Making a Forest Scene in Lightwave 3D and Photoshop | David Rodriguez | Skillshare

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Making a Forest Scene in Lightwave 3D and Photoshop

teacher avatar David Rodriguez, Freelancer / Author / Teacher

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

Watch this class and thousands more

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

Lessons in This Class

6 Lessons (1h 15m)
    • 1. Creating the Terrain

    • 2. Creating 10K Textures in Photoshop

    • 3. Creating Additional Textures - Part 1

    • 4. Creating Additional Textures - Part 2

    • 5. Lighting and Trees

    • 6. Instancing

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About This Class

This tutorial series goes from beginning to end on how to create a forest scene in the Award Winning software Lightwave 3D, covering topics such as Procedural Modeling, Texturing in Adobe Photoshop, Lighting and Instancing. Though the software shown in the video is version 11.6 the techniques shown still apply in the current version.

These are the topics shown in each video:

  1. Creating the Terrain: In this tutorial we will create a basic terrain using displacement maps. The displacement map is obtained by using a procedural texture that will be modified later in Photoshop.
  2. Creating 10K Textures in Photoshop: In this tutorial we will be creating 10K textures in Photoshop, that will be later applied to the terrain model created before.
  3. Creating Additional Textures: In this tutorial we will create Bump, Specularity and Diffuse maps for the terrain right inside of Lightwave. We will also create and texture the water plane.
  4. Lighting and Trees: In this tutorial we will create a basic sunlight setup using HDRI images. We will also create trees using the DP Verdure plugin.
  5. Instancing: In this last tutorial we will be populating our terrain with some trees, using Lightwave's native instancing tool.

This tutorial series is part of Newtek's Lightwave 3D official website learning center.

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David Rodriguez

Freelancer / Author / Teacher


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1. Creating the Terrain: okay. Eso before we started our tutorial just wanted to show you this image, because in here you will find a key to understand how this place in map work not only for likely three, but to any other theories over package in the world. Oh, the key today's is to understand that a displacement maps is nothing more than black and white information, where whatever is black is not going to be displaced and whatever East White is going to be completely this place. So now that we have seen this, oh, let's go to light weight and a start or tutorial. So it's either okay, people, So let's begin or tutorial. The first step will be to get the procedural texture from lightwaves. So in order to, we're going to create flat square. All right, so we could keep this one meter. The only thing we will have to remove the height because it's going to be completely flat on. That's it. So now that we have our super awesome square, let's just apply apply of material. So it's called these Procedural. Let's go to the surface editor procedural texture and let's open up their pursuit a role the texture editor. That's changed the layer it up to Brazil texture we can keep Ah, the turbulence. For now, I think we're gonna end up using this one. The only way we're gonna do to this texture is that we have to change the color. Uh, that at the moment, it's something really similar to the default color to a black so we can see here in the preview that now we're seeing some more contrast. So this is good. Let's say these object. Let's go. These Now, let's send this to lay out. Okay, so we're in layout. Andi, the main thing we're going to do here is we're going to change the position. We want the camera to be perfect, perfectly aligned to the flat surface. So what this does is going to be zero, and now we have to routed the camera. So the camera is facing the square. So with change, the pitch to 90 the grease, and now we just have to pull it up. Okay, so now we're seeing here that we're getting yeah, like a complete viewer for flat surface. So that's changed is to be PR on the most important thing is going to be that at this point we have to the term to terminate how big is going to be your texture, Since we're going to be creating a really huge terrain, the bigger the texture is, the better. So let's tweak the camera properties here, and I will tell you to go a least with a five K texture. So what's changed? Those values here wouldn't have to tweak anything else goes at the one we just want to tweak to get the texture where there's going to be our base and let's go to the surface center once again. And he here Since we're looking at how the texture is going to live way just want to tweak this a little bit. So we get something slightly, you know, similar to the things we want, Chief. So let's tweak this 2.5. I like this nice value. So over here, I think we can make a river path like over here. Maybe some sort of lake over here. That's Sief tweaking Deposition will. Well, a look at this one. I actually like this one better. You can make a like a lake here on, uh, different path over here. So let's use this one. And, well, basically, what we have to do here is just to render this image. So it's not going to take long because we don't have anything else in the scene. Well, actually taking longer than I expect. So I'm gonna puzzle video. I don't come back to you. What's the red stuff? Okay, so we're back on renders surprisingly finished five seconds after a post a video. So Well, this is surrender, and the next step will be to save this image on open up this image in photo shop. So let's do that. And I'll see you photo shopping in a second. Okay, people. So we are in a photo shop now I have read imported the her funeral texture. We just created a lightweight, and now we're just going to proceed to create the path on the lake. So, in order to, we're going to graph, okay, we're going to grab the brush to and in order to get the river path at the proper altitude , we want to sample from the darkest color in our image. So at the moment we see here that we have, like, dark spots over here. We can grab any of the colors around here, so make sure we have our that you're selected but sampled the color on. And we need to make sure one more thing. Uh, the brush has to be one of the faded brushes, so we have to make sure that the hardness is set to zero on. In my case, I'm going to use a 600 pixel Oh, diameter brush. And we need to make sure that the passage is not set to 100%. We're going to set one of 40%. Okay, now we can start painting or river path, so you don't have to be a master painter. I'm not a master painter, so I'm just making sure that we have these over here going to be our river path on that simple from this dark spot over here. And let's create small late. Let's connect this spots over here. Okay, so I'm just painting out over here, Okay? So let's But we have something similar to what we want. The next step will be to blend these edges over here because it free live this image. This way. When we make the displacement in lightwave. There's going to be a little bit weird because so the displacement is going to jump from this altitude to this altitude over here. So it's going to look a little bit funky, way hot to plant. This had just over here and in order to we're going to keep the brush of, you know, with same same with everything's in color. But the only thing we need to change is the capacity. So let's set the capacity to around 15%. We're just going to paint over those edges. We have some sort of transition from the bottom of the river to the It's cold. Is the coast okay? Same over here? So we don't have ah, like a really hard a transition over there. Okay, Okay, that's enough. Um, let's add a little bit of oh, curves adjustment. I just wanna have a little bit more contrast on. The last step will be to add a blur filter. Let's use a Goshen Blur pixel blur. Be just you know enough. Okay, so I'm going to save this image out. We can call this image. It's cold in the, uh, this place. It's That's a that's a J pay. Okay. And now we're going to go to lightly modelers. So I'm gonna launch the modeler and I'll see you there. All right, so we're back in night wave. Oh, now we're going to create ill actually, the surface that we're going to be displacing in the layout. So in order to, we're going to meet once again a flat surface, a flat square. So let's use the box tool and is going to be a really big terrain. So let's change that with 21 kilometer saying this is going to be flat, it's not going to have any height. And depth is going to be one kilometer as well. No. Oh, in order to displace the surface, we need to add subdivisions to be so about the subdivisions. The more subdivisions you have, the more accurate and detailed is going to be the displacement. But it is also going to get out all of your memory. So you have to think off your computer power. In order to do this, I'm going to be a little bit conservative here, So I'm going toe just 100 subdivisions in the X axis. Any subdivisions into the Y axis are useless because we don't have any height on. We're going to add a 100 subdivisions in the Z axis as well. So let's finish this operation. And before we go to lay out, we need to stop at City. So just press your tacky and it's going to be so patch on. Let's set these polar going out. So safety object that's called this displacement. Okay, now we save our displacement texture. Let's, uh, go to lay up. Okay, people. So we're in layup. Let's tweak the position over camera What you were watching. At least that's rain, so this we were going to see if we are actually doing something or not. So that's fine. Now we're going to select our surface. Let's open up the Object Properties panel that's changed the sub patch label from 3 to 6, and let's change the subdivision order from first to last. You have to make sure every time you make a displacement, the subdivision order has to change from first to last. So now open up the form tap on its at a displacement maps. So we just click into a texture editor for the displacement map, and we're going to select the texture we just created. So let's open up the displacement image. We just created a photo shop. We're going to protect it from the Y axis, and we have to automatic sizes. So we actually fits the size, the complete size of the terrain. Now, as you can see here, there's nothing going on. And that's because her texture amplitude is not big enough. So we have to crank this up, you know, up to 500. So now we can see their results over here. Close this up, sir. You can take a look at this. So now we're seeing something. Okay, let's try it. The minute the pixel blending on. I think we can call this done right now. If you want a tweak, uh, your displacement maps inside of light with there are several ways you can go about that. The 1st 1 will be actually to tweak it here in the displacement map options, you can change the amplitude. All right. You can increase it. You can use it a lower one. I'm going to stick to 500 applicants, and the other one will be to tweak the image inside of language. So we just press f six and you'll get the image editor over here. And you have, you know, some options over here, so you won't increase the contrast. You can do it inside the editor, and you're going to get some different results. Right? So that will be up to you up to what you want, Chief. Oh, I feel comfortable with the results we have so far. So I'm gonna say this Arctic. Oh, now we are not ah, going to be using the displacement, or we're not going to have a displaced surface in the final scene because that is going to eat out some for computer resources. So in order to save computer resources, we're going to save. This is transformed. Object. Right. So, to that, we just go here to file safe save the transformer object. It's over here, and we're going to call this to rain is going to be our to rain. Okay, so I'm going open up. Oh, or terrain Ting in modeler on. I'll see there. All right, so I just opened up the model we just created the in the modeler. Oh, you can see that we have some really nice detail on or terrain and that we created our river path on our small lake, uh, back in photo shop. So Well, I hope this was useful to all of you. Oh, don't forget to check out the next tutorial on the next patrol. We're going to be creating all the textures for our terrain on. Well, if you have any questions, just let me know. Oh, see you next time. 2. Creating 10K Textures in Photoshop: Okay, people. So that's begin our tutorial. Oh, before we go to photo shop, will need to go into the Internet and get some Are different textures off some different ground cover textures home on. You have to make sure to use sinless textures. Why doesn't mean that you cannot make a seamless sectarian photo shop. Italy imply a little bit extra work. Oh, super thes case. We're going to look forward. Actually, some of this textures Oh, I personally looked for a dirt texture like the one you're looking at the moment. Oh, I would like to use maybe some grass textures, this medicine, the texture. I will probably not use this one. Um, and maybe Oh, look. Look at this one. This is the same. This texture off the grass, which I would probably use, and a dried grass layer, too. So make sure we have a least three difference in the structures. Onda, um, let's load the scene photo shop and also you there. Okay. So Well, I hope you guys are following a long time rebutting photo shop on already loaded up the images. I'm going to be used to create the textures. So as you see here I loaded up three different images. Oh, they're going to be used to create three different textures. So as you can see here I have Ah, death grass later. I have a green grass later. And last but not least, I have Ah, third layer. So Well, the reason I asked you before to look for Cindy's textures was because we're going to be using each of these images to create a gigantic tile to create the final texture of the terrain on the recent to that is not only because so if you use If you use this, the resolution is gonna look back, but also because, as you can see here, although this is a fantastic image, the the scale will be completely wrong because this is a closer is a close up shot off the terrain. So we need to shrink this image out a multiplied across the whole service. Okay, So for the sake of editorial, I'm not gonna be doing any of these images over here. I'm just going I'm just going to show you how to make it with first texture so you can do the same thing with Let's make it textures that you want on the Okay, So let's begin with this process. The first step will be to increase the size of the campus. So computer image canvas size on. We can make this a five K texture. But honestly, I will prefer to have a tank a text. Okay, well, that's that's stood the right way. So now that our campus is gigantic, as you can see here, no, the next step will be Let's select the texture. Okay, that's shrink it out a little bit. Okay? You don't have to be precise about this. Oh, let's look at the picture. Okay, So now, in order to clone his image throughout the whole campus, we just selecting, selecting layer word, the images. You are just going to press all your keyboard and click and drag the image so the image is going to snap to the edge off original image, and a new copy is going to be created now. Photoshopped, for some reason, has these little fading edge in every image and added a big problem because if you have a close up shot of the texture, we're going to see this little weird scene over here. So to solve this, we just have to click and drag the new image so we don't get that seem anymore, Okay? And now we have to repeat this process up to we feel the whole thing, But I'm going to show you a little shark cut for this. So it's cloned. He's one up. Okay, just move over there. I'm going to do the same thing. I'm going to post it for you to a little bit, so you don't have to watch me doing this over and over and over. Come back to you. Okay. So I completed. Let's call it the first rope on. Uh, it's looking pretty nice. We don't seem to have any any weird Seems, but there's a little problem. We have bunch of layers that were here that we we don't want that we'll need. So we're going to do is to, you know, mix old this images in the single image. So do you do that? You just have to select the whole campus by President, control a and then you press control. She see now let's create a new layer, and we're going to copy everything over dirt. Just risk control V and the completely neuro was going to appear. So we don't need this anymore. You can get rid of all of these layers. No, that's pulled this one up. I know we're going to through the same process, but now we have a larger image. So we don't have to go cloning 11 of one of money, which so let's close this one, okay? We're going to make sure way don't have that we're seeing over here. As you can see, I have the same. So I'm going to push this one up a little bit, so I I don't have that anymore on. I'm going to keep cloning this until I feel the whole campus. So once again, I'm gonna post video on that, come back to you one second. Okay? So I cloned my textures over and over, and I finally field Oh, the whole campus. Now we're going to do the same process because we don't want any of these extra layers over here. So once again, you just press control a select their every layer, the press control sheep see to copy. So all the layers and we're going to create a completely new later on, we're going to paste. Oh, the interpreter. So Okay, now I have it If I can get rid off these extra layers. And now I have a gigantic tile with the the simplest texture we downloaded from the Internet. From this point of view, you can see that there is some repetition over here, but we're going to take care of that later because it is actually not going to be visible with the way we're going to handle. Oh, the texture off the whole terrain. Okay, so now you can do this. Same process follows him process and do the same thing with the other two images. Once you finish that, I'll see you back here in a photo shop. Well, I hope you guys are following along. I really have my tank textures over here. I follow the same process that I showed you before with the green breath layer on the Greg on the dry grass. Later. So the last thing we need in order to create the final texture is to load up the displacement texture we created in the last tutorial soul. Oh, just create a new layer on Look for the displacement in which we created before now. Originally, this image was a five K texture. So it's half the size of the campus we're currently working on. So we just make sure that when you load up the image, change the scale so he actually will feed the size of the for current campus. So I just killed this one up 200% and now it feeds perfectly in our workspace. Let's make sure we can work. We can modify this image. And now the way we're going to go about this is that we're going to distribute these images or this textures, depending on the height off the displacement. So, for instance, I want the dirt layer to be covering the river path, right? And I want a green grass later to be covering the top of the Montanes. So we're going to use the color wrench selection to pick specific tones of colored and depending on W, you distribute these texture, so I know it sounds a bit confusing, but off just follow along that you get the sense of what we're working. Okay, so select displacement map layer. Let's go to the select options and pick color range. So we're going to sample from the bottom of the river because I want this layer to be at the bottom of the river. I want to increase the let's say the fuzziness off it and I'm going to say OK, now I have a selection based on this color range. Now I'm going to turn off displacement. Let's select the layer we're going to be working on and just delete the selection. No, there's something weird here. The selection is inverted. So do this. That's invert the selection. Now we can actually believe what we have. Okay, so I feel really comfortable with this one. That's the select on Corn on once again, that displacement. Now I want I'm going to do a similar process to distribute the Great Grass later. Okay, so let's turn on the displacement maps. Let's go to select color range, and I'm going to sample a great color. I feel comfortable with the way it's looking at the moment. I'm going to invert this selection because we had this problem before we consulted right right away from here. So remember this election now we can go to the dry grass layer and believe this election. Okay, Now, we're not going to do that same process with the green grass later because we already have some colors distributed. Oh, from the previous layers may be the only thing we need to do is to organize his layer the proper way. So I'm going to pull Oh, that there'd layer to the top. And I'm going to put the great GREss later in the middle. So now we have a nice distribution of these colors. Now, I don't like the way is looking up here right now. I'm just going to select the eraser tool. And I wanted to show a little bit more of the green that is going to be on their knees. So that's the way you go about this. I'm going to do the same thing over here because I want to show all the more green. And I feel really comfortable with the way this is looking at the moment. So I'm gonna say this image out. It can't be saved us a day back on. Uh, once you save the image, open up. Lightwave on. I'll see you there. Right? So we're in Ladwig now about the finish. Destroyer So let's load up the rain optic we created before we're going to apply a material specific material to its press. Cute to get the change surface option that's called Just want to reign. Make sure it's a smooth material. And now we're gonna load up the texture or the image. We just created a foolish up. So open up the surface, Editor Security. Have your rain materials selected on Open up the text. You're a leader for the train. We're gonna shut this one down, and I'm gonna move this so you can see what's going on. We're going to be projecting the texture from the Y axis. It's out of my ex, Isis. Let's look for the texture, Okay? Slowing up. And now we have it. So we finally applied the material we created in photo shop. And as you can see, every texture is being applied depending on the altitude off the displacement. Okay, so, in order in the next tutorial, we will be taking a look. How to create basic bomb maps. Speculate early maps and diffuse maps using the images we already have. So I hope to see you guys there. If you have any questions, just so let me know, please. And well, see you next time. 3. Creating Additional Textures - Part 1: Hello, people on Welcome to the third part of this tutorial. On the last tutorial, we created the's color texture that we apply the ward to rain. And in today's tutorial, we're going to be creating some additional textures inside of or like with three D. So let's begin whenever I'm gonna texture something I like to go to lay out and used the v p r just to get out. You know, like a riel Clue how the textures are looking Oh, from the camera. So I opened up the terrain Were we left in the last tutorial and now I'm going to send this to layout. So also, you lay up in a second. Okay, uh, the first thing we'll need to do is to change the position off our cameras, and we get a clear perspective on how the textures are performing. Oh, I just played my camera near the terrain so I can get to look everything. And now I'm going to turn on the V p. R. Now I live actually like the color texture, so we created before it's looking pretty nice here, but we need to add some additional textures to it. So we're going to create a diffuse map, a spectacularly map in a bomb up right inside of lightweight. So let's open up the cheddar, and we're going to create some copies out of this to ring in order to just clone the texture by selecting the then going to clone option. And we're going to use this first texture to create our own map. So just as the displacement map able map is nothing more than black and white information, so we need to remove all the color information from this image. So we have to remove our saturation completely. Okay, so I hope you guys will change that you. If you're having trouble moving your slighter, just type here, negative one on that's going to remove or your color. Now let's add a little bit more contrast, and you know what? I'm mistaken. We don't know. We don't have to have more conscious. Let's move a little bit of the countries we have in the image because we don't wanna have like a really harsh bump. So I feel comfortable with how this image is looking at the moment. Let's apply this texture image toward bomb up so open up your surface editor on. We're going to do something. I'm a bill. I'm a little bit lazy, so I like to copy, for example, whatever. Already have pasted into the textures I'm going to modify. And I use that as my base. So I just copy the texture and then I go to a bump map, Replace all the text we have there on. We don't have anything there, so nothing is going to be visible now. We just changed the image. So we're having some sort off bump in our textures over here now. Oh, this is looking good, but I want to add a little bit more, you know, a little bit more bomb of a bump. So it looks better in order to other. We're going to add a procedural texture. Let's use Okay, I tell you to rain. No, this is looking nice, but I think the texture decisive. The texture is a bit off. So let's change this ice now. We're getting something now, if you we have modified a little bit are texture here. But there's something going on here. And is that this procedural texture? It's totally including this image map over here. So we just to you have to change the blending mode from normal to additive. Now they are both mixing. I actually like this one this way. I'm going to move. Oh, my camera closer to its ranks. So we get to see the effect. Okay, I already moved by camera, closer to the optic. So we get to see the detail that the bumpy's generating here that's open up once again, that service center, let's see what what's actually going on. So the procedural textures, adding some really nice variation to the texture of the terrain. But the color texture is not doing much on what's happening is that once again, detector amplitude is probably not big enough. So we just have to increased up. Oh, maybe up to three. That's pumping up to four. Sorry, pump it up to four. And now we're getting some reading eyes detail from the image. So we turn off the image. You can see that it's completely flat. If we had, uh, the texture image, uh, wheat with an increased amplitude. We're getting some nice variations, some nice texture variation, and if you on top of that, add some procedural texture We're getting some really nice how realistic variation towards range. Well, I feel comfortable with the weight is looking at the moment so that save up Thea object. We don't need to save the scene. We just have to say the object so safer all the objects and let's move back our camera so we get to see a larger extension of the terrain. Okay, I like it that way now, in order to create the diffuse map on the speculative map who have to load up our displacement image because we don't have it in the scene at the moment. And that's because we are working with our transforming object So the procedural texture is not available anymore. So just open up your image, editor and let's load up the displacement in which we created in the first tutorial. We're going to use this one as the diffuse man. So right now Oh, I think the images to contrast it. And if we add this to the to the diffuse, so ballads off the texture is going to look weird. So Oh, I'm going. I'm going to show it to you how it's going to look so as I told you before. I am a little bit lazy. I'm going to copy this. I'm going to paste it in the texture. Now you can see here it is using, oh, the same texture from the from the color options. So we just have to change these two. The displacement. Now it's really it's really dark. So the images to contrast it on, he's not getting the variation we need to have. So that's change the bodies over here. Some. I want to increase the brightness of damage on that thing. That's that's that's going to be perfect because it darkened, Oh, the dirt over here and it's lightening up the grass we have on top of the mountain. So I feel comfortable with the dis texture at the moment, and we're going to use basically the same image show to produce respect learning map. So I'm going to copy this one. We don't really have everything set here into the specter very value. Uh, the thing we're getting some nice let's call it shiny nous off the grass. Now it's too shiny, so let's oh, tweak the layer rapacity. So it's not. It's not us. A strong at the moment at I want to invert this. Oh, no, I don't want him, Bert. This one. Okay, so it's changed capacity. The passengers said to 20. So it's going to have some shiny nous, but it's not going to be shiny as a plastic, so I like the way it's looking at the moment. Let's see what the object. Okay, so I think way can go back to modeler where we're going to be trading our water plain, so we'll see you there. 4. Creating Additional Textures - Part 2: All right, so we're modeler on. Let's create our water plain. So let's go to a new layer and make sure that's rain is visible. So we get to see where the water plane is standing at the moment and let's create, you know, a flat square, a simple square. So just use the box all my president ship decks, and that's open up the You Mary bucks. So this is the default disorder default by a loose, and if you can see here, it's a pretty small box. So we need to make sure that the water plane is going to match the length and the extension of or terrain so the with is going to change from one meter toe one kilometer once again, we don't need any heIp because it is going to be a flat surface, and depth is going to be one kilometer once again, and we don't need to add any subdivisions is going to be a flat, completely flat surface, so that's fine. Let's have a new material is going to be cool water. You can move without if you want, and now the reason we're looking at the at the terrain itself it's because we need to place these water plane at the proper altitude. So we get to cover the river path on the lake. So that's pool this one up. So now you can see here. We're covering the were partially covering. Oh, the ruler path on the lake. Um, let's make sure we're washing up both or before over layers on. I actually like the way it's looking at the moment. We're getting some more, you know, natural looking river path as well as Lake here. So I think we're going to stick with the ways looking at the moment. Okay, Now we just have to textured this. So let's open up the surface editor and we have our water material here Now, Um, there is a default library here in language which I like to use a space for my, um, textures. So it's open up the different library by present F eight. I'm sorry, it's F nine in moderate and it's f A in May up. So just remember that or what? You'll be making the same mistake I was doing so well. Well, let's load up a precinct. Water? No, that comes we felt lately. So Let's go to I think it's nature. Yes, and we have a water here. Yes, and now we have this water material applied to our surface. So let's go back to lay out that. Make sure let's see how it how it's actually looking right. So we are in layout. Once again. I already placed the camera where I had a clear view How to river path on the three looking and it's too dark. I think we're not getting a really perspective how the colors and the textures are performing from this point of view. So, uh, let's at a environment so espresso control. Five. If you have three. A Mac just command five. Let's say, let's add a grating backdrop So we were getting more of often and been four or terrain and its rotate, So it's actually the direction of the light. It's the same as the camera. Okay, so wait can t hear that doing, though. Sorry, the water plain. We just added the prison texture, but I don't feel really comfortable with this one. I think that the waves are too small, so let's increase the size of the weight by going to our surface enter the water plain and let's changed the bomb maps that's cranked this up to eight meters, and now we're getting some more really nice bump on top of the water. Um, now I think that when they created this present order that we're thinking off a notion we're creating in a river and rivers have a different color at this in my country, Colombia, that look mawr greenish, so we'll have to tweak the color. But I think the overall look of the water, it's I don't feel really comfortable with it. I think it's too reflective on. I think it will be better if we use a different present material. So we're going to mix some stuff for from a different material on to create water. So since I like this bump we just created, I'm just going to copy this one, So just copy all the layers. I'm going to use a different material for the water, so it's open up once again the precinct panna, which in lay out it's you get it by President eight on. I think you will be better if you use a last texture. Which one I'm like? I think I think this glass outside is going to look Group were now Our water is completely transparent and we're getting that glassy effect. Oh, that's at the bump we just got from the other texture. So we're replacing the bump. And now I think this water is too transparent. Hello. Let's change it up to 25% on. Let's use a completely different color for the water, so we need to get, like, some sort of greenish color. So let's want that my trip. I think around 68 is good. Let's go about maybe three. It's looking good on that's decreasing glutes to blue at the moment. Oh, maybe getting uncomfortable with this greenish colder over here, it's prop up to defuse 80. That's increasing transparency a little bit more 50%. And now we're getting that sense that the water is swart over transparent, right? It's too transparent at the moment. Well, about 40 40% and now we're getting that natural green color from all river water on. We're getting that sense that the water is actually a little bit transparent, so I feel comfortable with the color at the moment on that's moved back or camera so we get to see the whole scene. I think it's it's looking pretty, pretty nice. I like the way it's looking at the moment so you can tweak the color. How were you want? And if you want to have bigger waves, you can makes the materials who we already created with something else a different procedural or a different color texture you get from the Internet. But at the moment that we're comfortable with the way this is looking, I'm going to say the object table, the objects Well, I hope people so useful to all of you. Don't forget to check out, uh, the next tutorial where we're going to be tackling some basic lighting and creating the trees or or seen on, Well, if you have any questions, any comments, just so let me know. See you next time. 5. Lighting and Trees: Hello, everyone. And welcome to the fourth part of this tutorial. This story is going to be splitting two parts in the first part. We're going to be creating the basic sunlight set up for the scene. We're already half and in the second part we are going to be creating the treat. They're going to be populating our forest. So let's begin with the first part. Before we go to lay out, we'll need to get the str i images that we're going to be using us highlighters were seen. You can get HD awry images and wearing the Internet, but the ones I'm going to be using were provided by your good friends from sky effects. Some time ago, they released these HD right collection for free. So I'm going to live this link in the description so you can download it us well on once you download it, just open your seen in day out and I'll see you there in a second. Okay, so I already have my scene and lay out. Everything is ready so well, I think I can pursue to create the light set up. The first step will be to load the image we got from the Internet, so I just don't be mature editor pressing Have six and I'm going to load the sunshine HDR I just promoted from sky affects. The next step will be to at the image as the background. So I'm going to press control of five on in the environment, top on going to be using immature Oh, I like image world to use HD ours because he allows me to control the brightness off the HDR I which amusing. So I'm just going to select Sunshine hdr. And as you can see here, we're not getting much lead from the scene. And that's because we don't have our global illumination settings ready. So open Virender global options and go to the global elimination tap. Well, we have to do is to enable the Radio City here elected pollution Magic Brother Geocities Year on. Let's increase the indirect violence is so I like it that way. I'm going to increase the intensity of the by the Geocities so we get a little bit more of blue spiel from the sky. Let's tweak a little bit more the background. So I came back here to environment tap and I'm going to increase the brightness off the HDR , right? So actually like it. So the next step we have to follow now is to tweak the light that we have in the scene at the moment. Okay, so we'll change. Let's change the position off the light. Actually, we're only going to change the direction of the light because we're going to stick to the list of light. Uh, I like this clinked. We're getting in the water. I want the stronger shadow from do. I don't think so from just changing the pitch off the light. I like this way, but let's tweak the light a little bit more. So open up the light properties panel and I'm going to increase the intensity 125% so we get a stronger going in the water on that's changed the color. So whenever you are creating a some light, seen, it is better if you had a color Tucson itself. The colors people normally used for the sun are somewhat Ambridge, and that's the reason why people added discovering option over here. So it's easier for you to get the tone right tones for sunlight Oh, I like that one. That's trick it a little bit more granting, gritty. I've been intensity to 20% and I want to change the color as well because the atmosphere is to blue. So we need to add a little bit more blue towards scene. I'm going to use the Kelvin option. Once again, I'm going to increase in value so we get a bluish tone. So far, so good. I think we might have to tweak this light set up later once we at all the trees toe who are forced. Uh, but so far, so good. So let's set the scene. Once you said your product open a fresh, more littler document. I'll show you how to create the three. So it's either Okay, so we are in modeler now. But in order to complete this part of the tutorial, we will need to go to the next spontaneous website and download the DP Baird plugging. This is a free planet created by Dennis Montanier. He's a fantastic artist. The has contributed some fantastic for apartments for the lively community. So if you considering that delighting is it is an option for you, please donate to his cause. He's a fantastic artist. Once you download the plugging open up lightweight once again, I want you there or Right so we're backing modeler. And now we're going to create the trees. Oh, using the deep burger plug. We just don't load it. Oh, the DP burger plugging works in a in a specific way, and I know is going to be a little bit confusing the beginning. But I just need you to follow the steps. So let's go to the second layer on. Let's create a big It's fear. So I discreet a five meter sphere. Uh, let's make sure we get three of the lower part of this fear by selecting the points and the lead. Let's delete them. Okay, I'm going to tweak this a little bit more, and I want to at some jitter to this point. So let's go to mollify type, trap transform. Let's at 400 millimeters Jeter. And now we can pull this up so it's not in contact with the with with the floor and I'll let's go back to the first layer, making sure that we are looking at the fear object. The weird sphere that we just created Let's use the B tree, too. Nothing is going on, and that's because, oh, we don't have the interactive option ready and checked. So launched the plugging open to the top and make sure we are using the interactive three options. So the way it renders by default goes to line. But if you want to get a better or a clear view of how the trees going to look, make sure you select either polygon or sub D. I'm going to be using sub d. Now we have or are trunk ready now, The next step would be to create the leaps that aren't going to popular or tree, so we need to use a the second plug in that comes with the DP Burger plugging on. To do that, we need to get rid of this public. First on, let's go to the first layer and make sure we select the whole. It's from now that everything is selected. We can go to the utilities and load up the DP Foley ash toe. Now, as you can see here, they're only a few leafs over here. That means we need to open once again. Then you make tap for this plunging. Now, as you can see here, there's a preview number and the Leafs number on our previous numbers, way smaller than the lips number. This means that the plugging is creating ah, 1000 leaves, but we're only watching 50. So we need to make sure that this numbers are the same and the distribution is a little bit off at the moment. So we need to make sure that we have old dis leaves populating the branches of a tree. So let's go to, oh, this density weight map option over here and select one of thes two options. I'd like to use the brunch finesse on. I think it's going to be that this this way is going to be fine, So let's make sure we create the foliage. And now we have all this so new geometry created on its populating our branches, so the next step will be to create our textures. So, in order to, you need to get some chant, textures and some texture from the Internet. And, um, everybody have some so we can proceed. Okay, so I'm opening to surface editor and as you can see here, the plug and already created some textures for us. So we have a two different by branch textures. We have a mark truck, which is going to be the main trunk. Over here. We have lifts texture, so let's make sure we texture this. We're going to select the UBI projection option. And when you go to the UV map option, you will see that you are very half two different UV maps that the plugging created for you . So we're going to use the park one on. I'm going to load a bark texture. But I don't notice before like this one. And as you can see here, this is the distribution that you map has. So since we only have two different sets off, you protects you be projections. I'm going to be copy copying this one, using it for the different branches off a tree. So just replacing all the layers and now our trunk is full texture. Now the only thing left will be to at the texture to leaves. So we're going to be using the leaves. You re map that the flooding creative. Let's use a lives textures. So I'm using this color, texture and I'm going to copy this one to the Transparency Channel. Um, I'm going to load the Alfa map Produced one. I don't make sure. Invert this. So finally we have our tree to re 80. It's already textured. Oh, you can took the three Howard you want. It's up to you. We're pretty much done. So in the r next to toil will be taking a local how to create the different instances for forest steam. Well, if you have any questions, just let me know. So your next time. 6. Instancing: Hello, everyone. And welcome to the fifth part of this tutorial. It is a story. We're going to be taking a look on how to create custom maps to arrange a proper distribution of the instances across the surface we already have. The first thing we need to do is to decide where to wander the instances to go. In my case and for this scene, I wanted our trees or the instances to be populating mainly where the green grass texture is located. So he's going to be somewhat around here and here and here on the closer they get to the river path on the lake. The less trees air going toe appear in order to we'll have to go back to photo shop and use some off the textures we created for this thing before. So open up, photo shop on. I'll see you there in a minute. All right, so I'm in photo shop now. I hope you guys are being Photoshopped as well as you can see. I opened the document we used to create the color texture for seen everything. I'm using this one. It's because when we created this a document we use different selection sets to distribute different materials the way we want them across the surface. Now, as I told you before, I want to try to be mainly populating where the green grass texture is located, So the first step is going to be to feel this green grass layer texture with white. The reason for that. It's because we're going to be creating a lot and white map where whatever its white is going to have the most instances and whatever is black is not going to have any instances at all. So the green grass texture is going to be completely black, completely white. Sari on where the river and lake are is going to be completely black because it's not going to have any three somewhere. So and this middle section is going to be great because we want to have some Treaster. But way don't want a big amount there, so let's proceed with that one. Let's go to image adjustments. Let's go to hell and saturation. Let's remove all the lightness, ferment, and we're going to get a solid color from it on, since we don't want this one to be completely black, were going toe Adjust that by adding a curse adjustment and making sure we turned that black color into somewhat 50% great on the last one is going to be the rumor path on lake and make them black. We're going to go to here in saturation once again on we're going to move the lightness from. So now we have a black and white map that we were going to be using to dish with our instances across the surface. So let's save these image up. Uh, open up the layout once again and I'll see there or right we are back in a out on don't have to do now is to load the trees that we created the use in the same the that I showing in the previous tutorials. I'm going to load my trees. So I created four different trees, and they are all in this very same fire. Can't be long. But now they are in our scene. Oh, we're going to live the streets in the position they are at The moment on I have to do now is to load our instance generator by by selecting the surface and pressing P for proper Treece panel. And let's go to instances, at instance. Generator. Now just double click here we have the instance. Er ready for us now. We don't have anything here on. I have to add the optics that we're going to use this instances. So I'm going to graph the threes that I just brought on a steel. We don't see anything here, and that's because we need to assign these a surface. So whatever changed you due to the first things that is going to apply to the older. So let's make sure we use 1000 instances. We have these three solo over the place. So now we have to go to the weight option they're going to use plainer. We're going to predict from the Y axis, and we're going to automatic size these And now we have to do is load the image we just created in voter shop. So I'm going to look for the one we just created a photo shop, which is this one? Okay, on. Although I applied to the 1st 1 I still have to copy please, Dexter, map to my other instances. So I'm going to go here a copy and paste these texture. And now the instances are located on Lee. Were the map tells them to be? No, I think we have just Is there not an offering? Senses. I'm going to increase this number. Maybe 5000. I like it. Um, the last thing I need to do is that I'm going to add some additional random Mr. So I want the minimum scale to be 90% of the maximum skill to be 110. I don't want them to be stretched because I think they look a little weird. I want them to have different rotation. So the minimum is going to stay us. It is which is cereal. And I'm going to change the maximum heading angle to 180%. So, so far, I think it's it's looking nice, but I want to see how this looks and render. So I'm going to render this one. I'm going to pause the video for a little bit because this will probably take a little bit too long. I'll see you back here in a minute. Okay? So the renders done, and I quite like it, but we still have a little issue here. And if you look closely, you'll see that some of the trees are really close to water, even one. It's inside the water, so we'll have to really justice. This is going to be a really simple process. All we have to do is to go to the image header and the little contrast. So let's do that now, right? So I'm selecting the incense map on Owen. Going to do is to go to the editing town. I'm gonna have a little contrast. It's like, Let's wait for the feedback. Yes, I think the screen capture suffer. Its length is a little bit, but in your computer is surely going to be quite faster. Okay, so we finally have our feet back and a so you can see we have that issue anymore. So the trees are in the proper place on. We are really close to finish this. I think the only thing we have left is to pursue no camera better and, you know, rendered this. So let's do that. Now Let's move the camera and I like this position here. I'm saving this one's again on Let's change the camera setting, so I want us to be at least to a lady by 7 20 Let's increase the maximum samples. 20. And I'm going to change this to mid Chou. Um, nothing Good. I'm done. So I'm going to render this and I'll come back once Surrender finishes. All right, So here's my final render. Um, I quite like it. I know it can be better at some stuff can be improved, but so far, so good. Uh, you can tweet whatever you want in your render on. Well, I hope he's a very, very long tutor with useful to all of you. Hopefully, in the coming weeks, they'll have some extra attempt to make a mother tutorials. I'm glad you enjoyed this one. And, well, don't forget to subscribe to check on the other tutorials I have with my channel and to you next time