Create an Abstract Landmark Using Cinema 4D and Photoshop | Patrick Foley | Skillshare

Create an Abstract Landmark Using Cinema 4D and Photoshop

Patrick Foley, 3D Artist

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
9 Lessons (1h 3m)
    • 1. Introduction

    • 2. Explanation

    • 3. Composition / Object Placement

    • 4. Ground / Sculpting

    • 5. Lighting

    • 6. Texturing

    • 7. Camera / Render Settings

    • 8. Photoshop / Working with Alpha

    • 9. Outro

15 students are watching this class

About This Class

In this class, you'll be able to better understand the concept of adding massive structures to minimalist landscapes in 3d. This class is also a perfect introduction to the meshing of 2d and 3d using an alpha (png) and combining real photos with synthetic 3d elements. 

This is also the first time I will have gone over adding a human to the composition in post!

Lastly, we'll cover how to manipulate both 3d/2d elements in structure, lighting, and coloring to better match eachother to stitch them together. 




1. Introduction: What's going on, guys, this is Patrick fully again for another skill share. Premium class. I'm very excited to show you this one because I think this is out of all of the classes, one of the most highly requested. Instead of making something very small what usually make we're making something very massive. So one of you guys have seen my work on instagram making these things that are kind of secluded. These massive structures of desert or whatever on this glass is going to show you how to make that and really go over what makes these things with massive in first place and its own. Who is actually a director of photography in the film industry. I've kind of had a an easier time understanding why certain lighting angles and certain camera angles make these things with bigger will be going over how that works Well, but there's something that's happening in these renders That kind of triggers your mind into thinking These are massive versus small. Sometimes they're not always very apparent on why that is, we're gonna be going over. Why, that is camera settings. How to place the camera, you know, kind of using these tricks that full Orion making these things very. We're gonna start in cinema four D, work our way into Photoshopped, kind of implementing this Alfa image in PNG into our own composition, mixing it with an actual photo reference and stitching it together like that. So very excited to show you this one, guys, and I think we're going to get on into it. Let's go. 2. Explanation: Alright, guys. So we're back here and I want to do a quick little kind of ah demonstration or give you reasoning on why? First of all these things look the way they look and how we actually are able to achieve this, like, massive structure looking technique, because I think you guys all know it, but, you know, for something like this, I think 99% of us realize that this is not massive, but there's nothing actually telling us this is bigger. Small. When you think about it, stuff like this, I assume we all just imagine this thing it's like, can fit in the palm of your hand or pretty small. But things like this obviously look like thes bigger kind of structures. And, you know, there's definitely some things that make it obvious. Like this little guy standing here. Um, but there's other things that you know. Why does this appear to look big? What, is this pair look smaller? Um, even something like this. So we do have the guy here, but even if he wasn't here, I think this is striking as a pretty big looking image when in reality, it's just I mean nothing with the move. Nothing with the kind of modeled parts here. Actively make it look big. Uh, but we're gonna go over why? These things look big in the first place. So even something like this may look kind of big. This one is actually kind of in the middle. Um, and a big reason for this is so these things look like, you know, normally big objects. Would, you know, a podium weaken gonna be like, OK, well, I know how big a podium is, which gives you a sense of how big this thing might be. Just like, Okay, this thing's kind of big. Um, but if you'll notice the backgrounds, actually kind of blurred out, which gives this Ah, give this whole piece kind of a ah illusion of being smaller because that's one of those things that people who are not photographers may not even understand. But it gives the illusion of it being small anyway, so usually anything, you'll have a shallow depth of field. A k a. The background is very blurry. Will give you the appearance of being very small. Would you want something like this? Very blurred out background gives you a sense that this camera is probably close up on this guy. Um ah. Using kind of the focal length, more like a 50 millimeter. Um, and thus the aperture is wide open, allowing for the background to be way blurrier. And for the people who are not photographers who have no idea what I'm talking about, that's a little bit, um, that's kind of the reason. So photographers kind, Understand what I'm talking about here? And that's again why? I've been able to have a little bit of an edge here because I started doing photography and videography much before the, uh, the three D stuff. So if we take another example like this, this one, you know, very stylistic. But you can tell this thing is ah, pretty big one, because you actually have some atmospheric kind of like fall going on, which gives you the ah illusion of distance. The stuff's going way back there. You have kind of things hinting and mountains, which you know to people who understand. What mountains are those air usually very big, And notice how even that far back these things are not really blurred out. So we have a Ah, larger depth of field. Usually everything in landscape photos are in focus. Um, which is why people like, uh, the things like this. So again, very big looking kind of object. Here. Mega structures are the things that you call it. Um, And again, we got this atmosphere kind of fall going on here. And even this thing way up in the sky is still unfocused. Nothing is out of focus. But if of course I'm like this even part of the subject, even the middle sphere here is half in focus and half out because there's such a shallow depth of field. The cool thing about three D programs such a cinema four D is you can dial down the aperture ah, or camera settings so far that it's not even realistic. So you can get some really cool looking results. Um, usually camera stop it like 1.41 point two. But you can go all the way down 2.1 like something insanely crazy that isn't even physically possible. But it will still give you kind of realistic looking results and cinematic listening results. But something like this, the object itself could be very huge. Um, if you're asking yourself why this thing may look small, that's because this this background is looking very blurry and, ah, context clues. So, like, if this were to be a desert, let's say the camera in this sense is coming from kind of an upper angle looking down so that again shows you know, this thing to be less dominant. Um, and not like a ah, you know, a figure from below. Let's say let's go back to this one. This cameras kind of on a lower ground. It's not looking down at this object were kind of looking up at it. So it's It's like this camera is taken from a human point of view from way back, so that again gives another illusion of, you know, it being big. But what if you said okay? What if I took pictures of mountains from a plane that's still big? Um, that is very true, but because we can actually use context clues in this example and say All right, this looks kind of like a microchip. Microchips are very small makes with shout up the field. This thing looks very small, and we could have made this image look 100% way bigger using the same materials, same objects and everything, even if we just change the camera settings. So I'll show you in this video exactly how Ah, you know, we can achieve these settings and kind of show you the difference between making something very big and very small, using literally the same structure. So I think one of the ones that did very well is this guy right here. You seem to like this. Um, a couple reasons why I'm gonna make something like this is because it will show you you guys kind of how I make like these desert looking field areas here and because we're working with a very simple object here, So I won't have to go too much detail in creating these complex shapes and make this class too long. But I still show you how to give the solution of, like, really big objects. And I probably actually going to show you how I implement these humans in here as well. So ah, without further do what's kind of get started here and start making this thing. Of course, if you look in the background completely and focus. This dies and focus. And the humanism for everything is in focus. Um, makes with all the context clues on these grungy textures. This kind of service we got here, um, it creates for, like, a pretty massively payments. So you seem to like it will make something like this right now. 3. Composition / Object Placement: It's so, guys, we are here in cinema four D blank template. Here, let me actually get a 100% blank template in. I think it's start up. Yes. So we're in. Start appear, and we're gonna start fresh. I kind of break things down a little bit simpler for you guys on this one. Uh, we're gonna start with popping out our render settings window. And of course, I'm not gonna go over literally everything because I assume if you're taking this class, you know, generally how to get around cinema 40 and we're gonna start with these runners settings here. We're gonna want this out just so we can ah, make sure our dimensions air correct. And, ah, we're gonna be going back and forth a couple times throughout the Chitauro. So I think we can drag this guy by this corner and just drag him somewhere like, right here And now we can have this guy fully open and we're able to kind of adjust these settings without having open this from all the way in the menu. Eso The next thing we're gonna do is, um let's see. Let's create our dimensions here. Uh, and Usually what I like doing is even though this guy didn't have a, uh, longer dimension Ah, usually I like making the bigger pieces have a, uh, have longer, um, aspect ratio just so that you can kind of further the narrative that these guys are very big, like this one. It kind of fits the proportions more correctly, but I guess because we're using a sphere for the main object, we don't have to do that in this sense. So that's just another hint into making stuff look a little bit bigger. So I had to drag this stuff out here so I can see more that render settings and kind of pick and choose what's going on more. And what we'll actually do is, uh, pop out the material editor and drag that over here just so when these things pop up and I click, material will pop up immediately, and I don't have to keep bouncing out a new window. Sometimes I get confusing so I can delete the material, but everything will still be here. Ah, so render settings before we get started here. Ah, we're gonna look in our output here, and we're gonna lock this ratio because we do want to square ratio. We're getting a square right here, and we're gonna go with Let's go 10. 80. And because we locked it, it'll be 10 80 by 10. 80. And the next thing will do here is I think before we start messing with render settings, we're gonna start with the ground. So usually what I do is start with a plane. Ah, right here. Click a plane here and this will be our desert floor. Ah, and for this, I usually like going to ground shading lines. Just taken seethe segments because that is super key. We're actually gonna be doing some sculpting here around this sphere. Um, and notice I have a camera here. Weaken. Delete that yet? Um, So what I think will do here is we're gonna rotate, See what's going on here. Ah, pretty standard set up going on before we get started. And we can see you know, back and forth between renders and I'm going to ah, clap on a new panel here, So if you click panel New View Panel, I'm gonna drag this guy right here. Now we got two versions here. Eso weaken see kind of our render view here and are modeling view or a view port right here . And because this will be our interview, we don't want these things to be quite equally want this thing to be much smaller just so we can get a sense of what's going on here. And, uh, the runner times will be much faster because of that. So from that point, we can, uh, actually make a camera. Um so from scratch, we're just gonna click a camera here and that old kind of make a camera Ah, within our layers here. And what we want to do is go to the coordinates before we do anything else and center everything out. Besides the Z axis, let's go 00 with Z. Let's go minus 1500. And that's kind of way back there. Uh, and let's go zero to the to all of the rotation coordinates. And you can keep the scales at one because that's just by default. That's going to stay like that. And now, if we were to hop in the camera, um, notice that we are evidently in this viewpoint Vieux port eso If we hop in and out. We control this one, so that's good. We want this view port. Definitely be within the camera view. Um, And to hop into this view port we got of you use as your interview, and not just by clicking on the square here, we're hopping into the camera. Um, and if I were to ah, help out of this camera, I can still move around and model Do what I gotta do, but the camera stays there and the cameras still in effect in this viewpoint, and that's really like what we're trying to get across here. But if I jump into the camera here and move this floor down, noticed that this floor is tiny. Um, because of course we are. We're so far away. Um, but that's not gonna be the case, because we have to go to the camera settings and a huge part about what makes these things that really is the focal length. So right now we're on a 36 millimeter, Um, which I mean is okay. I mean, people take pictures of big things with, uh, a focal length of, like 35 24. Whatever you want all the time. Uh, But the thing that really doubles down and makes these structures looks much, much bigger is if you were taking a picture with something like a telephoto lens. Um, and the objects still appears very big. So not only does it give the object a appearance of being huge, let's say we have like us for you here, but it'll eventually had. It will also in turn make it look like you're very far from the object and it still looks huge. So those things together make this thing look like this massive skyscraper object even when it's not, um, so we can actually keep this dude here because I think that's really we're gonna build off of. So Thea the floor here, we can scale up. We're in the camera, Um, and because we're in the camera weaken, kind of see, exactly are portions here, What's going on? And, ah, if I were to enlarge, this was just enlarge it until it kind of goes beyond the boundaries of the frame. Because, of course, we don't want these things to be floating in mid air. Um, and as you'll see, we're actually kind of dead on on this sphere were kind of dead on looking at this thing, which is okay, but we're if you were to think of this realistically, we would be way. We're at the eye level, this thing, which means humans air. Probably this big or whatever. Um, and we are technically this tall. Ah, and that's kind of unrealistic. And it's not gonna make us look that much smaller. Um, so we're gonna go do is go to the camera settings and go to the coordinates and just take the why down right now we're taking the camera. If I hop out of this, you'll be able to see I'm literally taking the little be taking the camera. And when I take this, why down? It's moving the camera down and of course, moving, uh, us in this view port as well, because we are inside the camera so I can go all the way up all the way down, and it's moving with us. So what we want to really do is make ah go down as far as we can and notice out the sphere is kind of getting unnaturally high. Um, we still want this fear to be centered, but instead of being centred on the why we're gonna take this rotation here and tilt the camera up. So if everything is going on here, well, make this fear in turn look bigger. And because we don't really need to see too much of what's going on the background, I don't want to make the plane too big where we're not using our segments wisely. So I'm just gonna go middle miles, click into this four kind of view port window view and take the top plane here and notices of the camera. And this is kind of the plane. This is the object here. Anything behind the object is really kind of invalid. We don't really need it because we're gonna end up bumping this image out as a PNG in the background. We're not going to render. So, uh, we can move this up and notice we are filling the view port again, and that's exactly what we want. Um, And to see these things easier, noticed that you can barely see kind of the restriction boxes here. What I'm gonna do is click the View port here shift why? And then in the view port, in the view section right here. Go to the opacity. I'm gonna make it like 90. And now you'll be able to see much clear, clear frame. But, I mean, I don't make it 100 at least not now. So I can see how far these, uh, edges air going. But I'm gonna continue to go past here even farther and then scale down. So it's all about finding the right amount of a small is you can have this. You won't have to bump out nearly as many segments. So something like this where it's still going past maybe a little bit. We're here. So it's still going quite past this fear. Um, So if we have to model around that, we can still use, um, geometry. Um, but we can still it's still going past the cameras. Well, so we're in a good position. There may be a little bit bigger. There you go. We can see the segments kind of here, but now we're actually getting this. We're getting a big some good results here. Um, and I could just start playing with the camera setting. So if you go to the camera, let's go down even more. Remember We want to make it look like we're very small and then talked up a little bit. So it's up to, like, four. Maybe maybe three. Okay, cool wasn't like that. And then ah, maybe zoom in a little bit, go down a little bit. And now you see, we're under the ground, so we don't want that's too far. Um, so something like this where you can see the crosshairs here were centered again. But you can see this looks much more realistic. It looks like we're looking at this thing far away and much bigger than if we were to, let's say, let's duplicate this camera. Let's go to like a regular 36 millimeter and zoom way in and let's see Oops, you know when I control that, um, why there we go. So technically, the same stuff is in the frame. But if you were to look here just so we can see what's going on here, Um, notice the difference here. Between this and when I got back in the other camera. Pretty subtle, relatively, but already a much bigger like this camera is much closer. Um, with the shorter focal length and this one's much father with a larger focal length, and you can see just the mixture of being further away with the other focal length really creates this. Um, it literally bends it and worse these things into, Ah, you know, just different types of shapes that to our I naturally just look bigger. And, you know, you guys who are not photographers don't actually know why that is. But this is why. And it works with everything in life. So, um, this mixed with the depth of field that will be using in the future. We can delete this camera but will be a massive help to us in the future in this tutorial. So the next thing I'm gonna do is, uh, start working on. Let's see what I want to work on first, Uh, I think what we can start doing is working on the ground. 4. Ground / Sculpting: So let's go to something like maybe constant shading lines and my work. Well, when you see, uh uh, let's go constant sheeting lines for this I'm just easier to see, and we're actually gonna be doing a little bit of sculpting. So before we do that, um, let's take the ah, let's take the segments here and go toe like something like 200 by 200. So little give us a little bit more geometry to play with here. And when we zoom in here, what I'm kind of going for is the same thing that we saw in this render. So if you'll see where is that? You'll see these things. They're kind of like forming around this thing, and that's ultimately what we want to go for. So, um, it almost gives the impression that this thing landed here and just, like, caused a bunch of ruckus and for its own kind of indentation in the earth here, and that's kind of what we're going for. And so the next thing we want to do here is make this creditable eso. If you want to play it safe, just duplicated and drag it down. Um, and just turn it off because we don't need it and make this one edible so we can click. See could also rename it ground. And the next thing we'll do is I don't think it's not necessary that we happen to the sculpting Vieux port for this because we're just gonna using, like, one tool. But because it's edible, we go to sculpt, click subdivide to kind of give it this sculpting tag here on. Then once that's I said, you can either subdivided again and it will give you more segments toe work with or because I think present like this it's not necessary to have too many segments. You're gonna go to the brushes and let's go to inflate. And so just using this kind of stuff, we can kind of more for round this object, and you can see in this viewpoint we're already getting like, hills kind of form around. And so the cool thing about this thing is, um, if you were to just hear your settings here so you select the size, pressure and all that more pressure to us size or if you hold down command, it sinks in. So you know there's a bunch of possibilities here. Ah, some of things I like doing is sinking in originally because let's say that's, uh, resisting landed and then maybe take down the pressure a little bit and start building off of it. So take a look as natural as you can just go around the tubes. Let's go on this thing. It's like this guy over here. Go back to the, uh the brush with the ground selected and make sure you don't wanna you know, you don't want to have to subdivide again, at least not for this instance. So ah, if you kind of makesem some, uh, you call it sculpting errors where the segments are getting too drawn out, you might want to redo it. So just just be mindful that, uh, stuff looks OK. And if they're intersecting a little bit and geometry looks a little bit messed up, especially back there, it's not the biggest at the end of the world, I'm sure on my render. Previously I did a little bit of that. Let's see, maybe have it riding up a little bit of one part and then all throughout the because we can still see this kind of this stuff here. So if we do anything too crazy, it's gonna mess up the camera or block the camera like that. So we don't want that, Um maybe in denting the thing a little bit, something like that. I was, like, kind of getting really funky with it. Because even though it doesn't look like we're doing a lot especially from this for you, we are. And especially from this, you can see what we're doing here. Um, so even something like that, I think, works for me. We got back into the camera and we can get back into our regular tools. I'm happy with this. If you really want to subdivide it, by all means do so. But But before we can actually put displaces or do anything else like that, we're gonna have to ah, kind of flatten this again. So we're gonna go current state the object, and it kind of takes the thing there so we can take this, uh, scoped. Let's call this one scarves, and then we'll hide it. That's the one we can keep sculpting on. Um, and again, all we did is kind of just mess around with this ground and, ah, very simple at it's nothing too crazy. But that will give us a start here. So I'm pretty sure we actually have all the geometry we need if we want to make this a little bit bigger just for the effect of having it looked massive and then push this back so you can still kind of see these things forming over it. By all means, that's that's great. Um, and what? We're here. Let's take the type and go to because he drowns. Have you got even segments here and change this to maybe 60 for now? So this is looking good if we were to render this out right now. Nice. So it has a middle it or texture, obviously. But we're looking good with thes thes segments. And if we wanted to kind of increase these segments, we can just put it in subdivision surface, which will round out some of those things. And maybe what the play is is just not having it be too crazy. So just something like that. If we render again, it's not making ah the scene too intense. But it is rounding out some of those edges that were kind of messed up before. Um, And before we add, you know, displacements, this thing will kind of organic, maybe unnaturally organic. Um, but I think we're good enough to move on to lighting. I like doing lighting before texture. And just because I don't see a point in kind of texture, anything until we see, uh, what the lighting will look like bouncing off of all that stuff. 5. Lighting : so we can get to lighting this thing now. So right off the bat, let's go to the render sayings. You can see our frame here and here. Um, the first thing we're gonna do is just hover your mouse over this guy don't actually have to click it, But if you have your mouse over this view port here and click option are this will pop up the the interactive render region, and we're just gonna kind of scale this down to the dimensions. You have to go fully over there, but just enough just so you can see what's going on here. So you have it. This thing is kind of just in a black void, which, of course not what you want unless you're going for something like space, which is not bad. But a couple of things we're gonna do now is make sure we're on the physical render, which already was, um, make sure these your dimensions, which we already went through, and, um, yeah, make sure the let's say, let's go to the physical tab here and make sure make sure all your sayings air set like this Progressive is fine. Make everything down to to. And to be honest, I don't think we even need any so divisions surface. Not for this one. So those settings look fine. Let's go to ambient occlusion, which you confined over here and highlight that on hard against him, better shadowing some natural shadowing. And, um, this next tab globe elimination we're gonna add as well. So we're gonna click that and you're going to see everything's going to go away because we do not have a light source, so it will not be acting on the default lighting anymore. So the next thing we're gonna want to do is within the globe elimination to have go to samples, custom sample count and the custom sample kind of go to 20. You want something very small so that these images don't have to take 50 hours to render just to see what you got going on and of course, will change this later on with new render settings at the end. So, in the ami inclusion, let's also check value transparency. We'll want that, too, in case we start working with transparent glass materials or anything like that, which I'm not even sure we will, but, uh looks fine for now. So we got a good composition here. Ah, and notice we can't see anything because we don't have any lights. The first thing we're actually going to do, which is gonna give this thing. Actually, the first taste of realism Is it gonna hover over here, pick a sky right off the bat. We're getting some much more realistic lighting and, uh, something we can actually work with. So I'm happy with this and we can get on to adding, like, a sunlight or something like that. And so what I'll do for that very simple, very simple two steps is go to the ifs, Let's go gypsy lights and go to infinitely right off the bat. This infinite, infinite light looks whole because we're not getting any shadows. And it's coming from straight on, which is never a good idea. Um, and so what we got going on here is the infinite. The infinite light is, you know, technically starting at the center and just facing Ford coming from our position now. But we want to make this a little bit more cinematic realistic and have the light coming from a realistic looking angle. Ah, lot of times I like going with, like, an angle like this. The sun would be coming from like this direction way out here, um, and then just adding some shadows. So let's go to the light settings Go General Shadow area and soon, Alysia we're getting Now we're getting some pretty realistic shadows coming from the the sunlight. And that's one thing. Shadows the air, not soft boxes. So, like with sunlight, you'll get really harsh shadows like this. You won't get anything too soft with, like, direct sunlight. Um, and that's part of the things that make this look pretty realistic. And the further you move this theme or shadows you'll see coming off of this thing. So it all really just depends on what you're going for here, Um, and then we'll we'll use the N h D r I in this stink. So let's create our first material and call this HDR I and we're gonna drag this guy all the way. Do these sky. And of course, this is giving it a lot more life because it's reflecting all waiting everything. So we'll save the color off, take their reflections off and turn on Luminant since. And with that go to the illumination tab click G I area Light, which will prevent some splotchy nous and let's go toe luminant, stab and click a texture. These were just some my azure eyes that I have, um, let's see somebody's I got from online somebody's that took for this perspective since we're working with a desert something like this, um, is a great one I found online. Um and of course, if you want to know how to make your own eight year eyes, I have a class as well on that. So we'll just use something like this and reflect, you know, a good, decent image. So right now, we're looking much better with this stuff on, and we can actually rotate the sky a little bit. If this is the sunlight you can see is coming from like this direction and are some light is coming from this direction as well. So if you want to move it somewhere like here, which will be much more realistic, cool looking good. And ah, we should be good for lighting as faras right now. So the one thing we want to ah let's see one thing will want to do is kind of erase this sky while giving us the same effect. Uh, because we don't want to render out anything with this guy. So if you go to the sky and right, click it and go to cinema four D tags go to compositing. This will allow you to say Okay, well, I want all the effects I want on the HDR I to give off light and all that and reflect the h dry. But I don't want to see it in the render it. Just check off, seen my camera. And now we're looking pretty decent year. And, uh, I think the next step that we can actually start doing is kind of, ah, lecturing this thing. And 90% of this whole thing will be the texture, not 90% I'd say, like 50% 6. Texturing: I think we're going to start texting. So let's start with Thea the ground material and let's go all the way here to the material . We can call it ground and drag it on the ground. Of course, if you're going for snow, White is the option. But for us, we're going for this more kind of desert, he looking material. So just by eyeballing it, if you want to For now it turned this Ah, seen by camera on and then color using the eyedropper tool literally picking color from the background. That's probably one of the easiest ways to do it right off the bat. And then we can take this. Ah, we can take the camera back off. So we still retain the color of the ground. And this looks, of course, 100% fake because it's smooth, This whole It doesn't even look like peanut butter almost, which is a cool idea if you're going for that. Um, but the first thing we want to start doing is adding he bumped and we're gonna try to make this using zero image textures or anything. Just procedural noises. So we're gonna go bump. I'm gonna go to noise. And then we're gonna go to within the noise channel were in a click one of the presets here and go to ah, pox or poke. So whatever you call it, So we're looking at least a little bit more realistic you with the noise, and I'm gonna actually boost this up here. This is the render quality interactive runner. Region quality boosted all the way up and then dragged down here so we can get a clear sense of what's going on here. That looks pretty cool to me. Um, maybe have it be a little bit smaller, maybe 70. Cool. Next thing we want to do is let's go back up here these grounds looking a little shiny for me. So we'll go to the reflecting stab, take the special later down by 50% and take the with down to, like, 29% so that I'll get rid of some of the shine we got going on. And ah, now is the big guna. We're gonna go to displacement and turn this guy on and nothing evidence because we're not displacing anything yet, but we're gonna texture noise, hopping the noise again. And let's just first see what's going on here. Um, we're at least getting some noise here, so we're getting some realistic. This is kind of forcing with light to create some shadows, and when their shadows, it looks more realistic. So we're gonna switch the noise up. We're gonna go to something like, uh, it's a displaced for a runaway and go toe like the global scale of 250. See what happens a little bit better. We're getting some better results here. Um, let's go down to, like, 1 50 See what happens. It's all trial in there with the stuff, guys. It's gonna take some time. So this is where you where you really got to choose how big these debates are gonna be. And that, uh, really has to do with, um you know how big the stuff is and how much farther things look smaller, the farther you are. So if you real close to it, maybe these things would be poking out a lot more. But for the height, I think for this we can go toe like to and ah, I think we're gonna supply gone, displace it by maybe one level we don't need too much. And what that's doing is pretty much, um, he notes, taking Ah, the segments we have here and pretty much adding more. So there's much finer details and are in our displacements. And I'm gonna actually try to go toe like, maybe 3 50 see what happens. So I do want some kind of effect here. And because we use a polygon displacement, it's giving us a much longer time to render, especially with the, um what the settings pop so high. Eso we're looking actually much better. Um, I think we can do is just take the height up a little bit. Me three or four. Let's see what happens. And this is the only part of this process that's a little bit, you know, lagging based on your machine. I don't have the best machine for this kind of stuff, but it's also not the worst. So based on your machine, you can figure out the best options for you. So we're starting to get somewhere here. This looks ah, pretty nice. And we take this subdivision up one level. This is gonna be a while. So if we can Okay, this last step just to see what it's gonna look like for a few seconds. We can kind of, ah, take the tag off and reapply it later so we can work on the reflections and everything of the actual sphere. So of course, this is hasn't been rendered yet. Takes around 15 seconds. Steets even start up. So just be mindful, um, on what your computer can handle. So something like this to me, that looks fine. Um, I think going to stick with that doesn't have to look amazing. But for this process, I think I'll stick with that. So looks good to me. And what we can do is just take out the displacement and we can reapply the displacement. Ah, once we're done with the sphere. So right now, we can hop back on over here and start working on the material of this year. So we're gonna create new material dragging on this fear, and we're looking white now. So, um, this really just depends on what kind of color you want, cause we're not really gonna messing with this fear. Too much assed faras modeling it. Um, but for this I may just go with, uh let's see here. You know, you guys did like the black ones, so maybe I could go 100% black at a reflection layer and you'll be able to see that the issue are even though it's not showing it will reflect everything the same. So you get like a mirror to HDR i r a mirror reflection. You're getting pretty much this. Ah, perfectly reflected image here in the sun. And the image is read around here because we controlled it just like our sun earlier in the process. Um, so, yeah, we're gonna go. Ah, we're gonna take this reflection down to, like, six. Let's say take the default speculator off tonight should be like this shiny black ball looking thing. Now we're kind of getting there. Uh, we're gonna add another reflection layer on top of that and use a layer mask to kind of give it some grunge to it. So, uh, right off the bat, we can use, like, a noise texture, um, and within the noise texture, Let's go to something like it's got Luca cool and then bumped us up to, like, 500. And I'm just messing around just by what I kind of I'm thinking here, 28 and then, uh, maybe take the roughness and boost this up to, like, 26. See how that works? Course. Now we're getting, like, this kind of metallic looking sphere kind of thing, which also has no bump. So let's add some bump again. Let's go the noise and let's go within the noise and do something that'll kind of work. Well, let's go. Maybe, Ah, let's go to, Ah, new cious. I'm just using a lot of these things for one of the first times. Um, and let's see what I was really boost that up to, like, 2 50 Cool. So we're getting some cool, uh, displacements there and usually feel this far away. You'll have much more subtle textures unless you go way up to it. But we're pretty far away. So it's bumped that down like eight. That looks pretty good. And we comply. Take the take this down this reflection layer, like 20 and this to like four. Cool. I miss every bump This guy up, I was like testing these things. Yeah, we can take that back down in, like, six. So the next thing we can do is Let's a, uh of course I'm just trying to figure out if I like this and I'm not gonna delete this section of the video because I do like Evan. You guys see the process here, so I'm really just thinking what I'm going for here. Um okay. Ah, I may add another, uh, may had an Alfa Channel here, so I'm gonna create a whole nother material, actually, from this material. So we're gonna call this Alfa. They were gonna drag this on this fear. And, of course, nothing's gonna change because it's the same. But if we're to make this white and then activate the Alfa Channel and let's say go to a noise. Now we're kind of revealing the stuff below it. And let's go to something that has a little bit more contrast. Um, what's good to maybe Luke again and then go to, like, to 50 and then kind of boost these levels up in some areas and down in some areas and see what happens now It's pretty cool to me. So it's kind of revealing the stuff below that down a little bit cool. It's kind of a cool texture, you know, kind of being revealed. Um, let's see. Just messing around with the settings. Yeah, I kind of like that. Cool almost looks like clouds, unlike the Earth or something. So that looks good to me. I think that's good to go on. A lot of times I like rendering it out and this view real quick just because we get a bigger idea of what's going on here. Darks. Pretty cool. Let's see. It's not too shiny. It's more Matt. But I'm not mad at that. Um, maybe just taking the the bump and making it a little bit less something like 1 50 on taking. Let's see what happens there boosting in a little bit up a little bit. I see. Okay, so I might be a little bit too much. So maybe going 200 and down toe like eight, maybe six, five. I was made it four. Let's check it out. Looks pretty good to me. Um, I think that should be good to go. And I think maybe if we go to one of the reflections good to the base reflection, give it a little bit of a roughness texture. It's got like, 10%. Yes, I'm like that because you want this thing to kind of look hardened. 20% maybe, like, 12%. Okay. Cool. Yeah. I bet that it will definitely give us the result we're going for and then mixed with, Of course, the the actual displacement we have with the ground. I think this look, this will work very well. So what we're gonna do here is activate the displacement again and kill the interview, so option are so everything is affected here. Um, and we don't have to worry about the ground. We know that's gonna look good. We know this is gonna look good, so it really comes down to bring in this a whole image back together in photo shop. 7. Camera / Render Settings: so I think we're ready to Ah, work on camera settings. Um, what we're gonna do is ah, so to finish this off, finalize it with the camera settings, we're gonna go to the physical tab and checked up the field and because we're not gonna have too much debt the field. But we do want a little bit of a tiny bit, Um, of it. So it is on realistic to have zeroed off the field. So we're gonna go to the camera and go to focus distance and just click on this fear. It's the easiest way to do it. And you can see by jumping out of the camera. It is 100% set right there, and I could change it manually, as you can see, the numbers changing on the right or I can do it like I did. And that's probably best way. And for the f stop provides you can use something like 10 something like that. So we know everything will pretty much being focus. But just to make sure, let's go render out a frame. Let's make sure this thing is the displacement is off. Um, didn't mean to hit the glow there. So let's see what happens there. Actually, sisters were into this thing out like this. Okay, so I think the stuff at the very front is being a little bit blurred. Maybe a little bit too much. Yeah. So we don't want this to be too blurred. Um, so we're gonna set the f stop upto something like 22 and see what happens. That takes away some of the blur. Let's go to, like, 33. So this is where we're kind of getting on the high end. Um, but anything we can do to kind of minimize, uh, the blur here, it's maybe yeah, 33 will work, and that should be good. So everything is in focus to the point in which we need and ah, we can make sure we activate this ah displacement tab here and work on the render settings . So let's go to the physical tap here. If you want to do this, you can make multiple render settings here so you can click and drag with the command selected. And this could be called render. This could be called pre render. And with the render one selected on, obviously the one. We have been working off his pre render and the settings are all the same for both now because we duplicated it. Boeing, The physical tab. Go to fixed. Let's go to ah, in the sampling. So divisions, let's go five. And then for everything else. Let's go for, except for subdivision service are subject is in service. Suffers that sub surface scattering Could go to zero glued elimination sample counts got 1 50 Everything's fine here. Um and everything should be good besides saving. Let's save this as a PNG got a 16 bit and just enable Alfa channels everything back here. Well, be transparent and I think we're good. Everything is selected displacement set to on. And, um, I think we're going to render this out. So let's do that now. So it'll take a second for the displacement to kind of turn on. So this one, because there is a bunch of supplying on displacement, Um, you know, some reflections and mostly the displacement. This one will take no idea. Maybe around 20 minutes or so, maybe more, maybe less, but we'll see what happens. So we'll see you guys when we get back on 8. Photoshop / Working with Alpha: guys were back here and looks like it only took about 14 minutes. Almost 15 minutes. Ah, but you know, that's fine for me to get this. Ah, Alfa Channel Eso It's transparent in the background. Um, if you're kind of a render view looks a little bit different that you could change the color here toe black So you can't really see that border box, But I'm gonna right click on the image here, Save as make sure it's set to PNG 16 bit with the Alfa Channel selected, and that will just pretty much make it so Ah, it is transparent for when we bring into Photoshopped and ah, 16 bit. Make sure it's selected because we're gonna messing with the colors and we don't want to distort anything. So we want maximum latitude here, so we're gonna click OK and save it already brought it in here to photo shop. And this is what it should look like after you bring it in and actually just brought a, uh the other image we're gonna be using is right here that I found online and ah yeah, as long as you find something that generally looks the same And of course, you can see that the colors by no means match it all. So we're gonna take care of that in the second. Um, first thing I'm gonna do, though, is place this behind so we can kind of get a sense of what's going on here. And maybe just scale this up a little bit, depending on the proportions you're going for here. Maybe something like this, Nothing too big and just scale up. So it's looking good for me. Ah, dragon. Maybe this way. And to be honest, I don't think I need the birds. So I'm gonna take the bird out. So I'm gonna like this guy with the lasso tool shift, delete content, aware color adoption and it goes away. So ah, easy peasy. We're looking good. And, ah, next thing we're gonna do is make this backdrop a smart object, because we're gonna be editing the colors here. And if you want to go back, we want to have that option. So we're gonna go to image adjustment and let's try hue and saturation, because already you can see this is much darker and much less saturated than this image. So let's take the saturation down and see what happens. All right, that's too much. Uh, let's see something like that. And again, it's gotta be much darker cause this whole images just looking a little bit great, and we're actually dumbing down the image. But as you can see, we're kind of modifying it to look more like the image we have here kind of going backwards . So next thing we're gonna do is mess with the hue. These two kind of ah hues of rock are not looking the same. So we're gonna mess with this slider until we can kind of eyeball it to look somewhat similar. So, thinking some like that maybe a little bit a saturation, a little bit darker, Don't see because we don't want to dark. Very cool. So it'll be good for that. Um, as you can see, it looks much, you know, it looks like a blends with the image, much more not saying it looks better, cause it does not yet. Uh, but, you know, we can Ah, we can definitely take care of the rest of this image from here. Ah, and the next thing we know one do is bringing maybe a little human and a lot of things I do revolve around this little picture I took of my brother while back. So I'm skipping the step of me. Actually, I'm asking him out, but he's already massed out so we can place him there, place him above everything. Oops and kind of drag him over here. So obviously this if we were to place, unlike right here, the object doesn't look big. So what? Scale the guy down to something like this? You back here or something like that? And, Ah, just placing him somewhat strategically, of course, taking into account what he's looking at. So maybe something like right here scaled down a bit. That looks fine for me. And then all this stuff is just settle. So notice he's much more saturated and has much more contrast in the rest. The image so we're gonna do is make him. He's already a smart object. So we're gonna go to image saturation dow that down something like that. Cool. They're going to go to adjustments and go to the levels and make sure noticed the blacks on him our way darker than the blacks. The shadows in the image. So we're just gonna, um, boost this up a little bits, make him more faded and take the the whites all the way down. So pretty much just flattening him out a little bit to the point where he actually looks like he belongs in this image a little more. And then just playing with the sliders to making sure, uh, you know, he fits in the image, so he at least looks like he fits more than he did. Um, next thing we'll do is, uh we can notice that if this image is correct, the lighting is coming from over here. So the shadows over here is We're gonna add his shadow, and I'm just gonna duplicate him like that, Command J and just take the copy and put it below. This will be his shadow. So weaken title of shadow and then just command t transformed, pulled down the ah, the command button and just drag down. Oops, just drag down. Once we have this guy selected. And just like that, we have, like, a little bit of a shadow. Even if this isn't physically accurate. 100% uh, it definitely gets the job done. for what we're going for. And then for this all we have to really do is double click or the layer styles. So we double click the layer. Uh, and, um, you know, color overlay and make it the same colors thes shadows down here and again. These are not by any means perfect. But, you know, for someone who's looking at the image like this, they worked just fine. And that's all I really ever have to worry about. I know we have to focus on for this class, and then just composition that right may be blurring the shadow a little bit, so adding a little bit of a motion blur. So obviously not like that. So let's start at one and making the direction kind of the way. The sun's aiming. I guess so. Something like that. My people and there were looking pretty good and then just to make some really subtle shadows next to his feet. So if we go, um, above the shadow and below him, we can add, like a little, uh, kind of if we cannot take the color of the shadows and kind of paint. Obviously we're painting with the totally wrong brush. But if we get something, that's just a ah, soft, round brush and scale it way down. This could be the shadows of this feet. So something like, ah, and that just to give him a little bit of ah, some weight on the ground. So it's not like we just stuck in there. And then there you have it. He looks, uh, somewhat like you supposed to be there and again when we kind of stitch this together, calling the whole image as a whole. Uh, that's kind of where everything pulls in place so you can see. I mean, there's, you know, there's a lot of tricks here that we're doing here. Um, if you like, zoom into this image is a whole This looks nothing like this. And, you know, you can kind of tell he's not supposed to be in here. But when you stitch all this stuff together and color it, you're really masking a lot of these, uh, kind of fake. You know, those things don't really exist here. So next thing we're gonna do is kind of blur this image and kind of had some realistic blur . So we're gonna, um command option shift E, that's a long one. So we just kind of made the whole image right here as a whole. And ah wouldn't turn this ah, blending mode to lighten and well, that's gonna do Is everything that, ah, all of the highlights will pretty much Blair when we want him to say, Let's go to blur motion, blur and drive us up. Now we're starting to get on the highlights and blurs and this is good for like, you know, one stitching the image together in two kind of ah, adding that like glow that you'll see like bouncing off of, like, stuff in the desert or whatever. Um, so even something like that will be fine. And what we'll do is to this image will go image curves and just bring down the shadows a little bit, so only the the light parts of the image will be glaring. So every time we take a little more the shadows down, we see less going on there and even some like that so you can see before and after. We are getting some glares on the Onley, the peak of the highlights and even some stuff over here, which add for the realism. And then let's ah, let's do the same thing again command option shifty, which will duplicate this image is a hole and then go to camera raw filter. And we're gonna edit this image of the whole And I like toe Look at the image. Not this far close, but kind of more down this area. So first, trying to boost up some ah vibrance pump that stuff back in here. And of course, it helps when you're working with an image in the background that is also a raw image and not just a J paid you find online. But for this, I think it's by all means. Okay. Ah, it's gonna split tones at some, uh, some red values to the shadows. And, um, let's take the H S L adjustments. Go to Hugh and bring the blues a little bit to that lake teal color. At least that's one of my favorites to do that and then take the yellows and getting more red the's of the color schemes only going within to stitch this thing together again. We're gonna go to effects, go to grain at a little bit of grain here, maybe like eight. So, you know, this image is actually getting kind of, ah, kind of being stitched together here is take some contrast and boost it into the image. Um, and see what else we can do here. Maybe take the highlights up a little bit and the blacks up or just kind of brightening this image here. And ah, we should be almost there. Take the shadows down a bit. And this might be a little bit orangey for me. Um, so based on if you want this thing to look like mars or Earth, kind of doing stuff as you please here. So maybe de saturating that a little bit actually so bad. And I'm actually pretty happy with this image that it's Ah, it's looking good to me. Um, we have some color in here. Um, had some clarity if you want, but I'm pretty happy with this. We can click, OK? And you can see from the very beginning, we're really doing a lot of cheating here. So, like, this looks nothing like the original image. Um, you know, adding the human decision that together kind of bringing these glares out, and then the final image. You know, a lot of this is cheated and photo shopped. A lot of people think we've got to make it look exactly right in cinema, you know, to use photo shop, you can get away with a lot of stuff. So, um, this is literally how I made this image. Um, I used a few different textures, and but I noticed you guys want to know exactly how I made that one image, so I had to do it. So I appreciate you guys watching, and Ah, we'll see you in the next one, for sure. So take it easy, guys. 9. Outro: So there you have it. Guys. I really appreciate you clicking on this video in the first place. I hope you got something out of it. And if you did, I'd love to see what you made submitted in the project settings in this video. And I would love to give you feedback. And as always, if you did like this video, please give it a thumbs up. It always helps get my name out there. Even Mawr, to help more students. Teoh eventually found me on this site. And until the next one, I'm listening to you guys feedback. And what classes? You want to see Marty making other ones as we speak. So, uh, stay tuned. We'll see in the next one. Appreciate it.