Clarisse iFX - First steps: Everything you need to know get creating! | Tom Norman | Skillshare

Clarisse iFX - First steps: Everything you need to know get creating!

Tom Norman, Visual Effects Artist

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16 Lessons (1h 48m)
    • 1. Introduction

      1:06
    • 2. Template & UI Intro

      0:25
    • 3. UI

      1:11
    • 4. Template setup

      12:25
    • 5. Asset Import & Setup

      6:33
    • 6. Textures Import & Setup

      4:11
    • 7. Shaders Part 01

      9:40
    • 8. Shaders Part 02

      5:22
    • 9. Shaders Part 03

      4:02
    • 10. Shaders Part 04

      10:35
    • 11. Lighting

      19:20
    • 12. Lighting LPE's

      5:22
    • 13. De-noise Part 01

      8:32
    • 14. De-noise Part 02

      12:41
    • 15. De-noise Part 03

      3:13
    • 16. Rendering

      3:13

About This Class

Get a free Personal Learning copy of Clarisse here

This class will take you from first opening Clarisse to rendering your first image. It covers the A to Z of everything you need to get creating and provides you with industry standard workflows and practises.

I have been using Clarisse professionally for years on different Feature films and TV projects. It is a fantastic piece of software for creating huge 3D environments with millions of polygons. Its interactivity and speed makes it artist friendly and great for creativity. 

The course will involve the setup and rendering of a Toy Robot asset, the robot is provide so you can work along with me.

This tutorial is created for first time Clarisse users but will provide useful insights for those with some previous knowledge. I would recommend a basic understanding of 3D in general, though it would still be valuable to those without.

After following the course you will know all the basics needed to create and render in Clarisse!

Topics Covered:

-Template & UI creation
-Asset importing & subdivision
-Texture importing & colour space
-Shading/Lookdev
-Lighting
-De-noising
-Rendering/AOV's

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Transcripts

1. Introduction: Hi, my name is Tom and I've been a visual effects artist for ten years and working in the industry for the last six. During this time, I've been lucky enough to work on Monday different films and TV shows. And I'd like to share some of this knowledge of you. So why learn queries? I think the course is a fantastic piece of software for cranes, huge fruity environment of millions of polygons in assets. It's been used in the creation of multiple feature films such as Star Wars and the vendor series. And I think its speed and interactivity and make an artist's friendly and great for creativity. This class is gonna take you from first opening crease, right, for you to rendering a first image that comes everything you need to know to get started. We'll be setting up templates to speed up your workflow. Importing assets and textures, Look Devin denoising and finally rendering and exporting your work. I'll be teaching the industry started workflows and best practices to kick start your journey with queries and get you ready to start creating on your own. By the end of the class, you have your nicely it's shaded and let rent of the robot and the assets also yours to keep as well. For the class project, I love to see your finish renders and if you're feeling adventurous, urine spin on the lighting as well. So let's get started. 2. Template & UI Intro: So to start the series off, we're gonna be creating or in template and lay off chorus. And this is going to help us work a bit quicker, neater. Quick note is that I will be providing the template file. So if you do want to skip this, but you can, however, I would recommend watching to see why I'm doing settings. If you do skip it though, if you can come up to here preferences and load the template into the startup scene here. 3. UI: So with the UI, I find that there's a few things here that take up a lot of space, but you don't really use very often. So we're going to come over, go down to the layers here. And I'm just going to fully close up. We can do those things elsewhere. We're going to drag this down, hit the plus, and grab the progress view. Now this I find really handy because although you do get a little loading bar here, you get a bit more information here. And if you're doing something heavy, you can hold off from clicking anything for a while and stop the occasional crashing might get because of that. Next up we've got the image gallery, but here I'm going to hit the plus. I'm going to load in the Material Editor and the shading my editor. And finally the image history. There is. And we're going to come to the image gallery and watch this, gonna right-click and close that. And then I'd like to leave it on the shading layer here. So that's how you isotope for single screen. I didn't only work on two screens, but for this we're gonna be doing one. So if you come up to layout presets store and then you can name it whatever you want to name a single screen, make it a default. And then here, okay, I've already got one server. 4. Template setup: So next we're going to be looking at creating ourselves a template. And this will automatically load up each time we load queries and get us ready to go quicker, rather than having everything in this one folder here which gets messy. We'll have a nice structure in place. So clicks your project. We're gonna do control shift C, which is gonna give us a new context on dou F2 to rename it, and we're gonna call it geometry. That's nice, but geometry. Geometry, then we're going to double-click on it. Control shift c twice more. And we're going to first of all create a library. And this is what we're going to be important, are assets and they'll be mostly a world 0 and here. And secondly, a layout which is of course, once you put things into scatter and have laid them out, go back to your projects. And then we're gonna do control shift C, adequate somewhat to put our materials somewhere for lights, somewhere for our cameras. Somewhere for outgroups or you may call them sorry, groups, images or you may call them a render passes elsewhere somewhere for our groups. And finally it somewhere for our path traces to live. We can go back to the scene folder here that was already created and we can drag our camera into the camera's path, tracing the path traces the image into our images where she'd just gonna delete that light. And then we can also delete this scene. So that's our main structure setup. Now we can look into saying that some of the things that we're gonna be using. So if we go into materials, I like to have a gray material setup can be really hard to just have a quick shader to test things with, or is it a fallback? If, if something is not growing a shader properly, at least it was shared with this grey shader. So we're gonna do control shift C again, call it gray SFR, rough surface, Double-click and Right-click. And type of Disney. Which is gonna give us the Disney principle. Rename this to gray so far. And over here, we're going to click on the base color. I'm gonna change this to 0.18, which is actually McCurry in linear colour space. Then we're gonna put all roughness, probably up to about 50 and the specular up to a 100%. And that's just a very standard simple shader. Next we're going to right-click and here again, type shading, which should give us the shading layer. If you enter, rename that to gray ASL for shading lab. Now this is where we can put rules that we'll assign the shader to different message geometry. So if we come over here to the shading light editor and hit the plus and we can type of rule. So we're going to say anything in geometry can be given this shader. So what we can do and click on Geometry and come up here to the path Control-C. Come down here, paste it in. And what we're gonna do is we say don't treat. And they go inside geometry and using a star which is the wildcard, grub, do it to everything inside of it. And then we can come to the query, drag our thing on here. Oh, that's actually a little bug I've noticed before. So to undo that, sometimes when you drag things into here, you get a little error here. Let's be careful for that. So that's a default shared setup. What I'd like to do in here as well as having a master shading layer. So we're going to right-click and other shading layer, call it master homeschool SL. And what we do here is we add every single material, we make, every one of those shaded layers into this master, which we can then add to the images, rather than having to add every single shader we make individually into the multiple images we may have. So we come to the master here. We can come up here and add our gray shading law as a child shading layer to it. And we'll connect the up to the image in a minute. So come down to the images and we can see we've just got our image sing and here now we may well want multiple images in the future. So we're gonna create a new context, going to direct it in there. And we're going to rename this to beauty underscore 010. And the reason we started ten rather than one is because if we decide later on we need sign below this layer, we can get to five or one, rather than having to go into minuses, which would be a bit of a nightmare. And then we're going to rename this as well, the image, like I say, these images, this is what you'd be finally, rendering of Tories. They often call render policies and other software. So if we click on our image, we can see this is where we can sell resolution, which we are going to leave for now. And we can see that it's made up of multiple layers or can be made up of multiple areas. Carl, it's just made up of a background layer, which we're actually going to delete, that we're going to add a freely layer. And this is where our geometry can go into to be written, simply click the little arrow here to go into the 3D layer. We can see there's a few more options in here, but we're going to leave all that stuff. And now we can see down here that it's actually after cameras and renderers are losers things. So we can collect some of this stuff up. So we can click on this and choose the active camera to be our camera. And the renderer, it's going to be our path tracer. And then you can see that it's looking for a series of groups that are currently set to use context. So that's means that all the lights, geometries and everything, it's all going to be picked up from anything that's in this folder here. Now, we obviously got nothing in the moment, so it's going to pick up nothing. However, rather than storing all of geometry in here for it to be picked up in each layer. I much prefer to create groups in here, keeps it needs, and it means that you can share geometry which different layers easier. So we're gonna create control shift. Gee, it's gonna give us an empty query. Practically do that free times. The first one we're going to make, it's going to be g, and second one is going to be ray trace. And finally lights. So the geo, this is going to be picking up anything that we want to be visibly seen in our render. The ray trace is going to be all the stuff that we want to be visibly seen and anything extra. So for example, you might want to have a wall or something. Can your scene that's not visible but shadows your geometry that you're rendering. So this is where this would go. And then finally, of course, the lights. Now just to quickly set the geometry up here. So let's say this is where things will be rendered or this is what the G20 that will be run that. So what we can do, we can do our trick of going to geometry, copying and pasting that in here with the slash star. So that's just gonna grab anything can geometry. Now. Isn't necessarily what you're going to want all the time, but it's just a good starting point. We can later replace groups. Then on the ray trace, we're going to want to retrace anything we add in here manually. But also we need to be Ray tracing, the geometry that we're seeing. It needs to be visible so we can drag the geometry group into here. And that'll automatically then be rendering Ray tracing the geometry and any additional things we put in here. So we can come to the image, go to the freely layer. And if we just hit this little padlock here that a lock this in place. So when I click on something else, we don't lose it. So you come to our groups and we're going to drag Geometry will get the lights as well, drag our lights into here. And then, so the shadow is raters in global illumination we want to be using the geometry and the, the extras we need. So that's gonna be the ray trace group. Drag that into all three of those. I'm just gonna leave them my objects empty for now because that's not something you're going to use every single time. Now for grow further down, we can see that there's a slot for the shading layer. So this is saying what this render image should be using to shade the geometry inside of it. So we're going to actually create one in here, right-click shading layer. And this is going to be killed, BUT underscore l 01000 school SL. And we can drag that into the shading layer. So now that's connected to the image. And also we need to take the padlock and then we can add our master to this. So come with materials Master. So now if we look at this hierarchy here, we can see that the PUT one is made up of the master, which is then made up with gray. And this we'll see later on have multiple shameless inside of it. And you might wonder, why didn't we just connect the Master to readily to the image? Most of the time that would be perfectly fine and hover. There are gonna be some cases where you want a different render image. Perhaps doesn't want to have the same shading on the image geometry. For example, if you're making a shadow pass. So it's just nice to have the flexibility for us to be able to disable this or add extra layers in. One little thing I quickly forgot to do was to also make a rule for the group's sorry, the lights. So we're gonna do the same thing when you go to the lights, copy the path. I was gonna say, grab anything can the folder for lights. And once again, we can refine this later on if we need to. So that should be our template set up and ready to go. So we'll save it and then we'll just test out, make sure it's working. So what we can do, come up, say does, and then we'll quickly find my stuff, assets. And then we're gonna make a new template seen here. So you say this wherever you want, but obviously somewhere that's not gonna get deleted. You need this to be permanently accessible. And then we're gonna go Edit Preferences. And like we said before, go to the startup scene and choose your project. So now if we hit new scene, we're now getting our hierarchy, say air coming in. And we've also got our UI setup as well. Minus slight differences. I saved one with the material that's very open but no big deal. So let's just quickly test this out. Say we're gonna do, we're gonna go to lights, Right-click and type N. So if I can get the environmental, but just leave it white for now. We can also go to geometry and in our layout, we can Right-click type of poly and then go down to sphere. Now, if we go to our image, drag or image up into the ImageView, yours probably was actually unpause like paused mine. So everybody start loading. But so if so, if not hit play. And what we can do is while we can hit this, which gets rid the transparent pixels. So we can see that our image is automatically picked up the sphere. It's got the lights, otherwise it wouldn't be black. And if we go to the picker here, we can Middle mouse in here and see that it's picking up the grey shaded. So now anything we bring in is going to automatically go here so we can go Pauli grid and think maybe it's a bit small. So let's just go over here and do the scale to 20. Okay? So yeah, so this is like a really nice close up and we can obviously duplicate our images if you want more than one. And I'll quickly explain what while we've got this group's thing here as well. So in the future, rather than having everything come to earlier for the geometry, what we can do is we can go into groups, Control Shift J and say We only, let's say we want to add only the sphere to this layer so we can create sphere on the scope group. And then we can go to our geometry layout and copy the path le, paste in here, do star, so Slashdot, sphere, slip anything called sphere. So you go to pick that up. And then on our geometry and our image, rather than having this rule, we can manually ad groups. And this is how you'll be controlling what's going into your things if we hit play. Now, there we go. Just got the spherical. Okay, so this is us pretty much set up and ready to go. And now we're going to start getting into the fun stuff of getting something built. 5. Asset Import & Setup: So now we can look at bringing in our asset into Clarisse, say open up a new scene. And the first thing I always do is just hit pause and the image views that we don't get things rendering unnecessarily. So then we're gonna come down to a geometry layout. And we're going to come out to General here and we can import with this the limbic files. So it's gonna grab both of control. And you can see that the sport and domain as two separate references, which is good. And these are really hard it because any point you can reload them changed version. And it will keep any overarching button on the chairmanship below it. So that's really handy. So if we come up with our 3D view, you can see our robot is looking good. And just a quick reminder on how these viewports works. We're currently looking at the context we've got selected. So obviously if we click on this, we lose our variable and this isn't necessarily what we are going to want. So we could either drug or Layout folder up here, which now is locked in place. Or as we know that our images up to grab any geometry in the layout, we can drive our image up here and then we know for sure that we're looking at what we are going to be rendering which is having. So the next thing we need to look at is the scale of this guy. So this was modeled a Maya and he's about 25 centimeters high. However, cruise D4 units are one meter. So if we come over to the ruler where we can drag this down and see that there were about 25, Twenty-five meters down to the basis even longer, 29. Now, the units inclusive, sort of arbitrary. If we went into the settings and change this from meters to centimeters visually nothing would change. The unit is just a unit. And since this is the only thing in our scene, technically, we could just leave this hour. It's good practice to make sure it's in the current workspace. Because if any future projects you start bringing geometry, something from a teeny, something from my on, something else from calories. You're going to find that the world scouts doesn't match up. So what we can do some quick locator to fix this succumbs to the layout, we're going to right-click type locator. Term's gonna name it scale underscore lock. And then what we can do, we can come into the hierarchy view here. And this is going to show us the hierarchy of the geometry as opposed to kerosene. And therefore, we can see that this group here is the top level group for our robot. And this is the top level for our base year. It's the only one actually. So without boldface selected, we can come here to the parent, and we can click on this and find are located in the layout. There we go, there now connected. So if we come to our locator, we can hit control, which will do all three these values at once and we can scale them. And that looks like it's working. This needs to get down a 100 times. So we need to put this to 0.01. So now it's time. If we click on the variable m plus f And the viewport, you can get the right scale. Yeah. So we go is should be as correct size. Now we can check that I can with the ruler. Now one thing to note is that Cruz does also use decimeter. So this'll probably show up is to provide decimeters. Yes. But that is 25 centimeters. So that's worked well. And if we just right click in here and type Holly grid, we can see that this polygon, which is a meter by meter, looks at the correct scale. That's good. So we know because we're looking at our image to our image is picking up this juncture already. So is technically really to render have, we're just going to split the sum of the split that GO into two groups to give us a little bit more control. And this is especially used for bigger projects in the future. So it's a good practice. So we're going to come down to groups. And I could do control shift G. I'm gonna name this robot underscore group. And then we're going to do another one. I'm going to call it face. Based on the score. And what we can do it, we can come to our layout here and wrap path. And then over here we can do layout. So go inside the layout and find anything cool robot for the capital R, which we can see here, it's capital off. And if we drag it up, we can see that it's working. And then the base, we can do the same thing. Slash base, nouns, not capital. And if we check that, okay, so we can see that we have kept pace, however, we've also grabbed a couple of extra bits from the robot. And if we click on those, we can see yep, so they are called based. So we need to be a little bit more specific path to make sure we don't pick those up. So currently, we're going into layout, which is this photo and looking for anything called base, which is obviously you're going to include the robot and the base. So what we need to do is say five base and then go inside of that reference. Say OK, keep base. And then we're gonna put another slash and then a star. So then it's going to say find this and then grab everything inside of it. And there we go. It's removed the observer bits of geometry. So if we come over to our geo layer GA, I can remove this path. And we're going to manually add our two groups in here. And if we go up here, drag our image backup pair that looks like it's working. And now we have the control to turn off different elements for rendering, which is nice and happy. Lastly, we're just going to look at the smoothing of our object. So this was modeled with it being subdivided in mind. This is especially apparent the base here, but everything does actually need one level of subdivision. So rather than just doing this at render time, we're actually just gonna go straight on the geometry because Clarisse love psi restaurant tree doesn't want that too. So we'll start at the base, comes to base, click here. And you might just scroll down here. I was already scroll down, scroll down and find enable subdivisions. It's going to do that. And I think for the base, we might actually just change this to, to the rest of the model doesn't meet that, but the base mime. And then we're going to select the robot. And we can go in here and just press control a on the keyboard, grab all of it. We are grabbing the groups, but it doesn't have subdivisions on the group, so it doesn't matter it ignore. And we can scroll down and find the same thing. And doing this will actually apply it to every bear jumped through, got selected, so that we go. You can see. So now so smooth and ready to be rendered and shaded. 6. Textures Import & Setup: So next up we're going to be getting our textures imported and ready to use an R shaders. And just a reminder to save your project if you haven't already. So we're going to come up with the materials. You're going to do control shift, see F2 on this and call it robot on score, CSRF surface. Same again in here and make a space for our textures. And there we go. So the textures I've created for this robot, I've remade in substance. And, uh, using the PBR metallic roughness workflow. So that means that when we use it with the Disney shader inside increase, it's gonna be really easy to plug in. All the maps are going to control the attributes and we're going to very easily when a match what we've gotten substance perfectly. So if we right-click here, we can get file and we can pick our streamed MFA. Now the reason we use the stream whenever the map is because the streamed ones allow for Udemy. So if we click on this, we'll get an empty map for. Now. This is fine, but it can be a little bit annoying if when you've got loads of maps. So a handy trick instead of doing this, if we delete this, click the folder we want them to go into. And we're gonna get file import, texture streaming map file. And I'm just gonna paste my paths, defines, finds your textures. We're going to get to the robot and we're just going to pick the first UD m of each map. If you go, there will come in. So if we double-click on this, we can load up and see our textures. And what we can do here is we can expand the UV range here, I'm going to just see five-by-five civil of items. And if you go to space, you can left mouse to move around in here. So just a quick thing. If you don't, you dims items, just allow you to have your UVA's spring over more than one EV tile. However, we can see here that we're loading the same texture on every single UTM, so it's not currently working. So what we need to do you need to get our base color and where it says 501, which is viewed him tile, It's produced that I'm gonna do less than and in caps you them greater than and we should see them load. There we go. Make sure to get the dots either side of it. Slightly knowing that we do have to do this each one. So we're just going to quickly go through and replicate that on each one of these. Then we will be pretty much set. And we get. Now, one other thing we need to think about here is the color space. So these, as I said, are created in substance and substance when you're exporting from it. It will export your base color and your specular as SRGB. And then everything else is linear when actually using a specular here, but we've got our base color. However, in this case, when you're exporting is a exiles which my textures are, they all come as linear, is a little bit confusing, but just remember that you must match your whatever you're exporting the color space for your textures as much they increase. So the base color here. In fact, we can select all of them. We're going to scroll down and we can see this color space or what I detect. And we're just gonna uncheck it and make sure it's forced to linear. Now of course, if you know that your textures are SRGB and click on the base of the hierarchy. Obviously you can hear SRGB and change it over. But mine are linear. So those maps really to go, so we're just going to quickly go to materials and we're just going to replicate this process for the base spot for the textures. Given here, File Import, streaming map fall. Find your textures again. And the sum of any got one you'd him. So we can just select all of them. And of course, double-check the color space by undertaking them. So now we're ready to get these into a shader. 7. Shaders Part 01: Right, so now our text is ready. Let's get all shaders setup. So we're going to come over to materials. We're going to go into a robot. We're going to create a Disney. So Right-click type Disney. Great, that. And as I said before, this one's going to work nicely with our metallic roughness textures from substance. Just a quick note. There is also the standard material inside of police, and this one pretty much exactly matches the Arnold AI standards so that workflow, you can use that. And we also will later be using a dielectric, which is what we are going to be doing the glass with. Because the robots split into two materials or shading that works. Almost all of it. It's going to be the main Disney shader, which is going to be our metal. And then I'm using, we're going to be using a separate shader for the class. Now we could technically do the glass with the same single shader, but I want to keep it separate so we have a bit more control to play around in Clarisse and we don't have to keep going back to substance if we don't like the way it looks. So let's grab our Disney. We're gonna rename it robot underscore CSRF. And just for visibility for now, we're gonna make this red and the base color. So what we need today, we need to come up here. And it changed our view port from simple shading which just gray. And we're gonna get to previous, which allows us to see materials. And then we can grab our robot, we can drag it straight on. And there we go. And what that's done is it's if you come up with the material and get here and we need to click on the object to. You can see that it's applied it here. Now, this can be really useful if you'd sort of quickly see something or sorry, the base where it's just a single material. But I think you would agree that it would get pretty tiresome and slow to starting this to every single rivets and part of this geometry. So we're actually going to use shading lists do this. So we can come over to here, double-click on this, and click on empty or click on nothing, and it will remove that. So we're going to come into our materials robot. We're gonna right-click omega shading layer. And I call it a robot underscore SL shown layer. And then we're going to do this with a rule. So the other benefits of shading those as well is that if we bring in another robot that's identical to this, or even delete this robot and load it back in again, if we didn't link to everything with the material, incur, all of that would be lost. However, once we've done this with rules, everything you'll pick up automatically every time. So we could have a 100 of these robots in here that all have the same shader automatically. So I'm going to grab our shader, drag into the material slot, and then now we need to make a rule here so it knows what to look for. So if we just click on my geometry, we can see that everything that we want to be shaded, the metal is MTO. Little material tag I've added and the glass is either class or see glass because that's colored glass. If you haven't got your material, your geometry material tagged can be a little bit slower. You can still manually by looking at the path of HD ahead, depending on how you've shaded in and how you show how you've texted him. And another quick tip I'll show you here as well is that we're gonna be using Project buffs. So we're going to be grabbing this projects up here. And we're gonna say we're looking for the robot. However, if you want to start doing shading by the material, sorry, the geometry. Hierarchy. We come into the hierarchy and say we want everything will just go to the top here. Say Well, all the legs, we want the legs to be one shader. Then we can grab this path here, which you'll notice is that your world path as opposed to a project path. So that's the geometry hierarchy rather than the crease projects hierarchy. However, in this case we are just going to be doing the robot, so sorry the project. Now we're going to grab the path up here from clicking on the robot. We are going to paste it in. And we want it to be a little bit less specific than this because like I said, if we save, we bring in a v2, it won't pick up the shaders. So we're actually going to delete everything. We're going to start at the end. And we're gonna get rid of this part's, well, it's not really any need for star there. So go into layout, fight anything cool, toy, robot and apply the robots material. Now we do actually want to be slightly more specific than that because we want to get any, any things called MTO. So we're gonna find toy robot and then we're gonna go inside of it with a slash, find anything called MTO coat. Now you notice that we can't see anything and the shader in the viewport. And it's because we need to tell the viewport what's shading layer to show us to use. So we can either come into here, come into our materials, and we could drag Shane less Trail, which works. And you can see that word again, the non-organic class, which is great, it's working. However, we want to use our master and that we've already set this up. So if we come from master and add our robot into here, and one other thing we need to do is top-down. So at the moment, everything's getting gray. So we need to put the robot first so Shade things that catch the robot rules and then go down to the query. And then if we go to our image and drag the image shading there up to here, there we go. That's working perfectly. And these again in the gray. So that's working as well. The benefit of doing this rather than just dragging that Shane later on is that we're seeing the final result was saying we're going to be run during I feel just viewing said we just viewing the robot shade layer here. And actually we've got loads of other shading layers. We might unwittingly be overriding of a things without seeing them. So it's good to see everything come once I find, unless you try to work, it sank small and speedup. So let's connect this up to our textures. So we're going to come to our robot and we're gonna go to the Material Editor. And we're just going to write this up and give ourselves a bit more space. And then go to our textures and grab these. Write them out to give us some space. And we're just going to simply base color. We're going to grab this, drag it into base color. And one thing you see here is that the red is totally gone. So if you look over here, once you apply a, once you connect to texture, all these values are totally overridden. It's not multiplier. So as a matter of what we do over here, the texture takes preference. So I grab on metallic ad, it's the metallic gonna grab our roughness. When you guessed it, roughness. And then we need to do some slightly different for the normal. So this is called me out in the past. If you look on the shader, you can see up here, which is where we're going to be plugging in normal input. There's no controls of whether this is a normal up above map, what kind of tangent or object normal space it's going to be in. So what we need to do is we need to press tab in here, which gives us this. And then we can search for normal. And then we need to get the texture normal map, which just tells us that this is a normal map and gives us some controls over it. So we're gonna put it into the input. And you can see over here, we can now change the stuff we need, however, we can leave it as it is, which is nice. And then plug this into normal input. Cool. So let's quickly repeat this for the base. We are going to make another Disney cool it base CSRF. And now we can see it's in here. We're gonna go to the textures, draggable limb, split them up a little bit. So course based bass sound like roughness and normal, which obviously leads to normal. And actually one other note for this. Of course, in this case we're using a normal map. If you were using a bump up, then you would need to search for bump and use this node abs to exactly it. Just replace that for that one. K. So that's all plugged in. So should be good. Yep. So now we of course need to its Schegloff for this base IS RF. Oh sorry, I surf SL shading layer. And then we're gonna do the same thing here. We're going to click the plus, tried to base into here new rule, and I go into layout, fine. So I called base, which is this. And then we wanna go inside of that and grew up everything. Because if we didn't go inside of it, we might be accidentally catching parts of the model. Then in our Master, you can add this new shape layer, which is then automatically added when we got the grape. Yeah, and this is automatically added to your layer, our image. And even if we had ten images, the mass will be adding it to everyone automatically. I mean, I appreciate that this workflow can be low with slow for single objects like this and feel free if you're in urine seems to not necessarily do this for a single object. But it really makes sense when you scale up your scenes and you're using a big scene. So I just want to show you how the Well, I think the best way to work. 8. Shaders Part 02: So before we move on to doing the glass, actually going to skip for slightly and we're just going to bring in a light to, so we can check how this is looking. Lighting and shading quite interlinked, so it's hard to do one fully without the other. So we're going to come to our lights. I'm going to right-click and just start typing environment. It's gonna give us environment right? Now. Don't worry about the size of this is totally arbitrary, just a locator basically in the viewport. So if we scroll down here, we can see that we've got color and exposure at the two main things we're gonna be using. So it's going to come back over here. I'm going to bring in a file and that file. And if you just navigate to where your HGRI is, I've got mine here and we're gonna be using this one. The 6LoWPAN him. 6lowpan him. I'll show how you pronounce it. I'll just do a little quick plug for HDR haven as well. This is where I've got this froms great site that give all their HARs out for free. And if you use them a lot, you can become a patron as well. Cool. So environment light, we're gonna drag the map file into the color. And we know that our layer is automatic, automatically picking up all lights. So if we come up here and switch over to progressive rendering, this is going to turn on a full render in the viewport. And let's do Control H on this as well. And there's going to hide the dome. And that just purely a visual thing, it doesn't affect the Render. So we can see that this is looking nice for easy when it's a little bit slow to refine. But yeah, Chrome's looking gear, but getting a bump maps in the hair, the metallic stuff seems to be working well. It's looking good. If you have a GPU, This would be much, much quicker. I'm suddenly and it using a CPU here. But yet it does GPU in hybrid stuff, which is nice. And we can even go to here. And we can come up to top and rotate the light. Seal happening live. Spur. Nice. So before we keep working on this, let's take a quick look at this in a proper render. This is looking good here, but let's have a slope, but it looks like it's a render. So we are going to come up with the imagery. We're going to drag our image up into here and hit play if yours isn't operating. Now I'm just going to remove this. I've got a ruined region on here, so I'm just going to press this to get rid of that. So we've made, we scale down our character law. We haven't actually changed our cameras. So what we can do is we click on this rope or here, press F over this. And it will frame the robot for some. And we can move around in here just like we can in the 3D view without left-click. And all middle mouse to pal around. Which is really cool. It's nice that it's interactive and fast your computer is the better, so the colliculus will happen. So what we can do is you come up here and we can actually turn the status twenty-five percent, which is gonna give us a twenty-five percent quality will be quick to render. So first glance, it's looking good. We might need to actually come and upon resolution a little bit. So let's go to the image here, because we're only on 1280 and then we're only doing half of that. So let's actually go to a 100%. So of course it will take longer, but we're going to get a bit more detail. I will, of course, we're going to go into de-noising and getting this render looking good later, but this is just a first glance. And so from first glance I can see that this is very, very shiny, perhaps a bit too shiny for my liking. So what we can do if we press this little render region here, and we can press shift and left-click and drag. So with now just rendering this area. And what we can do, we can edit the roughness so this live and so Clarisse without having to go back to substance. So I'm gonna get this, I pick a middle mass of this, which is going to take us the shader. And in here, we can do is edit our roughness map. So if we double-click here, see I'm up here and up and going to white means it's rough. Black is very shiny and sharp. So the tab, we're gonna touch color, come down to color correction, texture color correction. And we can drag this into here. And now that we've got this selected, were actually viewing this in here as well, the edit. So just as a quick test, let's put the salary. Can't see that. Can we? Let's put the game up to two k so we can see the different Sarah. And if I use page up and down on the keyboard, we can go between the two last render and current one. You can also do this as well. See, you can see that's made quite a big difference. Probably a bit too much. Can you see this bit doesn't really look very metallic anymore. So let's go from previous testing. I know that about 1.5.15, maybe it would be 1.2. Looks good. The light is very strong and it's of the moment which is making a syllabus strike the shiny oven is there you can see a bit more detail there. Will obviously fly around with the lighting later. Yeah. So they go, that's how you can edit any maps without having to go back to substance, which is handy. 9. Shaders Part 03: So we have learned now how to add our textures in Clarisse, and we've checked everything looks relatively okay and the render it, we need to work on it, but we'll move on to that. So let's go back and finish the shading by getting the glass going. I'm gonna come back to the 3D view here. I've lost my selection here. And let's go to the robot. And we're gonna right-click and we're gonna create a dielectric. And we're gonna name it glass. Now, if I go back to my previous, I've closed my crease down since which is why we have lost the shading layer that we are. Now. There's two types of glass and this, we've got the colored glass that makes up the siren at the top and these free little lights here. And then his eyes. And this bit here, I'll just clear glass. We are going to be splitting them into two shaders. Once again, this could be done with one, but I wanted to keep the roughness and the ever settings open for us to play around with the color bomb because it could be a little bit tricky together looking good. Whereas I know that this flat political art here should look pretty good with just the standard setup I had him substance. So I've got a glass and we can grab the same textures. We're just going to be using the normal map, which if we track that bit, should bring its texture with it. Yep. And the roughness because obviously we don't need a base color for the normal glass nor the metallic. So you've got the roughness into roughness, normal map into normal. We can leave everything else for now. And then on our robot shading layout, we're going to duplicate down. And then watch Econet. Then we'll get the top one, choose glass. And we're going to change this to gloss, which is what the geometry is called. Okay, so it looks like it is picking up now if we middle mass and here we can just check, you know, you can't see dielectrics properly in the previous mode. So let's go back to the run them. We're going to hit play. And I'm going to remove this are in the region. And just kinda frame upon this glass is so per-click and Empress F. Now it doesn't looks a bit strange and I think that's because of the way the lighting is. We haven't really done a lighting proper yet. So let's just go to our lights. And we're just going to put this back to 0. Then I guess we're getting a bit more light on it now. Let's let this finish. You can see we're now seeing through to the dial, so it looks like it's working, it's picking up the shader. But what we can do, we can grab a couple of ARVs to help us out and determine whether this is picking up probably because so it looks like there might be a normal on it, but it's quite hard to tell. So we'll add some AVs and probably don't need this finished let support will go to the beauty parser, trying this out slightly, and we go to the AV edits a. So this is where we can add all sorts passes. You also probably already be closed. This i, we are going to be grabbing the world Normal. And PBR who grab p0? Reflective K, diffuse reflection K, which is essentially our albedo. Now we're gonna come back to these later for rendering and adults more, but this should help us out for now. So if we hit play again, initially, I think has changed. But if we come up here, we can view our world Normal, which we can see that definitely can see on the rest of the church either the normals are being affected. And I'm not sure if you're quite right to say it, but you see very faintly being scratched on here perhaps if I change my gala? No, not really. Well, if you trust me that I can see that the normals are there. And then the other one we added isn't really useful for glass, but it's good for the albedo will go. So we're seeing just the flat textures there, which can be really handy at times. Set that back to RGB. 10. Shaders Part 04: So we just need another dielectric for our colored glass. Let's just call it C gloss. And of course we're gonna be making enough shading layer for just going to pause this window here. I'm going to call it, we're looking for ethical see glass, which is what the material tag is. So if we go in the hierarchy, you can just double check this. There we go. So this is a light. Anything see glass and most have glass which we've already shaded obviously. And then once you've got your rule, we're going to double-click here and save it to see gloss. So it comes to material editor and see glass and will give us up a ton of space here. So for this one, we're going to be using the base color to help drive our colored glass. And then of course the normal. And then we're going to be doing the roughness of self. So the base color is going to be coming into the refraction collects. We wanna change the color of the light that's coming out of it. And then the normal map is of course into the normal map. Then we're gonna come over here and we are just going to put this up to a 100. And actually this one's obviously being overridden. So let's go and see what it looks like. Say hit Play. And then we're going to zoom out here. And I'm just gonna press F on our sovereign. But I'm going to zoom out a little bit to give us a little bit more space and make it a tad quicker. So first glances, IT IS workings picking it up. It's not quite exactly that we're after, but it is that sort of frosted glass. And when someone's plastic Really I say glass was almost a plastic that we're after to see us of walks lie inside of it. So to help us look at this, we are going to add the light. And now because it's going to be a big part of the final looks, it seems silly to leave it out. So let's go down to lights. And we're going to right-click and type sphere. And then grab this one here, which is the light. And we'll name this top like. Now. We know XOR amazing groups that this is automatically picked up. And then we can pull it up. I've actually got my wireframe on here, which I've left on, say, the wireframe on and off here. And actually that's gonna come in useful here because we want to make sure this lights in the middle. So we've compressed V on the keyboard or hold VI. Drag this and oh, snap two points so we can just snap it to the middle. And you don't need the wireframe wants to do that, but it's just easier. And then will pull it down obviously. Now, let's run this, make it fairly small and have ever here. Then that's gonna have a look at what this is like. So very bright. Now the reason for this is because this lies being normalized. We've made are seen very small. And then what the normalization does is it means that the light, the sphere like all emit the same amount of light regardless of its size. So it means it's remained the same or adult as a 50 meter one would, says very bright. So actually thinking about it better in this case to switch to physical. That means it takes into account the size of the light and its area is surface area. So we're gonna put this up, let's try free exposure. Notes still seems pretty dark. Triumph for 0.5. Let's start to get that. We can always come back to that. But we basically want to start with the feeling of a little bit of white, but not really ever seeing the white because obviously it's in the red class. And we are going to be leaving this as a White's lights, laying the refraction do or the color changing for us. And you can already see that is happening here, which is nice. So let's get this looking a bit better. So first of all, I think we are going to adopt the samples a little bit. Working with diffract, sorry, refractive stuff and dielectrics, you never get a better how the South was too low. So we're actually going to go well up to a 100%. Let's just see what that looks like. First of all, have a failing. We might need to put the shading samples upside LI. Yes, so it's still a little bit noisy, isn't it? We might better leave it for a second. Let's leave it for a second. So let's try and play with the index of refraction to get a little bit more warped hairs if the glass is thicker. So in come here, index of refraction, we can put this up to 1.7, which means it's going to be bending the light even more. And that's given us the light fervor if on these ridges which I like. And if you do, page up and page down, we can see between the last current Reynolds. Now this effect is really quite horrible here. And that's going to be solved by the roughness and really blurring out what's called the light that's coming through it. So let's go up to 15 or say. And this is where we might find that we need for the Somme who's up? Yes, it's very noisy, is kind of hard to gauge for you what it looks like. So let's middle mouse and the shader where early on actually. And then we can come up here and we can see material sampling, sampling. So the cyber count is currently set to use render sayings, which means if we come down to our path tracer, it's getting it from here. So if we can scroll down here, see the Global Material sample, countless 16 samples per pixel, which is pretty low, to be honest, you might get away with it for a very generic shader which hasn't got much specular. But most of the time this is probably going to be too low. Especially for dielectric. However, we don't want to, we're not going to raise it here right now because that's gonna globally raise if everything in the scene. And actually it's just this that's causing us problems. So we're gonna middle mouse back on this with the eye picker. And we're going to manually override this here. And let's try one to eight. Suspect later AMI money to raise this. But there'll be we'll look into de-noising stuff a bit later properly. So I may well fast forward a couple of these wonders. So you guys set up the way for them so long and hopefully your computers at a TED fast. Okay, so that's dumb. Still not quite what we're after. I think still attached to shiny and brought us she hears or we can switch to the image history here. And you can see that that took one minute, 60 seconds attach slavery. I guess we have got a pretty full screen. So let's go and put the roughness up forever. I think maybe we'll go up to 25%. And I'm actually just gonna crop a tab or this off to Sweden. Cool, so we can do the page up and down again. I think that's looking a lot nicer. We losing these strange internal reflections here clearly is still a bit noisy thing. It's gonna do two more things and then we're going to reduce the size of the light inside just a tad more. It's taking up quite a lot of space and we'd ask to get a bit of a darker red in there. So we can do that. And after such the rows, I've got my hot off here. So you will probably still on, but it is not. You can switch the hub and the mafia to remove objects. And yeah, this is Bring It On a turd more. So to your personal preference for adding. I think that's nice. It's giving us a little bit more darker red in here now. And one thing to bear in mind is because we've switched this to physical and that has now emitting less light. So I think I might just boost this up maybe to 7.754, just try and brings all that back. But it does look like it's a little bit darker in here, which is nice. And everything as well as at the environmentalist currently putting a lot of spec and on the outside of this. And in our final one, we're actually going to pay for a bit more of a darker look. But that would be the next video. We're going to probably get into lighting. But I think that will help them look at this light laws while really like it, make it glow when it's not being lit so hard for me outside. Cool. So page up and down. So we've got, I think I prefer that it's nice to get these like Darker reds and hair feels like we're seeing a bit more of the light dissipating through the surface in them. And it was put up again a little bit later. If we need, so far nothing we need to do is look at the Stef, the raid app for this. So we've got a lot of folds and stuff in here on this geometry. I want to make sure that we're getting all the correct bounces. So once again, these depths are coming from the renderer. So if we can't have another look at the path trace or again, you can see that word again, one specular, two refractive bounces or transmission. They call it, it's called in calories. So we're gonna go back and override this on the material again, so we don't do it to everything, can unnecessarily raise everything. So I think we're probably going to want good for bounces of specular. Can always turn it down later if it doesn't do much. And then perhaps free internal refraction balances. We could go higher, but you know, we don't want to make the hosting too slow. And we will see from here that this is going to occur in the time. I will fast forward it for you. Okay, so it's subtle way see, we're getting a lot more glow in the corners here. I think it's nice. I think it's worth the five extra seconds there. So I think it's worth the five seconds. We could probably get higher with it. I think that's probably fine for now. I am very tempted to quit. Look on the environment light. Let's just try turning this down to so we can see if we've got our liar, that kind of exposure that we'd like say, maybe get a one minus1 and exposure. And I'll zoom out slightly so we can see how the lights affecting the Move this slightly so we can sell much is hitting here. Hey, how does compare now? But I like that. I've ever getting some dark colors in here and it's nice. Maybe we turn the light off a bit later, but that is what we want to do next in the lighting video. So I'll see you in a minute. 11. Lighting : So now let's move on to the lighting. So the idea behind lights in this robot is to keep the scene a little bit dark and nighttime scene. And this is going to allow us to really focus in on the lights in his eyes and sirens. Let them pop. Plus going for dark assay and allows us to place a few more spotlights around and guess somebody nice, hero lights and we're gonna go for blue and orange, the classic combo. Rather than just having a sky and some which I think can be a little bit restrictive and be a little bit crazy for this one. So before we start rendering, we're going to go and choose a camera position that we like and lock into place so that we don't keep moving around. So we're going to come out to the eye here. And we're going to pick our cameras, they navigate, so pick your camera, we're now looking for it. And I'm just going to zoom out and pick a so free quarterly and all either this so we're not looking at him flats on. So free to use a different angle if you want someone to MATLAB. And then what we can do with the camera's still selected down here. We can come up here and lock this and you'll see all these attributes go gray, which means we now can't rotate it or anything, which is good enough, stop any annoying that I'll accidents of moving the camera. As an old note, if you right-click on any attribute, you can lock it individually. But yeah, for now we want to dislike everything. So let's see what we've got them. So if we hit play, We've got just our environmental another moment. And it looks a bit rubbish, to be honest, very flat lip. And I think that we wanted to have our environmental as our fill like really. So it's going to be maybe light coming from back here in words, just giving a general amount of light and giving us some nice specular on the bits of metal on shininess. So before we start moving on why we need to see it. And the way to do this is click on the environment like come down right to the bottom and untick. I'm seen by camera making it seen by come. Again. And if you want to do this in the 3D view, you have to of course tick that and also come up too progressive rendering and never getting in there. You can see it. Here. You can very clearly see that this locates a is just a locates a because if we come out with a camera here looking out nothing we can view around and see that the DOM is actually coming from infinitely far away in every direction. So as you can see, it's just a nighttime filled. Nothing to specifics is gonna give us lots of little nice lights to catch specular. So come in here. And let's try and get the light coming from somewhere over here and not be too imposing. So I'm going to scroll to the top, start in some rotating. So that doesn't quite nice. Probably attached strong, so we'll keep rotating. And it's also going to try and catch some of these lights and a bit without rim light and they'll give us more specific control over it. We don't want to run it like to be doing too much force really. So maybe something like that. Just giving us a nice little amount of light. Still catching some MySpaces spec up here. The blue bluish tinge from the night sky is really going to complement our July as well, which is nice. And I think the sarin already looks loads better now it's not been front lip. Co, so we'll leave that for now. In fact, I'm not actually spring it down slightly more minus 1.4. Because we're going to be having an aspect key line here in a second. So it slightly, I've finished all your site to compare two. Cool. So let's move on to the key. So we're gonna right-click down here, type spot, gossip, spotlight. And let's name it. Orange on Skokie underscore spot. I'm just gonna pause this and you can see as such, you're just sitting in the same going to pose. This comes the 3D view. And let's get this looking. Coming over here are looking inwards at him. We don't have to front all we want some nice shadows coming in. So we'll pull it. If you press backspace, you can select the last thing you selected, which is really handy. Little trick. It doesn't work with Undo in Clarisse. So we'll rotates it and we're probably going to need to lift it off a bit. Yeah. Maybe go say he's right side, top-down light. Let's come in here and we're going to need to up the exposure and change the color. So let's try 4.5 k, what we can to bad. And then the color, we're going to click here and choose a nice orange, nothing too saturated. We can see that that's actually complementing the copper and the red and yellow quite nicely. I think. Slightly warm or cool. I think I'm going to make a slight adjustment that don't quite like the way the shutter is cut right across it and make it, I'm gonna make it a little bit more top-down. So let's just go to you that just change the rotation slightly. Up it a little bit. Maybe even a tad more than. Okay. So you can see here as well that the shadows going from shop to softer, which is nice. If you want to adjust the softness of your lights, then it's to do with the size of your spotlight here. So we can change the current angle, which we're going to leave quite broad For now. We don't want to be aspects we to pinpoint on this key. I want to be the generally quite lighting the host same nicely. But what we can do here is you can change your radius, which is going to change size of whether lies coming from safety separate. That's a 0, which is technically impossible. You see the shadows no much sharper here, five page up and down. You can see that there. I think it does look nice being wish softer. So we're going to undo that. Leave at one decimeter. So I think we will leave that for now. We can always make a little adjustment in a minute. And let's move on to our rim light so we want to try and get that. We're already getting a little with it, but let's get a bit more of this happening. Like blue light coming from behind them. So come down here, right-click spot and then cool it. Blue pumps for 3M, score spot. And then we can just pick up blue nows. Well, okay, something like this, less cool. And let's go to the 3D view and position s. So like I said, we want this to be. So behind them are comes over here, look in this way, so something like that. And we want it to be nice and high. Maybe even slightly higher. For this one. We do want it to be much sharper and harsh spec, we don't have broad speculum gonna be catching on this tiny little edges. So we're going to reduce our radius down. So maybe free centimeters. We see that change there and polar cone angle in a bit as well. So just need to make sure that we're definitely aiming at him now that we've made it a bit thinner. And what we can do as well, we can change the Full of angle, which changes in a circle here. The brightness will be this exposure and then it fades to 0 out to here. So I will see if you want a super sharp, they do that or if you space softer and pull it in, cool, slightly adjusted, make sure he's in the middle. Let's see what we're getting. Well, I have to do the exposure up again, I would have thought. So let's go maybe free. We don't have to be as bright as the frontline. Okay, so we've got some nice light hair springing up ever textured detail and catching some nice little bits let up here. Let's just let that finish and we'll do a comparison. So page up and down. And that's nice. Perhaps a slightly bright so we don't wanna take too much attention away from our key light. So I think maybe just 0.25. And looking at our key light, Iraq and we might need to display stuff slightly if there was a little bit faded. So we'll go to our key. We will just make this 75. Now that finish. Cause we've got a rim light page down. Once we've upped our key lies well, no rim light. Then if we keep going down, no key light you go. So think he's looking cool. This shadow. Still borrow me a bit, so I'm just going to try and tilt it up one more time. So it's not quite perfectly lining up with this. So sometimes you get these occasional or unfortunate lineups of stuff which can catch your eye. Say, let's get back to this key light. And I'm just going to make it push up and then rotate back down again and hopefully that's going to finally fix it this time. Yeah, I think that's a little bit better. It doesn't matter that we've got this one and the shadow because this is going to be the one that we're gonna be lighting up. So actually that works out quite well for us. Okay, see the difference that makes the think up a felt that because it also gives us a bit shadow down here and put more shadow under xyz as well. What definition? Cool. So what we can do now is move on to doing the lights inside of these eyes. Now we've already done it for siren, so we muzzle copy that one and so light gets us as a starting point. So come into the 3D view, I'm going to click the light and press F on it to zoom in. And then it's going to do control CV. And we're going to pause down to the IC50 Hold v. Again. We can drag on the i here and zoom in. Now I'm just going to actually turn on this on to smooth just to make sure we get this in the right place and the wireframe. So we want to make sure it's stopped right in the middle. And then want to make sure that it's in the light. Now these eyes might need to be slightly smaller. And then I'll put forward slightly. So this can be I score brightness on the right side of his face is for sphere. And then duplicates it. And we'll change this one, so left. And then of course, press b and we're going to try it to here. And just drag that in as well. Okay, so we're going to have to play around with these a little bit, but let's see what we get. And I'm going to grow up, I'll rent region. Drag over this. And since we are looking at such a small bit now we can afford to put this up a little bit. So let's get it maybe 75%. And we may even need to up our resolution a bit. So let's finally met jump up to 1080. Gets tricky but low for as long as possible. But eventually you are just gonna meet up at Digital HD 1080 and we'll see will actually lose the position of that because now if we zoom out as the whole image is bigger obviously. So there we go, we can sell rings. And these look a pretty bright and I think it would be nice to get and we have an older looked to them as well. So we're going to grab our spheres, can slip both of them at once. And let's bring this down to maybe 3.25 or something like that. Might be slightly too little now, so let's go 0.5 and we're going to make them slightly yellow. Is if this older bulbs. And a nice low IDF for this as well, is to variation or variation between the two lights. So they're both not identical. So we're just gonna grab and move the right one. And we'll make this one bit more saturated. Very subtle difference. And perhaps to await the left one slightly brighter. The next two to five on there. Just let that finish and see what it looks like. Coase is fairly subtle. But you can see there that just adds the extra little realism. And in fact, I think this one could do becoming a bit more yellow or make them both yellower. So keep that variation Different. So I'll put this one up. And then this one up somewhere there. Nothing too specific but this eyeballing, it really nice to get that all the bulb look cool. That looks good. So next up, we'll copy another one of these and we're just gonna do our siren down on his chest as well. So copy one of them, control V. And then of course we're going to V on it and drag it down to this green one here, F to zoom, to zoom on it. And then yeah, I'm going to put it on this middle bit hair. And I forget if you have a wireframe is this button here. And then you have a kind of drag it in. So let's see what we get with that. Change. I'll read the regions down here. So it looks like our light is taken up quite a lot space so that we're gonna make it a little bit smaller. And also there is an extra bulb. And so I just press Control D on this a second and see if you actually do you have this bot hub here, which I did forget about metal e. So let's make sure it's inside of that. And are there. And then we're just gonna have to click on this to find the thing I've just hit. Ok, but easier and the hierarchy view to do that, it's proving a bit frustrating. There we go, find it in the group, and then shift each, turn it back on again, say on disabled. So that looks like so I like it more. We're getting a little bit detail in there. I think it could just be slightly brighter, say because it's say, a physical light, it's obviously got darker for where we've shrunk it. So let's go find it. And of course, utility to rename as well. So let's call it green siren, score sphere. Let's up the brightness on that slightly. So maybe 4.25 tried out. So everything, maybe it needs a bit more. So let's go 0.5. And then I can go and you see we're getting little bits of information in there other than just being an obvious sphere. Which is helps sell the realism. So let's zoom out and do a full render. Now we're at 1080. To see what we're getting here. I'll put this up to a 100% and let it finish and then we'll engage how is looking. Okay, so that's all that that took free minutes 20 or my computer. Now we've obviously got a bit de-noising today. Overall, I think it's a very nice, I think nothing as a whole. I reckon this could be slightly brighter and these can be slightly dimmer and yellower. Say, I'll just very quickly go to that now, we're going to make the eyes status, status to point to five, sorry, 3.25. And this one down to five. And then once again like before, I'm just going to make them both yellower. Surprising how much saturation they need actually. So that she taught with that, I think this guy could be a tad brighter. Find all queens are on the sculptor 7.751. Last thing I would do if the lights themselves is to parents, the lights on omni variable itself to the robot so that if he ever gets moved, all the lighting is going to stay there. So for that, we're just going to create a novel locator. And let's say we'll call it robot lights. Scroll, lock. And then we're gonna pair or the ones that are on the body to this. And then we can apparent this robot lights locator to geometry and do on the top level group pair. So now if we go into the free dv, this is working. If I grab our robot, move him, we can see that the lights and not being left behind, they are still in here. If I just hide this game. And I want to do that and say now that library, this sort of ready to go and attached to him. 12. Lighting LPE's: So just before we move on to de-noising and rendering, we're gonna create a couple of LPs, light path expressions, and these are going to help us out. Each individual lines were so heavy, super useful for when you're trying to work out what lights doing want or lighting, but where they really, really come in handy is income, because you'll be able to add these passage but together to create your beauty. And then you will have the ability to change the color or the brightness and each line individually. So you are essentially better relying company. So really cool way of working. So let's get into this. So first of all, we need to create a new av for the light paths to go into. Now we're gonna do, we're gonna split out, we're gonna do the environment rim key, and then we're gonna cool movies lights together. You can separate though if you want, but for speed, I'm going to group them all together. So when need for new ARVs, we're gonna come to Image, Edit, Channel layers, add layer, and then cool one on SQL lite. And let's just copy that as well as to speed this up here and add new. And I'm gonna do 123. And then here it came. And they go, you can see they've come here. Say, if you haven't already come to a click on an image showing your 3D image. And then we're going to come over and we're going to add these AVs shifts like Tim click plus now we've got those in. Now, however, they asked gray at that moment and that means that there's nothing going into them compared to say these ones. So let's make the light paths to plug into them. So we're going to come to a light's gonna create a new context in here, control shift, see LP, right-click, such liked. And then we'll go light path expression. And let's label this light underscore 0 underscore LP. So if we come to our atrophy editor, we can choose whether it's going so I'm gonna choose the AOV we just created, so it conducts more and let you guys know me right at the end. I'm going to choose light 0. And then now we can write our expression. So we're gonna do capital c dot star greater than l dot apostrophe, apostrophe less than. Now, what that means is we're going to grab all the cameras set. We're gonna cameras all of them with a star. So o cameras with a label 0. So all cameras with the label 0. So now we need to label some of our res 0. So we do that by going to a light and we're gonna grab our environmental. I'm going to scroll down on it. Blight path expression label Walker 0 in here. And then finally, we need to add this light path expression to our freely layer. So a little bit convoluted, fit with the steps could probably be reduced. We're going to scroll down and then we get a path expressions LP. So let's hit play. And if you come here you can see your ARVs. There's our, this is our beauty and this is our new HIV. And there we go. Just getting the AOV, sort of just getting the environmental, It's working. Now, let's just quickly do the others would do them all at the same time. So hit pause. I'm going to copy this paste a few times. And then we're gonna go form. Come up here, changes to one same SR, one, C one C 222, and of course 333. And if we go to our lives and we're gonna label, There's a key spot. This is going to be one. Rim light is going to be two. And then we're gonna grab all of the ones on the robot and labeled them three. And like I said, you can split those up forever if you want. But for time sake we weren't Now. Finally just comes to freely layer again and add these new ones. Now you can't actually use groups here. So we could use groups to select all of our LPs. But if I did that one twice, so simply on that. But for now, we're just going to add them manually. So if we come hit play. So we've got our beauty, our Environmental, it highlights a rim light which looks very cool. And finally, the, the robot body lights, which we said that quote cause, well, yeah, so once these added back together and comp, you'll have your beauty again. And then you have the ability to just up and down the values on them. It's really, really cool. So just before we get going, I'm going to turn on environment back to unseen my camera because we don't want to actually render the Al Cool. 13. De-noise Part 01: Right, so we've got our lighting and our shading looking nice Lawson State before we run the, this is the noise. So you can see we've got and cooperate and noise and hair. And although you can get away with quite a lot of still image, we definitely need to produce this a bit. And it'll be a real problem and I'm moving image. So we're gonna come down it took about image and we're going to add some new movies that are gonna help us de-noise this. So come down to PBR and then we're gonna open up the diffuse and we're going to grab the diffuse reflect I indirect and direct. So basically this is just going to be eyes for illumination. And any ray that hits the surface is technically a reflection even if it's a diffuse. And then we're gonna grab the direct, indirect. Then we're going to come down and we're gonna grab the reflection. So you have to open this up. And then we're gonna grab, oh sorry, no, no reflection, glossy. And then we're going to come grab transmission and reflection, refraction and reflection of the speculum. And just as a little bonus, we'll add the diffuse reflection k. Now we don't technically need this for the de-noising, but this is basically just albedo and it's already had, they wanted to have. So first things first Now we've got it's we need to so anti-aliasing samples so we hit play. Or what another thing to know is to make sure that you have your viewport on a 100%. Because otherwise you don't actually know if you're de-noising your image, if your neon say 25% samples. So we're gonna drag the shift left click after clicking here, chisel area, and when to come and look at the alpha. Now the defaults and TLS himself who's on the path tracer, a nine. And actually for still image like this, that's probably going to be okay, even though it's pretty low. I'll just reduce it to one just to show you what would you be looking for. So if you start getting edges like this, you need to go higher. And let's just get 80 and just check that it doesn't look any better. And it's going to hit page down and I'm gonna delete this finished to get page down again and delete this image. I need one because we just want to compare between the nine and the eight. So page down and up. And yet it's not really much different is that. So I think we'll just leave it online and I'll call them state care is to when you first start de-noising and close is to just keep up in this sample count here because technically it will help the, it will help the noise over the whole image, but it's a brute force method. Then you can end up having to have this in the hundreds and it'll be really slow. Just as a side note, if you have motion blur in your image or debt fulfilled, this number is going to need to be much higher. Weaving images, if you come to the alpha and have a little like we are here, you'll see the motion blur being really noisy in here. And for that you might need to go to 60-90, somebody like that. So comeback to the beauty. Next up, we're going to have a quick look at the reflection cages showed was like, then it gets the albedo can be useful and compelling. And then we're going to now have a look at the diffuse reflection. I was just going to be the direct rays from the lights. So this is a lifestyle pulls that we're gonna be looking at here. So really we need to be looking at the shadows. To make this a little bit easier. Let's welcome one line at a time. So we're going to kill everything here with controlled the disable other than the environment. And then let's pick an LA area with a big shadow like here. I'm not going to let this finish. So you can see it's pretty noisy. So 16 for environmental is very low. I think we're going to need to go at least 512, maybe even more. And if we come to the image history here, we can get a view of how much this is increasing all the time. So, so far I've only up to a Bible a second, but this one is probably a bit longer. 14 or actually we have looked at a new areas. It's not entirely fair comparison. Looking much better. Not quite as wrong as a comparison, yes, that's quite a big jump. But it looks a lot better, doesn't it say, I think maybe we can have a tad more since we're trying to get a nice image here, you could probably get away of lab that lists which got a still image share. Let's make it look nice. Okay, page up and down on that. Yeah, there we go. So that's nice and clean now has made that aren't sub longer, but I think it's gonna be worth it. So let's save all this light and we're going to do the key. Now, spotlights generally aren't gonna give you as much noise as an environment light way we're going to spot it is in the shadows here where they're getting softer. And because we made our orange one have a wider cone angle and larger radius. We can see that we are getting this here. If you have a spotlight that's very sharp, like I'll rim light, you'll see that we won't get as much noise in that. So, yeah, definitely, it's up this a little bit clever. Even with the spotlights, even when they are noisy, they don't need near as much samples as a environment like. So that's better, but I think we need to go more strict 64. That's looking pretty good. I think we'll leave it as that. And of course we do the same Control D And then we're gonna open up the rim spot. I'm going to have to pick new area. And now like said, this one's pretty sharp so we might not actually need to do anything with this. There's not really any soft shadows happening here, so I'm just going to up the posterior, messed up the exposure bit. And I think it's looking pretty good to be honest. Let's just double-check the base as well. I think that's going to be okay. I think we can leave it 16, which is nice. Right? So next up, we need to look at indirect. So this is going to be once the light rays have hit a shader and then are bouncing off. So this is now going to be material shaders because it's how the materials interacting with the rays. So oh, actually I forgot to do the robot lights, of course. So sorry about that. When we need to do the top light eyes and the green thing. And we're gonna go back to direct. We're going to have a little look here now these is going to be a little bit harder to do these because they're going to be heavily relied on the glossy output. But we can see we're getting a little bit of noise up here at the shadows. So let's get this. And I'm not sure we are still on to exposure. So that's something to bear in mind if I tell it down, it's much harder to see. But let's leave it up and just try and get this a side of him audit and we're going to make much here fetch team, I'd be alright. Yeah, self-doubt that edge, but there isn't it. And let's just go check the other ones. So this siren isn't actually emitting much lighter tool, so it might be all right to this leave that. Let's just test it with. So let's get a few put up and then see if you get a difference and that if you don't, then you find there is a slight improvement. There is very little increase in the render time, so we'll take that. And finally, the eyes. As I said, most of this stuff is going to be on the glossy, so we're not gonna have a huge meds check here. Sometimes you lose the buckets like I have here. If you just go up and down, page up again, they'll come back totally sure why that happens. And then grab these two and I think maybe we'll just get referred to on these as well. It's just a slight bit noisy. So page up and down. Very minor. I think we'll keep on 32. 14. De-noise Part 02: Okay, so let's turn it back on shifty. And then now we're going to come to the indirect like our same force. This is going to be the material samples, so we need to pick an area. Let's show why isn't all bouncing in the happening. So looking pretty noisy. Now I think rather than immediately affecting the material samples on the actual robot, let's come to the path trace up. And we're going to look at the default material sampling count here of 60. Now, this is pretty low. And I think it's probably worth just putting this up to say 64. Just as a better baseline. And you can see that has helped a lot. But there's still more to go. So now we're gonna go through the rest of it on the shader. That means to them, I think it's just, it's better to have a baseline that's a little bit higher as you can end up going around and manually appear every person who shader. Whereas now we can just count up the shaders, that programmatic, which in this case is already two shaders anyway. But in a biggest scene you'll run into the issue. So that's now using 64. We clearly need a bit more those, let's try 256. So it's definitely looking better. Maybe needs to get slightly more than a little bit hesitant to put this up to 512. But we might have to make it a little bit slow. Okay, so let's just compare. Comparison there. That's a nice one thing tonight is it does look a tiny bit noisy still. But when you take into account how far we're looking, zooming in here, we're almost to sing pixels at this point. So I think that's going to be a good amounts to leave it on. You can see that it's almost doubled the runs time, so not ideal, but I think we do need it. Okay, so now we're gonna go check a couple of the other spots. This make sure that we've got everything here. Maybe down between his legs is a lot of indirect balance in here. Okay, so I can already see that that's looking, alright. Potentially could have a tad more, but we'll leave it for now. Don't go too crazy. So next up we need to look at are glossy. So this is going to be r. So at r are the few samples now biochar in the overall material sample count up. However, we now need to focus in on the glossy side so we can look at reflection first. And we can see this is looking pretty good, perhaps a town of noise. And here I think I'm actually going to come away from this area though. We're going to look up something up here. So we've got multiple different materials here. When we say, I can. Let's try and get a bit. We've got the chest and this sorry, no, that's the same material isn't just in the glass is why should you said what? Face and eyes. So, so far I think this is actually looking pretty good on this glossy. A lot of detail that we're seeing here I think is actually the texture variation in the roughness will just do a test and make sure that. And I also want to check the glass here as well. So I've just middle mast on that. So we are currently still using the default, which is our 64. And I think we are getting a tad noisy in here. So I'm going to put the glass sample up to one to eight. And on the face or the main robot shader, what we're gonna do is we're going to rather than a keep upping the material complex, we know that diffuses good. We can manually multiply the glossy reflections. So let's try and make it 1.5 times that. See what we get. Okay, so that was a fair bit longer and I definitely got stuck on the eye for awhile there. Let's have a look if there's any difference. So the i definitely looks better. I think that's as good cool there on one pretty minimal change on the face. So I think we could actually leave up on the default. So if we just deletes it and answer, it will revert back to the render sayings code. So let's just quickly check out our siren. And then we can move on to the refraction. So it's looking like it might be a tab noisy there. So let's jump to that Shader. And so we're already on a 128 actually. So let's try this upping the reflection. In fact, there's only, there is no diffuse services. So we may as well just go straight for the material sample count because by multiplying, by openness for only affecting these d values anyway, so they need to split it out. Quick compare. Now, that's looking better. I think. I suspect we're going to have to put this up later for the transmission anyway. So I think we will leave that as is common with this weird patch noise here. Once again, we're looking at Quest small thing here. So Dusko, Tadic pixel, if they think they can expect much more of this resolution. Okay, so let's pop over to our transmission or refraction. And I are actually going to lower this back down to 0. Ok, so we've definitely elope and noise in there. So let's come and rather than doing our overall one, let's just do the transmission. So we'll try maybe 1.2. And let's also to shrink this, we don't need to see the whole thing. Caves of loop page up and down. Better might need. Let's do 1.51.5. And our icon that will do it. Okay, so it's looking better. It's not quite perfect. But I think we do have to take into account the size of this thing. Let's just have a look at the BUT again, Yes, I think maybe we do need to offer slightly more. And actually I'm tempted to go for the sample column. I'm just gonna do a test of doing that 512. And actually can I reduce this to default? Just a quick little test to see if we notice a big difference. And then we can know what we're dealing with. And we are getting Beethoven improvement there. And let's just check our reflection. It could be a nice, pretty subtle, but yeah, I think we'll leave it on 512 coat. So we're just going to come down to the same far lights as we haven't done the refraction on our light eyes. Sorry. We can assume the SAR and the bottom is good because it's the same shaders that one of the top there. So that's coming up. Look at this in transmission case we've got our base for comparison. Looks like it might be a tad noisy. It's hard to tell because of the size of it, once again, somewhat akin to bad, but I think we may need to go a bit, especially as we've got multiple layers of glass and these say already on once you're in the moment. So I'm just gonna put that up to you to 5 second. Then we might manually by boosts the transmission as well. Let's compare. Definitely is a bit of a change there. So I think it's worth just going up again and seeing if it looks different again. Much less of a difference on now on. Tempted to leave it at 512, so that's 256, lesser AES-128, 256512 difference there is much less, I would say than before. Let's leave it on phi t 5-6. Oh, that's the accent clipped on the robot shaded their subsequent onto that should be all gloss to T 5-6. But I am just gonna do a little bit more on the transmission history. So I'll get rid of that extra bit that we were seeing where the x bed less noise there that we got from 512 without upping the huffing quite hub hunch. Finally, we're just going to have a quick check of the base. Go through these again, just we haven't looked at the base properly. This can be a little bit of a slip process de-noising, but it's got to be done for it. So it looks like we might get a bit of noise here. Will go for you the pass again once the system. Ok, so actually now it's finished. It doesn't look too bad. We might need a bit of something for this bear here. So let's go forever. Because the direct and not really getting any light shadows on the Spirit so fine. Indirect is the materials. Something exposure, maybe getting a tad of noise there. What we are moral 12x as default. Let's just have a look at the reflection. I'll bring the explosion, but I think you could probably do it with a little bit more on the glossy reflections would be 1.5 and let us have a little look. Yeah, so it's definitely help that I think we will leave the base of that. So far, nothing we're going to quickly do. And it comes to the RGB. And I know that there's lots of these tiny little paint chips on the variables chest. Say, or it's going to make a guess and how can we find a few here? And we're gonna be looking at the comes, the path j. So we're gonna be looking at the subsample quality. So upping this can help get some sharper small details out, like these pump paints bumps. So let's see what we get here. So we can see, I think there's one, they're a bit low res, but if we try and up the quality, let's go for a 100 to serve as a comparison. Normally this isn't too much of a hit on rim the time. But we can already see that those edges look a little bit sharper. And you get better detail on the textures. Look, yeah, look it up. It's night and day. Now sometimes you might not want the image to be as sharp. But I think in this case that's going to be nice. 15. De-noise Part 03: So just before we move on to getting over in the settings, we're going to do one big render this altogether. Because currently we've been working on all these individual elements. And when we say altogether we my spot something that we need to change. So an elite is going and our phosphate of you guys. Now, let's have a look at our random. It's gonna hit pause so that we don't accidentally start re-rendering. So it's looking pretty good overall. Would quite like to render a higher resolution. For this tutorial. We will just keep it on 1080, but feel free to under hire and probably will for the images that were put online. A little bit of paint pumps here. So one thing that's catch my eye and are seeing altogether is these, I actually do look a little bit noisy or has not even quite noise, it's losing detail in them. So I think what we need to do is maybe just up our ray trace, sorry, I'll anti-aliasing setting slightly. So although we did set them nicely for this edge, this is actually a very smooth edge that we did it on. And there's quite a lot of detail, thin lines going on in here. And I think giving the renderer a few more samples per pixel, which is going to help it explains or define what's happening in their bit clearer. So let's just choose one ie. We don't wanna render the whole thing again. And we go, Let's go to 18. Before. Another time you're really going to need a higher samples is with small details like we're doing here. So f sorry, like hair. Really, really going to have to up your samples because you're gonna be getting multiple bits of hair in the same pixel space. And it's just not going to be able to describe very clearly what's happening within that one pixel unless you give it more samples. And that's what I'm hoping is going to help here, should help us see these lines with Clara. Do page look at the author and the page up and down. So that's helped a lot. Oh, sorry. Gone down to Father. I think that's helped a lot with clearly started see the circular lines but better. Let's just go up. Remember tried 24. Let us see if we get much of a difference. So that's the 24 and if I page down, that's the 18 and that's the nine. So it's quite a big difference. I almost prefer the 18 funny enough, but I think we will stick with 24. You see the difference between an orderly the 81 here. So we get direct say 924 to see you get much more of a clearer picture of what's happening in here. Nice. So we are already to sell power renders and get to explore in these images. 16. Rendering: So for the final video in this series, we're gonna be looking at exporting our images and movies. Now we're just going to Utah image here. Come to IV editable, just gonna add a couple of extra ones that can be really useful for comping. So common normal, world Normal. And then depth, which is super important, is going to lie, it argued that filled in post. And then finally, if you do have movement and motion blur, then you can also add your motion factors here as well. But we went for this, might just come to the path traces here and show you that if you scroll down motion blurs here we've got a disabled, but you can export your motion vectors, the 3D motion blur in the image or do both. So the quickest and easiest way to explore your images are Clarisse is to let them finish inside the viewport here. What makes you a 100%? And then you can just come here and hit save. And we'll just call it robot. Scores are warm because it's already rendered. It's the saving out. Now the downsides to this are that you can only render one image at a time. And if you have multiple images that you may want to leave overnight, it's not ideal. So the other way we can do is come to Windows. Find your random manager here. And then if your image is not already ticked and ticket here, which is actually the same as taking a hair. So we have a few different settings. We're just gonna do one frame. And then we're gonna choose a location. And we'll call this 12. And you actually don't need to have the file extension here that's gonna automatically get added by whatever you choose here. So I would recommend exploring us 32-bit ASRS if you have a compositing software that can handle such as nuke. And if you're doing that, then it needs to be set to linear. And it's the same with tiffs as well. Anything else, like jpegs, for example, you're going to need to set SRGB. Now with a XORs and tiffs, they're able to handle multi-channel images, which means that you can export your beauty at only av is to start at the one single image, which is very useful, but you do have to make sure you're compositing software can handle up. Now if it can't handle that, or if you want, say have your images are either separate images or if you're using something like a J peg which caught Hazlett, then you have an option to come up to Edit. Preferences, come down to input and output. And you can take the separate files. So that will allow you to have your beauty and then you'll get six or seven other ones, images that will come out next to it, UAVs. And that'll allow you to explore any file format that can't handle multi-channel. However, I would recommend doing XOR or tip if you come. So once you've got everything set up, you can hit render. And that's gonna go ahead. So thank you very much for watching this series. I hope it's been useful. Feel free to message me or leave a comment depending on where you are viewing this. If you have any questions and then you think, you think I can improve with that. Good luck and I hope you enjoyed it.