Learn Maya In 3 Hours | Ruan Lotter | Skillshare
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27 Lessons (3h 4m)
    • 1. Learn Maya 2018 In 3 Hours - Introduction

      0:55
    • 2. Setting up your First Project

      3:38
    • 3. The Maya 2018 Interface

      6:42
    • 4. Navigating the Viewport

      2:45
    • 5. Creating and Manipulating Basic Geometry

      6:08
    • 6. All About Pivots

      5:22
    • 7. The Attribute Editor

      7:42
    • 8. The Outliner

      5:37
    • 9. Parenting Objects

      4:40
    • 10. Faces Edges Vertices

      7:14
    • 11. Extrude and Bevel

      7:57
    • 12. Adding a Camera to your Scene

      5:41
    • 13. Adding Lights to your Scene

      4:07
    • 14. Arnold Render Preview

      5:07
    • 15. Hard and Soft Shadows

      3:27
    • 16. Hypershade Material Editor

      22:26
    • 17. Environment HDRI and Reflections

      8:52
    • 18. Using Image Planes

      6:22
    • 19. Animation and Keyframes

      13:00
    • 20. The Graph Editor

      8:22
    • 21. 3D Text

      3:32
    • 22. UV and UV Projections

      16:24
    • 23. Bullet Physics Engine

      11:34
    • 24. Playblast to Preview your Scene

      2:41
    • 25. Motion Blur

      3:01
    • 26. Rendering your Scene or Animation

      10:35
    • 27. Conclusion

      0:25

About This Class

Maya: Learn Autodesk Maya In 3 Hours

Have you ever wanted to create amazing 3D models and 3D animations? Want to learn how to create 3D gaming assets? Do you want to learn how to use the industry standard 3D Modeling and 3D Animation software: Autodesk Maya?

Autodesk Maya is seen as the industry standard when it comes to 3D modeling, 3D design and 3D animation software. Learn how to render your 3D animations and scenes using the amazing Arnold renderer now built into Maya!

Don't have a copy of Maya? - No problem! - You can download a 100% FREE educational version from the Autodesk website.

This course consists of 25 lessons where you will learn how to:

  • Use the Maya 2018 interface
  • Create your own amazing 3D models
  • Animate and create your own awesome 3D scenes
  • Creating your own materials using the Hypershade in Maya 2018
  • Using HDRI maps for lighting and reflections
  • How to use Image Planes to model amazing 3D assets
  • Working with lights in Maya 2018
  • How to create amazing animations using the Maya Graph Editor
  • How to create stunning 3D text
  • How to do physics simulations in Maya 2018 using the Bullet Physics Engine
  • UV and UV projections
  • Rendering your scene and animations using the amazing Arnold Renderer in Maya 2018
    All of this and much more in only 3 hours!!!

During the three hours you will learn all the basics and even some advanced techniques using this amazing 3D application! Master these 25 lessons and you will be able to create anything that you can imagine! Good luck and have lots of fun using Autodesk Maya.

Please upload your class project deliverable as mp4 to the Skillshare project gallery for review! You can find the details regarding the project under Class Project.

Transcripts

1. Learn Maya 2018 In 3 Hours - Introduction: Hey, my name is everyone and welcome to learn my R 2018 in three hours. In this new and exciting course, you will learn the industry standard when it comes to three D modeling and three D animation, my r 2018. In this course, you will learn how to create your own amazing three models are to animate them, and you will also learn exciting skills, such as how to create physics simulations using the bullet physics engine. You will also learn how to render your scenes and animations using the amazing Arnold Renderers that now come standard with my 80,018 all of this and much more in just three hours. And if you don't have a copy of my 2018 you can now download 100% free educational version from the other risk website and follow along. Let me know if you have any questions along the way, and I will gladly assist you. Also, please remember to write the scores. Once you've completed it, it really helps me a lot. Thank you for enrolling and have fun learning my 80,018 2. Setting up your First Project: Righto. Welcome back to this module. And in this module, I'm going to show you guys how to set up your first my our project so that you have all your assets in one folder on your computer. So, first of all, I'm gonna go to file and then click on you seen, and that's gonna ask if you want to save your existing scene. We don't want to save. Let's just get on, Don't save. And then I'm gonna go to file you at the top, and I'm gonna click on Project Window. And this is we're gonna tell my where your project's gonna be saved on your computer and also gonna give it a name and let me show you what I mean. So I'm gonna click on this new button year, and then you can give your project a name, so I'm gonna call this my first. My are project. So next we want to specify the location where your project will be saved. And I'm going to click on this yellow file icon and it's gonna open up my finder or like, an explorer window, and then I'm gonna browse to my desktop, and I'm gonna create a new folder where I'm going to save my project. So to do this, I'm gonna click on this yellow icon year in the top right hand corner, and it's going to create a new four than I can give a name. I'm gonna call this my first my our project press enter, and then I'm gonna go into that folder, so I'm going to double click on it. And once inside the folder, I'm gonna kick on selected at the bottom, and that's gonna basically sit my project to be in that location. So now I can click on accept at the bottom, and it's gonna create all those folders and all those as its structure folder structure for you. So now if I go to my finder is going to show you guys what it's actually doing. So, um, yeah, on the desktop, we've got my desktop folder open. You can see my first my our project there. And then inside there you will have your project name, which is again my first my project. And then in this folder you can have all your assets folders like assets. What? They're save cash clips. And this is the full list admire will use to save ALS the different files in different assets inside your project. So now if you go back into my arm and I'm not going to save my scenes, I'm gonna go to file and then safe, seen as and it's automatically going to go to that location or that folder that I've set up and I'm gonna give it a name. You can call this, um, my first scene, all right. And I'm going to click on Save as. And this is just a pop up because I'm using the student version off my 80,018 such click on . Continue. And now, if we go back to my finder, you can see that there is a scene's folder under this folder structure that I created. So if I go to the scene's folder, you can see my first scene. Not MBI is inside that scene's folder, so that automatically save all your Mayer project inside the scene's folder so I can create a scene and let's say you want to create a new C now. So now I can just go and go save as or save seen as, and I can give it a new name. So I'm gonna call this one my first scene. Let's call it underscore to and in American Save as you can continue enough, I go back to the finder. You will see that we have to seen files under our scene's folder. So that's just the easy way to set up your my project. And make sure that to make sure that everything is in one location so that you don't have files all over the show and in different folders, everything is nice and need under one folder on your computer. And that's how easy it is to set up your first my our project. I will see you in the next listen. 3. The Maya 2018 Interface: Hey, welcome back to this lesson. And in this listen, we're gonna look at the my R 2018 interface and just a really quick overview off the my interface. So when you open up, Meyer, you will see this default screen which will look something like that. You will have your view Port your main view port in the center and yet the top you've got all your tabs. So you've got your curves and your surfaces, your party modeling, sculpting, rigging, animation, rendering and a lot off along these other tabs that we will go into later on in this course , just something to note year at the top. You've got a modeling drop down menu, and this is the different work spaces that Maya will actually give you. So if you click on this, you will see we've got modeling, rigging, animation, effects rendering, and it can also customizers. So this is just let me show you physical modelling. You will kind of have the menu items at the top that has something to do with modeling. So it's just kind off a workspace that's customized just for modeling when you're doing modeling. So if we changes. If you click on this, drop down and you select rigging. You will see that some of these items at the top will change. So now we've got skeleton skin deform. So these are things that's related to rigging. And we're going to click on the drop down again and say this to animation. And now we've got a few different options here at the top, like key playback. Visualize, deform. So these options or these drop downs, orm or associated with the animation side off things in my are So I'm gonna click on the drop down again and I'm gonna go to the if X Step And again, this will change to things like particles, fluid simulations, cloth simulations, hair and all of those things that's got to do with effects. And then you can go to our rendering workspace, and that will give you some rendering options like your render drop down text during lighting and shading. So it's just kind off custom workspaces that they don't have to see all these menu items if you only want her focus on let's say, modeling or just animation. So it's just an easy way to have the interface configured to away that you are actually working with My are So we're gonna keep this on modelling for now. And then you've got this view port right here in the middle, and we're gonna go into some of the more details, like how to orbit around in a future. Listen in this Listen, I just want to show you the different Ah, windows, basically inside of my are. So you've got this main view port and then on the right inside, you've got this section that is called the attribute editor and you can see there's a tab, you on the side that's highlighted. It says, attribute, editor. And this is where you will find ALS. The parameters and options associated with a selected asset like an object or a light or something like that. I will show you in a bit what I mean by that. And then you on the left inside, you've got your tools so you could just select and I've got you move your appetite and your scale year, and then you've got some lesser tools here and also the pain selection toe. So I'm gonna go into more details on these. Move and rotate and scale in a future lesson. For now, it's just the interface, and right at the bottom, you've got this icon, and if you click on this, this is the outline. Now and again, we're going to go into details how to use the outline and what it's for. But for now, just now that you can click on this button to toggle the outline er on and also click begin to hide that all right, and the View port just something I want to show you. You. If you have your mouse pointer in this area and you press space on the keyboard, that's going to show you these four views. It's gonna basically change this main view port into four different view ports. So as you can see, we've got a top view year. We've got the perspective, you there, and yet the bottom have caught the front view, and then you got the side view. So these are just a different views in my are. And then if you hover with your mouse pointer over, let's say the top section the stop Vieux port and you press space again. It's gonna basically maximize that view ports. I'm gonna press space again and then I'm gonna hover with my cursor over side view and I'm gonna press space on the keyboard and you will see that it's gonna maximize the side view yet the body vacancies site and I'm going over over perspective press space. And that's going to maximize the perspective you so quickly it's going to show you are the attribute editor work. I'm gonna go to Poly modeling you at the top, and I'm gonna just click on this sphere to create a very basic sphere shape. So now I can see you. If I have this sweet or de selected, you don't see any attribute e on the side in the Attribute editor. But the minute I click on the sphere in my view port, he will see that we will have some options year on the side inside the attribute editor, and you can click on your sphere severe one, and it will give you your translate information where this object is in the scene the rotation, the scale this year, all of these things. And you can also click on this p sphere shape one and this will give you some options. Also, the police fear this will give you some options regarding this geometry. See if I just zoom in your and I changed the radius you can see can make it smaller or bigger right here. I'm gonna undo that. You can also change the amount off subdivisions for this specific object. Don't worry too much about that. I'm basically just showing you that this is the way the attribute editor works, so you can increase these parameters here. So it's going to show you that basically, the attribute editor is where you can change parameters for a specific object and we obviously going to go into more details on how to do all these things. So, basically, you've got your minibars. You've got your outlining on the side. You've got your attributed it on the right. Inside, you've got your main view port in the center. And anything that you need to remember is if you press space boy in the middle, that's going to give you your four view ports. And then, while hovering over a different view port, you can press space bar again to maximize that view port so I can see we've got out front and you can actually see the severe in there. And I can move it around and free space again. And it will actually just update in ALS these different view ports. So I'm going over over the perspective. You again, Chris Space. And that's basically the interface in my 2018 I will see you in the next listen. 4. Navigating the Viewport: All right. So welcome back. And in this Listen, I'm gonna show you guys hard to navigate around the view port in my 80,018. So basically, what you need to do is need to hold an alternate keyboard. And if you drag your mouse around, you can see that it is orbiting your scene. And while holding all to you can also use your right mouse button. Hold that in click and drag, and you can see that resuming in and out. And if you holding old and you hold in the middle mouse button, then you can basically pan around your scene writes. I'm gonna create an object so it's gonna create this sphere under your Polly modeling tab. You at the top, you can just click. This were Icon, and now I can see if I hold on old and I just drag my mouse around. You can see that we orbiting around that object. And while holding Ault and right click, I can zoom in and out and then you can also hold in the middle mouse button and ult, and that will pan around that scene. Another command that really useful is the focus command. So let's say you have your scene and it's kind of off to the side and you zoomed out all the way and you want to focus your seen onto that one object. So what I'm gonna do, I'm going to drag a box around this sphere like that and then on the keyboard, I'm gonna press if for focus. And if I press, if it's gonna focus my screen in my view port straight onto that object that's gonna make it nice and big in the center of the screen. And I can orbit around it while holding Alton dragging around. Or you can use right like an old and zoom in and out or Middle Mouse and Ault and he can pan around. So I'm gonna zoom out here and I'm gonna create another object. So let's create a cube. So I'm gonna click on this cube icon, you at the top, and I was gonna move it another way. Don't worry too much about that. And let's say you want to now focus on this object. So I'm gonna drag a box around the Cube press if on the keyboard for focus and it's gonna focus around that object. I'm gonna zoom out again and let's say you want to focus on both of these objects. So I'm gonna zoom out all the way and I'm going to drag a box around this sphere and the Cube. And then I'm gonna press if on the keyboard for focus. And then you can see it's focusing on both of these objects in my scenes and I can orbit around it. It's gonna keep it nice and scented. And yeah, that's just the easy way to focus basically on one object. So just to recap quickly while holding an old and dragging around that's gonna orbit around your scene, holding Ault right click that's gonna zoom in and out and then holding Ault in Middle Mouse . That's gonna pan around. And that's basically the main controls that you will use to navigate your view port in my 80,018. Thanks watching, and I'll see you in the next listen 5. Creating and Manipulating Basic Geometry: Hey, welcome back. And in this listen, I'm gonna show you how you can create some basic geometry in my dirty dozen 18 and also how you can manipulate those objects that you create. So first of all, make sure that you in the modeling workspace. So this drop down here in the top, left inside corner, make sure that said to modeling, and then we're gonna use this Polly modeling tab. So make sure you on the poly modeling tab, and then you've got some basic shapes year or basic geometry that you can create really easily. So the 1st 1 is just a sphere. So if I click on that, that's going to create a sphere in the center of my scene. So I'm gonna hold on old and right, click and zoom in here and you can see there is our amazing sphere, All right. And let's say we want to move that sphere around are seen. So if it will make sure that this fear is selected taken, either just click on it, we can click and drag to drag a box around it, and then on your keyboard, we're gonna use the W E and are key to move this object and manipulated. So first of all, the W will move. So if oppressed W is going to show you these handles or these manipulator handles, and you can then click on these arrows click and drag and it's gonna drag that object in that axis. So the yellow on this site is your X axis so you can drag on the X axes can use the blue one to move it on the Z axis, and then you can click and drag this yellow arrow and that will move it in the Y, Axes writes. I'm gonna move back to the center. You can obviously rotate around your scene, orbit around your scene while just holding an altar and just moving a mouse around and he can pan by holding your middle mouse button. And then you can just move these items around like that. All right. Next, we're gonna look at rotation, but for rotation, I'm going to create another a different object that's easier to actually see when it's rotating. So I want to delete this object, so I'm going to click on it to select it and then on my keyboard I'm just gonna press delete. All right, so that's gone. All right, so now, under Polly modeling, I'm going to create a cube. So the second I can I'm gonna click on that and it's gonna create a cube for us, and I'm going to focus in on this object, so make sure it's selected and then on your keyboard press if for focus. There we go. And now I'm gonna press E on the keyboard and ease basically four rotations. I'm gonna press E, and it's gonna bring up this rotation handle. And now I can just click and drag on these lines and you can rotate it in that specific axes. You can see they were irritating. And they can also orbit around your scene and in rotated and then rotated into a different direction to really easy to rotate. And then thirdly, we've got our scale. And for that we're gonna press or on the keyboards. I'm gonna press or on the keyboard, and you can see we have a different manipulator handle and to scale in a certain axes. You can just click on that one. Axes, click and drag. You can see I'm just scaling on the X axis. Now I'm gonna undo that by pressing Kamanzi on the keyboard, and then you can also manipulate it in this direction or scale it in this direction also in the Y direction. We can scale it up and down like that. Let's say you want to scale this object uniformly say when a scale, it just make it bigger. The way to do that is this Middle cube. If I just zoom in, you'll see there's a look. Little Middle Q B. If I click on there in my drag, it's going to scale the whole objects or not in one direction, but in all directions. And there's also, if you don't want to use the shortcut keys w e and or to manipulate this object, you can also use these icons on the side. So you see this one looks like a little joystick. Almost. If I click on that, that is the move to they can move around on the 2nd 1 year on the site. That's your rotation so and I can go and I can rotate it. And in the 3rd 1 is the scale. All right, the scale tools. So we can scale it uniformly. What? We can scale it in a certain direction. I'm just gonna undo that quickly and I'm gonna show you. We click on the move to or if you press w on the keyboard, you also get these little squares. You can see that green square, they in the blue one on the raid one. And that's basically if you want a manipulated on a certain plane, let me show you what I mean. It's gonna delete this cubes. I'm gonna click on it, deleted. I'm going to create a new cube. So just prison this cube, you at the top under Polly modeling. And I'm gonna use thes plane manipulators like this green one. If I click and drag on that, you'll see that it's actually going to move around the X and Z axes a same time, so only those two axes will be basically manipulated. You can see that it's not moving up and down in the y axes just on the X and Z X. It's OK. You can do the same if we use this blue one. It's basically just gonna be manipulated in the UAE and the X axes and If we do the red one , it's only gonna be manipulated in the Z and the Y axes. So that's if you want to move it on a certain plane so you can do the same with scale. So for scale, you can scale it in on that plane. You can see the hate that it's actually just scaling on the Z and the Y axes and undo that can do the same with this one at the bottom, which is the Z and the X. You can see it's just scaling Z and X, and you can do the same with this blue one, which is your y and X. I'm gonna undo that for rotation. You won't see those things because you can't really rotate on a plane separate ation. You only have your normal rotation axes, and that's basically how to manipulate and create basic objects. In my 2018 I will see you in the next lesson 6. All About Pivots: all right. So welcome back and in this module, we gonna look at perverts, so let's create a cube. So under our modeling workspace, go to poly modeling and then click on Cube. It's going to create a cube for us. I'm gonna zoom in your slightly. And now if I pressed W on the keyboard to move this object around, you can see is a little small dot and a square in the center of that object, and that's the of it off that object. So if I move it around or if I rotate this around, it's always going to rotate around that center pivot. So I'm gonna undo that kamanzi on the keyboard and let's say we want to move that prove it so we don't want to have that perfect point right in the center of this cube. For some reason, we maybe wanna rotated around a different access. So all you have to do is on your keyboard with this object selected press D for Delta, and that's gonna bring up your pervert manipulation tool so I can see that it's got a, um, different icon in the center, and it also shows you like a rotation and also the move manipulators so I can move it around and you can see it's not moving our object. That's just moving that center dot which is the perfect I'm gonna move it to around there. And now if I press d again to disable this pervert manipulation to So if I have my object selected my press W on the keyboard, you'll see that the move manipulator is off to the side where we sit our new pivot point so I can go in and I can just move the object normally. So let's change this to rotation. So I can I be use this icon on the sidewalk and press E on the keyboard, and I can see the rotation manipulators you on the side as well. And now, if I rotate, you will see that our object will rotate around that new pivot point. It's not in the center anymore, so you can see it's it's rotating around that point. So let's say we want Teoh Center that perfect point to our object again. Very simple. To do that, select your object and then right at the top, go to modify and then click on center of it, and that will basically just scented the pervert to the center of that object again. Now, I want to show you how to change the access orientation to an object or to the world space . So I'm gonna delete this object. So I'm gonna just drag a box around the press, delete on the keyboard, and then under Polly modeling, I'm going to create a new box. All right, so first of all, you can see we've got the y Axis year. You've got your Z X is year and you've got your Z axes. Yeah. So let's say I rotate this object slightly, so I'm gonna press e on the keyboard, and I'm going to rotate it. Just something like that. All right. On if I pressed W again to move it around, you can see that the axes is still staying the same according to the world space. So basically, what this means is your Why axes will still be up. Because the world why axes is that way and in your ex exceeds will be this way. And your Z axes will be that way. All right, But let's say we want to change this excess orientation to the object. So what you can do is you can double click on this move by Connie on the left inside, and this will bring up the tool settings and then you're right at the top. You'll see access orientation that's currently say to world. And we're gonna move this out of the way that you can actually see what it's going to do if I change this. So I'm gonna change. This world just has dropped down here. I'm going to change it to object. And the minute I click on object, you'll see that the access manipulator will change. So it's gonna close this two sittings, and I can see that why is not basically according to the world access anymore, built according to the object axes. So I can do this movement, and that will be the y axis off this object and all of the world I'm gonna undo that U Z axes will now be because you were rotated it. And it's according to the object, and Jozy will still be the same. But if I wrote I that let's go back to E, I'm going to rotate it slightly this way. And then if I pressed W again you will see that the Z axis will now be in this direction. Your X axis will be in this direction and your Y axes will be in that direction. So that's according to the object orientation. Let's say we want to change it back to world orientation. I'm going to double click on this icon again to open the tool sittings and yet the top axis orientation click on the drop down and said this back to world. Okay, gonna close this and I can see that the why is up and down again according to the world on the X is that way again. And the Z is this way. So that's just a different way off manipulating and moving objects around. Let's say you want to move it in a specific angle that the object is actually pointing in. You will use object orientation, but if you want to manipulate it according to the world axes, you will change this axis orientation to world. So that's basically our to manipulate and move your perfect point in my 2018. Also in the next lesson, 7. The Attribute Editor: All right. Welcome back. And in this listen, we're gonna look at the attribute editor. All right? So first of all, I'm gonna go and make sure that I'm on the modeling work space, and then I'm gonna click on Polly modeling this tabby, and I'm gonna create some basic shapes. So let's create a cube. So I'm going to click on this cube icon. You'll see it will create a cube in the center of your scene, and I'm gonna move in or just zoom in slightly so we can get a bit of you off that cube. All right, so now you're on the right. Inside, you've got your attribute, editor, make sure that you click on this attribute editor. If it's not displayed, then it will bring up this panel, and this is we're gonna change all the parameters. We can change a lot off the parameters off certain objects and lights and different assets in your scene. So if I don't have it selected, you can see that the attribute editors just blank. And if I click on the Cube, it's going to show you this attribute editor with all the parameters. So you get these different Terje at the top that we're gonna go through and we're gonna look at some of those tabs we're not gonna look at. All of them are so in the 1st 1 that says P cubed one. All right, this is we've got your transform attributes. So what? You translate your rotate and also your scale that we're going to look at. So if I zoom out slightly on, let's say we move this cube around, I'm gonna Preston W on the keyboard and when a dragon around and you can see that the Strong's late information will start to update in the attribute editor So you can see the first number is basically the X axes so you can move it around and it's only going to update the X axes, all right? And if I manipulated in the Y direction or the Y axis, you can see that our second number will start to update and let's move it in the Z X season . You can see that our third number is also being updated writes. I'm gonna say this to zero so you can actually inter numbers manually in this attribute editor. So let's say I know that I want to move this object on the X axes 10 units. So I'm going to go here and I'm gonna change this first number, which is the X axes to 10. Press in tow and you'll see that our cube will jump that way and it will be exactly at 10 units. So I'm gonna say that back to zero. We can do the same with our y axes. I'm going to say that to five presenter and it's going to go up five units. You can also enter a negative values. I'm gonna type minus five priests. Internet conceits can jump down below our grid. Gonna sit that back to zero. Next, we have our rotations. So if I have my object selected and press E on the keyboard, we can use this rotation icon on the side. If I start to rotate the surround, you can see that these values will be updated. So I'm going to sit diesel to zero against. I'm gonna press zero and in Tab Zero, Tap Sierra tab and you can sit that all back to zero. So let's say you only want to rotate and these rotation numbers that's actually in degrees . So let's say you want Teoh. Rotate around the X axes 45 degrees. So this first number, that's your ex axes. So I'm gonna set that to 45 enter and that's going to rotate your object 45 degrees exactly on the X axis going. I'm gonna say that back to zero. Let's see if we do that on the Y axis. So that's a second number. It's type in 45 Enter. You can see there's going to rotate it 45 degrees. And it said that 20 on it's doing on the Z axes 45 enter. It's gonna write it so you can obviously enter your specific degrees day that you want to rotate it and thats gonna updating your scene and you can always go and you can manipulate it in the scene as well. And you'll see those numbers will updating the attribute editor. So I'm gonna say the specter zero next we have our scale. So simply if I said the X axis to two, you can see that it's going to scale it in the X axes. So let's sit this number 25 and this is our Y axes lets it that 23 And this is the Z axis. Let's sit that to 10. So you can see we can actually type in these numbers to manipulate this object in our view port. So I'm gonna say that back to 111 just its default size. And then I'm gonna press if on the keyboard, just to focus in on our object. Right. So the next time we're going to look at in the attribute editor is this Polly Cube one. And this is this. We can say things like the with the height and the depth. So what? I can drag the slider, and you can see that it's actually changing the wood off that object. Gonna undo that. Said that back to one. And you can do the same with height so you can see the the height is changing and say that back to one and the same with the depth. You can change the depth here, So I'm gonna sit that back to one. And another thing that you can do is you can add subdivisions to your geometry. So we're gonna go into more details off what subdivisions are to use subdivisions and faces and ages and all those things in a later lesson. But for now, you can see this is also a 2111 And if I up this slider on the would you concede there's actually creating more of these lines and that will base demean. It will create mawr geometry for you to later work with when you're doing your modeling. So I can also increase the subdivision height. You can see that it's creating all these extra lines and you can do the same with your depth. So that will just create mawr off these blocks. And that will give you mawr geometry to work with later on when we start to do some modeling. All right, the next time that we're gonna look at ease, Roditi end and this one is called Lambert one, and this will basically change. It won't always say Lambert one, this is the material that's currently applied to this object, right? So it all depends on the name off the material, Then that name off that material were actually show you. So we're gonna go into materials and all of those things also in a later listen, but for now, just know that you can access your material straight from you. Actually, Editor. So what I mean by that is space. You can click on that and we'll show you material parameters and right at the top. You can see color so I can click on color. And I can change this to read and just move the mouse pointer away. You can see there it actually updated our material on that object. And we can also change things like transparency concede announced, transparent and Ambien color. You can change all of these things. Incandescence can change all of the different parameters for that different material. Now, different material types will have different options or different parameters. So this might look different on when we using different materials not seen. So just know that you can access your material parameters inside the attribute editor without actually going into something like the hyper shade, which is meant to be the place we're gonna edit and create different materials. So attribute editor, really powerful can go in there and you can change all these different settings and all these different parameters for your specific object and yeah, that is that editor. You can also hide it if you click on this attribute territory on the side and that will just give you some extra space to work with. And then, if you want to go back into it, just pick on this attribute editor again. All right? So that's all about the attribute editor. I'll see you in the next lesson. 8. The Outliner: Hey, welcome back to this module. And in this Listen, we're going to look at the outline, er, in my r 2018. Now, the outline, er is probably one of my favorite windows inside of my are and it's just a place we can see your seen in a list view. Basically, we can organize things. You can name things. It's just a really nice view off your scene. So let me show you what I mean. So first of all, the way you open up the outline, er here on the side, you can see you have four icons right here and one right at the bottom. It looks like a list view or a checklist. Pick Click on that. That will basically bring up the outline. Er, there you can see that's the outline, Er, and if I click it again, it's gonna hide the outline. Er, so I'm gonna click that to open it. And then on the modeling work space, I'm going to go to Poly modeling and I'm gonna click on the sphere to create a simple sweet in our scene. And now the outline you can see there is a new item and it's called P Sphere one, and that is basically our sphere. So if I select the sphere in the view port, if I drag a box around it, you can see that it's gonna highlight our object inside our outline. Er, so if I d selected, you can see it's de selected again, or I can go ahead and I can click the object name inside the outline er, and it's gonna highlighted in the outline, er, and it's also gonna highlight it in the view port, all right, And another thing that you could do is you can rename your objects, which is really important in my are. If you have a lot off different assets and a lot of different geometry, it's always good to name your objects so really easy to rename it. I'm going to click on this piece, fear, and then, um, the keyboard. I'm gonna press enter, and that's going to open up. The Rename command basically so American type my object. 01 press enter, and now your object or that object. It's got a new name. It's called my object at one. So now if I selected in the View Port you can see in the attribute editor. It's also got a new name. My object are one with all the different tabs. So there's just a easy way to organize things in your scene. So I'm gonna move this to the sites. I'm gonna press W and just move it that way, and then I'm gonna click on the sphere again Year on the Poly, modeling to create a second sphere. And I can see this second sphere is also called Peace Fear one summary Name this. I'm gonna call it. Just press enter, and I'm gonna call it my object zero to presenter. All right, So obviously you can click on one of these to select them, or you can do shift click to select both of them. So you can first pick on your object at one holding shift on the keyboard, click on the 2nd 1 and that's gonna select both of them so I can basically move them both around. You've got birth of them selected Another thing that you can do your ease you can click on . Let's say we want to focus on my object to second click that in the outline that's going to select it and then make sure that your mouse cursor is over this view port area and then press if on the keyboard and it's going to focus on that, right? So let's say we want to focus on my object are one. So I'm going to click it in the art liner like that it's gonna selected in the view port. Make sure that your mask pointer is over the view port area and impress if on the keyboard and it's gonna focus onto that object, which can also do is you can select both of them. So I'm gonna click the 1st 1 old and shift click the 2nd 1 to highlight both of them. Make sure your mouse pointer is over the centre Vieux Port press. If on the keyboard, and then you can see it's actually focusing on both off those objects. All right. The same goes worth other types off assets that you create in your scene. So for this demonstration was gonna create a quick light, so I'm going to go to the Arnold tribute on the side, and then I'm gonna create a normal area light, okay? And it's gonna move around That's my light. And now you're in my outlining can see these a new object and schooled area light one. Okay, now I can peek on that, and with that highlighted, you can see the attribute editors updating and I can see all the attributes for that light so you can go around and you can change the color of the light and he can change the intensity and it can change. The exposure on all of those light properties will be in this attribute editor. You can also go and rename your light if you want to. You can just click on the light name in the outline. Er press internee can call this my light 01 press enter and they've just given it a name. Another thing that you can do in the outline er easy. You can quickly hide and show objects, So let's say I want to hide my object. Once I just click on that toe highlighted and then on the keyboard, you're gonna press H four hide and then h again to show. So basically, if you press h, it's gonna hide it. And if you priest h again it's gonna hide it you can do the same with multiple objects. You can select both these smears pris h on the keyboard. You gonna hide both of them and etch again to show them could do the same with your lights . So if I click on this my light 01 Chris h on the keyboard is gonna hide it on Empress H again to show it again. Right? So let's say one to hide our outline. Er again, I'm gonna click this icon you on the left inside and that will just give you some extra space in your view port. You could do the same with you. Attribute, editor, Click on Activate area here and just hide that away. That's just gonna give you some extra space for your view port. And that's everything you need to know about the outline. Er, in my r 2018 I'll see you in the next lesson. 9. Parenting Objects: Okay, Welcome back. And in this listen, we're gonna look at parenting objects to each other, so I'm gonna go to my poly modeling tab at the top, and then I'm gonna create a sphere just like that, and I'm gonna press W on the keyboard and just move it over to the site. All right? So we've got one sphere, they and then I'm going to click on another sphere. This I couldn't get the top under Polly modeling again. So now we've got these two spheres, so I'm gonna open my outlining on the side, and you can see we've got P Sphere one, which is that one. And then we've got P sphere number two, which is this one. So what we're gonna do is we're gonna make this sphere the child object off this severe. So this is severe number two, and this is sweet number one, as you can see in the outline. Er So what we're gonna do is we're gonna select hours were one which is this one. And in the outline are we simply going to drag underneath this sphere number two, So to drag it, you cannot drag. The word caused If you do that, it's just gonna multi select different objects. So what you want to do is you want to click this little icon next to peace, Fear one click and drag and then drag it on top. Off this, we're number two, and now we will see that it's gonna create this plus sign next to Sphere to And if you expand that you will see severe. One is now underneath. Sphere number two, Which means Sphere one is the child off the parent sphere number two. So let me show you what that means. So if I click on the child object, which is this once we're number one, I can move it around, and it's still of functioning as object on its own. But now, if I select the parent object, which is this object in the center, if I move it around, the child object is going to follow along, as you can see so we can also click and rotate. So I'm gonna press e on the keyboard and then going to rotate the parent and you can see that the child object is actually following along. Okay, You can see if I rotate the parent, the child will actually rotate around the parents axes. So I'm gonna just de select that and it's like the parent again. And then I'm gonna press or on the keyboard to bring up my scale tools. I know if I scale my parents, you can see that the child is also scaling accordingly so I can move my child. I can select the child object that I can scale it, and I can rotate it. And it will be all on its own because that's a child object. But not if I select the parent again. And I rotated with E. You can see that the child is following along so we can create mawr than one parent child object and each other. So I'm gonna create another sphere, and I'm gonna move that over to the side there. So now what I wanna do is I wanna make this sweet Number three the child off this big sphere. All right, so this big sphere is free number one day, and this one is severe. Number three. So I'm gonna click and drag on the icon in the outline. Er spear number three and I'm gonna place it underneath severe number one. Okay, Now I can see this little plus next to spear one, so I can expand that. So you get Sphere number two is the main parent. Then you get severe one which is the second parent. And then you get severe. Three, which is the child off Severe number one. So I can go in and I can select this object, which is the lowest child. And I can move that around Freedy or I can click on that parent off that object. This one and I can move it around and you can see that child object will actually follow along. And I can rotate it a swell like that. So now I can take on this parent which is the parent of both these Children, and I can rotate and you can see both the Children or actually rotating around its parent. Axes can also scale it, and then you can see the Children or also being scaled. Okay, let's say we want to remove sphere number three as a child. So simply click on the icon next to the name Peace Fear three in the outline er and just drag it out, and now it's on its own layer again so I can move this child on its own. You can move this one on its own, and this one will still have this one child, because we're number one is still a child off severe number two. So let's move Sphere number one out as well. So I'm going to click and drag the icon and I can see them. You in the outline er below each other's they not underneath each other so I can go in and you could move them individually. They no longer the parent or the child off another object. And that's basically how to parent object. In my 2018 I will see you in the next lesson. 10. Faces Edges Vertices: All right. So welcome back. And in this listen, we're gonna look at faces, courtesies and ages. These are elements often object or geometry that you can actually use to manipulate the objects with. So let me show you what I mean. So I'm gonna go to Poly modeling, make sure you on the modeling work space, and then I'm going to create a cube. Right? So just click on the cube, and I'm gonna zoom in you and you can see these are Cube. And I'm gonna press if to focus that in the center. So currently, we are in object mode. If you click on this object, that's going to select the whole object on its own. So let's say we want to go into some of the building blocks off this object. So what you need to do is you need to hold in your right mouse button and then hold and press on this object and they're going to get this menu and you'll see edge object mode UV , um, multi face verdicts face and on Vertex. And in this listen, we're gonna look at edge, face and Vertex. So let me show you edge basically all these lines in between these flat panels. So they are called ages. So I can click on one of these ages and then on the keyboard. You can use your WGN are to manipulate this itch. So I'm gonna press W to move, and you can see the move manipulated will appear. And I work unmoved this line or this edge around you can see they're moving it on the X axes. You can move it on the ZX e's and also moving on the Y axes. I'm going to just undo that. You can also click on one of these ages and you can rotate it. So I'm gonna press E on the keyboard. It's gonna bring up my rotation tool. You can rotate that line or that edge like that, and you can also scale it. So I'm gonna press are on the keyboard, and I can scale it universally in the center. Or you can just scale it on that axes with this X ease or this ex ease. Okay, let's say we want to go into face mode, so I'm going to right click again and holding right click on this object, and then I'm gonna choose face yet the bottom now faces. If I just hover over this object, you'll see that the faces or these flat panels or flat areas between these ages right there called faces. So let's click on one of these faces like this one at the top. And now I can go in Priest W on the keyboard and I can move this face around like that. We can rotate it. I'm gonna press e on the keyboard and I'm gonna rotate this face or we can scale it. So I'm gonna press are on the keyboard and then you can scale it up can scale it down. And as you can see, we are manipulating this cube to become a different object. Finally, we've got our verte sees, so I'm gonna rightly can hold again. And then I'm going to select Vertex now Vertex over to seize or the points between these lines or these ages. You can see there's a red one day there is one. There is one day it's one day and then also at the bottom. We have four in all the corners so I can click on one of these points or those Vertex and I can move it around. So I'm gonna press w on the keyboard moving up and down on the X axes or the Z axes so you can select this one at the bottom and I can move it around. You can see you can change the object completely by just adjusting or just manipulating the ages the verte sees and the faces. You can also select multiple faces, multiple ages or multiple verte sees at once so I can hold in shift and I can click on another Vertex. And now I've got both of these vergis ease selected. Now I can rotate it because it will actually rotate between those two courtesies. You can see why can scale it. Well, actually scale the distance between those two burgesses or we can go ahead and move it. Let's go back into face, Moz. I'm going to right click and then I'm gonna select face and then release, all right? And I'm gonna slick this face and I'm gonna hold in shift and then click on this faceoff. Could both these faces selected now and I can go in and you can move it around concedes moving those two faces. We can rotate it around like that. We can scale it prison or on the keyboard, and you can scale it down, scale it up. And that where you can change the object completely just by manipulating these different elements off this geometry. Okay, lets go back into object mode. So to do that, you're going to right click again, hold it in, and then you're gonna choose object mode, and that will basically go out off the subdivision mode, where you've got access to the vert to seize the faces in the edges. And this will just basically make it so that you consider the object as a whole and I can scale it and you can move the object and you can rotate the object. Okay, let's delete this one. So I'm gonna click on this object delete on the keyboard, and then under Polly modeling, I'm gonna create a sphere this 1st 1 and we're gonna zoom out slightly. And as you can see, if I select this object that's got all these lines and all these faces and ALS, these vergis ease, so it's going to face mode. So I'm gonna hold in a right click and then I'm gonna choose face. All right, Now I can see ALS these different faces that we can select and manipulate. So now I can go in and I can click one of them. I can olden shift on the keyboard and then click to select multiple faces so you can see Ah , um you can select multiple faces like that and then I can move those faces around. You can see are actually manipulating this object completely. I'm going to scale them down. You can see it's scaling those faces and I can actually rotated as well placing you on the keyboard and you can rotate them. Okay, let's do the same with ages. So I'm gonna write, think again, hold it in And then I'm gonna select edge and that's again all these little lines between the verte sees. So I'm gonna click, and I'm gonna hold and shift just to select a few of these ages and and I'm gonna press w on the keyboard to move and I'm gonna pull them out, can see that we're just moving that line. Well, just the age good can move it up and down and you can move it side to side signals, a scale it's on pressing or on the keyboard, and you can scale it down, scale it up and they can see you can actually create some interesting geometry by just moving these points thes lines in these faces around. Okay, let's go back into object mode. So I'm going to write, like, hold it in and I'm gonna slick object mode. And then we're back in object mode where we can scale and move and rotate this object as a whole. And that's basically easier. These to manipulate objects by moving, rotating and scaling they face is the ages, and the verte sees around. You guys enjoy this one. See you in the next lesson. 11. Extrude and Bevel: hi and welcome back. And in this listen, we gonna look at some basic modelling tools which is extrude and bevel so visible among the morning tab begin. And under Polly modeling, I'm going to create a cube circuit on a cube and zoom in here. These our cube or are you gonna press if to focus that in the center? And then we wanna do something with one of these faces, so I'm going to face mode. So I'm gonna hold in the right mouse button, hold it in, and then I'm gonna cook on face. So we in face selection mode and I'm gonna click one of these faces. Let's click on this top face to select it, and then right at the top, gonna go to edit mish and then under edit mission, I'm going to click on extrude and extrude will give you this tool set and also this little window that's gonna pop up. And now what you can do is you can either use thes manipulated tools year. We can use thes sliders. Basically. So what I can do is I Congrats, this blue arrow and I can pull it up and you can see, it's actually not moving the edge, but it's creating some new geometry. So it's creating new faces all around, And, um so you can basically just pull that out like that. We can move it sideways. Now we can move it down. We can move it this way, and you can even scale it by clicking on this little cube in the center can scale it, make it smaller, bigger. And now I'm going to de select that face. And I'm gonna slick this face again The stop one and I'm gonna extruded again. So I'm going to go back to edit Miche and then extrude, and I'm gonna put it out some more like that, Okay? And I'm gonna slick this face on the side, this one, and I'm gonna click edit miche and then extrude again, and I'm gonna put it out this way. Okay, Um, some other things you can do you can use these sliders on this little windows. He can just slide thickness. That is the amount that it's extruding and can also do the local translate Z. Okay, I'm gonna undo that Offset will make it bigger and smaller. Okay. And in divisions currently it's on one. If you increase this, you can see that it's creating more segments on that extrusion. Okay, so another way to change these parameters. You can also hold in control on the keyboard, and that will just give you a more accurate way off adjusting these sliders can see them adjusting the thickness on dime. Also adjusting the offset while holding in control. So if I don't old in control, the increments will be a lot bigger before holding control. It will just give me a more accurate way off manipulating these sliders. Let's, um, click away again and let's maybe select this face on this side, and I'm going to go back to edit Miche and then extrude, and I'm gonna pull it out like that and it's put it out some more, So I'm gonna go it mish extrude, pull it out again, and then I'm going to select this facey at the top and I'm gonna click on edit mish extrude . Put it up so you can see it's really easy to create some interesting geometry by just using the extrude command. Okay, can also do this face in the center. It mish extrude put it up. Okay, so let's do two faces at once. So I'm going to stick this face or right there, and then I'm going to slide over orbit around this object, and I'm gonna holding shift on the keyboard and I'm gonna click on this face. So now I've got both these faces selected, as you can see, and I'm going to go to edit mish on. Then I'm going to click on extrude. And now I'm not going to use this manipulator cause I'm going to use the thickness sliding at the top. So I'm gonna hold in control. So I've got a very accurate way off sliding this over and you can see it's actually extruding both those faces at the same time. You can also change the office. It you can make it bigger or smaller. All right. The ego can see it's perfectly even on both sides because I extruded both of those faces at the same time. And that's basically extruding so really simple to really powerful tool that you can use to create some really interesting geometry. Next, I want to show you how to use Bevel, so I'm gonna delete this object so I'm going to right click, go back to object mode so I can select this as an object, and then I'm gonna press delete on the keyboard. All right, let's create another cube. So under Polly modeling, I'm going to click on the Cube, and it's gonna press if on the keyboard to focus that. All right. So next I'm going to show you guys how to use the bevel command on bevel. You can either do on the face, or you can do it on edge, but for this demonstration, I'm going to do it on an edge. So I'm going to right, click and hold it in. And then I'm gonna go to age mode so we can select our ages, and I'm going to select this age right here is gonna click to select it, and then I'm gonna go back to edit measure at the top, and then I'm going to click on Bevel. All right, So, as you can see, it's gonna bring up a little Polly Bevel window and now we can hold in control again and we can slide the fraction and you can see that is the fraction that it's doing so the original looked something like that. And Bevel will just bevel that and it will create some extra geometry. And it will make that, um it will just create, like a curve or ah, face in between those two ages that it's created can also increase the segments. So I'm holding in control and I'm just sliding the segments over and they can see now we've got four segments and he goes to see It's nice and round, so no hard edges. And another thing you can do is you can also change the depth. So if I click and drag the depth, you can see minus one on one and you could make it zero, that should just be almost perfectly flat. You can also type in the parameter using the Keeper. And, um, yes, so that's basically our to bevel objects. So I'm gonna delete that. So let's just select this object against I'm gonna go back into object mode, select this object, delete it on let's create another cube. So under Polly, modeling and create another cube. So now I want to go back into age mode, so I'm going to right click and hold and then I'm gonna select edge And now, on a select all these ages at the top off this cube. So I'm gonna click this first age old and shift click the 2nd 1 holding shift like the 3rd 1 Golden shift and click the 4th 1 So now we've got those four ages selected, and I'm gonna go to edit mish right at the top, and I'm gonna click on Bevel and you can see it's gonna be able all those ages so you can change the fraction holding control to just give you a little bit more precise way to manipulate this. And I'm gonna increase the segments as well. Maybe something like that gonna bring it back to you like 0.6 enough to go back into object , Moz, I'm gonna rightly hold it in object mode. I concede we created those soft ages at the top off this cube. So let's do the same with the bottom ages. So I'm going to write. You can hold go edge, gonna click in the first age, or then shift, Click on the second age old and shift click of the third age old and shift. And in the 4th 1 Now I'm going to go to edit miche and gonna click on Bevel, and I'm gonna bring the fraction down and I'm gonna increase the segments and we can decrease the fraction a little bit more And I'm going to click away and then right, Leak, going to object mode. And I can see recreate that soft ages at the bottom and also soft ages at the top. And that's basically how to use bevel and extruding my 2018 some really powerful tools that you can use to create some new geometry. Yeah, I'll see you guys in the next listen. 12. Adding a Camera to your Scene: All right. Welcome back. And in this listen, I'm gonna show you guys how to add a camera to your scene, So let's create a few objects and they're not sure how to create the camera. So we are working under the modeling work space at the top, and then under Polly modeling, I'm going to click on this polygon plane, okay, that's gonna create that plainly in the center. Then I'm going to scale it up. So I'm gonna priests are on the keyboard, and I'm gonna click this model cube, and I'm going to scale it up nice and big, something like that. That's our plane. And then I'm gonna create another object or two. I'm gonna create the sphere, and I'm gonna move that up. So I'm gonna press w on the keyboard and move it up and maybe this movie to decide like that. And let's create a Cuba's well, So I'm going to click on this Cuba and the Poly modeling, and I'm gonna move that up as well. Let's maybe moving to the side. All right, so we've got our plane or the floor and we've got this sphere, and then we've got our Cube. So currently we looking at the perspective, You so yet the bottom you can see it says B e r a speed. Which means this is our perspective. You and I'm going to zoom in your let's say we want to create a camera right year like this . Okay, so what I'm gonna do, I'm gonna click on view right at the top, just above our view port, And then I'm going to click on create camera from view, right? When I click this, you can see this perspective. Yet the bottom actually changed. And now there's a number one next to it. So that means it actually created a camera and that cameras name is now p e or SP one. So easy. Way to look at this is if we open the out. Linus, I'm going to click on this icon on the side to open the outline. Er and now I can see there's a camera you consider all camera icon, and you can see the cameras called p e or SP one. So I'm going to rename that you don't have to, but it's always better to rename your assets, So I'm gonna click on this perspective one press enter to rename it. And now I can type anything I want to call it. I'm gonna call this my camera and in press enter. All right, so I'm gonna close the outline, Er and I'm not going to go back into perspective. Murder is going to show you guys that this camera was actually created. So to switch between views in this view port, you can just click on this panels tab, you at the top and then under perspective. You'll see you've got two options, my camera and also perspective. So I'm gonna click on perspective just to switch back to their normal default perspective. You and I'm gonna slightly just zoom out and you can see there is our camera that we created, and you can obviously go in and you can move this camera around like this, or I'm gonna go back into panels, perspective my camera, and then it's gonna jump into that camera view again. And now I can use your normal ault and drag around to orbit your scene. You can zoom in and out or actually dolly the camera in and out, and you can also pan around while holding the middle mouse button, and this will actually adjust the position off that camera. All right, Another thing that you can do. Let's say you want to set your camera. Your anyone lock your camera down so you can't really move it around. So easy way to do this. When you in your camera view, I'm gonna go to view yet the top, and then I'm gonna click this lock camera, All right? No, I can pan around. I can try and move it around. I can draw and zooming in and out. I can try and pan That won't allow me to move the camera because currently can also see this little icon right here under view and shading. Concede that little icon with a little lock is currently pressed in, which means that the camera is locked. So now if I go back into my perspective, you so panels perspective and perspective I can see there's my camera, but if I select this camera pres w on the keyboard, you'll see that these errors actually great out any corn, Move them around a contra. Take this camera because it's locked. Okay, lets go back into our camera views. So panels perspective on din my camera. Another thing that you can do is to reposition your camera ease. Let's go into our four of you workspace. So I'm gonna press space on the keyboard, and it's going to take me to this view where can see all my different angles, side view, front view and top view, and I'm going to select my camera. And first of all, we want to unlock this camera because currently it's still locked. We call moving around. So in the stop right inside view port, which is my camera, you can see there's the little camera icon in the lock. So it means it's currently locked, and I'm gonna click on that to unlock it. And now in these other view ports, I can actually click on the camera and I can move it around. And now I can see that the my camera view is actually updating because we are moving the camera around and he can position it forward backwards, and you can also rotate it. So if you want to talk to down or up, you can use this view to duel these camera motions with So now I want to maximize the my camera Vyugin. So make sure you have your mouse pointer over this area and impressed space, and that will maximize this camera view. So you can also they move your camera around in this view, and then when you happy with your camera position, you can lock it again. So go to view lock camera. We can just click on this little button with a camera on the lock and that will lock your camera down. And that's how easy it is to create a new camera in my 2018 I will see you in the next lesson. 13. Adding Lights to your Scene: I welcome back and in this Listen, I'm going to show you guys how to create some lights in your seen eso Really simple. To do that, I'm gonna create some geometry and some objects Eso that we can just create a light for our scene. Because when you render your scene and you don't have any lights, you won't see anything. It's gonna be completely black, so lights are very important. So I'm gonna go to the modeling workspace, and then under Polly modeling, I'm just gonna create a floor again or a plane. So I'm gonna click on this Polly plane, There's our Polly plane, and then I'm gonna press are on the keyboard, and I'm going to scale it up nice and big like that. And let's add some objects. So I'm gonna add a cube, and I'm gonna move it up. So w move it up. Maybe. Let's scale it up. Okay, move it up. Moved to the side. Let's atmosphere. Let's move this fear up and its scale it up slightly as well. Okay. And now we want to add a light to our scene because let me just show you quickly. If I do a very quick Orender Off this, you will see a black screen because we don't have any large enough scenes, so we can't see anything. So I'm gonna close that. So in this listen, we are going to create a light for the Arnold Renderers. Arnold Render is the new render in my art. Think it's from 2000 and 17 and it's been included in 2018 as well. So under modeling, you'll see these tabs at the top and you'll see a tab called Arnold. And this is where you will find things like the lights and also like your SkyDome lights. Etcetera will get into more details later on in this course, but for now, we're just going to make sure that we create a light that's compatible with the Arnold Dhirendra. So you can see all these different lights here, and the 1st 1 is a normal area light, and that's a light we will probably use most often. So if I click that it's going to create a little light in our scene, and now I can move it up so I can move it, and I'm gonna move it to the side and if we just focus on that. So if I press, if with that light source elected, there's just gonna focus that and you can see it's got a little, um, little line on the one side off the light, okay? And that's the direction where the light source will actually be shining towards. All right. So the lighters will be going this way. Eso obviously, if you rotated and that line is pointing away from your object, that object won't receive any light because the light sources pointing in that direction. So always make sure that that direction or that line is pointing in the right direction. Okay, Something like that, you can also scale it up and down, and we're gonna get into more details later on when we're looking at shadows and things like that. But we're now gonna show you how to create your life. You can move it up and down, back and forth. You can scale it up. You can angle it by rotating it. Same as you manipulating any other object in my archdeacon. Do the same with your lights. Also, if I opened the outline, er you will see that we now have an area light one and ignites ago it and you can rename that if you want to present to, you can call it my light 01 or whatever you wanna call it. And with that light source selected, I'm gonna open up the attribute editor you on the side that we've looked at as well. So with our light selected, you can see all the properties off that light. So you get the color, the intensity, the exposure and all of these other settings that you can go in and fine tune the details off that specific light. All right, so that's basically how easy it is to create a light in my are keep this project open, or maybe save a copy off this project. Because in the next lesson, we are going to look at the render preview and then you can actually just use this scene to look at that arena preview. So, yeah, that's the end off this. Listen, I will see you in the next one 14. Arnold Render Preview: Hi and welcome back. And in this listen, we are going to look at the Arnold are in the preview basically where you can see your Orender. So we have the scene from our previous module where we created a light source and you can see we've got a sweet here. We've got a cube and we've got a plane on. We've got a light source as well that we created. And now if I want to render this position my camera, some way around years, we can kind of see it from the side like that. And then you at the top, you can see a couple of icons or right here and it's one that's his I p r. And that's the rain, the preview that we're going to use. So I'm gonna click on that, and it's gonna open up this little box and we can't really see anything. There is something very, very faintly if you look closely in this area, but it's still very, very dark. So I'm gonna close that. And what we need to do is we need to change or we need to up the exposure on this light source. So if I select this light source and you look at the actual utility on the side, you can see the color, the intensity and the exposure. And currently the exposure is say 20 So I'm going to just drag the slide, and I'm gonna increase the exposure off this light. So that's basically just increasing exposure off this selected light. So now let's click on this I, p Oregon or the Render, and it's going to open up our scene, and now we can start to see something so you can see it will render, and it will actually increase the quality off your render if you just wait a few seconds. And now, if you just move your seen around, you can actually keep this window open, weaken put it onto a different or a second monitor, maybe, and it will actually update the surrender preview while you are working in your scene. So let me show you guys, if I select my light source again, it's gonna move this re interview to the side and currently over exposure for this light. Sources said to five If I drag us down, you can see our scene will go darker. can increase it to five. You can even increase it further. You can just type in any number years. I'm going to select this five and I'm gonna change it to 10 Chris Inter. And you see it's gonna update in our interview. It's very bright, very over exposed. So this change is down to about seven. Okay, there you can see it's nice. Recognize? We've got our shadows there and you will get us to go and change the color off our lights. So if you click on this white, you can actually just drag this around. It's great, a light blue light, something like that. And as you can see, it's updating in real time in this render preview, which is really, really nice when you're working with different materials and different light sources and different colored lights. You can change all those settings and you will get a live preview off the changes in your interview so I can zoom in you and I can look at these objects closely and you can just see it's really nice. Working with this reinterview can move your objects, make sure that they are in the correct position and it will just update your interview and yeah, it's just pretty pretty nice. Let's create another life for number to close this reinterview quickly and let's create another light on the other side. All right, so I'm gonna go back Teoh this Arnold tab at the top and I'm gonna kick this first light, which is a area light, and it's gonna create our area light. I'm gonna move it up, move to the side, and then we need to make sure that it's pointing in the right direction so they can see that line is pointing away from our objects. So with a slight selected, I'm gonna press E on the keyboard to rotate and we're gonna rotate it around. So it's pointing in the direction off these objects, and I'm gonna tilt it down slightly like that, and I'm gonna skate it up for now. We talk about scaling in a next video, and I'm gonna move it back slightly, all right? And I'm gonna open up their interview against I'm going to click on this I, p or icon at the top. And there we go opening up our scene and you can see it's looking nice. All right, And I'm going to select the second light, and you can see the exposure is back to zero, because that's a default exposure of a new light. And I'm gonna increase the exposure. And I can see re starting to get a light source on this side as well. So you can see the shadows on this side concede the shadows on that side. Which means we've got two light sources from each side. And now, when I change the color off this second light, so with second life selected, make sure that your attribute editors open and with his color, I'm gonna click on. Let's make this wonder rate all right. So I can see there's a red light coming from this angle and is a blue light coming from this angle. All right, so we can zoom in here and you can see that, um, is the red light coming from this angle? And our blue light is coming from this direction. All right, then. That's how you use the Arnold Orender view in my r 2018. I will see you in the next listen 15. Hard and Soft Shadows: Hello, and welcome back to this. Listen. And in this listen, I'm gonna show you guys how to create soft shadows and heart shadows in my 80,018. So let's it up. A very simple seen. So make sure that you are under the modeling work, spicy at the top. And then we're gonna go to poly modeling and physical. We're gonna create a plane. So I'm gonna click on this Polly plane, and it's gonna create the plane. I'm going to scale it up. So I'm gonna priest or on the keyboard and drag it out, scale it up nice and big like that. And then I want to create a sphere. So under Polly modeling again, click on the sphere and I'm gonna move it up slightly. So I'm gonna press w on the keyboard, and I'm gonna move it up slightly like that. And then I also want to create a arnold light. So under the Arnold tab, I'm going to click on this 1st 1 which is create area light, and then I'm going to move the light source just slightly away from our object. We can see that it is pointing in the right direction with this little line, and I'm gonna filter down slightly, so I'm going to rotate it. So e on the keyboard, I just talked to down slightly like that, and I'm gonna move it up. So priest w and then move it up and maybe moving a little bit further away from our object . All right, so these are like So, with this light selected, make sure that your attribute editor is open on the side, and then I'm gonna increase the exposure off this light to about five. All right, so now let's open up our rain. The preview. So I'm going to click on this I PR icon at the top, and it's gonna open up our scene. And then it was gone. Um, zoom in your slightly fizzle. We can see that this sphere is in the air and it's not touching the floor. Doesn't really matter, but I'm gonna move it down anyways just slightly, so it's kind of sitting on the floor like that. I'm gonna zoom in slightly. Yes, we can see it a bit better, and you can see that we have a shadow year, and it's nice and soft. It's not too hard. The edges and the way to create soft or hard shadows in my art is really, really simple. All you have to do is scale your lights. So the smaller the light, the heart of the shadow, the bigger your light source. That's softer. The shadow Let me show you. So if I select my light and I press are on the keyboard and then I'm going to scale it up, Skated up so you can see it's not getting brighter, but our shadow is getting softer so we can scale it up some more. You can see that the shadow is gonna be really soft now, something like that. If we just wait a few seconds, that's going to increase the quality off the surrender. And now if I scale this light source down smaller, this light source go. So the small I make it, the harder the ages off, this shadow will become something to scale it down all the way. And there you can see really, really hard ages on this shadow. You can also see the shadows on the actual spirits. Well will change. You can see that's a soft shadow on this. We're skated down, and that line will just become more prominent. You can see it's a really odd shadow on that sphere, so really simple to create soft shadows. Make your lights big. What, one to create a hard shadow. Make your lights a little bit smaller, and that's how easy it is to create some soft shadows and hard shadows. In my 2018 I will see in the next lesson. 16. Hypershade Material Editor: Hey, and welcome back to this. Listen. And in this listen, I'm going to show you guys the hyper shade and the hyper shade is basically where you going To create your materials and your textures in my are that you're gonna apply to you Ah, geometry or only certain parts off your geometry. So to open the I P shade, you can be in any workspace. So you can either be in modeling, rigging, animation, effect surrendering, and then yet the top next to your render icons. You'll see this little sphere with that small dot and that is the hyper shading we open. I appreciate. So let's click that. And I'm quickly going to show you guys just the layout off the hyper shade window. So right at the top, you've got all your materials, so we're gonna create some new materials, and they're gonna be listed in this area right at the top. And you're on the side is where you're gonna create your materials. And these are the different kinds of materials and we mainly going to look at one specific one that I will show you in a minute which will be under the Arnold section on. And that's because we using the Arnold Renderers in my 2000 and 18 and then you in the center. This will be your graph view, and this is where we're going to see the different nodes that make up your materials and then you on the side, we've got our property. It and this is almost like the attribute editor, where you can change certain parameters of your materials. So before we start creating new materials, let's set up a very simple scene that we can assign some materials to. So festival. I'm gonna make sure that I'm on the modeling workspace again. And then under Polly modeling, we're going to create some objects or some geometry. So first of all, let's create a floor. So I'm going to create a poly plane taking on this icon year, and I'm going to scale this up. So I'm gonna press, are on the keyboard and was gonna click and drag in the centre, discovered up something like that. All right, we've got our floor military name and as well So um, the outline. If you don't see the outline, I just click on this icon year to open it and then with our P plane one. Just select that press enter and emotion a top floor like that and let's create some or geometry. So let's create a sphere. So under Polly modeling, I'm going to click on the sphere icon, and I'm going to move it up slightly. So pressing W on the keyboard, moving it up, and I'm going to scale it up a swell suppress or on the keyboard. Scale it up, and then let's move it up against her. W move it up and then maybe slightly to the site. Okay, so we've got our sphere and let's create a cylinder as well. So this icon near the 3rd 1 from the side next to the Cube that is the cylinder and I'm gonna move it up, scale it up a swell. So pressing or on the keyboard scaling it up. Maybe something like that. It's moving down. So it's kind of sitting on this plane as well. I'm gonna move it to the side and then something I want to do with our cylinder. So with a cylinder selected on the side in the actual editor, go to police selling the one and I'm gonna increase the subdivisions Height. So currently, that's it to one. And if you increase this, you'll see that it's gonna create more subdivisions for the height off this cylinder just so that we have some extra faces to work with when I show you how to apply certain materials to your objects. All right, let's create some lights is welcomes. You always need some lights in your scene. So I'm gonna go to this Arnold tab, and I'm going to create a normal area light. So this first I can I'm gonna click, and I'm just gonna move this up. And as you can see, it's currently pointing in that direction. So I'm going to rotate that around So it's pointing in this direction and just something like that, and I'm going to scale it up as well so we can see it a bit better. And I'm gonna move it to the sites of pressing W moving into the side maybe up slightly, and it's tilted out. So e on the keyboard for rotation just told to dance. We have something like that. So, with our light selected, I'm gonna increase the exposure to around eight. Okay, So now we've got a floor, We've got a sphere and we've got a cylinder. We don't really need to rename these two other objects of sphere and the cylinder. That's fine for now. And now we're gonna open the appreciate and create our first material. So I'm going to click on this little sphere icon at the top to open the hyper shade. All right, so now we can go ahead and create our first material. So, as I mentioned before, we're going to create a material that will be compatible with the Arnold render. So I'm going to minimize the my our section year on the site. Under this creates section on an under Arnold. I'm gonna expand shader, all right? And then you get surface and volume. I'm gonna click on surface, and then the one that we will be using, like, 99% of the time to create materials for Arnold. Is this AI standard surface? Right away I stand surface. That's the one that you always gonna choose unless you want to create something like a mat or hair or something Very a specific or Ambien inclusion or something like that. But for most of the time. You could just use the AI standard surface. And that will be good enough to create almost any material for the Arnold render. So if I click on a I standard surface, it's going to create a new material for us and he on the side in the property editor, you can give it a name. So right at the top. It says I I stand its surface one and I'm going to rename this political this, um, my first material good like that. So if you look right at the top in this area, you will see that a new material was created my first material right day. And then you've got your graph editor, you in the middle, we can actually see the different nodes. And we're gonna be on this note my first material, and this is where we're gonna change all the properties for that specific material. Then also, you have a preview render year in the side view so you can press and hold alternate keyboard, and you can click and drag to rotate around this. You can also change the object that it's gonna use to preview your material. So you at the top. You can see it's currently city Schaeuble, and you can change it to something like a cloth or a teapot or anything that you think will be a good representation to preview your material. So I'm going to say this back to Schaeuble. Another thing that you can do is year in the graph view. You can hold in salt and then you can write to contract. Zoom in and out, and you can also holding Ault and use your middle mouse button to pan around. Okay, so with your my first material notes elected, you'll see all the properties here on the side. And this is where we can sit all the different properties for that material. All right, You currently can see the color easy to white, so let's change it. I'm gonna pick on this white, and it's gonna bring up this color palette that you can actually select different colors and let's make this rate so it's gonna pull and drag around this area on the side and emotion and dragged down to read, and you can see that our preview automatically updates to that red color. So I'm not gonna go through every single parameter in this property editor because just just so many. And the best way to find out what they do is just to go in and play around with all these parameters and see what they do. But I'm going to show you some of the basic once that you can use to create most materials . So physical was the color and then this one, that's his metal nous. So if I increase this, you can see that our material will become mawr metal like the reflections. And you can also put it down this way. So it's nonmetal. This is more like a plastic look right, And then under speculator, we've got our speculator white, which will be I can see. If I pull this down to zero, there won't be any speculum highlighting If I pull this upto one, you can see that we have some nice Picula highlights and you can also change the color of this Picula. So I'm gonna leave it white for now and then one thing that's very important. These this roughness under your speculum now roughness will basically, if I increase this to one, you'll see that it won't be reflecting anything. It's a very Matt look, and it's not gonna reflect anything. If I change this to zero, you'll see that it's gonna be very, very shiny and very reflective s So this is basically the roughness off that material. How Rafferty's okay, all how Matt it is. So zero is very shiny. One. He's very met. Okay, so I'm gonna sit this down to about 0.1 somewhere there to have a nice little reflection going on, and then we have transmission, which is basically the transparency off this material. So if I said this to one, you will see that it will become transparent, almost like gloss. So this is basically where you change your transparency. So I'm gonna set perspective zero, because I don't want this to be transparent at all, And that's basically all that I'm gonna go into in this. Listen, you can obviously go through these others and play around with them and see what they do. Like the subsurface sittings and the code sittings. Emission is also quite nice. Emission will actually emit a light source from that material. So let's say I leave this whiter increase the weight off this you can see it's actually emitting a light from that material. So not really going to use that in this. Listen, I'm gonna sit this down to zero again, and then I got our first material. Sit up and let me show you how to apply this material to an object or a part of an object in your scene. Okay, so there's a couple of ways to do this. You can either middle mouse and drag on your material to a certain objects. So let me show you how to do this. So from this icon, you're my first material. I'm gonna middle click and drag onto the cylinder. All right? They can see we've applied our material to that cylinder. I'm gonna undo that. I'm going to show you a second way off, or you can apply a material to an object up and undo that. And then I'm gonna click and select my cylinder in my scene, and then I'm going to right click and hold on this material that I want to sign and then right at the top. It is a sign material to selection, right? If I choose that, that's gonna assign this material to everything that I have selected in the scene. So let me undo that again, and I'm gonna civic This were and I'm also going to select the cylinders. I'm gonna holding, shift and click. So I've got the sphere and the cylinder selected, and then I'm gonna write. He can hold on my first material and a sign material to selection conceded assigned to both of those objects. So I'm gonna undo that. And you can also a sign materials to certain parts often object, Right. So I'm gonna zoom in your and then I'm gonna go into face mode on this cylinder. So I'm going to select the cylinder and I'm going to rightly can hold, and then I'm gonna choose face, all right? And then we in face selection mode again. So now I can select some of these faces like an old in shifting click, and it's gonna click and select some random faces like that, and I'm gonna do the same. So I'm gonna rightly can hold on this material, and I'm going to choose a side material to selection, and they can see it's only assigning that material to those faces. So this is also a very nice way to only apply certain materials to certain areas off your object. All right, I'm gonna undo that, and then I'm going to go back into object months. I'm going to right click on this cylinder and I'm gonna hold it in, and then I'm gonna choose object mode, right? And I'll be back in object mode. So I'm going to zoom out here and let's apply or let's create a second material. One for this were one for the cylinder and then I'm also going to create one for the floor . So I'm gonna bring that I for shade back and before we want to create a new material. It's always good practice to clear this graph area. Now, you don't want to come in here and select this and delete this because if you delete this, you actually the lead your material, you just want to clear this area. And the easiest way to do this is to click on this icon right here. You'll see it's going toe little square with some stars in it. If you click on that but we'll just clear this area. Some kind of delete anything. The material Eastdil, they it's just gonna clear it out. All right, so you on the side, I'm going to go down to Arnold again, to Shader and to surface on. Then we're gonna click on this AI standard surface again to create a new material. All right, so first of all, we're gonna give it a name, so I'm gonna call this one. Let's go with blue plastic Press enter. And now we want to change some of the properties off this one to resemble blue plastic. So under the base, you can click the color, and we're gonna change this to blue to use a nice blue like that, And that's already looking really good, like blue plastic. So we can go near And maybe just look at the roughness if we want to make it a little bit Mawr Matt or a little bit more shiny like that. So I'm going to set the sun zero. Let's make it nice and shiny. So now we have a new material called Blue Plastic. So I'm going to sign the blue plastic to the sphere. So I'm gonna just drag with the middle mouse button and I'm going to sign that to my spear , and then I'm gonna sign the red material to this cylinder song in a middle click and drag like that. Right now, we want to create a material for the floor, but I want to actually use an image fire like a J pig, and then assign that to the floor. All right, so first of all, I'm gonna come into the AIBA shade and I'm gonna clear the graph area by clicking on this square with a little stars, and it's going to clear it out. And now we're going to create a new material for the floor. So again, under Arnold under shader surface, I'm going to click on a I standard surface to create my new material. And I'm gonna give this one a name of shouldn't call it would okay, because I want to take a wood or a wood texture image and apply that to this material. So if I go to my finder, I downloaded this would textured I just Googled would textures and it came up with a couple off within textures, and I downloaded this J pick that we're going to use. All right, so I'm gonna go back into my are and now under this wood texture under the properties way, we usually change the color under the base parameter. You'll see color is white. So for the wood texture for the wooden material, we want to not use a color. But we want to assign that J pick to this color note. So right next to color, you see this little checker box or it looks like a little checker icon. I'm gonna click on that, and this will bring up this create Orender note, and you can select different notes that you want to plug into the color note. So all very confusing, I'm sure. But for now, we're just going to select file because we want to use a file as the color. All right, I'm gonna choose file, and now you're going to see it's going to create all these different notes. So if I zoom out your slightly balding in alta and right click and drag, you can see that we have a place to d texture node. And then we've got our file note that I've created night. If I zoom in, you can see that's the file note. So basically the file. One node will go into our base color, which is that white. And if I select my would, you can see that we've got our base calorie. But now there's a different icon next to that color, which means it's actually getting the information from a different note. All right, so we're gonna go to the file, note this one, and now I can see it's gonna open up some different properties on this site while this file notice selected and you can see there. It's his image name and it's got a picture off a file or a folder. I'm going to click on that and this is gonna open up the browser. We we can select our image file that we want to use. So I've got my image volume I would textured not J pig. I'm going to select that, and then I'm gonna click on open so I can see that our preview image is updating already and you can see the wood texture there as well. Now we can go to this would note where it's got all the main parameters for this material, and we can still apply some different parameters, like let's say we want to make it more metal. I can increase that to make it more like a metal look. Or let's just decrease that because that's obviously not realistic for our wooden texture. And you can go down here and the roughness you can say the reflective. So if I said this to one, you can see it's very matter and it's not reflecting at all. Very dry kind of wooden texture. And if I said this roughness to zero, you can see it's very, very shiny and very reflective. So for now, let's leave it on zero The roughness and no one has signed. This wouldn't texture to the floor. So I'm gonna select the floor, and then I'm gonna write it on the wood material, and I'm going to click on a side material to selection. All right, now, now you're in the preview window. You can't really see the women texture. There is a way to enable it. So if you look at these icons right above this view port this one next to the light, it says textured. If I click this, that will actually show you a preview off the texture. So let's do a quick render and see how it looks like. So I'm gonna click on this I, p or button right at the top to open their interview and they can see it's actually Compper . Too nice. You can see the blue plastic. It can also see our light reflecting year in the on the wooden material. You can see the reflections off the sphere and the cylinder quite nicely. Let's create one more light source. I'm gonna zoom out your and under Arnold, I'm gonna click on area light and it's moving up and it's increased the size and scale it up. And then I'm gonna rotate it around, suppressing E and in rotating and down like that and let's move it up slightly like that, and I'm gonna increase the exposure off that light. So I'm gonna sit the exposure to eight, all right, and it's Amenia, and it's to another. Render a preview. So, as you can see, that's looking pretty nice. We've got our nice reflection at the bottom on the wood, and I've got our shadows. We got the light reflection there, and I'm gonna show you are to manipulator. You can actually change your materials while you look at the render preview. All right, so I'm gonna move my render over to this side, and now I can actually just select the wooden floor. So I think I showed you in one of the previous videos where we went over the attributes editor in the Athlete Editor. You can actually have access to that material. Because now, with this floor selected in the attribute editor, you can actually see there's a wood tab right here. And this is the material that's assigned to that object. So you don't really have to open the hyper shade every time you wanna. Um, it it that material, you can just do it right here in the actual editor, which is really nice. And now we can go down here and under speculum, going to sit there roughness to you about 0.5, and I can see that the roughness off this or the shiny nous off this texture will change. We don't see that reflections anymore. Let's bring it down to maybe 0.3. No, I'm bringing some of that reflection back. It's not air shiny as when we put it on zero. But you can see that it's actually still reflecting the light source. That's just not as shiny. So I can change this to maybe roughness point to, and that will update in our in the preview. So this is just a really nice way to change your material parameters. Let's say we want to change the color off this raid cylinder, so I'm gonna select the rates under and then in our actually editor, you'll see that there's a material assigned to this called my first material and night going here, and it can change this red, and we can make it any color. You want to make it green, and you can see it will update automatically in your in the preview. Another thing that you can do is you can also open the I appreciate. If you want to, and you can go in here. I'm just going to clear this graph view. First, I'm gonna click on this. We'll square with the stars to clear it out. Let's say, want to modify one of these materials? So what I'm gonna do, I'm going to click on this blue plastic material and then just above this graph view, I'm going to click on this icon, which will basically show all the input and the output connections for this material. So I'm gonna click on that and it's going to show me those nodes and then on this blue plastic note while the overt selected you can drop down or scroll down here on the side and this will give you all the parameters. So now we can go in and click on the blue, and we can change this to any color we like. Let's changes to like a yellow color and you can see that our render will automatically update. Okay, one more thing I want to show you. If we close this down and we go back into our hyper shade and I'm still unclear this graph area against, I'm gonna click on the square with the stars to clear it out. Now, let's say you have lots of different materials here in the stop section and you've got lots of material. We've got lots of different objects and geometry in your scene, and you want to find out what material is assigned to a specific object. So what would you I'm going to select my sphere just like that and then in the upper shade , I'm gonna click on edit, and then I'm gonna choose select materials from objects. So this is basically a highlight. All the materials that's been assigned to that object place, I'm gonna click that. And now I can already see that the blue plastic material is I liked it. And I can click on this important output node to actually show the properties for that material. So I can go in and you can choose and it can change the color. Maybe, let's change it back to blue and enough We close us down and I can see that we change the material off that sphere. So let's render that again and see how it looks like So you can see that we have that blue plastic material back on this fear. So that's the basics of using that. I appreciate Editor in my dirty Dozen and 18 will see in the next lesson 17. Environment HDRI and Reflections: and welcome back to this lesson. And in this listen, we're gonna look at HDR eyes how to use them, what they do, and I'm using that your eyes will just add a new level off realism to your renders. So what is in HD Orion etched your eye is a 360 degree image or a spherical image that we're gonna wrap around our scene, and that image will act as a light source as well as a source for reflections in our scene . So let me show you what I mean. So make sure that you in the modeling workspace and then under Polly modeling, we're gonna create some objects. All right, so first of all, we can create a floor, so we're going to click on the poly plane, and I'm going to scale that up, suppress or on the keyboard, scale it up, and let's create a sphere is well, so I'm gonna click on the sphere icon, and I'm going to scale it up a swell, and I'm gonna move it up slightly, so we have something like that. All right, so now we're gonna create our HDR I or hours Very cool map that we can apply that HDR image to. And to do that we need to create a SkyDome light. So it's in the same area where you will find the other lights, and that's gonna be under the Arnold tab. So I'm gonna click on the Arnold tab, and then we're going to click on this icon right here. And this is to create a new SkyDome light. So first thing you'll see that it's created this grid in the background. And if you zoom out here, you'll see that it's actually created this massive sphere around our scene. And this is the sphere that our exterior I image will be applied to the 306 degree spherical image, and that's going to create a light source as well as a source for our reflections. So with our SkyDome selected, if you can't selected, you can either just click in the background like that, or you can go through the outline er and then you can just click on the AI SkyDome Light one, and it's gonna minimize the outline er again, and then in the Attribute editor, you can see all the properties for that SkyDome light so, first of all, he can set the color off the SkyDome light. But we don't want to use a color. We want to use an image file. So the same that we did with our material, right next to color, you'll see this checker box. So I'm gonna click on the chicken box, and then I'm going to select file, all right, because we want to use an HD Arrive file and then it's going to show you this image name yet the actual editor, and then we're going to click on this yellow folder. All right, so now we're gonna browse to our HDR I file, and I've done that a two year and at the end of this listen, I'll show you we can find your own HDR. I files and I've got a forest one and also a small studio. So let's first use the small studios. I'm gonna click on the small studio file and you'll see that it looks like a sphere E Cole image, and I'm gonna open that, and that's gonna load it into our scene. So if I zoom out here slightly and if I just orbit around my scene, you will see that we are now inside this studio space and the really nice thing about using HDR eyes. You will be able to use thes lights in the scene as your actual light source. You'll see there's a light at the top on a rectangular light there, and we've got some around lights in this area, and it's going to use all the pixels and it's going to create a light source from all different angles. So let me show you what I mean. So let's create some materials for our objects. So I'm gonna go into the hyper shade by picking on this icon year. And let's just apply some very basic materials to these objects. So under Arnold, I'm gonna expand shader and then surface, and we're going to click on a I standard surface, and it's gonna add some basic material properties to this material that we're gonna apply So first awful. I'm the color. I'm gonna leave it white, and they don't want to make it a little bit more shiny or more reflective. So I'm gonna increase the middle nous just slide it up and you can see it's already Mawr shining more reflective and then under speculum gonna bring the roughness down to zero, and that will just make it nice and shiny. All right, now I'm gonna apply this material to both my floor and to the sphere. So I'm going to select the floor. I'm gonna hold in shift and select the sphere. So I've got all my object selected and then going to right click and hold on my material and assign material to selection. That's going to sign that material to both the floor on the sphere. All right, I'm gonna close the appreciate and let's do a quick surrender preview. So I'm going to click on the I. P or button at the top to open our in the preview and let's see what happens. So first of all, we can see that we can actually see our objects, which means that we have a light source or light sources in our scene. And if we zoom in? Yes, likely you can start to see the light sources actually reflecting all the studios actually reflecting in these objects, they can see the rectangle light is being reflected on the floor as well as some of the details off the studio. Okay, let's go ahead and change our HDR I to the forest hdr I image fallen CR That looks like So I'm going to select the SkyDome light against the just click in the background and make sure that this grid or this sphere is selected that your skied of light and then you on the side, next to color, you will see this note or this input note. I'm gonna click that, and it's gonna take us to this file note we we actually chose which hdr I to load in. So I'm gonna take on this yellow folder again and then again select our forest HDR I and I'm going to click on Open to apply that. And you can see that. Now we have this forest, um, SkyDome light so we can see it Looks like we actually inside this forest. So that's junior again, and it's to another render. All right, So first of all, you can see the trees and everything is actually reflecting in our sphere. And also on the floor was gonna zoom in your slightly more. And we're told this rain that completes so they can see you can actually see the trees, you can see the sky that's all reflecting nicely in our scene. So let's say you don't want to see this SkyDome light in the background off your render cause obviously, sometimes you don't wanna see the forest. You just want to use it as a light source and a source for your reflections. It's really easy to do that. I'm going to select my SkyDome light in my scene and then in the actually did it. I'm going to scroll down until I get to visibility. And visibility is we can change what you wanna use, what you want to see, what will be visible off this a. Sure I and right at the top, you'll see camera. And if I switch camera to zero, if I just slide this 20 then you will see that the east your eyes not going to be visible to the camera. So can't we can see that the reflection is still way, and obviously it's still acting as a light source because we can see our object and you can also go in and you can change. The diffuse will be the light source so I can sit that to zero as well. That's basically switching off the light source from the each year I and just leaving this speculate and everything else so I can see you only see the reflection. You don't see the actual light source or you can switch off the speculum, which will switch off the reflections. And I can't see anything because we've switched off diffuse as well. And I could just use the few slider Teoh basically use the each year I as a light source only so it's not going to reflect the HD Righteous can use it as a light source. So for most of the part, you'll only use the diffuse, the speculator and the camera slider. I'm gonna bring up the speculator again because I want to see the reflections again and for camera. If you don't want to see it in the background, just sit that to zero, and the next year I won't be visible to the camera. So there are lots of websites with free HDR I maps that you can download. I found one today. That's pretty nice, and it's called HD or I even dot com. They've got hot absent free HD arrive Maps on you can go in here and click on HDR eyes and they've got like outdoor skies, indoor studios, nature, urban night. Quite a few different hdr ice that you can download will give you like a little preview off are the reflections will look like so really good side to check out extra. I haven that come, but you can also just go ahead and Google free HDR I maps or just free HDR eyes or free HDR I downloads and I'm sure you will find quite a few websites with some nice HDR eyes. So this is basically I use as your eye maps inside off my 2018 also you in the next lesson . 18. Using Image Planes: Hey, and welcome back. And in this Listen, I'm going to show you guys how to use image planes in my 2018 so that you can use blueprints or trace objects, and you just use them as a basic blueprint. So festival. I'm going to expand my outlining here on the site, and then you can see you've got your perspective camera, your top camera, your front camera on your side camera, and that will be default. Hey, didn't cameras and you're seen, and that's basically to change between the different views. So if you inhumane perspective, you and you press space ball, you will get all these different views, as we have seen in a previous lesson. So you've got your top view, your front view, your side view and in your perspective, you and it's say you have a blueprint for a plane or a car or some object that you wanna basically trace and model inside of my are. You can use thes view ports or these different views and blueprints to basically place image planes in your scene, and that you can use as a reference to model your object. So let me show you what? I mean, so I'm gonna go into the top view, and I'm going to create a blueprint off a or an image plane with a blueprint off a plane that we can use to trace in our top view. So I'm gonna hover the mouse pointer over the top view, and I'm gonna press space bar to maximize this view and now want to place my image plane. So I'm gonna expend the outline, er, and then I'm going to select my top camera because I'm in the top view. So just click on top camera right here in the outline, er and then under the attribute editor, we're gonna scroll down to environment. I'm just gonna expand that so you'll see it's got an image plane here and it says create. So we're gonna click on create, and then it's gonna give us some properties off that image plane or that image plane attributes that we can change and you've got an image name and we've got a folder or a file icon. I'm going to click on that, and that's basically going to take us to our browser again. And then I'm gonna load this plane top PNG that I just downloaded off Google. I just searched a plane top view and I got this picture of Google. So I'm gonna open up that, and that's gonna bring that into our image play. Now it's gonna create an image plane with that image on so I can go in and we can scale this or move this or rotate this. So with this image plane selected, I'm gonna press are on the keyboard and I'm going to scale it up. And you can also e and then rotated. If you want to weaken press W, and you can move it around, so it's gonna undo that. Leave it centered. So now we've got this image plane in our scene, which is basically just a flat image and a reference. So if I press space and I go into my perspective, you you will see that that reference file is sitting on the grid. So now I'm going to go back into the top you. So I'm gonna press space over over the top view and then press space again to maximize that and that we can hide our outlining for now and now I can go in and I'm going to go to the Poly modeling tab and I'm gonna create a cube. And then I'm gonna move this cube up to around here, and we want to sit this cube to only show the wire frame because if we know, scale this up, we won't be able to see our image plain below our geometry. So I'm gonna under that And then right here at the top, you'll see a little icon that looks like a wire frame. If I click this, then my geometry will be displayed as wire frame. So now I can go in and we can scale this cubes I'm gonna press are to make sure that I'm on my scale properties and scale it out this way like that and also gonna skated up like that . And now we want to add some extra geometry to this basic cube shape. So in the attribute editor, I'm gonna click on Polly Cube one, and this is where we add some subdivisions. So I'm gonna add some subdivisions for the with the height and the depth, So I'm going to sit this 2555 so I can see you in your view port that we've created some extra geometry and let's go into Vertex mode and I'll show you how you can use this reference image to model certain objects. So I'm gonna holding right click at I'm gonna change to Vertex So now we're in Vertex mode and now we can go in and you can actually select some verte sees and he can press w you can move them around. So let's see if we can trace just the basic wing for now. So now I want to select these Vergis ease on the right inside, and I'm gonna hold in shift and selective Otis, easy on the left inside as well so we can move these Burgess sees together so I can move them up and down so I can just freely move them like that. Let's undo that or weaken scale them. So I'm gonna press are on the keyboard, and I'm gonna scale them inwards. So just pull them up like that. And then I'm gonna press w on the keyboard and I'm gonna move them up so that we can not aligning this reference image in the background. All right, let's go ahead and do the same with these for disease. So I'm gonna select these and all sold in shift and select these and they almost perfect. I'm just going to slightly move them down like that, and maybe we don't really have to scale them. And I'm going to do the same with these for to seize. So I'm gonna select these ones old and shift, select these ones. I'm gonna move them down slightly, and I want to scale them up as well. So I'm gonna press or on the keyboard and then scale them in this direction, so we kind of matching our reference image. All right, so now if we go back into our perspective use I'm gonna space on the keyboard and then I'm gonna hover over the perspective. You press space and let's go back into object, Moz, I'm gonna rightly can hold and choose object mode so I can see that we've created a basic shape for our wing for our airplane. And this is just a really simple way to use reference images to model objects. You can obviously coming here now and you can create a front blueprint or an image plane as well and the same with a side view. And then you will have three different reference images that you can use to model from. So once you render this, your reference image weren't render and only your geometry will render. And that's just an easy way to use a reference images to create your models. So that's how you use image planes in my 2000 and 18 I will see you in the next lesson. 19. Animation and Keyframes: Hey, and welcome back to this lesson where we are going to look at animation and key frames in my 2018. So before we start animating anything, let's just go over some of the interface parts that we are going to use for animation. So right at the bottom, you can see these numbers and these are frame numbers. So currently it's going from one all the way. 220. And, yeah, this is just the number off frames that we currently looking at right below that we've got two numbers on the left hand side and two numbers on the right inside the number on the four left one that you're starting frame and in the number on the four right, which is 200. That's the end off our animation duration. All right, then. The second number on the left hand side is the starting position, often area off the animation that we're going to focus on. So let's say your animations got 200 frames, so it's going to start it one, and it's gonna in the 200. But let's say you only want to focus on frames from 100 250. Then you can sit this position or this frame to 100 in the second number on the right inside to, let's say 1 50 So it's only going to focus on those frames on those 50 frames, and you can see that our sequence updated from 102 150. Only that section, but the other frames are still there. It's just not shown in your sequence. So if I do a playback, if I click on this play button, you'll see that's gonna loop through frames 102 150. So you can also use this gray bought to just drag the sliders and sit your focus area that you want to work on. But for now, we're just gonna sit it from one for the way to 200. All right. Another thing that you can do is a right here on the right. Inside, you've got this little running man and a gear. If we click on this, this will open up our animation preferences so you can see the frame rate that it's gonna run out. So currently it's 80 24. We're going to leave it on that for now. You can change it to 30 or 60 or whatever you want to make your frame right. And then it's got your playback start and end and also your animation starting end. And this is basically what I've showed you these numbers here. So the playback starting in This is the second number and the second number on the right inside. And the animation started in. That's the first number in the second or the four right number on the right. Inside playback speed. I'm gonna sit this at play every frame and in maximum playback speed. I'm gonna sit that to 24 frames per seconds. Times one writer viciously con save. And that's basically the animation preferences. So let's start animating some objects. So under the Poly modeling tab, um can create a simple severe, and I'm gonna move it over to the sites. I'm gonna press w on the keyboard and was gonna move it over to the side, and then a really easy way to sit a key frame on a specific object is just to press the letter s on the keyboard. So I'm gonna press the later s on the keyboard. But first, before I do that, make sure that you are on the correct frame where you want to place that key frame. So I'm gonna just drag this number over on this sequence, gonna drag it all the way to frame number one to make sure that we are on frame number one . You can also see that we are on frame number one if you get this number right here. So with this severe selected and we on the frame, we want to create our first key frame. I was gonna press s on the keyboard, and that's going to create a key frame for all the attributes, movement, rotation and also scale on that object. And you can also see you on the sequence that created a red line, which means that is a key frame. Now I'm gonna go to frame 100 so it's gonna drag in the sequence here, and I'm gonna go to frame 100. You can see that we are 100 right here. You can also type in a frame that you want to jump to right there, and I'm gonna move this sphere over to the other side of the grid. So I was gonna drag it over to this side, and you can see there's still a key frame on frame number one, but there's no key frame on frame 100 yet, so we're that's were selected. Press s on the keyboard, and you can all see there is a red line on frame 100 which means there's a key frame on that frame. So now if I scrub through year, you can see that we have created this animation. So from frame one all the way three to frame 1/100 it was a playback. And you can see that our spirits moving across the grid and yeah, so that's basically very simple how to create your first animation. So let's say we want to increase this scale off this sphere over time, so I'm gonna go back to frame one, and let's say we are happy with the scale where it's going to start. I'm gonna leave it as is, and then I'm gonna go over to frame 100 then I'm gonna scale this sphere up, so I'm gonna press or on the keyboard, and I'm going to scale it up And then we want to create a new key friend because we actually changed some of the parameters now. So with us were selected, I'm gonna press s on the keyboard again to create a new G frame. And now let's go back to frame. Once we're gonna drag it through and I can see that I was scale on that object is also animating. Okay, let's delete this and it's created a new object. So now, under Polly modeling, I'm going to create a cube and musculoskeletal. But I'm gonna press or on the keyboard, and I'm going to scale it on the X axes like that. And then I'm gonna move it over to the site so pressed w on the keyboard and then move it over to the site. Now I'm gonna show you how to add key frames on specific parameters only. Let's say you only want to add a key frame on the translation of the movement or the position off your object, or you're only one at a key frame for rotation. We only one at a key frame for scale. So with this object selected, make sure that you on the correct frame So we currently on frame number one, and then I'm gonna click on P cubed one year in the Attribute editor. And this is where you can see the transform attributes like you translate, which is the movement of the placement of the position off your object in your rotation and then also scale. All right, so I want to sit a key frame for translation on this object on frame number one. So make sure you're on frame number one. You've got the object selected, and then on the word translate, I'm going to right click, and I'm gonna choose sit key, and you will see that will turn to raid, which means is a key frame, but only on the translation attribute. All right, Now I'm gonna go over to frame number 100 sums, dragging this sequence to frame 100 I'm gonna move this object over to this side off the grid. All right? Now I can see that our translate parameters changed, too, like a pink color. And I want to set a key frame also on drones late on from 100. So now I'm simply gonna rightly gone translate again, and I'm gonna sit key, and that's gonna create a key friend there. You can see there's a red line and we've got our red line on frame. One enough. I scrub through this, you'll see that we've created this animation. I can also play this back, and you can see that our cube is moving from this position to that position. All right, let's say we want to add some rotation key frames as well. So I'm gonna go back to my first frame and I'm gonna rotate this object. So I'm gonna press key on the keyboard and I'm going to rotate it like that. All right, Now I want to create a key frame on the rotation parameter. So with this object selected, I'm gonna write it, rotate, and I'm gonna choose set key, and that's going to sit a key frame on the rotation parameter. Okay, now I'm gonna go to frame 100 and I'm gonna rotate it again. So I'm gonna write it, say this way and I can see that our rotate dramatist and pink again. So I'm going to right click on rotate, sit key. And now we've got a key frame on translate as well as rotate. So now if I play this back, you'll see that we have a rotation as well as a translate animation. So lastly, we can also do a scale key friends. I'm going to go back to the first frame. I'm gonna rightly gone scale, sit a key, and then we're gonna go to from 100 I'm going to scale it down. So I'm gonna press or on the keyboard scaler down nice and small. You can see scale actually turned pink again, which means it's changed. So I'm going to right click on scale, sit key. And now, if you play this back, you'll see that the scale will also be animated. Currently, we only working from frame 1 to 100. So I'm gonna change my animation duration to only use 100 frames. So this number right at the end, I'm gonna change it to 100. Press enter. And now we changed our animation duration to 100 frames. It's enough. I play this back, you'll see that we'll loop between from one and 100 so you can basically create key frames on most parameters in my are so let me show you how to create a key frame on a material that you create it. So first of all, it's open the I P shade, and I'm going to create a new material for this object. So under Ronald Shader and then surface, I'm going to click on a I standard surface and we can leave the name for now. And I'm gonna leave the color as white as well. So I want to sign this material now to this object so much in the middle mouse, click and drag and drop it onto this object. All right, so we can go in and close the hyper shade. And now we've got our object that's animated with our new material. So let's say we want to animate some of the material parameters, so I'm gonna select this object. And yet the attribute editor, you actually see your new material, which is called a I standard surface one. So I'm gonna click on that, and I want to set a key frame on the color parameter. All right. On the first frame, I'm going to right click on the word color, and I'm gonna go sit a key, and that's gonna create a key frame for that material. So I'm gonna go to frame 100 I'm gonna change the color. So I'm going to click on this white and let's change it to raid like that. And I'm going to write take again on color, and I'm gonna go sit key. Okay, So now if we go back to frame one and I playback, you'll see that the color is actually gonna update from Whitehorse. Can change from white to red over time. So I'm just basically showing that you can add key frames to most of the parameters in my are or most of the parameters that you can find an attribute editor, which is really nice. So let's just do one more taste. I'm gonna delete this object and let's create a new cube. Look, I'm gonna press w on the keyboard, and I'm gonna move it to this corner right there. Okay? I'm currently on frame number one. So let's go to our P Cube one where we see our transform attributes and I'm going to sit a key frame on translator. I'm going to write. You can translate sit key. Also on rotation. So right kick, sit key. And we're not gonna do scale this time. So let's go to frame number 20. And then I'm gonna move this cube over to this side, and I'm gonna rotator around something like that. And now let's sit a key frame on translate and writer against. I'm gonna write the controls. Light said key and right Click on Rotate Sedki. All right, let's go to frame number 40 and I'm gonna priest w on the keyboard. It's moved the cube down to this corner, and I'm gonna rotated as well, suppressing e on the keyboard and just rotated again. All right, now we want to sit new key frames. So right to control Slate Sedki erratic and rotate Sedki. Okay, let's go to frame number 60 and we're gonna move it over to this corner. So pressed W on the keyboard moved over, and it's rotated so e on the keyboard and rotated a bit. And let's sit the key frames. Psoriatic translates city. Right. Take rotate. Sedki. Okay. And now, if we play this back, so it's going to frame of one playback, you'll see that we have that animation. So the cube is moving and rotating, and yet it's doing it over frames 1 to 60. And that's basically how easy it is to add key frames and animation in my 2000 and 18. In the next lesson, we will look at the graph editor, where you can go into details and manipulate some of the key frames that you have created for your animations. Thanks watching I'll see in the next lesson. 20. The Graph Editor: Hey, and welcome back. And in this listen, we are going to look at the graph editor, right? So graph editor is basically a an editor. We can see your key frames, and it's all in graph form, so it's a really nice place that you can use to edit your animations. So let me show you what I mean. So visible, we're gonna go to our modeling tab. And under Polly modeling, we are going to create a simple cube, and I'm going to scale it up slightly so we can see it better. And then I'm gonna move it over to the side off this group, so I'm gonna press w on the keyboard, and I'm gonna move it over to the side. All right. Then, in the attribute editor, I'm going to click on P cubed one so we can see all the transform attributes. And now we want to create a key frame for all these attributes on this cube. So make sure you've got the cube selected and make sure you on frame number one, and then I'm gonna press s on the keyboard and you'll see that the translate rotate and scale Walter and red, which means we've got a key frame. Sit for those attributes. Then I'm gonna go to frame number 50. So just scrub your in your sequence and go to frame number 50 and then we're gonna move the Cube over to this side of the grid, and then I'm going to scale it up a swell. So I'm gonna press, are on the keyboard, scale it up, And it also gonna add some rotation to this cube. So press e on the keyboard, and I'm only gonna add some rotation on the Y axes. So this axes, So it's gonna add some rotation, something like that. And you can see that all these attributes turn pink and we want to set a key frame. So where the cube selected, I'm gonna press s on the keyboard, and that's going to create a key frame they can see on the timeline. You've got a key frame at frame 50 and also key frame at the first frame. All right, enough. We scrub through this, you can see we've got that animation. And now I'm going to change this focus area off our sequence to only show frame 1 to 50 So I'm gonna change this 1 20 on the site on the right inside. I'm gonna change this to 50 presenter. And now, if we play through this, you'll see that it's only gonna loop one to frame 15. Okay, let's open the graph editor to see what our animation looks like on a graph. So without cube selected, I'm going to go right to the top with his windows, click on windows and then go down to animation editors. And then we're gonna click on graph editor, and that's gonna open up the graph editor for us. So physical you can zoom in and out by holding in ault and then right click and dragging sideways. And you can also holding old and middle click to pan around the scruff. So let's make it slightly bigger and so that we can see it a little bit more clearly, right? You can see we've got some different graphs here. We've got a green one, and summer red and pink wants you at the bottom. So if I drag a box around this green girl for the screen line, that's going to highlight that one and it's gonna show me on the side, What parameter that is. So if I like this, you can see we've got RP Cube one year and all these attributes below it. And because we selected this one is going to create this little cube next to that parameter . So you can see this line is actually the rotate. Why, okay, And that is the rotation that we add it to that cube and then we've got two more lines at the bottom is gonna highlight one of them. So going to drag a box from this one? That one is the translate X, and this one is our scale. So you can obviously see We are scaling X, y and Z because we're scaling in all different directions. So those ones are the three there. So let me show you that we can actually change some of these parameters by using the growth editor right at the top. You've got your frame numbers. He can see this is currently on from one, and you can click and drag this. And as I drag this, you can actually see that it's updating our view port accordingly to that frame number. Now we can take this point that it created on this rotate. Why axes? And obviously that's the value. So if I select that point, it's going to show us the value at that point and you can see that right at the top. So that value off that point is 1 98 degrees. That's our rotation, and it's also going to show you the frame number. So let's say you wanted to do 100 and 80 degree rotation at that point so you can select this point and then you can just type in your value at the top. So I'm gonna make it 1 80 and ah, then basically, if we play this back, our cube will rotate exactly 1 80 degrees. Okay, let's stop that. Let's change it to 45. So I'm going to select this point again on my rotate. Why? And I'm gonna change it to 45 degrees. Press enter can see a changed our graph and let's play through our animation. So I'm going to go back to the first frame playback, and I can see it's only rotating 45 degrees. Okay, let's go back to the first frame. I'm gonna go back into the graph editor. Let's zoom in slightly and maybe, let's say we want it to rotate. But we wanted to rotate or finish the rotation at frame number 25 then after that it's not gonna rotate anymore. So you can basically just drag this point around and reposition it, or you can just selected and weaken type a position at the top. So the frame number I'm gonna change to 25 and in the amount let's change the amount to 180 degrees. So basically, we wanted to rotate 190 degrees a 25 frame or frame number 25 then after that it's not gonna rotate anymore. So let's have a look. As you can see, it's rotating and then it stops rotating at frame number 25. Then it carries on moving to the end position. Okay, I'm going to stop that. Go back to the first frame and let's say we want it to complete this animation in not 50 frames but 25 frames. So we can basically select all of these points here at the bottom, and I'm gonna change them all to 25 it's gonna jump to that 25 position. So now if we played back, it's gonna complete the whole animation in only 25 frames. So you can see the animation is a lot quicker now. Okay, so let's say we want to add another rotation on a different axes on this cube. So I'm gonna select the Cube again and go back into the graph editor. And first of all, I want to make the animation lost up to 50 frames against. I'm going to select all these points and I'm gonna change the status at the top. The frame number 2 50 So it's gonna jump to 50. Now, if we go back, we've got that full animation over 50 frames again. Just like that. It's rotating 180 degrees. And let's say we want to add some rotation on the X axes as well, cause covered. You've got the rotation on the Y axis only. So I'm gonna go to frame number 50 gonna select my cube, and then I'm going to rotate it on the X axis, which is this ax easier. So I'm gonna add some rotation to it like that, and then I can just press this on the keyboard, and it's going to create a new key frame for that parameter. So now I can see we've got a red line and also in green lines of the Green Line. If I select that, you can see that say, rotate. Why? And the raid is the right eight X Okay, and if we select that point on the raid rotation, you can see that it's rotating. Ah, 192.6 to 7 degrees. So let's change that 280 as well. So I'm gonna type in under an 80 person enter, and now it's actually on that or just behind that green line. So now if we go back to our view port and I play this back, you'll see that it's going to rotate on. Those two. X sees its rotating on the Y axes as well as the X axes. Okay, let's stop that. And that's basically how easy it is to manipulate your animations. Using the graph editor admire 2018. I'll see you in the next listen 21. 3D Text: hi and welcome back. And in this listen, we are going to get how to create three D text in my 2018. So very simple to do Make sure that you are on the modeling workspace. And then under Polly modeling, we all going to click on this T and it's gonna bring up some three D text for us. Now, if you click this t for some reason and it doesn't bring up anything, it means that you don't have the plugging loaded. So let me just quickly show you. If you click on this, nothing happens. Thing go to windows. Here at the top of the sittings preferences go to plugging manager and then scroll down until you see type, bundle. Make sure that's loaded and also auto load. You can think that. Just take both of these. Close it and then it should work if you click on the tea. So we're gonna zoom out you and you can see that we've got some three D type there, and in the end, the attributes editor is we're gonna change all the parameters for this three d text. So first of all, we can type anything you want to? Ah, let's just call this my three d fixed. Okay, then you can also align it So airline left middle or writes. I'm gonna align it middle center and she's gonna center my text. Mice like that and they can also change the font. So just year above the input section, you can drop this down and then you can choose a fund. So let's just say this too. Something like Ariel Black, something like that. And then you can also change the bold or regular all of these parameters. And yet the bottom you can change your font size and it can change the tracking and the turning scale, which is basically that. And then you can go into your geometry. And if you scroll down here, you can enable extrusion which will be enabled by default, and this will base could give you the option to extend the extreme distance. So if you change this amount, you can see they that it will actually increase the thickness off your three D text. You can also change the extrude divisions. So currently, you see, if you look at this from the side, you can see that we've got four divisions going down on the side. You can increase this to add some more geometry. If you want to weaken, decrease this only have one we consider to any amount that you wish. Right. If we scroll down further, we get to Bev ALS. Let's enable the bevel, and that's gonna create like a soft or a round edge on the three D text. You can see the looks nice and soft. So come from Gdynia on the bevel distance. You can change this and that will actually increase or decrease the bevel amount. And then you can also play with the bevel offset. That's just how tight you want that able to be or how smooth he wanted to be. So if we zoom in here on this age, you can make it so it's really kind of tight like that, or a little bit more rounder around the edge like that Curly, Just go up again, scroll up and go back to text and are now I can just sit, are tracking so that the letters or not touching. So I was gonna move that further away and, yeah, basically can not just go in your victor text. Get your type one tab and you can change your text. Years I was gonna type three d like that, Onda and the three texted me. Just focus on that by pressing if on the keyboard. And Yeah, I really, really simple to create some really nice three D text inside Meyer 2018 all to you in the next lesson. 22. UV and UV Projections: Hey, and welcome back. And in this listen, we are going to look at U V s and UV projections. Um, no, you projections is quite a complex subject, But I'm gonna try and cover most of the basics that you will be able to UV your object and to texture them so But you've es are the way that you will texture or add textures and materials to certain objects in my are. And I think it's gonna be the best if I just show you and trying to explain what you these actually are so physical. I'm on the modeling tab and I'm gonna go to Poly modeling. And then I'm gonna create a simple cube and let's scale that cube up a little bit. So I'm gonna press are on the keyboard, and I'm going to scale it up so we can see what we working with when you compress if on the keyboard to just focus on that cube. So let's create a new material. So I'm going to open up the hyper shade. So by clicking on this little sphere young and open up the shade and then I'm gonna go to Arnold and then shader and in surface. And I'm going to click on a I standard surface to create a new material. And I want to basically apply a crate or a wooden crate material to this cube to all the sites. So let me show you. If we just apply that out, that's gonna look like so on. This material makes to color year in this property editor. I'm gonna kick on the chicken box next to color, and then we're gonna select file because I want to use a file that have dominated from the Internet. So I'm going to click on file, and then I'm gonna click on the yellow folder. You're on the side to select my texture. So I got this Wouldn't create texture that I don't know that they can see a preview of it. I'm gonna click on open to use that texture. All right, let's give this material and name. So I'm gonna click on this ai standing surface one, and I'm going to give it a name. Just call this would. All right. And now one, apply this texture to this cube, so I'm gonna middle click and drag and drop this material onto this cube right now, we can't see any textures in our view port. We need to enable that. So to enable that click on this little circle with this chicken box yet the top, and then it will show you your materials. And as you can see, this is not looking right at all. So let me try and explain to you what it's doing is taking that square image or that image file, and it's actually stretching it around this cube, so it's not applying into each of the side panels, and that's really what we want. So if I select this box and we click on you ve year at the top, and then I'm going to click on UV editor, that's gonna open up the UV editor, Andi, this will basically explain to you slightly better what is happening. So because we've got a cube, it's got six sides. So if we unwrap these six sides and replace it on a flat to the surface, we will get something like this so you can see we've got the six sides off the cube and its basically unwrapped and laid out flat inside this grid, and they can see, that's our texture. So, as you can see, it's not mapping it correctly, because what we wanna do is run a map this texture onto each off these six cubes or squares . Actually, so we want to map it that way. And currently it's not mapped like that so we can go in here and I can right click, and I can click on UV shell, and this whole thing is called one UV show. Now I can click on it, and I can move it around. So by pressing W on the keyboard, I can move it up and down and you can see the texture on the object that's actually changing because we are manipulating the way that that you ve shell is lying on top of that texture so you can move it around. It can move it sideways, but you're not going to get the desired effect. So basically what we need to do is we need to cut out all these squares and in size them up so they cover this area so that that area, or that image is actually projected onto that square onto each square, and we need to overlap them as well because we have six. So we're gonna put all six inside this square. So what we need to do is we need to cut these ages. All right? So I'm gonna rightly can hold on this UV shell, and I'm going to select edge and and I can see we can select these ages, and as I hover over them, you can actually see them highlighting on our object. So this line year, you can actually see this line in this area also highlighting, which means that is the same edge. So I'm going to select this edge, and then I'm gonna go to cut and sew, and then I'm gonna click on Cut, and that's basically gonna cut that age for us. And now if I click and select U V. Shell, you will see that we have to UV shells. So we've got this one, these three squares, and in also this one, these three squares or three sites. So now I can go in and I can actually move this one individually. And I can move this you Michel individually as well. So we want to cut it up. So we have six separate parts So I'm going to write. Think again, Holden Edge, and I'm gonna click on this edge. Gonna go to cut and sew. Cut. All right. And now this one should be separate. If I write big UV show, we will see this side is separate now. So I'm gonna do the same for all of these. So I'm gonna write the edge kick on this edge, cutting so cut. I'm going to cut this ages will cutting, sewing and cut. And the same with this one. Getting so cut. All right to know if I go to you, Michel, we should have six individual sides. I see this one didn't cut, so I was going to go age again. Select that age, cutting so cut right at you. The show. Now I can move this one as well. So now you can see we've got six separate sides off this cube. So no, basically, I want to move them into position, and I want to scale them up so they fit inside this grid or this layout so you can go in and you can press or on the keyboard, and you can try and scale it and try and move it and try and get it exact. But there is an easier way to do this. So what you do is make sure you are on UV Schultz. If you right, click and hold, make sure you select you the show and then select one off the U. V's. With that you be selected or with a UV shell selected, we're gonna go up to modify, and then you gonna go down to lay out, and we're going to click on the little square next to lay out to open the properties off that Kamande. All right, so there's a few things that we need to change your right at the top with his layout objects, you can either choose per object overlapping or single or multiple objects non overlapping . Now, because we want to overlap all these six sides over this area, we're going to select the top one, which is per object overlapping. And then another thing that we can change these with this scale mode. You can either leave that as none, and that means it's not gonna scale your ubi show uniform. It's going to scale it uniformly and then stretch to region. That's basically going to stretch it. If it's not a perfect square, it's going to stretch it to fit that area. So we don't really have to stretch in this case because these ones are square already. But I'm gonna say that to stretch the region anyways. All right, then you can click on apply and you'll see that that you ve that you, Michelle, will be stretched and will be foot into this area perfectly. So now if I just move this out of the way and we'd rotate around our object and you can see that our texture is covering this side perfectly. All right, let's do the same with the others. So I'm gonna go back into the UV editor and I'm going to select my second you re show, and I'm going to go to modify. And now I can just look on the layout because it's actually going to keep the properties that you sit in the first place. So when you click on that and you'll see, it will jump into position. Let's do the same for this one. So select this. You the show go to modify layout. Same with this one. Modify. Lay out some of this one modified layout on the last one modified layout. Okay, Now I can go in and close the UV editor and a little look at our object. You can see the sides are looking perfect. Top is looking good on the bottom is looking good as well. Now, let's say you want to rotate one off these panels. Let's say you want this panel to actually change the angle off this texture, so I'm going to select this site, is gonna move it over, and I'm gonna open up the UV editor again. So UV UV editor. Okay, now we've got this UV shell selected, and I'm going to rotate it. So I'm gonna press E on the keyboard, and then you can basically rotate it, and you will see that will update on your object. Now, if you don't have snapping on it might be a little bit difficult to rotate it exactly 90 degrees. So if you move this UV editor over to the site, you've got some parameters here that you can see it. So if you scroll down under transform, you'll see tools. Scroll down a little further. You will see these rotate and then they're is step snap, which by default will be off. So just turn this on and you can also set the increments in degrees. Currently, it's a to 15 degrees in increments, which is really nice because you can rotate it as you desire and it will snap at 90 degrees are actually at 15 degree increments, which is really nice. So now I can change. You can see the sticks. Joey's. It's got this diagonal line. I can now rotate it over. So that diagonal line is lying this way. Such is an easy way to change how each off these UV sides will actually be textured. So let's just go over. I'm gonna move this object over, so I'm gonna press W on the keyboard, moved over to the side, and let's create a different type of object. So under Polly modeling, I'm going to click on this cylinder and I'm gonna skated up, so I'm gonna or in the keyword scale it up. And maybe that's skated up like that as well. All right, so now we want to apply a material to this object. So first of all, I'm gonna open up the I p shade and we're going to create a new material. So make sure that this grid area is clean. If it's not, just click on this little square with stars and then I'm gonna go to Arnold again. Let me just resize this slightly. So under Arnold and in Shader and in surface and then AI standard surface and then under color, I'm going to keep on the chicken box because we want to add a file and I'm gonna choose file from the list. And then I'm going to click on the folder to brass to my texture. And I'm gonna use this Coke label texture that I just don't let it off Google and I'm gonna click on open. All right, so you can see that picture is loaded. And then this AI standard surface I was gonna rename it, so I was gonna call it Coke label. All right, now I'm going to apply this to this object and let's see what happens. So I'm gonna, medically can drag the Coke label onto this cylinder, and I'm gonna close by Harvey Shade. And you can immediately see that this is not looking great. So what, we're gonna do is we're gonna add some UV projection to this object. So I'm gonna show you if I select this object And if I go to UV and then you can select a couple of options, you can either choose automatic based plane, camera based, contour stretched, normal based cylindrical plane or and spherical. So because this is a cylindrical object, I'm gonna go with cylindrical and immediately can see that the texture will change. All right, on the sides, it's not looking too bad, but we've got some tiling. That's not great. And they can also see the top, and the bottom is not looking good. So with this object selected, I'm going to go into the UV. Editor is going to show you guys what it's doing currently so you can see our ubi shell and you can see our texture in that square. Obviously, we want to try and fit everything inside that square. But something is not right with the top and the bottom section. So if I go into my object again, if I right click and select face and I select some of these top faces just holding and shift in clicking, you can see in the UV editor, It's not really showing us the faces, these faces on this flat surface. So if I just hover over them, you can see that you at the top somewhere it selecting those lines of those ages. But we can't really see the flat surfaces off those faces. So what we can do is I'm gonna just object mode again. Just selected again like that. And then I'm gonna go to UV and I'm gonna try automatic and see what that us it's Now we're using an automatic projection and you can see in the UK it until it already changed some of the things around here. So now we can see these top pods off our can. You can see those faces, they and then you can see the rest of the faces that goes around this cylinder. You can see them. If I hover over them. You can actually see that they're highlighting in this area if I go into the UV attack and over across them and they will highlight on the object. So again, this is not perfect, because we've got these top panels that we not really want. Teoh cover with this label. We only want to cover the side faces. So what I'm gonna do, ease? I'm gonna close the UV editor, and then I'm only going to select the faces that we want to apply this material to. All right, So to do that, make sure that you in face murder, right? You can hold an interdict face, and then I'm just gonna go from this side, like, from a side view like this. I'm going to drag a box like that, and then you can see that it will only select the faces around the cylinder. And it's not going to select any faces at the top, and it won't select any faces at the bottom. All right, so we've got those faces selected, and with him selected, I'm gonna go to UV at the top, and then I'm gonna choose cylindrical. All right, So now if I go back into the UV editor, you will see that we still have those to the top and the bottom part that we can delete. So I'm going to right click and go. UV show can click on that one. I'm gonna delete it, and I'm gonna click on this around one as well deleted. And now we only left with these side panels or the side faces that actually goes around your cylinder. Now we want to try and match the size of this to this square. So I'm gonna select this, you the show, and then go back to modify and in layout. So I'm gonna click on the little box again next to lay out, just to make sure that these sittings are still right. So put object, overlapping or non overlapping doesn't really matter, because we only have this one you be show we're not gonna overlap anything. But yet the bottom wood says scale mode. Make sure there's a sitting stretched to region because we want to resize this into a square and we don't wanna scale it uniformly right and left. He can apply and you'll see that our ups are now exactly fitting this square brunch Gonna move it over the side and you can see something that's not right. Currently, the rotation or the angle off this label is definitely not right, so we need to rotate it. So I'm gonna go back into the UV editor, make sure that you are a newbie shelter rightly can hold take on TV show. So select the Serie Shell Press e on the keyboard and I can rotate it. There we go. If your rotation is not snapping, go to the side of the UV editor and make sure that under rotate step snap should be on. Okay, I'm gonna close you editor. Now you can see it looks it looks good, but it's actually upside down. You can see that takes the other side is upside down. So I'm gonna go back into the UV editor and I'm going to click on this UV show, and I'm gonna rotate it some more. So all the way around like that. Now, if we go back and look at our object was gonna changes to object mode, you can see that everything is looking good. So this is just a quick overview off how to UV project your textures onto your object. I think if you kind of understand the basics, you can go run and play around with you, Ese cr. They work on different objects, and that's just the easiest way to learn. So thanks for watching. I will see you in the next listen 23. Bullet Physics Engine: Hey, and welcome back. And in this listen, we are going to look at the bullet physics engine in my 2018 so by default, you should be in your modeling workspace. But we're gonna change this to FX, so right at the top. So just click on the drop down and make sure that you are on the FX workspace. And before we get started, let's make sure that the bullet engine plugging is actually loaded so right at the top, go to windows and then go to settings and preferences and then go to plugging manager in the plugging manager. You want to scroll down until you see bullet dot bundle and make sure that's loaded and you can also click this auto load to make sure that that Blufgan will order Load on, start up. All right, let's click on close yet the bottom right. Let's create some objects. So under Polly modeling, we are going to create a cube, and this is gonna be our floor, so I'm gonna scare it out. So I'm gonna press are on the keyboard, and I'm gonna take one of these side and ALS and just scale it. This way like that and then also on the X axes and then scale it out like this. So that's gonna be our floor. So I'm gonna press W on the keyboard and just move it down slightly. So it's just sitting above the grid like that, all right? And, Ah, gonna zoom out slightly and I'm gonna create a sphere. So I'm gonna click on this sphere icon, and I'm gonna move it up. So, priest w on the keyboard moving up. Something like that. All right, so now we're gonna add some bullet physics to these objects. So first I'm going to select my sphere, and then you can either go to the bullet tab year. We can use the bullet drop down here at the top, so I'm going to use the bullet drop down at the top. So make sure that your spirit selected click on bullet right at the top, and then we can select active region. Body goes our sweet is gonna be the active, rigid body. And now, if I play this back yet, the bottom If I click on play, you'll see that gravity will affect our sweet, and it's just gonna fall straight through the floor was going to go back to the first frame by clicking on this rewind button. Here, just play again. You can see it interacting with gravity, falling right through the floor. All right, let's go back to the first frame and no one Select our floor and we want to tell Bullet that this is a static, rigid object. So we're gonna go to bullet right at the top and they were going to click on this passive rigid body. And that's basically going to make this a passive region party. So lets you can play again, and I can see that our sphere is actually interacting with the floor. It's not falling through anymore. All right, Another important thing. If we select our sphere and in the attribute editorial, Now see a new tab called Bullet Rigid Body shape one. If we click on this, this is where you will find all the parameters and all the properties off this region object. So right at the top you can see the body type. This is, say, two dynamic region body. That's correct. And you can say things like the mess the center of mass, the restitution, which is like the balancing nous, the friction, all of those things. And it can also add some initial conditions on just something I want to mention first is the collider properties. And then there's a collider shape type, which is very important in it. As you can see currently, this is say to box, and that's obviously not a box, so this is not correct. And if you click on this drop down, you'll see that you have a couple of options here. Box Sweet captial, whole mesh plane cylinder water compound compound so you can go ahead. And you can say this to sphere. Or you can use capital if you use like a capsule type off object, or you can also use plain cylinder. Or if you have something that's really a shape that you created that you modeled and it's not one of these, you can also go with compound, which I found is also quite accurate. So for this instance, we just going to sit this to sphere, and now if we click on play again, this is going to look very similar because we don't have any forces currently, that is gonna cause this sphere to roll around. So I'm gonna go back to the first frame, and what we can also do is we can add some initial conditions to this sphere. So I'm gonna scale this floor up slightly compressed, are on the keyboard and just skated out this way in the X direction, and I'm gonna select this Were again. And then under this bullet, rigid body shape one, I'm gonna go to initial conditions going. Expand that and a year. We can apply some initial velocity in the X, Y and Z direction or axes. So I'm going to set this on the X direction should change it to press enter, and it means it's gonna add a initial velocity off to in the X direction for this sphere. Okay, so now I'm gonna press play. Let's see what happens. You can see there's a bit of a movement in the X direction and now I can see that our sphere is actually rolling in that direction. I'm going to stop that, go back and it's increases to about eight. The initial velocity. Okay, press play again, and I can see that force is much stronger. And then you can see our Spheeris rolling around. And if I increase the number of frames to actually fall off this floor, let me just show you. There we go. All right, let's say we want to introduce some bounds when it actually hits this floor. So on the sphere, we're going to sit there. Restitution. You can increase that. But you also need to sit this on the other objects. So on this floor, I'm going to select the floor, and I'm also gonna increase the restitution on the floor. Okay, let's click play to run our simulation. Then you can see we've got some balance. Okay, Very nice. Let's say you want your object to interact with some other objects again. I'm going to go back to the first frame, and then I'm gonna go back to Polly modeling, and I'm going to create a few boxes on this side. So I'm gonna create a cube. I'm gonna move it up a pressing w moving it this way. So let's just put this cube right above the ground and I'm gonna open the outline, er, so we can see our objects. So this missionary named this first Cube to be floor. So I'm gonna press in tow type floor so we don't get confused without cubes. And then we've got this new cube, and now I want to duplicate it a couple of times. So with this cube selected, I'm going to go to it. It duplicate, and I'm gonna move it up. So it's just above this other cube. I just pressed, if on the keyboard just to focus in slightly closer, so it's gonna move it in. So it's not touching is just close. And then I'm going to duplicate both of these cubes. So I'm gonna select the 1st 1 holding shift click on the second Cube, go to edit and in duplicate, and I'm gonna move them both up. Just place it slightly above the other one like that, and let's select all of them some golden shift click on these two. Could it duplicate and just move them up as well? Just so that they above the other Cube All right, now we have something like this, and obviously if we play this back, we'll see our sphere, and it is just gonna go through those cubes because we haven't said any bullet parameters on these other cubes. So I'm gonna try and select all these coupons gonna drag a box around them without selecting the floor. So we've got all our cubes selected now and now I'm gonna go to Bullet, and I'm going to sit this as active region bodies. Okay? And let's do a plate back again. You can see the interacting, but they're not falling over. So I'm gonna stop that, go back to my first frame. And the reason for that is because the mess off our sphere is not big enough or it's not bigger than these cubes. By default, the mess will be one. So I'm gonna select my sphere, and I'm going to go into the attributes editor into the bullet region body shape one, and I'm gonna increase the mess to around five. Okay, let's go back to the first frame and then click play to run a simulation and you can see it interacting with them. They falling over and they're also interacting with the sphere. Pretty cool stuff. Right now I'm gonna show you how to add some animated objects to your scene that will also interact with your objects. So I'm just gonna select all these cubes and hit delete on the keyboard to delete them. And now I'm gonna go back to Polly modeling and create another cube, and I'm gonna move it up slightly and I'm gonna move it over to this side and then prints are on the keyboard, and I'm gonna extend it this way, so we have something like that. All right, I'm gonna move it down slightly pressing w on the keyboard. Moving it down says right above our floor like that. And with this new cube selected, I'm gonna go to Bullet at the top and I'm gonna click on passive rigid body. Right, So this is also a passive rigid body, and we're gonna change that soon. But first, I'm going to select my severe again. Go to the bullet rigid body shape one, and I'm gonna delete the initial velocity so that it's not bouncing in the X direction anymore or doesn't have that force in the X direction. So I'm gonna sit this initial velocity back to zero. So now if we play this back, you'll see that the spirit will just drop down and it's gonna bounce on the floor. So I'm going to stop that, Go back to the first frame, and now we want to sit this cube. We're gonna add some rotation animation to it. But first we need to sit this to be a cinematic region body. So with this cube selected, I'm going to change the body type two cinematic rigid body, right? Nothing's gonna change if we play back our animation, you'll see there's just gonna bounce around. So I'm gonna stop that, go back to the first frame, and now we want to add some rotation to this new object. So with this object selected on the first frame, I'm gonna press s on the keyboard to set a key frame, and you can see that we have that red line, which means we've got a key frame on that object. And then I'm gonna go to frame number 100 and we're gonna add some rotations. I'm gonna prissy on the keyboard and then I'm gonna rotated around a couple of times. So we have a bit of rotation on this object like that. All right, then, gonna press it's on the keyboard again and you'll see that we've got a key frame now at frame 100 as well. So now let's go back to our first frame and heat play to start our simulation, and they can see that our object is actually interacting with this. We're gonna zoom out so we can see it from a different angle. There we go. Let's stop that moving back. And I'm going to just move this sphere up slightly. And then what's going to change the bounciness off the sweet? I'm going to sit back to zero and also the same with the floor. So I'm gonna change the restitution back to zero, which is click play to start a simulation, and you can see that that rectangle is actually heating that severe pretty nicely. Okay, so that's the basics of using the bullet physics engine in my 2000 and 18. I will see you in the next lesson. 24. Playblast to Preview your Scene: Hey, welcome back. And in this listen, I'm gonna show you how to create a plague. Lost animation and playing less than emotion is basically like a very quick and forced animation preview. So let's say you have a lot of objects in your scene, and when you play it back in the view port, maybe it's playing back at a slow frame rate because it's trying. Teoh compute all the different objects moving around, and sometimes it's just a bit slow to preview it inside this view port, and you want to just quickly see if your animation is looking right when you if you played back in real time, so I'm just gonna quickly add some objects and animate him around. So I'm gonna make sure I'm on the modeling workspace. And then under Polly, modeling was gonna create a smear, and I'm gonna press w on the keyboard and it's gonna move it to this corner right there. And then I'm gonna precipitous on the keyboard to set a key frame, go over to frame number 20 and just move it to that corner. There, press is on the keyboard again to set a new key frame then go to frame number of 40 move it to this corner press. It's on the keyboard to sit in on a key frame on. Then let's go to frame number 60. Moving over to this corner. Press s on the keyboard. All right, then it's gonna change my sequence, duration of their duration, that we're focusing on 21 to 60. And if I play this back, you'll see that we have that animation. Obviously, this is playing back at normal or the actual frame right, that it's supposed to play back because it's just one object. But for this demonstration, let me just show you how to do it anyways. So we need to do is go up to Windows and then go down to play Blast and then click on the little square next to play blows to open the options. And then there's some settings that you can change. You can either do time slider, which will basically play this frame range. Future selected 1 to 60 Oregon taken start to end, and you can enter some frame numbers manually. But for now, we're just gonna leave this on time slider, and then there's also some things that you can turn off like your views and ornaments. I'm gonna leave that on by default. And it also change the encoding and the quality and the display size. You can just leave it on from window or you can into a custom resolution that you want to export it as I'm gonna leave everything as default for now. And then I was gonna click on Play Blast. And that's gonna run through the animation. So it's gonna create this iMovie fall for you, and you can just play this and preview your animation in real time. Right? And that's basically how to create a play blast animation using my 2000 and 18 also in the next listen. 25. Motion Blur: Hello. And welcome back on din this. Listen, we are going to look at motion blur and how you can actually rain the motion blur straight from my 2018. So first of all, make sure on the modeling workspace and go to poly modeling, and then we're gonna create a simple sphere. He's going to set up a really simple animation so that I can demonstrate and show you how to render motion blur. So I'm gonna move this fear over to the side. So, priest w on your keyboard, move it over to the side, and then press s on your keyboard to sit a key frame. All right, then I'm gonna go to frame number 20. You're on your sequence, and I'm gonna drag this, were over to this side of the grid, and then press s on the keyboard to sit another key frame. So we've got those two key frames, and if I play through this, you'll see that our severe is moving from the one side to the other. All right? So, normally, if we should render this frame somewhere in the centre waits in the center of the grid, we should see some motion blur because that object is moving pretty fast before we render. Let's just at some lights. So I'm gonna go to the Arnold tab, and then I'm gonna create a area lights and click this icon your and I'm gonna move it up. So w on the keyboard, Move it up and I'm going to rotate it around because currently it's pointing in the Z direction, right? And around like that, and then I'm gonna scare it up Well, so that we have a nice big light source. I'm also going to increase the exposure off that light to around Let's hit a 28 And then I was gonna create a floor. So under Polly, modeling again, click on the poly plane and then just scale that up and I'm gonna move it down slightly W on the keyboard, moving it down. And now if we zoom in your letters to a quick Orender So I'm gonna click on the I p r and let's see what we have so you can see the floor, we can see the severely, but there's no motion blur whatsoever. So really easy to enable motion blur in mind if you want to render that. So we're gonna go into the Arnold, render sittings for this so you'll see some of these render icons and is one with a small little gear on. And that's basically the render sittings. So we're going to click on that, open their interstate ing's, and on the first page, you will see it's just some output sitting. So we're not gonna go in there. We're gonna go to the Arnold renderers tab, all right? And this is we conceptual quality of your Indo. We will go through that in a future lesson. So if you look down at the bottom, you'll see motion blur on. If you expand, that you'll see is an in able box. So just click enable. And I'm not really gonna change anything off these parameters here. You can obviously go around and play around and see what you get. So just enable motion blurb can close that on now, if you're and if you click on this I pr button again, you will see that we will have some motion blur in our render. So really easy to render motion blur in my 2018 I will see you in the next lesson 26. Rendering your Scene or Animation: and welcome back. And in this listen, I'm gonna show you how you can render your scene or your animation to an image sequence that you can take that image sequence into your compositing software, like after effects to render your video. So first of all, let's set up a very basic seen or animation that we can render out. So I'm gonna be on the modeling workspace, and then we're gonna go to poly modeling and physical. Let's create a floor. So I'm going to click on the Poly plane and then scale it up so priests or on the keyboard scaling it up and I'm gonna add an object or two units at a sphere, and I'm going to scale it up slightly and it's moving upsets just above the ground. So using W on the keyboard, and then I'm gonna move it over to this side off the floor. All right, then I'm gonna create a key frame on our sphere. So with a severe selected price is on the keyboard and then I'm gonna scrub on my sequence to frame number 50 and I'm gonna move the sphere over to this side off the floor and with a spear selected, we're gonna create another key frame. Suppress. It's on the keyboard to create that key frame. You can see the red line, they and then also gonna change my sequence focus area to only show 50 frames. And you can change the in frame 2 50 as well. To know if we play this back, you'll see that we have that simple animation. All right, before we can render this, we need to add some lights to are seen as well. So I'm gonna go to the Arnold tab, and I'm going to create a area light and I'm gonna move it up and I'm gonna rotate it around. So currently it's pointing in that direction in the Z direction. It was going to write it pretty on the keyboard, and I'm gonna rotate it flat like that. And then I'm going to scale it up, suppress or on the keyboard, scale it up. So we have a nice, big light source like that. And with that light selected in your attribute editor, I'm gonna increase the exposure to around eight. And let's just do a quick arranger previous I'm gonna scrub three year to somewhere in the center like that. And then I'm gonna click on this I p oranges to preview this frame and you can see that our lighting is looking good. We've got some my shadows on the floor. Maybe let's add one more light. So I'm gonna go to Arnold Terror, begin, create another area light, and I'm gonna move it over to the side. So w moving it over to this side slightly up and then I'm gonna rotate it Suppressed E on the keyboard writer it so it's pointing in the direction off this were Let's maybe move it up slightly and tilt it down something like that. Maybe up some more and maybe scale it up some more like that. And let's increase its exposure to eight as well. Let's do another quick render preview. So I'm gonna click on this I p or again and and I can see we've got some extra shadows, which is quite nice. Okay, we can also move our floor up slightly, so I'm gonna go to the side view. So I'm gonna press space on the keyboard and then on the side view, I'm gonna press space. Just hover your mouse over this front view and then press space and I can select your floor . If you just drag around, this area can see these are floor. I'm gonna move it up. So it's right below our swear. So pressed w on the keyboard and just move it up slightly like that right now it compress space again to go out off this front view over over your perspective, you and press space again, right? Let's do a quicker in the preview I p or button at the top and he could see that's looking better at sitting nicely on the floor. Okay, now we can look at our render sittings, so I'm gonna close us down, and now we're gonna go to the render workspace. So you're in the top where it is modeling. I'm going to click on this drop down, and then I'm going to select rendering to go into our rendering work Spice. And this will give us some extra options here at the top like this surrender drop down. So first of all, we're gonna look at the ruined the sittings, so you can either go Orender and then render sittings, or you can click on this little button here that's got this small little gear. So I'm gonna go surrender and then render sittings on. This is going to open up our interstate ings dollar box. So first of all, we need to sit our image format and currently that say, two weeks are and that's great because we're gonna use ekes or images to render out our image sequence. And then if you scroll down, you'll get to frame animation extension. And this is basically the file name off each image sequence that will be rendered. And currently it's a to name their extension, and it's got in brackets, single frame and we want to render and full animation, not just a single frame. So we need to change this. So if you could just drop down, you can see it. This to name dot frame number. That's the hash will be the frame number and then dot file extension. Okay, so name not frame number dot extension. Okay, then we can move down further. So then we've got our frame range. I'll start frame and are in frame. And this is the duration off the animation that we want to render out and Currently, we've gotten animation that starts on frame one, and it ends on frame number 50. All right, so we gonna leave our start frame as one, and we're going to change the in frame 2 50 Okay, press enter and then below that, you can choose your camera that you want to render from. So let's say we've got a couple of cameras set up in our scene. You can click on this, drop down and select that camera. But in this listen, we're just going to use the perspective camera. All right, then, below that, we've got our image size and you've got some presets account. Let's say two HD 5 40 which means the resolution will be 9 60 by 5 40 And let's say we want to render out in HD 10 80 p resolution. So we're gonna click on this drop down, scroll down slightly until you see HD 10 80. Click on that and you'll see that the resolution will be updated to 1920 by 10. 80 which is normal HD. And it can leave everything by default. That's all. Fine. So let's scroll up again and then we're gonna go to the Arnold render a tab at the top and this is basically weak and set things like your render quality. Now on default, you've got all these numbers here. There will be set as three, and then all the rest will be sited to. And this is usually okay for just like to kind of preview animation. It's not really great. So let's increase the quality slightly. I'm gonna sit the camera to four. Let's sit all of these others to three. So that's diffuse. Speculate. Transmission is basically four transparent objects. Is s. Is your sub surface scattering? And then you've got your volume in directors. Well, so I'm gonna just sit all these 23 just to kind of up the quality. And you can always come back and increase this if you want to. As I mentioned in a previous listen, you can also go to motion blur and enable motion blur the if you want to render motion blur . So for the scene, I'm gonna enable it. So let's do a quick Orender preview just of one frame to see if the quality is looking good enough. So I'm gonna close this and then just scrub so that you can select a frame to do a test render with. So I'm just gonna go to frame number 25 and then I'm gonna click on this button your next to this I this one that says render the current frame. So this will just render one frame so we can see that our quality sittings or good enough. So let's click that now and let's see our next, like so you can now see, this will render a much bigger image because we changed it two HD. So let's just give it a couple of seconds to finish. All right? So the render is complete and it was a little bit slow. I think it is. You can see at the bottom. It says when the time is just over one minute, one minute and nine seconds. And for this, listen, I'm going to decrease the quality slightly. You didn't have to do it. It's just to get this render out quicker. So I'm gonna close this down, gonna go back to render and then run the sittings. And under Arnold Windrow, I'm gonna drop this down to three again. And then als These setback to to so So I'm decreasing the quality slightly just to get a foster renders. Obviously, the more you increase your inequality that longer, your render time will be. So I'm gonna close this and let's do another quick taste renders I'm going to take on this blank square year, they're in the current frame and let's see how force that goes. So in the time is a lot quicker. As you can see, there's a bit of noise in the shadow areas, but I'm not really gonna worry about that in this lesson. So I'm gonna close her down and we already to render our animation. So they're in the animation. You simply going to go to Orender right at the top. And they were gonna go down to render sequence and we're going to click on the little square next to render sequence. All right, so this is basically it's gonna tell you in the sequence from 1 to 50 because we've set that up in the render sittings already, and you can also select your camera save. You have multiple cameras set up, you can select your active camera here, and for this example, we're just going to use the perspective camera. That's the perspective camera in this scene that's being used. And now we can choose our file location. So I'm gonna click on this folder and I'm gonna browse to a folder on my day stop and let us create a folding, and I'm gonna call it Orender 01 You can give it any name you want to. I'm gonna go into that folder and then I'm gonna click on select U at the bottom so you can see we've got our file part or our render folder path right there. And now I can go ahead and you can click on render sequence, right? And this will now run through all those frames and it will render each individual frame as an UX our image in that folder. So let's just give it a couple of minutes. I'm gonna forced forward through this render All right, so they render is complete. I'm gonna close this render view. So enough we go to the finder in Mac OS X and we browse to that folder that we specified. We can see that we have all our frames here from starting at one ending at 50. So If I open one of these, you can see that we have our render and I can scrub through by pressing down on the keyboard. And it's gonna load all these different image sequence files minutes displayed for me. So basically, you cannot take all these images and you can let them into your favorite compositing software, like off to effect. And then you can render out your animation. And that's how easy it is to render your final animation as an image sequence from my 2000 and 18. Thanks for watching. 27. Conclusion: you've reached the end off learned my r 2018 in three hours. I really hope that you enjoyed this course and that you learned a lot. And remember to practice your new skills and our fund using Maya 2000 and 18. You can also write this course now, which really helps me out a lot. So please take a minute and just write the course now. And I just want to say thank you again for enrolling in this course. It really means a lot to me. I will see you next time, Jizz goodbye.