Cinema 4D Crash Course - Design a Six Pack Case

1. Welcome to the Cinema 4D Crash Course!: Hello. My name is Big Clouds and this is my skill share class. And we're gonna be doing a crash course in cinema four D, where we're gonna be making a glass bottle six pack. We're going to make the bottle, the label, the bottle cap and also the packaging itself with a six pack case. And in that process, we're going to be using all the major aspects of three D modeling. We're gonna start with spline modeling and then go to Polygon modeling you ve mapping materials, lighting, rendering and then final output and compositing in photo shop, where I'll do a couple tricks that I'll give you the ability to control the image in Photoshop without having to go back and rear ender. It's very powerful. And the purpose of this course really is to get you over the intimidation hump and to not be scared of cinema four D and understand how it works and to see where all the really powerful tools are and how to use them on that is all, really, for the purpose off execute on your imagination because that is the best part about three D graphics is that you get to make anything you can think of. And I want to give you all those tools to start doing that for your own things in your own life. So with all that, let's get started. 2. 1.1 Making the Bottle with a Spline: Okay, well, let's get started with making the actual bottle profile with a spline object. So we just need to go to Google and search beer bottle going here and just find a nice frontal picture with no perspective. This one's actually perfect because there's no bottle cap. We're gonna make the bottle cap later, some of them right click and say this image just on the desktop. Now the way I like to do these profile images is really just to put the image on a plane object. So I'm gonna drop a plane in and rotate it. Now, if you hold down, share it, will you rotate? You get these 10 degree increments. It's really nice. So I rotated 90 degrees. I have this and I'm gonna make a material by just double clicking right here. And you get a material is set up right here. A blank default. One. I can double click and open it and in here in the color channel, I'll just go to the texture right here and click on this field, and I'll go to the desktop and bring this bottle in. I don't know about copping into the project location and here it is. So the images right here in the color channel. And when I drop this, I can drag and drop this material onto the plane object, Get it right here. Now, that was a tall image, and this is a very square plane, so I'm actually going to use this handle right here and just gonna make it a little bit. Just a little tiny bit thinner. Now you can see how this little bit of shining this happens as I rotate. That's from the Reflections Channel. And since this is the reference image, I'm going to go back and just turn this reflections channel off. So there's no shining this as he rotate or speculate E Okay, great. So I'm gonna move this just a little tiny bit back from the origin like that because what I'm gonna do next is go to this four of you right here and go to the front view. And you can't see anything right now because the display setting right here is set to lines . It means there's no texture or anything. It's just the line objects in the view. And if I go back to the perspective, you this has color and everything. That's because if I go to display right here, it said to grow shading. I think it's called. It's been said different ways, and that's the highest. It's got the most detail. I found the lines that looked like that. That's what you're seeing in the two dimensional views. So I go back here to grow under the same thing when I go to the front view right here for the same thing for this and go to display euro shading. So now I've got a two dimensional was gonna put this right here to the top. I've got a two dimensional view of this image, and this is the best way to draws blinds, in my opinion, because of you, draw them in a perspective. You This is what happens. We're gonna supplying tool right here, and I'll just start drying something. Whatever looks fine and flat when you see it straight on from the camera view. But was that rotate the camera? You can see it So it's perpendicular to the camera view on whatever that was and he started . Drawing is what it does. So it is flat, but it's that some weird angle. See when you in the perspective you and using the camera to draw something, you have to make sure it's completely flat and perpendicular to your object or two it to an axis, which is annoying. And then you can just go on and delete all these. Instead, you can just go to a two dimensional view like the front view. And as I drive these spines it's two dimensional and flat. And when I come back to perspective, they lay exactly on the origin axis, the Z axis and zero. So that's exactly what you want to do when you makes plein and objects is do one of the two dimensional views we go back to front now, a quick note. Here, um, I am using are 16 and in subsequent updates of cinema are 18 and whatnot. Ah, these pen tools have changed, displaying object tools, but that's not that big of a deal. Um, the principles of the same. You're still gonna make spines with a pen tool, and they're still gonna have handles. Otherwise busy a or any other type ones. So I'm just gonna so don't worry about this being different. Looking from your current cinema. Ah, these principles will carry over. So I'm gonna use the busy a pen tool. And that's nice and useful, cause if you just click like this, you can do linear, you know, hard edge lines. Or if I click and drag, I can make handles. It's very useful. That's only used to make this splint profile. So I'm just going to start. It would make sense in a little bit, but I'm gonna start right here. I'm just kind of rough in this shape. It's gonna be rough right now, but it'll get refined in second. - Okay , that's pretty ugly. It's very rough. If I turn off this, I go right here. This green check mark, that's the profile. Not great. But that's fine. I mean, it could be refined, and at the same time, it does need to be completely accurate. This is gonna be our own beer bottle. So a couple of things I like to dio don't make me so worried about how bad this looks. One thing is, you know, you can go in to these and, you know, use the ah, move scale and rotate tools just like you would for any other polygon, our object. So if I so selected multiple points and use the rotate to elected, actually rotate these like this. Alright, kid. Scale them apart in different directions. So it's very helpful. It makes it very easy. Teoh, refine these models and that's we're gonna be doing in this next section. We're gonna be refining the splint profile of that beer bottle, including making this bottled bottom part flat and then making sure that the inside of the bottle me to the exact same point as the outside of the bottle. And that'll make a lot more sense when we use the lay the object which is right here to rotate around, rotate this plant profile around in 3 60 degrees, which will make it a three d object. So I'll see you in the next section. 3. 1.2 Refining the Bottle Spline Profile: Okay, here we are. We're going to refine this spine profile of this beer bottle, and I'm gonna do a couple of things that I was showing earlier. Um, you know, messing with the handles moving you the move tool in a couple other tricks that we can use , um, by right clicking. And one thing that's important to note. If I go to the perspective, you, like we had said before, it resides right of the origin completely flat. That's really important when we use the latest tool. One thing to that's really important to remember is to make sure that when you make obss plein it, it starts and ends. If you're gonna use the late tool at the origin because the lay the object by default when you first drop it in is going to rotate around the origin, which you'll see in a second. So just rule of thumb. It's always best to create spline objects for this purpose at the origin. Okay, so let's go back here to front, and I'm just gonna refine this profile first thing, make this right at zero, and they'll show you a really precise way of making sure that resides exactly at zero because that's gonna become important later with Thea Lay the object. Now that's bad. But that's OK because he needs to rotate, tool and rotate this handle like this. Go back to the move tool. Bring it like this. That's still not exact. That's not It's not perfect, but I kind of like that rounded bottom. Now one thing that happens with beer bottles is it kind of comes kind of Bo's up in the middle and comes down for, like the you know, the edge part right here. So we need to add a point, actually, of I right click and do create point. I can create a point right here so I could do this. I can select both of these and actually move it up like that. We can actually move this down a little bit and give it a little bit of it's a little bit of elevation. No, If I want to actually manipulate these handles, it's important. Toc Right now I'm in the live selection tool. That's where this circle is coming from, which is good for selecting things. But if I want to actually change this handle, I can't do it now. What in the Dio is actually go back to the move tool and you'll see how the circle disappeared. And now I can actually grab these handles and move him, and you can do it. All this could be done. Perspective. Mob perspective, you. But you always get weird outcomes. If you're doing it in three dimensions, it's why it's always good to do it in a two dimensional view. You got this. It's kind of a nice little edge right there. It's a nice little edge right there and let's see. See what? This is kind of nice. I like this little Bo. Just this little bit is kind of unique and interesting. But, you know, this is the heart. This has hardened. Tribulation is linear, there's no handles, and I want to be able to convert this to, ah, to have handles as opposed to it being this hard edge. Now, what I could do is just select that point right click, and you can see there's two settings right here, hard interpolation in south interpellation. Right now, it's set to hard and then changed too soft, and you can see how it gives those handles in order to manipulate those handles, I need to go back to the move tool so I can do that. Don't see change Mexican. Just do a little bit of that. Okay. Remember in the plane in the image, It actually had this kind of hard lip right here, which is going to be helpful when we put a beer label label on this bottle. So I'm actually going Teoh, Follow that. And I was gonna move these up to to keep that moving. Okay, So now, quoting about the the scale tool when you have one point selected and it's on substantive relation is I can actually scale these handles down uniformly like that and this way to, and I can also rotate them to, like I was saying, scale those handles down to kind of fit. How would this lip to look? No, what I did there was I held down shift while I hit. That would move that handle and I was able to break is called breaking the tangents. So they they're not pointed in the same direction. And that's kind of what is happening. But that's a nice way of giving the ah beveled edge to that beer label area. When did that same thing up here? But I'm gonna actually destroyed in this out, So it's so it's actually straight. This is nice, but these hard edges don't exist in glass like that. There's a really nice tool that cinema has when you right click. It's called Sham for, And what that does is if you click that and then you have these points selected, you click and drag. It actually makes a nice a soft edge and rounds the edges out and doesn't give you those really hard edges that actually don't really exist in reality. Now it's a little bit weird, because this handle down here is still pretty big. So we just select that and just give it a little bit like that. Okay, that's coming along. Seeing on this handle is too much. There we go do the same thing for these two edges. Sam, for those What's nice? - Okay , so this one is a nice example of using Sham for as opposed to, ah, just doing South interpellation. So right click there, Sam for that, it's a little bit of mass, but that's OK. It's good to know how to fix those. Now what's happening there is on the one side has a handle, and this handle right here is creating that curve right there. So what's good is too make this south in tribulation and there you go. So it's gonna keep those handles the same length, and then you can go and just give it kind of refining it. Just give it like a nice rounded edges. It goes inside the bottle cause you can see how this profile is going to rotate in 3 60 make the make the beer bottle. So this is gonna be the actual, like lip of the top of the bottle, and it's important to keep it soft so nobody gets their lips cut. And this other one right here is a good also opportunity to sham for do that like that. It's pretty okay for a beer bottle. It's too thin right now. It's too skinny, but that's OK, cause weaken go in. Once we drop the lay the object in and actually rotate this and make it three d, then we can still go back and refine the spine profile. One thing that's the problem right here is these two points have to be a zero, and it's not good enough to just try and align it to make it exactly along the origin. As far Aziz resume in Aziz close as we can get and we can get infinitely close Microscopic . It won't actually ever be on zero, and you can spend all your time making it on zero and not ever really know for sure that is there. Then it could be really frustrating. So there is one really important tab called structure that lets you designate exact coordinates for individual points either an apology on object or in a spine object. So by default and start up ah, structure exists in the objects window area in one of these tabs. It's right here. Structure. We go there, you get a kind of a daunting list of X y Z coordinates. What these are are the X Y Z coordinates of every single point on this plein or it was a polygon object. It would be every single point on every single polygon on the part of an object. It's daunting to look at, but it's nice to have. And the nice part is you don't have to worry about two points and the 1st 1 is right here. So you can see how it highlights. Actually, the point that selected, which is nice to know. So all we have to worry about are these two points. What's happened to be the beginning in the end of this plant profile? So I'm just gonna go to the 1st 1 right here, 10.0. Very 1st 1 in this plan and you can see the X Y Z coordinates. It's actually at zero inches in acts zero inches and with Z now they're all at zero inches NZ because we made the spine profile in a two dimensional view where only X and Y are important, which is nice. And then none of these points are anywhere off of the Z axis, which would mess up the late object. So this one is at zero. And just to be sure, we can double click right here and type in zero. Nope. Sorry. Zero. Which is nice to see. If I did, I typed in negative. Three will be over there so you can type in whatever you want here. I like to keep it nice and neat at zero. Now this one, Even though it looks pretty good, it's actually not exactly at zero. So that's good to know he was going here and double click highlight type zero bam there that both zero I was either. Why X The Y coordinate doesn't matter that it's not a zero. It's just a little bit off of the origin. That's not a big deal. Um, but now it's good to know that both of these points that are going to make up the lay the object are sitting exactly at zero, and I'll show you why. That's important. Once you drop the lay of the object in, which will be right now and just highlight and click on a late object. Now it sits there. Anything really happens because the spline object that's going to be created has to be dropped in to be made a child with his late object. So just gonna click this and drag it in and use a downward pointing arrow and bam, There we go. All of a sudden, we haven't a pretty solid beer bottle. Now, if we go in here the three dimensional view and see how it looks we can see how it's been rotated around in 3 60 based off of this plan profile right here, and it's actually pretty good. It might be a little bit too skinny, which is not that hard to fix at all. This is obviously too fat and is a couple things weaken dio in this three dimensional view right now to fix this profile. But I'd rather do most of it in the two dimensional view. Now, just to see how cool this is, Um, I can still highlight these points right now and actually move them and updates live. It's very nice to see when you're refining these things in three D. Now, when the reason why it's important Teoh make these things of the origin is because this plane object does have a center of access. If I go to object mode right here, as opposed to point mode where Aiken select these points, um, I got object mode. You can see by default. Any new object has its origin. Its its axis center, which is where you can move and rotate by. Default goes at the origin, and that go. It's the same for the lay the object as well. So the lay the object has his own axis spotted as on access on the plane. Object does as well, which is the beer bottle image. Now, if I was going to let me just drag this plan object out so say I didn't So I didn't create the beer bottle at the origin or near the origin, and I was over here with it when I created it. Now, if I drop this in to delay that it look what happens because the late object has its own center and that's what it's rotating displaying around. So I can actually move the entire spine profile to where I want. And that could be really frustrating. When you think you have a nice beer bottles plein and you've dropping the late object, it looks like a bowl. That's because this plan was off in the origin when it was made in the lay. The object is spinning around this axis, so that might be a thing. Hopefully, that saves you some headache when you're making these things and so just important, Teoh do that now. One more thing. The reason why I was so adamant about making sort of those two points that made the profile . We're at zero. Let me show you. So figure back to point load when I select that profile point, that's at the very bottom of the bottle, but sort of the whole profile. If I move that like, this would be kind of hard to see. So I'm gonna change the display mode. Teoh head in line. See, if I wasn't exactly zero, there would be a hole in this bottle and seeing with the other 0.2. So if I was barely off of zero, you know, there might be too like tiny holes in this beer bottle, and that's going to just be a complete headache. And when you start to do materials with glass and everything, it's not gonna look right, because it's not. Ah, rotter! Tight is what they call it. Watertight is when When there aren't any holes in the object, it's is perfectly watertight Taken. It can be, uh, you can hold water if it was ever needed, Teoh. And that isn't I was holy water. Doesn't matter for this. What? What makes it What makes an important is if you're gonna be using the glass material you're gonna have light refract through it. The material on the object have to be a closed volume for those re fractions to work correctly. So just by making sure that this supplying profile is watertight is going to save you a lot of headaches down the world. I changed the line mode just so I could refined this profile because I think it is a little bit thin the bottle itself. Now all I want to do is is just take all the points from right here and not these two points. And I'm just gonna move them, move everything out just a little bit. So that's what I do that is to going to live selection. Just go to rectangle selection and I can dry rectangle like this around the spine. And now I have all these points selected there that are just the outer edge of the spine profile, but not the two main points that make this watertight. So now I can just drag this outward and make the bottle just a little bit fatter or a lot. But it could just do just a little bit, and I could go back not at the selection made. I can go back to the three dimensional view and look at this and see how it feels as a beer bottle. I think that's good. I want you to go in and and refine this lip right here. I think I do think the and this is a little bit too far out as well. This part right here. So go back in here and go back to my life selection tool. I think just a little bit of attention. What's happening actually is, she said, was it his handles are too long, and so it's giving that kind of his puffiness looks a little bit just kind of just chubby, I guess. Too chubby. Same with this one is going to scale this down. So it's uniform, and then it could be okay. See how it looks in here. Ah, I was gonna move this up just a little bit. I don't like that top, but you get the idea. Basically got a beer bottle now, and you could refine stuff for a long time. Especially when you have a good podcast or like a sweet album to listen to. This is still kind of thick. Let's get in there. That's pretty close and like that. I mean, it's going to be a beer bottle, and you can see the process of starting with a spying profile like that, refining it and then rotating it around in 3 60 with the late object to make that one thing I want to do. Just so you know, a couple options with the late object. If you go to the object tab in here and the attributes manager now by default, you have some divisions said to 24 you also have the angles set to 3 60 by default. And what that does is, if you reduce it, you can actually see the inside of the profile. So if you wanted to, you could set up. You could end up doing a, uh, a less than or greater than 3 60 degree laid object if you wanted, and you could just type that in to make it like that. That's a cool thing to see, though, if you find reduces to 1 80 if I cut it in half, basically, you can see how this profile is made, how it rotates around when changes displayed aguerro again, and that's cool to see, because this part right here is going to be, what, the glasses. That's a good way to check on the inside of the bottle for imperfections or different things you won't want to see without having to go inside of the bottle. So, yeah, that's a nice way to check on everything, too. So turn that back to 3 16 and then also, I go to karoshi ating with lines right here. You can see the lines that are being drawn for the polygons by default. Subdivisions said to 24. Um, that's not That's not great. So we're gonna do is just increase it. And you can see how the amount of vertical lines and polygons is increased, which makes it a much more organic looking object. So if I was going to reduce these again, that's all you're doing. So if you increase it, I like to g o. At least, so 24 is the default. You can do 48. You can double it. That's definitely on your way to make it a nice organic shape. I would just do 64 just to be that way, and from there you have a nice organic looking bottle 4. 1.3 Using Loft to Make the Bottle Cap: So the next step we're gonna do is make a bottle cap on the bottle. Cap has is really detailed ridges that a pretty difficult to create in three D if you're gonna do it with, ah, just normal polygon modeling, which is not what we're gonna be doing. We're going to be using spines and another spine modelling tool called Laughed where we have laid and sweep extrude laughed. These all four. These are spline modeling tools or generators. You would call them specifically and we're going to use loft this next time to make the bottle cap. Now, loft is really amazing. It actually it takes however many different supplying objects. And if you lay them out sequentially, it'll it connects them together in A with a three d object. And that might seem confusing until I'll just bring a couple spline objects in and show you what that means. So I'll do a circle and a square and a star. Now these air One thing is really nice about cinema. To is just these ah spline primitives that they provide are really powerful. And so you have these three spines like this and if I drop them all into the last object. They make a three D object. Now it's important to do a couple to make sure there's a couple things that go on. So the order is really important and it doesn't really. But it doesn't really matter if it's from the bottom to the top of the top to the bottom. It just has to be the beginning in the middle in the end and had to be in order. So if I move the rectangle like this, see, it goes from circle to start to rectangle gets all messy for the rectangle back in the middle. Now, if I moved to start a circle to the top, so obviously goes Circle star to rectangle to send this order like this. But if I move the star below the rectangle, the order is still looks the same. You know the orders, the reverse it goes circle rectangle star like that, and it could also be the other way to it could be star rectangle circle, so the beginning and the end don't exactly matter. It's a sequential order of of the spines that make the most difference. So that's a really powerful way of making really organic flowing shapes with just a few spline objects and the locked object. So a couple things to know about the loft object. If I gotta displaying, go to karoshi eating with lines. You can see how it's generated in these lines, and it does a pretty good job of interpreting, of interpreting the spying points between the circle of the rectangle in the star. So in in these attributes for the loft object, you have the match subdivision U and V turn the you up. You can see how it increases that direction of polygons and then the V direction. It goes this way as well, so you can go from, you know, pretty low Polly to pretty high detail really quickly. It doesn't really good job, even of inter plating, uh, the playground shades between the circle in the square in the Star. So the loft object is really powerful. Inimical thing, too, is I can actually still manipulate thes spline objects, and it'll update in real time, like this square can do this to it. Obviously, I could make it bigger and smaller for what's needed moving around, so it's a very, very powerful thing for a spine modeling the lob tool. So we're going to use that to create the bottle cap today, and we're going to use some of the really powerful supplying primitives in cinema to do so now, the 1st 1 just to get started. We'll just start with a circle at the top of this and start from there. So do a circle here, and either you can rotate it or you can go to the attributes and change the plane from X Y Teoh X Z like that. Maybe a little bit. I was gonna drop the loft objects in right away and make this circle a child of it, because the cool thing to you can dio in cinnamon eyes. If I hold down the command button on went on apple over the control button on windows and drag with the move tool. You can see how that icon shows up when I when I hold down command. If I hold down the command button and drag, it actually makes a copy of the circle or whatever object your selected in your dragging. You see how it creates that, uh, circle on it Listens had the laughed now That's a really this is really cool, because I can just start copying circles like that and making making a loft object in sequential order really easily in quickly. So, um, there's just this right here. Somebody used that to start the bottle cap. And now that I have that second circle created, I'm gonna go back to the 1st 1 and just and scale it down like that and then in Mexico, going Teoh, make another circle by holding on command and dragging. Now, see, what happened is I have made that third circle. Um and I went to the bottom of the list, which is not what I wanted, which is okay. I can just click and drag and put it right there. And that's that's more of what I wanted. So I can use that and they could just kind of scale it down like that. Give it the top of the bottle cap. Kind of like that. So that's close. That's pretty nice. Next thing I'm gonna dio is to create those ridges in the bottle cap. We're going to use a supply in primitive called a cog wheel, which is really nice tohave in cinema what changed the plane to xz again. So it's flat and you can see where I'm going with this. Um, I'm just gonna change these handles a little bit. That's pretty good. So put right there. And I'm just gonna put that at the bottom of this list in the last object. Now, that was weird. Only because there aren't enough subdivisions in this loft to make that work. So I'm just gonna up those a minute subdivisions a lot. A lot. A lot to get that detail. No, it's close. Um, just needs to be rotated a little bit. Right? Okay. I want to actually bring this down like that and bring this other circle up a little bit more. He's got a little bit of kind of rounds out of the bottom like that. So we can do is just about the move to old on command and drag and make another copy of that cog wheel and just give it a little bit. Just a little bit of a flare like that. No. See, figure that the teeth tab of this cog whale object. There's a lot of stuff you can do with it, which is really cool. Um, I'm actually going to uncheck the loft object for a second just so we can see the amount of spines it takes to make this bottle cap, which really isn't that much and changed the see the pressure angle. I want to be more rounded just just for fun. I'm gonna actually. So you can You can come down, command and drag right here, Or you can also do the same thing right here too. So I made another copy of this cog wheel and actually exist in the same exact spot right now. But it's it's a nice way of not messing with the order of these spines. What I want to do is just give it, Yeah, just kind of give more of some definition up here between the circle that's right here and the cog wheels that exists lower on down to give us a more roundness, give it some more detail. It's a little bit more like a bottle cap, except that right now, these circles that make the rounded part a little bit too close together. I think so. I'm just gonna take these top two and just kind of play with him a little bit and see make that look better. I think this is too rounded, so they make it flatter. And then the bottom cog wheel is just a little bit. The pressure angle isn't right. It's a little bit too flared out now, just bringing just a little bit. And now the bottom. Just don't get too lazy. We can do the bottom to just sort of the worry about it. That's pretty easy to, because I can just drag another weaken copy and paste this cog wheel again underneath like that. Scale it down just a tiny bit. And let's see, she's just pressure angle to be a little bit smaller. That's pretty good. And then just bring that up. And actually, the better way to do it is to scale it up just a little bit. So it has some kind of sits right there and then hold down command and make another copy and scale that one in a little bit and then move that one up because any kind of defined the thickness of the bottle cab, which is which is good. There you go. That's a nice It's a pretty nice bottle cap right there. Done. Really quickly. Take this circle. There you go. There's a bottle cap 5. 1.4 Making the Bottle Label: one more thing we're gonna do with the loft object is make the label for the bottle. So while we have to do is just drop a circle in to the scene and change the plane from X Y to X Z moving up a little bit and just scale it down with the radios right here to be almost just sitting right exactly on the bottle. This is kind of where you want to type in things. Exactly. I think actually, 20 inches is perfect. That's exactly what you wanted to be sitting just barely above the just barely outside the bottle. I put it right around the bottom right there. And then I just need to hold down command and drag and make a copy and bring it all the way up to right there. Now, I got two circles. I was gonna hide the bottle right now on this one, too. I use the laughed object. Teoh, create this label. If I just do that and drop both these circles in, I've got a cylinder which isn't exactly what I want and needs to be. And they used to be no top or bottom. So I go into the laughed object right here and go from the object. Have to the caps. Tab right here has a start and end setting, and by default, it set to cap, which means which is what this is. If I just go to none, it leaves it open. And at the end, right here is well, I take that from cap to none. I have a open ended cylinder that's exactly the height in diameter of the bottle. So if I turn this bottle back on, you can barely see it, because this is exactly on just barely outside the bottle. And just for fun, I'm gonna change these this radius of these circles to 20 0.5 inches, actually, maybe 20 0.2. We were three. There you go to 20.3 on both these circles. Just so there's not any confusion and it doesn't look like it's floating on top of the bottle either. And then just to refine it, I think that top circle come just a little bit to meet that ridge. Same with the bottom one. Maybe Great. And now we have a bottle label ready to go 6. 2.1 Making the Six Pack Case - Part 1: okay, in this next section, we're start doing some polygon modeling, and I'm gonna go through how I started with this cube and ended with this six pack case and not very many steps. Really? So to start off on, delete this six pack case and start with a cube first thing what I want to do really is just make this the footprint of the six Pack case. So this is where everything is going to start from the very bottom of the six pack case with this cube and what I'm gonna do is see right here in these attributes, you have the size and X y and Z the exit also have the segments in X, y and Z directions and mighty father set to one each. Now, if I increase the X segments because in others too one in two segments and I just keep increasing, you can see how that lays out. But actually, Onley want two segments. This is gonna be the kind of spine of the six pack case, and the three bottles are gonna go on each side. So that part's nice need to increase segments in the Z direction, so I can have a six pack case, and that's pretty good. Like you wanna have, make sure that these air pretty solid squares and then look like they are maybe just a little bit of tweaking. And that seems to be a pretty good footprint for the ah six pack case when there's a little bit skinnier on the top, this is the size in the Y direction. So I'm actually just going to make that 0.5 and shoes, which is way too much was two point 05 actually. And I wanna make sure point out before we get too deep into this. Uh, these these air riel numbers. This is, you know, it's important to keep these in in mind of real world scale because that is how it is set up in cinema. So right now I'm not too concerned about actual thicknesses and actual distances and inches right now in cinema. What I what I'm looking for right now is just the proportion of things, and what I'm gonna do is make this edit herbal so I can start using some polygon modelling tools on it. And what the difference what that means is right now edit herbal polygon objects. Uh, that makes you able to use point line and polygon modes and all the tools related to each of those modes when a public, an object, has made edible. But you also lose a couple things to when you do that because right now these objects are considered Parametric is in. They have parameters that they can be that can be changed. Um, specifically for a cube object. You know, things like the size and X y and Z direction can be typed in the amount of segments can be changed. You can have ah, fill it. Services isn't like again bevel. I'll show you what that looks like. You have that and you can just select those things. So those things are available to you when they're a paramedic object. They disappear when they become an edit Herbal polygon objects. So just make sure you know, that there is between Parametric and polygon objects and also at the same time this icon goes away showing that is a paramedic object. So when I hit the letter C look at this icon, it becomes this triangle point and these parameters disappear. They become a polygon objects, so I can't. I can no longer change the amount of segments or anything. But now I can use these different modes. Teoh edit this object, which is what I want to be doing. So the first thing I'm gonna dio is I want to bring up it, expand vertically, this footprint, Andi, make these actual areas that can hold a bottle. And what I want to do is just hold down, shift and select these six faces. Now we're in polygon mode. Was interesting, is in each mode there are unique tools and options for its mode and you can find the differences when you right click on a selection in either mode. So if I right click right now, these are all the options available to me in polygon mode. All the really easy to access quick tools in Pelican Modify change modes to line mode. You can see how the selections now go to this right click. The amount of tools has changed and the type of tools as well has changed in line mode. Same with point mode. And these are the points in point mode for a polygon object. Right click. There's also these types of tools in Point Mug. So just be aware that there are different tools for different modes. One of the best tools that you use a lot in polygon editing is the extrude tool. There's also another one next to it. If I right click, you have extreme right here and you have extrude inner now what extrude inner does. If I select that and I have this selection made and I just click and drag, you can see it makes they probably gone, so it makes new polygons inside the current selection. Now, if I did extrude as opposed to extrude inner right now, and I just click and drag extremes that way, and I can also extreme downwards to If I if I wanted Teoh, that would be I'm right now. I'm swiping left. As I'm doing that, I'm swiping right to come to come vertically upwards. So that's what extruded extra dinner do. Um, there's also a setting in extrude inner if I go back to it. This is checked by default preserve groups and what that does when I click and drag. Even though I have multiple polygons selected, it's gonna treat. That is a group of polygons and extrude inner from that selection. So if I uncheck preserved groups and click and drag, it makes individual extreme roads from each polygon selection, which is what I want, because what I want to do is create some walls, some cardboard walls for the six pack case. So I actually don't want these selections to be extruded upwards. I want everything else to be extra it upwards around it. So what I'm gonna do to get that is I'm going to select like this, basically kind of messily selecting everything on the top of this six pack case and holding those shit hole I'm selecting. So I have everything selected now, And the easy part is I can just hold down command or control on Windows and de select these major faces. So now I have this kind of outer border selection, and that's what I'm gonna be extruding to make this six pack case. So I right click could extrude and then click and drag. There we go. Here is the first part of your six pack case. No, I can go from there. And what I'm gonna do is going life selection tool hold on command and de select thes outer edges of the six pack case. And I'm gonna extrude this right here. Oops. And make that the handle. That was very rough, obviously, right now, but here we are, in six or seven steps, we've gone from a cube to the rough shape of a six pack case. And in the next section, we're going to refine this case with another couple tools I like to use. You use a lot in polygon modeling. 7. 2.2 Making the Six Pack Case - Part 2: Okay, So in this section, we're going to refine this six pack model. And the best thing do really right now is just to go online and look for a six pack reference image. I like this one because it's pretty simple. Um gives you a good idea of what we're going for. And, you know, one thing we're gonna dio is, you know, make this crease right here. Make sure this this side wall comes up as opposed to just go in perpendicular along the the walls like it is right now and also to put a handle inside. And also just to add a little bit of detail to make it look like it's kind of folded on this side like it is in the image just to give us some realism, we're gonna punch a hole using ah, bull object to get that handle. And, um, we're going to use a couple tools. Um, the knife tool, some extrude and the bull object. Okay, So first thing we're gonna dio to start repairing this model. Just kind of refining. It is getting rid of these in dense right here on the top. Now, this is a little bit complicated and I did it on purpose so I can show you a couple of tools that are really useful for repairing and refining models because it's gonna happen a lot. And the first thing that needs to happen in this is we need Teoh, delete these polygon faces. That air right here I was going to select doesn't delete hit delete. It's like these on delete. Now, this is going on right here, which is not ideal. And if I want to point mode and selected this point and deleted them and get this, which is also not ideal, so we need to do first is defines in geometry. Uh, so we can delete this point and not mess up the rest of of these cardboard walls right here . And to do that, um, you just right click and you can use the knife tool the knife to allows you to draw lines and connect points together and in turn, makes new geometry. So you have different modes to go through line is really useful. I always like to use loop in plain, but right now we're just use line. We'll keep single selected because what that means is on Lee. One line is made each time. It's if you uncheck that, it's you can make sequential, you know, cuts with the knife tool. So does a So keep that there was going to make one line. Anyway, restrictor selection means I can only make a knife cut based on the point selection that's currently there. I don't like that all the time. So I liked on check this when I'm doing stuff, and we're just going to start with this point to this point. So I'm just gonna start there and you see highlights with the white and then just click and drag to there and you know, it completed it because it made a blue line just like the other polygon lines. So you have that going to the same thing on the other wall right here like that. And now we have this kind of isolated section right here, and I'm gonna go to the life selection tool and just hit delete. And now that's really nice. Preserve the other cardboard walls and we do the same thing up here. Go back to the knife tool, right. Click knife and get right here. We get right here and then select that point Hit Delete. Do it again for that point. Delete. Perfect. It's all set up. So now what we can dio is used the bridge tool to Makesem Make an actual polygon face between this gap right here. We're gonna Bridget now we can't use the knife tool for that initially. Why? So if I was just like this point hit and go to the knife tool And I wanted to draw a point right here. It wouldn't allow me, Teoh, but I would make a point like that. It would get messy because it because then I have to only works when there's already existing polygons made. So if I did that to here, it would work and also be a mess. But the line will get made so you to make a polygon face. And to do that we use the bridge tool. So the right click again and we're in point mode and you go to the bridge tool and I can go to write and start right here, and I can just click and drag and it was snapped, appoints and I'm going to that point and then I can go to this point, and if I click like that, it makes a triangle, which is fine. You cannot make a quadrangle, too, and I'll show you that in a second. But just to show you another polygon editing tool, that's really useful. I want to do a triangle here and I'm gonna do a triangle. They're too. So now we have a triangle. Recently have a polygon, a quadrangle with a diagonal line in the middle of it, and I got a line mode. I can select that line, and if I hit the lead, Italy's the whole face. It's not what I want. I want the line to go away, but to keep the polygon face intact. So the way to do that is to right Click and have that line selected and go down to right here. The Melt command and what that does is it deletes lines, but it preserves polygon faces. It's very helpful to for cleaning up Polygon meshes, and so I'm gonna go to the same thing here, make it he's the bridge tool and make a polygon face right here to connect all these together. Go back Teoh point mode, right click bridge. Start here. Go there and then just do that and then start there and do that again. You know, another polygon face has been made so I can go to line mode life selection tools like that line right click melt. And then because this is a pretty well defined whole right here, I'm just gonna use another really great useful tool called close Polygon hole. And if I just hover over an edge point either right here are we just a anywhere on the edge ? It shows a highlight of what's gonna happen if I if I click on once I click, it closes that hole and it gives you a green line, which is just a suggestion. The same. Hey, used to connect this together because, um, you just it it makes sense to for the polygon mash and doesn't doesn't really polygons yet this on a real line until we use the knife tool. Teoh define that geometry. So I go back to point mode, right, click, knife, tool, and then just click and drag and now went from green to blue. So now it's ah, riel polygon. And we're good. We've prepared that one in Dent. And just to make it complete, we're gonna get rid of this middle line right here, too. Now, we could Dio if you wanted Teoh, we could just draw a line from that middle line up here and draw it all the way around. Back down to this one. Then we have three lines, but not really for any reason, but doesn't need to be that my definition for these cardboard walls, they're too thick as it is. And they only that way because of this selection right here. So easiest way to do that is to use a knife tool and just connect these two right here and then go to line mode and select this line right click and melt it. We could go away, See, it's green. What's happening here is even though the line's been melted, the points are still there, to the point is that there on the point is right there too. So we need to also melt this Ah, point right here too. So I could be in point mode. I can right click, and I can also melt that point. There's another one right here, too, so I can't select it because it thinks it's inside the polygon mesh. And I can't do that because when I'm in life selection mode, there's this check box right here on Lee. Select Visible Elements. Now it looks visible from here, but cinemas thinking it's inside the measure at some point and it can't be selected. So I need to uncheck this so I can select invisible elements and select that point. Now that's a little bit dangerous, because I can, actually, if I just make a selection like this, what kind of just go around? It's possible, Teoh select points that I can't see back here. And if I was gonna many plate them and do whatever, then it would be a mess. So just be careful when you want. Check that to make sure that you have just selected what you need for that at it. Someone right click and hit mount again, and it might. Sometimes it doesn't delete with Mt. But as long as there's a Green line involved, it's not gonna be, uh, that detrimental to just hit delete for point sometimes, too. So I just hit delete. Then they went away, and there's also this part right here somebody gonna line mode. It's like these two lines, and I'm just going to melt them as well. Now, there's a bunch of green lines right here as suggestions. I was going to go back to point mode. Right. Click. Uh, use the knife tool and define this geology right here. And we should be good. That doesn't I always need to be filled out. Just giving you an idea over the same thing over here appears to be these two points. For some reason, we can just hit delete because they aren't well, there on a blue line. Polygon. These green lines don't exist. They're just suggestion, so you can actually delete them. They won't delete the face. Okay, The same thing here. Use the knife tool to find this geometry. I got a line mod. It's like this line and melted and then go back to point load. It's like that point. Delete it. It's like this point now. When I deleted it, it made this whole because this line right here is blue, so I can actually just hit melt and it goes away. Then I use a knife tool like that. Okay, so for some reason, this hasn't been defined. So just cause I see this green line, I'm just going to to find this geometry real quick so it knows what to dio. There we go. And this one as well. So but on posible quick when it fixed this other section right here and we can get started with them or Ah, modeling. Okay, so that's been repaired. And now we have both sections of the six pack case ready to go. Now, I'm going to the same thing on this part right here because we're actually gonna need this middle section later on. Teoh use it as a fold, but will come that in a second. Okay, so I have a pretty standard six pack case right here. First thing I want to dio is because of that picture. This elevated section right here just gonna select these points right here and the ones on this side, too, and just move it up. I like it. I mean, when I use actually make this a little bit taller, I would think just a little bit dollar. I'm gonna go to the rectangle selection tool, and this is actually I like to keep I like to get the rectangle selection tool, uh, unchecked with this, and then keep the live selection tool checked, actually, so I can switch between the two and get different types of selections. Someone check this so I can select everything that I dress a square around because I want to get these points right here that weren't visible from this perspective. So I haven't well, and I can just He's the move tool and expand them. I'm a little bit too tall. Okay, great. I was looking really nice. Now, the cool part at this point, is it starting to come together and to really get everything right? Uh, we should totally bring in the beer bottle in. The easiest way to do that is to just open the project file, which is right here. Beer bottle plus label. Oh, man, we shall sip of the bottle cap on it. Okay, cool. So right now, here's the beer bottle. So I'm just gonna double click the late object and rename it to be beer bottle, and then call this beer label and shifts like both of them. Make sure I'm an object mode and just command. See, use window to go back to the other project file and paste him. Oh man, Nice. It's humongous. This brings up another point about cinema and scale without really getting into trying to measure everything with the measure tool or, you know, really getting deep into making everything exactly the right measurement. What I like to do at this stage is to just drop a figure in, which is there's a person that's a person figure for The linguist is called a figure, and you can set the height of this figure. And right now, for some reason, I mean, that's the thing. This is not This is actually ah, 240 inch tall person, which is, you know, 20 feet. I think what I like to Dio is make this height of real person height, which is I'll make this person six feet tall, so 12 times six is 72. You can do it like that if you want, but cinema has a really nice trick to you can do where if I'm gonna do some math inside this field, I don't have to do it beforehand and tell it the answer. I could just do the math in the actual field. So I'm just gonna dio 12 star six like that 12 times six and hit Enter, and it automatically does the math for me and then puts the value in. So this is a six foot tall person, and you can see how it's a lot of beer. So this is a nice This is a very good time. Teoh understand how to use Noel objects as parents to scale objects really quickly and easily without having to worry about remaking anything or anything like that. So the thing that's interesting is I was You don't want this to be a 10 foot tall beer bottle. It needs to fit inside this hand right here. And so it needs to be like about this tall. That's my way of getting rough scale really quickly and pretty accurately. So here we have the beer bottle. We have the beer label within two scale proportionately at the same time, and it's possible to if I just selected both of them went to the scale, tool and sort of scaling. It's possible to do it that way. It doesn't always work. We're lucky because the Axis center for the beer bottle in the excess center for the beer label are in the exact same spot at the origin. Sometimes they're not gonna be that way. And there's gonna be different. Different access centers for different things, and you want them all to scale proportionally. So the easiest way to do that is to go to the object menu. And right here in the top is the null object, which is really just a point in space. What I'm gonna do is I'm gonna call this beer bottle plus label and I'm just going Teoh, make them Children of this. No object and no objects are really useful to for grouping things together because I can just put things inside. This is their having a list of objects. Is that is the scene gets bigger. I met with him and Noel object and then fold it. And it just has that in the nice part. Now to is because they're Children of there's no object. Aiken move. There's no object around and everything moves with it as opposed. Teoh. If I just took this and moved it, the bottle wouldn't move with it, so that's really useful. And now I could just scale. There's no object. And these and the Children of the no object will scale with it. Someone go here and just scaled down to be about a good size. That's a good start. What I'm gonna do now is just move this figure and just put the hand right there and just try and just Ruffin, if the hand could hold this bottle and that's basically how I set up scale really quick and easy way, that's pretty good. Actually, that would look like this six foot tall figure. Looks like it could grab that bottle pretty well. Maybe just a little bit. Tiny was a little bit smaller. Okay, great. So now we have a pretty good sense of real world scale for this beer bottle. And the important thing to bring in is we should bring in the bottle cap too. So I'm gonna do that. Take this loft object to rename it Battle Cat and make sure I'm an object mode, and then just copy that bottle cap and paste it into this scene. And that's also gonna be massive like a UFO. Which is pretty funny. I think, in the nice parties, because these are all Children of this loft object. Aiken Just scale the loft object, and all those spines will scale with it. So now that we know the bottle is the correct scale, you can just put it on. Now, how do I know this bottle cap is gonna be exactly in the middle of this bottle? I could do a couple of things by I, but it's a little bit frustrating. And it can take longer than really you want to take So the easiest way to make sure that this bottle cap is going to sit exactly in the middle of this beer bottle is to make it a child of this. No object, because we know the access center of the knoll object is the exact saying is the others doesn't move. When I select the beer bottle and no object, the access centers don't change. Now, what happens when you make something a child of an object like this? It inherits the coordinates of that object. So this isn't actually the rial coordinates of this object. This is these are the coordinates of this object relative to the access center of its parent. Now, if I take this bottle cap out of this. No object. These change these air now the coordinates in the distance away from origin from zero. If I drag it back into the null object, it now becomes the distance away from its parent object, which is really nice, because now I can just make those those coordinates zero, and it will sit exactly at the access center of its parent. None from there. And I can just drag this up to sit on top of the bottle. I'm going to scale the bottle cap, which is the loft object and scale that and all this planes was killed with it. Until I think it's in a good spot. It's a little bit. It looks more like a hat than a bottle cap. I think that's because it's not long enough. It's not vertical enough to really wrap around that lip like you would see in a bottle. So I'm just gonna select some of these cog wheels. It's these two right here, just a little bit of refining on now that it's on the bottle like it now in this next section going to refine this further, put this bottle inside the six pack and really start to get finished with this whole set up to start. Do ah start to do materials and techs during. Okay, See you then. 8. 2.3 Making the Six Pack Case - Part 3: okay in this section, we're gonna finish this six pack case. I just want to scale it up. So it'll hold this. Ah, now, roughly to scale beer bottle. And here is the model, so I'm gonna change it. I'm gonna double clicking and just name it six pack case and then go into object mode. And luckily, the access center is at the bottom of the six pack, which is where I want it. So I'm just gonna hit the T button for scale and scale it up. So I put this bottle in one of the walls. That's nice. I like that. That's good. I'm gonna hide this figure right now. Just banned Checking. Okay, so that is pretty much the scale and the six pack case can now hold a bottle. Okay. The next thing to do will be to punch a hole in this six pack case and make a handle. So I'm gonna hide this bottle so that we're actually gonna use another spine generator tool to make the object that will punch the hole in the six pack case. The first thing I want to dio is start with the rectangles blind and now everything is really big because it's all to scale. So for some reason, the default is 1 37.5 inches. So I'm just going to type in three by three just to make it smaller and then bring it up here. Well, it rotate it 90 degrees and just for placement. Just to visualize this handle, replace it right here. So the height, maybe 1.5 inches and then about five inches for the handle. The cool part is with this rectangle splint because it's a parametric object has got these parameters. I can go and check this box right here called rounding. It'll around the edges and it sets a radius that you can change too. So if I did point to you see around the edges 0.0.5 and 0.75 was the max, which is what I wanted so that it has is nice kind of pill shape, and that is going to be the handle for the six pack case, and I'm gonna dio is bring out a little bit and then bring another explains generator tool in here, the extrude object and drop the rectangle. It is a child of that now it did that because you can set the direction or the movement of the extrude in the extrude object. And by default, it goes in the Z direction. So we had zero for the Z direction and then drag the X direction. And here we go. This is a nice extruded object that would have been a little bit of a pain to model from a polygon object. And there isn't really anything in a primitive that would have done this except for the capsule, but that surrounded it. It doesn't. It doesn't do this depth like this in this flat face. So extrusion of a spine object would have been the best way to do this. And we're gonna use the bull object to you to combine this extrude object with the six pack case object, and it'll punch a hole in the six pack case. First thing I'm gonna dio is first of all, make a copy of his extrude object and then uncheck it and and hide it. This this is just like to do this as a backup in case what I'm gonna do next doesn't work out. And I don't have to rebuild this really quickly. So I'm just gonna hit ah, see which is make edible. It's also this button right here. And when I do that, this becomes a polygon object with two caps. And this can be frustrating when you do that initially, because it might seem like this is one solid object. But there's actually three objects put together and you have Teoh combine all these things to make it a solid polygon objects. So the easiest way to do that is to just sit, shift, select. So select the extreme, which is the body. This part Sorry the which is the body and then the two caps. So shift select all three of those and then right click. And this is an object mode. But it could be in any mode, long as I have selected them in the object Manager, I can go down here and do connect objects and elite. What that does is it brings all the objects together and then deletes the, uh, the old object hierarchy of the extrude object and then the two caps. So that's nice. And the thing that's kind of annoying right now is the access center was based off of the extrude object, and by default, it sets of the origin. So right now, the access center for this object is way off the middle, and that can be really annoying. If you're trying to rotate something or even like scaling them, you know scales from that point, not from the middle part. So one essential tool I love to use all the time is inside the mash drop down up here it's called Access Center, and when you select that extrude object and you click this button center, access to it finds the exact middle of that polygon object. And now you have the axis center right in the middle of your object, which is perfect. But say you didn't want that to be right in the middle, so you wanted to custom place this Axis center for whatever reason. That's where this button comes in, which is really helpful. The Axis modification mode can be turned on like that, and this allows you to move the center access anywhere you want and just for fun. I'll put it right on the face right here, and to get it precise, I can do it from this top view knows that. Turn this off. That's where the access center stays and I can move and rotate this from that axis center. That is a really, really important tool. Tohave saves a lot of headaches. Okay, so now this appears to be one object. I go into point mode and select one point and move it. That happens really frustrating. Even though it looks like one object, it is one object in the object manager. It's one object here. If I was to go in and model this if I wanted Teoh and move these points around, I would be really frustrated to find out that there are actually two points that exists in the exact same spot right here. And it wouldn't be able to see that unless I started modeling and broke that. And the easiest way Teoh set this up to make it one actual solid object that's watertight is Teoh. Select all points Command A or control A and right click, and right down here is called Optimize. Optimize gets rid of points that are being used and duplicate points in points that exist in the same in the exact same space, which is exactly what was going on in this object. And frankly, any object basically that you go from Parametric to polygon which can be really frustrating . You want to just be able Teoh, make an object, make it polygon Oh, make a creditable and then start editing But you have to go through and select all these points it hit Optimize. And once you do that, this happens. This is how you know But it's okay. Same with this one. So now you're okay. Now this is a watertight piling on object and then we can use that for the bull object. So the bull is right next to this drop down. But there are a bunch of other tools. Right here is the bull object, and the bull object only takes in two Children I can take it takes in this case the thing that we're going to punch a hole in. And then the thing that punches the hole just gonna call this whole punch. No, I had to do is drag them and make them Children of this object. See, now that's gonna disappear, because by default, when you go to the bull object itself, the type is a subtract B and that that shows up like this. So this is a this is being so it's a subtracting be, since they don't intersect, this one disappears and you can select on it and you can see the outline, at least. But it's gone. So I got to do is just move this to intersect with the six pack case and you can see right away. That's exactly what we want. Perfect. That's it. We have made the handle, and I might want to just move it down a little bit to give it. It's too much like visit. My break is, you hold it. So maybe right there and there we go. So in the next section going, Teoh set up the folds in the sides right here and then the folds up here and then we can start. I'm also gonna skin like make this skinny air that's a great too thick these walls. It's OK. I can be fixed pretty easily. So the final section for this six pack case will be coming next, and then we can start doing materials and textures and making it look pretty 9. 2.4 Making the Six Pack Case - Part 4: first of all for this section, I just finished out the bulling of this six pack case. So the best thing to do really right now at this point is just to make this edit herbal, make it one solid polygon objects. And just in case we mess up, I'm going to make a copy of this right down here, uncheck it and hide it. Kids have to ever go back to the original. And then all we have to do now is hit. See, to make that edible and it becomes these two objects. Now, to really combine them together, we need Teoh do that same tranquility of the extrude in highlight both right click connect objects and delete. And that's still not really gonna be exactly what we need for going here and check his intersection. It's not the way to go. So I was gonna highlight or select all the points. Right? Click and optimize going in check. Make sure this is it, actually fixed it, and it did. Perfect. So that really is one solid polygon object with the hole punched in it. That's great. Okay, so moving on. We're going. Teoh. First of all, make this just a little bit thinner, Just a little bit too thick. And it's very easy to dio with the rectangle selection tool in the scale tool. So I'm gonna go here rectangle selection. Make sure that this is on unchecked dry square around this and then one around here, one around here, you're all selected, and then just do the scale tool and scale it in to be just a little bit thinner. Maybe like that, I'm actually gonna undo that and included. Go back to the rectangle selection tool and include these points right here. Okay, here we go. Now, this do a little trick here that you're gonna love and you're gonna use a lot. It's gonna save you a lot of headaches. So I have this selection right here, this point selection, and I might want to come back to it at some point, the future, and maybe make a wider my get then or something. Yeah, I'm not gonna want to. I don't have to go through all that time again to painstakingly make that selection with those points. That's not a very hard selection to make, but sometimes there could be a lot of time spent selecting certain points and lines or polygons for your models. And there's a way to save that selection to your object. So what I'm gonna do now that I have this selection made, if I go to this select drop down right here, right at the bottom, there's a button called set selection and you can see when I hit that button this tag showed up next to the six pack case model. Now, when I go into the attributes, it's a point selection tag. So it actually saved these the selection of points into this tag and even rename it some of it. I'm gonna name it, handle selection. Now if I go say I go back here and I just, you know, go back and do something else and then and I want to come back to that selection, I can just double click that tag and it gets re selected. It's super helpful, saves a lot of time, So I saved that selection in case you want to come back to it later. Um, now go into be selecting these points now and making those selections thinner as well. These walls. - Okay , so those air good. We have a little bit of work to dio making these folds right here. But it's not too bad all of these toe happen really is. Use the knife tool and make a line ran on that side of the line on this side that go all the way down here. So I'm gonna start with the other point and you can use the knife tool. The shortcut is k. There's gonna rough that in. That's gonna get refined later. There's one line. And then here's the other line. Come down here. I'm just gonna around these around the bottom. So like that, and then like that. But I'm gonna take cinema suggestion and just have them meet right here. So they come around the bottom of the case and now just go into actually scale these in a little bit. So they're more this so there tighter together because this is his middle lines going to go inside, and that's going to become the fold. Okay, so what I'm actually gonna dio is just like these two points right here, and move them out like that, and then move this one inside. Take these two points and scale them so they come closer together. Take these to the same thing. There's something down here and now we have a little bold in this six pack and I'm gonna take this point and bring that in Remains to together. It's a little bit too thin down there was gonna take these two points, select him and scale that out just a little bit more. I like that. It was nice with the same thing on the other side. And we're almost ready to start texture in this thing. - Okay , it is done. There's a nice little fold on both sides of this six pack case. This is pretty solid for a six pack case. Pretty happy with it. Now we can start finally doing the fun stuff and putting materials on doing textures, putting lights and making it really nice looking. Everything has been built and I will see you in the next section where we can start messing with materials 10. 3.1 UV Mapping the Bottle Label: Okay, so we're gonna start with UV mapping, and the first thing we're gonna do is the, Ah beer bottle label. Make it easy. We departed toes in the UV mapping and go with a bottle cap and then, eventually, the six pack case itself. The first thing to know about you be mapping is that you ve doesn't stand for anything. It's not an acronym. It's just another set of coordinates like X, y and Z. But they just It's important to just make a distinction between X, Y and Z in three D space and then the coordinates that you use in texture mapping instead of doing X y Quincy for texture. And they just decided t call it UV, and it sometimes it's called U V W as well, or W is the third dimension, like Z is so typically it's just two dimensions. U and V and I've got an example here from the six pack that we're gonna be making later. This is an old six pack that I made and what I did just to delineate all the different sections that we could be textured, I said. Them is colors and his mind. I looked like very much right now. But if we go into photo shop where this texture map is laid out, you can see how these air are different spots of color in a grey image. And it isn't like it much either. Except when I turn on the UV map mash layer. Now, this well, sort of make more sense between these colors off. So here is actually how this six pack all the polygons in the six Packer laid out in a flat image. And these are all just the the unseen or, you know, kind of useless polygons inside the whole model, where these air all the important parts of the model that need tohave, textures and images placed on them. So they go back. Teoh cinema. You can see how these areas have been color coded, basically. So it's easier to see what Ah, what parts go where on the three d object. And so we're gonna be doing that later for the six pack case. And that's gonna end up becoming a lot of fun because that's really where Ah, you know, a lot of the design and the excitement in the Polish come together after UV mapping has been done. And so we're gonna go into right now just the bottle itself to make it really easy. And one important thing to remember about you, the mapping is that generated objects like lofts or extremes or lays. They don't work for you. The mapping. So these all have to be made into polygon objects. And have you done before? I'm just gonna go make a copy of this and turn it off in case we ever have to go back to, uh, the generated beer bottle and label on a bottle cap. So from there, um, I'm going Teoh hit seeing the bottle cap, make that about him Pulling an object has got his two cabs So we can do that trick where we connect objects in the lead and then got a point load. How little the points, right? Click and do optimize. Same with the beer bottle hit. See on that, that should be all set up. That should be all done because it was lay the object. There's no caps per se, but just in case, I'm gonna select all the points and optimize that as well. And then for the beer label itself, which is just the cylinder with no caps on and basically to the same thing. And there it is, is a polygon object. Since there's no caps, it is just that one object. So that's great. So we're gonna do now is take this object into body paint. Now. Body pain is Sima forties. Answer to UV mapping, and it's not like a separate program. It's It's really just kind of like a separate layout of windows and buttons and everything so it can be found in this layout dropped down where typically it's has start up and you can find different pre made layouts for different types of three D needs. One of them is BP. UV edits that incense for a body paint UV edit. So we select that the layup changes and we see a three D window. And then this is where the texture window actually takes place once it's been made, and the way to do that is to make sure that the beer label object has been selected and we're going Teoh, use this button right here called the paint set up Wizard. What that does is it automatically creates a texture file and does his best attempt at laying out the polygons flat so you could use them in photo shop. And by default it it selects all the objects in the scene to make a texture file for which is not what we want to dio de select all of them. And just make sure that the if we expand this, we make sure that the beer label object is selected. So just that one hit next thes they're all fine. They work really well for defaults. Don't worry about it. Hit next. And then here is the This is the pixel size of that beer label. And I like because this is gonna be pretty detailed and I will make it really high quality . I'm gonna double this and make it 2048. And it says that create channels, these air, all material channels. I'm going to that later. Color is fine. Is this is the 1st 1 to be made? We can make these on our own later, so don't worry about having them checked right now. So I had finished. Does little wizard ain and then you hit close and it gives you this and you can't see anything right now, but you have this gray which matches this and actually you can see and I can actually paint on this label If I wanted Teoh and you see out updates live on the UV map, but it's no we want to dio, It's weird did not be able to see anything on this, but still see things show up was we paint on it, and that's because the UV mash hasn't been displayed and there is a drop down right here says you be mashed and right here it says show you the mesh So we select that we can see the actual UV mash that the cinema attempted to create for our map. And what it really is right now is it's just four sections of this cylinder laid flat, and that's okay. But we might as well make it something that is continuous. And they'll have the worry about these gas right here, which is when you paint on it. See, you can see if I paint on it right here. Where is this right now? It started added, right here. And then this is somewhere and it disappeared on this label That's because that section is back here. If I started right here, you know they're not in sequential order and there's a gap in between them. And so that's these aren't This is not an ideal UV map, which is not that hard to fix. We can make our own UV map, um, with just a few clicks. So first thing to Dio is you can see up here. There are the same kind of modes that are in the normal layout, object, polygon line and point mode. And there's also these other ones to texture mode, UV points and UV polygons mode. So this is if you select this mode, it is possible to go into a life selection right here and actually select these polygons. But they're not. Three D polygon is thes air UV polygons. If I was going to go in a polygon mode, you see, I would look different. But it's also nice because in even in three D polygon moan, if I select some polygons, they still get highlighted in here as a UV polygons as well. So what I want to dio is going toe line mode and the thing that's useful for cinnamon body paint to make a make a continuous Um, A continuous UV map is to provide a seem for it to cut the ah three d object apart. And it'll make sense in a second. So I'm gonna select this line right here on the object. What that's gonna dio is because this is three D and we have to map it onto a two dimensional surface. We have to find some way to cut it and lay it flat. And so I'm going to select this line right here. This is gonna become the seam where this object is cut and then laid flat on this evening map. By doing that, I'm gonna go right here and you ve mapping and they relax UV tab. And there's a see. There's this already selected as checked cut selected edges. So there's an edge selected and it says, cut selected edges. So if I just hit, apply and does that which makes sense, because it's actually a polygon selection that hadn't been the selected. So if you go back to line mode and hit, relax, you ve and do you apply? It does this, which obviously is not ideal. That's because the projection one easy way to start laying out a UV map is to project this three D object onto this flat service using one of these different ways, and the one I like to use to start is Frontal that you can see Frontal means where I'm looking right now, where the camera's looking right now. If I move this hit frontal again, it'll change. If I zoom out hit frontal again, it'll change. So it's looking at where you're actually looking in the three D perspective, and it projects that through the object onto this map using that way. So if you do frontal like that obviously looks bad right now is not what we want, but it gets. It's a good start because once we can project this onto this UV map, weaken, then relax the U. V s. But luckily, this is a cylinder object, and there is a line to cut it apart. Set up, and all we have to dio is use this projection of cylinder because this is a cylinder and I once I hit that button, look what happens. It does it automatically. It's perfect, perfectly spaced grid perfectly proportionate squares and we now have a beer label texture and the line that we selected right here is the seam it goes from. So if I paint this, you can see how it actually it goes like that. So this and this are the same line right here. So now we're set. This is a perfect beer label texture. Next thing to do is little file and save texture as because what you want to dio why we're not We're not selecting save texture, which we could dio but it isn't And it doesn't really provide you with the file to use in a photo shop. So what we need to do is save texture as when you can say the files a tiff with PSD layers Not really a fan of that. I like to dio a psd itself just photoshopped file and I hit OK and they had asked you are to save it. So I'm gonna say it right here and we call this beer label texture and save. So now it's saved as a file. One thing I want to do to before we bring in a photo shop is if you go layer this drop down right here. And we have this right here. Create UV mash layer. You know what that does is it creates a photoshopped layer on that file of the UV match so we can use that for reference and in turn, on and off to. So now I have it saved. I could hit save texture right there, and it will have saved that you ve mesh layer on the put herself file. So now if you bring this in to photo shop, I mean goto open and go where we saved it. So it did save this, but we don't need it. And has the photo shop file saved and you can see it has a UV mash layer. And so we hit open and right there is our UV map of the beer label. So the first thing we can do is turn off the UV mash layer. This is great for reference. We don't need it, though. And just to show you how much fun it is going to save this, let's go to Google. And let's find a beer label laid flat. This one seems nice. Someone's gonna right. Click and save this image. No, this is for reference. I'm not gonna be stealing this or selling or anything. This is just to show you how cool it is. I would say that. And then I'm gonna go on in here in the photo shop. And if I just hit place, place embedded, I can import an image onto this Photoshopped file. Somebody add that have placed it. I'm gonna hold down, shift in all and scale this up like that and then scale it like this. Save it. Now I have this beer labels maker layer and the UV mesh layer and the background layer in this photo shop file. It's now when I come back into cinema, nothing's gonna happen right now because what I have to dio is revert this texture back to the saved version, which means the save version that I just made in Photoshop. So when I say river texture to saved, it's going to go and look at that file again and then reload the changes that have been made. So we hit that button. Do you really want to revert to the same version of this texture? Yes, because we just saved it in photo shop but added new things to it, so it Yes, bam, it's there. Now it's gonna show up yet here until I rotate the image that gets called. There we go. Look at that. That's really when this stuff starts coming together and it gets really fun, because now you have an image mapped on here, and you can add whatever design you want to this image, and we're going to get more into the different channels that Material Editor provides for these materials. This is just a color channel. We get at an Alfa Channel and do a couple different things because realistically, no label is ever really seamless where it comes around all the way on the bottle and doesn't have an end. So we're gonna make an Alfa Channel that's gonna cut this out and make it look like a label has been pasted on to add that little bit of realism. But this is really where it starts to get fun and body pain. Well, I might be daunting. There's only a few buttons that you really need to know. So now the next section, we're going to do the same thing to the bottle cap. So you have that also as an asset 11. 3.2 UV Mapping the Bottle Cap: So in this section we're gonna dio the bottle cap and this won't take that long at all. Because I really want to do is isolate this top part to put a logo on and really just preserve all these polygons from the size and in the inside and everything so that they all conveyed the same color that we want. But really, the focus is going to be making sure this is biggest possible to get whatever logo or anything that we might need on the top of this bottle cap. So, like before, our first thing we do is go to the paint, set up wizard, and make sure we de select everything and just select the bottle cap we hit next. This is all fine next, and I like 10. 24 for this because its smallest is a bottle cap. 1000 pixels will be enough to put a nice logo on. And then we had finished and it re mapped it actually, to be pretty awesome. The only thing that we want to dio because, look, I mean, this whole top part is its own texture or his own section of UV polygons, and that's perfect. It's all we really want. The only thing is, the drawback is we need Teoh make. This is biggest possible. Make everything else as small as possible because we don't need any of this. Really? For, uh, texturally, We just need this for a logo or any kind of text we want, and then make sure they keep all these things so that whatever color we make this besides this gray, all of these, uh, UV polygons are going to have that same color. So first thing to Dio. And just so you know, this navigation for UV maps like this is the exact same as it would be in cinema. So you can zoom and rotate and move like you would in cinema. So I'm gonna dio actually is. Just take this lasso selection tool so I can draw a line around it and make sure that I'm in, uh, UV polygon mode and then I'm just going to draw a line around this like that means you could see it's all of those polygons, which is perfect. Somebody seem out, did the move to all and actually just move this over here because that's gonna be the really important thing we want to keep and just select all this stuff basically and scale it all down to be in tightening. Well, what I'm gonna do first, actually is gonna select this section of UV polygons like that. Go to the move, tool, actually gonna go the scale tool first, scale this down and then move it into here and scale it back up again. So now all these things were laid out like that, and what I'm gonna do now is just select all of them, except for the important part right here and go to scale, tool and scale them down to be tiny because again, we don't need You don't need any detail to put on these UV polygons. We just need them to show whatever color we end up making this bottle cap. So now there have been reduced out of the corner, and you can bring this back in to take center stage in this UV map. You go there, zoom in a little bit and scale this up, moved to a lot. Just put it right on the edge like that. That's pretty awesome. And obviously you want to make it bigger it could select these up here and move. Um, we can move all these things around the border to make this even bigger if I needed Teoh. Um, but this is a nice UV map of the bottle cap. And so now we g o in here. And do you save texture as say, it is a photoshopped file? Okay. And then we will call this beer bottle cap, texture save once again goto layer And so like to create a TV mash layer. It had saved texture again. And so now when we go to photo shop, we can open up that texture beer, bottle, cap, texture And just for fun. I was gonna take this part from the beer label. Transform make this pretty big. And then I want to do is just you seem to hide, but you ve mesh layer and then make this the same color as that yellow like that I had saved. So now when we come back to cinema and we do river texture to saved Yes, I want to revert. There we go. Beautiful. Okay. Now onto the next one, we're gonna do the six pack case 12. 3.3 UV Mapping the Six Pack Case: Okay. Hello. This section. We're going to do the the mapping of the six pack case, and then we can start having a lot of fun making everything look pretty like we've done before. Make sure you select the six pack case polygon object and go to the paint. Set up Wizard de Select all select all the six pack case it next. Next. This one needs to be 2048. Definitely finish in close. Okay, So did a pretty good job of laying out some of the things that we need. Um, but I really would like to keep the handle part together in these all these other parts too . Like these outer parts together to and you can see these have all been laid out and separated out. So the easiest thing to Dio, I would think for this cause it's gonna have to be a little bit of manual, just like manual text during manual laying out these paragons and UV polygons. I'm going Teoh. Just select these and see where they are. See, they're all in different parts, so let me see how this works. See, for this one, we could try the box projection and see how that works. Now that we have as it is, Cubic. In a way, it is a box in the sense that it's it's a cube. Um, the box projection could work for this. And I mean, that's the thing is I You know, I've every object is different in every projection you know, has its own certain uses. So I always recommend, you know, just messing around with projection and relaxing on optimal mapping, which is which is what this is can also work like we saw with the bottle cap. So I'm gonna try box, and that actually turned out to be pretty good. Um, it appears that the handles this part and this part have been have been kept intact, which really, really crucial. Oops. Um, I'm going to U V probably done loan. Okay, so it looks like if I select all these and see where they end up, Okay, great. That's one side. And then we'll see how this side looks, I say Okay. So it looks like these three polygons in the way it was mapped are in a different on the opposite side of they go right here. Those go right here and these ones go right there. There's two ways to go about it either. Um, you know, you leave it where it is and got message that or you bring him apart, You bring them together like this, another show you real quick how that works. Even though I'm not gonna be text during this part with text. I do want to show you how to fix that stuff in case in case it comes up because it was thes three polygons. Are you the pie guns that I don't want to work? And then it's these three that do you work together now you can see how they don't match up right now. But if I let the cross now, all these air selected, which is fine. So what I would dio is first of all, you can see how its opposite like that. So I'm going to go into the Unit nine uniforms, scale, tool and go in one end, and I'm just going to scale it horizontally and we're it. So now when I move it, it will be right there. You can see how it matches up with this, but not exactly So one thing to dio go back to the scale tool on Just scale this with vertically a little bit horizontally just to match that slope. Okay, so what we can do is go to UV point load and really zoom in. And you just like these two points together and you can tell how, even though it looks like two points right here is only one point right here because it's the same point on both sides of the polygon. You can do that. And then there's a command. If you right, click and go to UV tools. There's a command called UV terrace, which basically means that connects. As long as there congrats points, it'll connect them together. You can do that for that side. And then we can go to the same thing for this right here, right click UV tools. UV terrace connected those two same thing, and then this last one. So now they're connected. We fix that problem, which could happen a lot. It it'll happen in some point. It's important to know what tools to use to fix it. Um, and then I'm just going Teoh, drag this right here. I'm gonna scale it horizontally. But I'm not gonna, and I'm gonna UV tears it as well and connected and connect. Okay, Great. So never go back to you via polycom mode. I mean, draws selection across, because if I go across like this awesome. It does connect album. Same with this side. Perfect. Okay, great. So it's all set up. That's fixed. This is actually pretty good, uh, UV map. I'm assuming that's pretty as, um so it actually has laid out all of these along the whole side. So these are the inside feet? No, I see. And the cardboard edges. That's very helpful. Okay, great. That's actually really nice. So it has all of these set up in a different section. And if I select these is while I'm assuming it's the rest of it. Okay, great. That's really nice. So we have that whole section laid out together like that, These set out like this, and then all these of the insides. That's fine, huh? Okay, so it's actually a little bit messed up because these air overlapping, different sections if I moved out of the way, these are actually the inside sections of the six back case. Yeah. There's several layers of evey polygons stacked on top of each other, and they had to be separated out. But that's OK. I mean, that's why you have the three d version and the two D version put together. It's really nice because I can select him here, or I can select him here. Like, especially in situations like that, where there's overlapping UV polygons. You can use the three D version of the three D view, too. Separate everything out. So now this is really nice that these set up got these set up, they're gonna be really important, Teoh. So I put them right here and then these air, actually, and I see how this works. So if I select these Okay, let's go like this. Okay, good. Okay. Is there going to be minimize? They're not gonna be as a parent as the other things. It's good to know where these are laid out. Okay. Same with this side. So these three are obviously and really important. We'll put those right here. This doesn't need to be that prominent. I was gonna put that over here and then let's see. Is there also not gonna be that prominent? Someone put them over here and just to make sure. Okay, great. So now this whole thing is a section. Oops. Oh, I'm one of these things too. These are important. Gonna go over here. These are not that important. So they can stain over here. Okay, so what we really want I'm gonna keep This was very nice. This this section like that? That's great. That seems to stay like it is. And then this also needs to stay like it is, too of the thing happens, it was up here. This part is over on this side, while the rest of it is over on this side. But I'm not gonna worry about it this time. I've shown how to fix it. I could just go in and texture in this thing. Okay, So what I'm looking for really is I want oh, give a lot of space to this whole section right here, like just around. He's a really the really prominent areas for texture ring to put images on. And then these are going to be second Arabs with handle area in this one too. So never have all those selected what's going here. And let's see, I'm just gonna move these over here so that we know where they are, that they're important. I'm going, Teoh, Select thes and moving right here. It's like these two. I live right here, so in a little bit, Once these air minimized, move these into making prominent and make sure that they they have a sequential order. But they go from from this side around this way, and then this side does the same thing. So we we know where everything is. So I'm gonna dio select these polygons. Let's see, What was that I get? Just like those to de select that one. This up here that's going to be in, actually kind of important, because we can put a cardboard texture or something. Paper texture, that's just going to be right here, which could be really helpful. Um, actually, there is some other Are some of the TV apologizing to be selected? Okay, Perfect. So with that up here, these are the inside panels. We don't need those to be very big, so I'm gonna scale those down, put them up here, and then these are those walls again. I'm going to be very important, So those could be scaled down and put over here. It's him. With those soups scaled down, put over here inside panel. Not important. Scale that down put over here. And them that my short this is Yeah. Not really important. Scale that down. Nothing. Put that way over here. Same with this over there. These were probably inside panels. Again. That's super important. We can put a probably on cardboard texture on those at least into the other side. Inside panels, those panels and these panels have the same fate. - Okay , great. That's the feet. That might be important. Actually, you want to dio um really full package rendering. There would be stuff on the bottom, so could put that in the corner right here. And this is not gonna be super important, but it's good to have around. So I'm gonna rotate this and put it next to that footprint like that. And these are important like that. And we reached resize all this stuff to at some point. Okay, So the really important bars that that that and wrapping around to that side. So But it was right here now if you wanted to, you could terrorism. If you wanted to do a wrap around was getting pretty cool. Um, you would do that, and let's do it. Looks kind of that can be kind of fun. Commission these air Really in line. Perfect. Okay, You ve terrace eso. Same with those. Great. It's no wraparound. It's really nice. So select all these and you could see how they're selected right now. If I do the same thing on this side, that's great. We can put them in here. I would actually rotate those so they can be scaled pretty well. I'm going, Teoh. It's like these. Scale it down and move it over here on the same thing for this section right here. Just make sure that these are the right polygons. Awesome. Okay, even terrorists. Great. Rotate that again. This way. Um, in scale at, like that scale, this one scale this one down and then just scale this one as much as possible and trying to fit it in like that. Okay, that's pretty good skill this one A little bit, too, because we have the room and that's a pretty good UV map, custom made to which is really nice to know it's really important to know that because it's gonna mostly end up being like that. And knowing how that works and had a lay him out is gonna be crucial knowledge. So I would say that now, let's make a texture. So save texture as well. I see First, before we do that is to create a TV mash layer. So we have that set up, and now we can dio save texture, as is a photo shop. Okay, And then you call this six pack case texture and there we go. So just to see how this looks, we can just do a quick texture with that previously made beer bottle label. Take this, bring it in, and just to see if this wrap around worked, right, let's put that right here. That should be upside down. So rotate that like this whole layer yellow, have the V Mass and then copy this and did on this side to see how it works and see how it looks. Go back here in a cinema, revert to saved. Look at that sweet. And just to check it out, let's go back in the photo shop and turn the TV mayor layer mask back on and I'm going to copy that over. And then a Mexican gonna see what happens. How does looks on the handle is well, my also do the same thing on this side too. Just for fun. Just kind of plaster it like that could be kind of cool. And one thing, Teoh, that's important. What I like to dio for these different sections is I want to make a group a group layer put a layer mask on it, so I'm gonna put was say handle one have that selected and then I'm going Teoh draw a rectangular marquis around it and they had a layer mask button. So what? That's gonna dio if I had it all and do that, I'm like, I'm gonna be able to drive whatever I want into this layer into this group layer like this . Let's see which one This one. Drop this into the group layer right here. It'll be masked just for that area, which is exactly what I want. So I'd recommend doing groups for each section like, you know, for for this handle for this part for this part, do it all to have all groups set up. So you can just drop objects in Some of you handle too. Same thing. Draw Marquis around this handled too layer mask and then drop this into that and it gets masked. It will be sweet and then to the same thing for the other part. It's not gonna work like that. So we can dio make it dark layers. So I can't really see anything I could So he's the polygon lasso tool to set up a do that a layer mask wrap around one. Put that in there. Awesome. So now, whatever I move around inside, this layer is gonna be stuck inside that section, which is really nice. I can make you make this really big. See how it works home. Okay, Save. And then the last one. Good. Lam, Ask Thomason. Put it in there. Okay, great. Maybe initially are off. Had save. Let's come back here and let's revert and see how it looks. That is killer. Okay, you have got a textured six pack case, a textured bottle and bottle cap. Now we can start doing really fun stuff. We can do some lighting. Surrendering. Could these materials set up with reflections? Alfa channels and in the glass, transparency and everything. We're getting very close to making a very nice product, so I'll see you in the next section. 13. 3.4 Refining the Six Pack Case UV Map: here is the progress so far on the six pack case and the bottle on the bottle cap and everything. Um, it's really coming together, and we're going Teoh in this one. I'm just I'm gonna refine this and make this an actual six back case now with cardboard and laying out the labels in a better way and everything. Um, and then we can start later on. Ah, pretty soon. Really. Just getting into lighting and materials and making this look really nice because it's starting to be kind of annoying. Didn't have any lights up or anything yet, So I'm gonna jump in Teoh Footer Several Quick and its look at the LaBella's. It's laid out. Um, I think it's the first thing to do is just reduce this. Let's see, just reduce the label down and make it more accurate. Just started on one side first. So we'll start on this side. Um, it's gonna call the side one. So I wrap around, too, and I kind of start here actually makes sense. Teoh, lay this. I would think like this, and then I'm just going to duplicate this. Use a polygon tool, the polygon selection tool that is. - So now we're in a cinema, We can just wave it saved and photo shop. All we can do is just go in here and then do real own image. And he really only revert to say version. This texture, Yes, it goes back to that and see how it adds this, Which is great. Um, and one thing that I did, if we hit render this will happen a lot, just so you could see it. Uh, I left the UV mash layer on the guide layer, and you can see how it gets projected on here. So if you go back to photo shop and hide the UV mesh layer and then save it again, do it again. Reload the image, it'll go away. Awesome. This is good to see because the U V a polygons have been moved around. So it's good to see where this ends up. - Okay , so I copied it over. I rotated it, and we're gonna go in, turn this UV mesh layer off, save the file and go back in a cinema and see how it translated. Perfect. Okay, so now we have a wraparound texture on this six pack case very useful. And then I'm just gonna go in, leave this yellow, cause I kind of like it and is a couple of things that are going on here. This happened again. So this polygon right here, this polygon is flipped over and should be right here, and vice versa. So you know how to fix that? I'm gonna go in and fix it real quick. Okay, so I fixed it. They now work in the same way, and I just want to show you, um, body pain can read Photoshopped files. So all the layers that were made in photo shop have been transferred, including the folders and the max into body pain. So it's really nice to have this interoperability, and I can just turn on and off these layers as they are needed in cinemas. And not everything has to be done in photo shop, which is really nice, but it's the image editing is not that good. And body paint. And, um, what's best to do it in for a shock. But there were It's just nice to have the, uh, options in body that there are. And when we note about body paint, there are better things out there, but they cost money. This is the problem right here, speaking of body paint. But that's OK. It's not going to use this at all. I think it's actually cooler to just leave it yellow. Like up here in this. These handles both these sides. But then what I'd like to dio is have a nice cardboard texture inside these walls and everything like you really would have for aerial six pack case because you wouldn't be printing on. These walls are in these inside of walls or anything. So we're gonna go to Google and find a cardboard image. First of all, I'm gonna go into photo shop, and we're just gonna get rid of these. The layers. We'll just go in here and go to place. Place it in. Okay, going and copy that. I just drag it into the other handle side I was down to right here and Okay, so it's too big scale up to large now. It's really noisy. That's fine. When the scales down in Thailand. So these walls are I also texted in yellow, so I'm just gonna go in and scale down this cardboard texture and just tile it around all these areas, which are all the inside walls. - Okay , so it's been tiled. We'll see how it goes. This is definitely just quick and dirty, but it gives you the idea of, uh, what goes in what's involved in when texture mapping. And that's fine. I mean, it looks really bad right now. Um, there's no lights, right? There's no bump. Channel is nothing. It's very basic, and it looks that way. But we'll be able to improve this a lot once lights and other channels get mapped. Everything which should be really fun to see. Two. Because that's the power of you being mapping. Now, this is all laid out flat. You know exactly where the things are. Ah, we can use these UV maps to also create bump channels and Alfa channels and in all those different things that are going to really sell this product. Okay, See you then. 14. 4.1 Materials and Lighting - Part 1: Okay, This is great. This is where it gets really, really fun because we start making ah, pretty pictures. And the first thing I want to dio because I like this frame right now just is kind of a beginning to everything. But I want to be able to move around the image and tweak of lights and everything, and I'm not gonna be able to come back to this all the time in the exact same way. So what I want to do first is just jump a camera in. So drop one in and you see these yellow dots right now because it's selected. Now, if I zoom out, you can see the actual camera. Now, I'm not looking through it. This creates crosshairs right here aren't selected. So I click on this. It will go into the camera view that it will look through the camera. If I click on it again, turn it off and go back around the scene and do stuff and then come back to this shot and see how it looks. So I like dropping cameras in. Just two have a perspective that saved basically that I can keep coming back to and see the changes. So I'm going to first of all, drop a light in and what I like to do first. My favorite type of light is an area like so I dropped that in. You could see how that changes the scene already. If I bring it up, let's see how it mimics light in the scene so you can start kind of scene where, where this goes with kind of nice. In the surrender, you see that which is not that get, really, but it's OK. It's the very beginning of a light. So one thing that's happening, as you can see in the rendered image, is there's a line right here. This line is is the area light. There's a back to an affront to it and just is a good rule of thumb. Using the why of the Z axis is a good place to to just kind of know that lights being emitted from this direction, even though in area lights is being emitted from both sides. I like to use the Z axis as the reference for emitting light. So what I want to dio is rotate this light using the Z axis as a guide and tried Teoh point this light at the beer bottle to give it the focus of the scene, but even moving this way and have to rotate it, move it again and then rotate. If I want to get the right placement, you can be really annoying toe. Have Teoh constantly moving, rotating. We will rotate lights as you put them around the scene. There's a really useful tag that sin was provided called the target tag. And what that does is you can put the tag on any object but lights of the best. So the tag is right here. So if I go to the light in the Object manager, right click and do cinema four D tags, you see all these different kinds of tags. But don't worry about all them. Right now. I got Cinema four D tags and then down here in the target, you see, it gets added. Right here is a tag. And then, inside the attributes of this tag, there's the target object field, and I can just drops anything in there, no objects or anything in this object Mandjeck and drop into as a target object. So I'm going to drop the no object right here of all three of these that make up the beer bottle. And I'm just gonna drop it in like that. You see how it jumped right there. Now, if I move this around with just the move tool, it always points to the beer bottle. It's incredibly useful. Saves a ton of time and also the same time. If I move the object, that is the target. If I move that, the lights will move as well. So I love having the target object tag in cinema because I can just move. Let's around now really easily to get the right placement pretty humongous right now. There's light, which is OK, but it's easy to just resize this. I kind of like talents. Kenny Lights. So do that. Moving to the front of the scene right behind the camera and like that. Now, if I render right now, it looks really bad, but because there's no shadows turned on now, if I go to the light object and go to the general tab right here right now, you can see shadows turned in on. And if I just do shadow maps or soft I hit Render okay, sort of see shadows. But they're not very accurate right here. Make sure that this bottle is actually on the ground and it is so the shadow is okay. I mean, this is not accurate. So if I go back to the light and I change the shadow to Ray, trace hard and do that those the types of shadows that Ray traced does now like that's obviously now we want for this, But it's really nice that and renders really quickly. And once you get to have, like, larger scenes with multiple lights casting shadows, um, you're not gonna want every light to be casting the highest quality shadow, which is the next shadow called area. Right here. Area shadows have a hit. Render looks very nice because it's accurate. It does. It is a thing where his objects are closer to the things that intersect. The shadows are sharper. And then as they get farther away from the things that they're intersecting and casting shadows on, they get more diffused and also scale matters a lot in area shadows as well. So it's it's the nicest shadow, and it looks very nice. So This is great tohave I'm gonna stick to the area, shows I like him so much and we go back to the camera view and I'm gonna hit Render. There's at least a little bit more of a nice image coming out right now and we want to do to just right now. Real quick is just move this light over it. Still, it's a little bit too direct, just like that. Irritated, Just a little bit. And this is Ah, this is really just a reference light right now. We're not gonna be doing the full quality render and staging at this point. We will have a light in the scene and so that we can see how this glass material looks, how these other materials will look with the textures. Um, so we're just kind of It's very it was reference right now, but it's still, you know, will be nice to look nice. What? We do it. That's okay. That's a good way to start with the glass material. Maybe one more thing with the light just to show you how like this at my lights up. Okay, So light Got the details tab right here and right now fall over scented none, which means light. Just even though it does end up going to pure darkness farther away. This is not really This is not a realistic way that light falls off. And when I turn, fall off to inverse square, which they say is physically accurate. And do that now this happens. Never hit render. It's really bad because the fall off distance right here the radio slash decay is so large . No one, I'm an object, Modi. These handles show up to interactive lease aet the radius or decay of the fall off. So this is great because then it gives you a real world scale toe work with on your image and with your lights. This is one more thing that adds just one little more touch of realism when all those touches together make a really great render. So if I just kind of do that, put it right there. The best part about fall off that I like is you don't have to mess with intensity at all of the light. You can so obviously message if you want, But the best way Teoh make it light more or less intense is really just a mess with the fall of distance. It's really nice. It's now hit render you see the intensities greater here and it falls off very naturally. Um, in this scene, and if I reduce the fall off distance, you can see how that adds a lot of realism to your scene. Someone's gonna increase this a little bit. Not a whole lot. That's already starting to look pretty nice. Okay, start here. It's getting better slowly. So I just want to show you how I like to sit lights up and how they're gonna be set up later when we do the final render. Um, I'm gonna change these shadows back. Teoh Ray trace hard So that this scene look up as the scene renders now because much faster , no, the shutters are different area shadows at a lot of render time, which is always a rule of thumb. When it's pretty, it takes a long time to render, so we'll start with that and I was gonna go down here, double click. An empty area is in this materials manager, and it makes a new material double click that this will become the bottle glass for the glass bottle. Drag it onto the model so we can see it changing as we as we make it. And the first thing to Dio is don't wait by this color at all. Like, see, make it pure white. And then we're check the Transparency check box and you'll see that it disappears where now something really happens right now. And what I'm gonna do is turn on this thing called the Interactive Render Region. It's very useful, super, super useful. Could you just aid window into the scene that will render? And as you can see, it renders the scene. That's fine pretty quickly because what's going on here is there's this little area right here, and this is the quality of the render and you can go to the bottom. That means, as you can see, was, I render this very pixelated, but also very fast. And as this gets dragged up, the quality is better until you all the way to the very top. That's a full quality render. So I like having this on probably really just around the middle right now because we're doing very rough material stuff, and I'm gonna have to turn off the six pack case so you can see what's going on here that it's a transparent object and but they're still reflecting is going overturned. Reflections off. It really is transparent. It's invisible. Reflected is gonna be really. It's always really important. But what's going on here is there's no refraction set reflections set to one, which means light passes through this object uninterrupted. And that's not the case now. In future versions of cinema, there are presets for refraction. But what we're going to dio is the old school way. And just ask Google with the glass. An exhibit fraction is can It's just a just a number right here. So if we dio on a G glass 1.5 Susan, let's do it now. At one point, I was do Oh, bite 1.489 is the Iowa are or the index of refraction for glass. This is a universal number for all objects, so we can tied that in here is 1.489 As long as you have your scale, right, this will behave in, like in the real world. Okay, so let's see how this looks. It's okay, right Now Glass is gonna look really nice when a couple of things were turned on in the render settings. One thing that needs to be turned off right now, which I'm not really sure why cinema has it by default. But the exit reflections need to be turned off, and what that means is there's as a reflection as the light rays come in and the reflection is a light rays go out and typically, and objects like hollow glass like bottles and wine glasses and things. Um, it looks really fakes if I uncheck that you won't see a change right now, but it'll make a difference in a little bit. Okay, so it's pretty. It's like, No, he's not really like a big deal right now because there's a couple of things going on here . You can see how it does refract light. If I do that, do that. You can see how it's refracting light. That's really nice, but it looks really bad turns. All have two full quality and render. Um, it's kind of it's a pixelated, and this reflection is not realistic. So the first thing I want to dio because the default reflect Ince's usually not. It's basically never good. It needs to be always be tweaked to go reflect INTs. And if we go to the defaults popular right now, I said to blend which sorry, bland. It's not that good. I like to always do GDX. I think it's I think it's a great standard reflect INTs so we can leave it an additive. We can turn the roughness down because, as you can see, it gets sharper and sharper as the roughness goes down. If I turn this back up again, you can see how it adds that softness, which is almost kind of like a brush glass or something. But we're not doing that were doing real glass. Okay, it's not too bad right there and a glass obviously reflex a lot. And by default, the reflection strength is set to zero. So this is actually the speculator or strength and turn this up. You can see how this will get brighter, so speculative is actually light as it hits. The object on reflection is, is light that comes in from other parts of the scene. So now if I turned the reflection strength up, it's not really gonna change a lot right now because the scene itself is I hit render into the whole thing. The scene itself is empty. There's nothing to reflect, so that will change that in the future. But reflection strength, obviously with glass glass is very reflective. Ah, the speculator strength of this glass. You know, you can set that. I like to keep it low, but I do think glass at least starts around 30%. And this is all stuff that you can tweak on your own on your own tastes. But I do like how this looks right now. Uhm, I'm going Teoh, extend this all the way to the bottle. We can see how this surrender looks. I'm gonna show you one thing to that. I like to do as well, um, by default. For some reason, when you go to the light settings and details, um, this is not checked showing reflection. And so this stuff right here are actually just the light rays that are emitted out of the light, but it doesn't show the shape of the light by default. If I check that, you can see how it will change and you can actually change the multiply that visibility of the light as it should have been the reflection. So if I do that and then if i g o if I turn this off, go out here and I change the shape of this light like I go like this and make it very wide like that. Go back to the camera to wreck the interactive render region. You can see how it's it's been changed that is off. So I turned off shown reflection. That's what looks like before turned back on and sort of like that. Now these dots a little bit annoying. What they are are these samples of the light that come out that are emitted from the light and have a and with hello reflective objects, especially glass. You're going to see those things that these are the samples of the light as there admitted , and you can turn this up 200 you see of these dots, these samples will increase of course, the render time increases. But also at the same time, the accuracy of the light as it gets admitted increases as well. So that's also a trade off. Um, I'm gonna just take this back down Teoh, 40 actually going to do 60 and then showing the render, which means it means like this so actually will show up as a light in the render has turned off. It'll like that. It will just be invisible. So I like having these on, because this is how it would look. This is what would happen in the real studio. You would have a light, and it would emit light. And you would be a physical object that would have to be dealt with. It couldn't just be invisible. So right away that started look pretty nice, actually, as is a glass bottle. Um, obviously the shot. The shading is not that cool. So I'm gonna go back just for fun and change the shadows back to area just so we can see what it looks like. I could see how it's crawling along. That's probably my computer. And partly, um, the samples in the light in the area shadows got working together. Okay, so this is a little bit obviously not accurate. Um, it's a transparent object, but it still has to. It's still going to admit shadows are still going to cash at us on to the thing, even though it's technically a transparent object. Now, one thing I've learned really is to just even though it is glass and glasses is mostly completely transparent. Sever the refraction. I would change his brightness front down from 100% to maybe like, 95. Because as you, that's what happened. Sees you bring the brightness down. That means the amount of transparency in the object. And this color right here is is this is this color in the color channel. You can do that if you want. I'm gonna keep it around white. It is clear glass. This is obviously not This is too much to love of brightness, I think, really, Just 95% transparent. We'll start to it, too. Cast a shadow on this object, which ends up being a lot more realistic. Okay, so did that very little. A little bit of I said I was sort of a cast. And the, ah, render time really increased. So this will get better as we change the render settings in the future. So for right now, I'm not gonna worry about it. I'm gonna take this back up, Teoh. I guess the 98%. And just to make this easier on the computer, take the light settings back to actually just soft shadow maps and these samples down to 40 again. Let's get in there. I mean, this is a nice glass. I think that's a pretty good starting point. Now we're gonna get to this paper texture for this label a little bit, but anything kind of fun right now, Um, beer bottle cap is really bad because we haven't messed with the reflect INTs of this material yet. So let's do that. Make it nice and shiny, like a bottle cap is double click on the bottle camp and reflect in some once again by default. It's blend, which is not cool. We gotta GDX the roughness down. It is a little bit nothing's really ever 0% roughness, the reflection. Strength up. Okay, so that's the reflection. Strengthening the speculator strength coming in. That's way too much. So we can dio a low speculator strength and maybe even just said low reflection strength to , but just enough to get its shiny to show the light will be the way. This is where the bottle cab material will be set Okay, that's fine for now, at least we'll come back to that once the render study is getting get changed later on. But let's have a little bit of some. Shine is added, will come back. And this is this won't change. This is just These numbers will get tweets a little bit once an environment gets dropped in and everything. And I want to go in and do the paper texture in the next section for the label. But for now, this is what the bottle looks like. It's not too bad it's getting there. Okay, see the next section. 15. 4.2 Materials and Lighting - Part 2: in this section gonna show you how to add a paper texture to the label. Um and we're gonna use the UV map for that. And we're gonna add another group folder in the photo shop file just for the paper texture . And I'll show you had a build the Photoshopped file of the image texture of this bottle label so that you can have different channels in the same Photoshopped file. You can use that as main texture for all channels for a material. So we go and open up the beer label material. The texture of the beer label image is right here in the color channel, and what we're going to do is actually add a bump channel right here to this material. And what what bump channels dio is, they add the illusion of texture. They don't actually add fine detail to a polygon image. They don't actually create new polygons, but they create the kind of image of that. And it's a really useful way of adding really fine detail to objects without physically changing the model at all. And you'll see what I mean when I we add another texture. So what? I'm gonna do is go to photo shop and open this file. And here it is. We have the image of the label, that's it. And what I want to do just organizes better is I'm gonna add a group folder in Photoshop, and I'm going to add the color channel into that. And I'm just gonna rename this color channel because we're gonna do in on top of that is at a bump channel. So we're gonna go to Google and just look for the paper texture gonna images and let's see , I think I like this one. See that image going here? I'm just going to place the image. Just gonna make it as big as the label. Right click and rest. Arise it. So it's just a image, not a smart object. Put it in the Bump Channel folder and it's underneath the labor and I can see right here. There it is. And that's fine. Um, we say the Photoshopped file and the Alfa Channel for the label is derived from the color channel. So this stuff will be cut off because the Alfa Channel is this basically, um in the cool part is we can go back to cinema. And if I hit by going here and I do reload image, it's gonna disappear because it need. Now we have to select the layer. Other things have been changing. If I go back in here now that I've hit reload, this has all been updated so I can select this right here. It's going to still be empty because we have to redefine the Alfa Channel as well because right now it's it doesn't know where it went. It's all black. So we're going here and go to the Color Channel again. Select this. Make sure generate Alfa is checked. Hit. Okay, Boom! And now it's back. Perfect. So now we can Dio is going here and copy this channel, which is just the Photoshopped file. Go to the bump and paste it into the bump channel. Now it's not gonna do anything until we go into the image itself. Goto layer, set it select. Expand the about channel folder and select that hit. Okay, No, You see, I was a white image. This doesn't change it all because a bump channel is derived from the black of my values of the image. Over. Zoom in. You can now see there's a texture on this bottle. Well, the short cut, which is all, are for the interactive render region, and now you can still you can see. Right now there's a very fine paper detail on this label. I'm gonna go to the bottle glass and unchecked transparency so the render goes faster. Look at that. I mean, it's very subtle, but it's one of those things where it adds a ton of realism. As those little small touches get added up, the realism starts to show up, so that's almost I mean, I like it. It's subtle enough. It's almost too subtle. Let me just turn out to show you what the difference is. If I turn the strength up to 70% now, it's really apparent. It's almost like leather. You can see how it adds to that. It's really apparent, but I do like where it's going. I like that. I think that's good. That's nice, as far as the texture itself is obviously too strong. But I like the like where it's going, Um, so I was gonna turn the strength back down, maybe to 25% not just 20% like by default, and they're starting to look really nice. It's a nice, subtle thing that's going on there. Maybe 30%. Actually, one thing we have really messed with on this on label is the reflect INTs, how it behaves with lights. So if you go to reflect INTS and then check the default speculator, it's by default this blend legacy, which is very boring. And I'm just gonna go to G acts again. You see how changes that s I was too shiny, but I like where it's going. You could do like, maybe 2% reflection strength and then turned down the speculator strength. And so, you know, you just got to tell how this is working is to turn the roughness down to maybe 5%. So you can see where the lights actually hitting someone. Just angle. This of the light hits it more. We start to judge how the light hits it. So that's I mean, that's kind of cool, but that's definitely not what a paper label does. Um, so we just turned the roughness up to maybe 25% see how that looks. That's not bad. And the speculator strength little bit too high in the town of five. Maybe that's okay. So a little bit too shiny. But it's getting there, someone to the reference upto 40%. And then that's close. Kind of like it may be 35% and maybe 6% on the speculator, maybe 7%. Um, maybe back to 40 on this roughness. I don't know. It's too much. 38. I like where it's heading, and I like the bump texture, if that's nice. So now we come back to this. You can't really tell in that in that angle, which is fine because it doesn't need to always be amazing. Was important is we've looked at it and we've determined the way it should look. And maybe when his direct it's directly on the light, it might actually be a little bit more when actually be 35 in 10% until very small movements. I'm kind of liking that more cause you look right here to see where that light hits the most. This could actually be maybe 14%. It's a little bit too much. Maybe 12%. Okay, it's just tiny moves, but it's definitely getting there. Okay, cool. So The nice part is we know how this paper is gonna look with his bump channel. I'm just going to use that same image for the six pack case, that same paper texture image for the bump channel of these six pack case. But we'll do that later. For now, I'm just going to really refine this beer bottle cause we're very close. The only thing that's really missing it now eyes the way the glass behaves and actually seen it without transparency is useful right now is this color I think, is kind of messing with it. I think it would be a little bit darker, the way that makes it see if you make it all the way dark like that, that it's all just pure reflection, which you know in a way, really kind of his glass, its its reflection in its refraction put together. So I think a darker color channel does add something or actually take away something to the material which is important. So the reflective channel already kind of mess with the glass setting or the glass reflection. I do want to do one thing that I think will add just a nice obviously one more of those small touches to make it photo real if you go to layer for now. Now, for now is this interesting phenomenon? Is that Israel, where the basically the more direct the polygon faces are are facing the camera, the less reflection there is, so on the edges of an object is more reflective than the frontal parts of the object. And that depends on how is facing the camera or the face and the object that you're looking from. So layer, for now, is really useful way to add some more realism. And one of the things that they dio in here is there's two different types of for no die electric and conductor. Now conductor is metal these air all metallic for nails. So when you have chrome or silver, they have specific actually have refraction settings, and these are all presets for those settings and the other for now, which will be using his die electric. And that, too consists of, you know, liquids and transparent solids like diamonds and emeralds and everything. So one thing you can set right here is a glass for now and that as a you know, she's one of those things where it adds a touch of one little small touches of realism. So if we turn the color down Teoh dark gray, we turned the reflect INTs of the glass to these settings. And we've added a for now, with its own I o r we can turn transparency back on, see how that behaves. That's not too bad. Um, one thing is happening is, um I think the color of the glass actually is affecting a little bit too much of the way the light behaves inside of it. So if we turn this up to just middle gray make the value itself just 50% that's gonna help with the way the light behaves through it. That seems nice. We'll turn this up to you 40% our Sorry, I'm going turn up to 60%. That's almost too much under 55. Leave it there for now. This stuff right here, these air just This is just low quality render settings missing this up right now because one thing I haven't even touched are the render settings. So right now we're on the very default most basic render siding standard, and if you go in here to anti alias. Seen it's set to geometry, which is the lowest. Ah, you know, if we go to physical render, there's a lot more there. Um, so this this is the very, like, very bottom level render settings. And it's why we have this right here. So I'm gonna just slow. This is one of this lot this size right now, and I'm just going to show you what ah, anti alias sing does to increase the quality of this image. So if we changed into a leasing from Jammeh tree to Best and change the filter from CUBIC to Mitchell, look at the quality of those changes because it was very subtle. But there's a quality differences here and here something one of those things that would make it a lot more realistic. They aren't obvious right away, but they do add a lot. So in the next section, I'm going to refine the six pack case, and we're gonna start getting into some better quality render settings and some other better quality lighting situations to so see you, then 16. 4.3 Materials and Lighting - Part 3: Hello. Its work on the ah six pack case texture. I did a couple of things before I started recording. Just didn't have to watch me do it. What I did was I actually painted some shadow right here. And just to give this the illusion of some depth, as if the is if this paper kind of was was overlapping this cardboard right here, it's not an actual shadow. It's just painted on on the texture, as you can see right here, this is the painted on texture, Um, turn off right now and see what the difference is. And that was just something I wanted to do. And instead of modeling extruding polygon faces to give it that look of a little bit more depth, I just figured I would paint on shadow. It's something it's not really going to be seen that much. Also, I put this white line across. I thought it was something that would kind of design wise. I kind of just matching this white line. This I felt it was a little bit empty. There could be some more things that added on here later on, Um, I also just darkened this cardboard texture. That's what it was like before. And I just added a adjustment layer of brightness, contrast adjustment Layer onto it. Same with this one and saying with these up here, so they all just just talking a little bit more. I think it looks a lot more realistic of that cardboard look. And that's really it. Right Now we're gonna add the same paper texture to the bump channel of this material and, you know, just message the reflective. Because we didn't really do that on this yet. Like we did with the bottle label. Just refined this, reflect it's a little bit more and and that bomb channel. So I'm gonna go back into Photoshop and organize these groups a little bit better. So right now we have the wraparound one, everyone to these air, the cardboard walls in the handles, and that all goes in the color channel. So we put a another group folder up like we did for the bottle label and put all of these in there. Place that paper texture. There it is. Believe it that size and just tile it by hand. - Cool . I'm just gonna go in with the erase tool I'm just gonna go in. It's easier to do this to do turn on auto Select layer and I can just anything to show transform controls could be able to see exactly which layer you have selected. Teoh do the blending. So now these color differences don't matter too much because it's just taking the black and white values of this paper texture. So make sure these hard edges are just a little bit soft and great. That's it. So I went it all the layers there. Just there's not too many hard edges to really give it away does need to be super perfect Just because it's a bump channel, it's more about the black and white gradations in it. Turn off the UV mesh layer. It save now, once again, was to go back to cinema. We go in to reconnect all the files because the layers have been changed of a reload. The images disappeared. Yeah, disappears. It's OK. The layers sat it select. I'm gonna have to select all those layers like that. Just shift, select and then we go back, copy this channel and go to the Bump Channel and click. Make sure it's checked and then had paste and go to select expand this folder And I could just merge all these two, but I'm just gonna select all of them and I could see how that changes on how this is changing. So let's render it so you can see how the bump channel the texture itself is too large for these walls. All those pretty fake. You know, I could either gonna bring you just resize the texture or just bring the intensity down one of the two. But I want to make sure that shows up here, too, so you can see how it does show up in the preview. So just like the bottle label, well, there's good, nice angle. Make sure the light's hitting it right, and then we can mess of the reflect its and see how the Bump channel affects it as well. We go reflect ants. Default speculator in of course, is set to blend with super boring. But it's easy acts again, and you could see how that changes it. And then I think it is angle better and see just dio reflects and strengthen speculate down secretly before the Sudanese just think that's pretty pretty broad roughness, you know? Not very much, speculator. I think it's actually about too much bump. Channel two. Too much intensity. That's not bad for now. Turn it down. Actually, the, uh and the strength of the bump Just 15. Come back and render this and just see how it turned out. The white lines going away because it's a shape and not ah, image. So I seem to go back to photo shop and Rast arise it. This is still a little bit annoying. I'm gonna have toe just size, scale these even further down and makes them more copies. I really love the image. Make sure they're all selected again. Just make sure you select everything. I'm gonna just see this part for the render I can see is very started. Looks pretty good. There it is. It's definitely more subtle and smaller. That part's done. And in the next one we're gonna finally start setting up the scene to get a really nice render. Okay, See you then. 17. 5.1 Rendering: Hello, everyone. Now the fun part begins, we're gonna start doing rendering and lighting and making a very nice scene. And the first thing I want to dio is unchecked. This camera so weaken, we've run the scene. I want to get rid of this floor object and drop a plane in instead right here. And we're gonna make a what is called is a white psych. It's a floor and is in a wall. It just kind of slowly slopes upward very gradually and then, you know, see the corner of where the floor meets the wall. It's a very nice way of just giving it, you know, just a nice background you would see in studios if you were shooting these Aziz products. And the really easy way to do that is when you have a plane object, you can use a diff or murmur to create that psych effect on the plane. And the first thing you dio is the first former you have in this. The former menu is a band, which is exactly what you want. And when you drop it in like this happens, it becomes a cube. Nothing happens with a D. Former until it becomes a child of the object is to forming. So I'm gonna drop it into the plan object like that. And now, if I go to the attributes of the band and its strength and I drag it up, it'll bend the plane like that, which is not really what you want. And the really nice feature that cinema has is when you drop a former end. You usually wanted to be his large the same size as the parent. And so it has. This button right here just called fit the parent, which is great. So hit that button and it becomes the exact size of its parent objects. And because it's a plane on, technically has zero, uh, distance in the Y axis. So the the bend of former has that as well. But you wanna have it be a little bit like that will increase Thea the y value. And now that you have that weaken, go to strength and see how it actually bends the plane. And that's obviously not what you want. What's going on is the axis of bending. The plane is actually is right here, and you want it to be rotated So easy. Part is, you can just go to the rotate tool, make sure you've been to former selected, and while holding shift and rotating, you can rotated in 10 degree increments, so we'll rotate to nine degrees. So it's facing upward like that, which is good, and then see, we can make this a little bit larger, and we can also make it make this the strength 90 degrees as well. So it is so it starts flat and goes exactly vertical, and you can see these jagged lines right here. It's because there are enough enough segments in this plane object. And by selecting the plan, object and going Teoh, any one of these view modes have lines involved. You can see how many lines our segments there are on this plane object. I'm just going to go to hidden line like that the most. You see, I was stretching these segments, and then it goes back to normal once it is outside of the reformers influence. And the really nice thing is because it's a plane object. It hasn't been made a polygon object, it's still parametric. You can just go in here and and add segments like that to make it more gradual. And it's also you can also resize this plane object to be what you like. So I like that. Remove it so it's like this, and that's getting to be It's definitely pretty big, but it's going to be close to what you want and by making you make it small you made has been smaller by just decreasing the X value to be maybe like that. So it's very gradual. Back to the camera. Let's see how it looks now, like in that That's a good spot. Okay, great. So there's your background. The scene has been set. I mean, to turn on the bottles and put them all into this six pack. I'm just gonna do that is to go to the top view and to select this no object with the bottle, the label on the bottle cap, and by holding down command or control on windows, you can just click and drag and make copies just to give some variation. Just rotate the bottles just a little bit, okay? Perfect. I was gonna place the camera like this and then rotate this six pack and everything from there and what I'm gonna dio Just because I have now everything inside of this six pack to make it easy to move around and rotate for placement. I'm just going Teoh definitely object in and call this six pack plus bottles and what I want to do first, just to make sure that the no object is exactly in the middle of the six pack case, I'm gonna make it a child of the six pack case. And by doing that, I can zero these coordinates out and make in. There's no object will take on the same exact access center as the six Pack case, and we're gonna make that the access center of this whole group. So no dragon Out Capital is this and they can just drop everything into it now and all these six bottles as well. So there's no object is the group and can move it around and stage it the way we want with the camera. It's a kind of like that, and then the bottle could go right here like that. We could even dio another bottle and rotated to be laying down to show off the bottle cap if you wanted Teoh. It could be like that, and then we could do that. That's a good scene right there. But the framing of the camera isn't very heroic. It's a default focal length, which is 36 millimeters. And the nice thing about cinemas that has these kind of presets for focal links that mimic real world prime lenses you would find in film cameras are still cameras, and it's a really nice way of getting, you know, very realistic looking framing for your camera. The only problem is that, typically for product shots like this, you don't use a wide angle like this. Like this classic 36 millimeter lens. You use a 50 or in 80. In some cases. If you wanted Teoh, you could do a telephoto lens, which is really, really zoomed in. So I like to use faras the sensor signs. I like to use Thea Millimeter movie sensor size, and you can see once I select this how it actually zooms in like that. It's because it's it's cropping the image, and you can see how this behaves just like an SLR camera or a film camera. When the sensor size has been changed, the focal length changes, and it gives you an equivalent as if this sensor size was was back on the photo setting so you can see how it changes back. And it's nice because I like sudden it's a movie and you can see how the focal length is now near. It's almost 60 millimeters, which I think is nice and type, and it's a nice I think it's a nice framing. It's a nice hero shot tape view through the camera. And if we kind of, like, get a little bit lower and then rotate upwards like that just a little bit up like that, Okay, that's nice. Go on back to grow shading. Now you can see how this is gonna look laid out the Mexican and make it see that bottle cap texture. I'm gonna rotate the bottle so it's exactly like this, but maybe like that, and then rotate this bottle to get that label exactly the way you want it like that. That's a nice set up, I think, for the six pack case and one thing I want to dio seaways and go about it. I personally think this type of beer would have a dark glass bottle. So because you could go through and make another lay the object of the liquid in the bottle . But I think in this case, that would be, ah, dark, dark color glass. You wouldn't actually see the liquid in there. And so what I'm gonna deal is show you how to change the color of the glass, and it's not. It's a little bit counterintuitive because you don't actually go in and change the color of the glass right here in the Color Channel. You actually go in the Transparency Channel and change the absorption color and the absorption distance. This is where scale becomes a really big deal because it it's gonna be calculating how light travels inside this distance of the glass to see how much color gets diffused through that. And so by default, had said to White, which means it's just perfect glass. And but turn on this interactive render region could start messing with the glass setting. I really just need a little bit of a scene, little bit of the window for rendering, because if we start there, so change the absorption color. Teoh. We could have a dark brown like that see if that changes, but the absorption distance is really far. It needs to be like one inch or even point five inches. But we can change that. You can see how this color changes. It's very, very much thicker now. And you see how this changes the color of the glasses. Well, that's nice. Good on here. And check this part of the glass. See how that looks. That's okay. It's still a little bit too transparent. Okay, I have to reduce Thea absorption distance to be a lot smaller. So let's see. Turn this quality down a little bit and was gonna do 0.25 inches and see how that goes. That's nice. It's nice and dark, just for fun. I mean, do point 35 inches. That's not bad. Don't try this bottle on into the whole thing. It's a little bit too transparent. Someone's gonna go in and do point two inches who will be almost there. Still a little bit too transparent to the funny part is could actually turn off his transparency and just keep this color I put in the Color Channel. But that wouldn't be for the rial, so good in and do 2.1 inches. That should be enough to hide it. Let me go. Because you can see could see through the back of this. You can see into the is his six pack. So that's kind of what I'm using as a judge to make sure they don't see it. I You barely see it. I'm like you. Now that's looking. That's nice. I like that. Settle to it and I can't settle. Do you see? So you can see just a little bit of that six pack case behind it. Great. Save that and I'm gonna turn on a couple of render settings now, Teoh, really start nailing down the way this is supposed to look. No, I'm not a huge fan of the way these lights work with reflections. You can see those dots in the reflections of the samples of the light as they get as it gets spread out from the source on. You can turn those samples up. And of course, the render time gets more ever wondered in the render time increases. Um, but when you turn on one of these really powerful render sidings I use every time. Um that stuff goes away, it's really nice. And so here we are on the render sidings, and the first thing I want to do is change the render from standard to physical. And if I go and you see this option appears I go into physical. All you really have to worry about right now are is the sample or in the sampling quality, and I like to keep it for I mean, you can get away with low for most things, um, especially now. And as you're developing a look and everything, you need to turn all the way up to 11 until you're ready to render. And the nice part is, you know, to really do a lot to make it a super nice render you really just get your look down, get everything you want set up for get everything you want to do for surrender and then when you're getting ready, Teoh, make the final render output. You can just changes from low toe, medium or even high. But I've actually just been fine with medium and then, you know, hit render walk away. So I like how that physical render is set up in that way, Um, we can use that, and then we'll use one more thing called global illumination. And what that does is it calculates how light bounces around the scene and off of objects on other objects. It's It's one of the really powerful photo riel settings. You would need to get a very nice render, and so we can turn that on and change it to physical render engine. And those are the two things you really need. Teoh really step up your render. And so now if I hit, render on this whole scene. This happens at the very beginning, and what that's doing is it's looking at. You can see a little bit of light and everything around here, a little bit of color with a zoo is it's It's calculating the light that's being emitted from the area light and how it hits all the objects, and then how it bounces around under everything else and that, and you get these very nice, subtle color splashes on different objects as the color of like see the color of his yellow of the six pack bounces off under the ground or onto the other bottle. It's very subtle It's very nice. It has a lot of realism, and of course it takes a long time to render. That's pretty nice. Um, Mr for a good start, and that's only one light in the scene. So I think that's a really good spot. Um, you know, I like how this looks. That's very nice. This is what I was telling talking about earlier. These dots are the samples that the light is admitting, and this is not very realistic. That's not how you would. That's obviously not how one area light looks, but there are ways to fix that, especially when Globe eliminations turned on one thing that Globe elimination does or we call it G I. One thing G I does that's really amazing is it actually takes images and can use images as as a light emitting source, and the lieutenant's inside the image of the bright areas inside the image actually are the sources of light, and it's very, very powerful. The best way to really use G I with image based lighting is what it's called is with a 360 degree kind, dynamic range image or a 3 60 HDR, and they can be and found online and they can be bought. I personally enjoy grayscale guerrillas a str ike it And they've provided over 200 HDR images with very high bid death. Like very professional. Um, really amazing assets tohave And I wanna show you real quick what g. Aiken Dio. And I'm just going Teoh put a tourists in the scene like that rotated Just like that I'm gonna do is I'm making material And when turn this off and just turn on Lou Minutes and you see how it goes bright white And it just goes on this luminous color right here as you can pay whatever call you want, it becomes that and you can see how there's no shadows or anything on this when the luminous channels turned on its it's just like a solid color. So I drop this onto the tourists and do that and with a default under settings set up just to render, that happens. And it's pretty ugly because the standard render settings don't incorporate G i by default . So if you go in here to render settings, we can change, just change the render from standard of physical and then at the effects of global elimination to the scene. And look what happens. Only surrender Now. I was calculating how this light from this source is being is bouncing on the ground and everything around the scene. So that is now the light sores in the scene. When you can see how it's kind of emitting is very soft light onto the floor, I'll just making material and drop it in. So it's really pretty. Even just right away, it's It's a nice It's a very cool, realistic thing. You just have to when you make renders of anything g, I needs to be turned on. So that's what G. Aiken Dio with just some solid color, turned in onto the luminous Channel. But what happens when an image gets turned on, mapped onto the luminous channel and what I'm gonna do? Want to show you that by just dropping a sphere in the scene? And I'm just going to map a 3 60 HDR image onto that sphere? It's a good illuminates and go to this bar. Select that, and I've just gotten image right here. So so e X. Ours are really powerful file formats for high bit depth images. So I have any ex are this is actually from grayscale guerrillas HDR kit. Some of my favorites. I dropped it in, Um, it's a It's got 32 bit depth as opposed to eight bit depth. That's typically what you would find in a J. Paige is a bit depth, what you need a hybrid death image and a lot of information in that image to in order for it to work correctly in a G I setting. So I added this image to the scene and to suspect a white, and you can see how the sphere now has that image mapped onto it. Now if I just dropped that in and you can see how it's been applied when the entire image is mapped on and it's in full spherical image of that scene, which is exactly what you want, you need to have something that's a 3 60 image. You can see everything you know if I hit, render look what happens. So you see how the luminous values of that image are actually emitting light from that sphere and deliver in its value in the luminous color of this image. Dictate how much light and and what it looks like as it gets admitted out. So I want to change that. We're going to rotate this to right. Here's you can see the kind of brightest part of this image and how it emits light. And also what Deacon dio in the material settings when you have this loom in its turned on , you have this setting right here called elimination and this actually lets you control how much G I is emitted from this object. So I'm gonna ncec received the I because it doesn't need to be part of that calculation. I'm just we don't need is either so internals off and then g i area light is something that's really powerful. That that treats any kind of luminous values are anything that's in this material treated more as a as a light source, which is what it is, then just kind of like a glowing object. So you have generate G i g I area light turned on and I was gonna up this strength Teoh 130%. You can see how that how much of a difference that makes you can see right here, too, because the eliminations been turned up. There's more light bouncing off the floor and everything in the scene. Yes, super cool thing that's really nice. Very complex color changes and realistic glow fall off all that. It's very cool. I use this in the scene for the six pack just to give it something very unique and to give a lot of unique lighting changes and color changes in the scene. Also, what's really great about 3 60 images and you're seeing are when you have reflective surfaces like that glass in the six pack seen all those reflections, they're gonna be showing up in the bottles in the glass and that that's the thing that really sells. Rendered images, I think. And so, having a 3 60 HDR image that emits light in a realistic way, and it also shows up in reflections of your objects. Those are two very, very important things to achieve realism. So I'm just going thio, going here for this blank material and uncheck these things on Chek lieutenants and then map that xar into the luminous channel. Whether you want to do when you met this on here is this color profile is embedded default which the color profile that shows up in the X r is supposed to be the same. But for some reason, with the ZX ours, it needs to be linear and not SRG B. And even when it's supposed to be embedded as linear, it doesn't show up that way. So it's it's important to change this color profile linear, because that's how the image was set up. And that's gonna really and it is gonna make the image very realistic. For some reason. S rgb ah, as a lot of contrast to the image and so linear is the way to go. So now that's loaded in. We could mess with this elimination and just to see where it ends up. I'm gonna dio just for fun to do 115% uncheck this camera and I'm also gonna turn this light off because you don't need it anymore. Okay, so what you're going to see in a second is this 3 60 image in this entire scene on the way to do that So go to here and has dropped down and dropping a sky object. Now a sky object is basically an infinitely large sphere. They you can't. No matter how far you zoom out in the scene, you could never get outside of that sphere. And what we can do it then? Now that we have a sky object dropped in is is just drag this material onto the sky object . And now that image has been mapped onto this guy Object. Now, if we hit render turn off G, I just for now because you can still see the image hit render so you can see that I was, you know, gonna really you're gonna see this hotel room. I think what I really like about this images is this. It's really just a huge a soft light from this daylight scene of whatever city that is. I'm assuming at Chicago. And the cool part now is going to do is just rotate this guy object to get the right lighting direction that we want. And I think it would be nice to have that really high sores right here. Does this really bright area coming down? You know, this way onto the object onto the scene. So we hit render You can see what this looks like. That's pretty cool. Now I'm gonna show you what it looks like when this has changed to s RGB or even just the embedded default setting have hit render that looks the same s rgb It's very contrast, e it's not really what you want for this image, but it looks like the embedded color profile did transfer this time. Which is fine. I just I've gotten used Teoh making sure it's always set to linear just to know that it won't change. Okay, Great. Now I'm gonna go and go back to this camera. I'm just gonna turn off the transparency on these glass bottles just to see what this render ends up looking like. That's gonna be super nice. Very, very nice reflections. Now, GI's not even turned on right now, but it still looks pretty awesome. So now we check g I and these priests. That's fine for right now. Typically, when I use 3 60 hdr images, I like tohave the like this one. I think it's very useful. No, it was really nice. Some changes to exterior HDR image. That's cool. So I'm going Teoh, render the whole scene transfers. It turned off when we get to see how this whole thing looks in full quality, but nobody would in different way this time and a witness in a way that I like to use. Um, when I do long renders that I just kind of look, development renders I don't want to just hit the render button because they can start rendering and you can walk away And like, say you maybe, just like tap the mouse button, it'll just it'll quit. And if you're waiting for, like, a 20 minute render or have a long it will take, that could be really frustrating. So I like to Dio is go into the render settings and an output. We're gonna change this frame size and a little bit. Um, I think really just And now this is an Okay, this is a fine size for the scene, but what I want to do instead is uncheck this save button. So what? That is if I hit this middle button right now, you run into the picture viewer, and what that means is it's gonna initiate all these render settings and including a file path and actually create a file for the render which I want to do right now. I just want to. I want to be able to uncheck this button and still initiate all those render settings like that. So if I hit that middle button and hit render like this a round of the image out, but it won't save it to the disk. And that's nice, because if you don't, like, have his looks, we can Just making the render or not save it. You know, once we get to be more confident about how this is gonna end up looking, you can start saving the renders and the best Part two is if say, we like this render we want to save it. You can just right click the file. You can see it right there. And just to say that so we could actually save the render inside the picture viewer. And that's only if you if you want Teoh. I mean, I like I like having this option because I can't click accidentally clicked the scene with my mouse and stop his render. I've got to actually go into file right here and do stop rendering. So that's nice toe have when you when I just see what it looks like without accidentally stopping it if it's gonna take a long time to render. And right away it looks pretty nice. Yeah, that looks really nice. The only thing really is to mess with the color of this background scene, and I kind of want to make it something a little bit like this yellow. But this is beautiful. I mean, there's no lights. There's just that 13 60 image map to the luminous channel and G eyes turned on. And all of a sudden you get these really awesome renders and the reflections they're all fed in like these reflections like this is what really sells an image. I think these reflections one's reflection right here. So that's nice. I'm not going to save that. I am going Teoh adamant material to this scene, and I kind of just want to see what it would look like with yellow or something close to. And then obviously changes reflect it is a little bit was taking off to change to reflect its off of a default about the GDX. I kind of wanted to a little bit of reflection on this To the speculator down. This thing is kind of cool toe have Now that we have a fine entire environment, the reflections are gonna look really nice. I'm just gonna turn the we're in the region on and just go back here and to see how this background looks with the reflections, it's not bad because that little bit of reflection on the floor right here one thing cool about the picture of you are too is you go back to previous vendors and see the difference is that's nice. It's definitely getting there a little bit more of a vibrant yellow for the background. But you can see how, like this shadow right here I'm actually gonna fix This is a little bit nothing around. Obviously, and it's coming is going to be very close to being done. It's very cool. I'm gonna save this to the right click here to save as get this dialogue box. I like to save PNG. Think there a quick powerful They can actually go up to 16 bits per channel so you can get some pretty good bit depth. If you need Teoh, do some post on it and OK, it saved. That's great. I almost like the original. I think it brings out the packaging more. That's very close. So in the next section, I'm just going to show you how to set your output settings, your frame, size and all that and save a rendered image to be shared very close. 18. 6.1 Final Output / Compositing in Photoshop: Okay. So as I have been looking at this render on top of the six pack coming out the ground, I feel like this reflection strength isn't really there enough, at least for the kind of but lose the kind of glass that I like to see in bottles. So what I want to do is just one last little tweak. I just want to increase the amount of reflection that this glass material has, and I'll show you how to do that real quick. We come back in this scene, I'm gonna turn on the interactive render region on just his bottle, and I'm going to open up this ah, glass material. And if I mess with the reflection, strengthen the speculator strength, we'll see what we'll see that changes anything missing like this. Just get that one reflective. Just get that one. Reflect this strip, because there it is. So I'm gonna turn the speculator strength up 10%. I didn't really do it. And that's because it's actually the layer for now that we set earlier for this glass is actually dictating Hamlet reflections going on. So we have the layout for not right now. It's set to glass, which is what we want and has his own I o r and everything. Now, if I just turn this off and show you what it actually does this bottle because the other material example changes to So now it becomes crown basically, which is also now we want That's too shiny as a way too much. So you turned the you turned its back on. She was back on to die electric with the glass preset. It comes back to this which still isn't it's, you know, it's too much, at least as far as it cuts the reflection down too much and changing these settings won't change it. So what we can do is just turn the strength down and I'm gonna turn it down, Teoh, just to see even turning to 75% see what that does. I don't know. That's something. He has too much right there, especially. So I go up to 85% kind of like in that going to expand this to be both bottles. That's really close, but I think it's still too much. So I'm gonna try. I think either 90% or 95% someone trained 90 see where that takes us? That's good, but still a little bit. Just barely too much, though. I'm gonna just do, like 93% very close. Okay, so here they are, side by side. Um, I do think it has gotten a lot better. Um, it's that hasn't been It's not Aton. There's a ton more reflection going on. But I think there is just enough there. Teoh, just give it some more realism. I felt like that was just a little bit too dark, Not enough reflection. So that's great. That was the last thing I really wanted to dio. I'm gonna render this whole scene real quick. Just one frame to see how it all looks and then we can start working on Ah, output. I'm liking that like that looks now we can start setting output settings and I can show you Ah, what an object buffer is and how to use that in Photoshopped to make it so we can change this background color in photo shop without having to re render everything and to do that first thing I want to do is go to the vendor settings. Check output. This is fine for for the time Orender we want to do. But this frame size would be something that you want to mess with them. Make sure you knew beforehand what you wanted. There are a lot of presets for different frame sizes. Um, there's, you know, these are for screens. This is for the Web. Fill in video. I always like to dio HD TV 10 80 24 frames per second is that I've gotten used Teoh for rendering. But you know, you can do that. We can type in your own. I think the important thing is unless you really know that you need it to stay at this resolution for the pixels per square inch because that will add a ton of render time. Um, and not a lot of noticeable difference to the image. So anyway, just worry about that. And to turn this save on, I'm gonna set an output path, and I'm gonna save it as a PNG because I like P and G's and I want to save it with 18 or 16 bits per channel. PNG's a nice and sat nice small size, but they they still retain a lot of information for the image. I think they're really nice. So if you go to the button right here for the file, this is where you can set an output path. We're going to section six and I like to make a photo called Renders. And just for fun, Teoh do a date too, in case there are multiple renders across different days. And do that, I'm gonna turn this on for right now. We're gonna come back to it. Inter Alia scene. We changed the earlier to Mitchell's very nice physical set like this. This now that we're done with messing around and tweaking, I'm gonna turn this to medium. I'm gonna leave this in the same preset and of course, gonna actually move this down Like I said, I was going Teoh Perfect. So what, we're gonna dio And he does select this background right here, and he set up a object buffers. What's called I used to be a tag applied to this object. So I right, click, go to cinema four D tags. There's a tag right here, call compositing the composite intact and do a lot of really cool stuff. One of them is in this tab right here, An object buffer. And you have these checked boxes and you have up to 12 different object buffers. Basically, that can be rendered out in one scene. So if I just check this check box called Enable it highlights this called Buffer and it's number one, and that's fine to see right now, it'll make a lot more sense once. Ah, we gotta rendered image. But one more thing needs to happen is you go back to render settings and go to multi pass right here and that in this button there's an object buffer setting. So if I said that by default, it goes Number one Group I d one, which is perfect because that's the I've never that we enabled. Now if I did this, say it. We had multiple object buffers in a scene and I wanted this one to be the fifth object ever that gets rendered out. I have to go up here and change the group I d. 25 so that this would render out. And if we did have multiple object buffers and you can do this on one object to you can have multiple object buffers render out you'd have to go back to multi pass and set new object buffers for each one that you want rendered out. Do you have them? And you can also double click this and rename it someone rename this background I'm gonna keep This is number five just because what I want to dio also is I'm gonna make an object buffer that just renders out the bottle caps so we can change those colors to if we wanted just to show you what is possible. So I got a lovely weather right here and a group i d is set to three when rename this bottle caps. So now when the going here, right click this they go down here I can unfold all of these that have selected so I can see all of them unfolded and right Click the first bottle cap and do a compositing tag and enable the object Buffer number three on that tag. Now what's cool is I can now just hold down command and click and drag this tag onto the objects that I want to be rendered with that object lover Do that and a couple more cool. That's all of them now I have to multi pass layers that will be rented out a separate images, along with the main image, the regular image. So now you have to output pass. I need to be set one for the rendered image, that one for the multi pass images and by default the format, said the photo job. And instead of rendering out individual files for each multi pass file that you've saved, you can have it let you have it render out into a Photoshopped file with layers inside that file of each multi pass, which is really nice. So we're gonna do it that way, going here to the same thing in that same folder. And I like to do this even though it writes its own Suffolk's MP for multi pass. So I have these two output pass set and everything is checked. So here we go. This looks really nice and reflections. I think they look perfect. And one way to tell how your multi pass images have rendered out. If you go into the layer tab right here in the picture viewer, you can see the layers for the scene that had been rented out and you can't select him until you go from image to single pass. Now, when I select this, you can see did exactly what I wanted. Is it pure black and white image of the selection that I made of the bottle caps and the selection that I made of the background? It could be really helpful in Photoshop or after effects or nuke to composite different things and be able to control the image after has been rendered without having to go back into cinema to render. So it's super powerful. I want to show you how to do that real quick. So it's going to photo shop and was gonna open up the rendered images right here. Good, great. This will be black, Um, because the way it does this in photo shop, the passes get put into the channel section of the Photoshopped file, which is a little bit of knowing, because you can see him. But you can't do anything with, um, like you wouldn't after effects. Well, you can dio with ease now they're in the sandals. Path is you can send these actually to a different file. So because the image file came out in its own file and the multi pass images came out in their own files. I want to be able to move this layer this channel onto the rendered image file. And I don't want to do it just like this either. I always grab it and drag it because then you can tell if you place it exactly that kind of stuff that messes up. So it's no you want what you can dio in photo shop is if you hold down command and click on this layer, you'll see a selection gets made, which is really nice. So it it has a selection. It selects the image inside this object buffer, I go into layers, I go back to RGB, make it black. He can see how this is now. A selection is very nice. So the good layers I just opened this to me on to be a layer and I'm gonna add a new layer transparent. And then I'm just going to click the layer mask button down here and now what I have you can see I have this same object buffa render, but as a layer mask. And so I'm just going to call this object by for five for the name of this multi pass render. And that's really cool. So I have a transparent layer with an object mask of exactly these of the background selection we made. So now what I'm gonna dio were that one more time for the other selection right here. So if I hold down command and click that I'll get another selection will go back to layers . Good byes. RGB right here. Layers. So here's my selection of the bottle caps make a new layer and hit the object mask button. And now I've got an object mass selection of the bottle caps was gonna call this bottle caps. Okay, so great. We have two layers with exact layer mask set. This is gonna be great Exactly what we want. We want a layer mask of all of these object buffer renders. So the best thing now to do is select this layer, go to layer and go up here to duplicate layer. You can just call this bottle caps mask and in this duplicate layer of dialogue box against had a destination of where this layer is gonna go, which means it can go between different files and So as long as your farm Orender is open in Photoshop, you can select That is your destination documents I'm gonna select as a destination document hit. Okay, so now when I go to the final render, I have a layer now of this layer mask of the bottle caps, which is great. Welcome. The reason a second. So the same thing will duplicate this layer. I was gonna call this background mask. Now select that layer duplicate layer, No name. This correctly said, the destination is the final render image. It okay, An awesome. Now they're both in this image, and we really need is anymore. It's gonna close this and not save it. Well, I say we'll save it so we can come back to these layers of we need him. Okay, great. I'm gonna save this as a Photoshopped file now. So now all we have to do to change this background color is to go down here into the adjustment layers and we do a hue saturation adjustment layer. And now, if I just hold down, all like, dragged his mask, it gets copied onto the hue and saturation adjustment layer. And there we go now it's got mast out Now we can change the hue like that just like that. So that gives you enough power to, you know, do some compositing post production work inside photo shop and give you some flexibility to change your image once it's already been rendered without having to go back in the cinema on rear ender. If you case you have, like some kind of color chains, you want to dio, um, you know the same thing with the bottle calves and really anything that you want to select inside cinema. You could apply a compositing tag to it and have it render out as its own object buffer. And it could be brought in a photo shop and gives you that control in post. As we say, it's very useful. There are a lot of multi passes is that multi pass renders for shadows and lighting and reflections and everything. They and all those things could be rendered out as separate images that could be then re composited back together in photo shop and controlled that way, too. That's an art in itself, I think, but it's going to show you the power of multi pass object buffer renders, um, in your workflow. And we now have a completed image in photo shop with flexibility and a lot of bit depth. We have 16 bits to mess with. And that concludes the tutorial. I hope that it helped out hope it got you over the intimidation home. And I look forward to your feedback. We make its Amanti toils this year, so stay tuned. Thank you.