Create Realistic Looking Oceans in Blender

1. Trailer: This course will teach you everything you need to know about 3D environments in Blender. Lot of people, when they tried to make 3D environments, they end up with a result that looks like this. I don't want you to get such results and my mission is to help you with that. This course will teach you everything about how to make epic through the environments in Blender. And I mean, every day, what are the different approaches to create 3D environments? What do we mean by displacement? How to make something look realistic and get results like professionals, how to understand nodes and build complex materials easily like the one you see it right now. Lighting, compositing, rendering layers, cycles versus EV and more. We will demystify all of those topics once and for all in a way that you will never have to struggle with them again from creating hot deserts, deep oceans do huge snowy mountains. We get them all net only when you finish this scores, you will end up with a solid understanding of how to make your environments look so in gorgeous. But you will learn along the way some really valuable informations and tricks that you won't find anywhere else. And that will take your skills to the next level. So even though this course might sound like it has just about 3D environments, it is just a topic that will help me explain a lot of things, but don't get me wrong. I'm not going to give you fish. I'm going to teach you how to fish so that by the end of the scores, you will be able to create whatever you have in mind. This course is built from the ground up to suit whatever your level in Blender, we will explain everything in detail that you understand exactly what we're doing. And most importantly, why in the first place, this scores is not just about showing you the buttons to hit, but most importantly, why am doing whatever I'm doing and what is my thought process along the way, which I think is the most valuable skill that you can develop. So basically the scores is a really tasty pastor for all the beginners out there with some spicy sauce on top for the ones who are looking for some advanced stuff and wanted to take their 3D renders to the next level. There is a value in this scores for everyone no matter your level and simply it will just blow in your mind. Now if all of that sounded exciting to you, believe me, this scores will be a huge investment in your 3D skills that you will never regret. Trust me and dad enough for me for this video, and it is time to talk to you all and saw the course. Yeah, go down. 2. Studying References: Hello and welcome to the ocean shaft or everyone that is kind of self-explanatory, we will create an ocean and there's video. And as I mentioned before, if you want the cheapest way to achieve some photo-realistic result, you need to study some references. And here's our, a couple of references that I gathered. I didn't want to like to basically gather hundreds of them or any of that. These four pictures basically will contain all what we need in terms of look and all of that. I really like how this picture look, how basically the raw really small waves right here on the ocean. And the basically it is like in the horizon. It is all forget all of that for me. I think this is actually the closest thing to the way of how an imagining this seem to be also there is this one which I really like the vibes of it and the color scheme and the palate and all of that. It just feels so moody and cold and all of that. Also there is this one right here, which also it is pretty similar to this except the color of the water. And the other thing is that the water right here is like door or a little bit more waves in terms of look, it is pretty similar to the result that we wanted to create the final shot, which a lot of you might say, but hey, do you want to create small waves are big waves. The main reason I really like this picture, it is not because of the ways or any of that, but I really like it because it is somehow scary. The emotional reaction that most people will get by looking or by staring at this picture is that hey, we are in the middle of the ocean. Everything is like cloudy and foggy and we can see anything. And it is just scary in terms of vibes and the emotional reaction that I want people to get out of our shot to be something similar to this in terms of reaction, but not in terms of looked, in terms of look, I want something looking more like this with an emotional reaction of something like this. And you will see how we will do that later on. Also, I gathered a couple of videos which I think they will be helpful, which you will find in the Resources folder. And there is this video that I found on YouTube, which also basically capture the essence of the shot that I wanted to create. There are like, really like steady and smooth waves right here on the surface of the ocean with a really moody clouds. And it is like a little bit forget all of that. This is the closest footage in terms of log that I found. Of course, there are a couple of things that we will change our shot. The main difference is that in our case, our camera will fly over the ocean and it will definitely be a little bit more forgiving than this I think. But yeah, this video like really captures the essence of what I wanted to create. And yeah, I think by combining this video with like this couple of pictures right here, we do have a really solid background to start basically creating the ocean we want to create. I don't want to bother you a lot with studying references and all of that because it was certain extent it is boring. But I will see you in the next video where we will start creating this ocean. See you there. 3. Scene preparation: In this video, we will prepare our blender for the work that we will be doing. So I will go to general, I don't need the cube and I don't need this slide. Let's jump to the render tab. Make sure to change from EV two cycles because this the rendering engine that we will be using for the final product and for the feature set you can go actually would support it. We won't be using any sort of like micro displacement or any of that. So supported will be good for now and for the device, as you probably know, in case you have a decent GPU card or an external graphic card. Other than then, if you're the one built in your CPU, make sure to just change the GPU compute. This will basically make Blender faster. In my case, I will put GPU compute for you. If you don't have an external card, just change it to CPU. It ain't a big deal. It will just make Blender faster for the viewport, I will change from the Max sample from 1024, which is a little bit overkill to be honest, I would like to just change it to 32. I don't need all of those samples in my 3D viewport because I don't have like really complex scene to be honest, and it will just make Blender faster for the max sample for the render, we will get back to them later on for the output properties, as you probably know, I'm using this weird resolution which is 2560, which is like some sort of like for k. But in cinema scope, what I mean by that is like when you watch a movie that there was those black bars on top and on the bottom of the picture, which basically gives you the illusion of widescreen. By inputting this numbers 2560 by 1080, you will get that same look. Our camera will be like this, which is similar to the way we watched movies or to the aspect ratio of movies. For my frame rate, I will change it from 250. I will change it basically 240. I only need ten seconds, 24 multiplied by ten seconds. That's 244, the output right here. I will keep it a PNG. I don't need any extra data that I will find from other outputs like opening XR, open EX or multi-layer and tiff. I will just leave it at P&G and just drop the compression to 0. So there is not any sort of like compression happening on the final images that were. There'll will get after the render is finished in case you need more data or you need more flexibility on your final images in case you want to manipulate them or you need more flexibility on the compositing process. Just as I mentioned, just use for example, tiff. It is a good option, Open XR and open edX or multi-layer, they're all good. Other than that, I will basically add the plane, shift a mesh and add a plane. For this plane, I will go to Modifiers, add a modifier, and I would like just pick the ocean modifier. It doesn't matter to scale the mirror plane or any of that because there is a built-in presets for the ocean with a fire inside of Blender. So don't waste your time trying to scale it and make it realistic and all that. It ain't a big deal. We will be scaling the spleen and the ocean in general by using the ocean modifier. Now of course some of you might ask right now, what is like the ocean modify, what is its role isn't just like basically a one-click solution to create oceans in Blender. And let's say it. And the answer to a certain extent it is zs, but like anything in blender, you need to tweak different settings and all of that until you get a result that you're kind of satisfied web. So yeah, that's basically what we're gonna do in the next video where we will basically start adjusting different settings in the ocean modifier and get the look that we want to see you in the next video. 4. Ocean modifier and Scene Lighting: Hello. In this video we'll create the look of our ocean. So, yeah, let's just do that. Now, as I probably mentioned in the previous video, the main driving engine for the ocean that we will be creating is actually this ocean modifier here. The ocean would define it as basically, as I mentioned, also, it is a tool inside of a blender that allows us to create somehow a realistic looking Ocean in terms of like forum, let's say, but all the rest of the work like shading and all of those stuff it is still you're gonna do it manually. I don't want to really dive deep inside how this ocean modify or works or any of that. But it is actually a really solid tool inside of Blender in case you wanted to create oceans. It gives you a let say from decent to somehow good, like looking oceans. But what I have noticed is that in terms of the movement of waves and all of those stuff, it doesn't do like really somehow accurate results to what happens in real life. But again, it is not a big deal because blender is not meant for creating huge simulations. Probably can do that in softwares like Houdini or something. But for Blender, I guess this ocean modifier will give you a possible result or actually somehow a good result if like you create a good scene with good lighting in a way that it will hide the flaws of this ocean modifier. We will now start tweaking couple of things or a couple of settings in the ocean modifiers. And I think for a notion, the most important settings are actually the waves settings. Because what gives the illusion of oceans is actually the movement of the waves in the end of the day, for this scale, you can probably change it to something like four. So this will be huge waves and this is basically some sort of it's tsunami or something. And for the smallest wave, I might change it to 0.1. And for the choppiness, which basically control how sharp the edges the waves are. Let's say I will probably just maybe put it at two, I think olive than that, I might change the wind velocity from 13 meters per second, 215 meters per second. Moving on right now to change some settings here in the light, the types of geometry or actually the size of the real ocean. Because as I mentioned, this is really, really huge. That doesn't look good for what we need. So the most important settings in those properties that are right here, it is actually the spatial size, which means the size of our ocean I will change, for example, with spatial size, let's say something like 300. And notice what will happen. Basically, our ocean is now the bigger surprise. But what you will notice is that somehow it is like overlay smooth in a funny sort of way. And the main reason for that is actually because we don't have enough subdivisions on this plane so that we create the illusion of light or detailed ocean. Let's say the good thing there is an option to change that in the ocean modifier, which is like the resolution viewport and render basically the slider will control is how much details in this ocean, it is kind of self-explanatory. And as you probably guessed it, the more you add to this number, the more detail there will be and it will make basically render go for longer periods of time. The resolution viewport, you can probably even go with one in case your computer is barely can handle anything and we will probably input one in the end of this scene when it is like being super huge and slow. But for now, I might go actually with something like 20. This actually looks pretty good. If you ask me for the render, I will change it to, let's say 36. That's actually the number I used for rendering the scene. The main reason for that because as you saw in the trailer, my camera will basically start moving above the ocean, like really close to the ocean. After that it will pan and all of that. So I will need a detailed ocean like to get basically a good-looking results. That's why I'm using 36 that later on for the line, the farthest lanes are the farthest part of the ocean. We will use lower numbers gradually just to save basically more memory and basically get a faster render. But for now, we're good to go. Another option that you might also need probably to consider changing. I won't change it right now because we don't need it right now, but we will be changing it in the future. Riches repeat and repeat y. And both of those two settings are actually meant like to basically duplicate this ocean in different axes. So notice right now, like we basically created four copies of this ocean 1234. This is like really good option instead of duplicating this ocean and put it side-by-side and trying to get it them precisely. You can just change those numbers and you will get the results you want, of course, in case you need a bigger ocean. Another thing that we all know is that basically above the ocean there is foam which is like those white like bubbles or wherever they call them, it is called. We need to also create the phone. Good thing, the ocean modifier have a built-in feature to somehow calculate where the phone is supposed to be. So make sure under the waves tab, you will have an option called phone, check it and make sure to in the data layer, just name it foam. The way of how this work is that blender smartly, we'd like create like some sort of a folder. It is just a virtually container and it will call it phone. So later on when we are shading and we tell blender, Hey, I need foam. Blender will basically bring that data from the folder or from that virtual container that contains the data about the foam so that we can use it. So yeah, that's what we're doing for that. Like just input something like minus 4.1 because that's actually the number I use. And it is basically like the option that is responsible for the amount of generated foam on, on your ocean. In my case, I use minus 4.1, which is actually the number I used for my final render. So in case you want a similar result, same as the one that I made just put minus 4.1 for the spectrum and all of those settings. It ain't a bigger to our back, just keep it at turbulent ocean because that's what we need unless thing which is like bake, I'm not going to explain where it's bake for now because there is actually a separate chapter where we will be using the bake ocean option to create water surfaces. I will keep this for a future video. All the rest of the options like time and all of that. I will be covering them later on when we create the animation of the waves. The last thing I'm gonna do for now is basically to like go 0 to basically see what my camera sees, I will hit Enter to open the sidebar and make sure to check camera to view. And what I'm gonna do is basically like to just move my camera to a good angle. There is something that you will notice. There is some sort of clipping against C, the full ocean. The main reason for that, as you probably guessed it, it is that we need to change the clopping option here and the camera properties. It is by default 100 meters. Our scene is huge, so let's just change it to maybe 10 thousand. This will be good for now. And I will basically just may be positioned my camera, something maybe let's say like this. We will only use this camera position only for now, just so that we fixed it the lighting and we'll create our shaders and later on we'll be moving, encrypt the camera animation you saw in the trailer, and check camera to view so that in case you need to move your 3D view port, you want to change the position of the camera. And the last thing I'm gonna do right now is basically to add some sort of lighting to my scene. I will change to the rendered view and I'm gonna use the same HDRI that I used for the to create this course. Unless just go to the shader editor and make sure to change from object to world. Go shift a environment texture. Let's put it right here, hit Open. And if you go to the Resources folder, which is like it is supposed to be, resources and inside of assets you will find this HDRI called Venus down, which I unsold from HDRI, haven it, double-click on it and just plug it to the color. And bam, we have this result, hit Control T to add a mapping note to it and also maybe add a curves node shift a curves, RGB curves, and put it right here. I'm not gonna change anything about this RGB curve node for now, but I will be changing it later. And for the strength, I feel like it is too strong for my taste. I will change it to something like 0.5. Yeah, we have this water surface right now and it is basically right now ready to be animated, which what we will do in the next video. See you there. 5. Ocean animation: Hello everyone. In this video we'll create the animation of our ocean. So first things first, I will probably just get back to my solid view to animate my ocean. And I will change the shader editor. It actually all get it back to the timeline. And maybe like probably put this like this to create basically our ocean animation. We will be basically using our modifier, the ocean modifier I might it into high the sidebar. And right here you will have an option called Time and time. Basically, if you click on it, it will basically change the evolution of the different waves. So if we animate this property, it will give us the illusion of waves basically moving. It is that easy actually, what we will do is basically to animate this time property as you already guessed it. To get the look that we want, we will basically Animate ten different cycles. So hit I, which basically will create a keyframe for this property and maybe put it 12, save it, make sure to hit I, to basically save the number one as the first keyframe. And let's go to 240, which is right here, and change this to ten and hit Enter and make sure to hit I to save the new number. And if we go to frame number one and you hit Play, you will notice that your ocean is moving now of course, because we do have a lot of subdivisions in the 3D view port, it is really hard to judge how fast the animation is going and all of that. So my advice will be tried, for example, to change it to ten. Let's see how the ocean animation will look like. And let's hit Play. As you can probably see, I feel like this type of motion. It is somehow still a little bit slow, but at the same time it looks realistic most of the time, we don't need a lot of detail to assess whether the animation is like super fast or slow. Just by watching this low-res version of this ocean, we can tell that, hey, this ocean animation looks realistic and that's what we want. And the last thing I might want to do is to hit T and change from constitute linear. I don't want my animation to start slow then started to go fast and then slow down. That's not how ocean works if the movement of the waves, it is actually linear. It always keeps the same speed or wherever they call it. This looks for my taste. It looks pretty good. So yeah, this was how to create the moving ocean. This video was super short, and in the next video we will create the animation of our camera. See you there. 6. Camera animation: Hello and welcome. In this video, we'll create the animation of the camera. We have our camera right here and we might need actually to change a couple of settings related to it, like the focal length. So I will change the focal length from 50 millimeter to 24 millimeter. 24 is basically a wider lens, which it will be more suitable for landscape shooting. It would like just basically cover wider area. And it will help like selling the cinematic effect or the cinematic look that we're aiming for. Because I will be animating my camera in this 3D viewport, I might want to add another copy of the 3D Viewport just to see what my camera sees. So I will maybe drag from this and operate like this way. I might hit T to hide all of those unnecessary properties and hide all or all the overlays hit 0 and maybe zoom in a little bit. There is another option which is like really useful on the camera settings, which is viewport display. What view-port display basically we control it will control those like outside areas that the camera, it will not be seeing if you change the past, but two to 12 will basically make them black. Like it is less distracting, let's say right now whenever I move my camera, I will also see what my camera sees in this 3D viewport. I might drag this a little bit. Let's create the animation of our camera first things first, I will hit Alt R to reset the rotation of my camera. And it is basically looking like this. That's weird. I will go rotate on the x-axis 90 degrees. Now it is pointing this way. I want it to be pointing this way. So I will go rotate z 90, and right now it is basically pointing to the front, which is going to be something like this, just so that we can see our camera. You can scale it by hitting S and then just scale it up. It doesn't matter the scale of the camera. It is only changing the icon of the camera. So that will become basically more visible for us and make our job easier to animate it, select your camera. It shifts as to open the snapping menu or the snapping point menu and change the cursor to select it, which will basically move the 3D cursor from the center of the scene to the camera, then go Shift a and go to empty and add plain axis. And they will be added at this position. Make sure to scale them up so that we can see them and hit Control a and apply the scale for it. And basically right now what we did is that we added an empty object to the position of this camera. The main reason we're doing that is like instead of controlling the location and all the different settings of our camera, we can now animate this empty object. And by doing that, we will also be animating the camera. But to get this effect, we need to parent the camera to the empty object, which is this empty axis. I will select the camera, then hit Shift and select your plane access it Control P to open the set parent to menu and just click on Object. And right now we basically parented this camera, this empty object. And if you see right here, the camera right now it is actually inside the empty, which means that it is parented to the empty. Right? Now whenever I move this empty object, I will also be moving the camera. So let's focus right now on creating the animation of the camera. I will hit seven to jump to the top view. And I will move my camera somewhere right here by basically moving the empty object, something like this. And I also might bring it way, way down to something like this. If you focus on the trailer, you will notice that the camera is basically will start pointing down and then it will basically pen like this. So there is a painting movement going it right here. So that's what we're going to create. So first things first, we basically need to rotate this camera to be pointing down. Select your empty object, hit rotate it to y, to rotate it on the y-axis and just type minus 90, so it will be basically pointing down. And another important thing right now is that we need basically to create keyframes to animate our camera. So hit I and click on rotation. For now, let's move to four seconds, which will be equal to 96 frames. And I will hit our y and hit 90. Then hit I and click on rotation Haiti to change the keyframe interpolation and change it to linear. If we go right here to frame number one and we hit play, notice that basically our camera is pending right now. And that's actually the illusion we want after doing this, we need right now to basically make the camera moves. Also, it is not just like stationery and then it will pan out. It doesn't look like that. Also, our camera in this animation, it is actually moving forward if you focus on it and it is actually moving forward. So how to do that? It is also actually super easy. I click on location and let's move on to 240, and let's move our camera to something like this. I jumped to the top view by hitting seven, hit G to move it at x to only move it on the x-axis. And maybe let's put it to something like this. I think this will be good. And then hit eye again and hit location. So basically right now create the animation. We want one last thing, make sure to hit T and again, change it to linear because that's the kind of interpolation we want. We want the speed of the camera to be consistent along the animation. We don't want it to ease in and ease out and speed up and slow down if we go to 0 and then hit play, let's focus right here. That's actually looking super sick. I think that's our camera animation in practice, the only thing we need to do right now is basically to fill the horizon with other water surfaces. And that's actually what we will be doing in the next video. See you there. 7. Background Ocean: The last video we created the animation of the camera. And as you can probably see, there is not much going on in the horizon. We also need to fill this horizon with an extended ocean. There are actually multiple approaches to do this. You can probably, as you can remember in the beginning of this chapter, is that we mentioned that in the ocean properties there is this repeat x basically start increasing it. We will basically make this ocean longer. But this will be like some sort of heavy computing for our computer and we don't want that. Instead we might be able to like to create different copies of displaying ocean and change the renderer samples from Thirty-six to like lower numbers, like 20, and basically just go down the more or actually the forest it is from the camera. And let's actually the approach that I use for the trailer. To do that, let's just jump to the render view so we see the final result better and fun fact, instead of adding a sky, I decided to go with the sky that is already built in this HDRI. But as you can probably see, that doesn't make any sense having these buildings right here. So we need to rotate the HDRI. To do that, let's just jump to the shader editor and make sure to change from object to the world properties. And that's why we added this mapping node right here. And if you start changing the rotation on the z-axis, you will be able to rotate it to something, let's say like this, that's due for, let's say something like this. And what we're gonna do, we need to fill all of this with ocean. Yeah, Let's just do that pretty fast. I will select this plane. I will go Shift D to duplicate it, hit X and maybe move it to somewhere right here. Hit Control if you want to snap it and let's put it right here. For this, you will notice that there is some sort of a Clipping going right here. I will change the repeat while to make it basically larger and it will basically cover that. One thing that you will notice is that yes, it is covered from this area, but somehow you will notice that we fixed the problem of clipping. That was like going right here. If you see it, we fixed it, but we still have the problem which is from this area. The bad thing is that we can change the way of how it is basically, of course, is to add those blades. I wish there is an option like to add one from this way and another one from this way. Basically based on what I know, there is not only basically to crank this number up to three unless like this a j at why it control basically to just move it to something like this, make sure to hit Control so you snap it. So basically the transition from this ocean to this one will be seamless. That's how basically you avoid any kind of trouble related to both the two oceans not basically overlapping or not being seamless. Because if you see right here, it is actually super seamless. We can see the transition right here. So that's really good. We need right now basically another copies of select this hit seven to jump to the top view shift D X to move it on the x-axis and hit Control and put it right here. And we need also to extend it to become for example, five, hit J at y and hit X and hit control to basically snap it. So it will look something like this. Yeah, that's pretty good. And let's duplicate this one less time. Hit Shift D X control and move it right here. Crank this number to something like six and hit J, y, J, and make sure to hit Control and put it something like this. It was ocean is looking so far. And we might also want to change the rotation on the y-axis a little bit just so that we only can see the sky, something just like this. And yeah, that's perfect. I think we created this like rarely really extended ocean. One thing that you might want to change right now, which is that in case your computer will start basically slowing down, you can probably start lowering the samples of those like really far planes. For example, instead of 36 actually I might change them something like 20. And for this, I might go with a number like 25. And this way you will have less details in both, in both of those two like oceans. But it doesn't matter because there will be like really far of a background. So by doing this, we created our ocean. And the only thing that I was still like we need to do right now is basically to start shading this ocean. And that's actually what we'll start doing the next video. Make sure to save your file also, I forgot to mention that before. That's it for me for this video and I'll see you in the next one. 8. 06 Ocean Shader Part I: Hello everyone. In this video we will create our oceans. So I will select this ocean and I will go from world. Let's go to object, hit New. Let's change it, for example, to water their score surface and hit enter. One thing makes sure to chair to jump to the rendered view, and that's how it will look like. I will select this, this, and this by hitting Shift every single time and it's shift at the end it Control L and basically just link materials. So all of these objects right now are all using the same material. I will select one of them. And yeah, let's start shading everyone. Here's what we're gonna do basically, if you remember, in our ocean module fire, we had some sort of like foam data right here. If we think about it in a logical way, we will need two shaders. Shader will be responsible to color this ocean with a bluish color and the other one will be responsible on coloring the foam above this ocean. We need another shader, which is, as I mentioned, it is going to be responsible for the foam that is above the ocean. How to do that? It is actually super easy. I will basically just go Shift a and add a diffuse be SDF. It is like the easiest form of shaders inside of Blender and we need to mix it with this one. So go Shift a and add a mix shader. We don't need mixed RGB. We're mixing shaders automatically when you put it above the link, it will be like snap to it. And I will take this socket and plug it into shader number two, nothing much is going on. I might bring the roughness a little bit up to something like 0.3. For this one actually, I think I will change it from random walk to Christiansen bureau late or whatever it is supposed to be pronounced. I never pronounce it right, and I will probably bring my specular to something like 0.7. The specular tint maybe let's just take it to something like All right, we won't be able to see how it will exactly look like unless we need to color our ocean. So I will change the color. Let's just bring the saturation up. Maybe let's play a little bit with the hue. Let's see. Oh, what I'm trying to do is basically to try to make this ocean look a little bit realistic. I guess the score will be good. I feel like it is too bright. So am I drank this y velocity or volume? It is called value, which is supposed to control black and white. So let's just put it at 0.4. And this is how our ocean is looking like right now. For the specular tint, I might put it something like 0.5. And for the roughness, Let's drag it way, way down. Something, let's say like 0.080.08. Yeah, that's looking way, way better. We basically right now we need to tell blender where to use this shader, which is the white shader, which basically will be the phone, but actually we will be doing that in the next video, not in this one. What I want to do is to add like some sort of like little bumps to this water surface. It look more realistic, which basically we will do through adding some sort of a normal map to this BSF shader. And to do that, we'll be using multiple techniques of adding different texture maps. So yeah, let's just do that really quick. I won't go Shift a and let's just add a noise texture. After adding noise texture, I might want to hit Control T to add the mapping note to it or a mapping setup to it. Let's first see what this node look like. Control Shift and click on it. Let's try a value of something like 0.10.01 that suits way more the scale of our ocean I think. And let's change the settings of this noise texture. So let's start dragging the scale way, way up. Let's split it at 100. Let's see how it will look like 100. Let's try five hundred, six hundred. All right. I guess this looks way, way better for the detail because the scale is way, way up all. Maybe lower it down to something like one. Maybe for the roughness, I will drag it a little bit up to 0.6. And maybe for the distortion, Let's put it 1.2 and we have this result. And I think I might want basically to add some more contrast to it. So I'll go Shift a and instead of the color ramp, I might just use the brightened contrast. And let's just put it right here and drag this value, alert it up, something like let's say 0.35, which will give us basically more contrast if you hit M to mute anode, notice where it is doing basically it is adding more contrast to it. What I want to do right now is basically to mix this noise texture with another noise texture. So I will go just duplicate this one Shift D or it right here, Control Shift and click on it to see how it looked like. Maybe let us see the color. All right. It doesn't look the way of how I'm expecting it to look like. We probably can see anything because we don't have a mapping setup to it. So let's plug it right here. And we have this. The only difference between this one and this one is that we're basically using the color socket which we will need because we will be mixing all of those data to go through the normal. And the normal basically uses a colored type of data. So make sure to change this from factor, make sure to change it to cover. Actually, if we look at it, that's what we have in this one. Makes sure to see the color. I forgot to mention that. Sorry for that. I will go Shift a and I will mix both of these Shift a. And let's just add a mix RGB. We'll be mixing colors. Let's plug this to color one and plug this to color two. And let's, let's just leave it at mixed and let's see how this will look like. Of course, nothing much is going on because both of these do textures are technically identical. So let's just look at this one and let's maybe bring the scale to something like a 100, which is the double of this one. And for the detail, let's maybe put it 1.5 for the roughness. I will bring it up one and maybe let's slower the amount of distortion to something like 0.50.5. And we have this, let's see how this node will look like Control Shift and click on it. And we have this know a lot of you might ask, what is the point of all of that? It will be clear in a second for the factor, I will maybe bring it a little bit up to something like 0.7. No, a lot of you might be asking, what are you doing? What is this? Basically, what I'm doing is basically is trying to create a normal map, normal map it is supposed to be EMF that gives you some sort of like elevation data. So it will give the illusion like the way a lot of details on the surface, normal map is supposed to be looking something like some sort of like this magenta with some red and green in it and all of that. So that's basically what we're trying to do. We're trying to create an image that is similar to this or actually similar to how a normal map it is supposed to look like. That's what we're doing to do this or to actually to achieve this result that we're trying to achieve, Let's add a separate RGB. Go shift a separate RGB, and let's just put it right here. So right now what we're doing is let's just move this, all of this right here. What we're seeing is basically the red channel. The white parts contains a lot of red and the black parts contain less red, kind of self-explanatory. And if you shuffle them, this is the green black, there is no green, white, there is green. This is the blue. The normal map basically use different values for the red and green, but for the blue, it uses one. So it is one on the blue channel and the red and the green are variables. So let's go Shift a and add a combined RGB. So basically we separated them and then we're going to combine them. The red goes to the red. If you plug the green to the green, you will have this color, the value of the blue and the normal map is always one. I don't want to plug the blue to the blue because this will basically mean that I will have a variable amount of blue because the map does have variable amounts of blue. So I will change this blue to one. Notice that's what will give me. It will basically give me the look of a normal map. So yeah, just remember that a normal map is basically having a variable, amounts of red variables and not of green, but the number of blue is actually one. So let's just write now plugged this whole setup to the normal map because I will go Shift a and just add a normal map. I will put it right here. I will plug the normal to the normal and it will take this image socket and like just plug it to the color. And if we click on this mix shader, notice what we will have. We will basically have some sort of like this kind of illusion. If we mute this entire setup, Let's see how it will look like. If we mute it. This is the water before, this is our water after. And it will basically, as I mentioned, it will add some sort of texture to this ocean, which will basically just make it more realistic. Some people might say, Hey, you had to zoom like really, really close to see that. But here's something which I mentioned before. By creating plenty of small details, you will basically create the illusion of big details. And that's actually, I think how 3D supposed to work, or let's say shading in 3D is supposed to be. So yeah, we have this entire setup, so let's just select all of it. It Control G and I actually, before I do that, I think I'm only going to select these nodes because I will leave them mapping setup later on. So I will select only those. It Control G, hit F2 to rename it, and let's just call it ripples. Maybe let's say underscore normal map. And we have basically this setup. And yeah, this is our first part of our shader, which is supposed to be responsible on creating the ripples on the water. That's it for this video, make sure to save your file. And I will see you in the next video where we will be basically creating a map that will control the factor of this mix shader to tell blender where to put the white color not belongs to the foam and where to put this blue color that belongs the ocean. See you in the next one. 9. Ocean Shader Part II: Hello and welcome. In this video, we will basically start creating the map that will drive the factor of this mix shader. One thing I need to explain first is that we will be creating two different types of foam. One of them is like the dense foam and one of them like it is like more, let's call it a sparse foam. One of them is lighter than the other. The main reason I'm doing that is just like to give more variety to the way the foam is kind of put on the surface of the water. So let's just start creating that first things first, as you probably know, we used foam data from the ocean modifier. How we can access those data, it is actually super easy. All we have to do is basically to use a node that we call the attribute node. So let's go right here and go Shift a and look for attribute. And you have this a few. Remember if we go to the name and we'd like we just type foam and hit Enter and then Blender will reference the data that is coming from the data layer which is foam. And we'll use it right here. And if you control shift and click on this, you will see this. And this is actually our foam data, basically just visible. This is the magic of Blender, as you can probably notice, just using this form data by itself, it won't give us some really cool results. We need to mix it. And I will basically mix it with a couple of like texture nodes and Voronoi textures and all of that. So I will go shift a, Let's look for noise texture, and let's put it right here. And let's go for a Voronoi texture, also Voronoi texture. And let's put it right here. And also I might want to plug them to the same mapping node we used before. So I'll take the vector and plug it to the vector, vector. Vector for the noise texture, I will start maybe by, let's just Control Shift and click on it to see it for the scale, I will put it 120 for the details, I will put it as 0.5. And for the roughness, I will leave it at 0.5. And for the distortion, I might want to add a little bit of distortion, something 2.5 for the voronoi texture, I will change the scale to something like minus 60. And I might want to see how this node will look like Control Shift and click on it. And for the randomness, I guess I'm going to lower this number way, way down to something like 0.8. I will mix both of these. So I will go Shift a and look for mix RGB. And let's put it right here. And I will take the factor and plug it to color one and the distance and plug it to color too. If I Control Shift and click on this node, this is how it will look like. And I think I need to add more contrast to this setup and how to do that basically by adding the almighty color ramp node. So I'll go shift a color ramp and let's just put it right here. I will drag this black flags somewhere right here. Let's say, I guess this will be good. Notice how it is like creating this some sort of waviness that is similar to how foam it is supposed to look like. The only thing I noticed is that I feel I might need to add more details inside of it. I will hit this plus button, which will add another flag. I will make it a darker shade of gray, something like this, let's say. And I will drag this flag like this. Maybe I might even make it a little bit darker. Yeah, that's way, way better. And I might also crunch the contrast a little bit even more so ago Shift a and let's bright contrast. Put it right here. Let's see if we drag this number up. Let's say for example, 0.35 for the contrast, Let's just leave it as 0.8. And if I mute this node, this is the before, this is the after, this is the before and the after. I think it looks better, or at least that's what I think what we gonna do right now. We're going to mix this black and white map with this black and white map coming from the foam. How to mix nodes? Shift a and let us just look for mixed RGB. I will take the color to from the brighter contrast and take the color to color one and Control Shift and to see the setup. And we have this for the factor I might want to see more, let's say of the first setup. So maybe this number will be something like 0.3. And yeah, we have this which I think looks pretty good, I guess if we hit 0, that's how our map is looking like. And if we preview our mixed shader Control Shift and click on it, this is how it looked like if I plug this scholar to the factor and this is how it will look like. Notice that there is basically those small ripples of water that are on the surface, which if you ask me, they look pretty good. And yeah, that's basically it. I might want to select all of these and let's hit Control G to group them, hit F2 to rename this group. And maybe let's call it sparse underscore phone. And actually I think I might also mix this entire setup. With a couple of other noise and Voronoi texture nodes. So I will go right here we go shift. Let's add a noise texture. Let's put it right here, and let's add another Voronoi texture. Voronoi, let's put it right here and make sure basically to lug the vector to the vector and plug this vector to the vector of the noise texture. For this noise texture, Let's preview it. Control shift Edit, Click on it for the scale. I think I'm going to correct this number like really, really high suddenly like 3 thousand, so it is like almost gray, almost for the details. I'm just going to keep them at 24. The roughness, I will bring it up to one. For the voronoi texture, I will change also the scale to 3 thousand Control Shift and click on it to see it, which is a lot of small dots. I will keep the randomness at one and it will mix both of these simpler. Just go shift a mix RGB but a trite here, blog the factor to the color one, plugged the distance to cover two, Control Shift and click on it and it will look something like this. I want to multiply them, not just mix them. So change this to multiply and maybe drag this factor, something like 0.85. Let's say this is the result we've got. And what I want to do is basically to mix this entire setup. This setup. The main reasons some people might ask, why are you doing that? Basically, what we're doing is that this texture, which is like black and white. It is like some sort of like small grains of water. So it will act like a small grains of foam. Let's say we want this map to be visible on the areas that are black and white of this map. So in other words, we're applying this texture to the black and white areas that are coming out of this mixed node that the black and white areas coming from the attribute and the sparse foam setup, how to mix them pretty easy. Go shift a mix RGB. Let's plug it right here to the second one. And let's suggest take the scholar and plug it to the color to Socket. Maybe take this right here for the factor I will. Let's share first of all, the blending mode. Let's just change it to something like overlay Control Shift to preview this node and it will look something like this. Notice basically that we applied this texture onto the black and white areas of this texture just to see the before and after, if we select all of these hit M, this is the before, this is the after, this is the before, and this is the after. And it just looked better because the phone like this, it is just a blob of whiteness. But when we add this whole node setup to it, it will feel more grungy or more textured, let's say, which is more realistic because I don't think forms just like blobs of whiteness, let's say Control Shift to see how this might look like for the factor. I think I'm just going to change it to one. So this is way, way better and it does look like foam right now. I think that's what we've got right now. Let's just select all of these nodes. It Control J to frame them in F2. And let's call it, for example, texture underscore pho. That's actually pretty good. And that's it actually for this video. In the next video we will finish this node setup that is controlling the factor that will drive our mixed shader right here. Yeah, see you in the next one, everyone. 10. 08 Ocean Shader Part III: Hello and welcome everyone in the part two of creating the foam setup that will drive our factor setup or our factor input to the mixed shader. Let's see how our setup look like by Control Shift and clicking on the mixed shader. And this is how it look like. Basically, what we're going to do right now is basically to create some sort of like dense foam. And to do that, as you probably already guessed it, we will be using a noise texture. So go Shift a and let's just look for noise texture. And let's just put it right here, control shift to preview it. And probably I will take the vector from this one and plug it to the vector for the scale right here. I think. I might sound dumb By doing this, but actually I'm going to put 10 thousand because I want to have this really, really small texture on the, on the dense foam for the details, I will cramp up to 16. For example, I just put 16 and for the roughness, I might put it at 0.7. And for the randomness may be something like 0.25. And this is how it will look like right now, I will mix this noise texture with the original mapping setup coming out of this note, what I'm gonna do basically is that changed the way of how a noise texture will be mapped onto the surface by using another noise texture, you will understand it in a second. So I will go Shift a and go mix RGB, and I will put it right here. I might plug it to color too. For color one, I will take the data coming out of this vector and just like basically plug it to color one. That's how it will look like. It is really weird, I know, but we will fix in a second. And what I'm gonna do right now, I will go Shift a and add a mapping node. And let's put it right here. And I will add another noise texture, noise texture and put it right here. I want to get this link. So just go control, hit the right-most button and drag over this to cut it and hit Control Shift and click on it again to see the factor socket, I will bring the scale to ten, lowered the detail to something that might be like 0.5 for the reference, I will keep it as 0.5 and I think I might want to crank the contrast. So go Shift a and add a color ramp. And let's just put it right here. Let's take this black flag and move it. Something maybe like, I think this will look good. And basically what we did is that we need this noise texture to act like some sort of a dense foam and we bring the contrast of it a little bit up or actually occurring the contrast. And the main reason we use all of that is to change the way this noise texture is mapped on the surface. So it is not your typical way of plugging this vector, like input or output to the vector input of this noise texture. We mapped it in a different way on the surface by driving it by using this noise texture. And that's actually trick we did a lot in the desert chapter, which supposed to be before the chapped in case you want to understand it in a better way, make sure to just visit the desert chapter because we use this technique lot. And right now I need basically to only make this setup only visible in certain areas. And the easiest way to do that is by going shift a and hit mix RGB. I will put this right here, and I might actually plug it to color two. And for color one, I will change it actually to black. And I need basically to tell blender where to put black and where to put this node setup to create that it is actually super easy and we used a similar technique and the desert chapter, which is that we need the high data of this mesh. The easiest way to get them is basically by going shift a geometry, explain it in the previous chapter is that the geometry will give us information about the position normals and plenty of different datas that we can use to basically tell blender the position of our vertices, let's say of our real geometry. In this case, we need the position because we want this foam to be like applied on top. And what is the axis that control what is up and down it is the z-axis. So in our case we will need the position data and exactly only the z data. To do that, you can go shift a separate in x, y, and z and plug the position vector, basically the output of the separate x, y, and z. It is going to be either the data of the only x-axis or only the y-axis, or only the z-axis. In our case, we only need, as I mentioned, what controls up and down, which is the data out of the z-axis. So I will go Shift a and let's just add a color ramp, color ramp, and let's just put it right here. I will take the z data and apply it to the factor Control Shift and onto the color ramp. And that's what our z data it looks like. It's basically control, whereas up and down, that simple, I might want to change maybe this value to something like, let's say 0.2. And for this value, Let's just keep it at one. And maybe also let's just add an RGB curves. So let's go curves, RGB curves. Let's put it right here, will probably lower this way, way down. So this is how it will look like. Let us say something like this. It might also may be created, is basically if you notice this, RGB curves would basically create some sort of gradients that goes right here. So it is not like just a harsh transition right here, but it is like smoother, like blend in with the rest of the ocean. And what we're gonna do is basically to take this and we will make it act as a factor for this mixed node. So I will take the color and just plug it to the factor. And if I hit Control Shift and click on this, notice what we've created basically this texture, it is acting or actually it is like PUT have been put in. It is put, I don't know. It is basically, let's say, applied on the black and white areas that are coming out of the setup. That's basically it. Let's select all of these nodes, hit Control G to group them, hit F2. And let's just call it, for example, height underscore mask for this setup right here, Let's just select all of it and maybe let's just hit Control G to group it at F2 to rename it dense foam, perfect. And what we need to do right now is basically to mix this entire setup with this mix node that is going right here. So it is actually super simple. All we have to do is basically to go Shift a mix RGB, put it right here, take the scholar that is coming out of the final mixed node that is coming out of the setup. Take it and plug it to color two, and that's how it will look like. Make sure to clamp it so that basically we don't go above one or below 0 for the factor I might use more out of the corner two and let's say maybe something like 0.7. And I might add a color ramp, shift, a color ramp, and let's put it right here, just so that maybe in the future I want to crank the contrast or something I will be able to do that. Maybe something I don't know how we'll leave it like this for now. And basically the color will go to the factor of this node. So I'll take the color and plug it, the factor, nothing much is going on. But if we control shift and click on this mixed shader, this is what we will get. A notice that here on like above those waves we will have some sort of whiteness which will act somehow as like foam. The main reason it's not visible that much for now, it is actually because we don't have like a strong lighting in the scene. We are only lighting the scene using a simple HDRI, but actually if we add the sun lamp, which I will do right now, so let's just go Shift a and go to light and sun. Let's just say one, maybe two or three actually to maybe rotate it to something like this or actually like this because the lighting is coming out of this way. Let's change the properties of the sun lamp by going right here. And if you drink, for example, the strength up to three, you will notice that your phone is becoming more and more visible. If you put ten, notice that it is like super pronounced right now, just in case you wonder why it is not that visible. It is actually because there's not a lot of lighting and our seed, remember, we're not creating some super huge waves, so we will have a lot of like foam, let's say it is actually pretty subtle. So we won't have a lot of foam and our ocean. So actually I'll probably just skip it at one in our case, I think it will be more than enough for our animation. And let's actually the same executive value that I have used for the animation that was in the trailer. The only problem that you will notice right now is that this ocean doesn't give the illusion of it is like really deep and all of that. And that's actually what we will be doing in the next video. See you, everyone. 11. Shader Network Overview: Hello everyone. In this video, I want to basically to take some sort of a bird eye view to our shading network that we created for our water surface. So first things first, our, basically our ocean is basically a combination of two differentiator, a diffuse be SDF, which is meant for our foam that is on the surface. And the other one, which is our basic principle, we SDF would like some sort of a green color, which is basically responsible for the color of the actual water. And if I hit Control Spacebar to minimize this editor and I will jump to the rendered view. Basically, this diffused is responsible for the film and this, as I mentioned, for the color of this ocean, for this principle be SDF or the color of the ocean. We plugged the normal map, but instead of like downloading an already existing map from the Internet, we use a couple of different techniques to create our own normal map, which we call it ripples normal map. And it is simply the combination of two different noise texture that we combine them and then we separated them into different channels, or in G and B, red, green and blue. And basically instead of plugging blue inside the blue, and this way we will have variable amounts of blue. We kept the blue and the maximum number which is one. And this will basically give us a normal map because as I mentioned before, a normal map, it is the combination of variable amounts of red variable, a balance of green, and a blue value of one. We've had all of these data to a normal map, which we plugged in to the normal. After we did that, we basically created a sparse foam. And it is basically the combination of our foam data that we basically get from Blender by using inside of the ocean modifier right here we will have a foam layer, which is we call it film. We basically get this data using the attribute node and we combine it with another sparse form, which is this setup right here. And it is simply the combination of a noise texture with a Voronoi texture. We mix them, encourage the contrast and all of that. And then we mix them and it gave us a result that looks something like this Control Shift and click on it. This is our phone basically looked like right now. And after we did that, we created a textured foam and it is basically responsible to create the texture of this film. If you hit control shift to preview this node, it looks something like this, which basically instead of having only white bubbles of foam, this texture will be overlaid on the foam. So it gives the illusion that actually that foam is formed or actually it is composed by like really, really small grains. And after we created that, we moved all to creating a texture for the dense foam, which is like the more dense foam, It's self-explanatory. If we hit control shift to preview this node, it will look something like this. We combine this with a black color. But the most important thing that we created a height mask in a way that we only want this dense foam to be visible on top of the water. So if we see the result after this mixed node, notice what we will have. We basically limited this dense foam on the top parts by using a mask, which is this height mask Control Shift. And if you click like this, notice that basically it is only visible on top of the water. Yeah, for the rest of the shader, it is basically just using different mixed nodes and all of that until we finally get to our final mixed node, we call it ramped it just so that we have a control over it in terms of contrast and all of that. The final data, we basically plug them into the factor that Blender will know where to use our basic principle, BSD F, which is responsible for the color of the ocean and our diffuse BSD F, which is as I mentioned before, responsible for the color of the phone Control Shift and our mix shader to preview it, Control Spacebar to minimize it. And that's how our ocean looks like right now. Let's basically how our entire node tree basically works. I will see you in the next couple of videos where we will try to finalize the look of this shot. See you there. 12. Add Depth to the ocean: Hello and welcome everyone in this video where we will basically give the illusion of depth to our ocean because it looks like some sort of ocean that you can swim in. We want this ocean to be super moody and scary. So let's just do that to create our depth element. It is actually super easy. It just probably will take a little bit of time. Actually, it will add an extra time for rendering. How are we gonna do that? It is actually super simple. Let's go shift a mesh and eta cube. If you hit the dot, you will basically zooming your element. I will hit three for the side view. And where is our setup? It is actually a right here. I will go G and I will scale this object by going, for example, to seven, scale it way, way up. Maybe something like this. I wanted basically to cover all the area that will be covered by the camera. Or the camera will see something like this, maybe scaled on the z-axis a little bit, something just like this. Go GZ and maybe drag it a little bit down. Yet. Bear, bear only touches the surface of the water. And just to make our scene faster, I might actually hit Tab to jump to the render view, to the edit view. And it will select all of these vertices and I will scale them on the y-axis, just so that I tried to save as much memory as possible. That's why, and maybe scale this on the y-axis a little bit. And we will have this, this actually will act as a volume, will need the water that gives the illusion of depth. So let's create our shader for this depth element, I will go New and I will call it, for example, depth. And instead of using our beloved principal, the SDF, I will delete it and it will use something we call volume absorption. I will put it right here and it will plug the volume inside the volume, nothing much is going right now because we can't see what's going on. So I will change or actually I will just like exit this view and you will have like a duck basically turn this cube into blackness. What I'm gonna do is basically to go Shift a and let's add a gradient, texture gradient, and let's put it right here. Hit Control T to add a mapping setup to it. And let's just see how it looked like. Control Shift and click on it. It looks something like this. I will change it from linear to quadratic, or actually quadratic. For this, I will probably rotate it on the y-axis, something like minus 90. It is black again, but we will fix it this pretty soon. What I'm gonna do is go Shift a and let's just search for a color ramp. And let's put it right here. And for this color, I will change it to black. And this one, I will probably take you to something like gray, something just like this. Let's say that's looking actually pretty good. And I will take this the color, I will take it and plug it to the density. And if we control shifting, click on this. This is what we get. Everyone basically created this sort of like foam or actually it's not form. It gives the illusion of depth. If we hit 0, that's the result we have. Actually the main problem that we're not seeing the illusion of depth happening for our ocean. It is actually a really stupid reason that I forgot to do, which is that in our water surface shader, which you can access basically by just selecting whatever your ocean surfaces. There is a really important settings that we might need to change, which is the transmission or actually it is transparency. So the water is actually transparent. So when it is 0, this water is basically opaque. It is not transparent, so we need to bring it to one, which means that this water is right now fully transparent. And by doing this weekend, see the volume that we added or the volume absorption working the way we want it to work, because right now the water is transparent. So that's why basically we give the illusion like this ocean is actually really, really deep and that's actually pretty sick, I think. Makes sure to select this element. Maybe let's hit F2 to rename it, and let's just call it, for example, depth. And yeah, that's basically it on how I created the illusion of depth for this ocean. Yeah, See you everyone in the next video where we will add more atmospheric element to give the illusion of depth even more than the scene. So yeah, See you there. 13. Adding Fog: Hello everyone. In this new video where we will basically try to create a fog elements that will add more depth to our scene. To do that, we will need a cube. So first of all, let's hit Shift T so that we restored the position of the 3D cursor to its original position, which is in the center of the scene shifts, see, now it is in the center of the scene. Let's hit Shift a mesh cube. If you hit the dock to zoom on our object, this is our cube and here's a little thing. Instead of like scaling and all the different axis, the same value, I will hit Tab to jump into the Edit mode at a to select the entire cube, hit J to move it, hit Z to only move it on the z-axis and hit one and just hit enter and exit the edit mode. So basically what we did is that we move this cube a little bit up or actually up by one meter so that our original points, or actually the origin of this cube, will be in the center of the bottom face. So that right now when we scale this object, it will scale only from the bottom and it will always stick to the ground without actually bothering us that our cube is actually below the surface of the ocean or any of that. So yeah, that's way better. Let's zoom out. And for example, let's hit S. And for example, type 500. It is really huge right now. So maybe hit S and Z to only scale it down on the z-axis to look something like this. Had seven to jump to the top view and maybe move it something like this. Let's scale it way, way up. So it should basically cover the entire scene. It is looking something like this right now at the GZ and bringing it a little bit up, basically it should barely touches the surface. If you jump right here to our normal view, you will see better how our cube look like. And I think I will scale it on the y-axis, SY, just like this. Basically I need to hide all of these edges. I don't want them to be visible as Z, to scale it on the z-axis and something just like this. Yeah, that's how we're basically cube is looking right now and it will act as a domain for our volume. Now, really important thing, hit Control a and apply the scale. After we do that, we're basically ready right now to start shading, I will jump right here to the rendered view, and I will also jump right here to the rendered view. Let's select our cube. Click on New to add a new material and let's call it fog. And also let's rename our main cubes. So hit F2 to rename it, and let's call it, for example, folk underscore a domain and hit Enter right here in the shader editor. Instead of using our beloved principal, BSD F, we will use a different shader, which is the volume scatter shader. So I will select this, hit X to delete it, go Shift a, and let's look for volume scatter. Click on volume scatter and basically plugged the volume, the volume, and it will look something like this. Nothing much has changed. But actually, if you focus on our cube right here, it is not like the normal bike hard surface. Basically, if you start twiddling with the density, you will notice that you can basically create smoother or let's say lighter version of it, something like this. Notice right now on the edges it looked like fog, but we need more flexibility in controlling the density value. And also basically because our camera is right here, we need it to be like really focusing right here and slowly it will start basically fading out. To do that, it is actually pretty simple. Let's start with a gradient texture. So go Shift a and let's add a gradient texture. It right here, Control Shift and click on it to see how it will look like, to look something like this, Let's add a mapping setup to it, Control T, and instead of the typical linear, I will change it to quadratic. Here's how it will work. Basically, the white parts will have lot of fog and the dark parts we'll have a little bit of fog. We won't actually to flip it on another direction so that there is no fog from where our camera is moving and a lot of fog right here. So basically we need to rotate it on the z-axis. Let's say for example 90, it will turn everything into black. But actually if we plug into the location 12 will look something like this. And that's not actually what we want because we want this black to be this side. So instead of 90, let's put 182. It look something like this. So basically right now we have black from the side and slowly we will have more and more fog. Let's add a color ramp node after this. So go Shift a and let's look for color ramp. And let's put a two right here. And it will basically allow us to control the level or actually how much contrasts we do have in our gradient texture. But actually I will not use the color ramp to control basically our gradient because it doesn't give us that much flexibility. As you can see, the more recurrently the contrast, the more you will have a harsh line which it doesn't look realistic. So instead of that, there are two different approaches you either can use. Basically the RGB curves, which is a good candidate to do such thing. We're actually, you can use a math node. If I go Shift a and look for math, Let's plug it after the color ramp and change the operation from add to power. And you will have here this exponent value if you start bringing it up, notice that we're basically moving where basically the transition from black to white is. And at the same time we're keeping this really beautiful gradient. So yeah, basically by controlling this value, we will be able to basically locate where our transition from black to white or our gradient texture will be. I will keep it. A three for now. And if we plug this value to the density and control shift on our volume scatter, it will look something like this. Now as you can probably see it, it is like really, really dense right here. So we need to make it a little bit lighter. And to do that, we actually need to change some settings in our color ramp. Let's hit Control Shift and power to say our power node. And notice that it is basically right here is full wine. So the value of density right here will be one. That's why basically it is almost opaque. We need to change this white to like some sort of a gray value. So let's select this white flag lake right here and basically start dragging it to be something gray just like this control shift to prove your volume scatter, it is like way, way less dense. Let's even make it darker and it will look something like this. Maybe you can hit J Z to bring it a little bit down. And notice that if we hide this object, this is the before and this is the after, this is before and this is the after. It is basically, as I mentioned, it is adding more depth, more fogged our scene. Let's even add a little bit more texture to our fog elements, so like it looks better. So to do that, we will mix a couple of noise texture and an Voronoi texture, and we will mix them with this entire setup. So to do that, Let's bring our nodes right here and that will add a noise texture shift a. And let's look for noise texture. Let's put it right here. And I will add also a Voronoi texture shift. Let's look for a Voronoi texture and put it right here. Let's zoom out a little bit. I will take this mapping and texture coordinate setup and put them right here. Actually, I will keep the mapping right here. And I will take the object coordinate, then plug them to the vector of the noise texture. And same thing. Take the object and plug it to the vector or the Voronoi texture Control Shift to preview this noise texture. Nothing much is happening right now. So let's start changing the scale, maybe bring it a little bit down. Let's say something like 0.1 and it will look something just like this for the detail, I will lower it to one and let's bring the roughness to one, the Voronoi texture. I will change the scale. Let's Control Shift and click on it to see it. And let's bring the scale way, way down. Let's say something like 0.0005. Yeah, that's way more like it. It is way, way bigger right now, and that's actually what we need. And we will mix both the noise texture and the Voronoi texture together. The best way to do that is basically by adding, let's add a mixed RGB. I will take the factor of the noise texture, plug it to color one, and take the distance and plug it into the color to the distance coming from the Voronoi texture Control Shift to preview this node will look something like this and we need to change the operation or actually the blending mode from mixed to multiply. And maybe let's start playing a little bit with the factor. I will keep it as 0.75. All right, that's actually looking pretty good. And all we have to do right now is basically to combine the gradient texture with this setup right here, the noise texture and all of that. So to do that, it is actually pretty simple. Go shift a, let's add another mix RGB. Plug it up there, the power node, and take the color and plug it to color two. And if you hit control shift on, our final mix will look something like this for the operation. Let's change it from mix to multiply and the factor boosted to one. It is almost black for whatever reason that's true is 0. Alright, let's just keep it at one right now and let's see how our volume scaler will look like Control Shift and click on it and it will look something like this. It is actually, yes, it is almost black, but it is not like all zeros. It is actually 0 or wherever it is almost black, but it is not black. That's why when we preview our volume scatter, we still have some fog. Basically, that's the process I use to add basically this volume. If you feel like it should be a little bit more intense, all we have to do is basically to change this from this gray value, bring it way, way up, for example, something like this. And you will have more fonts in your scene. So yeah, that's basically it on how I created this volume module or this volume domain. Basically we created a gradient texture that will control the intensity of this fog. So it will be larger where our camera is, and the more we go to the distance or to the horizon, it will start to be more and more pronounced. And to add more variety to our basically fog, we added a couple of annoys texture and the Voronoi texture, we mix them and then we multiply them on the final setup just like to add more variety to it. And as I mentioned before, if you want to control the intensity of this Voronoi texture or actually of this fog element. All we have to do is to play with this gray value right here. And if you want to control where the transition, you want it to be, just play with this power node. And yeah, that's basically it on how I created the phone for the next couple of videos, we will basically finalize our shot and prepare it for rendering. Make sure to save your file and I'll see you next time. 14. Rendering Layers: Hello and welcome everyone in this new video where we will basically break down our scene into layers to optimize it basically for rendering. The first thing that I think we should do is basically to rename all of these objects so we know exactly what each object corresponds to. First of all, we have our folk domain, which is this bad boy right here. After that, we do have a plane. And actually I think like this plane is our main ocean. I will select the fourth domain. And if you go into the object properties and inside of Viewport Display, you will have here an option called display as textured by default, make sure to change it from texture to, for example, wire. And by doing this, you will only see the wireframe of this object or this fog domain. So this way we can see exactly what's going on inside. Now let's select, for example, this plane and it is basically called just playing, I think like this. Let's call it, for example, ocean and rescore 01. And for this, let's call it oceans or two. For this double-click on the name ocean 034, the last one, let's just call it ocean 0 for right now let's move on to this depth element, which is this one, and I already called the depth, so we're ready to go. The only thing I will do is basically to change also the visibility for this object from textured two wire. And you will have something looking like this. Other than that, I will change the name of this empty to, for example, camera and underscore controller. And yeah, By doing this, we're basically renamed all of our object and it is time to start putting them into different collections. And here's what I'm thinking. I will render the foreground ocean, which is like this ocean number one on its own. And then I will have all the background ocean, which are Ocean 234 in a separate collection. And I will have another collection which is meant basically for this fog element. First thing, I will select this ocean number one, I will hit M to move to collection. Click on New Collection and let's call it ocean and rescore 01 and hit Okay, after you do that, Let's select the oceans 234, hit M to move them to a new collection, click on New Collection, and let's call them oceans and risk score 2.3.4 collapse this collection for the fog domain, I will move it into its own collection, new collection, let's call it fog hit, okay, and same thing for this depth element hit M to move it to a new collection, New Collection, and let's call it depth. And also maybe I will change the name of this collection to scene because it contains all the different elements that control our scene, like the camera and the Son and all of that. And let's just also collapse it. And by doing this right now, we are ready to start breaking this scene, two different rendering layers. For this, there are multiple approaches that you can use for me, I think I will limit myself to three rendering layers. One of them will be responsible for the ocean, the other one will be responsible for the fog and the other one will be responsible for the sky. So here's what we're gonna do. I will call this first layer, I will call it ocean, and I will hit Enter and I will disable all the other collections that I don't need accepted my ocean, let's disable all of them and you will have something looking like this. The first thing that you will notice that you still see the sky and the main reason for that is because we're using NHGRI and if you want to hide the NHGRI, it is not visible right here. You need to go to your render settings and inside here you will find a tab called film. Makes sure to check transparent and bam, right now we do have a transparent background. The other thing that you will notice is that the color of our ocean, it is not the same as before. And the main reason for that is because we disabled our depth element to fix this problem also makes sure to enable depth. You will notice that there is some kind of blackness going right here. And the main reason because we didn't enable Ocean 234, so make sure to enable them and you will have a result that looks something like this. So basically right now this ocean layer will contain all the different data that is related to how our ocean is supposed to look like. I will go right here to the render passes. Make sure to check denoising data. And I will go right here. And you will have an option called Copy Settings. Click on it, and you will have another layer. I will call this one fog. Hit enter, and it is self-explanatory. On this layer, I only want the fog to be visible. So I will disable all the other collections and I will enable fog and it will look something just like this. Also, please make sure to enable your scene because it contains the sunlight. I will also jump back to ocean and enable overseen because it contains our sunlight. Let's get back to fog. This will basically be our fog element. Let's jump right here to our compositor. Make sure to check Use nodes and what are our unknowns for whatever reason they're not visible probably will find a couple of nodes right here. One of them is called render layers and the other one is called composite for whatever reason they are not visible for me right now, I will go Shift a on that. We'll look for render layers. I will put it right here, and here's what you're gonna do. Delete the other nodes that you will find and just go Shift a and look for file output. Let's just put it right here. And I will look also for denoise. The main reason we need this genome is known first of all, of course, to denoise our render and also to use the denoising data that we checked here in the render passes. So here's what we're gonna do. I will take an image and plug it to image. I will take denoising normal and plug it to normal. And I will take denoising albedo and plug it to albedo. And I will take the image output and plug it to the file output node. Let's maybe make it just a little bit bigger, something like this. And basically this node will be responsible to set it up how we will render our scene. I will click on the small folder blender would basically tell you where you want to save your render. I will create a new folder and I will call it ocean. I will double-click on it to enter inside it. I will except, and I will select this node, hit Enter to open the sidebar if it is not already open. And inside of properties, you will find here something called files or path. So make sure to change it from image, change it for example, to ocean underscore and just hit Enter right now when Blender will render the scene, it will call all the images that belonged to the ocean, ocean and rescore, for example, 001002003, etc. So you don't get lost in terms of naming between all the different layers that we will render for the file format, you have two options. Either you can render on PNG or you can render, for example, for more advanced formats like opening XR if for the sake of this course where we will only use PNG for rendering most of the time. Because like when it comes to opening XR, yes, it will give you a lot of freedom, but I think those kinds of formats like opening Excel and all of that, it will make more sense to use an external software to composite your scene where like found Renu, IQ or After Effects or wherever. Just because they will give you a lot of freedom in basically changing and correcting your image the way it is supposed to be. But in our case, yes, Blender can definitely handle opening Excel files and you can work with them pretty easily, but it is just blender. No way it is close in when it comes to compositing to other softwares. So I will just stick to a PNG just because we will be compositing the scene inside of Blender, as I mentioned before in the color makes sure to check RGBA so that your render, your transparency layer also, or your transparency channel or your Alpha channel for the compression, I think by default it will be 15. Just drop it down to 0. And yeah, that's basically it for the render settings or the file output node that we will use to render the scene. I will select this entire setup. I will hit Shift D to duplicate it. Let's put it right here. For the second node makes sure to change the render layer from ocean to fog. Blender will not change the path and all of that. So make sure to click on this folder and let's, for example, create a new folder and call it fog, hit Enter, hit Accept. And from here I will change it to fog and rescore hit Enter, I will hit Control Space bar to maximize this editor and it will look something just like this. Now a lot of you might wonder, but hey, where's the sky whenever sky on its own layer. But actually it is not easy to do such thing as like Blender for just one very simple reason is that if you remember, the main reason we don't see the sky is that because we disabled this transparent option, for example, if you create a new layer, also don't follow me in this. I just wanted to show you something. For example, it Copy Settings and I will call it, for example, sky. And I will uncheck transparency for this one, and probably uncheck this. I only see the sky right here. The problem is that these kind of options that belongs to the render, they are not limited to certain law render layers. So for example, if I uncheck transparency right here, if I go right now, for example, to fog, it will be enabled because as I mentioned, when it comes to render settings, they will be applied to all the different layers. So you might say, what is the solution? The solution is simply is that we need to render the scene right now without transparency. And after we render it, we will do another render where we only see the sky. And we basically we will uncheck this transparent. That's it everyone for this video. And in the next one we will change a couple of render settings to optimize our scene for rendering, please don't worry about rendering the sky right now because we will do it later on. See you in the next video. 15. Render Settings: Hello and welcome everyone in this new video where we will change a couple of render settings to optimize our scene for rendering right now, make sure to jump to your render settings right here, or actually you render properties. And the first thing makes sure that your render engine is cycles features that supported device. If you have a GPU card, GPU compute if you don't want CPU for sampling, which basically means the rendering samples that we will use. We don't need the viewport for now. Blender by default, we will have a max sample of 4096, which is to be honest, a little bit overkill. Instead of that, I will be using to five-sixths. But again, depending on the power of your computer and all of that experiment with different values until somehow you get an embryo that works for you. I pick this number because I did some draft renders before and I know that to five-sixths will works for informing, but please feel free to experiment. For example, you can start with eight if you have really low gear and basically just started doubling the render samples until you somehow find the perfect combination or the sweet spot between the rendering samples and the quality of the final render and the render time. So maybe go for example, 816 in 30 to 64, maybe try 128. After that, you can go to to five-sixths. And if you want to go above that, you can definitely do that like 51210 for 1024, it is up to you, but in my case, I will leave it at two five-sixths for the light paths blender by default, we'll have a max balances of 12. I mentioned that before. It is way overkill and it will drop it by third actually, which means it will become eight. Also, you will have another tab called volumes. You will have here something called step rate render. By default it will be one. And the more you start cranking this number, you will basically start lowering the resolution of your volume in our case of this fog, and at the same time it will increase your render time. What I would say is that if you feel like the fog element is really slowing down your render and your computer can't handle it. You can crank this number to something like four. Yeah, you can change these both of these two numbers if you want to have even faster renders, in my case, I will leave them at one inside of film. I mentioned that before, but make sure that you check transparent and let's jump to our ocean layer. From here, I will select one of our oceans. I will go to the Modifiers tab. And most importantly, make sure to check your render details or your render subdivisions or, or render resolution by default, we set up our first layer to be 36, the second one to be also 36 because our camera at the end we'd get really close to it. For the other one, we dropped it down to 25. And after that, 20, if you want to optimize, even you're seeing a little bit more, you can play with all of these different numbers that are related to the render resolution. But please consider that the lower this number will be, the lower resolution your ocean will look like. That's just the nature of how 3D works. The more geometry have a longer renders, you will have. Another thing that you might want to check. It is basically in the file output settings, make sure that your resolution is 2560 by 1080. And if you want to lower this resolution, for example, to 720 P, bring this number down to 50%. In my case, I will keep it at 100% frame rate 24 for the output settings, they're not necessarily because we already set them up right here in the file output or in the compositor. And by doing this, we're ready right now to start rendering the scene, make sure to jump to your solid views. You basically optimize or you save a little bit of memory for Blender went to render, Make sure to go to File also and save. And right now, all you have to do is basically to go to Render and render animation. It will probably take some time until blender finishes the render, but I will highly recommend that you leave it to render overnight. And depending on the power of your computer, you will find them already done at the morning. After you finish rendering the scene, I will show you how to render your sky in the next video. And after we do that, we will be ready to come our scene. Yeah. See you in the next video. Everyone. 16. Rendering The Sky: Hello and welcome everyone in this new video, where I will show you how to render the sky. This video will be pretty short because it is not that complicated. Right here in the top close to the ocean, you will have an option called the full copy. Click on it, and it will basically create a copy of this entire scene so that right now you will have your original scene all call it, for example, ocean and fog. And for the second scene, I will call it scouring and hit Enter right here in the composite or as you probably remember, we do have two different setups for the ocean and other for the fog. I will just delete one of them by selecting them and hitting X Control Spacebar to minimize the editor. And here's what we're gonna do. I will jump to the rendered view. Let's disable all the different collections. So just disable all of them and actually only leave scene because it contains our camera and all of that go to your render settings and uncheck Transparent, which means that we will render basically clean plate. I will click on this small folder and maybe create a new folder and let's call it Sky. Accept. For this node properties, make sure to change its name to sky underscore for the render samples, you don't need like a really huge number. You can probably even go with something like eight or 16. I will put 16 because it is just an image and blender won't be doing any sort of complex calculating right now. After you do this, make sure to save your file and we'll go File, Save and go render and Render Animation. And basically it shouldn't take a long time before basically Blender will render the entire scene, give it a couple of minutes and we will be ready right now to accommodate our scene. Yeah. See you in the next video, everyone. 17. Compositing Part I: Hello and welcome everyone in this new video where we will basically come our ocean shot, as you can probably remember from the previous video or actually from the previous chapter, I always like to start a fresh blender seen when I wanted to composite my scene just so that basically I started from scratch and it will just simply probably just make Blender faster. So that's why I'm doing that. So I will click right here. And the first thing I'm going to do is basically to just jump to the compositing tab. From here I will check Use nodes. And from here I will go shift a input image sequence. And all you have to do basically right now is to import the images that we get out of the render. The first thing I want to mention guys, that because I render the symbol for a render that in four different layers, not just three, the only difference between you and me is that for you, you rendered all the oceans on the same layer. So basically you don't have to do the extra work that I will be doing for you. You will have only three folders. As I mentioned before, you should always think of the hierarchy of how you will lay your different elements. So the farthest thing and the background will be the sky. So it makes sense to import it first, select your first image and click on import image sequence, and you will have this node. Just put it right here. Let's go again, add input image sequence, and I will import right now chronological way my atmosphere, I will select the first image and import image sequence, and I will put it right here, add input image sequence, and I will import right now the ocean. But as I mentioned before, for you, you will have only one ocean for me. I will have two oceans for you. All we have to do is basically to open your ocean folder, select your first image and import image sequence, and you're basically done. I will do an extra step because as I mentioned for me, I have two different oceans in your sequence, important in your sequence, and I will put it right here. Alright, So basically right now you will have four different nodes, or actually three in your case. And here's what we're going to do. Basically, we will leave the atmosphere over the sky and then the ocean over the atmosphere. We already discussed how to do such thing in the previous video. So make sure to go to add and let's look for Alpha over I will take this node and what will blender would basically do it will overlay the second socket over the first socket. I will take this guy and plug it to the first image, and I will take the atmosphere and plug it to the second socket. If you hit Control Shift and click on this alpha over to see it, you will have something looking like this, because it is so huge. Make sure to hit V, to make it smaller, something just like this. And maybe let's move it a little bit to the top. And it will select all of these myths and bring it a little bit down, something just like this. If I bring this a little bit up just to see what's going on, you will have something that looks kind of like this, which you will notice that somehow the fog is like basically covering the entire scene. The main reason for that is that we need to check this convert pre-multiplying. And when you click on it, bam, you will have something that looks just like this. And if you're scrub through your timeline, it is clean. And just to make sure that you're seeing the result we want if you control shift and click on this guy, this is the before Control Shift and click on the Alpha over to see the after. This is the after, this is the before and this is the after. So yeah, our atmosphere is working right now the way we're expecting it to be. So make sure to check convert pre-multiplied. Now we need to put the oceans basically over the rest of the scene. I'll take this viewer right here. I will take this alpha over Shift D to duplicate it. It right here. It will take the ocean and plug it to image for you right now everything will be working fine just because you have only one ocean. But in my case, I will have to do another duplicate and I will take it and plug it right here. And you will have basically right now a result that looks something just like this. I will hit N to hide this sidebar and I will delete both of these two knowns. Delete. And basically right now we are ready to start changing and color correcting our final result. The first thing I'm going to do is basically to start by changing a couple of settings after this first Alpha over which is responsible for combining the sky and the atmosphere, we'll take both of these two knowns and bring them something like this. And also it is always handled pull to just collapse them so that you have a neater vision or smaller nose to see your scene. It is always helpful to do that. And what I'm gonna do is basically to go Shift a and I will add curves. And let's just put it right here. I think I will do like the famous S-curve, just to bring a little bit more contrast to the scene, something just like this. And I think I will reduce the red a little bit so that I bring a little bit of blue to the sky and it will look something just like this. I will collapse this. And right now I want to change basically the look of our oceans. Let's collapse. This is, this, this select all of them, put them right here. And basically I will go shift a search and let's look for curves, RGB curves again, and that will put it after the first ocean. In your case, you don't have to oceans. So you probably will do this for only when ocean. And I will basically add, as I mentioned, maybe just tried to make it a little bit darker. In my case, I wanted to basically match perfectly with the ocean that is on the foreground, which will be something just like this, I think. Yeah, that's looking pretty good. And the last thing are actually not other last thing. But after this entire setup where we combine all the different layers, I will go at the end, I will go shift, and I will add curves. This node basically will be applied to all of these render layers before it, I think I will do an S-shaped curves so that it looks a little bit more contrasty and moody, something just like this. And also I might bring the red little bit. What if we also bring a little bit of green down so that we add a little bit of magenta. It will look something like this, which to be honest, I kind of like it. Another thing that I just noticed right now in my render, if you focus right here, there is a little bit of clipping going on. There are multiple ways to fix this problem, but to be honest, in my case, I'm not going to bother basically clone stamping and all of that. So what I'm gonna do is basically to go Shift a transform. I will just put it right here. Probably in your case, you don't need to do that just because you're ocean is already perfect the way it is. So what I'm gonna do is basically to bring the scale a little bit up until I hide it. And that's looking pretty good. Yeah, that's basically it I think for the main setup of all of these different nodes and how to color correct them and all of that. Please keep experimenting when it comes to the compositor. Maybe add different nodes, change different settings for each element until you somehow find a result that you're satisfied with. It is like painting for now, we all have basically the same material and all of that, all we have to do is basically to try and play with them until you get a result that you're satisfied with. For this first video, for the compositing were done. And in the next video we'll add some extra flavors to this shot like a vignette, some grains, some chromatic aberration, and basically finalize it. Yeah, see you in the next video. Bye everyone. 18. Compositing Part II: Hello and welcome everyone in this new video where we will basically finalize finally this shot. So the first thing I'm going to do is basically to add a little bit of green to this shot. But actually before I do that, I really want to add a vignette. In a previous video, I mentioned that there are multiple ways to do this. And in our case, we will be using an image. And this image is basically just a simple gradient. So here's what we're gonna do. Go Shift a and look for image, click on it and click on open inside the Resources folder, which is resources assets, you will have a picture called gradient. Open it. If you control shift and click on it, it will look something like this. I will look after my transform node and we basically we will overlay this picture over the rest of the picture. But because we don't want to like just slap it on top, we want to multiply them. I will go Shift a and just look for mix. I will put it right here. Right now it is mixing the first image with basically why that's why we're seeing this result. Now we'll take image and I will plug it to the second socket to look something like this, which means that we need to change the blending mode. But before we do any of that, let's try to basically make this picture, which is this black and white, the gradient fit inside this square, which belongs to our main render or the aspect ratio of our main render. And to do that, it is actually pretty simple. All you have to do is basically to go Shift a and look for a transform node. Let's put it right here. From here you can start basically changing the scale, make it bigger just like this. And right now if you change this blending mode from mixed to multiply bam, it will have something looking just like this, but it is too, too dark. And the main reason is that we basically need to change the contrast of this picture. So here's what we're gonna do. Let's take this transform node somewhere right here. And I will go Shift a and I will add a curve, RGB curve and put it after our gradient. Right now if you start basically playing with this gradient, you will basically control how dark this vignette is. All we have to do is basically to just bring it from the middle and bring it a little bit up, maybe something like this. And as you can see, we created right now this really, really nice vignette on the border of this image. If you want to lower the intensity, all you have to do is basically to lower the factor which is black kind of self-explanatory. It will use more of the first image rather than the gradient. Let's collapse this and this. And that's how you can basically add a vignette right now, I want to add a little bit of like lens distortion. To do this, make sure to go Shift a and look for a lens distortion, put it at the end, and then inside of the store it makes sure to plug a really, really small number. Let's say for example, 01 just to see how this effect work, and it will look something like this. Let's try minus 0.1. And this is actually too intense if you really focus on the edges, that doesn't look good. So I will change it to minus 0.01. It's still too intense. Let's just try 0.001. And yeah, I really liked this result and most of the time will find yourself plugging the exact same number also in the dispersion, which will basically create a little bit of chromatic aberration right here on the edges. Right now this entire scene is basically complete and ready for rendering. The only thing that you need to do is basically to delete this viewer. Let's hit X and let's go Shift a and look for file output. Let's put it right here. I will create a new folder and call it, for example, final render. Double-click on it except hit Enter to open the properties of this node right here, go to node properties compression 0. And for the image, let's call it final render. And yeah, that's basically it. All we have to do right now is basically to go to Render and Render Animation. And blender would basically render this entire seem like pretty fast. It is just in a matter of minutes before it will be ready for you to go and you will have a result that looks something just like this. And by doing this, we finally finish this chapter which belongs to the ocean. This is the first approach on how to create an ocean inside of Blender. Hope you enjoyed it and congratulations if you reach this point, especially if you also finish the desert chapter that you really committed to that. And I promise you that it is just a matter of when before you just become a really professional Blender artist. Thank you very much for tuning into this chapter. You might also find a couple of videos after this, which are like some extra flavors to this ocean. And I will see you in the next chapter where we will create some rarely epoch mountains. Yeah, See you there.