Twinmotion From Beginning To End - Easy VR and Rendering for Arhitectural Visualization | Adam Zollinger | Skillshare

Twinmotion From Beginning To End - Easy VR and Rendering for Arhitectural Visualization

Adam Zollinger, Professional Arch Viz Artist / Teacher

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24 Lessons (2h 7m)
    • 1. 01 Exporting FBX From Modeling Software

      5:20
    • 2. 02 Importing FBX To Twinmotion

      5:08
    • 3. 03 Basic Navigation and Panels

      7:53
    • 4. 3b Quality Preferences

      1:48
    • 5. 04 Basic Transforms

      3:24
    • 6. 05 Placing Objects And Using The Library

      4:17
    • 7. 06 Basic Viewport Lighting For Good Materials

      5:18
    • 8. 07 Adjusting Materials And Applying New Ones

      3:38
    • 9. 08 customizing materials

      5:50
    • 10. 09 refining materials

      2:59
    • 11. 10 adding Interior Lights

      5:49
    • 12. 11 Reflection Probes

      4:08
    • 13. 12 Polishing And Organizing Your Scene

      6:49
    • 14. 13 Applying Vs Replacing Textures Plus UVW Settings

      4:49
    • 15. 14 Context Tab

      3:59
    • 16. 15 Creating Animation Paths

      5:13
    • 17. 16 Nature Tab

      8:38
    • 18. 17 Placing Landscape

      6:05
    • 19. 18 Generating Cameras And Camera Settings

      10:24
    • 20. 19 Visual Effects

      7:43
    • 21. 20 Creating Animations

      7:11
    • 22. 21 Video Editing In Twinmotion

      3:02
    • 23. 22 Setting Up BIMMotion

      1:44
    • 24. 23 Exporting Final Videos

      5:58

About This Class

*Join this course now to get instant access to the project models, including many very high quality furniture assets for you to add to your library.

WHY LEARN TWINMOTION

Twinmotion is a real time software, specifically aimed at making visualizations easier for architects who are untrained in 3d. The great strength of the software is its ease of use, and large library of 3d assets that can be used in any scene. So, if you are an architect, designer or 3d artist, jump into Twinmotion now and you will see that within a few hours you will be creating exciting imagery, animations and full virtual reality!

WHY THIS COURSE

Perhaps the most exciting thing about this course is that you will see exactly how to turn the provided model, and therefore any of your own models, into a finished product that can be proudly shared with clients, all in just a couple hours (or even faster). There is no prior expertise needed in 3d or this specific software. The goal of this course is to take you from nothing, to creating full VR walkthroughs, animations and still shots in a few easy steps.

THE FORMAT OF THE COURSE

  • At first we will be learning the basics of bringing in our 3d models (there are a few tricks to get this just right).

  • From there we will start exploring all the navigation, UI elements and tools in Twinmotion. We will also be adding to our own models with the vast library of models that Twinmotion provides.

  • Next we will be adjusting the materials that come with the project models, adding custom ones, and using some of the provided library materials

  • We will look at proper lighting, reflections, etc

  • Finally, we will set up animations, still shots and VR, and examine the proper settings for creating a nice result that can be shared.

We will go through all of this quickly and efficiently so that students can be up and running, visualizing their projects almost instantly.

CONCLUSION

Don't waste your time (and $$$) fidgeting around in a new software, I've already done that for you. For a very good price, I'll teach you everything I know, and you can have all my models too (<--these took a long time to make and are high quality). You'll be confident in your Twinmotion rendering skills in no time.

So, I'll see you in class!

Transcripts

1. 01 Exporting FBX From Modeling Software: all right. So before we get started a little bit here, I want to talk about in Max and three CEO Max, which is what I used to model this project file in the first place. What it kind of looks looks like in Max. So, of course, Twin motion can use several different types of files, but we're going to use the fbx exported from three years. Max, you can export fbx from a lot of different Softwares, and so basically, anyone can use it and you can import it directly into twin motion. So regardless of what modeling software you're using, you should be able to import this fbx or your FB X if you so choose. So let's take a look at what it is. First of all, it has to be all converted to standard materials. So I've gone through and converted everything. This was a V Ray project. It's been an unreal project. It's been a lot of different projects, but this one is all converted from very materials to standard materials and really is just the diffuse maps that are here. Well, look at adding more to that into in motion a little bit But these are just the diffuse maps , and here they are. They should be mostly named appropriately for what object? They are there on the only other consideration here. We're going export. This all is one chunk, and we're gonna leave it all in place 00 somewhere right around here. And that's important because that's where it will be placed. Now, remember that when you're doing fbx and importing into twin motion, this is the stuff you're gonna bring in the stuff that you don't expect to move once you're in twin motion. Because once you're in there, the pivots for these objects will will be at 00 So, for example, if you're moving like this chair right here, when you try to move it, its pivot will be over here, and it will be awkward because you'll want to zoom in here and say, Let's rotate around this point. But the pivots actually way over there, and that's not gonna work very well. You also need to consider how these things will be collapsed and you'll see that the things that I'm not moving, that I'm gonna that I'm going to import with this group right here I'll leave them right where they're sitting and I'm gonna collapse, um, by material so that if I change the Mali in material right here, it will changed the Mali in material everywhere because there will be collapsed by material . So all the mullions will essentially be the same object. That's one way to do it. And that's how I'm going to do it. You can collapse it differently if you want. If you want to be ableto edit each one of those objects individually, you can also do that. Okay, So what I'm going to do here is just export this as an FB X, and I'm going to select this and just say export selected. Make sure you're not getting anything I don't want and just name it. Whatever you want dot Fbx, let's do Let's name this test and just it saved. And we'll look at my settings here. These air, the settings that I've been using, I think these air are completely default. Okay, if you get any problems, you might have to come back here and look at some of these, OK, But these air the settings I'm using, hit okay and you'll save out that fbx now the only thing else to consider. And this fbx is going to be readily available for you as a project file, so you can just use mine as well. Bonus of this course is that you get all these objects with the materials applied and the mapping done for you already, and there's quite a bit of nice things in here. The only other thing I'm going to do is say, right click on Heidel and you'll see that over here, right at 00 I have some furniture that is kind of all on its own, so let's grab all that and isolated. Okay, so I have a bar stool. Ah, dining share a lounge chair. Lets reset. Let's convert that two headed Polly and a place setting for the table and you'll see that I've tried to put the pivot points for these in a place that makes sense, that was a little weird. I could adjust that if I wanted. You can do that the same. Actually, they look at the individual pivot points. Yeah, it's actually right, so it's right on the ground and this right in the center of that chair at 00 This one should be the same. Yes, this one the same. So they're all the pivot points air right at 00 But the object itself, the position of the object makes sense in relationship to that pivot point. So you'll see what that does when we import it in. But any object that we're gonna maybe want to copy around and move around kind of individual assets in our scene, we can export him like this so that they have a nice pivot point and that they will make sense. And you'll see why when we get into twin motion And also, we're not gonna collapse seized by material, we're going to collapse. Um, by object, right? So when you move this chair yet, when you move this chair, it will all move together instead of selecting just the cushion material than just the metal material and that kind of thing. So I'm gonna export this one separately. Say export selected again, exported as an FB X and ah will import each one of those files individually with a little bit different settings. And then we'll be good to go 2. 02 Importing FBX To Twinmotion: Okay. Once you're ready to import into twin motion, go to your epic games launcher and launched twin motion. You can get this by going to the enterprise site of On Riel engine and and downloading to emotion. And then it will be added to your epic games launcher and you can launch it from right here . We'll give it a second to open up. Okay, once it starts up, we're looking at just a blank background here, and we just need to either go here and hit, import or go appear to file. Important for hit control. I browse to your file and then once you're fall selected, you have options here collapsed by material. This is Thehyperfix L of the house here. That's the one I do want to collapse by material. We can hit this just in case. Fix UV texture and unit conversion. Auto is fine. Z up is correct. Okay. In the whole house will come in and I'll show you what I mean by collapsing by material. What that means. You can decide whether you want it for yourself or not. If you have any materials that have the same name is another one you'll, it will give you a conflict. And you can just either choose to use the C material used the new material, keep both. We can keep both here and just to play all that probably just made some bad naming on my part. Okay, once it's in here, we can look at it. There's our whole house. Now let me show you what I was showing what I was speaking about. As far as importing. If we select this couch, you'll see this is collapsed by material. This cushion and this cushion are the same material, and the pivot for them is right here. So if you wanted to, like, move this couch or copy of somewhere, it would not be conducive to that at all because of the way this has been collapsed and because of where it's pivot is. If you selected this table, same thing, you would want these actually connected and they're not. And you want to pivot where the table is, and it's not same here. So the pivots always at 00 So if you go if you say I want to rotate this 90 degrees and keep it in place while you can't do that. You can rotate it 90 and then you'd have to go place it again. Right? Okay, so that's what I mean about pivot points. But for the stuff that is not gonna move, that's all. Fine. We're gonna leave that all here, and then let's import our furniture separately and say Collapsed by material. No, keep hierarchy, as is okay, And it puts it all in 00 But that means our pivot is right in relationship to the chair to the movies around. We can rotate him. Everything's nice and clean. Okay, So those were ready to be placed. And we can even do something like add them to our personal library. Are user library By going here selecting on this, which brings up all our menus and are objects. Go to use your library. We can rename this to furniture and you'll notice I had already done this on a previous test project. And so they remain there, which is kind of nice. Let me show you how to do it. So what this chair selected? We can go into here on this side, which is our which is all the objects in our scene and we can say right click on the selected object which is being highlighted here and say at a teaser library, Can you can see that it's been added to the furniture folder here? We could do the same with this one teaser library shows up right here, okay. And these will be here in your other projects as well, which is quite nice. Let's just put those in there. Then, of course, we could even just delete these all together and then when we want to place him, we just drag him in, rotated in place, 180 degrees. Well done shift to make another one. And actually, let's move it on, Lee, along this axis shift. See it right there and we can say instance, four of them change the spacing if we want. And the difference between insists and copy, if you don't know his instance remains linked to each other. So if I change one, it changes all the instances of it. A copy is just simply a copy no longer maintains a link to the original object. Okay, so now we've got our bar stools placed, and we can do the same with their other objects as well. So I wanted to show you that because those were imported differently with proper pivot points and then added to our library, and it makes it much nicer now. It's very easy to place them, manipulate them in the scene. So we've got our whole house that's gonna stay fixed, and then you've got a few pieces of furniture that we will place around, and that's how you import Fbx into twin motion. 3. 03 Basic Navigation and Panels: okay, before we get to heart far ahead of ourselves here, we should talk about navigation and what some of the panels are inside of twin motions that we know how to find a way around. So every time you open toe in motion, Well, unless you uncheck this right here, but the first time you open it especially, you should be able to see this, which is just a quick overview of the controls. And you can see that you can get different controls into the same things I would recommend if you're right handed, like me to use the mouse with the right hands and then the left side of your keyboard where the w A S D controls are Ah, your left hand on those two, dear Controlling. Now, this is like PC gaming touch controls and the w A s D will be exactly like these arrows here. So w will move you forward ass backwards. A to the left d to the right. And up here it is dependent. Oh, and up and down Que Andy! So on each side of the w, there's an up and down key Appear This will depend on how you said it. So I set mind to three DS max because that's what I'm used to. And that's basically doing my tumbling and my panning and my look around. So if you're used to sketch up or something like that, you can put sketch up here. You can use the twin motion default. So if I go to twin motion here, you'll see that middle about mouse button remains. Pan shift plus middle mouse button becomes orbit and right button is still look around. So I used three d max because I'm used to all plus middle mouse button being my orbit button. Okay, so those are the basic controls, and we'll see what that looks like when we get in here. So if I hold down right and move around with my mouse, that makes me look. I can also use the W key to move while I'm looking like this. Okay, the orbit would be all plus middle button, which you can see that pivot point there, and I'm orbiting around the pivot point, and then middle Button is by itself is panning. Left mouse button isn't gonna do anything as far as navigation goes. What's the middle middle ault and right mouse button that looks around. And then it's just the standard keys. And again there's that up and down. So on the left side of W is up on the right side is down. We can go back and go side to side notice when you go side to side. We're not looking in a different direction. We're just sliding in a different direction to look in a different direction. We could pushed sideways and use the right mouse button, but then we'll continue to move sideways. What you actually want to do is push forward and use the middle mouse button while looking around. Okay, Sideways would look like that, which is kind of weird. Okay, so that's the basic navigation. And then, as faras panels going here, you can see there's not a lot of menu items here. We have this main thing down here, which gives us our different categories of things to do. So this is import. This is urban, so it's got the context in the background, and he could do your paths and things like that here. This is like nature. So our localization, that's kind of importing some surroundings for this the weather, the lighting, vegetation adding body of water and then that when we get ready to export, this is where we make our images. We'll talk about all this later and then exporting is actually done out of this panel here . So that's all this stuff down here. Probably the most used thing is this thing here, which is the panel of objects that we have to place in our scene. So, of course, Twin motion comes with the huge library of pre made things. So we can go into, like vehicles, for example, go into cars and then just drag a car in like that and we do this to navigate up again and we can never get up again. All our furnitures, if we wanted to change the material of that to concrete, just go into our large library of materials. It's not gonna let us put it on that car. But if we had a primitive object of some kind that we put in here like a primitive object, put it in, go back, go to materials concrete. So this is where we find all our libraries of stuff right over here and you can, of course, search everything here and close it back up on this side. We have the hierarchy, so you can see these are the things that are seen seen. Graph contains. It's basically a container that contains everything in our scene, so the starting ground could turn on and off. You can select it on lead it we want we can undo that. There's the Braco one we can turn on and off. That's the car. And then there's the cone. Over here, we can create a new container inside of seen graph how it primitive weekend dragged the cone into the primitive container. Let's put the car in there as well. Now, when we select that container and move it and it moves both of them, you can also right click on the cone and say zoom to selection. The hot key of F will also do that. So fight, going that car, you'll see it highlighted over here. If I had F, I focus on it. F is for focus similar to you before or exactly the same as you before. If you right click on it, you can also rename it. You can isolate and exit. Isolate. So that will hide everything. Okay. And there's a few of the things you can do. You can additive will use your library. You can replace the object. Okay, so that's where you can select and organize. This is kind of like a layer system over here. It's your seen hierarchy going on over here, so we can close that now. Oh, and here is this statistics panel showing you what kind of performance You're getting frames per second. We're looking really good right now. Thumbs up. This will give us our polygon count. Object count, etcetera, etcetera. So let's close this panel. And then the last thing is this eyeball here, which gives us daytime speed drive speed, bicycle speed, walk speed. Okay, that's how fast you're gonna be moving around in the scene. Said it. Toe walk. We're walking slowly. Weaken, sit. Set the speed to drive. And we're going quickly, so find your happy medium there. Okay? There is the high ball. Could take a screenshot. Been motion VR. Okay, so this is kind of how we are going to experience the scene. It's a full screen mode. This changes the time down here. We can be a drone or a walker, so you can also export the models like this. We escape out of this, so these are the different ways that you can export and have other people experience your thing. But while you're working on it, you can also be doing is well, you can put it straight into VR here. Okay, there's also a clipping plane. You can, for example, you can flip a building and do clipping in here with your view. Probably the most important thing in here is this guy. The view, and this gives you your Ortho graphic views. There's a custom one, and then this goes back to perspective, since I control the view that you're looking at. So if you need to look at a perfect top view, you go into there to do it. So those are the basic panels. Everything else is pretty straightforward, and we'll look at some of the additional buttons that we haven't talked about yet. As we move through the course, those are the basic navigation and panels within two emotions 4. 3b Quality Preferences: okay, One thing before we really get going here. This is a little bit further ahead in the scene, but I want to talk about this real quick in edit preferences under quality. It defaults to medium here, and this, depending on your computer, may not be good enough. Let's look at the differences real quick. If you go too low, it looks like that, which is obviously awful. If you go to medium. This is how it looks and it's good. But the shadows aren't super. Act accurate. The reflections aren't super accurate. Just in general, it doesn't look super close to what the final product will be, the harder or the further up you set these quality settings, like if you sit down ultra, it's gonna be much closer to what your final result once you hit the export button, is going to look like Okay, so for a lot of this project, I'm going to be running on medium because when I'm recording, it's hard to. It could make it a little bit choppy if I'm on ultra the whole time. So a lot of the courses recorded on medium, but when we get to some of the parts where we need to be worrying about how the final look is gonna be. Then we can be in ultra and edit everything and get a much better feedback as faras how it's really gonna look when we do the finished rendering. Okay, so that's something to keep in mind if your computer is fully capable of running an ultra all the time, I would recommend doing that because it gives you the best, most accurate feedback. So that's just a little note on your quality preferences. 5. 04 Basic Transforms: okay in our student project in our project files. For this course, let's get started at trying to make it look presentable for rendering purposes so we can see that is coming pretty good. And we're getting basic lighting. Everything is going okay so far. We want to get rid of the ground plane here because it is cutting into our pool, which is down here. Were in the pool right now, but we can't tell, so we need to be able to get rid of that. If it's hard for you to select, then you can go to the scene graph hierarchy over here and just highlight starting ground on. Then we can just hit delete. Now we can see our pool and you can see that some of the materials and lighting isn't right yet. We're going to get to that. But first, let's look at what we can do with objects. We already saw that we brought in objects separately that we then added to our library and then we can place we can use the basic transforms for each of our models by selecting a model, and then we have the option to select here, which moves in the X and y. We can select on this ark out here, which rotates, and it gives us a little print out of how many degrees we've rotated. We can also go here and where it says translate, we can say move, rotate or scale. So if you want to scale it, we can do this. And it gives us a little bit different Gizmo weaken scale in this direction, only this direction only, or in all directions, uniformly like that. Then go back to rotate. Okay, Now, if you want to place these just right. Oh, notice with rotate gizmo. We can also rotate along this axis here, like this or this one. Give you one in places just right. We could go to the top view. We could do something like hide the metal roof object and hide this object light would and then see our stools in here. Make sure they're placed properly like that. Let's get these all kind of spread out evenly. It's okay if they're not perfect, because in real life they wouldn't be perfectly placed. Right? That's good. Then go back to perspective. You focus on him. Okay, so that's placing our objects and basic transforms. It's turned back on the things we turned off basic transforms and, like we saw a little bit previously. We can also copy things by transforming it and holding down shift at the same time. And we have the option than of copying or instance ing and the number of copies we want to do or instances we want to do. And the spacing, although that is being determined by how far we already moved it from the other one. But there they go. There's all our instances or copies. We can undo that. But just so you know, that's how you do it Now. In the next video, we'll talk about other objects we can place our library. Obviously, stricken place will put these chairs in, and we'll play some other objects on the table as well. 6. 05 Placing Objects And Using The Library: once we have our basic transforms down. Now let's look at placing some new objects in our scene force. We have a huge library available right here. As we have seen, I didn't go back and we can do. You don't just have materials here. We have actual objects so we can do our lights. From here, we can do vegetation landscape. We can use volumes which will look at weaken do characters. So, for example, we could do a human. You can put it Edel in here. I guess that's his name. Edell and you can see is nicely animated and everything. This is good for giving a scale. We don't want it to be too gimmicky looking because if we want to do a photo realistic rendering, we need him to look correct, right? OK, but there he is. For now, we'll leave him there for scale, just chilling on his phone in the kitchen. It's fine. We can place objects. Let's place a little bit of maybe some deck or so we can go into furniture and say home and say, like kitchen accessories or food about food so we can scroll through this whole library of food, and I think I want to place a loaf of French bread over here. We'll focus on it. Focus that on the court counter, you'll see that it it jumps to the counter automatically, which is nice. If I place another one, it'll jump to the counter automatically. Okay, lets see if in accessories we have anything we could use, there's plates. There's a place setting. We actually have one of those that we brought in ourselves. There's an appliance. So if I didn't have those in Max already, I could apply them right here. Or put them straight in from twin motion. There's storage so I could build cabinets. Right. A lot of different options here. I'm giving you a lot of the model. But if you didn't have him, you could have a nice little library right here. Of course, you can always add your own things to the user library. Okay, so go through here and add whatever you'd like from here in the living room. We can add a plant or a lamp. We already have that lamp in our library or in our model, I should say, can add another lamp if we want I don't like that one, though. We could find a lot of different lamps here. You could put something like this funky looking one appear on the console. You can see it's scaled completely wrong. Let's focus on it. And of course, we just need to do a transform on it now. So here, scale and all this stuff is pretty straightforward as faras inserting things into your scene and placing them to put over here, focus on it, make sure it looks good. OK, we can put that right there. And then the last thing will put in is a plant. Put this guy in here right there. Okay, We've already got a fig tree over here that will fix up a little bit to look better. But that's how you place new objects into your scene. Fortunately for you, I've given you a bunch of the objects already. You don't even have to do that. But when you're doing your own scene, you'll want to be able to place objects or add objects to the library like I showed before and Justus refresher. For that, you could take this stool and over here it will be selected like that and we can added to our custom library, which is found here. Use your library. We can say Add to use your library. And then in here you can organize things and there's my barstool right there that we could just drag it straight from here and place it. Okay, so that's adding new objects to our scene. It's quite a nice library. That's one of the big advantages and the powerful things about twin motion. 7. 06 Basic Viewport Lighting For Good Materials: Okay, you can see that a lot of the materials are not correct in here, and so we're going to start editing them. But before we do that, I want to just show you some things about the lighting and things that we can do to make it so that we can get a good idea of what the materials are gonna look like when we render. Because if the lighting is all wrong, then it's gonna be hard to get the materials right. So up here, we looked at already that you can change the time of day right here. This changes date tonight and you can see the sun moving across the sky. Now, if you don't like the orientation of your building in relationship to the sun and the shadows aren't actually where the sun isn't taking the path that you wanted to that's okay . You can go here to this one. The leaf and goto localization. And here you have the opportunity to change the month of the year so that the sons in a different place in this guy, you can also change the north, offset. You can see the little compass, but that's a 90 and now when I change the time of day, you see the sun is going a path right across the sky. So we're getting you could get shadow on both sides of the house. This south faces mostly in the sun most of the time, except for the giant eve that's sticking out, giving it shade. Okay, And then you can also pick what part of the world you wanted to be in, which changes slightly because of different locations having different sun angles. Okay, and then the time of year as well comes into play so we can do that. We can also change the background if we want, so that's under the urban tab. We go to context background, and we can say, OK, the picture is right now city. Let's make it mountains or countryside, and then you can change the rotation of that as well. Just like this, you can also go back to context and say Click on the context button. And then what's cool is you can select a part of the world and do a little crop of it so you can get a crop using this button of a specific city in the world and it grab it will actually bring in masses of those surrounding buildings to give you context for your scene . Okay, they won't look for a realistic or anything like that, but it will give you a good idea. And that can work for you pretty well. If that's the look you're going for now, Also in nature, we've done the localization. We can change the weather in here too, to be kind of whatever we want for the view port. So you can see you can turn on rain, snow, whatever. You can change the time of year. So snows on the ground there. Okay, so it's different seasons, different kinds of weather. So that is available to the thing that's interesting to me. Is the lighting here? And g. I said it one. That's how much effect of the bouncing of light will have when you go to find the render. Moon power is literally moon power. How bright the moon is at night, his shadow. You want to change in order to make sure that it's nice and accurate So you can see here We're not getting the right shadows. Here we are, and then if you go higher up again, you're not getting the proper, crisp shadows where they need to be in soft jobs where they need to be. The nice thing about real time graphics is that we can basically see instant feedback about what's gonna look right. What isn't when you go to finally render this will look a little bit different, but this preview is giving you a very good idea of what it's gonna look like. The white balance is a typical camera setting. You can either change the warmness of the light to be more warm, warm or cool. So you want to find the right balance there, and then the sun intensity can be turned up so super bright. But you can see we're getting too much contrast now, so you could maybe boost your son a little bit, but not too much, because then it'll be super washed out outside. But you'll notice the inside is kind of dark. So another thing you can do is turn up your ambient light, at least while you're working in here in the view port so that the shadows aren't so dark. So this looks kind of right to me. Maybe a little bit exaggerated, too bright. But now you can see the materials very well, So that's a plus. So when we're working on materials, we can leave this ambient very high. So there's no super dark areas in our scene, and everything's looking pretty good. And I've found that if you try to do the same thing with G ay by turning the G I up when you render, everything will look quite washed out. So the ambient actually gives you an effect that's more akin to upping the exposure of your camera, I would say, kind of and again, we have to think of it not like a ray tracing engine where all this would be very, very accurate. Ambien setting is not something that would be physically accurate, but for us, it's giving us the right look that we want. And now we can see all our materials very clearly, and that's what I wanted to be able to edit 8. 07 Adjusting Materials And Applying New Ones: okay, since we have the lighting basically set up in here so that we can see our materials quite well. Now let's go in and start adjusting. So you can see the maps came in properly from three DS max. And things look quite nice, but I want to show you how we can adjust the ones that are in here already and how we can apply new ones from our library. So let's start right here with this plant that I'm seeing that needs to be two sided materials cause from the back of those leaves everything you see through. So what we can do is just go here to material picker and select this. Go to settings two sided on. And now you can see that we're not seeing through the leaves anymore. So that was easy. We can also go to these picture frames. And this blue we're seeing here is actually glass. So we can go in our library over here, find a clear glass and put it on there. Then we see through to the image over here. The metal for this great isn't looking very good. So we can go to the library, find metal. And let's make it bronze. Maybe turned down the reflection of that a little bit. You can see we're seeing it in the swatch here. And we're also seen represented there in real time. Maybe change the color to be a little more brownish and up the reflection again. Maybe. Like that. Okay, over here we have an issue with thesis of object material not being kind of mapped properly . So we have this material and this material. Let's just make it simple. Weaken, grab. This board formed concrete. We could just apply it here as well. You can see the mapping doesn't quite work. So that's something we need to fix in Max on these stools here. We want those to actually be clear. That was the original intent, so we can make it glass. Let's try the two sided glass here on these stools. Okay. And if that's too kind of invisible than we can make the opacity go up, we could even change the color to be something less white. Okay, if we put two sided on on this one than it looks a little better, cause then we're seeing reflection on both sides of the chair. It's not disappearing on the backside down here. We can put some metal on. Let's put the mat chrome on here. Turn it down a little bit in color. If you like that. Okay, so you can see that it's pretty easy to go in and start applying textures. If we look at, like this blue cabinet, for example, it's a little too dark, so we could just sample it up the color, maybe de saturate some somewhere around there, get some more materials for the Crume. Okay, so we could we could sit and look at all this. But that's all I wanted to show you for this particular lecture, just adding materials from the library and adjusting some of the basic materials we've got already. Let's move on to the next one. 9. 08 customizing materials: so you'll notice that from the Fbx file we just brought in diffuse maps. You might know that there's more to a material than just the diffuse color and, you know, turning up a generic reflection There, There you couldn't put a reflection map in. You can put a normal bump map in. You can do things that add a little more realism to these textures. So let's look at how we can customize some of this stuff. OK, but first I need to look at Let's go back to hear what we want to do is go to a specific reflection map that worked for this leather. And we can do that by going to this texture here and saying Open navigating to the place where I have that texture And you can see I have one here called leather diffuse underscore RDF, which stands for reflection, and I could apply that there that specifically matches the unwrap of this cushion. So that is custom made in using Max own rap and Photoshopped. You can see it's still not looking right, and that's because in the settings and the bump, I'm gonna turn that all the way down. So we can see just what the reflection is doing now. In the bump, we need to put another map and here by default. There's something here called crumpled map, which is add some default normals to it. I added a regular bump mapping here, black and white bump map. Of course, what we actually need here is a normal map. So let's look real quick. How to create that in photo shop? Here we have the diffuse and we can just go to filter. This is assuming you have Photoshopped CC. Go to three D filters, generate normal man, and then you can adjust the level of detail. I like to look at it over here. You also this watch here that shows you what it's doing a little too noisy. Maybe, especially if I go up like that, it's maybe something like right there, or even more. Okay, so let's save this out as a normal map. So we wanted leather diffused to underscore Norm. And if we load that into twin motion, it should give us the right bump that we want. And then you just open it here, navigate to it. Load that leather diffuse normal amount And there you go. Now it's working as it should. You have maps that are very specific to that specific material. You can see the wrinkles going up and down in the couch. I think I want to turn the reflection down. Some like that. That's so you can add a little bit. Or that's how you can add a little bit more high end materials. If you want to use PVR materials from something like quick so or something like substance Designer, you can do that as well, using the same things. So let's say, for example, that you wanted to turn. You want to use a substance material for this concrete floor down here, or that you have something spit out of quick. So mixer that is a PBR material with all of the maps you need for PBR workflow. Then you can plug them all in to these different slots down here. So let's look at an example real quick. So we go to sample this thing and we'll say OK, under color. Let's go to more and put a new texture there and then navigate to your maps for your PBR texture. I have one here from quick sel mixer called Concrete Smooth. We'll just get the Alvito and put it in there and we can go back. Go to reflection. Used the glossy nous map. Here you can go to the settings, go to bump, go to more. This is the default bump that's in there. We wanna load a different normal map. We can put this normal right in there. We can turn up the bump. We can turn up the reflection. And that map that glosses map is telling it where to reflect more on where to reflect less . Then we can change the overall scale of it because it's a little too big and we can also adjust the overall color of it by making it not white, but putting it more towards gray. So that's actually affecting the albedo map and kind of darkening it. So that works, too. I think we can go higher on the reflection and then bigger on the scale. Okay, so that's how you can use a PVR texture. Just like any custom texture. You can just load it into the maps. Lots. I don't actually like the way this is reading, so I'm gonna go to the library and put a new concrete on their Put the college polished concrete on, Darken it a little bit, just the color down. Great that works. Okay, so that's how you customized materials and make him look a little nicer than just the default. And also how you can use a PBR workflow if you so desire. 10. 09 refining materials: So I'm gonna go through and kind of, ah, spruce up some of my materials here, just doing the same techniques that have already shown added reflections and things like that and then applying the correct materials that things that look incorrect right now we need a new wood for this. The ceiling clouds up above. That looks all right. Nice thing about real time is weaken. Try lots of different options. Let's try that. But scaled up Okay, stick these doors and maybe lighten him up and maybe shift the color. Some add some reflection. Let's try one of these other doors in here just right out of the box. I think we're getting too many woods going on here, okay, We'll leave it with the material that came in. You can see this starting to come together, though, and I'm just going to continue to applied materials properly to all the different areas. One thing like I teach in Max and V Ray and it applies here is well, is that metal really gets a lot of its color from its reflection. So it's not really right to put the color really light here like this because you can see it doesn't look right either. It should really be more like that. And then the color comes from the reflection. One thing we haven't talked about yet is Neons that we can add to this. So in our materials we can add neons which can just basically be like lightbulbs. And let's get the same brass from over here and also apply it onto these lights like that. We want to get this material in here and we can actually put a neon onto that, like so So his track lights are kind of on. Okay, so it'll just be a matter of going through and picking all the right materials and put him in the right places. And you can either make sure and get that completely right in max. Or you can just use some of the stuff from the library in here. Might be much easier to just just assigned something very generic in max or wherever it is that you are modeling things sketch up and then just worry about your materials. Once you get into here, that also works. Okay, Last thing we're gonna do is just put some water on this pool way could just go to the genetic pool water and added, like that Pretty nice. Okay, cool. So our materials air looking kicked pretty good. I think it's almost time that we can start moving on to some other items. 11. 10 adding Interior Lights: Now let's talk about lighting a little bit. We've done the main lighting already. Which was the son and kind of the north orientation, that kind of thing. But what about inside here? We can add lights inside here by going to our library and just going to lighting or lights . Okay. And you can see these are standard I. E. S lights that we're used to using If we've used any other kind of program for our modeling or whatever. Ah, yes, lights are going to be provided from some light manufacturer that shows the exact pattern which a light will cast. Okay, so we have all those patterns showing here. There's also an Omni directional light, like a nominee light and then just a standard spotlight. So for the track lights, let's do something like this. Looks like a track light. Now, the hardest part about this is gonna be placing it right inside that light. Probably want to go to the top view here, and it might be easier even if we turn off the ceiling, make sure you select it so metal roof object off, and then we'll select these light would cloud and turn that off, too. And then in the top view, we can just place that in the right place. We can do a shift and drag for our next one, and we want to instance it. So they're all the same. You could do a shift drag again, and then there's one other light over here that I can't really see. Instance One other note about when you're placing lights in here that I didn't show that could make it a lot easier. Instead of hiding the roof and things like that, you can do it that way. But one thing that we should discuss is this clipping here, which, when you go to a North a graphic view you condone also clip it so we could actually clip down into the room like that and then place the lights very easily. Okay, and then we can go back to our perspective, you, and make sure they're all at the right level in the Z axis, which would be down here now. The nice thing about us instance ing these is that now when we set one to the right intensity than they will all be updated. Okay, so here are settings for this light would be color intensity angle. Okay, so you can see the angle is affecting how far out the fan on that goes. The attenuation is going to be how far it will go in your scene. So right now it's at two meters, which means it wasn't hitting the ground. If you put it a 0.5 meters, it only goes to there. We wanted to go far enough so that it'll cast something on the ground and you can see a slight change happening there. If I turn up the intensity, you'll see it even more to continuation. Look, something like that, the angle will look something like that. Right now it's shadows off, obviously, for going for photo realism than we'd eventually want to have the shadows on. But that will cost us frame rate and all those kinds of things. Okay, so let's put that on the wall and just get the intensity somewhere in there. Put that on the wall, pointed in the right direction onto our little artworks. Here, A little photos up the angle a little bit on these. Okay, now we have lights over there. We can turn shadows on and see what it does that looks OK. We can leave it on. Let's go back in. Turn on metal roof in light. Would. Now you can see that affect those lights air having in here. Okay, so we can also do a light for these pendants over here B f and focus on them. We can just maybe use an omni directional light and put it in there and see how that works out. Since I dragged it on top of that light bulb, it sat right on top of it. Okay. Now, if I turned shadows on, this is the radius. This is kind of like the attenuation for a nominee light. It turned shadows on. You see, it won't cast upon the roof anymore because it's actually sitting inside of that pendant, and that actually looks really good. I think we can shift copy until this one's got one as well. Make sure an instance it and turn the radius up so that it's hitting the floor again. If we go into the more tab of the light, we can change the color of it to look different so we could make it warmer or cooler. Light this one. I'm gonna leave it neutral. We can also go back and turn the day cycle on and off. So what that does is if this is on than those lights will be dimmed during the day. And then when we turn the light, when we turn the daytime to night, they will light up bright and light up the whole house. So let me just demonstrate that if you go to time of day, we said it tonight. Time those lights, then get brighter in there like that. If we go to daytime, they will dim out, become less intense. Okay, so all there is toe left To do now is to just go around in place lights where you want them and how you want them and get them to the settings. You want to make a nicely scene? 12. 11 Reflection Probes: Okay. One thing you may have noticed by looking at this is that everything looks kind of flat. There isn't good like Ambien Inclusion shadows going on in the corners. But also there is not correct reflections going on. And this is a typical problem with, AH, real time engines is that they have because they're not doing real time ray tracing. Typically, it is hard for them to show great traced reflections, and it's also very heavy processing wise on the graphics card. So the way those air handled or with volumes similar to, if you views on real engine before but in our library here we have volumes and one of the revolt. The folders in the Volumes folder is reflection probes. Can you have a box Fear probe? Which is kind of like box you VW mapping? If you're used to that, it is projecting in six different directions. And then there's a sphere where it's where it is reflecting like a chrome like a chrome ball. Basically. So how do we use these? Let's drag this box reflection in. I also turned up the reflection on my floor so we can see this a little better So you see that once I put this in here, I'm now getting nice reflections on my floor and I can move it around, place it properly. I can also adjust the size of it. So it takes in my whole interior of my building, which I think is nice. You can update it. You can change the brightness of it so that it's really affecting. But that's gonna look less accurate. You can also change the transition. So where it starts blurring out and not reflecting anymore. So that's like the inner box in the outer box. And the transition is changing. How big the the distance between that inter box in outer boxes. And we can just change the UN enable or disable, so you're not limited. So you're saying we're getting much nicer reflection here If we turn it off. It looks like that, and everything's horrible, and there it's much, much better. Now these reflections air not perfectly accurate. You can see it's kind of faking things a little bit, but it is giving us the look of reflection much better than it was before. We can also use a spherical one and drag it in if we wanted something very specific being reflected, like over here on this table, we could put it spherical down here, change the radius. So that really the reflections air getting really good over in this specific area. Brightness like that. Okay. And we can do that with any specific area we want with a box or a spherical reflection, Like over here in the kitchen. You can see that metal is reading better now, once I put this on there. See that? Okay, so that is that is kind of looking at things out and projecting out from a spherical point and bringing that reflection back Kind of mapping it onto these different areas. Let's put one more over here. Okay? So now kind of all our bases are covered. We have nice reflections going on. Nicer reflections going on. We can even put one out here at the pool if we want a box one to get nice reflections going of our house on the pool. See that reflection showing there pretty nice. Nicer than the generic. Okay. There you go. Nice reflection. Okay, So that's how reflection probes work. You can put Put him in and concentrate on whichever areas you want. Of course, the more we do that, the more frame rate it's gonna cost us and those kind of things more render time. It's gonna cost us. So those are things you need to take into account. But reflections go a long ways to make your scene, not suck, so keep that in mind. 13. 12 Polishing And Organizing Your Scene: So I think we've covered the basics of navigating, adding light and refining our materials a little bit, creating custom materials, adding materials from the library, etcetera. So that's a big part of making nice renderings and pushing towards photo realism. We've also talked about reflection in both our materials and Justin are seen overall, which is another huge element. Now I'm going to go through and start just kind of flushing out the scene, working on any final materials I need to do, filling in some of the spaces with furniture and other objects. And I'm gonna use that as an opportunity to show you how to organize your seen a little bit , because once we start placing a lot of things in here than we can start getting unorganized in our scene graph over here. So I've done some organization already, and these air what's called containers, and each one has objects in it. This one is called user furniture and those that contains all the bar stools that I copied around. This is, of course, the bar stool that I brought in earlier with our fbx import, and if I turn off the the container, it turns off all of them, or I can turn off each one individually. If I set this right, click on it and say Set active container and then add another piece of friends or from the library. It will automatically be added to that container. So this is a good way of instead of having to search for objects all the time or name everything perfectly. You can put things in containers so that you can find them easier. Okay, so if I want to create a new container, I could just go to the scene graph, which is the overall scene, and say new container. And you can name that. We'll just need a test. You can see it's outside of this container. It's on the same level. Is this if we set this to active container now, we can Dragon in your chair should go into our test. Or we can also drag any of these into test like so Okay, So easy Way to organize everything. Put that back. We'll get rid of our roop chair here and we'll get rid of our test container so those air containers and how you contain them and how you create them. I should say, OK, so let's just do a few more things using our organization here. We need to go to the user library and bring in the placemats that we had drag it in and then we'll just do the standard copying around you. Make it an instance. Okay, now you see that I've got these things placed in here. One interesting thing that's come up that we need to use our containers for is because the this wine bottle got imported with the overall scene and not with the furniture. It's divided up by material and therefore each one of these a different object. So what I want to do with this has created container for this whole wine bottle in all of the different pieces so we can move it kind of as a whole. So if we create a new container here, they're exactly we want to create it in the house. New container that'll put it at the bottom of our stack for the house. Let's say wine bottle. So when you select this, it'll highlight in here, and you can either drag it down into the wine bottle container, which might be a little bit hard or you can cut and paste it into their This one's close by so we could just drag it right in. Now there's other pieces to you can turn off the wine bottle group. The ones that aren't in there yet are the ones that are already in there. And then we can easier select the ones that aren't in there. You can also right click cut paste here. All right, Everything's in there except for this guy. Maybe something on top hit Have to focus on it. Okay, so we just need to find this selected object. Cut it and paste it into their bottle rapper and well, paced it into here. Yes, there's still a cap there, so you can see how dividing this up by material can be very annoying because there's all these little tiny objects that are different materials. So, really, the wine bottle, preferably would have been brought in as an individual object and not divided by material. That would have been the best way to do this. But this gives us a good example of how to kind of address issues as they come up. Okay, Now, the wine bottle is all in a group we can select. That group dealing problem now is you'll notice that the gizmo for that group when it selected, is way over here. You can see my wine bottle moving around over there. You can see how awkward this would be right to be able to move like that. So again, that's why we bring in some objects as individual objects is now moving that wine bottle or copying it around or even just grouping it together could be quite a pain. Okay, so that illustrates quite nicely what I was talking about before with the furniture and how we should import things. So individual objects that you might want to copy around, move around. Those kind of things should be brought in at 00 and not divided by material. Okay, I'm going to keep on going here, put in some chairs and put in some, but some materials under here make sure the scene is all tied up, and then we'll move on to other aspects of twin motion 14. 13 Applying Vs Replacing Textures Plus UVW Settings: Okay. We've talked a lot now about just getting the scene in, getting it kind of, ah, polished up a little bit. Now we talked about getting it organized. Now it's time to start putting the finishing touches on. So so far we've gone through this tab, which is import. So this is just when we run in our import or FB X is now. Let's start going through these one by one and look at the other things that are going on here. We've already looked at the library panel here, and we've looked at the seeing graph for the whole scene. We looked at this, and we've seen a little bit of what's going on down here. And essentially that is all of what is in tow in motion. That's the beauty of it. Simple, easy to understand, easy for anyone to use and yet good results. So let's quickly look at these buttons, which we haven't gone in depth with yet. This button is replaced material versus apply to object. So all this means is when we dragged material in and put it on something or either placing the object or were saying anywhere where this material is found in the whole scene, replace it because we have collapsed by material. That's not gonna make much difference for us because you can see the material is all one object. So if we place the material or if we replace the material, it's really not making any difference. OK, but if you had multiple objects that were the same material, you could replace all of them by popping this in. Okay, So to demonstrate real quick, I put two boxes in here that have the same material on it. So that's more than just applying this material twice. What you would do is you apply to this box and then you could I drop it and then drag it from here onto their Now those have the same material. If we have replaced material on, then we would just do this and replaces both boxes. On the contrary, if we had only applied to object, then we could do one box at a time. Okay, so pretty simple stuff. Oh, let's bring that back. And then let's look at this from object. U v w So right now this is being set, whatever the object you VW was at first. That's what the UW mapping is. It's actually nice that twin motion has U V W mapping in year, so you can fix stuff if you want to, so you can say spherical cylindrical cubic. And this actually happens as you as you apply the material. So again we can look at an example where we get a standard primitive and this time let's bring in a sphere, okay? And we will. Let's make this a spherical UV, and then we'll just bring in a like, uh, brick material. When we apply it, it's going to apply like the sphere. Okay, with the library objects it. It doesn't really show really well, but I've brought in one of my chair library, my user library chairs, and here we can demonstrate what it looks like if it's wrong. So this is actually what I was saying. It's kind of nice that there's some U V. W in here, because if we have something that's wrong, we can you can sort of fix it. So if I apply a brick pattern to the sphere here or to this chair with sphere selected, then it's gonna look like this. And obviously wrong. Even if I do cubic, it'll look better. Probably, but still wrong. And thats why this one was fully unwrapped in three Studio Max and everything is right. So from this for this one, we want from you the object place, um, brick on there. And then everything looks clean. There you go. So that's actually changing the u. V s as I apply the texture. Okay. And then the rest is just the eyedropper and the transforms down here. So we know what this is all about with these buttons. So now we've really covered this panel, this panel, this button and all these buttons down here. Okay, now that we've covered these buttons, let's move on to a few more things that we haven't discussed yet. And then we'll really get into the fun stuff with exporting images and making things look really, really nice. 15. 14 Context Tab: kid know what we've discussed most things here, here and over here at least touched on them and how to use them. And then we've discussed everything that's going on right here. So let's start going through these different panels down here on the bottom menu. So we haven't talked much about context yet. That's this first half, Actually. The first time is Fbx import. These are two FB X is that have been imported. So here we can reimport them, delete them or relocate them. Okay, that's pretty straightforward. Let's move on to the 2nd 1 Context is the first thing here. If we go into here, we can change the background. Now it's set to country. We can change it to mountains waterfront in that country. And then all we really do is change the rotation, right? Pretty straightforward. If you go back by hitting back on the context, we can also bring in urban context, right, so this is kind of a cool feature, but it brings in basically mass models of any area that you pick so we can search for someplace in the map. Let's go to my hometown, Los Angeles, California and will search for a place to bring in. Okay, there's the Santa Monica Freeway. Let's see what's a cool place. Here's one of my favorite places in the world out here, but maybe it's not gonna be too interesting to bring in. Let's just bring in some Santa Monica area. OK, so what we do is we use a We turn on the grab tool, and then we just navigate to where we want to bring stuff in. Let's go to Third Street Promenade here in Santa Monica, which is a cool downtown area. I will just say grab OK, now you can see that it's in here. It just grabbed massing models of Third Street Promenade down there in Santa Monica, and we would have to place it properly. This is clearly something you'd want to do at the beginning of your project, right so that you could then place everything accordingly. But that's how it works right there. So now this thing sitting in the middle of the city, I don't think that's necessarily what I want, but that's what it can do for you. The other issue we have there is that it wasn't I perfectly North South thing I didn't have it rotated properly. And so everything's at a different angle. But that is how that works. That's how you can grab context. And I don't know if it's getting it from Google maps or what, but it's basically just getting masses of buildings and bringing them in, which is cool if if you want to go for that kind of look where it's in context but not photo realistic, but still showing some surrounding stuff. OK, for me, all these buildings are too big. I want to be a more residential area. Okay, but there's some buildings in the background now. Oh, it brought in this new four plane to which is causing problems for us, obviously, because we have a pool that's underground, all that kind of stuff. So we want to get rid of that and just leave the ground plane as we had it. Here we go. Okay. So if I had brought that context in originally, I could've built around it appropriately. For now, I'm just gonna leave that as basic buildings in the background. Okay, let's go back to this tab and see what else we have. This is where we have paths as well. Actually, let's do that for the next video passes a big enough subject that we can discuss it in its own lecture. 16. 15 Creating Animation Paths: okay paths so we can put in a character path and what you do is just go to character path and then you have basically a pen tool here. He's used photo shop or something like that before. It's kind of like that. It's really just a note bassline that we're putting in. Okay, so everywhere you put a point that's going to contribute to your path, we can then change what kind of person we've got going on here. We can reverse the person. We can turn off the walking so they stand still. We can change how dense it is, right? So this is more like a large city path or something. You can change the width of it. So there could be a lot of people walking multiple directions trying to walk on. It was like a bunch of people commuting for this residential seat we seen. We don't need that. You can change it to African, Asian, Caucasian, so kind of change, kind of what part of the world you would be experiencing. And then you can change what kind of environment it's gonna be. So street office attire, beach. And if you're doing renderings in the Middle East. You can do these kind of things, right? So gives you different kind of, Ah, feel for depending on what kind of what part of the world's you're working in Or any of those kind of things cannot for us. I don't think we'd want a path here. Maybe we would. But I'm gonna get rid of the path. And, of course, you can always just place a person straight in. Okay? So we can just put a person right here, and then we get We can change their pose, change their colors, and then you can change. What? What motion they're doing. Okay. So instead of a path in this example, we just use a person like this. Probably don't like the guy we already have standing inside. Now, we'd probably want to get someone that's more of a beach person, right? So we can go through that whole library, and there's nothing to that except just picking the one that you want to do. This girl here. Okay, so that's the past for characters. The vehicle on bicycle past will work the same. Also make a custom path and make objects go along it. If you click on the path and go here to these three dot menus. You can go to the library and tell it what kind of object you want to be following along there. So we could do Mr Heat our library and just make one of our chairs go along there. Okay, Kind of weird. But it is again. You can change the speed, the delay, rotation, whether it's following the path or whether it just stays in the same direction at all times like that. So if you happen to want a raft floating down river or something, you could do this. Not sure why you would. Okay, so this stuff is a little bit gimmicky, but it's nice to have if you happen to need to animate something across your scene, right, you can loop the animation reversed. Lu Ping pong. Okay. Ping pong. Ping pong. Once reverse ping pong. So this this adds a little bit of animation capabilities for for non standard objects like people or cars. Okay, we're not going to use that in our scene. Let's go back to our context tab. And the last few things are camera line, camera line aligns the camera to any face in your scene like that so you could do these cool or Ortho graphic views. It's like if you wanted to come way up here and do this cool overall aerial view, that's kind of nice. You can align to this wall right here. Okay, so that's camera online. Nice little tool to set up your cameras. How you want that gives you a straight on view. Pretty nice in the last thing in the context thing is just the measure tool, which just gives you these read outs of how big everything is. So we're at 15.94 meters now. If you're not in the metric system, you'd have to goto edit preferences and go to unit system. Okay, Hit. Okay. And now it's showing us the measuring in inches case. So that's pretty much it for the context tab 17. 16 Nature Tab: Okay, let's take a look at the nature tab. And the first thing in there is nature tabs right here after context, which we just talked about. So localization is the first item in here, and we discussed this a little earlier. This is just setting the time of the year. The location and your north offset so the north offset will change how the sun is going to play across the sky right where the sun will be located. So I want to send to kind of come across the front of the building, cast a shadow. I have this thing cast a shadow onto the doors and into the interior. And that's kind of what we got going on. Now we can change the location somewhere, like in Colorado or something. Here, change it to California, and then we can change the month of the year. It's all very straightforward, and you'll see the lighting a just slightly, depending on where you are in the world and what time of year it is. And then, of course, where north is located. Oh, hey there. Okay, Back to the nature tab. So the next one is weather and again very simple, straightforward. The beauty of twin motion. Let's look at the settings first. Here we can change wind speed. So later, if we put in a tree or something that is blowing in the wind, we this will affect it. The direction and then the smog. Smog is one thing I like to add atmospheric perspective to the scene a little too much small going on there. But you want a little Hayes as it gets further away. So this building should be slightly hazy. And since it was Los Angeles, after all of Santa Monica, then we'll have the early Marine layer fog plus tons of smog from Los Angeles in general. Right? So that's nice. That adds a little atmospheric effect to our rendering. If you go back to weather, okay, and then these two sliders are just straightforward. It changes the season and just the the weather for that day. So if it's a rainy day, we get rain pretty awesome that the patio stays dry even when it's raining, right? Pretty cool. So you get this kind of I prefer to maybe do like a wet look without actually having a rain . You can get something like that. I don't want to see rain drops. Maybe after the rain? No, there's after the rain, right? This is when the sun's coming out after the rain. And then, sonny, that's actually pretty cool to leave it a little bit wet on the ground like it just rained . Now you can change this season. We're not going to see a lot of change going on here now, because there's no trees or foliage in our scene. We will see snow get on the ground and ice get on the ground when we goto winter. Then when we go to summer again, everything's back to normal. If we had treason here, you would be able to see that they would be changing with the seasons. Okay, so maybe we'll come back to this after we put in a bunch of fully agent stuff lighting. Basically, we've discussed this where the ambient is kind of. It's almost like upping the exposure in here. Okay, so I'm gonna put back to where it is that just gives an overall brighter look to your scene . The G I I leave that one white balance will have a big effect as you guys. Maybe. No, uh, white balance is determined by temperature. So that 7138 Kelvin And that is about the exterior of Ah, outside light is usually like around 6000. 6000 K OK, but you see, that looks a little too cool. And the systems instant So we went was look something more like 7500. If you're doing interior lights, if you're inside, then in here we have these big windows, right? So interior lights or more at, like, soft white bulbs or 30 3000 and 3500 Kelvin so you can adjust it to match that. But you also have all this bright sunlight coming in from outside, so that won't necessarily look right. You have to find the right balance. Thus white balance. Okay, so obviously that looks way too cool. Oh, this doesn't even let you go below 5000 k So and that's too cool for this room. We'd want, I think, overall 7500. It's working nice for our seen here. G I we can leave at one. We don't want to bump that up because what that does is start taking the contrast of our shadows and things like that when we go to final rendering so that even dark areas are looking all lit up because there's too much light bouncing around in there. Moon power is going to be how bright the moon is at night when we change the time to be nighttime and then shadow we like we looked at, we just need to get it set so that it looks correct for us on these higher quality settings that I'm that I got on right now. They make my scene a little choppier, obviously, but they also give us better feedback. So there you can see soft shadows being cast. Here they come back and become more Christmas. What, You really want us to be sharper here and then softer is to get far away. So find the round right balance here and then shadow bias Watch right here to see what that's doing. Summer right there looks pretty good. So I would recommend being on the ultra quality settings in order to get the shadows and lighting to look right for you. We forgot to talk about Ambien inclusion, and the conclusion is just gonna be a slider up and down. And if you don't know ambient occlusion, is this darkness that you see in these corners right here. So anywhere where faces hit each other, especially at a 90 degree perpendicular angle, it's gonna put a little shadow to fake the idea that a little less light gets into that corner. And it's kind of accentuates things and and brings out the details a little bit and shows where there's a change in plain. Now you can see on this console furniture over here it is, It's too much, right? And there's probably many other places where it's too much like under this chair. There's these weird, dark like inverse halos around him. And here, too, so you don't want to go overboard on this. I think right about here, is he now? Everything looks a little too flat now, and so you have to find the right balance with this, too. You just don't want to go overboard. I think somewhere around here is probably good. So check the different parts of your scene as an example. I look right here, and I see this is more of a reflection issue, but right here in this corner where this plane hits this plane. It should be kind of dark in that corner. We have some weird reflection on the floor there, So it's not reflecting, reflecting this dark plane here. It's reflecting the light window up here and making it too bright from this planet. This plane, that's kind of a different issue. But that is something that, and being inclusion, can help with a little bit. Okay, so that's the ambient occlusion settings, and that's it for this letter. 18. 17 Placing Landscape: Let's take a look at vegetation now. Vegetation is fun. It's a big part of what we're trying to do here. And it is also in the nature tab. Okay, so vegetation is right here. Now it is easy enough to just place vegetation individually to this is not what this nature tab vegetation menu is. Four for placing things individually. We can simply drag them in. It's kind of like with the people where we can put in a path, but we can also just drag in an individual person. Okay, I'm gonna drag in a tree as an example, we can change the size of the tree. We can change the season to be something specific or explicit, or we can just put it on auto so that when we go back to the nature tab, whether season sliders, it will change automatically. Of course there's a palm tree. So you know how much is that gonna change during this during this season's Not much we can turn on and off the wind right now. It's off. It's not moving. I actually prefer this most of the time because I don't want any of this gimmicky stuff to kind of look cheesy. But if we want to show life and movement and animation in are seen, then we'd want it on right now. Just a quick note. If we go back to e whether we can go to settings, change the wind speed, and now we'll see that palm tree go nuts. Right? Okay, But back on track here. So that is placing a tree individually. Really? It's just size. Whether we wanted to change with the seasons and whether we wanted to blow in the wind. Now, what is the vegetation tab then? Well, here is where we're weaken. Basically paint things into our seen using the vegetation tool. If you've ever used, like, Unreal Engine or something like that, where you can paint vegetation in this is more like that on. Let's set this 23 feet. Okay? And then you can set the density, and you can see this little dome over here is just our brush size. And then we have this library of things that we can select from to paint with. So if I start painting now, it's going to start putting lawn in, right? The density is affected by this. I'm putting it at 100% debt city. So I have long there. And the thing is, I don't actually want lawn over here in this planter, so I'm gonna know Erase that. That gives you a good idea of what we're talking about. Okay? And I can actually select multiple items so I could have it. I'm gonna turn. My preference is down here because he knows where we're bogging down pretty heavy. Let's go back to medium. Okay? So I can select three items and maybe change the density down to 68 then just start painting with those three selected items. Not a racer, but paint. Okay, so you see, that is putting like lawn. And then everyone someone puts a creep Myrdal in just kind of funny again. That's not what I actually want. Some going back into racing. Something's Let's just undo it. Okay. So those things don't. Those things don't go together. Super. Well, you can go here and go to the library and select new items. Or you could just drag new items into here and use those when you're selected. So we have our tree library. I don't I'm not gonna paint trees in this example, I'm actually gonna do We're gonna actually place those individually. But you can see we have all these grass and flowers. If tall grass, we have daisies, poppies, euros. OK, so we have these little plants. I like this lake. This thing, What is that called the Ling Heather. Okay, so let's try just doing thes three flowers and painting him in here. Now you have to be careful not to paint up on the wall. You can kind of point, place them individually, or or you can just do a continuous paint. Those red poppies are a little too large, and so they're always coming outside of the area where I'm trying to paint so you can see that you'd have to kind of fidget with this a little bit to get it just right. Undo. But this is This is really good for painting large landscaped areas. So if you're doing a big landscape like scene for placing trees, plants, grass, flowers, all that thing all those things quickly, that's a great tool. You could make a huge brush, set up your random ization and just start painting it In this instance a lot of things. We're gonna want a place individually because it's more of a formal planter area. But I want to show you how to do it both ways. And this is the instance. I'm just gonna go through and start placing things individually because I want them to stay within the bounds of the planter and to look a little more formal. So I'm just going from the library. I'm going to go and start placing, placing objects, placing landscape. 19. 18 Generating Cameras And Camera Settings: Okay, I have spent some time placing some landscape. And again, it's just dragging from the library. A place to rock lock features in the yard. I play something from our user library, some lounge chairs out for the patio or the backyard. Okay, so this is starting to come together as a pretty polished image. As long as you've gone in and made all your materials how you want them, you've placed your objects all where you want them. So now we're ready to start talking about exporting as well. Various different options that we have weaken export it in various different ways. But now that we've got our our objects place properly, we can start thing about composition, taking still shots. We can start thinking about animations and we can start thinking about VR walk throughs. So that is where we get to our next tab down here, which is the media tab. And let's just start with this still shot image. Keep in mind, I don't want us to confuse this with what's up here with this right here, which gives you the option of screenshot. If you take a screen shot here, it's just gonna take a picture of your view port and send it to your desktop. Okay, so if I put this on preferences, quality ultra Okay, it looks pretty nice. And I could actually just This is starting to get bogged down a lot in ultra mode, but I could just do this, take a still shot. It will take a second, and then I can go here, and it's got a still shot of my scene. Okay, you can. You'll notice that even even the lounger that I had selected is still highlighted, so it's literally just a screenshot. Okay, I'm gonna put my settings back because this is getting pretty heavy. And, of course, appear we have other options to which is walk through mode, which gives us a full screen to walk through and navigate are seen using the same controls . And we can change the time of day and everything like that. Inter. Actively, while we're walking around. Okay. You can also take still shots while you're in here. You can change the settings and you can change from walk motew drone mode. Where you just where you're flying versus walking? Okay. If you hit escape, it takes you out of there, and then the final thing is the been motion, which will put me into VR. And if I move my head set around, If my headset was all set up right now, then I could walk around in here with motion controllers and my headset on. Okay, so that's those. But we're talking about exporting now, which is down here in this tab. So this is those things kind of apply to our current view port without an export or in executed ble that someone else it's it's not packaged. That's how you describe it in UN really engine. So that would just be for in the game engine. But when we want to package it and using execute Herbal that we can share with someone else when we come down to this tab and it kind of Dunn's the same things. So when you go to image tab, this will give you something better than a screenshot. We can create image here that takes a shot of our current view. If we adjust our current view and then hit this button, then it updates are saved image here. Okay, Now, within this image, let's put it back. Let's think about composition here. What we want to dio I like the rock being here and the lounge chairs being here to close off both sides. A little bit of tree here in a tree here to close off the sides and focus us right in this area. Okay, so let's update that now. This kind of takes a little snapshot in time of your thing, but you're not done there. You can go and you can change the time. Okay. As an example, we can change the time for this particular camera view and that is going to be exclusive to this view. I kind of like that right there. School, and then you can go into more and you can change all these settings exclusive for this camera shot. Now, one thing of note is, if you start once you set up a camera than some of your other settings are no longer available, see how these air all great out. That's because these air overall settings, But once we set up a camera, all these settings will not be done per camera, which is actually better. Okay, so if we go back into image, we can now set all those things but only for this camera specifically. So each camera has different settings for lighting, whether etcetera So right now weather is set to here For this view, we consider it to full sun like this. I kind of like it over here though you can also change the weather. But again we have a lot of palm trees. We can put snow on the ground. That doesn't make a lot of sense for this scene. We want summer, obviously. Okay, we can change the localization specific for this so we could change. Just think the the location month north offset for Onley This camera which is cool All the studies you've gone through before we can now make specific for this camera and then the lighting. Of course, we can change all these things which we've looked at before but specific to this camera. So this is great if in some views you want more sunlight and some views you want less. You want a night scene and a day seen all those kind of things. You can do it per camera. This is actually a huge benefit. You don't have to do it for the overall scene. Okay, so we've looked at these settings before. Some things we haven't looked at, it's probably camera settings, right? We can change the output size. I think four K is where you want to be. HD just isn't that much the field of view. This is one thing that I think people get wrong. Sometimes they want to see a lot here in the scene. But sometimes the field of view is just too wide. It looks to distorted. I actually think it would book better. You know something like this that changes are composition some, but I'm OK with it. Maybe zoom out a little bit. Okay, these are things we need to think about. If that's feel of you. 66. Don't go crazy with the wide angle just cause you want to see everything, just set up another camera for those for the other parts you want to see. Think about composition more. That's that's more important, I would say Perspective. Correction is pretty straightforward. It just instead of making a three point perspective, where this line and this line, or both vanishing to a point, way, way, way up in the sky we can turn perspective, correction on and it makes everything two point perspective. So now these lines are vanishing back, and this line and this line are vanishing over here. But the vertical lines are all perfectly vertical, so they're just going straight up and down. So that's what that does for us that is typical for architectural photography. So not really a good reason to turn this off if you're taking pictures of of architecture. Been getting is a phenomenon with camera lenses where the edges will get darker because we're looking through a circular lens, right? So the and we're getting a still a square rectangular image out of it. So the edges, like you can see here in this icon get darker so we can recreate that by doing this. It's a good method for helping us focus in the right area. So now we're looking right at that gal there. But you want to go overboard. Okay, a little bit of you have been getting is nice to help us focus. Don't make it look like you're looking through a people or something like that. Okay. And that's it for this. How put size we could go to more and weaken set custom if we want. That's about it for the camera settings. Now that is here. If we wanted to do a completely different thing, we can. We can just find a whole new view saving one of this year. Okay, Now refresh. Okay. And that updates it to the current view. And then in here, I'd want to. Well, you can change the time her day. Let's see what looks good. Looks all right and then we go to more. I don't like how the weather looks in here that Patty is way too reflective. Yes or no rain. Whether the time of year is fine, Kate and overall, that looks. That looks great. So now these two views are both available, and we can adjust things as necessary now. One other thing we could do is say duplicate, go to more. Sorry, let's go to here. It's a time of day and let's put it at night. You can see our interior lights up because we have those set to turn on when it becomes nighttime outside. I don't think these night views look very good, and maybe we could tweak them so that they do, but by default, they look a little weird. Okay, that's cool. Kind of a dust shot. Really focusing here is the sun hits this girl here. Okay, Anyway, so we can do whatever we want here, and we'll get more into how to export these later. But this is how we set up different cameras for around the scene. 20. 19 Visual Effects: Okay, let's keep looking at some of the things we can do here in the still shots settings. I made this one, which I kind of like, and I did this by getting this son in a place that would cast shadow in the foreground and then changing the month of the year a little bit. So the sun is lower in the sky, and then I turned up the sun. So we have a nice contrast between this and this, and I think it's giving me a pretty nice composition here. I don't really like this speak blank spot with the line going through it over here, but that's fine for now. We could add some trees here if we wanted, but there's more we can do from here. Let's go look at the settings again. We haven't got into depth of field at all, yet. So depth of field, of course, is the depth or the distance over which your camera is able to focus. And so if we turn it on than the camera won't be able to focus over the whole scene, it will start blurring the background and the foreground and just a portion in between will be perfectly crisp and in focus. That's how cameras work. So right now we're at 3.3 feet is our focal distance. We wanted to be more like probably 40 feet, so that is focusing on the house, and you can see now the foreground blurred and the background is blurred, too. We can adjust the radius of the Blur, basically, how much it's gonna be blurring by adjusting this. But what I think is better is to probably go into this more settings here and say, Near Blur is 10% blurred far. Blur is, we'll say, Well, say near Blair is 30% blurred. No, I like them both at 10. And actually I want the far blur to be much less because we don't want it to look like we've got a very, very shallow depth of field. With this normal camera that isn't typical of photographs, when would be more typical here is that the foreground would be blurred in the background, would be pretty much and focus. We'll turn that down even more. It's just slightly blurry now and then let's turn down the blur up here a little bit to be like six Kate now, and you can see that I'm trying to make it more subtle than what Twin Motion wants to do. And that's because if it's not subtle, then it's gonna look fake because the truth is with camera settings, you have to specifically go for a a shallow depth of field to get these super blurry looks like this. And it wouldn't be typical in architectural photography or anything like that. So I'm not gonna try to recreate something that's fake. I'm gonna make it look like something we see in the real world, or at least try to. And that's what photo realism is all about. Right? So one thing I would do want to adjust here is the background. So we can change the background again per snapshot now, So we're no longer changing it for the whole scene. So let's see, Maybe this waterfront one would work. I'm not sure we're going to see any of, um regardless of what we put back there. Sure doesn't look like it. Okay. So in the weather, maybe we can add a little bit of clouds like that that will help our composition. Yeah, that's actually better so we can't We can't actually see the background from my camera because it's way down low below these walls. But I can put in a little bit of clouds to make it Philip the sky a little bit. I like that a little bit better. Okay, now visual effects. Last part. These need to be used sparingly, in my opinion. Okay, so this this one is like putting an instagram filter. These ones are pretty good. These air basically putting like I think that looks really nice. The thing I don't like about it is that as far as I know, I can't turn down this effect and blend between no effect and this this Grady and filter that's being placed on it. If I could do that would be pretty nice. But you can see it can give you It's basically doing great in overlays and shifting all your colors. It's similar to putting an L. U T. Ah, look up table on your on your image or similar to doing like an instagram filter type thing . That's what most people are familiar with. And there's a 1,000,000 options here, and so you can just go through and look for the one you like again. I kind of like that. I mean, this one is more of a maybe cinematic or something cool and still like this one. Yeah, that one school, this one. This one almost makes it look like a retro fifties photo or something like that. Ah, I think it looks nice. And that's really just personal preference. You could see a slight blurring going on on the palm trees back there. I think overall, this is looking pretty pretty damn good. You can adjust the overall saturation and contrast right here. So the only way that you can kind of turn down those filters is to just turn down the saturation overall, which which can help. I think this looks pretty good. We don't wanna be oversaturated and put clown circus colors in here that will again look fake. We don't want to do that. Said Uncle. Overboard on any of these effects, there's filters which I don't find super useful. To be honest because, well, I don't know. I'm trying to go for photo realism. Usually, I'm not sure what I would use a filter like that. These air kind of ah, gimmicky filters. If you are looking to do something like that, one's kind of cool. If you want to do something that is less photo real and more representational or conceptual , then you could do something like this with one of these filters where, you know, no one's making. The mistake of this is supposed to be exactly what it looks like. Okay, I don't I don't know what you do SciFi for, but it could be cool, depending on your project. Maybe be creative, exports something like this in a photo shop and use it, you know, to blend from one type to another. Something like that. I can see you using these as different things out of photo shop and making a cool looking artistic composition. But if you're going for photo realism, these aren't really gonna help you out much. Okay, so those are the filters, and then a clay render you can turn on clear render. Probably need to turn off our visual effects. First, we'll go to none. If you look at what that does, you can set the clay material to be whatever you want. And it's kind of turning your whole scene into clay. kind of weird rate. OK, but there it is. There's your clay renderings. You could do that if you want. It's interesting, I think, for doing like lighting studies and things like that, right? If you put the clay study, I mean, what typical of use ease of clay is more like this color? This is like what Z brush would look like. Or the three DS Max Clay shader. Looks like set the trend solution. See how you want it. Okay. Like that. It would be cool for lighting studies and turned on the bump or it off the bump. It's not gonna make much difference here. Okay, But that's the clay render. We're going to just turn that off because that's not what I want for my final. Okay, so that is it. That's all the visual effects and things and that one's pretty much ready to be, ah, generated spit out as a high resolution image. We're going to get to that. But for now, we're going to go into more of the settings in the media tab 21. 20 Creating Animations: Okay, The next thing in here is Panorama. And I'm not gonna talk a lot about this because it is essentially just create panoramic. And And when you create that panel, it is just going toe. When you export that panel, it's just gonna put a it's the same settings as a camera is a still shot. But with this one, when you export it, you will be able to look around from this particular position so you can adjust all the time and all that stuff individual for this panoramic again. But the export will be different. So let's talk a little bit about video. We can create an edit video here. If we're going to create, we can create clip, okay? And twin motion makes it super easy. All we have to do is now go to the next point that we want to go and add that as a new point in our animation. Okay, so let's do it real quick. All we have to do is we have this one saved as our first point. Now, if I navigate to the next year, I want, like, right here, looking at our friend inside the house. Yeah, there we go and then hit. Plus it does that. The other way to do it is hit plus first, then navigate somewhere. And then you can hit the refresh button and that will make it a new and that will update your next clip for you. OK, but you can see So I have one clip saved with my first view. And now a second clip saved with my second view. We've got clip length here where we can set it two different times. We can change the time of day at the start of the rendering to the end. So let's try that real quick so I'd start. We want that at the end. We want Let's go closer to dusk, right? Not full night. Okay, so we can do that. And then if we just hit play, you'll see it starts at my original clip. The time is changing as we're going okay. And then it just stops here. So it does like a smooth transition between the two, and we can just keep adding more and more clips to it, or we can go and start another clip, which I think is what I would want to do with this. You don't want to animate around your entire scene just walking around with the camera spinning. This is a common mistake that people make. That is not how a movie would be made. That's not how we should make our animations. Okay. Animations will should be quick. Quick clips with slow camera motions, panning, zooming, possibly camera dollies, cameras on booms. Those kind of things think cinematically when you're doing your animations because otherwise people will get sick or they'll just think this looks fake. Okay, so twin motion gives you the ability to easily, easily animate. That doesn't mean we should just animate around the entire scene. Okay, so think about camera clips you want to do I want to do. I got to set the preferences on this thing down. I want to do one where we're were dahling a camera over the pool looking at the house. So let's see how we can set something like that up. First off, we want to be kind of over here. We need to set our field of view bigger and its center it so we can go in here and change the settings just like we can on a still shot. I want a wider field of view. No. Make sure that once we get in the right place that we have, we hit the refresh Britain to save that clip in the spot that we want it it now. Refresh. So now that has saved as the camera view that I want. Actually, let's go back here like this. Yes. Now lock that in. Okay. Obviously, our depth of field is getting a little crazy here. Don't like that. So let's go in here. Let's turn the radius. Actually, up is what we want. This is giving this the amount of area that is in focus, so we want a large amount of area in focus. Right? That looks pretty good right there. And then we just want to slowly move across this pool. Let's go back into here. We can create a new clip for a new key frame. Basically. Then we can just slowly move forward. We'll move forward to right about here. Lock that in. Okay. I'm not going to do any time changes or anything during this one. We're just gonna do a slow pan towards the house now. She needs to be maybe doing something. Uh huh. No, we just would change the animation to be something like where she's talking on her phone. I think that works at that way. She's doing something while we're animating. Let's go back to our animation. Okay, let's play. She's sitting there talking on her phone. Resume in towards the House case of simple, simple clips. I like it. OK, there's animation. I think we could turn down the wind on the on the trees and things like that. If we go into more, see if we can do it in here. Whether settings wind speed zero, I think that's better. We could also do something like you could adjust the pool so that it's not so jittery to Right. Okay, so these are all things we can think about, but that's how you set up a basic animation path and save it. And again, we'll look at how to export all of this stuff in a little bit. A few more lectures when we get down to this tab. But let's keep talking about different settings we might need to use inside of the animation or the video 22. 21 Video Editing In Twinmotion: Okay, so when we're in the video tab, you'll notice we did the create already. There's also the edit tab. So in here, we can actually clip together different clips. Okay, so in video, we created two clips. Clip three clip, for we can edit those together. Now, these air not strong editing tools in here, but they are kind of the basics of what you need. So in a pinch, they might work great for you. And if you need something more powerful but that will take more time, then you can use after effects or something like that to edit this together. But the basic things in here, let's delete these you might find helpful. So all you do is go into the edit, hit the plus button, okay? And it creates movie for for you. You can rename not if you want, but you see are two clips air here. We just drive one in, okay? And immediately it shows a timeline, basically, and we want to also put our other clip in our little movie here. And then these little sister icons in between is how it's gonna fade from one to the others right now. It's said to cut in. Okay, If you play that, it just cuts right in. Boom. All right. I want a nice smooth fade in instead so we can do fade white, fade black. Okay, we'll just go. Let's try fade white. And then between the two, you can either cut or fade again. I mean, between each clip, you can choose what you want to do. I like to fade in there for sure. Let's see how that clip looks. Okay. It's a little jarring. So let's fade to white again. And then on the out will fade again. Toe white. Okay. And again, we can set the movie length down here. Okay, We're at white. We come in. The time of day is changing. Our girl is talking on the phone Over here. Our guys in cooking her some dinner. We have our fades. Okay, There you go. So, a little bit of video editing capabilities built into twin motion. Now we export this. Maybe that clip will be sufficient for you. And that's all you will need. You'll be done at that point. Okay. Let's get into exporting. See it? We covered everything here. Video, The emotion. Oh, next has been motion. Then we'll export 23. 22 Setting Up BIMMotion: okay. Creating a been motion is super easy and been motion. Like I showed you is like what we're looking at up here where it is walking around, navigating, using the AR goggles or a desktop if you want. Let's look at what it looks like if we go to been motion. Yes, So VR goggles requires VR goggles to move around in motion. Doesn't emotion is just walking around. But if you export a been motion file, you can actually choose whether you want to be looking at VR goggles or just walking around , so you actually have the option to do both. So this could be been motion desktop navigation when you export, or you can say, OK, let's go into the arm. Oh, now and you'll start you'll you'll start navigating using the headset. Okay, so all we have to really do to export a nice been motion file is say, create, start, okay. And that sets this point right here as the starting point of our been motion. And then, of course, we can change all the other things, just like we can with a still shot. It is again unique to this file that we're gonna export. Okay, So the been motion, all we do is tell it where to start and then set are our visual effects in our settings color grading, all that stuff, how we want it, and then we're ready to go. So now, finally, in the next video, we'll look at exporting some of these things and how to use them. 24. 23 Exporting Final Videos: Okay. This video is gonna be really simple. All we have to do is tell it what we want to export were on the export tab. Now we finally made it to hear the last thing in all our menus that we haven't discussed. Here you go. So, export, if you click on image, you have the option of all the images you want to export. And these are the ones that we created here. So which ones do we want? Let's take image. One image to an image. One copy. Those are the ones I want. So image one copy image to image one. They go. Just check him and you're good to go. You can go into more. You can set it to three d mode. So it's a dual view. We're not going to do that here, Max. Reflection for still shots? Absolutely. Yes. That's highest quality stuff, Max. Lighting? Yes. Actually, we can go into our settings here, Make sure on quality were on ultra so that we have a really good idea of what's gonna be spit out here. Okay, so that's it. We just set that up and you have those few options to either set your settings higher or lower in Panorama. Let's let's export are one panorama that we set up. Okay, check for video. We want we don't need the two clips. We can just do the movie because we're not gonna edit it elsewhere. If we were gonna edit it elsewhere, I would do the two clips, and then we take it in after effects and change it. Actually, I think I do want the two clips, not the movie. I'm gonna make it nicer. Okay. Been motion. It just turned on. Yes. Okay, there is more settings of the video. Okay, So, format, you can change the format for the video. You can make it not three d resolution. Max. Reflection on Max. Lighting on this is gonna cost you a bunch more in render time. You don't think of render time with real time images, but it's actually gonna make this is high quality is possible for us. So it does involve surrender time. Okay, But I'm I'm willing. I'm Ah, I'm typically a V ray guy, so I'm used to waiting a little while for my animations surrender. You know what I mean. So that's fine. There's just tradeoffs as always. So the 3 60 resolution weaken set that at four K. That's probably find Max lighting definitely on still all out here. Okay, so make sure all our settings are correct. Let's see what our been settings are. Physics on no media list. Let's turn on this movie and this image. Physics can be off right now because we're not. We don't need to fall or anything like that. Okay, these settings will do just fine. And let's start export. Boom. That's it. Tell it where to go. Okay, let's look at what has exported that took my poor little computer a while to do so. Let's go. Let's go into my exports folder and let's just look at the different things that are exported. So here's a clip, which I think looks really nice. There's some things I would like to change, like I don't want the time to change so quickly. I always, always, always disk like the people because they look very cartoony and so just distracts like this could be pretty convincing if there wasn't a cartoon person standing right there. Ah, another thing I don't like Well, it's it's coming. Okay, and I think we could refine it. But the reflections need to be better. This this glasses too opaque or not opaque enough, I should say it should be really reflective and not so see through because it's not that bright inside is really bright outside. So actually you would see a lot of bright reflections happening on this window so I could go in and adjust that tweak it to get it look more realistic. I would slow down the time change, etcetera, etcetera. There's a lot I would do. It could add some or interests in here. Like over here. This looks pretty plain. So the other clip looks like this. I think it's pretty good. Same. This person looks fake, especially when you get close. People are better for far away from the camera. Okay? And now we have just the still shots again. If I wanted to go for extreme realism here, I would maybe take out these buildings in the back and maybe photo shop in a different sky . Possibly. Although the sky doesn't look that bad, I would take this person out and photo shop in a to de person. Okay. We could actually fake in some reflections here on the glass in photo shop. If we wanted to, we could do a lot, but this is a pretty good shot out of twin motion. I like it. Ok, totally different. Feel this one needs some color grading done on it for sure. Looks a little too purple. E it was all right. This is the panel. You need a panoramic player for this, but this is what it looks like. This is 3 60 So you should theoretically be able to put that in some sort of 3 60 player and look around, like, on your phone or something like that, for example. Okay, Now we're going to do another video for the BIM altogether. It sucks up a lot of juice on the computer. We will get into that one next.