Create Cinematic Scenes with Blender 3D | #Series1 | Kaiwan Shaban | Skillshare

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Create Cinematic Scenes with Blender 3D | #Series1

teacher avatar Kaiwan Shaban, Visual Artist

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

17 Lessons (1h 29m)
    • 1. Intro

    • 2. What you need to know

    • 3. How to find your style?

    • 4. Models, Textures, And Plugins

    • 5. Basic Overview

    • 6. Object Mode and Edit mode

    • 7. Enviroment

    • 8. Water Shading

    • 9. Duplication

    • 10. Importing Models

    • 11. Final Touches

    • 12. Camera

    • 13. Render

    • 14. Compositing

    • 15. Lightroom

    • 16. Photoshop

    • 17. Outro

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About This Class



In this course, you will learn how to create this cinematic scene using Blender, Adobe Photoshop, and Lightroom. I will break down my entire process

Such as

  • Things to know before starting 

  • How to find your style

  • What Plugins do I use and where do I get my models'

  • Basics including navigation and the tools that I use to create my artworks. 

  • Difference between Object and Edit mode.

  • How to create an environment and add sky to your scenes

  • We will dive to the shading tab and that's where we will create materials to create a realistic ocean look alike.

  • How to duplicate our object

  • How to import a model

  • Learn all about cameras and how they function. 

Then we will render our scene & import it to Lightroom and do color grading to make the artwork come to life. finally, We will go to photoshop to do some final adjustments and by the end of this course, you will be able to create an artwork like this! 

Meet Your Teacher

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Kaiwan Shaban

Visual Artist


My name is Kaiwan, I'm a Visual Artist, Internationally published photographer, and filmmaker. 

Throughout my career, I've worked with a number of high-end clients including Apple, Mercedes, Oppo, Sony Music,, and Warner Bros.

I love teaching what I know about the world | My online store // 


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1. Intro: Hey everyone, My name's Kaiwan Shaban and in this course, I will teach you how to create this artwork. I am a digital artist, photographer, and filmmaker by heart, with more than nine years of experience, I have dabbled with 3D work in the past and I know how intimidating it can be, especially if you're just starting and it could take years to understand all the tools and techniques to master. However, here's the good news I have come to learn that you only need to learn 20% to create great-looking artworks. And believe it or not, it only took me three months to get to this level and create artwork like these. So in this course, you will learn how to create this cinematic scenes using Blender, 3D, Lightroom and Photoshop. I will break down my entire process and things to know before starting, such as finding your style and niche. Then we'll start by teaching you some of the basics including navigation and all the tools that I use to create my artworks from what plugging I use and where I get my models. And then we will showcase and between object and edit mode. And then how to create an environment and add sky to your scene. And then later on we'll dive into the shading tab where we will create our materials to create realistic ocean look alike. Then we will learn how to duplicate an object, how to import a model. Learn all about cameras and how they function. And then we will render our scene and import it to Lightroom and do some color grading to make the artwork come to lie. And finally, we will go to Photoshop and do some final adjustments. And by the end of this course, you'll be able to create artwork like this. If you know me personally, you will know that I really value my time. And whenever I tried to learn a new skill set, I tried to get results in the most efficient way and in the shortest time. So along the way, I will also teach you how to do just that and give you tips and tricks to make your workflow faster so you will be able to create great stuff. And no time, I am very excited to see where you guys can create with the principal thought in this course. So without further ado, let's get to it. 2. What you need to know: If you have watched my video on YouTube about my 90 days journey, then you can skip this video. But if you haven't, please continue watching this video because there are some major things to know before starting. The first thing we wanna talk about is you might actually need a good performing PC to give you a bit perspective, I started learning Blender using my MacBook. Within blender, you have like three main render engines. The main one, our cycle and E. What's great about cycle is that you get realistic life simulation. And for that you need a good performing PC and a good GPU to render your scene. But with the, it's real-time rendering where the light is not as realistic, which is in my opinion, a great way to start learning the basic, all the tools. But if you are going to get series on a long run, then you definitely need to get a PC. And obviously for this course I will be using cycle because of how realistic it looks. And I've been using cycle for over almost the second month I started learning Blender. I highly recommend you to use cycle, but if you can't for any reason, then you can still follow along with this course. The result will be a little bit different obviously because of the light simulation, but that shouldn't stop you from not learning because that's how I started learning. I started learning Blender using E. If you are planning to get a PC for 3D purpose, you have to make sure that you actually enjoy the process because it can be easy to give up on a software like this. So think twice before getting one. Otherwise you will just end up being a gamer, which is not bad. It's fun, I guess, but it's not productive. I was saying, anyway, here are my computer SPECT if you are interested. The second thing I want to talk about is experienced. Now if you have no background experience or at least some basic understanding of 3D, it is going to be a little bit challenging. You might be wondering, what do you mean by experience? So what I mean by experience is that I came to the 3D world with a vision mostly coming from my photography and cinematography. So before I started learning, I already had a vision of what I wanted to create, how to use lighting, how to combine objects, you know, doing the right composition, learning about colors and all of that. And I think that's a huge privilege that not many people have when they start a software like this. So it's fair to say that I was only lacking the technical side and this made the learning process much faster. That's why you can tell right away that my artworks are highly inspired by the cinema noir kind of vibe. So again, if you have no background experience, it is going to be a little bit challenging, but that shouldn't scare you off. That's just the reality. Learning 3D has definitely rewarded me in so many ways and enabled a whole new level of creativity. And I'm sure you know that that's why you are here and that's why you want to learn. The third thing I want to talk about is the Pareto principle, aka 2080 rule. Now, as we mentioned at the beginning of our course, the trick I used and learning Blender was learning the 20 percent to get to the 80 percent of the result. In other words, focusing and learning only the tools that I need to get to the result that I want. And you probably already know that I am super into cinematic dark mystery, kind of playing with light style, what I would call. And that enabled me to focus only on the tools that I actually need to learn. And when it comes to 3D, there's so much to do, there is so much to be distracted with. That's why it's important and crucial to kind of know what he wanted to do. And I will be diving about finding your style and niche and the upcoming video, I wanna kinda separate that video because it's really important. And I want to kinda talk a bit more about how to find your style and niche. The last thing I want to talk about in this video is being patient, just like anything learning 3D needs time and patient and daily hours of practice. I started learning by the end of January 2021 and I haven't skipped day without actually practicing or learning something new. So almost every day and practicing and watching videos from the donut 1, the Apple one, just to get a bit more perspective of what's happening. So keep in mind that you need to spend a lot of time to get good at this personally in some ways, I like it because there's always more to learn with 3D. You'll most likely run into a lot of issues and that will give you like daily challenges and excitement. Bye guys, I really hope these points that I've mentioned are helpful. And now let's jump to the next video talking about how to find your style or niche. 3. How to find your style?: When it comes to 3D, it is crucial to sit down and ask yourself a few questions. This will help you to understand what do you need to learn and makes it easier and faster to get to the things you want to create. So really take a moment and ask yourself these questions. What do I want to create? What is the theme? I want to go with? What colors I like the most? What is my purpose? These are some essential questions, but you can go as far as you want. Once you have these answers, you will be more self-aware and you will spend less time going around not knowing what to do. As I mentioned previously, you don't need to learn all the techniques and tools and all these principle to get to where you want. If you start with a specific goal and seen or look in mind, then you can learn only the thing that will help you achieve, just dad thereby saving you a lot of time and long-term giving you a signature style. I know the answer may not be very clear and straightforward and that's completely fine. I struggled for years to find my own photography style back in the day and then all helped me with my current style in the 3D world. Here's a few suggestion you can do to help figure things out. You can simply start by making a list of all the styles you like and a collection of your favorite artworks. You can analyze these and figure out what do you exactly like about them. This will help clear and organize your thoughts, check out your creators and see what they're doing to keep a consistent style and actively think about their work and how they are connected. Another thing you can do, which most of you probably already know is doing copy, where you can start by copying other works from your favorite creators, experiment with different style and tried to combine elements from them. Now keep in mind that I'm not encouraging you to rip off other artists. And the whole purpose of doing this is to find your style. In fact, I would say don't even post these copy work, but if you do make sure you credit the original artist as a way of showing respect, you can get inspired by any artists and there's nothing wrong with that. Just try to combine elements that are close to you and you'll end up having a niche of yours. You should also experiment with any other skill set you've got an incorporate in your 3D artwork. I truly believe that with definitely held to give you that uniqueness and make you stand out from the crowd. For me, as I mentioned many time I have a solid background in photography and cinematography, and that helped me tremendously to incorporate a moody color grading style into the scenes that I've always wanted to shoot as a cinematographer. To wrap it up, all I have to say is simply experiment with a lot of different things. Have an open mind and get inspired. And eventually you will come across your own signature style. 4. Models, Textures, And Plugins: In this video, I will be talking about where I get my models, texture, and what plugins I use. I will be showcasing them quickly and then you can do your own research on them. And we will not be using any of these plugins in this particular course. And that's mainly because most of them are paid plugging. Nevertheless, I do use them in my other projects and they really helped to my workflow faster. And that's why I decided to share them with you. So let's start with models and textures. My top favorite place to download models would be Sketchfab, as you can see on the screen. Sketchfab by far has one of the best galleries, and especially for those who don't want to pay for models. For example, if you want to get a banana model, I didn't think of anything else. Okay, So bananas, there are obviously paid one, such as this one. But if you click the downloadable, all of these are for free, like literally most of these, unless it has this dollar sign, it means that you need to pay for it. But you have so many bananas, which is actually amazing and most of them are pretty good in terms of quality. They have a very powerful community and that's what I love about Sketchfab. Another place to download 3D models would be CG, for instance, less search banana again. So as you can see here, you got all the bananas on CGI trader and you have this option. You can check for free. And this way basically you can download free asset. But if you don't find what you're looking for, you can simply filter them by price. And usually you will find what you're looking for right now. These are my two main options when it's come to downloading a 3D model. But if I still don't find what I'm looking for, I simply go to Google and I search what I need banana 3D model. And I write down free. If I get it for free, then that's great. Obviously there's so many free bananas. Yeah, you can just open one of these. There are so many website is can see Sketchfab is the third link, CG crater. These are the top website, as we mentioned, but within Google you can find so much more. So yeah, Google is definitely my third options if I don't find what I'm looking for, all right, Now when it comes to textures, I have quick soil rich. Now you might heard of it. You might not have. This is basically more like a software where you can connect to all these softwares here, blenders included, and here, if I search rich, and if I open it, here we are in quickselect bridge basically. And you can scroll and you can see that you have thousands of 3D asset, 3D plants, surfaces, textures, all these different type of things. Obviously, you get like some free asset, like 50 of them. But if you want to get access to all of them, you have to pay for their subscription. But it is totally worth it. I mean, this is the community. A result with using these 3D assets and textures. It's amazing. Honestly, it's one of the best quality textures and this is where I mainly get my 3D textures. So all I have to do is go to surfaces. And let's say Fine, need a mud. All I need to search mud. And you get all these different much, sorry. Let's go here. You connect with your blender and you can simply download them and export them right away. For some reason when it's come to 3D asset, I somehow cannot export them within my blender, but I think that's an issue I need to fix. But with surfaces, they weren't predefined and I can just download any textures I want and use them within my blender. I, and now let's talk about plugins. The first plugins I want to talk about or add-ons we can say is Blender. Blender kid is an add on where you can download models, materials, SDRs, scenes and brushes directly and Blender. If you go to Blender here I have it right away. So only have to do is just, for example, if we're looking for chair, just going to search here and we have all these different types of chairs. And you can directly grab one of them and just put it in your scenes. Drag and drop. That's what I love about this. It really helps in some certain situation when you need something quickly in your scene and you have access to over 6000 models and materials and all that stuff. And I believe you pay like ten bucks for their full plan. If you go to full plan, yes. So here monthly you pay around 10 bucks and you get access to all their assets. My next favorite plugging would be Photographer from blender market. This is honestly a great add-ons, mainly because it gives you a physical camera, physical life setting, and light mixer interface. If you go to Blender here, and if we go to press N and C Here, we have photographer. Plugging and we toggle or camera and just remove this, make our chair this main subject here. Here you have variety of options from exposure, white balance resolution, depth of field, and lens. You have different type of lens from anamorphic Kennedy, a 50 millimeter. It gives you a photography feeling somehow and I love it. And another feature that I really like from this atom is being able to add more than one camera and v with from different angles. So here if you toggle, you have one camera, but here you can simply add another camera and you have a different view. So you can change scenes right away and you can even render both of them at the same time. So here, render all enable. These are just a few things that I like about this atom, but obviously you can do your own research. Now, the next plugging I want to talk about with B, trees and grass library botanic. This is one of the best add-on for adding trees. Basically, grass, any type of forest type of things. You have so many options here, and this has been one of my favorite add-ons. It saves a lot of time when it's come to adding trees and grass. It has been a huge part of my workflow. Yeah, a quick let me show you a quick way. Let me delete this plane and go to n here, but tonic. And here you have different trees, have all these different shapes. You just have to click on it and boom, you have the tree ready in your scene. And obviously it looks fake because it's not render yet. This is how it's going to look. And this is IV. So imagine cycle would be even better. And if you want to add grass, you simply go to scatter asset. And you have all these different assets. You have basic click here, and you have your grass there. Simple as that. Absolutely loved this plugging. But again, it could be expensive on new specially, you know, 50 bucks, 129 bucks. I mean, depends on your budget, but yeah, this is definitely an add-on to consider. Again, feel free to check them out and do your own research. Last but not least, we have physical starlight atmosphere. This is also a great add-ons for creating a sky and it gives you a very realistic result if you go to Blender here. And let's actually use the same scene. If you go to atmosphere here and just check on skin, see you have a very nice look already. But obviously you can just play around, can change the position of the sun. And the light change too as you can see. And you can even make it higher down depending if you want daylight sunrise, or golden hour. So yes, it's a pretty nice add-on. And I highly recommend you to check them out. And yeah, this, this is pretty much it. You have all these options. You can add stars, you can change it to night mode. Just take a look at their product page and you can get all the information you need. So yeah, these are pretty much my top favorite places to get plug-ins models, pretty much anything you need to make your workflow faster. 5. Basic Overview: Hi guys. So for this course, I'll be using Blender version 2.92, as you can see here. And I don't think there will be some big differences in features in the upcoming version in terms of like interface design and overall experience. However, I am planning to make a series of these courses focusing on creating different artworks and away we meet the standards of the software to this meant to be a high level of overview blender. And I'll do my best to make it easy for a complete beginner to follow along. And it might be tempting in the beginning and you might not understand. So you might have to re-watch the video or pause in between and practice right away, which I think that's the best approach to go with Abby, also including some links in the description where it goes in depth on some of these Blender basics of get into it, make sure to check them out. Now when you open up Blender, you'll have this window come up to you and we have all these options. As you can see, each of these will give you a different interface design matching with what you want to go for. So if you want to, if you want to go with 2D animation, it will eventually create a interface that match with 2D animation, but that's not our case. So we're gonna go back to New and go with general. So we have all these options, sculpting the effects, video editing, but we're gonna go with General. Alright? So with general you have pretty much something like that. First, let's take a look at navigation. Up here we have Window Types. So basically we have bunch Window types. As you can see, all of them are being used for different purposes. But the main one and the current one that we're using is 3D viewport. This is basically where the main action happens, where you have all your objects, lights and cameras and everything we have in our scene. Now the question is how you can move around like this. In my case, I'm using a three button mouse since I'm a PC user, and you can simply do that by middle clicking and just move your mouse like this. And I would highly recommend you to get one of your planning to get serious about 3D in general. But you can also use your touchpad if you're using your laptop to move around. But in terms of being comfortable and for also for a faster workflow, I think a 3D button mouse would do the work. Now if you hold Shift and middle click, it will just pan around your scene and a few hold Control and middle click, it will zoom out and zoom in. As you can see, zoom out, zoom in. These are essential shortcuts to know to have a really fast workflow. And the first two weeks I ignore shortcuts and let me tell you it was not fun. So keep these in mind. Now let's say you don't have an external mouse and it's not comfortable to move around with your touchpad. Here we have another option of moving around which has these gizmos are pretty handy if you don't have the mouse, is can see you can move around 360 over your objects. There's one extra way to move around. There's a lot of way actually to move around. You can even use shortcuts by here. If you go to View, viewpoint, you can actually, for example, if you want to go on top view, you can play around here. Maybe if we want to duplicate is a pretty handy when you want to duplicate any objects in your scene. And we will get into duplicating later on in the course. So yeah, that's pretty much it. Now that we understood how to move around, It's time to showcase some essential shortcuts. If you press and you will have this sidebar show up. And here we have all these options and all the plugins that I've installed. Most of the plugins we won't be using in this course, but hopefully in the upcoming course I'll be using some of them. And as I mentioned in the previous video, these plugins really helped to make my workflow faster. Now, you can use keyboard shortcuts to move pretty much anything in Blender. I personally prefer that way because it's way faster. Now here, select our object and press G on your keyboard. You can simply move around our object in our scene, and you can simply add x, y, and z. Axis is by just middle clicking on your mouse. In this way, we have a way more organized way of moving. And I use this pretty much all the time. If you want to go above, go down just way, way, way more accurate. And you can use this for pretty much anything. So let's say if you press S on your keyboard, you can scale up and scale it down. And again, if you middle click on your keyboard, you can scale it all. X and y. Z axis's so pretty handy, right? When it's come to scaling, if you right-click, it will cancel your action. And if you left-click, it will commit to your action. And here if you press R, it will simply rotate your object. Now let's say you want to delete this cube or an object. All you have to do is just press X on your keyboard and click Okay, the leap. And here we have our object being removed, but I'm going to need this cube. So Command Z or Control Z, it is usual. Now besides shortcut again, there's another way of doing it, which is by going to these gizmos here. As you can see, we have, I think these are very self-explanatory. You can just simply move around with these gizmos if you want, up and down. And here we have rotation can be pretty handy. Sometimes I use them, not all time, I use shortcuts. Forget, this is basically scaling and here we have transform or we can move and also transform our object. So that's pretty much what you need to know about. Gizmos. Now let's talk about the view modes. To understand Wiimote exactly, we have to show it by example. So here we have the small bowl icons we can say, and each of them is used for a different purpose. So first of all, we have a wireframe mode. So this will make our object a wireframe object, as you can see in other word, it will make it kind of see-through. And right next to it we have solid, which is the default view mode for Blender. And as a sound, this will show a solid version of our object. Here we have material and material will do its best to kind of emulate a simple version of our materials without trying to fully render your scene. And that's because fully renders takes a lot of time in here next to it. As we mentioned, render is render, which is the final look, how it exactly looks for. For example, if we actually does our light, if we make it closer, we can see the result right away because this is our render view mode. Now keep in mind, we're using IV render engine so it might not look as realistic at all, but this just a brief explanation so you can understand. You can also use shortcuts to jump from these view modes. For example, solid here we can right away just hover board on them. And this is a faster way of just moving around and render here we have the final version. So let's say we can add another light just as an example. We have point by changing. So here we have another light. And with this light we can make it blue and increase the intensity of it. So here we have a blue light, here we have a white light, and this is a rendered version. And if you go to material, because our object doesn't have any material yet. And you can add materials here, but you can, for example, you want to chain material to black, and as you can see, the material has been changed to black. But when we go back to solid, it doesn't even show them materials because it's a solid version of our it's like a mesh type of version of our object. And here we have wireframe. This is just an example to show you how it looks in general material. And here we have the render, the final version. So I hope this is clear. Few Mozart or something that you will get familiar the more you use it. Now here I'm going to change our render engine to from IV to cycle. Make sure to choose GPU, compute and supported selected because that will, will be using for the rest of the course. And as you can see, when me move around is going to kind of chug and be noisy. And then when we stop, it will kind of start to show the render version. And it has a great way to kind of show a preview of our object. And here we have sampling. So when you render your objects, the more sampling we have, the less noise it will be, but the longer it will take to render anyway. So I'm just, just for the sake of experience, I'm going to add a plane. Kind of show the shadows here. Now that we understood the view modes, I'm just going to go back to solid is that's just much easier to play around with. Now what I personally do, I split my screen by dragging down here and in the corner where you see the cross and drag it gradually to the middle. So the reason for that is I use one window to kind of see my render version and real time. And the other window to just play around with objects and kind of finalize things here. So here we have our camera. So what I do, I just toggle here and we have the scene in our camera. This is basically how it's going to look like. And the final render version, This is the dimension of our view and our scenes. Obviously, you can change it over here, you can. What I usually do, I change the resolution to 1080 and then one hundred, three hundred fifty. We will explain this further later on. Now, we say as we mentioned, we can change the window type mode bunch of options, and we can also have as many split screens as we want. So for example, here we can even go below and have another screen split here. So you can really do bunch of things at one time, which is really cool. Now up here we have these tabs. Basically each is used for different purpose. We've been using layout, all this sign, this is basically as written. It's an active workspace showing in the window. Here we have modeling which automatically puts you in the edit mode where it's a place basically for modelling purposes. Here we have sculpting and we have all these options for sculpting. It's usually used for sculpting a human, an object creating something. It, it's pretty interesting. Here we have UV editing, which is kind of complex for this course and we won't be using it. It's definitely something to be considered in the future. Here we have texture paint. This if you want to add texture pane to objects. And next we have shading. Shading is basically a place where we kind of create some of our material and things like Dad shading is a big part of our workflow and we will be using it a lot. Here we have animation. Animation is pretty self-explanatory as a sound. It's a panel for animation and we won't be using it for this course. But hopefully I am planning to make a special course about how I animate my artworks. Gil we have rendering. This is a panel which will allow us to see our final render result. And next we have composing best way to explain this system. Like a mini version of Photoshop. So after our render is finished, we come back to composing and we do some adjustment here. Usually I just use the noise. I do some slight adjustment before I export my final result image. And finally we have Scripting. This a place for advanced user that are writing script. But again, we want necessarily need all of these tabs, but it's good to know and be familiar with it. Let's get back to our layout. So one thing I might have forgotten, which is this timeline over here. This is a place to add keyframes to an object and can be really helpful if you're doing an animation. But in our case, we're not going to use for this course. But it's good to know if you're familiar with keyframing and Adobe Premier. And after a fake, this should be very easy to use. On the right side we have Render Setting basically here we don't have to know every little detail, but there are some section to be aware of. For example, here we have modifier, we have all these properties to kind of apply to different objects in our scene, which is really helpful in handy. And later on we will get into all of that. So up here we have what is called outliner. So the outliner is almost like a layer system. We have all these different objects, lights, camera. It's pretty similar to the layer system in Adobe Photoshop. And you can just play with them, adjust them, select them, and do all these different things in here you have seen collection. You can also add more sink collection. It's more like a group in Adobe Photoshop. And it can be really messy. So it's really good to know all of these. So you can organize your files in order. I now let's get back to the Render Settings. I'm just going to briefly go over it and explain each individual section. Talks a little bit about this section. This is a render engine here we have sampling. I'm just going to mention the major things you need to know because it could get really, really complicated if I go through all of them. So here we have dimensions, and this is the resolution. Basically, the higher you put the resolution, the better quality it gets and longer takes to render. Here we have output. Where is a place to basically export your final scenes here you can do the adjustment, usually with go with RGB, 16 PNG, and then 15 percent compressions or we didn't go with 0, it doesn't really change much. This is a place where you want to export your final scenes. Here we have basically seen and view layers here in this section, you decide which data or light you want to store within our render. So usually I go with denoising data, which is really cool feature basically if you have any lack of quality, this will denoise our data after we render our scene. So I usually check this on and I don't use anything else because later on I use Lightroom and Adobe Photoshop to enhance my photo even further. Here we have world setting which has major impact on our scene. And we will diving in the upcoming classes. And here we have object properties. I barely use this one because you can pretty much move around any objects you want within shortcuts. And down here we have modifier, which also a very interesting place best way to explain. It's a gallery of effects to apply on your objects. So for example, just for example, let's add a sphere, UV sphere here. And naturally we don't have a very smooth edgy UV sphere. So what we do, we go to modifier, we add a modifier. First of all, it has to be selected. And we go with subdivision surface and we add more. Let's go with five. And boom, we have a very smooth edges around our UV sphere. So this is one example. So we have all these different modifier to be used for each for different purposes. But yeah, the more you use it, the more you understand all these options. Now that we understood modifier properties, down here we have the particle properties which I barely use and we won't be using in this course. Again, same thing for this physic tab Properties. And down here we have object constrain. This is great when you are doing rigs and things like that for animation and like moving model purposes. Down here we have a very important section to be aware of, which is the material section is directly linked to shading. So whatever you have here on your material, it's going to be linked here so you can even adjust it right away from here. We will dive in deeply within this section, especially the shading part. And finally, we have texture properties which we won't be using in this course. So pretty much that's all you need to focus if you're a beginner to follow along. So yeah, there are also a lot of videos on YouTube and other places to dive deep and all of these tools, but that's all you need to know to follow along in this course and that's what matters at this point. But I'll make sure to include all the details you need in the description below. And the next class we will be talking about objects and edit modes. 6. Object Mode and Edit mode: All right, so in this video we will talk about object and edit mode. Now a quick definition of edit mode would be edit mode is made for modifying the geometry of your measures like adding vertex faces and so on. Another hand, we have object mode where you can basically use your mesh as an unique entity and you can edit its properties, for example, position, rotation and so on. And that's what I've been doing so far. Now before we dive into edit mode and learn more about it, first of all, let's talk about how we can add an object. Now we talked about how to delete an object in the previous video, which is by pressing X on your keyboard and yeah, it's gone. And now let's talk about how we can add an object. And that's by pressing and holding Shift a. And as you can see, we have all these various options. You can add mesh, curve, surfaces, matter, ball, whatever you want. You have all these options in terms of like we have camera, we have lighting, which we'll be using all these option. But for the sake of this video, and to make you understand more about edit mode, we're going to go with UV sphere here, which is a ball local like I usually like to use UV sphere to create a sunlight or moon in my scenes. Now that we have our new object, Let's jump to edit mode by pressing Tab on your keyboard. Now if you don't have Tab on your keyboard for whatever reason, you can simply go ahead and change this object mode to edit mode like manually. And as you can see, we have all these vertices where all these phases connect to each other. And here at the corner we have different type of moods to view it as cosine does. We mentioned a quick recap about edit mode is basically used for modifying the geometry of your meshes. For example, I want to create some weird-looking pipe coming out the top of our sphere. So we have, all we have to do is select, select these vertices. And now if I press E, I can basically take out presently it looks like a perfume shave for yeah, you get the point. And on your left side you have all these various options to actually do different things. This is pretty much the same thing I did here. We have all these shapes, different shape to play around with. It's pretty interesting. Once you dive in, you can do a lot in the editing mode. But in this course we won't be using it necessarily. I just wanted to show you because it can be really handy when you need to use edit mode. 7. Enviroment: All right, so now that we understand some of the basic tools and overview of Blender, It's time to finally create First-off, we will delete the cube and the lighting here will only keep the camera as we will need it later on. But before anything, I want to split my report here, navigation and toggle the camera view here so I can see what is going on in here. I'm just going to straighten our camera to the x and y-axis here. They usually like to be organized in terms of my viewports. So like all I have to do is just print junior keyboard and middle click my mouse, and it will give me one line movement, which is here. And all I have to do is to tilt it around. And you can hear press Z on top so you can see what is going on exactly on the top view. And then if you go down a bit, all I have to do is just to straighten the view. You can further and then you can move it down a bit. So yeah, now, as you can see, we have our camera lined up with the x and y axis. Now here we will jump to render properties. These are the first steps I usually do before doing anything. Here we have Render Engine set on IV, but we will change that to cycle, as we discussed in the previous class. Like different between even cycle, make sure here supported and change the device to GPU. And obviously for that you need to have GPU installed within your computer. And down here we have sampling. I usually set my sampling to 256. And you might be wondering what the hell is sampling. Why I went with 256 supply chain perspective samples are the noise that appears as you're seen as rendering and the render panel, you kind of defined the numbers of samples and then blenders stops once it's reached that number. So in our case it's 156. The more samples you have, the clear here, but longer your render will take. So 256 is just the right amount where it gives me a good quality for the type of work I do. All right, after that, I go to Output Properties. And here we have dimensions. I usually like to go four by five, which is a preferred size for Instagram. And to do that, I will set the resolution x to 1080 and Y2 one 350. And this way we have our Instagram size and down here we have percentage and I usually go with 300. So basically, this is a slider to reduce or increase the size of render image, like the quality of your render, and this relatively to the x and y values above here. So the more percentage you add, the better quality it gets, but longer real render is going to take. Now here we have output basis. A panel basically provides for setting location, basically where you want to save and export your render. I usually leave it like this because for every project you kinda have to do the same process and go through all of these settings. Unless if you're going to use a previous project or a safe project. But I usually leave it because I manually save my renders and we'll get to that later on in our course. But yeah, that's pretty much it now before doing anything, I usually like to start adding an environment or we can say a sky. And to do that, we can either go to Shading tab here or on your right, we have world icon and therefore you can make adjustment here. But I personally would rather go to Shading tab, since it's less complex and it gives you a broader understandings of what's happening. So here we will change our object to world shading, tap as a place to create materials, lights, and backgrounds. And all of these are defined using networks of shading nodes. Now, these are notes, as you can see, these, this here background. This is a node, is also a node. And these nodes output values, victors, colors and shaders. Now, this is a very formal definition, but the more you use it, the more you kind of understand how it works when we use notes, we are basically programming and it's good to understand some basic logic and math when you dive in, but that really shouldn't scare you because still do very much, even if you don't feel confident in those subjects. So i'm, I'm not confident in those subjects. And I personally don't know anything about math and almost felt a 100 times in my school. But yeah, now here you can add plenty of nodes. You can be creative and that's where the fun part is. The more you dive and the more you learn about these nodes. And for instance, personally I use this article and it was really, really beneficial. So I'm going to link all of these articles and links down below. So you can also get benefit from, and here we have Glass be SDF. So what it does, it behaves like a real glass, bending and reflecting light as it hits the surface according to the index of refraction. And you can use these certain nodes for different purposes. For example, this one can be used for glass water or any other reflective light bending materials like gemstones. So here again, you can add any, any of these notes. We have all of these sections. Once we hold shift and a on your keyboard, have input, output, shader texture. All of these options, and all of these are nodes. But another thing to mention. For starters, you don't need to actually create everything from scratch and that's the fun part. You don't need to learn all of these. It's good to know, but you don't need to. So you can use also other plug-ins or external resources such as mega scam bridge. I've used it many times and it's insanely helpful where you have thousands of ready textures and 3D assets ready to download and use them in your blender. So yeah, keep that in mind and don't make it complicated for yourself. Now as we're in the shading tab, make sure you set to the world not objects to endow way you will add your environment here. So whatever you do here, it will affect the environment. So for example, our background is gray here. You can actually change that by adding more brightness here or change the color to different, two different color. And this will, this is basically our environment. This is how our background and whatever is inside our scene will be affected by it, like in terms of lighting. Now here we will keep these two. I'm gonna get back to white. We'll keep these two because we'll need it anyway, but we will just put them aside here to quickly demonstrate these two nodes. Basically world output is used to output light color information to the scenes. And next to it we have background Shader Node, which is used to add background light emission. So as we mentioned, you can change the colors of the environment, but we will use it for a different purpose once we add our sky, now to add our entity, our sky first, we need to download them. I've listed some of the website you can download different skies, but the most popular one and the one I used a lot when I started my blender career is Pauli haben. As you can see here, if you go to the main website here you have not only as your eyes, the environments for your blender, but you have also textures and models 3D assets. Here I'm gonna go browsing these SGR, actually I already, already at one in my mind. So here I've already downloaded this before, a downloaded bunch of these in the past. So if you want, I will link this website below and some other websites that you can download as many skies and just end kind of experiment with it. And here's some of the result by the community. You can also support them. I believe there's a donation on patron after you downloaded these NGRI sky, basically air dry means high dynamic range image in case if you're not familiar with NGRI image. So here I'm going to add environment texture. And to do that we're going to hold shift and a, and then we will search for environment texture. All right, here click Open. And now I'm going to my folder where I have all my sky storage iot. So all of these pretty much had been downloaded from polio 7. Now for the sake of this class, I'm just going to try one of them here. Make sure to connect color to color. As you can see here. We have our environment ready. It can obviously do the same process, open image, and try different ones. Here we have another one. And now you might be wondering how I can move around, how I can control our sky. So to do that is pretty simple. That is just click on your HDRI and make sure you control T on your keyboard and you will add mapping and texture coordinate. This will allow you to move around basically like this. For example, if you go to the Z axis, you go all the way there. You can actually move around and play with your environment. Now, if you cannot do this with Control T, Make sure you go to Edit, preference and add-ons in add-ons, make sure you search for Node Wrangler and make sure you check this add-ons and then you'll be able to do this query handy. You don't have to search all of that. So yeah, for this course, particularly, I'm not going to be using these guys. I have a bunch of skies that I bought. I think blender market, I believe. And there's one particular editor I, that I want to use, which is this one. I will be also providing this product page if you're interested to download these guys. But it doesn't really matter. You can pretty much find any sky on the internet and download it for free. I'm just really hooked up on these guys. I think it's really delivers my style. The, you know, the cinematic kind of dark, misty vibe I'm going for. And in case if you want to brighten up your environment sky, all you have to do is just go to background and add more strength to it. So as you can see, more you add, the more you see. Again, you can write that was too much. Again here with mapping, you can move around with the zed axis. If you wanna go up a bit thing, you have to use X or yeah, you have to use x. But yeah, pretty much. That's how you add a sky. That's how you add an environment. It is that easy and yeah, you can just play around, experiment with it until you find the right direction for your image. And the next video we will talk about how we can create water shading, where we will be able to create a realistic ocean look alike. So stay tuned for that and I'll see you in the next one. 8. Water Shading: In the previous video, we talked about how to add our environment, our sky. In this class, I will be explaining how to add water shading. So to do that, first of all, we need to have our plane and to add our plane Shift a. And then the first thing is you go to Mesh and then you add a plane. Then I'm going to press S to scale it up. And I'm just going to press G to move it a bit closer to our camera. Now, I think I'm just going to bring down my camera a bit down like this. We can definitely play more with it later on. So now we will select our plane and then we will go to shading. Now makes sure the object is selected here, not world, as we already created our sky here. So go to object and here click New, where it will automatically add a new material. So you can also rename the material here. I'm going to just write down water shading. All right, first thing, I'm going to delete our principle be SDF because we will not need it. So press X and it will be the leader automatically. Now we just have material output shift a to bring in glass shader. Just search class. We have glossy and glass. Make sure you choose glass. Now if you connect BSD, F2 surface, as kin see, we already kind of getting a glassy kind of look. And I believe we already mentioned in the previous videos, it can be used to create glass water or any other kind of reflective and light bending materials like gemstones and our case, we will create an ocean lookalike, which is water. So we will need glass shader here. Now that we have a reflective shade, we're one step closer to get our ocean look. And to do that, we have to add more nodes to create these ocean details in our surface. And it's about to get a little bit complicated. But trust me, it's always like this in the beginning, practice is really essential in getting better at Blender, especially in the shading tab where you have thousands of nodes to play with. Now shift a, I'm going to add a bump. Now basically, the bomb node generates a perturb it normal form of high texture. And what we're gonna do in a connected normal to normal here. But now I'm going to add another node called mix RGB here. And to demonstrate the mixed node mixes images by working on individual and corresponding pixels of two input image. Now we won't be necessarily using mix, we will actually use multiply, so we'll change the blend mode to multiply, and this will kind of mask out the garbage or more we can say to colorize a black and white image. After that, I'm going to search and I'm going to add noise texture. The noise texture is basically a place where we will create those ocean kind of ways to get a closer look. Basically adding more details and noise to our reflective surface here. And we will be mainly using the scale. So I'll have to do just connect to fact here and multiply color to height. And as you can see, we're kind of getting a slight look of water here, but it's nowhere looking perfect. And make sure you select nice textures and we'll go ahead Control T to bring the mapping and texture coordinator nodes, as we talked about in the previous class. So the mapping node is used to transform an image, for example, you can use it to move, rotate, and scale texture. And our case we have the noise texture. We won't be necessarily using the mapping, but just to be there in case if we want to move our texture here. So texture, I'm gonna get back here and the scale is by default at five. So I'm just going to add more scale. And as you can see, we're slightly getting a more normal looking ocean look alike, but this is not enough. This is nowhere near perfect. So what I'm going to be doing, I'm going to duplicate my noise texture twice. So to do that, shift D and Shift V again, and here we have two more noise texture. And to connect all of these together, I'm going to duplicate my multiply here or mixed RGB once more. Make sure you give them. But space here. I'm going to be using this multiplied to connect the, to connect it back to the bump. So before anything I'm going to disconnect the height from color to this multiply. And I'm going to use fact to the first color section here and do the same thing to this noise texture to the second one. And the last thing, we have this noise texture, I'm going to be using fat to the first color and this multiplied to the second color image. Here, I'm just going to do the same thing as we did with the previous one. And as you can see now we have all these noise texture connected. And we can said these skills to different numbers here. Some Skinner set this to 20. So this way it can give us a different look here. I'm gonna set this to 30 and just this one too, most likely 50. So the more you add, the more texture you have within your surface. I think when I get back to bring it back to 30, this is more ocean look alike here on Multiply, make sure both of these facts are one. And this basically control the amount of influence the node exerts on the output image. So we want all of it together. Now might go back to this noise texture. I'm going to try to make it 20 just to see how it looks. I think that some somewhere like this, keep in mind that we can always get back to this. I'm just gonna make this 15. We can always get back to this and change it and, and get a look depending on what you want. So here we will get back to the glass B as the f. Here we have two options, roughness and i, o are mainly we will be using IRR. We will set it to 1.333. You may ask why. First we have to understand what is io are. Basically IR stands for index of refraction values. This is a way to create realistic materials for use. So you will need the right friends ALL or IR factor in order to achieve a more accurate representation of a surface material. And these numbers change depending on what material you are creating. A great website to find. Accurate number would be this website called pixel, pixel and And here you have all these index refraction values, different numbers. For example, you have alcohol, you have crystal, and down here, all the way down here, you have water. The realistic one, the most accurate number for water would be 1.33. So keep in mind that this is a great place to look at when you are going to create a certain material and get that accurate. So that's it, pretty much guys, we created water shading. In the next video, we'll talk about how to duplicate our surface to make it even more realistic. I also might get back to noise textures and play with it a little bit more. But yeah, for this video that said, let's get back to the layout quickly. And I'm just going to bring down our camera a bit. Make it like go somewhere like that. And we can also scale it up, scale it down, pending on what you want. Alright, so that's pretty much it. I'll see you in the next video. 9. Duplication: In this class, we'll continue our creation process and we will talk about how to duplicate our water plane and multiply it broader distance so we can have a more realistic ocean look-alike. Before doing that, I just want to adjust my environment sky here thing I believe I want to bring down some of the strength to make it a bit darker. And here we should have mapping. As you can see. I'm going to just move around to see which angle direction would be the best representation for the water reflection here. I'm just going to go a bit down or up here. This way, r, right? And then just move around a bit even further. So you can see that just by moving your sky, it has a huge impact on your plane and surfaces, especially when it's a reflective. Now I'm pretty happy with the result. Can always adjust if we want. Now, when it's come to duplicating an object is pretty simple. There are two main options. First one is by holding Shift D. Now if we click on our plane, by holding Shift D, and as you can see, we have our plane duplicated. We can move around and all that stuff. So basically this will create an identical copy of our selected object. The mesh data has been copied but not link. Keep that in mind. So if one object is edited in edit mode, the original object remains unchanged. So for example, this is the copied one. And if I hit Tab on my keyboard or go to Edit Mode here, Let's just press E and do whatever you know. As you can see, it will not affect the original object that we copied from. So let's go back. But on the other hand, we have another way of duplicating, which is by holding Alt. So basically this is called deep link. This will create a new object with all of its data link to the original object. Now, for example, if I do anything with this plane, as you can see here, both of them are being selected. So if I do anything, it will apply to both of these surfaces and shader because the way we duplicate it was linked data within the objects. So in our case, the best option would be all the method because we're not going to change these objects in edit mode anyway. And this will eventually save our render time and overall performance. And that's because as we mentioned, all of our data is stored within one object only. So what I'm gonna do basically hear me now proceed on the gizmo so we can have a top view here. It's going to do the same process all the, and duplicate as many surface plane as we can. So we have a very realistic ocean look alike. And you can see on your camera viewport how it's going to look like. And she few miss some space thing. An easier way of doing it right now would be selecting 10 of them altogether, like this, and then do the same process all D. And yeah, just go about it like this. And here you can go as further as you want just to have a broader distance, to have a more realistic horizon here. So yeah, that's pretty much it. I am going to stop here. I can go further, but I think it's enough. We have a good horizon looking, look alike here, which gives us enough. And again, if we go to Shading tab here and change any of these, it will apply on all over surfaces. So for example, if we had more scale here, it will apply to all of them. And you can see just as a test, the more you play with, the more you dive in, more you understand how these nodes and everything work. So yeah, in the next video we will talk about how to import a model. I'll see you in the next class. 10. Importing Models: In this class, we will continue our creation process by adding a model object. Now there are plenty of websites to download models, as we mentioned in the beginning of this course, some are free to download and some are paid, but my favorite place would be And for this artwork, we will be using this female hand here made by the 3D Studio, big shadow to the creator. And this is free to download. So if you go here, by the way, I'll be also including the link in the description so you can download and follow along. And down here we will go to download 3D model. Here we have a couple options, but I usually go with oto converted format, which is GIT f. This is more of a preferred option to download and it works pretty well when you import them over blenders. So I'm just going to download this model and as you can see, I already have it. So all you have to do is unzip it. And then we will go to Blender again. And here over blender we will go to File Import. And then we have all these format, different formats to import a model. But we will go to GIT f as we downloaded the format that way, find a place where you downloaded your model. Now we are in our folder and make sure you select scenes though JIT f and all you have to do is click Import. And you should have the model within your seat. Now as you can see, the model is pretty huge, so you have to kind of scale it down by pressing S and just some skin ko N. And then I might actually rotate a bit, something like that. Then even rotate further. See what looks better. And you can actually move it even further. And maybe kind of Because look like stroud. So just you can disable these to see how it looks like. And you can even zoom in while you're rendering. So yeah, basically that's how you do it. As you can see, we have all these textures within the model is pretty good, gives us enough quality that we need. And this way you can pretty much download any models you find on the Internet. Especially is a great place to download any models you want. So yeah, in the next video, we will be doing some final touches and then we'll render our scene. 11. Final Touches: Before we go to our camera and render, we will do some final touches here. And in my opinion, here the water can be more realistic and you might notice some kind of reflection coming under our plane. And that's because we already have a reflective shader and whatever underneath it will be also affected by. So let's go back into Google camera viewport. Again, naturally it will reflect some of the surrounding. So what we will do, we will block the information and the light that comes underneath our plane by creating another plane and resizing it in, turning that surface to black. So to do that, all we have to do is just shift a plane. And here we have another one. Now the plane here, so all we have to do is just scale it up a little bit somewhere around here. And then as you can see, it's the same line as our first plane. So I'll have to do is just drag it down a little bit below that. And as you can see, we can already see the result. We don't, we don't have the reflected part here. There was some white reflection here. But to make it even better, we will go to material, make sure it's selected and create a new material. This is basically a mini shading tab. And then we're going to name this flag. If you are familiar with cinematography, this trick is called flag where you blog the lighting in some certain areas. And here again, to make it more realistic, I'm going to change the base color all the way to black. You can already see the result now if we go to our plane here, the one we added now before, after, before, after, It's insane. How impactful? Just by adding one surface that will block the reflection. Because again, once you have a reflective shader, naturally this will happen. So keep in mind in the upcoming projects when you create an ocean or anything with glass, kinda have to block the reflection in places that would make your scene more realistic. Write some pretty happy with the results so far. In the next video, we will basically play with our camera and then we will render our scenes. I see you in the next class. 12. Camera: In this class we will be covering all the essential tools you need to know when it's come to camera within blender, you should already know at this point that the camera defines which portion of a scene is visible in the rendered image. If you are familiar with photography and if you've ever used a manual sitting in a camera, this should be pretty simple to understand, but if not, let me demonstrate one thing to know that cameras are invisible. So as you can see, these are invisible. They don't have any material or any texture in the scene. So you can create as many cameras as you want and it won't affect your scene. First thing makes sure that the camera is selected. You can either select it by clicking here or you can go to your layers here we have cameras like that. Now once the cameras selected, make sure you come here to this icon, whole object data properties. First thing we have the type of our camera. This is basically the camera lens options that controls the way 3D objects are represented. A 2D objects and obviously, we will leave it in that perspective because this matches how we view thinks and real-world, for example, objects and distance will appear smaller as you can see. So this is the same reflective shader we have, but in this dense, it looks that it is far further from the camera, and that's what we want. A realistic way of looking thing would be choosing the perspective and perspective is on by default. So I just wanted to kind of explain what is that all about down here we have focal lens. Again, if you are familiar with photography, the focal length control the amount of Zoom. So for example, the more you add, the longer focal lengths and that result in a smaller field of view. So as you can see, becomes smaller field of view, but bigger field of view you have, the more things you see in your scene. In other words, short focal length will allow you to see more of the scenes at once. So I personally use around 35 millimeter. This is how our natural, I see things. So I really like 35 millimeter and even in real life in my photography career, I usually shoot with 35 millimeter. So now what we're going to do because we have this space, I'm just gonna make the camera a little bit closer. And as you can see, even our scenes looks better with 35-millimeter. Here we have Shift X and Y. This is where I would basically move around my lens a bit if I need to. In my case, I'm not going to use it. So you can just basically move around your lens horizontally or vertically. It's a bit different than rotating your camera. And using lens shift is basically equivalent to rendering an image with a larger field of view and copying it off center. So keep that in mind. It can be helpful in some certain situation. Down here we have clip's start and end. The best way to explain this. Basically, if you want to view an object in your scene from a distance and let's say you have a really far. Actually, let me put it in an example. So let's add a cube and put a really, really, really further, as you can see, make it a little bit big. As you can see now we already don't see it in our sins and I'm going to tell you why. So let's get back to the camera. And here we have clip's start and end. Any object outside this range from 0.1 meter to a 100 meter will not be visible. So as we have this cube very far from our camera, we have to add more range to see it. Now as you can see, we had to go all the way to a 125 meter to actually see our object. Now you can go even further and this, this will work very well if you have a complicated scenes full of heavy stuff and like very far from the camera itself, you should really take this into consideration. Down here we have camera, but before we get into sensor fit and size, here we have camera preset. This is if you want a specific sensor type for your scene, I usually go with the normal 36 millimeters size. Basically, if you are not familiar with the sensor size, the setting is basically an alternative way to kind of control the field of view. And for example, if you add more, you have more field of view. If you bring down more, you have a crop sensor. That's why in real life we have full-frame cameras and crop sensor camera. So that's good to know. Just in case here we have saved areas. This will basically kind of add some kind of line to be cared to be careful to not add things over here. But what I usually like to use, go to Viewport display here, and here we have composition guides. And I like to use thirds. This is basically rule of thirds composition and we have bunch of other composition. We have golden ratio if you want, you have center, you have harmony and all that stuff depending on what is your dimension. So it can be definitely very helpful, especially if you are new to composition and all of that down here we have depth of field, a section that I'm actually really excited about and I've used it a lot. Again, it in photography if you are familiar with depth of field, aperture in your camera. So basically, real-world cameras transmit light through a lens that bends and focuses into a sensor. And because of this, objects that are certain distance away are in focus, but objects in front and behind are blurred. So first let's enable depth of field. And before doing anything, I want to disable this because I don't want to see this curves here. So to focus on our object, make sure you use this toggle thingy here. You can either go choose manually from the layer section, but I'm going to use this toggle click on our object here. And now as you can see, our model is in focus and this way you get a very realistic camera looking type of scene. And here you can actually change your apertures, which is also called f-stop. So you can, if you go lower than NADH, can see you get a lot of bot K and the background and in the foreground. But usually to keep it realistic, I usually go around 1.4 or 1.8. Here I have this thing from the photographer plugging. This is the photographer plugging. It's actually a very, very cool add-ons. I highly recommended if you want to invest in, if you're serious about coming all n in Blender. So basically it gives you a focus peaking option. If you, again, if you're familiar in real life photography, some cameras have this feature. So if you show it here, Let's go enable this. If he show it as you can see, it will give us a brief understanding of where the focus is. A definitely can be helpful. So that's just a thing to know. All right. I guess that's pretty much it guys now few disabled this. This is our almost final render. And the next class we will render our scene. So I'm very excited. This is almost the final part from Blender. And then after that we'll be using Lightroom and Photoshop to even enhance it further. 13. Render: All right, now we're pretty much done with Blender and we're ready to render. Let's kinda right, okay, but before we do that, we have to make sure that we have cycle enabled GPU compete rendered to a 156, we have to make sure, you know, just to check, everything is looking good here on View layer properties, make sure to check denoising data, disaggregate way to get rid of all the noise and get a better quality overall later on when we use compositing. So now we're confident that everything is set and all we have to do is just go here, render and render image. Now this probably will take a while depending on how complicated your scene is. But my GPU is, I think good enough. So it's so far is looking well. And after this process is done, we will be jumping into compositing. 14. Compositing: In this class we will be talking about compositing. Basically after we have our scene rendered, we're going to minimize our rendered version and then go to composing tap. Now to give you a bit of perspective, composing, it's like a mini version of Photoshop where you can change colors, the noise, and do bunch of stuff. And that's why before I render our scene, I made sure that the checking on the denoising data as on because that's what we're gonna do here. We're going to denoise our final render scene. We don't necessarily need it in our case because the quality is already good. As you can see, the quality is already good even if you zoom in. But in some certain situation it is a really powerful tool and it will give you much better results using compositing. So first thing first enable US naught. And here just like shading tab, we have nodes and this way we will be applying our denoise basically to do that, we have to shift a and then search for the noise. And because here we check that the noise data, we automatically have denoising sections here, which are the three noise normal, which we have to link to the normal. And you have noisy image, which you have to link it with the image. And then you have denoising albedo and you will link it with albedo. And we have our compose it. The final output, all we have to do is just connect the image to this. And here we have compositing. So now it's denoising automatically. If you go to our final render image, you can see there is a slight change and it, the noise, the whole image, the whole scene. And this will give you a much better quality overall. And that's it. That's pretty much it. I personally do this step for almost every project, every scene I have n, it really helps to kind of boost up and level of my quality. And now all we have to do is just get back to our render scene and go to Image safe. And the format I used to export my artwork is PNG, which is a default mode. And then make sure the color is RGB. The color depth, the more you add, the better, which is 16 and our case. And down here I said compression to 0 and then rename your, whatever it is. I'm going to rename it hand. And Q have the image ready, safe. And you have your render scenes exported. And the next video we will be importing this image tool, Adobe Lightroom, and then we will do some final adjustments to color grading there. And then later on, I'll be using Photoshop for further enhancement. 15. Lightroom: In this class, we will be enhancing our final renders seen by adjusting the colors using Adobe Lightroom Classic. Now you can also use Adobe Lightroom CC, or mobile Lightroom. I just prefer using the classic sins are more familiar with it. So right now we have our render imported. And first thing I do, I usually start by applying one of my preset from my newest preset pack called syntax. And almost 99% of my renders have been applied with these preset and you don't have to pay for it since I'm going to be including this one I used for this particular render, which is going to be cynics eight. I think it's a great look for this scene. You can see here we have before, after, before, after. This is what one click. Now not necessarily. You will get a perfect result with one-click Baiae, you have to kind of do slight adjustment and that's what we're gonna do. So feel free to download this preset within the class projects so you can actually follow along. Now as we mentioned, I'm going to do some slight adjustment. I'm just going to brighten up a little bit and go down here. We have grain, just going to play with grains. So I'm going to zoom in. I think the grain amount is a bit less, so I'm just going to add a little bit more around here. Size. You can definitely play with color within Lightroom, but I would rather to go to Photoshop and they're kind of compared to my recent artworks, so that way I can have a consistent theme. So yeah, I think that's it. That's pretty much it. This particular preset comes also with Graduated Filter. So if you don't need that in your case, you can just hit delete and you can remove them. But I personally really like to give depth and attention to the subject. So now I'm pretty much done with Lightroom. This is before, after, before, after. It's time to export and jump to Photoshop. And to do that, we have to go to File Export. And here I'm gonna scroll down a bit, make sure the quality is 100. I usually go with the sRGB color space, which is great for social media purposes. And here I choose open in Adobe Photoshop, whatever version you have, doesn't matter. So this will automatically export and open it within Photoshop right away. 16. Photoshop: All right, so we are almost done with this artwork and I'm very excited with the results so far. They're just some slight adjustment needs to be done before it's fully reading. First thing first, I usually start by duplicating my background just, you know, at the end of it so you can compare the before and after. I usually like to start by bringing one of my recent work so I can kind of compare and match the color. That way I have like a very consistent style and theme, whether it's on my Instagram or website portfolio or pretty much anywhere else. Because naturally we cannot hit the same coloring style all the time without looking and kind of matching the colors here I have all these artworks that I've created in the past. And if you can see the blues are almost the same in every artwork. So it's going to pick one. That's gonna be the one. And all I have to do is just drag it and drop it in my main photo. So now we will just compare the coloring. Like kind of compare how it's going to look. So now, as you can see, we can already notice a difference between the bluish tone here. So to fix that, we have to add hue and saturation adjustment. And I usually use this toggle to kind of target my blue. And you can use this toggle with a plus to add even more different kind of blue in your image. And all you have to do is just drag it to your left and see if you can see, you know, to kind of match the colors with our right image, I think what we need to do is to bring down the saturation a bit for sure thing it was very saturated. Now as you can see this before and after, and we're already getting a closer look to our preference image. And I think there is some kind of greenish tone here. So I'm just going to select that part and bring down the saturation even further. So yeah, if I disable that, yes, this is much, much better. It actually match with my coloring style. So this is before, after. There's a huge difference. And we did this with the help of, you know, kind of comparing and matching the colors with one of my recent works here. So yeah, this is what I do with Photoshop has just much easier for me to match the colors using Photoshop. Now what we're gonna do, I'm gonna delete this layer because we don't need it anymore. And now that we have a consistent color theme style, I'll be using my brush back to add more depth and kind of a unique look to kind of stand out from the crowd. Now if you go to Brush tool here, you can see this is the brush bundle. We have the ultimate Raj bundle and we've been working on creating this brush back for a while and it's finally here. I have personally used it pretty much in every artwork that I created recently. As you can see, we have bunch of categories, around 30 categories and around 180 high-end brushes fully designed for like visual artists, photographers, Illustrator, and so on. Again, I'll be including all of these brushes that I use in this class for free so you can download and follow along. Now all we have to do is just create a bunch of layers and start with our first brush, which is going to be Fog one. I think I'm gonna go with the first one. So as you can see, make sure the color is white. I'm going to add some fog here, horizon looking and obviously we're not going to leave it like that. We have to bring down the opacity to somewhere around like 10, 15, I think it'll be good. And then I'm going to add a layer mask. And then I'm gonna zoom in a bit and just mask out our subject, which is the hand. And that way we create some kind of depth in our artworks. And it's going to go back all the way to these circle brushes. I'm going to go with the hard round and make sure you brush with black. So you can take out all this, all this fog out of our subject. And to bring back simply press X and you have white. Hi, Now we're done with masking out our subject. Here we have before and after. There's a slight difference, but I like the results so far. Now, we're gonna go ahead and create another layer, and we're going to add some trees in the background. So I'm gonna go back all the way to my brush back here we have Cloud section. We're not going to add any clouds. Our tree, if they want to go the first one again and see how it's going to look. Sure the brush is big enough and make sure it's black. And I'm just going to kind of go with the flow and see how it's going to look. Make sure you just over on a bit so you can kind of get a different looking more realistic shapes. Right now, I'm going to add a layer mask again. And I'm going to use gravity map to kind of mask out and have a smooth transition from the bottom to the top end. To do that, we have to make sure that we are on black and white fully from basic here, the third one, click Okay, and just slide it up this way. Now this is a bit too much. It's a bit extreme, but something like that. And then make sure you bring down the opacity to summer like 50, then hold Control T to kind of re-size it, bring it down a bit, maybe. Yeah, I think Dao Wei looks much better. Click Okay, and then I'm gonna go back to brush and kind of pain this out with black. But not, not a good idea to use this this tree brush again. So I'm just going to go back all the way to these soft round brushes and just lightly paint from the bottom because we still have some kind of shaped tree over here. It's not very realistic. So here before, after, before, after, it can be more creative. Obviously, you can play around, you can have different shapes. Now I'm going to create another layer and let me actually rename those. So this is fog, this is trees just to be more organized. And here I'm going to go with smoke. Now in our brush back, we have also smoke section, which I personally really like. And here not only you have these type of smokes like where you press one times and you have this result is kind of result. We also have like ones that are kind of more like a frame smoking here. And I want to go with this one. So all we have to do is just make it a bit bigger, make the brush size bigger, and press one time. Yeah. Let me come over here, press one time and you have something like this. And obviously we're not going to go with a 100, a pasty. So I'm just going to bring down and we're done with smoke brush pretty much that's it. Before, after, before, after from the smoke. Next thing I want to add another layer and I'm going to add births this time. Where are we? We have births, sections of births. And all. We have to just make them a little bit smaller. And here make sure you paint with black. So yes, something like that. Going to make it even smaller. Yeah. Adding these small details makes the artwork more interesting overall. The next thing I want to do is to kind of add some dust. And to do that, I'm going to use my film texture dust pack. And again, I will be including the one that I use, particularly for this class for free within the class projects. So make sure to download, to follow along. Or at here we are in the folder and here as you can see, we have bunch of different textures. I think I'm going with number seven on this one. So I'm just going to drag and drop to our main image here and make sure you resize it within the frame. So all I have to do is just kind of resize it this way and then make it bigger bit. And obviously, we'll change the blend mode to screen. And boom, you would have something like this, but again, anything you do it, you overdo it, it's not going to look good. So make sure you have a balanced. So I'm just gonna make sure to decrease the opacity to somewhere around like 15. And yeah, there's a slight change. I really like it. Ladies and gentlemen, here we have the final results. 17. Outro: We finally have come to the end of this course. I hope you guys enjoyed it as much as I enjoyed making it. I am super excited to see where you guys created. So tag me on Instagram if you post your work, I hope you've benefited from the principal and the tips in this course. And they helped you to make your workflow faster and inspired you to create your own stuff. Make sure you experiment with all the things you've learned and apply a different element and concept to create your own unique artworks. This course will be the first of several to come and we have big projects coming up in the future classes, we will cover more advanced concept in even animation. So make sure to stay tuned. Follow me here and all of my social media to stay updated, to be notified whenever I release my next course. If you have any questions, don't hesitate to hit me up and I'll be happy to help and thank you so much for making it till the end. It means a lot to me and it motivates me to create more, stay creative, and have a great one.