Class 3: Lumion 10.5 | Filip Gorzka | Skillshare

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Class 3: Lumion 10.5

teacher avatar Filip Gorzka

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

27 Lessons (3h 56m)
    • 1. Intro

    • 2. Lumion 10.5

    • 3. Masking background

    • 4. Mixing grass

    • 5. Texturing the house

    • 6. PBR texture

    • 7. Render

    • 8. Custom background

    • 9. Add path to ground

    • 10. Lime Exporter plugin

    • 11. Megascans in Lumion

    • 12. Post Production

    • 13. Alpha Texture

    • 14. Exterior Project

    • 15. Texturing Environment

    • 16. Building Texturing

    • 17. Render Effects

    • 18. Trees on the building part1

    • 19. Trees on the building part2

    • 20. Palms

    • 21. Trees on the road

    • 22. Background fill

    • 23. Car and People

    • 24. Post production

    • 25. Alpha Texture

    • 26. Animation

    • 27. Video Post Production

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About This Class

Hello again in the next course for Lumion, as usually, the next version 10.5 can give us the opportunity to make some really nice scenes and improve our workflow.

This time Two parts of the course. The first one is still an image ad some tips and tricks for instance how to mix together a few types of grass, how to use PBR material in Lumion, or how works lime exporter plugin. Yes that true, there is some plugin for Lumion especially useful if you have 3d studio max. There will be also a full tutorial on how to add megascans to your scene and how to prepare alpha texture in Photoshop in a correct way.

The second part of the course is animation and post-production but this time in After Effects. Correct I will explain to you how to work with render elements even in the video. All of this will be included in the following tutorials.

So let's get started to work

Meet Your Teacher

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Filip Gorzka


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1. Intro: Hello again In the next girls for aluminum, as usually the next version, 10.5, can give us opportunity to make some really nice scene and improve our workflow. This time to part of the course. The first one is still image and some tips and tricks. For instance, how to mix together for grass, how to use PBR material, Illumina, or how works with lime exporter plugging? Yes, that's true. There is some plugging four lumen, especially useful if you have 3D Studio Max. There will be also full tutorial on how to add megapascals to your scene and how to prepare alpha texture in Photoshop in a correct way. The second part of the course is animation and post-production. But this time in After Effects, correct? I will explain you how to work with render elements even in the video. All of this will be included in the following tutorials. So let's get start to work. 2. Lumion 10.5: In this course, as you can see, I will use SketchUp in diversion 2021 and lumen way version 10.5. And if we talk about the lumen, there is no difference between version than 0.510.3 SRM. A common issue had been fix-it. And there is a lot of, a lot of new elements in free the categories. So you have a lot of new interior, exterior models. Their mothers came mostly from a promotion. You will also find some new texture also from polygon, very popular website. But you will not find any new interesting and cool features. So this update to then 0.5 A's for free for users that the, by the version than 0.3. So I recommend two and install it. Okay, So as you can see, we have Sam 3D model from our SketchUp. So as you can see, the mother has been making sketch out everything curves. We will prepare it in aluminium. And I would like to take attention to the ground because we also have a lesson where we will fix two different potential for the grass. So as you can create some grounding your project where you have some core base where we applied the lower layer of the grass and some offset sacrifice where we will food some additional a textual to mix it to the front and grass it together and sketch out because sometimes it could be hard to select some elements. They're lower ground I make bigger or so after we will apply above materials, it would be easier for us to select both of those layers. These process you can also do in another modelling software which we use because offset operation is very popular. So it's mean that you just move for the sacrifice from your price. Frozen millimeters distance, and so on. Okay, So this is how we will work with SketchUp and aluminium. And this is what we will do in the next few classes. 3. Masking background: So mostly when you start your approach wreck, you will need to place your model in 3D space in Newman. And after death you will Try to some who weigh, hide the background because it is obvious that we have only the model and all necessary environment will be only around it. So first we will start with some hedge wall. I will place it on each edge of my aria. So I will use mass placement. Mostly. I will increase and then number of items. Okay, So this is the first site. I will just adjust the length. Next two we are going to the next edge. Okay? And we will do the same for each edge. This is because if we remove some photo with camera settings, lower closed-door building, we need to cover everything that is behind our building because it is obvious that there won't be anything else. Okay, So if we are finished with placing their headache, the next option will be to increase the size so we can select one of the head ditch them. We can go to filter and we can select all identical, all the same object that we have in our area. And just when one operation scale, we can increase size all over them. So this is very interesting and I advise to use and filters as much as you can because this will help you to save your time. Now we will remove some elements that cover our road and we'll adjust the position for the rest. One might be the left sides and we are done with the heritage. Okay, so the next, we'll need to place the tree and we'll replace it in two lines. So the first line will be smaller one, and behind them we will place the bigger. So and we will With the mass placement. So we can go to the standard tree because you have two category, the standard and the high detail. So in this stanza 3, my b, I will choose those and I will select the cluster placement. And who will just play some rum, our architecture just to cover the background. And this is the first lines. So it means that here we have this smaller tree. And the next we will place also. And the second line, we've some higher one. Also, I will use the cluster part here. You can also use the pint one. But from my experience, I can tell you that the parent placement should be rather use to cover, for example, bigger aria like Island. So here we will put the tree around, also around our 3D model. Okay? So let's go here. Okay. Next two, we can place the three with high detail. And those three will be placed only close to our 3D model. Something like this. And this is where the camera will be placed. 4. Mixing grass: In this part, I will focus on creating the grass in Lumia, especially pneumonia. Then we have 3D grass, which give us really nice effects. But the most problematic is that this grass is almost common. It's look the same in each area. And by selecting 3D grass. This is most popular way to add the material grass for your surface or for your object. But a there also otherwise that you can create the grass in Iran, for example, we can mix grass, we've soil, or for example, we can mix two different or even free texture of grasses together. Okay, so first, I will select the surface which is on the top. This is why I have surfaces offset from each other. And on the top I will add some motion soil so we can try and she'll or the parameters like the glossiness, reflectivity, relief, displacement, and Skype. And right now for me in this sample, the most important is of course, displacement because this will give me some depth for my texture. So it mean that I will get some high on some aria. And this is what is one of the most important to create the mixing grass. Now, I will select the lower surfaces. And here I will apply the Freddie grass. So maybe I will select will Grass 2 and we'll apply it. Okay? And right now you will see that we have two surfaces that are visible in our editor and also they will, they will be visible in the render. A first, maybe I will decrease some parameters like bending force, a grass size because I want to have the flickering between those two texture. The map scale will be set as default. Maybe I will remove the rotation, the edges, and the roughness also. I will live. And now if I zoom in, you will notice that we have two different texture. The first one is this one on the top, which is the soil, and we have our bras. So as you can see on the render with the realistic settings and some adjustments in heading can brightness. You can see that on our render we have two different type of texture visible in the camera. The first one is the soil and our grass. So this will give you better solution then only apply only one surfaces, only, for example, one graph. You can also add additional surface which will be more down and set that down. And then you can apply, for example, some graph that will be higher. And this will give you also a possibility to display it on your final random. So this is the way you can use to create the mixture, to mix different type of grass with each other. Or for example, to mix the grass together with some soy. 5. Texturing the house: In this part we are going to apply texture into our house. So I will apply some basic texture almost leaf, all of them from material, library and aluminum. I will not make any render with Zoom on the house or there won't be any interior shot. So this is why I will choose all of them from the lumen, mostly, also from displacement because I don't need it so much. Applying material will probably always steak you a lot of time. And we must remember that we have two different category. There are simple material that will not slow down your computer. Also. Those one from the material library lumen and the second category, or the high details material which includes also displacements and of course, their custom materials. Always remember that if you are going to make some Exterior render, especially if you also want to show some environments surrounding nature, then this mean that you will not focus only on building them. You can use the simple material. But when you plan to add some interior renders some short close to the camera. So it is wise to add the more details texture. All this texture from the material library in Ramadan, which also include the displacement or better way to apply some texture from other supplier that you can buy in internet. You must remember that texture is one of the most important thing during the render because for example, assign showed you before with the grass. If you apply different material for the grass damn, hold, the render will finally get different, colorize. So always remember to apply correct material. For example, right now, I mean inside the house. So if I will plan to add some kind of interior, render them, it is obvious that I need to apply material with the displacement with their bump. As I mention in this part of the current, there won't be any detail shot and the interior, so I can apply just simple material. So right now for the door for table, aluminum in the material library has a lot of really nice texture. I can only suggest to select the first dose, one that came from the promotion. And promotion is one of the best. Shopping the Internet where you can buy textural material and so on. The same we've polygon. If you can first select the texture from the polygon. The polygon is also their website that can provide you different texture, different material, then apply it as the first. Okay, so we are almost done with the texturing. Always remember about the glass that the UK, you have two different type of glass for interior and exterior for external. If you want to cover what is inside the interior in glass, if you are making the short from the interior and you want to get better lighting. Okay, so here we are almost done with that texture in the house. 6. PBR texture: Okay, so in this lesson we are going to talk about the PBR texture. The PPR texture are then next generation of the texture. And they are based on the physical light. So it's mean that the light has a very big impact on your final render and each texture. It depends from the anger, how you look on them, and we will generate a different result. And what is more the standard color texture debase one is called albedo Institute of diffuse. And you have separated the deck. So like I'll veto reflection and refraction. And all of them connected together are generate some final texture. In lumen, of course, we can use the PBR texture, but unfortunately we are limited only to free and maps. So it's mean we can use only the albedo as a color, normal, as a bump, and the displacements. Normally if you decided to order some PBR texture or you would receive a lot of different layers, a lot of different map. Unfortunately, in aluminum, as I mentioned, we can only use three of them. What is more? When you order and the texture whole receive too few friends that resolution for k and k, the educates give you more details, but of course, it will be more a PC consumption. So you must remember about this and only use eight K resolution for objects that are placed very close to the camera. In this example, I will use a real displacement texture. And the real displacement texture are created by the company with the same name. And in my opinion, they created the most realistic texture that can be find on the market. Okay, so we start to feel seeing maps like you can see on the screen. This is from the real displacement, some kind of oath. So right now I can apply directly to our round. So I will just select the standard, the extra. And first I will select the color. And here we'll insert our albedo. Okay, So what is more? I can increase the scale to better view the suit. After that, I can remove the color and my B. I will change some settings like lossiness and so on. Okay? And of course, as the fourth lumen will add some normal map. So this intuition, I will remove it. So we'll only use the corner and we'll try to render this image to see the difference. So this is our render with applied only the texture map, only the color. So as you can see, it seems to be very, very flat. And especially if we have the object place close to the camera, it's really look very, very fake. So this is why you should avoid apply only one color texture. So the next map that will add to our object is the bump. And that bump has texture. Who are we can find three colors. The black one, It's mean that the very one that is it accesses the zeros. So it's mean that there is no any depth. Then we have the blue color. And this mean that we have the peak here. The area will be at the high position. So we have some high value on the z axis. And the purple one. Mostly. This is between the blue and the black color. And this will give some smooth transition between the aria without any depth and we've the peak. So this is what you should mostly at two, each texture where you apply your custom maps. So the color and the bump is very important to give some realities for your texture, especially if the object is a place very close to the camera. So we'll apply this texture. And now you can see that we get some depth on our objects. And right now we will try to render it. So after render we've bump or normal texture, you will notice that our root or our planks get some depth. So it's mean that they are not the flood. And they are more realistic, especially if we zoom the camera. But as you can notice, if you go back to the editor, the texture is still flat. This is an advantage of using the normal map because only that depth or the objects with their normal map get on the render. So during correct there you will notice that we have their effects in the editor and there is no, any impact. And this is why. And their computer don't use so much resources. Okay, now we will add some displacement map. Okay, so we will select the correct displacement texture and to apply it to our Luan. So displacement texture, mostly in the name has the shortcut as these from displacement or depth. And the texture has also call or light and dark, the dark one, It's mean that there is no depth. So we have black between the planks and we have and the lighter the lighter area. It's mean that there is some high. So we will get some depth here. And as you can see, and they're light area is mostly on the left side of each planks. So this can simulate that the planks are in some way destroyed or damaged because of time of fuels. So as you can see, this can also give some nice effects to a presents that for example, some objects is quite OT. If you will apply the displacement map, who will get the new slider with the displacement title. And by changing this value, we will get more and more modification of our texture. So right now it's We've out and we'll put it on the higher position. And as you can see, if I will change the value for the displacements. Also, the texture with our booth is banded or a modified soil get some depth. And as you can see by changing the slide there, we will see the effects directly in our editor. Of course, this mean though, you don't need to calculate the texture every time we will move the slide there. And of course this will slow down our a PC. What is more? Women, for example, by some displacement texture, especially with the 8 K resolution, you will notice that during clogged in this texture into the lumen, the lumen propability will freeze for a few seconds. This is because this texture is very often very huge. Sophie, about 450 megabytes. So it's mean that LUMO need some time to look at it correctly. Okay, So now as you can see, we have the renter with that displacement map and this, you can see the effect is very nice. Each plank is some depth. They are different from each other. And for example, if we will compare it together with the standard standard textual data I applied from the library from lumen, you will notice that the difference is visible, especially if we compare to those texture on the preview. And of course, this one and that we applied together with the displacement map is really nice and realistic. I don't recommend to apply these placements on each texture, on each object. And this is because we were dramatically filled up our computer just slow down. Mostly you should add displacement for small object or for each objects that are placed close to the camera. For example, for this video, it's not being eats. It's not necessary to apply in displacement because we don't need some detail texture. For any object, especially that we are far away from the object, we have their camera. So this is how to apply them. And displacements, map and color, texture, normal up and displacements. When we apply it, we can say that in LUMO and we just, we just applied almost PBR. Of course this is not fully PBR because we should also apply the reflection and refraction texture. And right now this is impossible to the endomysium. But of course, if we have the normal color and displacement, we are almost finished with their PVR because those free texture are one of the most important. As I mentioned before, it is war of two by the displacement map together with the normal and colors. So by hold the park. And of course we need to remember that they are quite expensive. So by it and use it only the objects that really need it. 7. Render: Okay, so now we will focus on how to render our image. So we are in the render editor and as a custom style, we will select the realistic, especially that we have the Exterior render here. And two will add few fx. So first of all, we will add 2 perspective. This is to get all the edges in the correct direction. Them. Volumetric sunlight will decrease the brightness. And of course, you can notice that we have for close to the camera. So this is why we need to increase the range of value. So it's mean that the foci will start to appear far away, almost behind all those three that are set in the background. And the next step will be to make some adjustment into real skies. First, we will select the sky in the clear. So we'll select Clear four. And now you can see that this will give some breath to our Render. And first we need to change the angle, how the sun is set to our scene. So maybe something like this. Maybe we're just decrease the brightness and overall brightness because we want to avoid the render to be so bright. Next the sharpened. So to add some sharpen to our elements, maybe something about 0.9 or 0 points 60. This would be okay. Now the reflection of course this be Dream must be on and we click on edit and add. The plane will add all the plane where we have the glass. So this one, this one, and from the lower sides and from the here, from the front of the camera and maybe this side one. Okay, so now we can back again and we will go to the high pearlite and we will increase hyperlinks to some. Think about 42 new can enable it in preview, but this will also slow down your PC and of course, deeper field. So we'll set the field here on our building to be focused on. Okay, so in the preview, you can see that the grass, grass that is close to the camera will be blurred. This is good because we want to avoid that our grass will be, Luke says fake. Okay, so now in the color correction or will increase the temporary true and will be at some tint, but not much. So then we have the contrast. Maybe we'll increase it maybe to 0.6 and then the gamma correction, so k for all k. So now we can click to preview. Okay, and this is how our render look like. And this is our final view. So as you can see in the very, very fast way, we can add all the objects and effects to our final render. So this is y loon is so powerful, especially if we, you need to create effects in a very short period of time. 8. Custom background: In this part, I will show you how to add your custom background to your model. So for example, you can replace the background, this guy with your custom image. So as you can see here, we have our mothers. Now I will switch into the sketch up. And in the sketch up I will add some bended plane wave, some image. Of course in the lumen will need to, again at their custom texture. But this will give us at the beginning really nice references. So now we will just start the synchronization with the lumen. And this, you can see we have this green already applied. So after applied the image to our background, first, we need to remove the normal map because it's useless. Always remember to set colorization to 0. Glossiness reflectivity relieves also to 0. The map scale is depends if you need to rescale your image, you can increase them up. And of course, if you want to increase the brightness of the image, you can use the MEC if so, if you add MEC, if the image will be light there, of course sometimes you need two addresses, this value because for example, you have some custom settings for real sky were everything case lighter. So it's obvious that image also need to be adjusted. And of course in our scene we need to remove the volume much because the sunlight and it is also good to set the camera in the correct position to Moscow the edges from the background. And this is our final render. As you can see, I render this with resolution 3,840. So it is also good to have the imagery, they're high resolution because in other way, you will receive some big cells from the bug on. So if you want to add your custom background aluminum, you can use additional bug ground surface and apply it on that extra. 9. Add path to ground: In this lesson, I will explain you how to add the path for your ground, especially if you have already some grass on it. This effect is only possible in some graphics software like Photoshop, but of course, lumen also be needed. So as you can see in this render, we have some grass and the visualization. So right now, we will run there at this image as it is right now. So we're going to render and we have some higher resolution. This is our preview. So now we are going the run there and we will save it. Then we'll go back to our editor. And we need to make some modifications. First of all, I need to remove this smile elements from the edges from our wood floor and them, I'm going to the grass and I will make the invisible grass that this blow our soil. So, and as you can see, I just removed the grass and I have only this soil on it. So now we are going back again to our renders. So we need to use the same camera as before and render it with high resolution. And right now we are going to the Photoshop or any other graphic software that you use and will not hurt the image with the soil and the image with the grass. So right now I have two different layers with two different visualization. Even if it's the same, you can not is that the whole render is different. And it depends if we have only the yellow soil them, you cannot do that. We have also the yellow color also on our tree. If there is the render with the green graph, them, most of the images, we've green tone color. So this is because when the sun hits the ground, it's also generate some color for all the objects that are surrounded. So this is how lumen calculate hall lights in your renders scene. And of course, normally, who rewards propability dare color of the grass will not have such an impact on or alignment is around dilute. Neon has its own render engine to some algorithm that calculates. And the final render based on each object, on each texture and order value that you the set for them. Okay, So in our Photoshop we have two layers. And for the layers, which is on the top, I will add the mask and I will select that guy is past the plaza and brush. And now I will just try to grow the path. So I will start from this point with this shapes. Okay? And again here. So you must only draw the path on Heroku harass. You, give some y there. Okay? So some fix on the edges. This brush is automatically set to heart so you don't need to change any value. Okay, so now we need to add some darker area on the edge. So with the burn often in Photoshop, I will just draw the edges. Okay, here, here. You need to go through whole edges. So to give some depth, to give some dark aria. And the same on the lower address. And maybe with their soil. So as you can see, this is nice effects if you want to add and above. So you need to first render to difference, camera view and components, both of them together in some to the photo editor software. If we talk about the animation, there is also possibility to make it in, for example, in Adobe After Effects. But the work that you need to spend on create such a puff on your animation will take a lot of time and sometimes it is really not wharf to do such a thing, especially in the animation about the photo. It's not a problem because as you can see with the mask and with the brush, we can do it very quickly. So this is how to add the path to your grass. 10. Lime Exporter plugin: This time I will present you some a plug-in for free studio marks and for aluminum. It with the name line exporter. And this is plugging that can be used if you want to correctly import any object from 3D Studio Max. And the mother's directly into the aluminum. Normally, if you import any file with the extension f, Bx, and then sometimes you can get some kind of issue, especially with the texturing and mapping that lime exporter help you to avoid this problem. And to any object from 3D Studio Max into the aluminum and incorrect white. So this one is very helpful personally, I use this plug-in very often. We have two different version. Both of them are bytes and cos 25 euros per year. And we have two different version. If we already have installed 3D Studio Max, we can use the version 1.4. If we don't have 3D Studio Max, we can buy the version 2.15 and this is some kite, some kind of whoever converter. So we can lot any model directly into their web interface and convert them into the lumen. So now I will show you how it's work with blue moon. Okay, so directly into the lumen, I will try to import hi Poli from a 3D Studio Max. And I will apply it. And I will put it directly into our scene. So in the 3D Studio Max, we can see that we have the three, mostly, the three are high poly. So it's mean that we have a lot of, a lot of details and textures texturing everything he luteum will be almost impossible. This is why with the help, we can use lime exporter. But verse, what we need to do is to add missing bitmaps. So I will use the running bitmaps. I will add the correct path to a place where I have the materials to that tree. I will select relink. And right now, my materials have been imported into 3D Studio Max. Now I need to change the render engine VRA corona or EFS term because only those free render engines are supported by lie more exporter. Now, I can go into the material library in my 3D Studio Max. I can select the material and apply it directly into my tree. So my rate is ready and can be converted into lumens. So first we need to go into line work exporter. So in the line mixed port there, we select first hour three and we have option to convert on the object or Holocene. So first we need to set the localization where we would like to save our model. And then we enter their name. And it will be easier for a future to find the objects. We've selected nine, and after that we can select, Okay, and there is some script running. We've cleaning the material to remove all the materials that are that are not necessary. Them there is some kind of mush cleaning, exporting Whitman. Okay. And after that enumeration, we are ready to import the file, the FBI, created by their Lima exporter, where we have the correct mapping, corrected texts to rink. And even the object is in the correct scale. So after we launched the lumen, we can go to the import objects and start importing FBX. A big sees a very specific file because it's also include animations. So for example, if we have some animation for our three, It's also be loaded into our lumen. So first we need to go to the place import and we need to select the our FBX file. We can add the additional name so each will appear in the lumen library. We can also import animation or edges. And this time I will just set it to off and we are ready to import it. And after oblique, okay, you will see that Lunarians is working. And here we need to write some time because every time high poly objects and especially in the FBX extension, take a lot of space. For example, these three something about 100 megabytes, so it's requires some time to rot it into the lumen. And that there is some time our model appear in the aluminum scene. So you can see that all the mapping and the oropharynx is correct applied. So here we can just rescale our trade. As you can see that race really we very high details. It's almost the same as the tree from the lumen category. High details. So first we will try to render. It, might be I would just move that closer to the camera. I can tell you that. Because as I mentioned, these trays quite big, you will feel that the aluminum just slow down, especially if you put a lot of similar objects into the scene. So my butyl rescale it. Okay. And we can render it again. And this, you can't see the details. The details of this tree is really impressive. And this is what you couldn't do without this lighting exporter. Probably if you will, rot FBX directly into this scene. And there will be a lot of issue with that text to drink. So here is the scene where I applied 40 or 50 pieces of this tray. So you can see that models looks for R3. R3, Nice. So lime exporter you can use to import any objects, especially any Hide Details, objects into the lumen, the resource. So option to import the whole scene. But I tested this options few times. And for example, if you have huge city and you would like to import it with the alignment exporter into the aluminum properly. This who wouldn't happen because Lima exporter, right now with this version doesn't work correctly. We've very, very huge scene. So for example, if you have only the int, some interiority, for example, room, We've all the accessories or the, the elements and objects. This could be useful to use the whole scene in lime exporter to convert it into the LUMO. But for example, if you have your feelings and you would like to make some exterior rendering aluminum and you will use the whole scene options in Lima exporter, them propagate the alignment exporter will freeze. And finally, there will be problematic with importing such as sin into the aluminum propability. It would be better to go into the illuminant, import the FBX model directly without these live exporter. But of course, this is what you need to test exactly on your project because we all know that each project is built in another way. So it is very hard to say if the whole scene converter in Lima exporter will work or not. You have also the three hour version where you can test this plugin. I recommend to try it, especially that it can save you a lot of time, especially with the decks to drink. 11. Megascans in Lumion: In this part I'm going to talk about massive scum library, which is called megapascal. Megapascal is the library where you can find a very high detail models and texture. And mega scan is where no company that created the day objects based on the scanning physical parts in a natural environment. They use some capture software. After that, they use some software for creating and 3D models based on the photo reference and invades shop. They offer a lot of very Hide Details. Texture like ground, Darien, even with a K resolution. And there is also a lot of environment objects like some small tree, rocks and so on. And in mega scans, you can buy ice there or the elements. And we have some subscription. So it's mean that you pay every month some amount of cash. And after that you have possibility to downloads some of the objects from them every month. So you get the points and the base on the number of points you can choose and download any object you want. Of course, for example, they are huge rocks will cost more coins, the smaller with low quality will cost less. So it could be the situation that, for example, and one more fluid will be only able to downloads one huge tree because this will be very, very high details and it will be Coast really a lot of money, a lot of coins. And what is more and more gas cans offer all the objects and texture for free, but only for, only unending. So first we need to download the bridge software. And in the bridge software when we install the program, you will see that there are offer, they offer a lot of stuff for free. And on the left side, you can notice that there is almost 500 elements that you can use for free. The whole base. And the database has 14,293 elements. So right now, so it's really massive. It's really huge amounts of them, unfortunately, all of them are bytes. So this is, for example, preview of the elements that we will use in our lumen seen this one is for free. Of course, we also received the texture, the mapping he's already done. So here we have the bump cavity, this is displacement. So one of the textual data we can use in the lumen there is the fast, normal and normal bump, roughen, so albedo also. So as you can see, when we download any object, we also receive a lot of different type of texture. So we can let them, mix them together to get the really nice final render. Of course, in the bridge, we have also the possibility to check the 3D models. We can rotate it and see how it's look like. And of course, this is, this object is based on realistic models. So we can see this as a PBR texture. We can choose the resolution from one k2, 8 K. So we can switch what we are interesting. And there is of course, some category which determined nine, how good-quality we have. So a low d 0, It's mean that we have the highest number of polygons. Of course, if we don't know the selected objects, we can get the name. What kind of edges, if it is Atlas 3D object and if it is already downloaded or not. Depends so which object to select it in a different category like sacrifice 3D assets or many, many other. Then we have some tax. The size. This is some kind of preview how this object he skewed related assets, how similar objects and related collection. Because for example, we can sometimes by holder, a collection that includes selected elements. Of course it will be less cost than separately object. We can sell like the resolution and we can select options to export. Before that, we need to go to the download settings. And in the texture, we need to select which map we are interested in. And of course, for each map, we need to select JPEG. This is because only use this one in models, we need to select FBX because this is extension also used by a long yawn. And the quality we can select which quality we would like to download every time from the manga scan. Of course allow the 0 is there with the highest quality. Row, D5 in this example is the lowest. We can also mark option to download or lots. But you must remember that it will take a lot of space on your hard drive. Then in the export settings, we need to also change something. In the export tax rate. We can select some software that would like to use with our mascot. Of course, there is Unreal Engine. If it is to do your marks, there is no room on and there won't be it in the future. This is because lumen is competition for twin motion, which is also in Epic store, its mean that we motion and the co-exist. Well, manga scans belong to the same company so you will never find threw me on the bridge. In the texture we can select only free albedo, bump and displacements. And in each of them we need to select Format as a JPEG. This is because only those free luteum can use the rest you can select if you only want to use the texture for the alluvium in their models. Of course, we are interested in the x and we can select which quantity, like to downloads and filename. So it's mean that we can customize the name. Walter Reed. Finally gets so for example, and we can add the date or for example, manga scans. So it would be easier for us in future to find out from where we download it selected elements. And of course after that we can select Export. And we can then go to the files, and the file will open in the Windows Explorer. So when we open the windows Explorer, you will notice that we have a lot of different texture because we have downloaded all the resolution. We have also all kinds of quality FBX model. And if we go to the export 2D, we will find the selected elements with all the texture, with the preview, with the FBX and so on. So as you can see, oh, we have all necessary information. And then we can go to the place import and we can import the old with the highest quality allowed, the 0. So we select it and we click on Open. And we can place it in our scene. Right now you can see that the elements is totally white. So first we can choose the correct position for our objects. So we will select the rotation might be something like this. Rotation on this axis. And the last one. And of course we can rescale the objects maybe to 1.8 and we will place it little higher. Okay, so now we are ready to apply the material for our object. So we are going to the materials, we select our elements and we applied the standards, so on. So first we need to set the colorization to 0. Then we apply the first color, it is albedo. And we will select for k. And we will open it. And after a few seconds, you will notice that the material is in a correct way applied to our objects. So it's mean that we have the correct mapping. Then we remove this standard normal mapped in the binomial and we select our custom for a rho d 0 because we select a load 0 high detail elements. So we select Open. And we also at the displacements, we have from the one these placements, we fork your resolution. And now we can maybe decrease the gloss for wheat. So the standard she's 10, so maybe 0.9 will be okay. We need to remove or decreased reflectivity and we increase the displacements. So now you can see that our objects became more and more depth. Of course, the map scale, we leave on default options and after leak, okay, we can render objects and on the preview, on the final render, you can see that the objects presents very well. It's very high detail. And in a very fast way you can apply anything from the mega pascals, especially that the 500 free elements are very useful and could be used in any indifferent project. Of course, with this subscription, you will get more and more muscle. Now remember that the price for summer lemons could be very expensive for up, another one would be cheaper. So it depends, maybe sometimes it is worth to look on another supplier for some specific objects. But as you can see on the final render, using the mega scan is wharf. And you can use it for any projects. 12. Post Production: This time I'm going to show you some post-production, how to prepare the files and how to work with the layers in Photoshop. So we're going to run the photo and we select the depth map, specular lighting, sky Alpha, and material ID. You can turn off the normal map and a set of solution. We will select the Print so we can render it. And after that in Photoshop, we need to plot all the layers into the program. Okay, so first we select the base one, base layer and we convert it into the smart object fence to that we have some history and we can always back to our default, the first image. So we are in the Smart Objects and now we'll add some filter you can hide the rest of the layer. So mostly the first thing that you will do is work with Camera Raw Filter. Of course, you can also use most of those settings into aluminum, where you change the color. So here we can adjust something can, you must always lookout to have the peak on this histogram in the center. So avoid to have the peak on the left or on the right side on it should be always the center. So we can change the tint exposure, com thrust exposure or if we want to have the more lighter seen contrast, the difference between lighter and darker area highlights to increase. The lighter area shadows the black one and the white colors. Black colors. Them to increase the details for our texture. The same with Clarity and Vibrance to add or remove the color. So this time we will add some colors or will boost it. And as you can see, we have the history. And when we double-click on the smart object, we can always back to camera roll and change everything. So now the layer we scale alpha, which is used to replace the sky. Of course, interleukine-1, this layer is not so perfect because sometimes especially on the tree, there will be some difference. So I will add the sky, some reference image. We've hide details. And then we are going to the sky alpha with the magic wand to select the white collar and selling the similar. And there will be, you will notice some issue with the tree. So now we are going and paste it into the mask. And if we want to. Move this guy, we need to remove this China and we need to, we need to first select the sky. And now you can move the mask, the sky. So this is very good. Unfortunately, if you will look closer on the tree, the Reece not property cutoff from the lumen. So I hope that this would be fixing the future. So now we are going to the levels we need to select to change only the layer for the sky. And we can adjust the brightness of the sky or something like this. Maybe I could just move this guy in this position. And this is how to replace the sky from your render and address the brightness. Now the next two very similar layer lighting, we add the lighting, we need to change the blend mode to screen and change opacity to something about 15, 20 percent. It's so you'll notice that we have the global lighting on our render add the same is with the specular. So we selling the specular blend mode to screen and specular mostly walk home the a glass material so might be also something about 20 percentage. Okay, so you can see that in this area we get some additional light. Now there is also a material ID. So for example, if you need to select each elements individually, there is the problem also with the leaves from the trees. So it's could be problematic if you want to select all the leafs. And now it's time for a depth map. Okay, so first we'll move the depth on the top and we'll make it visible. And we can select our layer. After that, we need to go to our smart object, Double-click on it, doubled the layer. So right now we will add the mask. And we are going to the jungle and double-click on the channel. And we based the Z depth map here. And now as you can see in the top layer, we have the Moscow for Z depth. Then we are going to the filter blower, lens blur. And in the lens blur, we need to select the preview as a source, our layer mask with Z depth. And then we've the better calculation we select more accurate. And after death, you will see that on this screen we have the blue screen and we've set focal point. We can select were on which element camera shoot focus. So for example, I would like the important objects or I can sell it the grass or the house. And if I select the house, house will be sharpened. Ever seen that these in front of the camera will be bluer and bluer focal distance I can change. For example, if I reset it to 155, you will see that everything that is closer to the camera will be sharp and everything that is behind will be lower. Or with 0 value, it will be in the opposite side. So I'll refrain from the which is on the front of the camera will be blurred and everything that is behind far away will be sharp. So this is how you can add the depth to your screen, to your render. And there is also a lot of slider where you can, for example, change the rod, use rotation and so on. So you can just adjust these blower in your render. And of course, we can also change the shape and so on and so on. Okay? So this is how to use z depth them. As you can see, there is a difference. So we'll make it visible because we are in the smart object now we need to exit from, from it by saving the changes. So click that we want to save it to the temp file. And when we exit from the Smart Object, we are back in our layer with lens blue enabled. Okay, So after we are done, we can select all working layers on this residual because we used them to create them, we doubled it and we select Merge Layers. So now we have everything on one layer. So now we can add and they need collection and color effects broaden the collection, is the plug-in for Photoshop very popular and can give you a really nice effects. So mostly I'm using cross processing. You can find it here on the left side and on the right side. So you need to choose the method, how to apply the colors to your image. So for example, in this example may be something from below. And after Gleick, OK, when you do a few seconds, after, photoshop, will calculate the results. And right now we have the final renders done. We flew me on and we've all the layer mask mixed and composite together. So this is how to work with layers. 13. Alpha Texture: This time few words about alpha textual. So as example, I have here two models. And this is some kind of window where I will put the blinds, texture, blind Sui look like this. So we have the white-collar which simulate the blinds and the black one who without anything. So first, I will add some glass texture on the left hand on the right side. So in Lumia phone, we can use the glass only as a solid. Cholera. So there is no, any possibility to at, for example, some shapes varies only one strong color. But for example, I would like to add some brown lines. So I have that PNG texture because PNG is less specific format that allowed you to use the black color as an opacity. In Windows you will do won't be visible but black color a street as a opacity. And we have some shapes, a wave white color. And this is what I would like to add. And the y window to simulate the blinds, because adding the texture is much faster than modelling everything, especially if you prefer the exterior. So exterior will be short from far away. So this is obvious that you can add the texture so we can apply the texture and the remove the normal map. And I will copy this textual also on the second window. And you can see that we have applied the blinds. It is obvious blots blinds must be opacity and transparency, as you can see right now. I also have the solid color, even there are some shapes for the blind. So to add some transparency, I need to go to settings and in their texture alpha, I need to select color maps, alpha clips, objects. So this mean the aluminum will remove the black color and converted into transparency. So as you can see right now, on this solution is what we expect it. I have the blinds and of course the rest are transparency. And we see what's behind the glass. We can change the scale so we can change the size of the blinds. The problem is that I I'm not able to change the color of the glass because I have only the blinds and transparency. The color, colorization only work for blinds. So if I would like to change the color of the glass them, I will have to put another glass behind this blinds and change the last column. So thanks that I will have the blinds with some color and opacity also will be with the color from the glass. So this is how to add texture. But what will happen if we move around the glass? You will notice that something will happen. So if we are on the opposite side of the blinds, you will see that one of the glass disappeared. Event. We have the shadows. So the sun drop the shadows on both. But unfortunately, this one on the left side is invisible. And this is very common problem, not many people forget about. And in the mine issue here is the thickness of the glass. If I will zoom in to the correct one, you will notice that we have blinds on both sides and there is some thickness. The thickness you can add in modelling software by adding the shell or 50k. It depends what kind of software you use. Mostly those options work in the same way. So always remember to add the thickness and never leave the surface or a plane alone. Because this could be problematic in a very differences software, not only aluminum. For example, if you use urea as a render engine and you will not give any thickness to the object. There will be problem, for example, we've refraction and software couldn't calculate the correct refraction for objects. It because in the next lessons we are going to add many blinds and to the project. So this is why I mentioned about adding this weakness and why it is so important. 14. Exterior Project: This time we are going to work with some exteriority project. And the project was my teen 3D Studio Max. Every thing has been important into the lumen. So we have here the islands diamonds is on the ocean in Lonian. We have a lot of small buildings, few and the bigger one. And all the whole model is we have some height position, so you can move it up or down with this manipulator just here. So thanks to that, the water is also cover some aria. And probably we really spent most of time with texturing and adding the 3's paper cars and make some animation. And the shorts will be from some faraway set camera off from the buildings or something like this. So as you can see with spans, a lot of time on texturing, but thanks and that some of them are similar, it will be easier to apply material to multi objects at once. So for example, if you will select some glass them, you will apply the material to all buildings that includes this material or the same and glass. So this should be much quicker. Just a few words about the quality of the buildings. So if we talk about the smaller one and the quality is not some high. And thanks to that project, you can move in. The project is small. But because of low quality of the smaller building, it is obvious that there won't be any interior or render from the close. So as you can see, the buildings are and rather row low poly. So thanks to that, we can mostly focus on the bigger building, which will be as our set, our target in the Render. To show in their presentation. The project will be divided in few steps. So we will start with fixed during the landscaping wrote. And then we will focus with adding detection for the buildings to adding the trees on separate layers. And then we will add some people are car and we'll make that animation. And after that, we'll focus on the post-production out to render and make both reduction in Photoshop or animation in After Effects. Okay, so let's start to work. 15. Texturing Environment: Okay, So we can start with the exploring the environment. So first my B and the sidewalk. So we are going to the materials and we will select some sidewalk. We are going to outdoor stone, maybe some poorly streets. The map scale. The problem is of course we have the tiling. So the tiling must stay in this direction because if we will rotate it, another might be a few meters far away. There will be still the same problem. And maybe the asphalt right now. So we can select this one from polygon. Maybe we can rescale it. And with the asphalt withdraw, there is the problem that we have some flickering. This is because very often we just create the huge playing with their grass. And after that we put on top wrote and if there is no any distance between them, then we will get into the lumen or in any other render software of recurring. So this is why we need to fix the flicker reduction. Okay, So this maybe still not, maybe with this value we can see and the asphalt all the time the same. We need to do with the rope line. So we'll add the color, the yellow one. And of course, the flickering. We need to decrease. It decreases and the lines are visible right now or the time. Okay, So now we'll focus with the grass. So the grass is really a huge pipeline. A lot of their yard with the grass. So avoid to add the free Douglass because probably lumen on the wheel phrase or it could even a crush. So just for this project is a grass, we can add that to the grass or any custom texture if you have, I will use the My, me this ground. And we can increase the map scale. Rest can stay the same. Okay, Now we can work with the sidewalk that is between the buildings. I will just select this one from outdoor stone. And my B, this will be correct. So I can double-click on it and we can really scale them up. And we can add some rotation. And now we can copy the material and paste it. Maybe hero. Okay, and also in this aria, we can price it. So you can see that this force, the asphalt so thus far, again has been replaced. So we need to add again that texture for us fart. And this is because if we are go again to this area, will notice that the asphalt is between the buildings and on the road. So this is why right now we're able to stay with the asphalt because those from the from the which is placed between the buildings won't be visible on our final render and the white line on our route. Okay. So we also have the grass on the top of the buildings. And this is the last area of the landscape where we can replace the existing texture. My BYU arrow going to the stone and select No, this is too dark. So maybe this one will be correct so you can rescale it then at the Leica reduction. Okay. And we are done right now with the texts during their environment. In the next, we are working with the buildings to add the texture and blinds. 16. Building Texturing: So now we will work with texturing. The houses will start with the smaller one with the roofing. So as you can see by selecting consol phase we select or the roofs. This is because those buildings are the same. Only. Some rotation has been edited if in the 3D modelling software. Okay, so we can rescale it. And now maybe with their glass. So here as you can see, we have some lines are ready applied. So we are going to be plus or we will add the standard material. We need to replace with the, our blinds. Or we can set hero as we have because this is already PNG, so only we need to add the extra alpha in aluminum. So now we can select the second glass. And we can know about the standard. We can choose our blinds. And now we need to change the scale. So those lines seems to be more open. To compare with those on the left side. Then we can add the glass. Maybe we will change the reflectivity and glossiness. So then we'll have more possibility to hide what is inside the rules because as you can see, all the rooms are empty. Might be right now the glass on the balcony with some green color. And now the site of the building. So here we have also the special alpha textual material. With the circle. We'll just make them smaller. We can also change the position. But you will see that even though we changed the position on one objects, it will not be fitting on the other one. This is because we don't have correct tiling. And this is why this sometimes worth to use exporter, for example, for this building to get the correct tiling. So you can see that in summary, our tiling would be okay in another. There will be the problem. Okay, so then, then we select the glass. So this should be okay. Might be this one or even this. You need to check by yourself, which will be the most interesting for you. We will decrease the glossiness. And now the concrete. So maybe some from polygon and add also the inside because this will be visible through our glass. Maybe we'll give them white so it will mix the wave, our concrete. Then we have the glass, It's okay. Then we'll add for the balcony, some old maybe this one orientation and maybe this guy, lethal one. And the water for swimming pool in each row. So we try and get into water. Them. Tires for the swimming. Pool. B will increase them upscale. So and now the stairs for the poll, the top of the pole. This orientation should be fine. And the bricks will just use this one, material. Them. What we can do more with the buildings. We need to add the glass here. Okay, and so now we can work with the motto for the bulk unit. As you can see, adding the texture is very time consumptive. You need to add a lot of a lot of difference. One, of course, for this project, for this course, we use the material from the lumen library. The problem appear when you start to work with some project and you have a lot of external texture that you need to apply to the loan. This will take you a lot of times sometimes it is also. Worth to use from some software that can help you with a ranch. Every texture, like for example, connector, very useful exterior software to help you with manage or defies. The one advantage is that here when we create the day exterior and the render also will be short faraway from the buildings them. We don't need to focus so exactly on all buildings. Now we can apply the texture, but we don't need to spend time, for example, on mapping or, or adding the displacement and normal because they won't be visible so much from the Exterior render. Okay, Now we will work with the smaller buildings. So we need to add some blinds. We need to add the wood panel for the grounds. So most first, mostly you have to always focus on the objects that will be visible to your final render and work with them. Because as you can see, for example here, to texturing everything, we really take you a lot of, a lot of time and sometimes on the final stage you will notice that some of the building quo won't be even visible. And you spent a lot of time on texturing or, for example, or reading. I don't know, a lot of different type of grass people and so on. Okay. Here we have the roof. I will try to apply here water, but I think yes, there is no surface between so we need to transition to the concrete. So let's go back to the outdoor concrete and let we apply the concrete texture them or focus with the building. This one or let read window and the blue one. So it will give us a really nice effects. Maybe this one from the Polygon. Okay, so it's look quite nice. So what we have steel, there will be some objects or elements that don't have. The text. Textural will add it in the next stage. And now we'll focus with the highest building that obviously that it will be visible. So we had the lines, the glass, concrete. You have the grassy site. So outdoor glass. And we need to go inside and of course change the ground panel from the red one. And we will add maybe some interiors wood. And also the white color. Maybe here we also change. Note that this should be fine. So what is also we need to go and change the floor just here. Also taught and some white color. So under the water. So we're going to indoor dials and select for the swimming pool. This well, this could be okay. The same. Okay. So here white and on the top of this building but this is okay. Yes, we have it. Dials swimming pool and should be okay. And here also the ground, maybe concrete or stone goes, this is outside and the same with insights floor. Okay. Here descend situation. And there is also okay. But the render will be from this position. And all buildings will be covered with the trees. So, or maybe this one also we need to add the concrete. So right now we will stop with that text touring. Because right now I don't think we need to cover all the buildings. So only ever finished with adding concrete to this building. And in the next stage will try to make the first render with some effects and we will see how it's look like right now. So maybe them, we'll find some problematic area where we need to fix it with some mapping or so on. 17. Render Effects: So this time we are going to make some rendered and we'll add some effects to have some preview. So first of all, we need to set the camera. I would like to have those free buildings on the left sides, on the left and to see some seaside to literal with the smaller buildings. Okay, so I think this should be okay if we select store, come around and as this time we select custom style. And we will start with adding the camera and set 2 perspective because I would like to have vertical edges on my building. The next one is the real skies. We stand the sky and the brightness. Then we will add some effects from artistic sharpen because we would like to add some sharpen to our scene. The next one, we are going to add exposure and exposure with default value. Next, we will add the, for example, color correction because this is one of the most important. We increase the temperature because we want to have the full lights, yellow color, some vibrance. The rest are and maybe increase the brightness and contrast. Maybe brightness, something like this. Saturation we can decrease because it's will be over color. Light, low light, light height the same. In advance, we will select the reflection and we need to add the previous equality in law because we have a lot of window here and we will add the plane in the area where we have the glass. So we must remember that we have only then position, so we can only select them. Aria. Mostly I will focus on the building that are close to me. Okay, So last one, and it's done. So now we can go back the speed write enable. And maybe the next affects highlights who will increase the amounts of the high pearlite and enabling preview. So you can see that we have nice looking, previewing the Enable, and of course the preview will take longer. The next is skylight render according to the high brightness saturation with default options. And the next shadow, I will maybe decrease the SAM shadow range coloring to the max brightness of the shed ROS. Or maybe will decrease it. And we'll select the exterior scene shadow correction, shadow type to normal. And of course, soft shadows and fine details shadows also turn on to have the really nice and smooth shadows. And my B, chromatic aberration. But we've very, very low value something. Here are affected area. Okay, we can go back. And this is how the preview look like. So it's really nice after we will add the trace and so on, the preview will change. You will see at the end that there won't be any, any much changes right now in our final effects. 18. Trees on the building part1: Okay, so in this part we are going to add some trees on the buildings. So first of all, is depends from your vision, you need to select the correct tree. And then remember to add the three on a new layer. So in the future, is it to turn it on or turn it off? And right now, floor by floor, we will put the three the buildings. Of course I will put it in the selected area where we have the three. And what is more? Some other area I will skip because later I will put there some other similar tree, maybe with different scholars. Of course, very often the adding the Trieste, the project, it will be very time-consuming. Unfortunately, in the lumen, there is no option that you would like to select some, for example, similar textures and automatically drink to each objects that includes select the texture. We need to manually add the 3 one by one. Okay, will be also here. And here. And on the right side. And the last building from here, we also need to place some tree. And maybe this area here and on the right side of the building. Okay. So maybe there is still missing one of three. Okay, So we're almost done with this tree. So now I will go back to the selection. And I will select the first green, and I will select me the filter all identical. And now with the filters, very fast we can change and that the random rotation. So each of the three will be set in different direction. And of course we can also set the random my size. Unfortunately, in this situation, as you can see, some of the trees. Are too small. So after this option, we again need to rescale so the tree. So it depends. For some project, for some situation, this could be very useful for another one. This could be, This will give you a war issue. And of course right now, I will select some of the trees that are close to the camera and we can adjust the color. Of course here I will also scale it. And we can change some of the scholars. So to add some new variation might be here, CB. And of course, the resize. The same is here. Don't worry that the tree and go inside the buildings because on the exterior. And because we have also a lot of difference. Three is fx won't be visible in the camera or even on the final render. Okay, so might be also, here's some tweaking in color. The same here. And always remember to add as many variations as you can. Of course, this is very time consuming, but the results will be very, very good and more realistic. Because in normal life, you will not find the same trees. And some resize. And the color. And again here. And of course here and maybe this one because it's also too small right now. Okay? And we are done with some of the tourists right now. And on the new layers, the next one, we will add the newer types of tree. And it will be my B, maybe something bigger. So I will move across the camera. And yes, we have the bigger tree. And we can edit in the empty space with the grass zone here on the first milling. So right now we just fill the gaps. And to add more and more and different type of tree. Here on the second building. On the first one, we have still some empty area. And here and resource, so some space. Okay? And now we can select each of these three and also we select identical. And we can set the randomize for a direction and of course, randomize size. After that, we need to manually adjust some of the size. And of course we need to change the color to give some new variation. Maybe this one. So it's depends which you want to adjust them, go ahead and make some changes. Remember that more changes, more difference. Then the final render who will be look much it much better to change the color for the tree. And also this one, this, I know that this is very tempting something, but remember that this is one of the most needed work to do because the tree are one of the most important thing in the final shot here. So we need to spend some times and work on some details. 19. Trees on the building part2: And again, the new layer, and we'll add the next different type of tree, might be this one, some medium size. And we need to find the last aria where we can put the three on. Okay, So also, and right now, I will try to feel all the rest of the free space because these three will be the last one in the building. So here and here, here. So then the last region on the top and some here. So as you can see, you need to spend lot of time on placing the three, especially in some very interesting and very important early on because all those aria, especially the first building, will be very close to the camera. So we need to add a lot of different type of tree and we need to remember that each of the three, especially those that stand in front of the camera, must be different. So we need to add different size, different orientation, or even different color. Okay, So we can also add some three drugs here on those building that behind. So just here, here. Okay. And as you can see, these look really, really nice. So I can also add the last building I had. As you can see, I had the same three because those building our place or far away from the camera. So it's they will not be so visible. And it is not a matter if we have the same. And size. But of course with a lumen we filters in a very fast way. We can change it. Okay, So now the last option is to place the tree on the building, on the top of the building, on the roof. So maybe I will try to place here too, or free Pre. And of course remember to add them on the new layer. Always remember to add as many layers as you can. Because in future a two, it will be easier for you to turn on to know some of the and elements. And especially if you place a lot of different type of tree. After few authors sometimes of four pure feel that your aluminum became slow, more slow. And this is because each of these three require some extra storage in the RAM or in temporary files on your hard drive. So it's mean by making those three visible, we need more and more resources from the computer. Of course, in the editor, we can use the knob or layers trust to hide some of the trim. That three will not be visible in the editor, but in the final render, if you will, at the layers, affects them. You have their control and decide which of the elements will be render only in the final stage of rendering. But for example, in the editor, they will not be, is it will weekend, always turn it on, turn it off in a different situation. So the tree on the roof, we can also select all the elements in the Tikal and tried to work with some adjustment in scale. Or we can do it manually. Or even we can remove some of the tree and add the new, some new and of course some tree on the last building tetra place in the second corner of the project. So I will add some to it. And of course, after we will add those three to the window, I will try to rescale it to get the butter fx to get a better size for the tree, of course. Because I would like to make them visible in their camera, especially if I were to shoot them from very long distance. Okay, so here we have the green area, green space where we can place that ray. So here, here and some more places, okay, Just this one. And of course on the topic and also at some tree. And in a few steps we will just rescale all of them. So you can weave your mouse, select it from the tree, and then rescale it. So first of all, it is very good that would only place some individual tree in some places. We don't create the forest because the forest, it's obvious that we'll have to use some kind of global selection and to add some rotation and size by selecting the filters. Of course here we don't have any forests, it's only some buildings. We've just few, really few. Resynthesis. It's easier to manually select each of them and decide to how big these three will be on the final render. Okay? And my B will go back to the beginning. And we are going to the photo. Double-click and we can render it to have some preview. So first of all, as you can see, some of the three are need to be fixed. And there is 13 missing. Okay. I would just increase the size. And maybe I will cope you some of the tree and I will make it even more and more bigger. So now I need to go through each of the tree and inspect it. This one has the correct size, correct orientation, and so on. Okay. So here the bigger one. Okay, this one, this. Okay, and we are almost done with adding the three and the last rather. So it's look nice. 20. Palms: So this time we are going to add some pumps, three into our visualization. So first, we need to go to the library, to the natural place. And in their palms we need to select the correct one. And remember to edit on the separate layer. For me it would be layer 7. You can also rename the layer so it will be easier Or you to know where you put exactly each trip. And of course, I will just start to put the palms on our visualization. So maybe this or this should be okay. So I will edit just here. Of course, in the next lesson, we'll probably make some adjustments with the three. So a Ruffin who will be corrected during the final render. So does right now I will put three, some aria inside the buildings. Maybe here, here. Okay, this one. And of course, this localisation also by me here. And also close to the building's main buildings. My main interests here. Okay. And it's look quite nice. Does something calls so to fill the gap between those buildings. And here on the right side. Okay. Maybe just humans here. Close to the above and close to the road. And maybe some arms here. So as you can see, we add more and more gray. So probably you will feel that Lumen Good, Slow down. And this is because the tree are really nice effect, really nice quality lumen. So now we will select all of them and we can rescale it and add some random Ys size rotation. Some of them we will need to adjust manually or remove it. Okay, so now it should look quite nice. So the next we can add some additional palms. So on the separate layer for me to relay or eight. And I will add the three, the palace that will be the biggest one. And of course it will be inside those area where we have for buildings. Maybe instead of poems will add some standard three. This one should be quite nice. Okay, so here, here. Okay? And inside those buildings, we need to move the camera. Also here. Might be also inside this one in the center and in the center of those buildings. Because we'll use the white camera angles, so there will be many objects visible in the financial. This is why we need to add a lot of 3 to avoid any gaps or aria word, there will not be anything place on the ground. And of course I will select all the trees and I will increase the size, the run, the wise rotation. And we will try to render it. Okay, So as you can see, it's look quite nice. We have the pons and some tree inside those buildings. Maybe we can adjust this one to make it bigger. So the scale should be 2.9 or even more. Okay? This should be okay. So we have buildings, is it will have three on the buildings inside those aria with four blocks. We can also again change some adjustment in the pounds. Maybe some of them are too big so we can address them manually. So maybe this one should be smaller. This one also. And as we go back to the Render, and this is look really, really nice. So in the next step, who will place another tree and other objects like people and the cars on the roads. 21. Trees on the road: So now we will start to adding the threes on the edge of the road. So I will select some of them and I will select and add the control point to assume. The next control points. The next one. I add more control points to have the smooth transition and to have really nice corner. Okay, now we can select some trees that we would like to add it right, to add some similar three. So this will be better view on the render. Okay, so we have the five different type, then we will increase the number of items. So do not add a lot of them. Okay, so we can run the mice offset and we can accept it. And right now, you see that unfortunately, all of those were selected. So this is why we can very fast select everything that is on the layer. And because we added those three to the separate layer, them and we can select them in a very fast. Why? So this is one of the nice tricks that you can use. And of course we will add some run-through my size, but unfortunately you will see that a lot of difference between psi, so some three. So you can just try a few times, click and find the best solution. And in the render you can see that these look really, really nice. Some of the theories probably will need to rescale manually. So the next step will be at, on the new layer, always at the tree. On the separate layer, it will be lighter, easier to control them. So we will just add the new path just here on the opposite side of the road. And again at some control points. And we'll just edit here the authority that we put something on the road because later we will have two possibility to remove them manually and of course number of items. Then it will select everything that is on layer 10. And we will re-scale, decrease. So maybe I will zoom in them again, the next layer for adding that race in the middle. So does your control points, control points. More and more control points. Okay, and again, we will select all of them. We're selecting a routine on the layer because right now you are not able to select or identical trees because you will also select the one from the opposite side of the edges. And this is what we don't want to do. So we select a roofing quote is on layer 11, and we can rescale the trees. So now we can go to the renders and check how it's look like because probably some of the trees will need to remove, some of them will probably need to risk guy. So this is how it's look right, right now might be I would just trying to the real skies, the shadows. Okay, So this is quite better. End, first of all, I need to remove some tree because they are too big and height. Some aria in the render. Okay, right now it's really look quite nice. So we need to feel dysarthria with the true because we have only the grass and we'll also add some three on the right side might be I will remove those form because it's don't look quite interesting right now. Okay. And we need to add a lot of three just here to cover the empty aria. So of course, on the next layer. So I will click at the trees and maybe some other type. Okay, I'm on this small here. This one goes to the balcony so we need to remove it. Okay. So we need to go to the steel. I see some of them about when need to rescale it. Okay, and they just hide the empty aria. Maybe this one will select all identical and the same rule, rescale it. So now you can see that this look more and more interesting. Of course, who will need to add some tree on the right side will be also here on this road. So again, I will select some of the trees and manually I will add piece by piece. And I will just scale them. Okay, now it's look much better. And right now we can see that all of the, that race on roads seems to be place. Very good. Of course, I can. I can copy now very fast way some of the three on the right side. Yeah. And that's it. So we have the trees on the above. 22. Background fill: So now it's time to fill the background, which would be very, very time consulting, mostly it's very time-consuming. So right now, I just up the landscape in some aria because it will be easier for me to add the three. So I will select brush and add some small hears. And with the paint, I will just add the palm. So I would just decrease some density and we can start to bind. So they remember to do not add so many trees because this will probably slow down your PC only at them where you really need, especially with the bank. So I will add the aria, or I just move up the hill. And what is more, I only add them on the address. So we have four Aria or we need to repeat the step. Okay, does here, I will add maybe twice. Then on each edges here, just follow the edge of the road. And this area will be the last one. Okay, so now we need to select and those three, because I'm just on the layer 1, so layer for Tunis empty. So I need to select or identical palms. So I will select the first one, and I will just select or identical. And now I need to move them to my newest layers. Now I can work for silicon all of them. And of course, we need to rescale it. We need to add the rondo rotation and so on. But first, I need to go back with the camera to the place where I have the render view. And thanks to that, I know how to rescale and my trees so this height should be okay for me. I will deselect all. And as you'll probably notice, we have still empty aria closer to the grass. So we also need to feel with the smaller tree or smaller. Some kind of blends. And we defined, I will draw it just behind the palms. And one more time, and I need to repeat the steps for each aria. So we are in the second one, so I will just paint the plants. Okay, then the first one and just follow the edges. And the last one. I don't I'm not sure if the last one is really necessary because I don't think that this will be visible in our camera. But I will edit. Of course, sometimes adding more and more aria. As I mentioned many times, this will slow down your lumen. So just try to avoid adding the trees or plants that will not be necessarily that will not be used in your render. Just right now I will put the plants on the separated layer. And now you can see how the renter her looks. So now I will also need to add the trees behind our building. So maybe I will, because I am limited only to 20 layers, I can always go back to some of the layers with that risk close to the road and I can at them again on my layers. So you'll need to remember about manage your layers very carefully because we have only limited numbers of them. I hope that might be in some newer version of Lome on. They will remove this limitation. Okay, so now I need to select or my trees and I need to rescale it. Of course I can't, I can't select everything quotes on layer element because I already have some additional trees, so I need to manually select them. Of course, I need to rescale it because I see all my render dot. They are too small right now. So I can select only some of them or all on this path. So one more time and I will rescale. It might be a little bit. So now it should be. I will also feel this gaps here. And let me see how it's look like on our render. I still have on the left side some small gaps, so it will be good for us or move the camera around and be to the right side. But right now you can see that we have the program with the empty space on the right side and those two big trees on the right side corner. So we will probably need to move it or remove them. Of course, there is to program with the background because as you can see, we need some taller trees. So again, on the new layer, I will just add the new plant. But this time I will just make some changes. And for example, I will select this cluster. Or instead of cluster, I will use just the cluster here. Remember that we are on the new layer and we put those button and it will select all identical. Then I will rescale it. So they will just cover my background. So let me see still, we see the gaps so they are too big. So we need to select or he didn't decayed and rescale it again. So we can also add some randomized size. And we need to reschedule some of them. Nows are the smaller one I can just copy. I will do this because I need to cover the gap between the rest of the plants. So so each should be okay right now. I can select all of them and copy it. Does co-create few times. So we will add more and more. Those palm. Of course, we can also make it as a group. Yes. And It would be also easier to select them. And of course, we need to. Right now I have the group because this will be problematic for me to select. Right now it's only some ANC of this pound. So now I will just add additional growth and I will put it here. Of course, from it, It's also easier for taking the growth. And of course, we still have the right site. So I will add them also here. And right now we need to make some renderer. And of course, you can see that there are still two gaps sewing. And this one is the FERPA between those buildings. So we need to go there. We need to get more rope of our pants, so I need to select them. Yeah, this is still problematic sometimes to select the control points for our growth. So probably it will be necessary. Yes, so yes, we have them. So if you can't find it, probably you need to zoom in to the object and you will see that. And there are a lot of black lines and the place where all of them cross. And then you would see the control points. Okay, and of course, we need to add the grove on the left side and on the right one. So now I will just remove from those area. So fast that as you can see, I just removed for those palm on the front of the camera. So this will give us some infinity. Look. Maybe I will just add some more growth at the end because I see that there is Lakoff and those palm here. So I will just zoom in. I will just copy the growth. And I will basically it one more at the end. So I need to select the top where we have the row. Here is the only the isolate selection. Okay, So I will just select them at the grope. And I will duplicate it and move my B here and I will rotate. It. May be one more time. And now it should be okay. So we are going to the Render View, double-click and yes, this is what we need. So this is how the render look like. Now it's really, really nice. 23. Car and People: And now it's games. And to add some people and the car. Of course, for faster work, I just hide all the rest layer and we have only the city. So now from the top I can zoom in and add some car and the people. First of all, I need to find out which road who will be responsible for people which for the car. Because I would like to avoid situations that we will add all those assets to each wrote to get very slow our PC. And in the final render, there'll only be visible smile pieces of all assets that we add. So first I need to decide which route is most important for me. So I will start from this one closer to the camera. So I will add the lbf with some control points. And we need to add the smoothness case. So here and on the right side. And of course we need to increase the number of card that we have on the PAF. Of course, I need to add more control points because I would like to keep all the car on the road. The state of the grass, especially that if you can see we have WA so it's mean that we want to have the car on both sides. On both sides of the white line. There. Why the yellow one is on the opposite direction. So there we would also have to a direction for the car, but in the opposite direction. So first we need to add the car. So I will add some smoothness for the corner. And we need to set the start point and endpoint. Then we need at more car to have some really nice variety. So 56 car should be enough, right, to add different colors. Of course, you can customize the colors of your cars. And personally, and especially if you have some very close view to the car in Logan, I recommend to use some additional car from other supplier. With more details with better quality. Of course, those one in Lome, they are not so perfect, especially if you zoom in camera to the car. Okay, so I added some random, random Ys options, like offset from the line. And now I will try to feed the car to the road so we need to move the control points. If it it's needed, I can add more contour points, but now this should be okay. Maybe I will just move this one. This one also closer to the yellow line. Offset from the line, but not too much. And of course, it is obvious that we need to add car on the separate layer. So this will be much easier for you to control it in the future. Okay, So we need to feed the car. So as you can see, you need to modify or more of the control points. Also. Adjust the randomize offset from the line to get the best fit. Okay, one more time here. Okay. Okay. As you can see, we have stairs, some cars that go outside broke, so we need to be very decayed with these adjustments. Okay, So now I think that it should be almost perfect for this render officially that most of the car from them will not be visible. Okay, and now we can do the same but in the opposite direction. So we just had the control points. And two, you need now adjust how we would like to put the car on the road if your path will, became red. So it's been that there is some Mistake some issue with the control points. So probably, maybe they are too close to each other and you need to fix that. Okay? So, okay, so now this should be okay. And it's look quite nice. So now the car on the second roll. So first we need to add the control points. Now addressed from the line to 0, because here we have the only one way road. We can add this smoothness and we need to adjust the car on the road. So we will do it by moving the control points from the wrote up or down. And of course, remember to it The smoothness on the corner. Okay? And this one also look quite nice. So we can add in the opposite direction. Again, we need to adjust their roughing. And of course had the smoothness on the corner. So must zoom in and see if there is no collision between cars, because this could be very problematic, especially if you will find out it in your final render. Instead of find this issue during adding the car. And the last position for my car would be on this corner. So here you can, you need to add a lot of, a lot of control points. And for each control point you need to add the maximum smoothness. Then you will be able to add very good transition on the corner, especially for your cars. So as you can see at the ink, such a car on the roundness. And it's not difficult, but you need to be very precises. And you need a lot of control points, a lot of smoothness, and so on. Okay, so now we will add the car in the opposite direction. So the workflow is almost the same. First, we need to add the smoothness on each control points. Sometimes it would be necessary to add more control points to give the better curve. So for example here you can see that even with the corner smoothness of a 100 percentage, we need to add one more control points. Somehow car fit exactly in the road. Some of them here, for example, you can see that they are outside. So again, one more control point. And we are done. So this one, we need to adjust. So now it should be correct. So we finished with the car. And now there is also wrote for the bicycles and the path for the people. So the new layer. Maybe this time we'll put some name the car. Now. I will hide the car and we can start. We're adding the bicycle and the people. So first we place the people and the poor flow is the same as the car. We will just first at the control points. Either is the roundness or this is what I mentioned before. Some control points and need to be fixed because we have some issue with the curve continuity. So we need more and more pupil. And then we select the randomize pricing along lines. So it's mean that some of the people will be close to each other, some of them nom and also set from the line. And now we can add more different models. And it is obvious that for example, we should choose people we've run through the same types of close. So for example, here we have the sunny day. So you also need to select those one with the correct clause. Then we will add some girls. Okay? And the same, but with the opposite direction. So we already have the setting so we can only apply it. And the same with the roads might be here. So we have the cars. So now we can only add the buffs and in the opposite direction. So I think, I think that people are quite easier and faster. This is because they are smaller than the car and this easier to put them correctly on the roads. And the same with here. Maybe we can add the smoothness if it is necessary, or we can only addressed the randomize offset from the line. And sometimes money whirling, we can just fix the position. And this is how this would look like. Then we can of course rename the layer. So now I will add that transport and some bicyclists on this road insight. So the same must placement, who is lbf? And we'll first add the curve. Hence some control points. So it's just finish here. Now we can add the bicycles, of course, that we need to remove the standard people to need to at all of them because we don't have. Much possibility to choose this 12 girls. Now we will zoom in and the same. So some distance from the puff. And so on. Let's say I am what we might for the current for people and the opposite direction. So now it will be easier because we have already all the settings, so you only need to add the above. Somehow some adjustment and we are almost done. Okay? And now we will move to the next. So this one here, we'll also add some bicycles. So the first direction, okay? And the opposite one goes here. The bicycles are covered by the buildings and don't be so much visible. So you don't need to focus a lot on the placing the bicycles in the correct position. So I will only place it above here and opposite direction. And accepted. Okay, and we are done. Of course, bicycles are on the new layer the same as usual. So now we are finished with adding the assets. So now we are almost ready with creating their own there. First I will unhide all the layers so to get some of your in the editor. So I need to add hind manually. It drove them and we have a been unable. So now we are going to the render and we will select the first camera. So as you can see, it's look really, really nice. We have really interesting view. Of course, on the right side we can add some cars and people. I just edit this right now. So this is quite interesting view. Of course, I also added one more view, one more camera. Because I think that this will be more interesting. And of course, for this view, first you need to change the focal length to get the higher angle view. And of course we need to do free morphemes because here we have the bigger angle them we need to. First of all, we need to add their cars on the road and the left side. As you can see, you need to mask the empty area here with some additional problems. And the last thing that you have to do is to adding those three on the right site to cover the also the empty area. So now we are finished. We prefer in the next lesson samples production for this photo. And in the next following lesson, we will also work with some very short animation. 24. Post production: So now it's time for post-production. Of course, there is a lot of different techniques how to make post-production. I will just show you one of those that I use. So first of all, the image will convert to the smart object. So Frank's that we will have some history. And the first thing that I mostly do is the camera arrow. And here I just addressed some temperature to give more sun, the tint color, to give more green exposure, to give some brightness. Contrast, to give difference between black and white colors highlights to increase, for example, lighter aria, shadows to increase the darker white colors, black colors. The extra to get more detail. The same with clarity and dehaze. Vibrance for unsaturation four cores, I will leave as it is. Okay, So this is a smart filter and the camera URL filter. Now, I will add some overall details for my image. So I will do this. We've unsharp mask. And here as a radius, I will add some higher value. For example, something about 80, but I will add small only for amount. So on the preview, you will see that we will get some nice overall details. And now for example, for smaller elements, like three, if you like to, at more details for those objects, I need to go again to the unsharp mask, but this time I will reduce refused very small number and I will increase the amount, for example, to 80 percentage. So as you can see with the preview, we'll get some nice and better detail for smaller objects like for example, trees. So this is, we don't know and two of soil can see that the streaky source, so quite interesting. So now we can add the next layer that we're under from the lumen. The first field be specular. So I will pass it, change the blend mode to screen and the opacity to something about ten to 20 percentage depends the same with the lighting screen. And also positive for 10 to 20. Something like this. Now I will select the roofing, I will add to the new layers and merge all the layers. And maybe we will change the little, the color of the ocean so their material ID, I will select the Magic, want the scholar a purple, violet, violet, violet. And I will just add the layer adjustment, which is called hue and saturation. And I will introduce color. I would like to get some more room. Okay? And the next step is to add the sky out FASTQ IFIs use to replace our sky. This one for moon is not satisfied for us. So we have the scale bar for I will add some texture with my custom sky. So I will rescale it. Okay? Something like this. And now I need to go to my sky alpha and I need to select the white color with their magic want and select right with my mouse and select similar. So now I have selected only the white colors. So I select this guy, I'm at the mosque. And now as you can see the problem we've changing the position of the sky. So what we need to do is to remove supersedes programmatic. So we need to remove the strain between layer and mask. And now if we select the our sky, who can change the position and for example, or rescale it and so on. Okay, so as you can see, the mask is working. Can we can move this guy? So maybe I will splice in different position and I will reschedule. It. Might be too much, so skies looks too big for me. So again, transform scale. And we need to adjust the size of our image. And this is how it's look after adding our customs guy. Okay, So now we'll select all visible layer and we'll duplicate it and merge them into the one. And next we will add the depth map. As you can see, there is no a lot in this depth, but you can also increase with the levels adjustments to get the better results by right now, I will leave it as it is. I will just add to the channel. Then we are going back to the layer. Select the standard image. And of course we need to duplicate this. And in the lower one, we will remove the layer mask. And we're going back to the upper image with the mask, we are going to blue or less blue. I will just zoom in. And now we will use the focal point to the site at which RER will be blue and which will be sharp. And to do this, we use this source layer mask, so it's mean our depth layer. And I will select the point where I would like to focus my camera. So it will be of course on the building, I will click. Okay. And now we have some blueness on the elements far away from the camera and everything that is closer will be very sharp. So this is how to use the depth map. And, and of course, I will select both lawyers, pick them, and I will add merge layers. And now I will show you how you can add definite. So first we will add some selection with the rectangle, something like this at the center. Then we are going to modify further. 500 pixels should be okay. So we have some selection then we are going to adjustments and curves. And now I will increase the light colors. I will duplicate this layer and I will hit Control a to invert the selection. And again, I will go to the curve. And now I will move the curve to the opposite direction. So it's mean that everything on the corner will be darker. Something like this. And now we have the really nice vignette, add it to our post-production. And as you can see, everything that is on the sanctuaries, lighter, pink on the edges, darker. So this is one of the method that you can use for your post productions. As I mentioned, there is a lot of different ones. So in the next lesson, there will be a lot about animation. 25. Alpha Texture: In this quick lesson, I will show you and explain how to create textural Alpha in Photoshop. Okay, So I have the blinds the same as we use in the project. So right now it's standard JPEG format. Now as a first layer, it is a background with some log, so we double-click on it. And after that, we can edit it and we'll add a new layer and move them to the bottom. And this will be our transparency background. So now I will zoom in. Then with the magic wand, I will select the black area that I would like to remove, right-click similar and hit Delete on the keyboard. And then we're going to select and deselect. And right now we have alpha texture without any background, so it's only with some basicity. And after that, we need to save it as a PNG format because this is format that can read Alpha. It texture. So it's mean without any collar. And after that, without any problem, we can load it directly into the rumen. As we might see during the course. 26. Animation: Okay, so now it's time to create some animation and work with that in some post-production software like After Effects. So first of all, we need to copy the efforts from our still image. Then we are going to record. And we'll just make some animation. So the first keyframe from our standard view. After that, we'll move camera, something like this and we will add the next keyframe. And again, something maybe just here. And also, we need to select the correct view and add a keyframe. So our camera will stop in this position. Okay, So this is how it's look after the play. Of course, the longer video, then the longer render time will be needed. So you must be sure that the shots that you choose is correct one, because after that, Luann would need to render a graphene from the beginning to the end. Okay, So we can paste the effects from our still image. So as you can see, our render will look like you can see on the screen right now. But there's still a few things that we need to add before we decided to render. So one of the most important effects that we need to add a smell smoke, thanks to that. Or our cars, people and bicycles. Just start to moving because right now they are in the one position. So it means that we need to add a lot of powerful with their mass movements. And in some way, this is something very tangible something. And the guys from the lunar uncouth storages in some other way. For example, during who at the cars and the people. There should be also option just to add the animation, because right now we need to again do the same to add the buff. And on this pathway, select which Gar who will be moved and in which direction. So first of all, we need to set the start point and end point. And we need to add the control points. So more control points, we add them, we have the butter smooth curve. And this will be easier for us to manipulate later with the animation. So as you can see, I need to add money control point. So I will start with this rote. And in this situation, I will put the control points exactly in the center of the yellow line. Because above the yellow line, the car will go to the left side, below to the right side. So this is in some way every helpful because I select Hall wrote over my center. Where am I? Control points are exactly on the center yellow line. And by adding two-way, we can select all the cars at once and we can increase the speed. So right now it will be solving about 14 kilometers per hour. So as you can see during the animation, the car start moving. And we need to add, this isn't really our poverty similar animation for all our cars and of course, people also for the bicycles. So I will start to add. So first we have the cars. So we can add again. Okay, So here, exactly in the center of the yellow line, if you will put some of them outside so it's in the wrong because right now we can adjust error Fink. And of course, we sometimes need to add more and more to get more smooth curve. And if you have very narrow wrote, there could be problematic, especially for example, here you will get the red line. So it's been that there is something wrong and we need to adjust the control points. Of course, you can also increase or decrease the above. We've. So this chondral points must be fixed. So there is some kinds of issue. Okay, Now it should work probably the control points stick to the 3 end was above the rest of them. Of course, we have the two way. We can just include or exclude, for example, people and car from this role. So for example, we can only set that this buffer and emission will only be for cars. Okay? And the next buff might be this 11, of course, because Here we have very wide roads. So it's mean that we will need to puff up to animation path. Or there is also possibility to put the control points and between those car. So we don't have the yellow line which is in the center. So master manually add and right to adjust the correct position. And now we will try to select all the cars. So as you can see, this could be problematic because the PAF has some limitation. And unfortunately, we need to change and put the path only for the cars above and additional path for the car's below. So sometimes this could be also quite problematic. And it's for us, it will be more work to do. So I just reverse the direction. And now the same, I need to go for the below lines. Okay, so the lbf, we need to adjust or line of course, here we have two control points too close to each other. We will increase the car speed. Okay, so now we need to add the same barf bought for people not but does before that I will add the speed also for the path that is above. So I will just move the camera. And right now I will add the buff for the pupil. So at the above, I will try to put the control points in the center. Will increase the hoof. I will also increase the car speed on. It will be two kilometers per hour because this course is for our people. So it is obvious that people will go with summing about two kilometers per hour. Okay, now we need to add again the buff for the people that are set. In the close distance to the camera. So some control points. In this situation, you must take care to not put the control points on the grid because this could be problematic and probably some of the people will stay in one position and there won't be any mention for them if we will put the control points on some high. Okay, So as you can see, this is what I'm talking about. We have some 1000 points on the three, and this is why we get the red buff. So now we will zoom in and as you can see, something is wrong. So here we have the correct position. It's lay on the ground. I will just put two directions and some of the guy will move one, some of the, some of them will move in the second, in the opposite direction and I will go. And you can see that here we need to manually at the control points to the ground. And the same here. Yeah, so this could be very annoying. So plus here. And again the same problem. So probably something case on the tree. The last little points. Okay? And now as you can see that people are in move, I will just hide the three's and so on. Because it will be easier for me to add the rest of the animation path. Okay, So I would say height, all the layers. So now we need to add the mass movement. For our bicycles. This will be easier because we have the center yellow lines so we can put there our control points. But again, I will just fast at the mass movement for the people because the tree, it was a quite heart. So now. The flu if some adjustment. Okay, so now it should be okay. And correct. Of course the animation is very short, so nobody will see that there is something happen, for example, with the pupil during the animation. And now it should be, okay, my MBA. At the two-way direction. This beat will be something about free or 20 kilometres per hour, might be five. Okay, so now we will add the above for the people just here above. So I also need to puff for the mass placement. The first powerful because placed here. Okay, so now it's in the correct. Maybe we can increase their we've of course a dual direction because we'll have car very close here. So it is good, for example, to exclude them. So we can increase the size of the wave. And then we will be sure that this path will not have any impact for the cars. So let's go and see four people are on the path. So let him be more. It could be very useful if, for example, people that are on my bed will be, I don't know, maybe we'll get some different color to presents. What is on the path and what is not. So this could be easier for me, for example, to understand what I need to address, for example, their control points. Okay? And the next path for our pupil. Okay, increase. Then I will remove the car and we are ready. So remember to add the mass efforts for H it, car aria, and people on bicycle because this is. Very important. So here I will just quick at the mass efforts for the bicycles. So I will add that ContraPoints exactly on my center yellow line, maybe a little above, or we have two control points too close to each other so we don't change the distance. We can increase the speed for the bicycles and at the dual way. The same for those bicycles that we have about the same. I will add control points exactly on the low-light. So as you can see, adding the mass of xy is very time-consuming and it also needs some precision, some adjustment that we need to make before final render. So some smoothness in some control points, especially in the place where we have the radius. This beat for our bicycles. And let me see. Okay, so pink is moving, so it's look really nice. The only missing mass effects on the right side, vd, we can also edit. This affects there. And this, you can see this look really, really nice. And I will unhide all the layers and we are ready to at their random for our animation. So we will probably notice that when unhide, all the layers in the lumen will probably slow down. This is normally because we'd have a lot of elements in this model. So even with the preview, it will take sometimes to see and the result. And we can run their entire movie or a render the clique glass right now we have there one clip. This is why we will just hit this option. And now we are ready to render the eclipse. So we are in the render clip options and we have some possibility. First of all, we need to select the localization and output quality. We can increase to 16 anti-aliasing Bob, this will leave me, take you a lot of time. The quality will be perfect and Bob's time for render is amazing. Clung frame per second depends what we mean. The 25 standard in Europe, 40 also. And there is also an option to render only the current frame. So we can only one. Still immature and they're bad this time would like to render the image sequence together with some additional output. This is because we would like to make samples production for our movie in After Effects. So I will show you some few tips and tricks, how you can quick, for example, in the movie, replace some elements and how to use the render elements, like in Photoshop. So this is what we will do in the next lesson, the frame range. So we select all frames, all the keyframes only, or we can select some range. So for example, we would like to render from 20 to 40 frames on. And so we can also select the quality team. And so in my situation, it will be full HD. And this you can see and there is the rendering process 14 hours. And, and which frame is right now and during the render and which render elements. So after the render, we will work with samples production. 27. Video Post Production: So after finished the render in the folder, you'll notice that there is no any movie file Barth, you have a lot of the brunt, a still image. And this is something normal. This is why, this is why we chose render sequence. So right now, we are in Adobe After Effects and we will try to import all of our sequence directly to this program. And who tried to make some post-production? A post-production is very similar to this one from the Photoshop. So first we are going to the fights, import multiple files. And we are going to them for the ruined the renders. And you will notice that there is a lot of JPEG files. Each off the layer has its own name, solar, we have that material, AD and so on. And we need to select every time on the first from categories. So for example, this is the first from the depth. And this is, for example, first from the color. And we'll click on the Import and the same, we are going concern the first file with zeros 0000 from the depth. Later. The next one will be lighting. So we select the lighting zeros 0000. And then we have the material ID. And remember to select import that JPEG sequence. So to import or the image not only don't find them, we have sky Alpha and very specular. And the last one. So this is all. And now as you can see, we have all the layers loaded as a separately a movie file. So then I will add it into my composition. And as you can see, we have loaded the animation. So animation is built from individual JPEG. So from individual image. So when you move on the sidebar, you will see that we have some animation. Here. We have two different scene. And now we can fit up to 100 percentage. And as you can see, we have all the layers. So this is, for example, the depth. We have, the lighting material ID, sky, Alpha, and specular. So now we are ready to add our render. Hammond's in the same way as in Photoshop. So this is how our Standard color. And this is our mind layer, them. We are going to lighting can, we'll move it above the same like in Photoshop. Then we expand the option and we have the blending mode. We change this layer to screen. And like in the Photoshop, we need to train opacity. So we hit this arrow twice and there is opacity, and we will set it to something about 15, 20 percentage. This same. And we'll repeat with the specular coordinate on blending mode to screen. And opacity, though. Also something about 2040 percentage. So now as you can see, we have still some flat color. This is because aluminum has its own codec. So for example, even if you use the same presets FX for steel image, and you will apply to the VDO them. The final results will be different. So the best way is to use some color correction in Photoshop who use Camera Raw Filter. The very similar tool we have in After Effects, but with a different name. So first we select the layer with our main colors. After that, we need to go to the Effect Controls. On the right side. We have the Effects Presets. If you don't see this window, them you must go to their windows. And two non Effects Presets and affects controls. So in the FX presets, we look for Lumetri Color, and we apply this to our layer with the mind colors. Of course, I will show you only some basic color correction because the same, like in Photoshop, After Effects is the huge program and there is a lot of different options. But this course is for aluminum. So I will not focus on all the options on effects for After Effects, I will only present you there By is equal one and that you can use for your presentation or for your video. So we are going to the basic correction. And we can input some colors. And we have the white balance. And we can select the white color. And of course, manually we can set temperature and tint the same like we do in Photoshop. Then we have some tone correction like exposures. So to get more brightness to this scene, we have some contrast highlights, shadows, whites and blacks. So all those options are also in the photo. And this slider we can change to a different frame so we can see if the settings that we applied is correct for horror movie or for example, for some and a few friends. And for example, we need to add difference value for different frames because sometimes there could be such a situation. Okay, So I will adjust the settings and then we'll have their creative. So you have some fight 3M sharp and vibrance, also the same function that we can find in Photoshop. We can choose some look from the presets. So my B, I will use Fuji Kodak, my VSL cross ADR. What this more, I can change the curves and the colors. And this is our final result, so some goal or corrections. So you can use all those options like you need for your rendering for your video. So now it's time for the depth map. So the depth feet is best to put above the color one. So I will move it and hide the specular and lighting enthroned the depth. So now you can see if we move comma rather that fees also moving. And we need to add some effects to use the depth map. And it is called camera lens blower. And we will apply these effects on our color layer. Not that, that this is very important. Just edit on the color. And now you can see that we have the blue belt right now After FX don't know how to blue. And this video. So we need to add the blue map layer. And here we sell like the depth map. And now you can see that the depth is edit and what this more, um, by changing the value with the and let me go to the blue reviews. And if I will increase the radius and if I will change the blue focal distance, you will see that everything that is far away from the camera became bluer and everything co-authors close to the camera is sharpen. So of course we can change this value and who will get, for example, more elements closer, sharpen, and so on. So it's the friends what exactly in it. You can address this in this setting. Of course, as you probably noticed, the more effects you add to your Layers them, the preview will take more and more and longer. So this is normal, especially if you add a few epochs to the layers. This will became very problematic. And sometimes you'll have to turn off some of the FX or layers to seize any preview. This is because After Effects is quite old software. Even if we have right now 2020 or event there is 2021. Hey, there is still problems that aftereffects use only one processor. So there is not multiprocessing, even if it is. In some version, the ads don't work still correctly. So this is why aids, for example, require a lot of erato for RAM in your computer and very fast hard, hard drive. So as you can see, I have frozen preview, so it's take very long to say it. So now we can work with the rest of them layer saw the first one will be psi alpha. This one is used to replace the sky. Of course, the most problematic is that we need to have some clips with some sky. So this would be very problematic because most of those clips are very expensive. And which is more, we also needed a very high-quality. This is one I found in internet for free, so we can use it. The quality is not so good, but I will like to show you the math of how you can replace the sky. So first of all, we need to resize our footage. Then we can add some opacity to find the horizontal line and to fit it together with our video. So the horizontal line should be like this. So of course we need to rescale our footage. And now it should be correct. I believe up. Okay. Now we can back with the opacity to 100 percentage. So the next option that we need to do, the next, I think, is that we need to move this guy Alpha, one position above our new sky. This is because now we will change our ocean animation. So it's been our sky. I will just remove the sounds and I will change the truck. My truck might be something similar, like masking Photoshop. So I will just change it. Plus we have four options. So it's the bands from the footage from the color. For me, I need to select two luma. And you can see that. We have used our sky alpha two replies, the sky so very fast and easy way. Of course, I can add some color collection like lumetri to change or adjust the color for our Skype. So for example, I will look for the Fx Lumetri color. I will apply it to the ocean. And now we have some basic correction. I can adjust the teeth and temperature, but her feet through our visualization. And the same we've explored for thrust of course, more and more FX them, there will be more problems, so we'll check the preview. Okay, maybe cone trusts also highlights the shadows, white colors, and maybe some thinking the curves like we just increase the brightness area and we will us go down with some occur. Okay, so this is how you can apply symmetric to any elements, any layer like you only need. Okay, so the last layer will be material ID and the method of how to use material ID for parson who never used After Effects before could be problematic and maybe a first view. It could be some hard to understand, but I will step-by-step presents you how you can use it. So whatever we all IDs and material where we have a lot of different colors and a number of these colors depends from the material that we apply to them. Lumens. So first of all, we need to pre-compose this. So it's mean that we need to convert this into, into some composition that we can add more elements, insights. So after pre-compose, we enter into these frequent posts with the material ID and we need to add the solid white color as a background. So we select the white color. And we need to move this white color below our material ID. So now we would like to choose four peaks. Some of the Cold War, which represents for some texture in our lumen scene. And you would like to modify these elements. So first of all, we need to add some color key. The color key give us a chance to select individual objects or elements based on the texture. So for example, yellow is the glass. The red one is for some wall. And for example, who like to change the ocean. So I will select this color from the top. And now the resource of color tolerance, because I cannot hit the Shift and select more and more colors, I need to use only the colors tolerance. So I will increase the tolerance to select more ocean. But of course, by selecting more ocean, I also select some other elements that will be changed. So this is why you need to look out with this tolerance. So if we have color-code key, we need to add levels to make the only ocean as a one separate elements. So I applied the levels and I will change the colors and remove everything. Court is not white. So now we have the selected ocean and it's represented by the white collar. To be sure that this will be only the white color. I need to change the channel, but of course, I can also manipulate the tolerance to increase or decrease the selection. So right now, I need to change the tunnel to alpha and I need to move the slider a maximum to the right to be sure that we have the real white color. So now we have selected the ocean in the video. So then we are going back to our main composition. So I will put the material ID above the color. And as you can see, the ocean is selected. So right now, I need to duplicate the color and the luma it. So now you can see that we have the ocean isolate on the video. So now we've our Lumetri color. We can change the color, for example, to more blow then this one from the lumen. Or even more, more, maybe more blue and green like a tropical ocean. And if I will unhide all the layers, you'll see that on the video. The ocean is change. And if we move the slider, so the ocean will always be changed with the following colors. So this is how you can use material ID to separate some elements based on the texture and how to modify, for example, color or even the shapes. So this is how we work with the post-production for video. This was based on some very basic correction because the most important is to show you the proper way and how you can use the render elements. As you could see, it's some time consumption, consumption, but after few, after some training, Q will be really fast in creating such a post-production for video.