Create St. Valentine's chocolates using Blender 3D: Modeling, Physics, Shading and Render. | Oliver Villar | Skillshare

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Create St. Valentine's chocolates using Blender 3D: Modeling, Physics, Shading and Render.

teacher avatar Oliver Villar, Founder and Instructor at

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

Watch this class and thousands more

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

Lessons in This Class

4 Lessons (1h 22m)
    • 1. Course Introduction

    • 2. Modeling the Chocolate

    • 3. Physics Simulation

    • 4. Shading and Rendering

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About This Class

In this course you'll learn how to go through the whole project of creating 3D heart chocolates to surprise your loved one... or just for fun! During the videos I share a lot of tips and tricks for modeling, simulating physics, adding materials, lighting and launching the final render using free 3D software "Blender", which you can download at 

Meet Your Teacher

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Oliver Villar

Founder and Instructor at



I was born in Galicia, Spain, in 1987. I've liked drawing since I can remember, and when 3D videogames started thriving I was very interested into that subject, it looked to me like the natural evolution for my drawings!! In 2005 I had my first contact with 3D software, more specifically with 3Ds Max. For years, while I studied traditional animation I played with visual effects, a field that I love, and eventually had to learn XSI and Maya for different projects. In 2007 I learned about Blender, but it wasn't until 2008 that I'd decide to use it seriously and fight against that pre-2.5 UI. After a week using it I couldn't go back to the software I previously used, Blender grew on me and I've used it as my 3D software of choice ever since.

Comunity helped me a... See full profile

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1. Course Introduction: Hello, everybody. Welcome to thesis skill share cores that I prepared for you. I'm a liberal from lenses dot com, and in this tutorial I will show you how to create this scene. This is tailored for ST Valentine's, and you can see that it's, Ah, hard chocolate, a bunch of them in a recipient. Now, even if it's not ST Valentine anymore. When you see this, it's, ah, still interesting because in it I show a lot of different tricks and tips that you can use for any other project. OK, so don't get fooled by the ST Valentine's thing. Um, anyway, if you get it before ST Valentine's, it's a good opportunity to surprise you. Lock one anyway. Ah, what I will show you is seen different videos. I'll go through the modeling off these these chocolates. I will duplicate them. A lot of times I will show you how to create a physics simulation, so we have a bunch of them standing on a recipient and, ah, just do this automatically so we don't have to place them all hand by hand one by one. And after that, we're going to set chocolate material for these chocolates and off course go through the lighting and rendering stages. As I said before, a lot of tricks and tips are corporate into these tutorial series, and I really recommend you to check it out. However, I give for granted that you know the very basics of lender even if I go step by step. So if you haven't yet and if you are new to Blender I recommended to check my other course first about how to use blender basically in two hours, right? So just check it out and then come back to this one. Otherwise, you may meet some other things. But if you are already kind of familiar with the blender interface and how it works, this will be just perfect for you. So I hope you like it and see you into the curse. 2. Modeling the Chocolate: All right, so we have to start with the modeling. And first I will clean these, uh, this mess here I don't need This is fear. You may have a cube. Whatever. Just delete it, all right? And we're going to start with the plane for that. I'm going to press seven in the number, and I'm going to press shift A and MASH plane. You can also add it from the creator up here in the tools region and click plane. Or you cannot eat from here from the heather of the few debut, Go to mash and plain. All right, now, we computer people are lazy pin we We like computers because they can do things for us. Um, so I only want to model half off the heart. The other health would be generated by blender. So would I need to do now is cut how? For the plane. So I can generate it with a mirror modifier. So less breast stop toe injury anti into the added vote. Or you can alternatively go here to the heather and click on the object mode menu and click on added boat. There we go. Now. I need to create a cat right in the middle exactly in the middle. So what I will do is to press control, are toe access the, um, Luke cat and slide to. And now if we get close to an inch, it will preview with a pink line the cat that is going to make. So let's press the left mouse button to accept, and now we can slide. We don't want to slide it. We want to leave his right in the middle, and the way we do that is by cancelling this movement, we can cancel it with right mass button or with esque, for example, press escape on the keyboard, and this cut is left right in the middle. Now I was led these two burgesses and lead them with X Select Burgesses, and now I'm left on Lee with Health the plane. But the people point of the plane is still here in the middle, so now I can generate these other parts off the plane by using a mirror. Modify it. So let's go. Here's the properties editor. Let's click on the modifier. Stop the one with the ranch on it and on ad modifier. Let's are a subdivision. Sorry, not a subdivision surface. A mirror modifier. Subdivision surface We will at later. All right, so now half of the plane is generated by this modifier. Now, let me tell you one more thing that we're going to do and is that right now the viruses are in the in the middle, are free. Okay? We can move them around. We don't want that to happen. The ones that are here in the mirror plane, we want them to be clipped. So the one thing we can do is to go here to the mirror modifier options and click on clipping enable clipping. So now these will be able to move up and down while on the Y axis. But we can separate it from the mirror plane. All right, so that's Ah, cool. So we make sure that we're not going to have holes or anything in the mirror center. Okay, so now we can start with the modeling, so I will press a just let everything and I'm going to move it down and Skelly down as well . And the reason why I do this is that I want these people point of the object to be in the middle of the heart, and I'm going to start mold him by the bottom. All right, so what I will do is now extrude this so I can just draw the shape of the heart around. So I'm going to let these two birds is I'm going to move them like this. And this is you can already kind of see is the bottom of the heart one that has a corner. All right. Okay. Now I can't select these edge here, and I could, of course, go and the press eat to extrude. Just leave it there. I can rotate it extruded again, rotated extruded again, rotated and so on. However, I'm going to do something which will be a lot faster, which is pressing control. Click and control. Click. But it will do is that as you can see, it will automatically have rotate the previous edge. So it makes a nice cure. This is pretty cool. So I going to start just going like this and just making the basic shape off the heart. All right, now these virtues is here. If we press control top to switch between the edge and birthdates mode. You can also just click here on the heather to switch between both of the modes. Um, you can see that these practices are not in the mirror plane. And that's the only reason why they are allowed to be on the other side. Okay, so what I need to do is just drag them with right mouse button and place them on the mirror plane, and they will be clipped there, and I won't be able to move them anymore from the mirror plane. All right. Okay, so we kind of have these, uh, outside selection. Okay, so we have the outer shape of our heart. Now we need to fill the center. All right? We need to feel this part in the center. We don't want a whole. We want a full chocolate, all right? Not a don it. We want the whole thing. So, for explaining to you how that works, I'm going to show you here. Um, a very basic. Let me just look for this. All right, here I am. And so here I will draw a little and will do a quick explanation. Something a little trick that you have to keep in mind when you're going to feel holes because feeling holds is something that a lot of people find a little tricky. And I'm going to Splain uh, something that will probably help you a lot. I hope it helps you. So we have Ah, plane. I'm going to start by square, right, which is the basic shape. And here's the thing. We need to have the same number of burgesses here than here and want to have the same number of burgesses here and here. This is four starters. OK, so if I find myself with the set up Okay, What I need to do is, uh, basically, you know, we have we count the burgesses. Okay, so we know that these are the corners and we know that we have here in the bottom, we only have one vertex, but it up we have two burgesses, so I need to have the same number of verses to be able to feel it correctly. So I would have to add a ah, a new Burdick's here, so I can't easily just connect them. Okay. And then here on the on the sides, we have just one. So it's OK. We can feel it very easily. All right. We could, of course, just create a new loop. Got if we wanted to be nice or whatever, but if we find ourselves in the same situation and ah, we find ourselves, you know, we start just fill in this. And so now Oh, this I can't continue here because I have no burgesses. Well, we would have to use like, uh, alternative things, like doing some Pilate this and affiliate in weird ways. And it can be done. Of course, there are techniques for that. OK, but I want to keep it simple. So what we're going to do is to basically just create Burgess sees to be able to join them perfectly. Now, of course, this is a plane, but our shape is not a plane. Our shape is hard like, Okay, so this is a slightly more complex, but only visually Onley Until we defined what the corners are where the corners are. So if we have, let's say I'm going to do it. Brandon Lee. OK, so you can see that this I'm not making this up. All right? So I would have this number of Bersih, so I would need to define where the corners off the plane would be in this hard shape. So we know. Ah, What the Burdick, The vertical. Um, you know, the top burgesses would be the bottom bird disease and the side Burgess sees. Okay, so basically, I would go with this. This would be a corner, and this other one would be accorded, so I only have one here in the sight. Luckily, in this case, we only have one side vertically. I mean, only one vertex and these other side is empty because we are mirroring it. So we only need one division like this. Okay, so we already have it. Or recently. Now, let's see vertically. Luckily, in this case, we have the same number of burgesses. So we have this and I I swear I didn't I didn't Ah, made this to be a coincidence, but it has been so we could feel this very, very quickly. However, in the case of our heart, we may find ourselves that we have more burgers, is here at the top that in the bottom. So it's very simple. In this case, we just add another birds. Is vertex here and just content. Um all right, so now we know this. Let's ah, jump back into blender unless the start making these symbols. So we know that this will be the corners, okay? And so we find ourselves with tuber ticks here to burn Izzy's. But here the top, we only have one. So I'm going to add a new cut here with control are and just move it with G. Okay, And just just the remodel. These a little bit arranged this. So these feats nicely and it's even soul even and clean. Okay, cool. Good. So now you have two birds is here to Burgess is here, and one birthdays here, this to here will be the corners. So how we How do we go about this? Well, first, we should let these two ones, for example, and press f two field in with a face. Then we go with next ones, fill them with another face, and now we're left with the corners and this other birthdays here. So what we can do here is in this case, is very simple. We can just press control, are and make a cut here in the middle. Because now, here What we have is just a hole, and we have one birthing seem one of the sites and in the other side we have known. So I just create a cat with control, are press right mouse button to live it in the middle, and I will just go and a justices is not spiky. And now we have exactly the same number of bird disease I have for here, and they have four here, and this is pretty cool. I just feel them with F and I'm left with all these field. Cool. All right, so now let's Ah, let's go ahead and keep modeling. We need to add some thickness to this heart. So let's press a to select everything and let's actually go to the face mode. OK, control top and we control top. You can switch. Remember that, or I less press, eat to extrude and just give it a thickness. I think this would be fine, and now is the moment in which we already have our basic shape and we need to start refining it. So I'm going to add a subdivision surface modifier to smooth this shape out and start out in detail. So let's go to the ad modifier button here and let's click on Subdivision Surface as a quick trick. Alternatively, we don't need to go to these menu at all. We just can't can press control and one of the numbers. And then we'll add ah, subdivision surface modifier with the level of subdivision that we market our numbers. So if we press, for example, control one, it will just had a subdivision surface modifier in level one. And if we press control too, it will just switch to level two. So it's very interesting to know these shortcut because with control one and two or three, even we can just be in the edit mode and don't need to go at the modifier spinal at all in order to switch between different levels of subdivision and preview. If we press control zero, we just go to the basic model. All right, so let's ah, just stick with two subdivisions. Okay? You can also change it here. Now, keep in mind that the subdivisions in the BUE port in the three people while you were working and subdivisions in the render are not the same. Okay, so the streak Onley effects to the view port. Right? If you want Ah, three subdivisions to apply it during render time. Do you have to do it here on the render part? OK, but with two we should do. All right, So now we have to do several things here. I'm going to start to find in this, and I'm going to press control are And at a loop cat here. All right? And I'm going to press, um, control top and switch to the etch mode. OK? And now I'm going to with this look selected. And remember, you can select a loop off edges, right? And that's loop. That's the actual name against Let Etch Loops by pressing all in right mouse button in an etch. Okay, So just by selecting this press control be And with these, you will be able. And with this bevel, we basically will end up with several with to etch looks instead of one, which is exactly what I want. Now I will add another one. Okay. You can actually go farther. Okay? Impress control, be all right. Do this. And if you scroll with the mouse will you can define more divisions right now. for this case. I need three. So just left mouse button to to accept it. And now I will select the slope here without right mouse button press shift and hold it to select another loop. OK? And, um, with this Okay, keep in mind that here I pressed shift and Ault and holding both buttons. I just right. Click. This is the way off selecting different Etch loops. Right? So selecting the both of this, I'm going to press G and C to move in the C axis, and I hold shift to move with more precision so I can do this kind of shape. All right, this will start to find the shape of our chocolate. Good. Now I'm going to select these faces here in the in the top. Okay, inside this litos and just Breschi to extrude. And this will create some detail like this or I and bring it approximately to the height of this ed slopes that we moved up before. All right, now I want to make a division here and defined this side. Okay, so let's press control are and divide this. Just bring it up a little, okay? Something like this And now I need to select this phase loop. So let's press out. Right click and the this also worth with faces. Yes, and with bird disease. So we can't let dese face loop that goes around the site. Okay, so what I do now is to press E to extrude, but instead of moving it, I'm going to just leave it there with right mouse button or escape. And um, you have to make sure that you don't have this option here. The auto marriage option enabled because if you have it, the burgesses that are the stay in the same places, other burgesses will be automatically world it and we don't want that. Okay, we just want to cancel the movement, but we want to be able to ah to do it manually now. So with the same selection in ah in place, we just press out s and all tests will basically extrude these in the face in the direction that the faces are looking to. So we just started a little late this okay, and now just go to the edge selection mode with control top. So let the look here without and right and the right mouse button and press. Um, actually, what we can do here is we can do something slightly different. We can just ah scale from the three d coarser people. Point. So we're going here. And so let the three. D courser is the people point and out skill So you can see how we scaled from the people point You can, ah, replace. You can place again. The people point with the left mouse button. Okay. Um but right now I think it's already okay. I can maybe arranging a little bit. I think this is basically okay. Yeah. Maybe we can move these verdicts here. I'm going to to start working from the normal people again. So just go here and present bounding box or medium point, or you can for switching between the three d coarser and the medium point or the bonding. Boss, I don't remember you press, coma or dot Ok is for the bounding box center. There we go. So, with comma and dotting the keyboard, you can switch between both people points Very ah, very useful for rotation since scales. Okay, so let's put that there that spring, the saw the one to a little outwards. Okay, We can move this a little bit. And here's another trick right now. I need to move these on the X and the Y axis. However, I want to be able to move in those both access at the same time. I could do it from the top. You if I press seven in the number? Okay. So I can do something like this, Okay, To arrange to shape a little. And this is good, but I may want to do it from the three debut from the perspective. You. So the way I do it is I press, I hope sure holds shift. Sorry. And I left mouse button over to see access on this. Ah, on this gizmo. And this will let us. This will block to see axis and let us move in the x and y axis at the same time. Pretty cool. All right, so this is done here, and I think I will just move these down a little, and this is almost done. Okay, Now there is only one more step I need to do, and it's defying this thing. Skordas these edges here so I will without and right mouse button. I wasn't that. This loop now, press shift. Whole shift out, right mouse button and select this loops. And now press Ah, seeing the keyboard to access to the wire frame mode because I need to see these or have him here has led these other looped to. And now I will just babble them with control be I bevel. And so as we add geometry there you can see how the corners are much more to find. Pretty good. Simulate that. All right, so we're almost there. We only need one thing here as we look from from the top, we need first to arrange this part. So I'm going to press, see So I can see the wire frame and access all the burgesses even if they are under the mesh and hold control left mouse button drug. And this will add a lasso selection. We can also do a book selection by pressing B on the keyboard and just drag in. This was let everything into it and I will just move them down. Okay, Can press see now again to see the magic. Sadly and yes, I think this is exactly what I want. All right, So now the thing that is that I'm missing is that these are cures. Okay, We can see these cures here, but I want them to look like a corner, right? It's the normal heart. Well, it's not not human. Harbert is. It's chocolate heart. A beautiful one. All right, So what I'm gonna do is to basically add a look cut here. So breast control are and, ah, just rugged. And you can see how, as we get closer to the other edge, the corner is much more the fight. This is because the subdivision surface smooth shape between different edges. And so the closer the edges hard, the more the find the corner is right. So just put it right there. Okay, this is much, Much better. Good. Now we can see the faces. All right. Thesis edges here, and that is not cool. When I need to do is to go here to the tools dub and less quake on shading. Smooth. This is from the object mode. Okay. I pressed, stopped to go out of the edit mode, and I'm doing this. But now I'm looking here another thing, And is that here in the middle of this heart. We can see these line and also here at this high parts. We see these parts here, this Etch. I don't want that edge to be beautiful. That is happening because thes two burgesses are very close to each other. But if I select these birth asses, Burns is here, and I So let's also this one's not this one, but this one in the middle and also hear these ones. Okay, I can't slide them by pressing G twice G is to grab. But if I press it again, it will let me slide those birdies along the edge. Do we stay? Belong? So let's just move them right about there and left mouse button to except maybe these ones hard too much. So just move them like this. Okay, What we achieve with this is that we need this proximity here in the corners because we want this to look like a corner. But we don't want that proximity here at the top because we want this to look smoother. All right, so the way we achieve that is by ah taking these. Berta sees farther away from each other, and so Now we have, ah, much smoother shape. All right, this is pretty good. So the model is done in the next part. We're going to see how to duplicate this a lot of times and do a physics simulation a basic physics basic physics simulation to, um, make ah, bunch off chocolate's stuck together. And here just ah, just little detail. I can probably just added loop cat here, okay? And just just to add some extra detail, not really needed, but I just felt like doing it, so it's all much more even. All right, So this is it for the model now we can, of course, just tweak it a little. You know, we can go here, and, um, you know, maybe in the in the white frame mode, we can ah, make it much, much more easily, All right, because we can't let all the burgesses regardless, if they are heating or not by the match. And here, for example, I can just enable here the proportional editing tool just enabled them enable it, and we can add with control and drugging with the left mouse button weakens. Let all these verses and maybe move them. And with the scroll wheel in the mouse. I can't. You can see how I can change the shape proportionally. All right. And this is exactly what I want. I can't bring it up a little, or I can just select a few businesses here and move them down to change the shape of the heart. This off course to your election, right? Depending on the shape of the hard you want. But I just wanted to show you that this is possible. And maybe, you know, here I can actually see these publicans, so I may go with three subdivisions. However, I think I will live in two because later we will have a lot of hearts and that will add a lot of geometry to the scene. So I prefer to have ah, lower geometry and then in the render if we feel like needing it needed more. The more the solution, we just can't add it. Okay. All right. So, uh, our heart is done already. Let's go for the next part. For the physics simulation 3. Physics Simulation: All right, so we have our model. Now it's time to simulate some physics. So the first thing I'm going to do is to go here and apply the mirror modifier. I'm happy with shape already. I'm not going to change it anymore. We need to apply the mirror modifier. And I'm going to explain why in a moment, in fact, I'm going to explain it now. What happens is that right now, if we start doing a physics simulation with this heart, okay, I'm going to do it just with these heart so you can see it, Okay. And then just, ah, start again for the rest of them. So, um, let's just add physics simulation. Let's go here to the physic top and on the rigid body, I will just click rigid body and selected Make it active. Okay, Cool. Now let's go to the top. Unless had a plane scale it because we need ah floor for this object to have fallen to Okay . All right, now, if I take this heart and move it up and, for example, just rotated If we press our twice, I can orbit the object, so I will put it something like this. And if I press play now or press Ault A to just play the animation, you can play here in the timeline He was he have the update now false and goes through the floor. This is because the floor has not set up. I need to go here and out of rigid body to it too. But not if I press all day. They will ball both fall. What I need to do is to set the floor as a passive object. So it will only receive collisions from another object. But it won't be have a simulation itself. So this press out a now and you can see how the heart falls down. But this is the problem. You can see how it behaves exactly as if there was no mirror on it. Because the simulation is supplied on Lee on the rial object and the mirror part of the object is generated afterwards. So I will just Greek on apply. Okay, so now the mirror is actually a party. Are Did you can see how it turned all into riel mesh. So now when I go here and press all a again, you can see how the simulation is much better. But still we could be getting some intersections. Let's let's see, we may be getting some intercession is working pretty well and usually does. But if you need a very accurate simulation and you have ah Triki mesh, like with turkey, I mean with cavities and such the most. Ah, cool way of doing it is by going here as lefty mesh. So instead of just taking the basic shape, the main shape of the mesh, it actually takes the actual mish Okay, for now, I'm going to live it. It's comebacks hole, and then we'll change that later if we need to. Okay, so before we continue, I'm going to press all g and all are for this object. Um, actually, just disable the Regent body. Constant. There we go. So now I have the object just the reset to its main position. I'm going to sled these floor and press shift s to send the selection the cursor to select it. Um or even better, I'm going to press shift. See? So So the cars that goes to the center off the scene I'm going to select now the floor press shift s and selection to coarser. So now the plane is right in the middle off the scene. I'm going to make it a lot bigger and just ah, because thes may influence something, I will just press control A to apply the skill. This is important because sometimes if we scale an object, if the scale of an object we compress and and check it out because the scale of these objects, it's one because we have only modified it in inside the edit boat. Okay, but if we scale the object, you can see how the scale is not one anymore, OK, These may influence the region. The body simulation. Okay, so it's better if we have the scale of one. So if we have an object and we scale it and we have something in the scale different than one, we can just press control a apply the scale and so it will thes clear Interstate will become one again. All right, so now I'm going to just going to duplicate the subject. A lot of times I'm going to select the lamp and the camera, move them to another layer with M pressing m, you can move to a different layer. Just moved there. And now the floor will be on the second layer. So now I have the floor here and the hearts here. I only will have the heart in this layer. So that's a start. Duplicating this a lot of times. And when I say a lot, I say a lot. Ah, so let's just draw Galasso around these ones and press shift d again. Just duplicated a bunch of times. So let all of them and duplicated again all of them, and duplicate them again and duplicate them again. Okay, I think this will be enough. Okay, We could have much more, but, um, remember that you go over the top, your computer, maybe a staggering later or something. All right, so, um, if we press now, a whistle let all of them. But it may happen that none of them become the main object. Okay, Like, for example, let me just show you an example. If we press shift and click on the second layer, we can see the floor and the hearts. What happens is that when you so let different objects, when you hold, shift and click on other objects you see that the final one, the one that do select last is the active one is highlighted in a different way. All right, so that's the act if one and this is very important for what we're going to do, because for the physics, we're going to set up the physics for one of the objects and then the rest of them will pick them from that active one. So it is important that we have an active one, and in fact, you will see how, if we don't have an active one, the options won't work. So if we let the playing, for example, and we press control I to Imbert this election, we will select all of the hearts. But as none off them has, Bean selected manually, all of them has been selected at the same time. There is no last one. And so there is no active one. So we have a lot off object selected, but we have no active one. So if I go here to the physics stop, I cannot active, okay, But it will probably add it to the plane. Okay, because the plane was selected before, so it's probably the Ah, develop jets. But anyway, the example didn't work out as I expected. But it may happen because if that's happened to me sometimes that you don't have an active object and these options are grayed out, you can't use them. Okay, so what you have to do is to just let one of the hearts and now you can add active okay, And these words with all the obvious. But right now, let's say that we wanted to change these because the compass hole is not to working properly. We want to change it to mesh. So if I just change it to mesh, it will only affect the active one. If I go to another one, you can see how they have not been changed. Okay, so I select all of them. I This led the plane just to avoid problems. And I have these active one. Now, this is the mesh one one With that we set up, we could just go and shift, click on another one and just let match for that one. And from thesis panel here, we can copy from Active, and this will copy the settings that we have in the active object to all the rest of the object selected. So right now, any of the objects have the mess mash option in. So let's let all of them again, except for the plane. So let an active one just turn it back to come back school and copy from Active. All right, so now if I press all A that they start falling and we have a nice simulation. Perfect. But we're having another problem now. A lot of problems. I know we haven't. Another problem is that we don't have walls to contain these things chocolate. And so they are just spreading and falling down the sights off the plane. You can see how they just run away from us and we want to eat them all. We want to contain them. So what I want to do is too. So let these plane and I'm going to model some very basic walls. So let's just at a loop cat and we we at a loop cat, remember that we can move the scroll will to just that more edges to lip to lip cat, Do the same here. Remember that look at you can do with control are now, press s why? To a scale on these axes. And, uh so let these other loops and press s x to scale on the X axis. There we go. And now I'm going to press Ault and right mouse button twice to select these outer border and move it up. So with this, we will have our recipient to contain all these chocolates, and we can even just go and make it smaller. Or maybe just a little bigger press control aid to apply the scale. And ah, just click also a or click here on the play button for the timeline and that Whoa! What happened there? Great. Something is not right there. Okay, Okay, look, this is what I meant. The floor now, Issa Comebacks hole. And so the comebacks whole doesn't detect holds on the mesh. So we have a cavity here on this floor, and right now the hearts are just standing on the top. All right? Is taken like the surface not attacked in the hole. So what we want to do is come here and let mesh instead. And now you will see that it will work nicely. There we go. Okay. And now the chocolates. Will justice stay there? That's perfect. We can't even come back. And just for the sake of this tutorial, let's go over the top. Let's go at a lot more chocolates, and we will need more time in the simulation. So let's just go here, Jump to the I don't know, frame number 750 and press E on the keyboard. And that will set the end frame. Or you can, alternatively just go here and write it. Ah, whatever you prefer. And so now let's press all a And we're seeing the effect of the Florida, even if it's hit him, because he is being calculated on the simulation. So now we have a lot. This this may cause some stuttering on the simulation or anything, but it's pretty cool. All right, so simulation has finished. Okay? And so now I select all of the hearts, and what I need to do is to, um, delete the rigid body simulation and just be left with disposition off the hearts by this frame. Okay, so I'm going to just Ah, well, some of the hearts are really not right. I'm going to You can see that if I go here to the to the end, you can see the timeline that the simulation is cashed and we can preview it like if it was a really animation. All right. But if we, for example, just saying some parameter or just go outside of blender and come back or something like that, they will disappear. This will disappear and we'll have to simulate it again. Um, so let's say let's let's check this out. Okay? Maybe we have to change something around here, so we need Teoh do two things here. All right, we will start for the 1st 1 let me see if I can show you some example because I think there are some hearts that are intersecting with others, but I'm I'm not really finding them now. So it was maybe my imagination. So if that happened, we should go ahead and just change this. Ah, simulation instead of comebacks. Hole. Just let the mesh right, because some of these areas here that haven't a cure going inside a cavity might not be, um, just simulated totally correctly. But the other thing we need to do is that we are only getting the simulation until the frame 250. What happens with this is that when we start the simulation, the regent body world is created, and that has the frame rates that we have set up. You remember that after our first simulation, we just increase the number of frames off the animation, but the region body world keeps having that limit. So if we go here to the scene panel, the scene tap Sorry, I can go down. And here we have the regent body Cash and I can set an end frame. So let's set, for example, 700. There we go. And now we can keep the simulation going. So let's just ah, look how it works. And now it should continue. And it's continuing. Yeah, so we give sometimes some time for the hearts to settle. They're not still just jumping. All right? Something like this would be enough. There is thes one falling down here. Okay, Some of them are still positioning themselves, or I dish it vehicle. Okay, so there are a lot of things we could do now, but what I will do is to just select all of these ones and applied a transformation. So let's apply it. Transformation. Okay, And now just remove the physics data. So now if I go back or anything, you can see that there is no animation. And if I press out a nothing happens. There is no simulation going on. I just took the simulation. Ah result applied the transformation. So the position and rotation of the objects are fixed and then removed the region body data from these objects. So they are not included into any other simulation. And this makes them just to stay there forever. Right? Is this is like if we just move them manually. So this is a very useful technique for when we need to drop a lot of things on the floor of a room, for example. And ah, we just apply, you know, rigid body to the objects. We just throw them, let them fall. And when they are settled, we just apply these transformation and remove the region body, um, data. Okay, so now we already have our physics simulation in the next part of the story away. When I'm going to do is suggest ah, go for the rendering part. Right. So we're going to shade this object to look as chocolate. We're going to manipulate the lighting, position the camera and do the final rendering. 4. Shading and Rendering: So in this part, we're going to add a chocolate material to this chocolate, and we're going to position the camera and at lighting to make the final render off our scene. There are two things that we need to start with. First, we need to make sure that we're working with cycles were going to render this with cycles. Render engine. All right, so let's go here and select cycles Render if you don't have it already. And after this Ah, there is one thing I want to say and is that I always use the note Wrangler add on. So if you don't have enabled, just go to the user preferences and under the user preferences, go to the add on stop and search for no, the Wrangler. Okay. And just click on this little button here to enable it. No one would will give us in the note editor some specific options that I like a lot, right? And I I use it. And so I just wanted to know, because before we go deeper into the notes, which we're going to do now, So I want to let just one off thes hearts. Um, in fact, I think I will just position the camera already in the right place, and then we will start working on the material. Okay, So let's find, um ah, heart that can work well for positioning our camera. And the first thing I want to do is to select one off these chocolates and press dot on the number or go here to BUE and beause elected. And this will just pop the camera into the selection. So this will help us now navigate a lot faster around here. And let's just look around and see if we can find some interesting, uh, seen. Okay, this one here might work. And ah, we just might so let this heart and just rotated a little. So it's facing more to the towards the camera. So let's press are an oppressed X twice so we can rotate on the local access and do something like this. Now, of course, it is just intersecting with that other hearts and just bring it like this and maybe moving up a little. It may be intersecting with this other one here in the bike, but it's not visible anymore, so I don't really care. And so with this set up, which I like, I will just that camera. So we have a camera in the scene. And if you remember in the first part of this tutorial, we had set it on the fifth layers. So just shift. Click this fifth layer. And now the camera is visible and selectable, right? We don't need it to be basically to just position it in this, uh, this place. But we will need to selected later, so I will just enable it again. So just ah, for for putting the camera into this point of view, What we need to do is to press control all syrup or you can ask is the same option from here. Let's say a line view and it should be one of these. Ah, lying active camera tube. You and the camera will snap into that same position. Okay, We can move it a little if we need to. There we can select it just by right clicking on this border. And now we can press G c to move it like this are x x twice to rotating on the local access . And as you can see, we can just move it around. Good. Now these heart here, I don't really like it. Just facing us backwards. So I'm going to press far. And maybe, um, why twice? Okay, so we can just rotated like this. And this looks much better for me. Something like that. Okay. Again, It might be inserted intersecting some off the hearts in the back, but I don't really care. As long as it looks good. From the camera point of view, it's OK for me, all right? If we wanted to do animation, we we may have to just keep that in mind, but as we're going to do Ah, Onley a still frame. This is OK. All right, So now I will select this thing's heart here, and I will isolated and for isolating it, I need to press slash on the number or just go to view and select, uh, here to switch between the global and local beauty. So that will just isolate this Onley one heart so we can just play with it. However, I also want to be able to set up the light. So I want to let this light that Sorry. That's the camera. Um let me just find where the light iss I will just click here The light is here in between the heart So let's just bring it up and the shift Click the first layer again see to jump out of the where frame out And so I'm going to select the light press zero in the number to jump to the camera Butte and the shift right click the heart And now I press slash on the number to jump into local beauty. So now I only have this heart and this light So I will be able to work very easily on the shader for this one object and then I'm going to copy it for the other object. Okay, so I'm going to just place the car so right here in this corner and slide it to the right to divide the interfacing two segments. And now I will just press t on both of them to hide the tool spinal. And here I'm going to jump to the note editor, which is where I will build the materials for this object. Now, before I continue, I'm going to make sure go here to the render top And under this render panel. I will switch to GPU. Compute. All right, there's the pants. If you have CPU or GPU in your computer if you have a GPU if you want to enable it, you want to have that You want to go to user preferences, go to system and enable cuter here. Or I didn't select your graphics card from the list. All right, if you don't do that, GPU won't be available from here. Just keep that in mind. So jumped a GPU So the renderings faster and sweets to our interview. Okay. This is, uh this is good. I'm going to select the lump and I need something a little bright. Er's to to light this up so I can see exactly how the material works. So let's yes, click on this lump. Alright, lump any tools and I'm going to make it a sun light. Good. I'm going to enable use notes. So here I can control this track. One will be okay for now. And I can rotate the light press are and just rotated and you can see how it affects our heart now for testing purposes. This will be OK then, for the final scene I will just set out delighting separately. But for now for testing the chocolate material, this will be enough. All right, I'm going to also go here to this render tub and under sampling, I'm going to at 100 here. All right, so we have a little more, um, sample. So the render here is cleaner. We don't have that many noise. All right, let's thing I I need to do is to add a material. So when I have adopted selected, I just present right click on top of this heart. Um, I can just go here and out of new material. Or alternatively, you can go here to the material stop. And at a new one, this will be called chocolate, all right? And so we could go ahead and do something very quick, but I will take it a little farther. Okay, let me just explain. Um, I can just go here to Shader and add Ah, glossy shader because I want the chocolate to be a little shiny. Er Okay, so the diffuse will add the color, the base color and the glassy well, at some little reflections. Okay, so you can see now this would be the glossy. And I'm doing this right connecting one Ah, shader to the output just by holding controlled shift and left mouse button. All right, This ah, is one of the options that are enabled with note. Wangler. Adam. Right, So just keep that in mind. Okay? So here what I need to do is to at this, OK, you can see how I can just change the roughness. Okay? And this ihsaa some nice reflections and stuff. But of course, this looks like something like metal. Ah, for this one, I want the base to be brownish like chocolate. Now, to be really accurate, I would need to search for photos or something and use them as references. So I get the colors ride and the reflections exactly right. And I will leave that to you. Okay, Here. I will just show you the technique. I will just imagine how chocolate is and try to replicate what I have in my head. Okay, so now what I need to do is to mix these diffuse shader and this glossy Shater. So we add these reflections on top. So there are several things we can do. The typical way issues to add a mix shader here and just connect these two shakers right here. And you can see how if we just ah, move the factor. It was differently. All right, these would be nice. But what happens when I add some reflections? It takes away from the diffuse colder. And there is something that happens with chocolate and with any material that is not a medal. And is that the reflections are always white. All right. I mean, here in the shader, we have to set them white. Then they will pick the color of the light. Or as we delight is magenta. They will pick the magenta and such things. But so what I need to do instead of a mix Shader, I'm going to ah to create an ad Shader. So let's just add it here. I delete knows by pressing X. All right, If you press control X, you just lead them. But you keep a connection. Suppress control C two, get it back. And here we're seeing some things likely different and is that we are seeing the this reflections on top off the brow material. The problem right now is that this is too bright now. The at Shader doesn't have any factor. Ah, settings. So what we need to do is to control it with the brightness off this color, right? The at Shader. What it does is to add the brightest colors on top of the other ones. So if we make these darker, you can see that we can't control the amount of reflections. And these already looks a lot better. However, I want to take this a step further. I'm going. Teoh, press shift A to add a note. I'm going to import and I'm going to select layer. Wait. I will just put it around here. And by holding control shift and left leak, I can see what these affect us. Okay. I want to use the facing. I want enter into the details of what these does, but basically eat the fines, right? It sets in black the parts of the model that are looking towards the camera and invite the part of the objects that are kind of parallel to the camera. All right, so if we can change this all right, we can have something like this so you can see how the parts that are in gracing angles towards the camera are whiter. All right, this is exactly what we want. And, um, we're going to add this to the color here of the glossy, and so the parts that are looking towards the camera would be not reflective. We would see the few scholar and the ones that are looking ah, in grazing angles will be more reflective. So this will give us Ah, nice touch to the Shader. However, we maybe want to control this. Okay, instead of having this, by the way, if you can. If you keep clicking with while holding control and shift, you switch between the notes, the outputs of the note. Okay, So what I'm going to do now is to add a converter here color ramp and added, just here in the middle and this call around will allow me to control how this looks like. All right, well, let me control the grading. So if I bring these close together, we can see some interesting differences, right? We can make this brighter or darker. So basically now, if we wanted to control the amount of reflection, we would select each one of these markers here and we would change the color. So if we want the black part to be more reflective, we would make it brighter. And we want the white parts to be less reflective. We would just make this darker so I can get this to the glossy see what happens. Because you can see how the dark areas are not reflective. So there we will see only the diffuse, which is similar to what we want. All right, Now, I wasn't at the black end that just that just a little bit off reflections just a little bit. And for this one, I will just so let this and bring these down a little. All right, So now you have, as you can see, very a darker, radiant. And we can, of course, play here with the roughness to get different types of effects or more clear reflections or whatever. You can see how the reflections are very clear. But if we increase the roughness here you can. For this Ah, little sliders. You can just hold shift while you're drug, so you can control better how their reflections work. And I think this would make a pretty nice chocolate Shader. So the next step would be to add these shame Shader to the rest of the heart so less press slash on the keyboard. Okay, so we have all of the hearts and I want to let everything on the screen with a now I already have right here. Here's the trick. We have two options here. We can select everything in the screen. Let's just enable Onley this first layer so we only have the hearts. So I can't let all of the hearts all right, and then shift Click on one of them to make it the active one all right? Or if I have one of them selected when I press A to dis elected and again to so let everything the one I had selected previously. Ihsaa already set as the active object. This is very important because the active object is the one in which we need to have the material and the rest of them will just copy the material from this one. So, in order to do this, I will just press control l and the I'm going to go here and the link the materials to the rest of the selection and you can see how all of them have Ah picked the material. Now, if I just take the material in one of them, it will show the changes in the rest of them. So, for example, I want to make this visible in the view board that ihsaa chocolate. Right? So what I do has come here to the settings under their material, and here I can change the pupil caller to something a little brownish. Okay, Something like that. So I know that they are kind of chocolate, like right now. Very accurate color bit. Still, we get an idea. At least they're not white anymore. Okay? This is also very useful for making sure that every object in the scene has a material, all right, because if they don't have, we would see them white or something. So it this is interesting. Okay, Now, let's go back to the camera view and just switch this again to the rendered mode, okay? And this is what we have. Ah, sure is very dark, but it kind of looks like chocolate. Right now we're going to shift click on the fifth layer to enable the light. So now we have the light from that lump we set up before. And there is also one thing I want to do is is that here we can see the background, which is grey, and we don't want that. We want that to be like a shadow or something. So I will just shift, click and enabled the floor. All right, so now the floor is not really basically OK even if he's just ah box around the things. But down here we will have a material and it will just have shadows. Okay? Or if we don't have shadows in that specific parts, we can just apply a material to this floor and set it to some darker color. Right? But ah, it is not really that needed anymore. But now the next step is to go here. I'm going to switch to a three D view. And so, in one of the three debuts, I will just work on the I will see the effect of the scene. And in the other one, I will just be able to select and change everything because you're in the render view. We don't see it. Sadly, what we're selecting and all these sort of things. So I have this lump. I need to Ah, just oriented again until I get something I like better than this. So let's just rotated a little. So it comes from that position and just rotated until I like how it works with this chocolates. Okay, I'm going to rotate it from here and all right, maybe rotated, so it's kind of facing that heart. But now I think this is actually good. Okay, Now the opposite part, the opposite side of the objects is very, very dark. So what I will do is just duplicate with shift D and move on the X axis. Ah, and if this is really irrelevant, right, the position off a sun lamp is irrelevant. Totally. Because we you know, it's a directional lump. It doesn't matter what it is in the scene, it only matters it's orientation. But it's still handy to have been separated s so we can easily so let them right and or in them and stuff. So I will just oriented from the opposite angle. So now I don't have those really hard shadows, OK, we'll just move it a little like this. So now this he has a better lighting. And now I need to control the intensity of these lights and the colors. I want this to be kind of pinkish or something. That because remember, this is kind of for love and ST Valentine's and all these stuff. So I will make it a little pinkish and just go here to the sun and under the color, just drag it a little to the pink site, All right? And as this will be the main lamp, I will increase the strength to to Now the other one might be a warmer color. Or maybe something bluish. Or maybe something bluish will do. But this will be a little more darker. Okay, We can just start bringing it up little by little until we kind of get read of those hard shadows, but not too much. Okay, good. Now this one, I think I will just bring it down to one, or maybe 1.5. And what I want now is to bring the attention more on these heart here. Okay, The one that is facing to the camera. And we want this to be the centre off the scene. The center of attention. So there are different things I can do for that. One off them would be to enable the depth of field for the camera. So let's let the camera and under the camera options, I can go down to the bottom and that I can increase the size. But of course, the size, you know, if we don't have a distance set up is not really that useful. So I will just click here. And instead of letting on object from the list, I could just, you know, just let these hard here and go right here to the object options and may meet us. Ah, main heart, heart or something like that. And now let's go back to the camera and down here from the list, Okay, camera options. And from the least I can so let the main heart I can start writing, and here we have the main heart. So now this will be the focus object. Ah, different option would be to just click on the eyedropper and just selecting here and click . So now these object would be the center off attention. And so now I can increase the radius. They can see that as I increase it, the depth of field effect increases. And right now, for example, this is focused. But the heart there are closer to the camera are like blue hurt, and the ones that are on the back are also blurt. So that is one of the things I will do to focus the attention on these specific heart. But now the other thing I want to do is to place a light. So this part here is lighter is brighter than the rest of the scene. So let's go up with the present seven on the number shift A at a lump. And this will be a spot lamps so we can direct it very easily. Bring it up. Okay. And, uh, let's see where the main heart iss that my heart is this one here. So let's just bring it there, okay? Just put it on top of it and less a start playing with the strength. So let's do something crazy like 1000. Spring it down a little. Let's see what effect it has. Okay, so we need a lot more effect on it. Les at ah, 10,000. Now, the reason why we have to go crazy with this. Ah, the settings for these lights. Is that the sun lump? It's like linear. It doesn't Ah. Ah. You know, the distance from the light from the light source is not relevant, but in the spot or the point lamps, These the decent from the lamp is really relevant. Right? So these the same, probably We have gone to be with hearts, right, that they should be a lot smaller. So we have to add a lot of flight here, so it reaches the part. All right, so just, you know, it's not a strange that I had something like this. Okay, 100,000. Now I can just increase the blend. And what this does is, as you can see, make a blur in the area of flight. And now we can maybe, you know, just moving and rotating rotated a little something like Dad. We can rotate it like this as well, and we can decrease the cone so as to just focus on that specific part. That's good. And I can maybe decrees the intensity just a notch. So just 50,000 or something like that. That would be that would be enough. And now I can just change the color. So the color would be something slightly pinkish, Maybe a little bluish just around. So it's just a little like the rest of the scenes lights. Just more focus on that part. And I might just do this a little bigger. There we go. And less intensity. 50,000 maybe 35,000. Okay, this would be this would be good. All right. So I think that we are done with this, okay? We of course. You know, we could keep tweaking it until we get something exactly how we want it. But for the sake of this tutorial, I think it's enough now. Ah, you know how to do it so you can tweak it yourself. Um, the next thing I want to do is to make sure that we don't have noise in the scene. And how we do it well is enough. Let's analyze and see what are the parts with more noisier in this scene. And it's probably around this area. Okay, this area here that is blurred. So I will I will focus on this area. I just want to render this part. So let's press control be and the drug a border around here, something like that. So I can just focus on that specific part of the scene, go to the render options and increase the samples. So let's go to something like 5000. This is not the number that we said that here now is not really relevant. What is relevant is that Well, let me just change this here, right here at the top. It will show is the samples a number of samples that have already been done. Okay, so we can take a look at this part of the render. And when it reaches, um, a suitable noise free render. We just take a look at the samples number that is running, OK. And so now it's kind of almost pretty clean. All right, we are next to the 1000 samples, and so once it's clean, we just stop the render. Okay? We can't in fact, posit and we have the coarser position here so we can posit whenever we feel the render is noise free or it's acceptable enough, right? I don't want it completely noise free because the that noise gives it a touch of realism. so I will just press pause when e I think it's OK. All right. This should be okay, so I press pause and you can see that we are 2100 samples. So that's fair enough. We just go here to the render and said 2000 and 100 samples. And now for the preview, I I will just keep ah with 100. All right, now, before we continue, just make sure that you enable you and check the pause button. Otherwise, instead of a render, you will get just a transparent scene, all right? And press control, I'll be to just clear that specific area. And after is we can just launch Orender and see what's going on. So let's press, uh, you know, let's ah jump out from the render mode and you can do that like only here and switch to the solid mode. Or you can just press shift, see on the keyboard and we just jump between the solid and the random mode. So now this press F 12 and the render will start right? We will see how it works, So I will be back to the recording ones. The render is done and we will comment it. Okay, here I am. The rendering is nearly finished. It's taken a little bit more than five minutes. Eso is not too much given that we have said a lot off samples that we have a lot of objects in the scene and we have a depth of field which usually increments a lot to render time, but it is not too bad. The thing is, there are a couple of things I want to do. One of them is that I don't quite like this. Ah, so hard shadows And the other one is that this chocolate looks too perfect. And also here in this ah, bottom part, we can see the the color off the floor. Okay, If we don't want that, it's too bright in these areas. So we're just going to darken it, and then we will just have some little imperfections to this chocolate, So Okay, It says just finished the around six minutes. Okay, so let's, um we could save this by going here to image and save us image and outfront the front dialogue that I should be getting. Okay, I can just save it us the same valentine to, for example. And we said, RGB I don't want the Alpha Channel, and the PNG is okay, so just save us image. And I would have saved these one render all right, breast escape and ah, just shift space to go back to the previews. The screen. Okay. We can jump into full screen by President shift space on in each view port. Okay, so let's go to these one. And first I'm going to select these floor and add a material to it. And this material will be dark, something like that. So now these floor doesn't look white anymore. Okay, Cool. Nothing I want to do is to make the shadows not so hard. So let's press control be so we can focus on that area and let's speak be slight, right, which is the one that is causing these shadows. And if we go here to the light options, we can change the size. So let's increase it. And by increasing it, we will make those shadows Ah, a little bit. Not that sharp. And it's probably not this light that the one that is causing that shadow. Let's just right with this one or Oh, sorry. It's this one. The one that is causing that hard shadow. This one. Let's just Ah, put it at 0.3. And this other one pointed at 10.3. That should be enough. But this really hard shadow comes from this light, the spotlight that we added to our intensity to this area. So let's just increase it and you will start seeing now how this ah, shadow fates out a little. So it's not that hard. Okay, now I will go and focus on this heart will select it. And let's jump here to the note editor. And there is only one thing that I will do just very quickly. And it's to add a little displacement here. So we have some imperfections on the surface. So let's go and add a texture. Noise texture. Sorry, it's taking a moment. Okay. And now we press control shift click. We can see the effect, right? This would be the effect. Um, and we can use this just connecting here to the displacement. You can see that now We have some little imperfections here. Now we can ah, crees increase the scale. Sorry. So it's a little smaller and also we can see if we just focus on this area here that in the height is not that great. So what I will do is to come here to input at a texture coordinate. And we could do all this manually. OK, but what I will do instead is use another one of the features off the note grab Wrangler to which is press control T, and it will automatically create these textures. Set up notes which allow us to control how the texture is projected on the surface. So I want to go to the scale in see which is the height and make it may be smaller. So now the surface is not that stressed. That's good. Let's go here. Okay, this looks good. And we could try to maybe at a color ramp converter color ramp. Just drop it here, previewed the color, and just add a little bit of contrast. Just bring it this to closer together and connect these two the displacement. Now, Now, breast control, click or just gonna bees to the surface. And now we can see the effect Pretty cool. But I think this is too much. Maybe we we need Ah, bigger details. So let's bring this down. Something like that. And what happens if we bring this together? You can see how we increase the effect this is having. Okay, so now, uh, I will pick this white one, and I will bring it down, make it darker so we can reduce and control the amount off displacement that we actually have. And, uh, this would be fine. So President will out be and just press F 12 for rendering again. But before that, just switch here to the solid view. The recent I jumped to the salted bu back is that if we keep this rendering, we may have the case that the Buber to surrendering at the same time that the scene is rendering. So it's much lower. And, ah, we may have some sluggish movement in the Beaufort so less yes, press f 12 or I will just save these just in case before we continue. So let's save. And here I will save these us chocolate tutorial, render enter and less press f 12 and I'll be back. OK, I will just go to this people to press shift space, and I'll be back when the render is done. Perfect. So I like this much better than before. And, uh well, I think we can give this for finished. Maybe some more samples would be needed in these areas. There is a little noise, but still, you know, that's up to you. The depends also on how much left to field. You wanted your scene. And it depends on the light into and the materials. But ah, nonetheless, probably There is one other thing you want to do. I will just save this image. Um, let's go. Saint Valentine three and just a little trick here if you have ah, file with a number or with no number. If you have no number on the file, it will be added. You can press plus on the number. Ah, sorry. Wait a second. I shouldn't be there. Okay, Just click on these ST Valentine to, and if I press plus, you can see how it adds to the number. And if I press minus on the number, it will be down. Now what happens is that if we pick a name that it's already picked, it will turn red right? This ah name field will turn red. Just to advice to notice is that the name is already peaked. So just press Plus to pick a Saint Valentine three less Ah, select RGB. I don't need the offer and save us image. So let's go back. Let's go to the render options and let's make sure that I'm rendering in Ah, the correct resolution. So I would like to render into HD not full HD. And this would be 1000 and 2 80 by multiplied by 7 20 and I will just switch these 2 100%. All right, so now the next time I render the resolution will be right. Okay. We should have maybe set up this before earlier I I just forgot. Okay, So just said it when you are going to I mean, you need to make sure only that this is correct when you launch your last render. Now there is a tense that you get some small, bright points. Ah, Langa the thing Let me just try just to show you kill switch to render it There we go and let's go here, for example you can see these bright spots. Okay, now, typically, these bright spots are generated by glossy reflections, right, Because the light is bouncing and it's reflecting in those points and is basically cost sticks. All right, so if you go here, if you don't know what Caustic says, don't worry, it doesn't really matter. Um, but if we go to light parts panel here in the render tab, you can see that we can disable reflective cost ICS and that will get rid of most off those bright spots. Okay, refractive cow sticks is also for refractive object. We don't have non off those in the scene, so it's OK, but reflective cost six is actually important. You can see how ah lot of this is done. However, if you disabled it, just keep in mind that if you have a glossy object on Lee, it will not reflect light on other objects. And so you're seeing might be darker. Okay, But in this case, I think it's OK now there is nothing. We still have some little dots around here. Okay, You can correct this by going to the sampling panel. Let's get let's find it where you are. Here you are assembling and here have the clam direct and clamp indirect. So by clamping with this, you can get rid of some off those points. Most off them. You can see it. Help. Now, this is very quickly. Just clean. However, you have to use it with care because, um, we can just Ah, you know, what this basically does is to limit the brightness of some points in the scene. And so if you turn it down or too much, you will get a darker scene, okay? Or if you ah eso so just ah, you know, use it with care. But okay. You know, I know in this case, for example, looks like it's working pretty well in this value. So this would help. This is you are just some tools to help you get rid of that noise. So that's press control. I'll be you know, we have to write resolution, the right settings and everything. There are also some more things we can do. Of course, I don't want to cover everything. Every single thing about blender in this tutorial, and this is not in the purposes. Okay, this is just for due to create something for your loved one or something like that. But if you really want to optimize this because not right now the render time is pretty high. So you can just basically go here and change the number of bounces and do something like to , for example, And the maximum will be, too. And maybe just said them differently. Whatever transmission, we don't need transmission. We don't have transparent objects are refractive objects. Um, diffuses. Okay, so these will render much faster now. Okay, The less raise or bounces the blend, it has to, um, analyze and render. The better the running time will be. Okay, the faster it will be. So just keep that in mind, I just giving you some quick tips here on to get the best render. And then, of course, you could just go ahead and, uh, jump into the composite er and, you know, adjust the colors of the scene, the brightness out of the net effect and in such things. Okay, so, um, I'm not going to cover that in this tutorial is No, it wasn't in the scope of this tutorial, but you can definitely do it, so I hope you liked it. I hope you learn something from this is tutorial serious? And see you on the NASA toils. Happy blending