files for every lesson will be available so you’ll be able to jump in and get practicing animation techniques right away.

What you'll learn:

Along with a liberal dose of shortcuts and tips, we’ll cover: 

  • How to keyframe pretty much any value in Blender
  • How to keep your timeline as clean as possible to make it easy to use
  • Different interpolation types to alter the timing and feel of an animation
  • How to make animations loop
  • Mechanical rigging: creating a control system to make animation of multiple components a cinch. 
  • Rendering: get to grips with some of the bewildering range of settings to get the cleanest final movie you can.

Finally I’ll introduce you to a neat open-source gif-converter, so you can easily start sharing your own loops online.

Meet Your Teacher

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Matt Lloyd

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Transcripts

1. Welcome!: You've learned some of the basics of 3D modeling. Now it's time to bring things to life. In this class, we'll again explore the wonderful work of Norway in Madrid and Christianity polygon Garcia. This time as a way of getting to grips with the basics of blenders animation tool set. We'll carry on exactly where we left off in the previous class, 3D illustration and vendor. And it's strongly recommended to complete that class first. As this one assumes some familiarity with Blender. That said, scene files for every lesson will be available. So you'll be able to jump in and get practicing animation techniques right away. Along with the liberal dose of shortcuts and tips, will cover how to keyframe pretty much any value in Blender has to keep your timeline as clean as possible to make it easy to use different interpolation types to alter the timing and feel of an animation. How to make animations Luke? Mechanical, regain, creating a control system to make animation of multiple components or cinch. Rendering, get to grips with some of the bewildering range of settings to get the cleanest final movie you can. Finally, I'll introduce you to a neat open-source give converter. So you can easily start sharing your own loops online. 2. Importing Footage: This short course is based on the scene built in the previous one, 3D illustration in blender. That cause focused on modelling as well as lighting and texturing. And was intended for complete newcomers to Blender. If you're not familiar with blenders interface and basic workflow, I suggest you complete that course first, then you should be able to follow along quite easily with this one. In that course, we attempted to replicate this piece by a Noria Madrid and Christiana Malaga and Garcia. From there Numbers series, which you can visit here. As you can see, there are animated versions of those graphics. And we'll emulate the motion in the to give. Once again, as a way of getting to grips with one of blenders, many toolsets, animation. Let's switch this image editor window to a video sequencer. Now we can import a moving image instead of this still. There are subsets of certain editor types. If we choose sequence a stroke preview will get a menu of tools which we'd need to build a video sequence. I'll just make this preview area bigger. We want to bring in a video clip and making sure I'm on frame one here in the sequencer. This won't work if you're over the preview area. I can use the usual add or shift a shortcut and select movie. Navigates to the Madrid Garcia MP4, and check the options here on the right. Blend this timeline starts on frame 1. So make sure this Start Frame field matches. We don't need sound. So uncheck that. Leave the US movie frame rate field. Check though. Click Add movie strip. Next. Let's make sure our timeline length matches the clip length. Go up to View, range, set frame range to strips. Now, just as you can tap the home key whilst in the 3D viewport to frame the entire scene. You can tap home while hovering over any timeline or sequencer to frame the complete length of the sequence. You can see this blue strip indicating that we've loaded some video space bar to play. And by default, it should loop. You'll notice that the clip has a 111 at the end. Even though I know this clip is a 110 frames long, this appears to be a bug in Blender. It's added one frame here. Go over to the Properties editor and under Output Properties, check the frame end value is set to a 110. 3. Animating the Ring Part 1: Keyframes: As we'll be animating, we'll need to change this bottom panel to one of the animation editor types. For now I'll just select timeline. This has a number of useful little tools in the header, including this little navigation set in the middle. You can see the shortcuts. If I hover over here, shift left and right arrows to jump to the beginning and end of the range. Over on the right here, you have the frame field into which you can type the preview range, which can be shorter than the scene length. So you can focus on short sections of animation if necessary. You'll notice if I move the play head down here, it's in sync with the one up here in the sequencer. We only really need one play head. So if you like, you could switch this sequence a window to just a preview. I'll leave mine as it was for now, and control space to maximize the sequencer. So we can easily study this animation. We can see that there are four animated elements here. The rubber ring, the ball, the parasol, and the water. Let's start with the thing that's moving the most, the rubber ring. There are a couple of aspects to this. The up and down motion on the z-axis and the rotation, which is a touch more complex. Let's break it down a step at a time. Space bar to pause. Shift Left arrow over the sequencer to jump to the start. Here on Frame 1, we see that the rubber ring is lying flat on the water. We can select our rubber ring, hit the Enter key to open the properties panel. Item, zed location. To record a value at a given time or keyframe. It just hover over it and tap I. This will create keyframes for all axes. You'll see all the location fields turn yellow. Down here in the timeline, you'll see a little yellow keyframe has appeared. If you don't see a summary of the object concerned, just click or drag this little arrow here at the top left of the timeline. 12, the summary open a couple of levels and you'll see the X, Y, and Z channels all have keyframes on them. We only really need location keyframes on the z axis. In the next lesson, we'll go through the process of how to achieve that from the off. 4. Animating the Ring Part 2: F-Curves: It's a good idea to keep your timelines as clean as possible. In the last lesson, we created more keyframes that we needed. Select and delete all these keys. Go to frame one. And this time in the transform or end panel, right-click over the z location and select, Insert single keyframe. Now under the summary and the timeline, we've only got a keyframe in the zed channel. Now, we know that by definition the ring comes back to the same position later in the loop. Let's scrub forward to that point. By the way, if you will, sequence search display is showing seconds and frames like mine. Then again go into View and uncheck, Show seconds or use the shortcut Control T. In this case, it's the last frame, 110. So with the play head or time cursor at frame 110, box select the existing keyframe and just copy paste. For selected items. The timeline indicates that there's no change between these two keyframes. With this orangey yellow bar in the transform panel, a lack of change between keys is indicated by this green color. We've now got the beginning and end of the zed motion animation. Let's find the middle. Scrub back in our reference clip to the time when the ring is at its highest. Stepping through the keyframes with the right and left arrow keys. There are a few. When the ring is off-screen, I make it frames 54 to 596 frames in all. That means that the ring must continue to travel up for three frames once offscreen. So it reaches its highest point at frame 56. Frame 56 in the timeline, grab the ring and move it on the z axis a little out the top of the frame. This time though, instead of right-clicking over the zed location, et cetera, just hover over the 3D viewport tab I to open the insert keyframe menu and select available. Blender will only make new keyframes in channels which already have key frames in them. We can see that only the z location channel has any key frames in it. If we switch over to the graph editor, we see a graphical representation known as an curve of how does add location is changing over time. We can examine the interpolation of our keyframes. That is, the way Blender has transitioned between them. There's this lovely smooth curve known as an ease, which blender applies by default. We ease gently from one state or value to another. Currently we're in Bezier interpolation mode. So we have these handles which define the curve at each keyframe. In this case, this smooth easing is just what we're after. But we can quickly change the interpolation type. I'll tap a to select all the keys. Then tap t for the interpolation menu. Linear gives me this straight line between points. And the change is marked by a hard angle rather than a curve. In the viewport, we can see this lens, the animation, a robotic log, which really doesn't reflect how things move in the real world. Now let's try constant. The f curve changes again, showing us that there is no change until the keyframe is reached. Then an instantaneous shift. Let's switch back to Bezier for now. 5. Animating the Ring Part 3: Interpolation: Just as we learned how to change curve point types when modelling in the last course, by selecting key-frames and tapping V, We can open a list of keyframe handled types and change the interpolation of individual keys. Rather than the f curve as a whole. We have a similar list to the curve modelling options here, which can help us achieve the sort of animation where after free lets us control the keys incoming and outgoing speeds independently. Slanting this left handle downwards gives us this long, gentle start or ease in, and a more abrupt arrival at the key itself. Let's now select all keys and try the vector type. We still have these control handles. But initially each 1 directly at its neighbor, making a straight line or linear interpolation. If I move a handle though, it'll just behave exactly like the free type. Now if I select this middle key and choose automatic, watch what happens to the curve as I move the handle on the first keyframe? The slope of the incoming and outgoing curve is automatically being adjusted to try and smooth out the animation. It can be handy. But look at how high the curve goes before the middle key. In the viewport. The rubber ring goes way past the upper keyframe value. Thus the trade-off with automatic handles, they can smooth out animation, but can easily cause overshoot to. If you need to get back to the default easing, select all keys and opt for auto clamped. 6. Animating the Ring Part 4: Rotation: The next thing to break down is the rotation of the ring. Let's turn on our move and rotation gizmos. And under the orientation menu, which you can also access through the comma key pie menu. You should see the last course if you don't know what that is, select local control space to maximize the sequencer. If we scrub the timeline to the midpoint, we can see that the ring has completed a half flip. Its motion appears to be anticlockwise along its local y-axis. It flips towards us rather than away from us. Go to frame one and over the viewport tab I to insert keyframes and select rotation. Again, go to frame 1, 10, and copy paste the rotation keys. Now at our halfway point, which was frame 56, grab the Rings local y rotation band and holding Control to snap to increments, rotated a 180 degrees counterclockwise. In the viewport. It I unselect available scrubbing back and forth. That's a start. But the ref has another component to its rotation. It's hard to tell precisely what's happening. But it looks to me as though there's also a corkscrew motion up the z-axis. It looks like it's happening at about the same speed as the Y rotation. So let's guess that it also makes a half turn around the z-axis. Jump to the next keyframe. And again, use the gizmo and the control key as you rotate it a 180 degrees clockwise around the z-axis. Again in the viewport head I, and select available. 7. Animating the Ball Part 1: Next, let's tackle this ball. Scrub through to the point when the ball is just about to leave the water. I make it frame 61. Select the ball and insert a single keyframe and the z location channel script forward to the point where the ball is at its highest point. Looks like ground frame a 102. And move the ball up to match the reference. You might want to switch the gizmos off. Now, there can be a bit distracting. So eyeball it, move it to about the right height against the wedge platform. Hover over the viewport tab I available. We now have the bounds of the ball's movement roughed out. Scrubbing back to the beginning of the timeline. Notice in the reference, so the ball starts off in mid air. It's loop is offset in contrast to the ring which starts and finishes on the water. There's also this long interval when the ball is motionless. The ball does loop, but it's intermittent. Looks like it's static between frames 61 and about 30. Tap M. To place a marker in the timeline. At the bottom, you'll see a new marker labeled F 30. Let's switch to the graph editor now. Select your keyframes and tap numpad period or a dot to zoom in on them. These keys conform half of a loop. In the next lesson, we'll need to make a mirror image of them so the ball can get back to where it started and complete the cycle. 8. Animating the Ball Part 2: 2D Cursor: There's a powerful feature in the graph editor which is easy to overlook. It's the 2D equivalent of the 3D cursor formed by these perpendicular blue lines. It acts as a custom pivot point which you can use, for example, to place or paste keyframes and around which you can transform your existing ones. We want to mirror some keyframes and we can use it for that to shift right-click to position it. For precision. Select this first keyframe. Open the end panel and under View, click cursor to selection. That positions the 2D cursor there. We can see location details for the 2D cursor currently 61 in X, so that's frame 61, 0, 3, 8 in y. That's the z position of the ball. We placed a marker where we wanted our ball to start moving again. So go to the marker menu, Jump to previous marker. Now our 2D cursor is at just the right point. Tap a to select all keyframes. Control C, control V to copy paste at the 2D cursor. And at first we get this doubling up of keyframes which flattens the curve. But here's where we make the mirror image of the curve to create the downward moving part of the cycle. Use Control M to open the mirror menu. We want to mirror the keyframes in the x or time access. So select the first option, Maria, BY times over current frame. The ball now moves up and down. But as the loop is offset, it jumps at the beginning. We'll make sure our loop is glitch free in the next lesson. 9. Animating the Ball Part 3: Offsetting A Loop: We have our basic motion worked out for the ball. Let's just check that it's animation is the correct length. Switch to timeline view. Select all the keyframes G to grab and move them. So the first key is on frame 1. Now check that the last key lands on frame 110, like the ones for the ring, do. If not, grab the last two keyframes, the upward movement of the ball, and move them so that the last keyframe is on the last frame, 110. Once the animation is the correct length, remember to offset the keyframes so that they match it with the ball in the reference. The stationary portion starts at about frame 30. Right? Now the motion is offset once again, like in the reference, but of course, as we saw earlier, now that we've offset it, it jumps at the beginning. Blender makes it super easy to fix that. If we switch to graph editor, click on a keyframe or the channel name. Then in the end panel modifies tab, Add Modifier cycles. And there's our loop. The default values under the repeat before and after headings will just make it loop forever, which we can see if we zoom out. We've got such a short timeline, it's irrelevant, but you may have a situation where you want something to loop a few times and then stop. For instance, these drop-downs have you covered? I'll need to extend this timeline out to say 250 frames. Now I'll switch off looping before the keyframes and have it loop, say three times afterwards. Remember to switch looping on before and reset your timeline to a 110 frames long. 10. Rigging the Parasol Part 1: I've decided to part ways with the reference here and have this parasol open and close in a naturalistic way, rather than make it mysteriously shrink into and out of this pole here. Because of the way this parasol was built in the previous class, is going to be relatively easy to put in a control system or rig to enable us to animate it. Open the blender file, 10, rigging, the parasol part one, start. What we need is a simple control that we can use like a handle which will open and close the entire shade spokes and all selects the parasol cloth Object. Hide it's modifiers in both edit and object mode by unchecking the blue vertex icons and the monitor icons underneath the modifiers tab. Do the same with parasol spokes. In the last course, we built this parasol in a procedural way using modifiers at heart, or they are as a couple of edges with the modifiers hidden. We've got easy access to that in a geometry. Numpad 1 to hop into fronts orthographic view. Now, we need a central pivot for the parasol cells opening and closing motion. So select the parasol pole control space to see a bit better. Tap to edit mode. Control are then click to put in a new edge loop and slide it. So it's about level with the top of the shade, perhaps a touch higher. Shift S cursor to selected tab to object mode. And an empty. Rename the empty Control underscore parasol. Our resize it to say nought 0.1 meters. We're going to use this to control the outer vertices of the two edges that form the basis of the parasol spokes and shade. If I were to simply parent them as a whole to the control EMT with all the modifiers switched off, it appears to do what we're after. I select the edges first, then the EMT and tap Control P to parent them to the empty. Now, when I rotate the Mt, they appear to do exactly what we need. When I switched the modifiers back on. However, then rotate the empty. The whole shade rotates. What we need is a type of empty that can attach to just a vertex rather than an object as a whole. In blender, these are called hooks, and we'll look at these in more detail in the next lesson. 11. Rigging the Parasol Part 2: Hooks: We need a system that can control the inner geometry of the cloth and the spokes rather than the objects as a whole. Last lesson, we parented them to the control empty at the top. That's not what we're after. So we need to clear that parenting now. Select the cloth and the spokes and use the shortcut Alt P and choose Clear parent. Now the control parasol empty no longer controls them. In Blender. Hooks are empty, is that fastened to vertices rather than objects as a whole? Let's look at the workflow. Select parasol cloth. Again, hide its modifiers in edit mode. Tab to edit. Select the lower vertex. Shift S cursor to selected tab to object mode. Add an empty. I'll choose single arrow, rename it, hook underscore cloth. And again, reduce its size. With it still selected. Shift, select the parasol cloth object again, tab to edit. Blender will remember the vertex selection we had last time we were in edit mode. Use the hook shortcut Control H and choose hook to Selected Object. Tab back to object mode. Select the hook cloth empty and move it around to test it. We've now got a controller for the lower vertex in the parasol cloth object. Follow the same process for the spokes. Select, hide its modifiers in edit mode. This time we'll numpad forward slash to solo it in the viewport tab to edit. Select the lower vertex again. Shift S cursor to selected, and tap back to object mode. Now numpad forward slash to un-solo. Again, add an empty. I'll choose circle this time. Rename it. Hook underscore spokes. Again, I'll reduce its size about 0 naught five meters. So again, let's attach it as a hook to the parasol spokes vertex. With hook spokes empty, still selected, shift, select parasol spokes, tab to edit. And again, use the hook shortcut Control H, and choose hook to select an object and tap back to object mode. Select both empties and move them around to test. Earlier we added this control parasol empty, and we'll now use this to control the hooks. So select the two hooks, then select control parasol, use the shortcut Control P, set parent to object. So now, wherever control parasol moves or turns, the hooks will go along too. 12. Animating the Parasol: The control parasol empty is all we now need to animate the whole parasol. Playing the reference down. We can see that the shade is open to its maximum at the beginning and end of the animation. So no offsetting of the loop this time. Shift left arrow to go to frame one. When we were setting up the rig, we were in front orthographic view. If you look at the gizmo at the top right, you can see we're looking along the y-axis, so that's the axis of rotation. We need to animate numpad 0 to hop back into camera view. Select control parasol. And in the 3D view port, Get the end panel open and insert a single keyframe in the Y rotation. Move to frame 1, 10. And since there's been no change, again, insert a single keyframe in the Y rotation. Now at about the middle of the timeline, around frame 55, 56, we see the shade is at its most retracted in the reference. In the 3D view port. Tap our y and rotate control parasol to a closed position. Tap I to insert a keyframe and select available. Let's see how that looks. 13. Animating the Water part 1: Mapping Nodes: All we have left to animate now is the water control space to focus on the reference video. And make sure this is a sequence, a preview window if it isn't already. Once again, we can see it's a simple back and forth motion. It starts off moving left to right, then simply reverses its direction, goes back to where it started, making a single loop, the same length as the entire animation. Let's control space out. Enable selection of water surface in the Hierarchy. Select it. Switch off overlays for now, and switch our Viewport 2 material preview mode. In the previous course, we set up this wavy water shader using a noise texture. Let's switch this timeline to a shader editor. Now, as you can see, in this noise texture, we can change the scale and the detail, among other things. But we can't change its position or rotation, which we'll need to do in order to make it move. For this, we'll need another couple of tools at texture coordinate node, which figures out how to map a 2D texture onto a 3D object. Shift a for the Add menu, click on Search and type texture. Then we'll need a mapping node which enables you to take that texture coordinate Mab, and move, rotate and scale it, shift a search for mapping. This course isn't really the place to delve into the mysteries of texture coordinate systems. For our purposes today, it's enough to know that blender can automatically generate a map of how to apply a 2D texture onto a 3D object. And that automatic function is being output here from this generated port. Let's plug this into the top of the mapping node. Then plug the mapping node output into the matching input on the noise texture. In the next lesson, we'll be ready to start animating. 14. Animating the Water Part 2: We now have everything we need in order to animate this water shader. Let's open a timeline here above the shader window so we can jump around in time easily. If we now switch to material preview mode in the viewport will be able to see the shader changing as we mess with these mappings settings. Uvs or texture coordinates are notoriously tricky to get your head around at first, is worth just experimenting with these settings to match the reference as close as possible. In the reference, there is this left-right motion, which you might think is a simple change in the x location in the mapping node. That looks too static though, as if the waves are frozen and just being dragged left and right. Water, of course, doesn't move that way. Waves rippled through water. And if we look closer at the reference, we can see the artists have tried to achieve that. Let's see what rotation does. No rotation around the x takes us in the wrong direction. Y rotation seems to be what we're after. Now in the reference just to the left of the point of the wedge, I'm going to try and keep track of a little dark patch to give me a rough idea of how much to move our texture. If we scroll up to the midpoint, that patch appears to have just disappeared into the wedge. Then it reverses direction. So there's really not all that much motion. I'll zoom in on our water texture. Shift left arrow in the sequencer to jump to frame one. Now in the mapping node in Y rotation, right-click and insert a single key-frame. Shift right arrow to jump to the end. Insert another single keyframe. Back to the mid point around frame 56. Adjust the Y rotation so the waves appear to roll a little bit to the right. Again. Insert a single keyframe in the mapping note. Let's play that down. 15. Rendering Animation Part 1: Errors: All the hard work is done. Now it's over to the computer to render a sequence out for us. Render properties are under the second tab down in the properties panel. We'll stick with cycles is our Render Engine. Gpu compute. If you have a decent graphics card in your machine to speed things up. Sampling will leave this at the settings for now. We may need to crank these values up if we don't get a clean render. De-noising will leave at the settings we use in the last course. Denoising, of course, helps to clean up particularly fuzzy areas of the render. If I switch to render view here in the 3D view port, you'll see that the water renders very noisily. Cycles is having to do an enormous amount of work in this area, calculating transparency, reflection, diffraction, et cetera. Over here in our render settings, as we only have 32 samples for the viewport, we're left with this fuzzy water, but de-noising, we'll clean this up really quickly. In the last course, we used Open Image de-noise, OID. Let's try that again and see how well it works for animation this time. Under the Output Properties tab. Let's first of all save ourselves some time before the final render as we did last time by rendering at 50 percent quality, check that the frame start is at one and end is set to a 110, the length of the sequence we've been working on. Frame rate, 25 frames per second. Output. Click on the folder icon and navigate to where you want this sequence to render too. Next, I'll make a new work in progress or WIP folder. This is my way of keeping my test renders organized. I'll type backslash, meaning start making a new folder on Windows anyway, I'll call it whip WIP and put a backslash after it. If I render out a single text frame now by changing the end frame here. Then click on the little file path button. You'll see there's now a render in a folder called web. As of this recording, blender has no automatic way of naming renders as other 3D packages do. So it's up to you to give your renders useful names. I'll name this a 128 Underscore to remind me of the number of samples. Next file format, probably the most universally useful format under this menu is FFmpeg video for the container, select mpeg 4. Under Video Codec, select H.264. Now pretty much anyone will be able to watch this render, including with a web browser and the output. Let's select lossless. We don't need audio. Lastly, and a very important setting in this case, under post-processing uncheck sequencer, if you leave it checked, Blender will ignore our 3D scene and just render whatever we had in the sequencer, which in our case is the reference video. Okay, all set. Now under the render menu. Select Render Animation or use the shortcut Control F 12. Let's now take a look at the render result in the sequence. A Window, Shift, a add movie, navigate to the file. Make sure it's above the reference layer G to grab and move it in the y-axis up or down if you need. And play it down. Right? That's working pretty well though. I can't see a few flashes here in there in the water. At first glands, they might look like bright reflections, but they are in fact render artifacts or errors. In the next lesson, we'll try a couple of ways of getting rid of them. 16. Rendering Part 2: Adaptive Sampling: To try and get rid of these render artifacts or fireflies. Let's help blender out and give it more calculations to play with. Go back to render properties, sampling, and let's double the samples. We can quickly multiply this by two. Just click in the field, make sure it's not highlighted so you don't overwrite it. Type star or asterisk to, meaning multiply by two. Now let's enable adaptive sampling under the 12 down. Let's tell cycles allow just a tiny bit of noise, say 1% or naught point naught one. Blender can now make choices. In the flat, clean areas. It can make just a few calculations. But in the trickiest, noisiest areas with anything more than 1% noise, it'll blast away with the full 256 samples. Sets a descriptive new render name to remind you of what you tried. Alcohol mine to 56 for the samples underscore, adapt, underscore one, underscore. Finally, I'll go back to output properties and set my frame range to about half of the complete loop just to save us some time. So frame and say 60, Control F2 to set off another render. And in the next lesson, we'll see how that worked out. 17. Rendering Part 3: Clamping: Here's my latest render result. And as you can see, we're still not there, but we do have some more options. We could go the brute force route and again, double the samples. But that'll slow our render time down. And isn't much of a guarantee against fireflies. Probably the most effective way to reduce them is light clamping. It's not always appropriate as it does less than the realism of your lighting. But in this simple graphic scene, I don't see it well, notice too much. It's found under Render properties. Light paths, clamping. I'll set the direct light clamping to 10 and leave the indirect at its default value, also 10. What clamping does is put a limit on the intensity of light, which is bounced directly and indirectly by surfaces. So any super bright spots like these fireflies will just get taken out. With that done, I can now dial up our adaptive sampling value to allow a slightly more noisy render, which will be quicker to compute. That way we can see if clamping will help us get a speedy Firefly free render. Under sampling adaptive noise threshold. I'll go for 5% noise. So naught point, naught five. And the output again rename this render to something useful to 56 underscore, adapt five, underscore, clamp, 10, underscore, Control F2 to render. That's not bad, at least the fireflies are gone and it was a quicker render. To me though, the water looks a little choppy, little flicker worry. With reflective and refractive materials such as this water. There's no way around it. You need heaps of samples. So I think I'll double them up twice. So times for taking us to a 1024. I'll also scroll down to adaptive sampling and tighten up the noise threshold out allow 3% noise. Again, choose a good name, 10, 24 underscore, Adapt 3 for the 3% noise underscore clamp 10 underscore. Fingers crossed. This will be our last test, render Control F2. 18. Rendering Part 4: Make a Gif: Right now, I'm happy with that. It may be hard to see in this recording, but the water in the 1024 samples render is definitely less flickering or choppy than the two 56. It did take about 50% longer to render, but that's the trade off. Before the denoise or was included in cycles. You would have been looking at far longer render times for comparable quality. It just remains now to set it to a full res render under output dimensions a 100 percent. Make sure the complete loop is rendering. So set the frame back to a 110. I'll change my output destination to my dispatch folder where I put final renders. I'll rename it to to underscore, loop, underscore, 1080 underscore and set off a render. So that's our full res MP4. The natural way to share a loop is of course, as a GIF, there's a host of ways to convert video to give. I chose GIF tuna are really easy to use open source gift converter. You can get here. Once you've got it downloaded and installed, run it, and it'll ask you to install FFmpeg, a process which is all automated for you. You then just click Select File, bring in your MP4 loop, then click Export. Simple as that. I'll try opening this in Firefox to test it. Great. So there's your first looping animation all created in Blender.