Transcripts
1. Introduction: Create spherical animations in blender.: Welcome to the class animation for Beginners, create a spherical animation in Blender. This is for sure a mouthful, but we're going to create some awesome animations with spherical objects as our main focus. The first few lessons are all about creating interesting looking spheres. If modelling techniques ends material creation. Once you notice techniques, we will jump right into the first exercise. The raindrop animation is the perfect exercise to get you started with this class. The second exercise, you will learn how to use the particle system and create a school looking effect. After these two exercises, you will be ready to roll spherical objects. There is a special lesson that explains how we can realistically roll a sphere inside Blender. Exercise three or four are ready to be explored. Fd, you have acquired this knowledge. Exercise 3 explores more than just the rotation of the sphere. As you can see, the sphere is also bouncing. And then exercise for, recreate a machine that infinitely make sure ball roll. Thanks for taking a quick look at my class and I'm looking forward for your renders and animations.
2. How to complete a project: Feedback is one of the most important ways to actually grow as an artist. So how can you get feedback on your work? Well, when you are at their class, to scroll down and we have created project. So click on it. And here you can see that you can upload an image and even a video if needed. So how do we render a video or image? Well, it is very easy. Let's say we have a nice animation here and we want to render this. We want to render the whole animation. How do we do this? Well, you probably already know with cycles, it's gonna take a very, very long time. And I know not a lot of you guys have the time for that. So that's why we're going to render our animation inside Evie. If he goes very quick and you animation will be done in minutes. So here, go to the output properties and you can choose a folder here. I'm gonna save it here. And then the normal file format is always b and g. But because this is just a very small animation, I am just going to put it as a movie file. Normally we put a PNG when we are rendering with cycles or when we have a very long animation, because then it saves every single image separately and then you compile them together later on. Because if our render crashes with a file formats, let's say at frame a 100, then you lose everything. You lose all the frames that UF rendered before. But if you render with and P and G and it crashed at frame hundreds, then the only thing you have to do is just restart from a frame hundreds. And then you don't have to do from frame 0 to 99 again. But because if you so quick, we will not use that. And that is why we use a movie file. So just go here, Render Animation, and now we render our animation. So you probably can already see that this goes very, very quick. Right now we are already at frame eight. So this just takes minutes as assets, and that's it. So if we use for the animations, but I also want to see your nicely created materials, the good lighting that you use. And this is better done inside cycles. So here we go to Render properties, render engine, we changed it to cycles. So you don't have to render the whole animation of cycles. I just want one like beauty shot, just one picture where you can see all the lighting which you have created and all the good materials. So normally this is set at CPU. And then I think in performance these frames are a bit lower, like 64 or something like that. So what you should do to make this quicker, because normally cycles takes quite a long time and I want to show you how to do this quicker. So what I like to do, I know that my GPU is better than a CPU. And for most of you guys, that is the case. You want to change the files to GPU. If you cannot do this option, then just go here, Edit Preferences, and go to System. And then system, you can select your graphic card. So I am using that E1. And for the graphic cards, the tiles underneath performance should be a bit bigger. It just works better with graphic cards. So two 5-6, too fast, six. If you have a CPU, keep them low. Ok, so that's the difference between GPU and CPU. So right now we have a render of a 128 samples. Let's actually put it quite low. And the low you put it, the faster it will go, but it will take away from the quality. So probably if a rendered now it will look quite shitty. So let's render it. And here you can see it is done very, very quick. Bought it a super, super grainy. So we've done this in five seconds, but look how great it is. We cannot really showed us off, right? So I want to show you another option. So one way of actually making this quality better is just using more samples. And of course, it will take more time to render. Another way will be de-noising and combining them together will be perfect. But let's try de-noising our render at 12 samples. So still the same samples and you will see a huge difference. So here we can see our Renner took thirty-seconds, So it took way longer. Bots. Look at the quality, and this is still the same amount of samples, ok, so the quality is just insane compared to what you normally have to put in the samples. So combining this with a few more samples, so maybe 64 or 128, and you will have your beauty shot. Ok. So inside cycles, we take one image is just going to be the GPU render a little bit higher. The samples de-noising on, on Render and makes sure that tiles are compliant to your GPU. So 256 by 256, then just render it. That will be your image and a sad EV, you just render a simple movie format and there'll be it. Then you go to skill share, upload your image and video and then publish it. And I will be able to see it, gives you some feedback. And Yeah, but just mainly see the awesome work that you have created. Please do not be afraid to actually send it in. We're all learning and even I am learning, so just send it into, it's like it's worth it. So I see you guys in the next video where we're going to start with our next exercise.
3. Create materials in blender: Welcome to the first exercise of this course. In this course, you're going to learn how to create amazing spherical animations. But with just an animation you're seeing doesn't really look good. So we also need to dive a little bit into some of the editing, into the materials, but also the meshes and of course the lighting. So these next few videos are going to cover those topics. And we're going to just start very simple. And I will show you different kinds of techniques in the next few videos. So you will be able to actually make some interesting scenes without just copying me. So how do we start? Well, let's just get a sphere in here. First x, we can delete this, then shift a, and we can add a UV sphere. Once you add a UV sphere, you can see down here that also a little tab that popped up. If you click on this, you can see that we have some options. So we can change the segments as you can see here. And of course the rings. So if you already want to get your sphere some extra geometry, then you can do with hair. If he just click next to here, then it will disappear and you have accepted whatever was there, right? So here we have our sphere and it looks kinda flat, right? We all have all these flat faces on here. And it is very easy to get rid of death. This is just called flat shading. Every face is just shaded flat instead of smooth. If you click on w, you can choose to shade smooth. Bam, and now it is a smooth shading. So it looks more spherical without any bumps. If you look closely, you can see that this is not really smooth around here. The only way to get it more smooth is to create more geometry. It needs to be more dense in geometry. But this is totally dependent on from where you are going to look at your model. So if you are very far away from a model, you cannot see it anymore, does little sharper edges. But if we are going to be very close, you can see that now we can really see it. So it depends on how close up you are going to be unimodal. If you're going to be very close, then just go here into modifiers at modifier and use as sufficient surface. This essentially subdivides every phase into four other faces. So the high you put this, the more smooth it will be because it's more geometry dance. So very easy, very simple bots or model still loose, kinda flat, right? It just looks like it is a gray ball off. Yeah, nothingness. So if we want to make it look more interesting, then we'll add a material. If you go to shading, you can add a new material. So just click on new and we have, so notes coming up here. So these are called nodes. And you can change these nodes and that will change the appearance of your sphere or any model that you have just applied the material two. So here we have our principal shader, and you can see that our base color right now is white. We can change this to blue for instance, right? Very simple. You can also see that we have these little dots here with all different kinds of colors. So we can essentially create a new node with shift a and search for a node. So let's just do a front texture node. A texture BRC, whatever. What we can do is we can put this note into this note. So color goes into the color. So now the color from this brick texture will be put inside our principal shader, which is yeah, on our surface. So here's our brick texture. And you can see that, yeah, you can put a lot of notes in here that are like a lot and it's yeah, it can be quite confusing. But the main ones that we are going to use are going to be an image texture. Because later on we're going to put our own images into this base color for instance. So that is one thing. We can also choose your metal. So do you want it to be metal or read or a plastic? Then we have some roughness options. So do you want it to be very shiny? Let's say not rough. Then you can put it to 0. If you want the object to be more rough, then you put it to one or anywhere in between here. And as you can see, there are a lot of options, but you can just play around with them and figure it out on your own because the main ones are going to be base color, metallic, roughness, and the normal map. And we will explain it later. So this is how you can create your own material, but creating a material on your own from scratch can be very time-consuming. And this is why we might want to take a material which has already made for us. So I'm going to show you a website which is called texture haven. You can also use websites like polygon or textures.com or any other website which essentially has PBR materials. So what we can do here, texture haven, we can browse our textures or liquid textures. And you can choose here a cool looking texture. So yeah, it doesn't really matter. You can just click anyone and they are totally free on these other websites, you might have to pay. But on texture Haven, they're totally free. So yeah, you can go down here. And I know that I already downloaded this one. So what you can do, you can click on it, choose which maps you want the download. And I normally just do all maps. And then you can choose the 12K, 4K, and you want them into JPEG or a PNG. So I normally do 2K PNG. But in some cases when you need to really go close upon the model you want to do for k, P, and G. So very, very cool. And this will essentially download all of that inside a little zip file. Then you unzip the file. And what you can do then is you can go in here, click on your image texture, and open that folder inside blender. So here we have, let's first start with diffuse, which is essentially the base color. So diffuse, click on it and then you put this color into the base color. And here we have the color from that model. Very, very cool. So then you can copy this essentially and then just open the next one. So what do we have more? We have a EO, bump, diffuse displacement, normal roughness and specular. In this case, we are not going to use all of these. I will just use the diffuse, normal, specular and roughness. So let's start with the specular, because the specular is right here. And if you look at the specular map, let's look again. You can see that it is, yeah, not a RGB note, right? It's black and white. And you don't really have to have a call space, SRGB. We want here non-color. This works better for that kind of map. Then we're going to copy this again, pasted with comfy, and then we're going to do the roughness. So open. Here we have our roughness bam, color goes into the roughness colour. Normally you put the same like little dots with the same dot. But in this case, or in these two cases, you will see that our maps are actually black and white. So you can just put the color instead of the alpha. What is next? Well, also this one, color space, non-color. Bam. And you can see that it's changed a lot, right? So this is the way it's supposed to be. Then we're going to copy this again. And in this one we are going to use our normal. So just this one. And this is essentially the depth detail. So height and lo, it just fix the height detail. That's kinda yet. So we cannot put this just into the normal. It will not work the way it's supposed to because we need another node in between here. So shift a and you're just going to look for the normal, normal map. Normal map is gone in-between here, you can see that it goes from the color yellow to yellow. And then it cannot transforms it into the normal, which is blue and the normal goes into normal. Very simple. And here, as well as the other ones, color space should be non-color. And you will see that this changes. And now we have the way that it should look like. So here you can see that we have some high detail without this. Or if I put this to 0, you will see that this is a huge difference between it and it depends on, yeah, whatever material you have. But here you can see that this is a great way to actually make a sphere or whatever model you have. Luke more interesting. So what if we want to different materials on top of this model? It is not that hard. And what we're going to do is I'm going to show you an add-on which makes this what we just did a little bit easier to control. And you can just select all the textures and I will just put it in instantly without you having to put them piece-by-piece. And I'll show you how we can actually put a material on a specific phase in this material section. So what we're going to do is I am going to create a new material. So I'm just gonna click on here new material. And I'm going to delete for this new material, just all of these nodes. Because I am going to show you an ad on. The add-on is already inside blender. You don't have to download it. You just have to go to edit preferences and search for note wrangler. So wrangler, and here we have the node, nodes, wrangler. That's it. Make sure it's own. Go here, safe preferences. And then we have this add-on activated. And what you can do now is you can select this principle shader, click on control shift T. And here we just get the same kinda opening step. But now you can see that instead of Open it says principle texture setup. So here we essentially look for maybe not a material. So maybe I want here BRC, whatever. What you can do is now you can select whatever texture maps you want to have inside your scene. So I wanted the diffuse and I keep holding control to just select whichever I want. Roughness, normal and the specular. Then you can open them. Principle texture setup. It takes a little while and here we have this texture. Very cool. You need to check it up a little bit sometimes, but I think in this particular case it is good. So wherever diffuse on top, specular goes into specular roughness, roughness, and then our normal map goes into the normal map nodes and into the normal map from the principal shader. So as you can see, all of this work is instantly done already for you. And there's another two nodes here, which is essentially also quite important. We have a texture coordinate node. So this will show where the she will be mapped upon. And we have our UV is now. And then we have a mapping note which normally goes after detection, like these two go hand and hand with each other and he can change the location, rotation, and the scale of your yeah, texture. So if we want it to be bigger, so 222, you can see that now. We have done that. So it's super simple as you can see. But what if we wanted two different materials on this model? The only thing you have to do is you have to go into edit mode with top and then select which faces you want to have different. So let's say I want this whole bottom row, bam, bam, bam. The other material. Then I go here into material properties and click here on edX material slot. Now I can create a new one or just choose whatever we had before and then assign these vertices to this material. So assign. And now you can see that we have two different materials for one sphere. So these are kind of the basics on how you create yep, good-looking textures. And in the next two. So these are kind of the basics on how you create good looking textures and materials. But what is also important is that you have good lighting valued cratered materials, because right now we are inside EV. And I personally don't think if it's the best way to create good-looking materials. If you want to have a more photorealistic way. If you want to go more photo-realistic, we should go to cycles. And you'll instantly see that not a lot chains because here we are still in the art material, a few port preview, but we want to go to our rendered. So in the rendered brief view, you can see that the materials look way better. It's just that the lighting kinda sucks. So we still don't know what our material would look like in our renders. So what you can do is a very easily go here into world instead of object, and we just add an environment Note and firemen texture. Color goes into the color. And we can open an HGRI and you can get these all for free. Again, it's not texture haven, but now it's their outer website which is called HGRI haven. And here you can see if just rise a, you can choose whatever you want here. But let me show you what it actually does. I'll choose the callee interior them. So it essentially creates a 360 degrees image which projects light on top of this, on top of your scene. And this is very realistic, and it's way more realistic then trying to put lights in the specific spots, you will still use the other lights, of course, but this is one very handy and easy way to, for instance, look at your materials, create materials and pre-fill you materials, but also to just render amazing looking scenes. Ok, so this is just what I like to do. Sometimes I put it a little bit lower the strength just so I can also see what are my model or what my textures do in kind of a shadowy or darker images. But yes, that is kind of what I like to do. I hope you guys learned from this and let's jump on into the next video.
4. Create materials with Materialize: So what happens if you can't really find a cool material? Maybe you don't want to make one yourself, or if you can find a good pre-made one, well, then we always have Google. So you can just download any image, doesn't matter what. And you can import it into a program called materialize. So you can get this from bounding box software.com. You can download it for free. And what you end up with is this program. So what is happening here? You can see that the UI is quite simple. We have all of our maps here, hide diffuse, normal metallic smoothness, edge and AO map. And then here we have some post-processing show full material next cube map and some extra options. Here we have so the saving options, which we'll go over as last. So how do we start to create a material? Well, we open our diffuse map, okay, so if you see these little levels here, we have P, This is for pasting, C is for copying, O is for opening, and S is for saving. So if you click on o to open a image, then you can add the image that you just download it. So here I can see my image and I can just double-click and it will put it in here. This program works very well with square textures, but if you have a non-uniform texture that will also work. But I highly recommend square ones because maybe you want a diode later on. And most programs where growth squared dexterous anyways, if your textures not square, what you can do, you can just go to Photoshop and then got it to the robot square. That will also work great. And then you put it in here. But we have our diffused map now as you can see. And this is our material. So now that we have created our diffuse map, you can see that we have extra create buttons at the height, metallic and smoothness maps. I want to start with the height map. So create. And here we see this little slider. You can sign up and down. But you can see this is our height map. If you're familiar with the height map, it's a grayscale map, so it goes from white to black. And the color corresponds with the height of the maps. So if you have black, then it will be lower. If it will be wide or towards the lighter gray, then it will be high. So here we have some presets, as you can see. And you also have the ability to move these manually is it'll options. As you can see that this changes now. So you have preset as Details. You can do displace. I think details in this case we will go. And then we have a frequency contrast equalizers or you can do cracks. And all of this changes the way that your height map will act. If you're happy with it, you can just set this as height map. Now you don't see anything changed. And that is because we are not looking at the full material. So you have to do show full material. And now we can see our full material. So you can look a little bit around and you can see that the height lab is actually working, right? So we have some heightened here, so in high detail. So that's cool. If you don't like the way that is acting now, then you can just go into create and it will just go back to whatever you have, ok, so you don't have to recreate it. It's just yeah, you can start off very left off essentially. So maybe this was a little bit too extreme the height, then you can always just changed a little bit of the options. Maybe you do some gain, a little bit the hair, um, maybe some different contrast, and then set its height map and now show for material. And you can see your changed material. Very, very cool. So that is essentially the height map. And this will work with every single method that we have here. But you can see that after we have credit our height map, then we can start to create our normal map. And normal maps are quite, quite important in actually creating some, yeah, good-looking materials. So create normal map. And then day here as well, you have loads of options, smooth, crisp myths. And then you can slide off the surrounded too. Make your appearance as realistic as possible. And then you can set as normal map and shuffle material to look what it does. Very, very cool. So sometimes we have the problem of if the lighting, right, maybe our environment is not really complimenting whatever we have and we can barely see it. What you can do is you can click on next cube map. And acute map is just creating a different HGRI around here. And then you can look a little bit better at your yeah. Material. Very, very cool. Then we can put am yeah, metallic web we don't really need in this case, there's no metal in here, smooth. This map is essentially the same as a roughness map. It's just turns around so the black and white values are flipped. So you can just do this very easily inside Blender if you want to. But here, that's creative. And this case, I'm just gonna set a smoothness and then show my material just to see what this did. And I think it makes sense in this case. It is just, yeah, this rough. It is not too shiny and I don't want the stones to be too shiny anyways, I do think my height map is a bit too overkill. So I can just go in, heighten up again and then change this a little bit. So just play around with these options here. Maybe a little bit less contrast. And then set its height map. Let's look what that does. And this looks way, way better, right? We have some high then here, it is not too overkill at this point a moment. Our normal map is also working great. Smooth this map or as we call in ran the roughness map is also working good. I like the way that this reflects. And Firstly, I don't really use the edge map or eo map too much. You could use the AO map to actually pop up the shadows a little bit more. We can try it here. This looks fine, actually set as a o. And now you can see that the shadows are a little bit more prominent and the highlights as well. But yes. If you're happy with this, you can they read, just start to save them, okay, so you can hear save your project and you can load a project, all that stuff. But here on each of the maps that you've created, you can just click on S to save it. So let's do the normal map safe. I'm going to create a new little folder. So create new folder. This folder names going to be what's flu shots you would do with like tiles or whatever. Bam, this is going to be our normal dials, normal. Then we can do this smoothness map safe. And I don't think we have to go to the height map, so I'm just going to keep it at this. We will not have any high dense, so it will look like this at eventually. But yeah, you blend that does have the option to get a height map in there, of course, but I just want to keep it a little bit shorter. So here where I'm blender shading and I want to add those texture maps. So image texture, color goes into hair open and we can start to grab our ad diffuse, which is this 11 we started out with. Then we want our like our roughness map, right? Which is the smoothness. So smooth. But as I told you guys, the smoothness and the reflux map should be flipped. Okay. So what you can do is you can just go into the color ramp lamb and you can literally just flip this around. And that will do the job. And then what I'd like to do is, of course puts to non-color and duplicate this again, we need a, a normal map node as well in between here, because here we are going to choose our a normal map. Oligos is recolor, normal, goes into the normal. And yeah, I personally think this texture, is that a bit too big. So what I'd like to do is get a texture coordinate note in here and a mapping nodes. So mapping, then we just put it very easily UV to factor and affected to each and every single one of these image texture notes. Bam, and then we can play around with the scale. So let's put the scale at five. Make sure you put them both at five. And here you can see that it is smaller. This one does not really tile perfectly, but you can see that, yeah, it looks quite okay, right? So that is how you can create your own textures. And you can of course, apply all of these textures that are in the materialize. So our height map, if you wanted that and see some Haydn here as well. But this is kind of what you want to do and how to create all of these other maps with one single image, right? We started with diffuse, and with that we can create all the other maps. So I hope you guys are going to use this in the future because you can see how powerful this is. And one more thing we talked of course, about also creating our spheres and making them a bit more interesting. So what I want to show you is one very simple way to create a sphere and make it more interesting. She's got the UV sphere. And we're gonna give this a nice material. But this material is not going to be a principled shader because we don't have to be constraints with that shaded only. We can for essentially also use a glass shader, right? You can also make glassware for principled shader, of course. But this is just a simple, let's say. Now, if we go here into cycles, you can see that we have some glass. It is quite hard to see because we're just looking right through it. So I'm going to make a nice floor here. And what I like to do is get an environment texture, as I said before, just so the lighting is a bit better. So here in the world and environment deck share, bam, color goes into color and then we choose a nice HGRI. So here we have our HER eyes and I'm going to do this one of school. So here we have our sphere. But you might imagine that putting something inside the sphere might move, make it look more interesting. So if we make some bubbles, will just duplicate this, scale them down and make some balls in here. That could do a lot to our sphere, right? So pulling stuff inside debt is one of the ways to make it look more interesting. Because if we now look at it, you can see that we have, yes, some cool effects inside. So maybe you want to make a nice marble, like a glass marble. So as you can see, this is just a fun way to actually also get some extra detail in here into your sphere. So I'm curious what you guys are coming up with and I'll see you guys in the next spot where we'll do some more materials and edit our spheres even more. So I see you guys there.
5. Create materials with Substance painter: So right about now, you already learned how to create materials and textures in two separate ways, or maybe even three. But now I'm going to show you a way which does involve a program where you need to pay for something like substance painter or Quicksort mixer that are 30 days free if you just want to check it out. But I still want to show you guys because these are one of the most powerful kind of techniques to create your own textures. In render, it just takes so long. I feel like to create a texture from like nothing, let's say. And he's programs are just insane. So yeah, if you're not indenting to Donald them in any kind of way, then you good skip some part of this. But in the beginning, I'll just go over some ways that you can manipulate your scene or your spheres to make them look more interesting. Because we already talked about creating different kinds of spheres. But we never really manipulated the topology to actually make more interesting looking spheres, right? We boot Psalms spheres inside to make some bubbles. But let me show you now how we can actually make a sphere more interesting with editing the topology. So here, let me put on my screencast keys so you can see what I'm doing. And I'm going to delete this cube and we're just going to add a UV sphere. So as you can see here, we have our UV sphere. And yeah, it's quite boring, but we already know that if it gives us a shade smooth, that it gets nice and smooth. And yeah, now what? Well, let's say in the middle we kinda want a indent. Once you can do is you can just create some baffles with Control B. And here you can see that you get from this edge loop here, recreate two edge loops. And if you scroll up or down with your mouse, you can see that you can create more or less of these edge loops in the middle. So if we do something like this and I'll make it, yeah, put it here. Then we're going to select the middle edge loop and just scale it down. So now we have kind of a deficient between the top and the bottom. It's still those kinda weird. So I am going to use modifiers to make it more crisp and look a little bit more interesting. So we can go to Add modifiers, and I like a bevel. So with a bevel modifier, you essentially create a baffle. Now let me actually show you if a cube is a bit easier to show you for QP. So on the cube, I'm going to add a bevel. And here on this buffer you can see that if I turn it on or off, that all of these edges get beveled, right? So this is a Bethel essentially. And you can also put this amount up or down to greater, bigger or smaller level and you have more segments. So again, bootleg three in here, and this will make it more and more smooth as you can see, right? So, and even then you can still go up or down. And I highly recommend you use this modifier a lot because those sharp edges that we have here are just not realistic. Like nothing is as sharp as this in real life, right? So some kind of Bevel will do your models have really good. Then. Yeah, we can do the same here, but you can see that every single one of these phases gets beveled. So let me put this a little bit closer to ink and really see that it gets sharp, right? And we don't want that. We only want our bevel Yap in here, essentially. So you can do this in multiple ways. You can change the limit methods from none to angle for instance. And now everything which is above 30 degrees angle that will be beveled. So that is one of the techniques that I like to use and I also like to use Wait. And what you can do with weight is you can assign a certain, certain edges with your selection tool, then go into item. And here you have edges data. And then you put mean bevel, wait all the way to one. And now it will see this part as a bevel. So let me show you here also, if this one so awaits right now, nothing is beveled. But if I selected this edge to here and then put the mean bevel, wait on. You can see that only this edge gets baffled. And this, so this is a very handy way to choose wherever you want your bevels with a selection. So yeah, that's cool. I normally in this case I will probably do angle, as you can see that all of these here, these three inside to have an angle higher than 30 degrees. So it works. And yet it looks okay, but if you now use a self-sufficient surface to create even more geometry, you can see that it gets really, really nice and clean. So yeah, you can put it up. Maybe you want to put more segments in your bevel, which will make it even more sharp. More. You can change spec play around if the amount, but you can see there are a lot of things to do with this kind of yeah. Modelling, right? And yes, so that is one of the ways that you can actually manipulate your spheres to make them look more interesting. So you just grab some of the geometry that we actually grabbed a stop here, extruded down. So e, z. And here these are ready Betelgeuse because they're above a 30 degree angle. And that is also a way C. And this is just, yeah, very, very cool, very easy to use as well. And you don't have to clean up your model in any shape or form. You are a little bit restricted to whatever the shape of your sphere is though, because if I want a cubical form out of here, then it is hard to do, right? So what you could do in that case, like, let's say we want a UV sphere, we're going to move the bit to the right. And then from there we want a cube shape from the top. Then what you need to use is something called a boolean, so you can select your sphere at modifier. Then we're gonna do a Boolean modifier which is here. Then we're going to select the part that wants to Boolean out of it. So if you hide this for right now, you can see that we got out of this BCE. The problem is, if we accept this Boolean, so if you do Alt H, it's still there and you get still manipulated in any way, shape, or form that you want. But let's say we accept it. So go here and do apply, or you can just click on confirm a. Then. Just delete that part. Then we have our model here. The problem is, as you can see, our geometry just sucks right now because we have a lot of vertices here which connects to just one singular face, right? And most of you guys probably already know, but this is not really nice for yeah, UV on wrapping. And also it's socks with any kind of modifier. So if I now try to use a subdivision, you can see that it's way different than all of these other parts around here. Let's try a bevel. I'm gonna put this buffalo buffet actually. But yeah, you can see that it doesn't really, It's vertex, but it really doesn't really work. And to be honest, it just creates weird shading artifacts and all that stuff. So if you want to make this look good, then you set the have to go into the topology and really chains these piece by piece. So you probably want to, in this case, it wouldn't be too hard with the only thing you have to do is just, actually, I will just delete this bottom part here. Then select all of these edge loops, extrude Z, extrude m, and then add centered. But in this case it is easier. And then in some cases it could be because if you have something that goes all the way around, you really need to change the topology in some shape, way or form. But yet, you can see that right now once the topology is a little bit better, you can start to create some extra edge loops if you would like. And of course, play around with these modifiers. So if I want the bevel here, some more segments, we're going to put it to angle. Shade smooth. I might want to make this flat because it's not flat. So skill set 0. And I know for beginners this is not like this is way too hot for beginners, but I'm just showing you that with some of the techniques that you have and you will learn that you can create some awesome looking stuff. But you can see dike here, I'm already bumping on another little problem, which is that it wants to move around the hair. So yeah, you, You just, in these cases, you really need to play a little bit around with your spheres. So if you're not that offense Jeff, and really don't want to go into the topology too much. I would advise shoots just stayed to get these kinds of shapes like we can even grab this one, extrude it, scale shifts sets to move inwards. And here we have another kind of shape, right? So you can, you can do a lot with just editing this topology. So what about texturing? Well, the shapes will help a lot of texturing, but you don't really need them. We're going to use them right now, but don't feel obligated to have these kinds of shapes in here. But I'm going to show you we first need to UV on rabbits. So I'm gonna select this middle part, contrary mark scheme. Then I'll show you in UV Editing that if we select everything, get going. You unwrap that we have these two parts separately, UV unwrapped. And you can even create some more. That on reps if you want. But we're first just going to look what this looks like. Okay, we're just not going to go too deep into editing death, but let's just go and export this model, file, export OBJ. You can also do FBX by the way, but in this case I'm going to use the OBJ and I only want this selection. So selection only. Now you just pick a folder. And here we're going to do this fear. Click on Export ODA, and we can start to open our substance painter. So here we have substance painter. It looks a little bit different than blender and I probably needed to make a whole course about this if you guys want to learn more about this detection program, but I will just go over the basics. They can file and new. We want to start a new template or a new project. And we're going to select our AIA file. So select and here you can choose your model. So I'm going to use the sphere that we just have. Document rich. Lu Xun is 2048, which should be OK. But you can change this data as well if you want. Now I'm going to click on OK. And here we have our sphere. So it's that simple. This program is also very good for games because you can just use a low poly and they can bake all the high poly on top of here. But that is not for this course. So here we have a lot of materials as you can see. So I can literally drag one of these materials or create my own materials in here, but I just drag this gold pure in here. And you can see that here we have our properties of this material. And you can see it with Kohler metal M rough, right? So you can change these as well of course. So just play around with the sliders and you can see some instant changes. Very, very cool. The one thing that we are going to use in this course are smart materials. You can see that smart materials still look the same, but that will act a little bit differently. So gold pure hair that we have is just a normal material. And you can see that it's literally it's just one yeah, kinda layer and it has all of the stuff inside then looks good. That's totally fine. But with materials like the smart materials, you will instantly see that we have a huge difference. So let's do gold damaged. And what is happening here, and we can already see some damage on hair. And if we go down in this folder, you can see that this gold damaged folder is actually, yeah, it consists of a lot of extra layers. You can go in any of these layers and change whatever you have here. So surface drain that we have you can change maybe the roughness, maybe you want more dirt. So actually somewhat dirt. Let's go in here and the mask and we can play around with it a little bit. But if you have, if his goal that's a bit hard to see. So let me actually get another one in here where we can see some more difference. So I am going to use a steel painted. Let's just do the red one looks cool. So if the steel painted material, you can see that we have as neck pains and steel. And this material actually consists out of a lot of layers. And those layers even half saw masks. And those masks are actually quite important. But the masks don't really work well. If you don't bake your models. Okay, so baking it is actually quite easy and you don't really need a high Pollyanna, low poly, you can just do the high polyoma hyperbole. It just takes a little bit longer. But here, mesh maps, bake mesh map. Let's put the output sizes bit hire 2048. But in this case you don't really need to get the high definition mesh, but you could just select the one that you have here. But in this case you could also just use low poly mesh SI polymer mesh, because we don't really have a high and a low poly buy. It doesn't matter. So bake mesh maps. And now it will bake All of these maps on here. And all of the masks from this material actually work different bow. So click on OK. And here you can see a huge difference in this material. It will actually take a lot of these corners into account. So now we have this dirt. And you can see that if we want the bit less diverse because there's just too much, then you can just go into the mask, mask builder. And here we can play a little bit around if the level, maybe we want to bit lower. I think the contrast is way too much, so yeah, less contrast I would do. And also maybe some girth shutdown you can live like you should play a little bit around if this, but you can see how powerful this is, right? So if we want this material than inside the blender, again, go to File, Export textures and you can export your textures. So here we have, yeah, right now will export the document channel plus normal plus A0. That is not really what I want to export. So I will click on here and I will scroll down and we are going to look for BBR metal rough. Okay. You can also do speck gloss, but in this case I would like to use methyl rough. Then what you wanna do is click on here and choose a folder. So I'm going to create a new folder. And this is just textures and then sphere or whatever you want, stature sphere. And here we're going to select this map and then export textures. So let me open the folder and you can see that now we have color, hide, metallic, normal, and roughness. It's that simple. So now it's at blender. What we can do is we can go here into shading. Second new principal shader sector principle, shader control shift T, to use our add on which you learned in the last part. Then you go in here and you're going to select the base Delic, normal and roughness principle should texture setup. And here we can see that probably everything is setup quite good. So here we have our a base metallic roughness and our normal. So here as you can see is our model. So it is simple and look how cool it looks. So let's say one material is a little bit too boring for you and you want to create more materials in one. You don't have to do this in blender. You can actually already do it inside substance painter. So let's say we just do a very simple material here, gold, bam, but we don't want everything gold, right? So I'm going to create a mask with right-click and then at black mask, and this will hide of everything. But if you go here into our polygon fulfill, we can select certain polygons to have this material. Right now this mask is black bought with my polygon of Phil, I can select whatever I want here to have this golden color. So it's, of course on this other side here, alright, this golden material. And there are multiple ways to do this. So you have your triangle fill, polygon fulfill mesh fill, or you feed chunk fill. So if I do the UV chunk, I can just select this whole chunk and this will all be gold. So, and of course you can just export this just like we did the last one. And then this model will have those materials on there. So as you can see, very, very powerful and it will take the edges into account. You can change a lot of if the masks itself. Guys really want a course about subspace itself, please tell me because I'm thinking about it, but I'm not sure how many people are actually using it. So this is it. And I hope you guys learned a lot from actually creating these different kinds of materials and also how to manipulate your models to look more interesting, as you can see, we are not going too much into depth, into really editing your yeah, meshes too much because it's quite like the modeling part is quite simple and easy. It's just an amazing that we're going to focus upon in the next part. I will still prefer some of the materials a little bit, but you already know the basics. So I don't really have to go step by step. I can just show you what I did. And if you ever don't remember, you can just go back to these parts or you can ask me in the comments down below if you get confused. So this is it. And in the next part we're going to start with our first animation. So I hope you guys are ready for that and I'll see you guys there.
6. Exercise 1: Raindrop animation: In this tutorial, you will learn how to create this animation. So here we are inside blender. This animation is not too hard, but it has some steps that you really have to follow, otherwise you will get stuck. So please listen like carefully. The first thing that we're going to do is to leave the default cube and add a UV sphere. Now, we can rename this to metal sphere. We are going to duplicate this and scaled a bit up. This is going to be our glass wire. So in this glass wire, we of course want to add a wireframe. But you can see that if we add them wireframe, Yeah, we don't really get the shapes that I have in my animation, these longer and bigger triangulated shapes. So we need to use a decimate modifier. We can put the decimate above a wireframe, and I will show you what a decimate modifier does. So if I hide my wireframe, I can put this ratio of this decimates lower. You can see that it collapses my model. So to get big triangles, you want to keep this ratio quite low. You can see here the face count, something around 70 or 80 will look great. Then if you put on your wireframe, you can see now that we have a wireframe around these edges. Very cool. We want this thickness also little bit down, so maybe 0.01. And yeah, this library looks great. So what do we want to do next? We want to spawn a sphere on top of each and every one of these connections. How do we do this? Very simple. We're just going to add a particle system and we're going to put it as hair. But the problem is a particle system is now lower than the wireframe. And we wanted to be above the wireframe. So now I want to do is go to source a MIT from vertices, used the modifiers stack and turn off the random order. So now you can see that them instead being despots from somewhere in the middle is actually being spawned from these vertices. The problem is, we have a number of a thousandth, which we obviously do not have a 1000 vertices right here. So how do we know the amount of number that we need to put hair? Well, very simple. You just duplicate this. And in this duplicate, you can just delete the wireframe and a particle settings and apply the decimates. Because the decimate is now applied, you can go into the Edit mode, click on a to select all of the vertices and look down here to see how many vertices we have. We have 45. If you cannot see this, right-click and turn on scene statistics. Now, 45 is my number. And I'm going to delete this and go in here and put in our particle system 45. It's as easy as that. So right now if you look here at rendered, you can see that this is rendered as a path which are these hairs. But we want to render something else. So I'm going to add a UV sphere, moved a little bit to the right here, scale it down. And give it a shade smooth. And this is going to be the sphere that I want to be spawned upon here. So go here, render s, And we're going to do object. Now we can select this as our instance object, and you can see that we have little spheres here. I personally don't like when the scale is different between these spheres and this sphere. So what I like to do is put this hair length at one and also the skill of the render object at one. Now you can see that they have the same size and if a scale is up or down, these move with it. So we're going to put it a little bit down. Those, something like this. Now what I want to do is I want to have a little bit of randomness here because they're all exactly the same size. Select this skill randomness, and just a little bit up. And here you can see that we already have some randomness in here. And this is exactly what we need it. But how do we animate this? Go into your modifiers and add a modifier we're going to add and displacement modifier. You can see that this displacement now wants to also displays are wireframe. We don't want that. So it's going to be for sure above the wireframe. So now we can see that our spheres are also not lined up here with our glass wire. So we're also going to put it above the particle system, and this is it. So we first have to decimate then the displacement, then the particle system, and then the wireframe. So that is kind of like you need to have now, go to the displacements and we want to add a new texture. You can click here into a texture properties and add another type. So type is going to be Clouds. And here you can see that we have some displacement happening. So this is what we need to animate. But how do we animate this? Let's hide our sphere and I'm going to show you how to animate this. Just add an empty plain access. We're going to select a glass wire, go to our modifiers. And instead of the coordinates being local, we want to put coordinates object. So now object is going to be this newly added empty. And now if we move this empty around, you can see that our virus starts to move. Let me show you though, a little bit of a problem. What will will bump into. So I'm gonna put a wireframe here. Just let me do it. You don't have to do it. Then I'm going to go here and add an keyframe here. So now if you play it, you can see that it starts to move, which is great. But if you want to make this a looping animation, then the beginning and the end should be the same. So if I play this, you can see that it snaps back and that is not what I want. I don't want this to be snapping the whole time. So what you can do is very simple and very easy actually. And that easy method is just adding a curve circle. Now is select your empty, go here into object constraints and select follow path. So we're going to select as targets are BJ circle which you just added. If you animate this path, you can look at your business circle, at your animation. So path animation, you can see that right now this is a 100 frames. Of course this doesn't match up with what we have down here. I'm going to put this at 250. You can also do this lower, but just make sure that the frames here and here are the same. So now what will happen is it will play a. You can see that this empty, we'll just rotate with this and we get school animation. It is keeps rotating at a frame 250 and a frame one. The animation is exactly the same. So we have a nice looping. So you can see that we don't really have any of these jumps anymore. So that is how we animate this. I think this animation is a bit too sporadic. It goes a bit too quick. And how do we change this? Well, you selected, go back into your texture properties and you might want to change the size of this, these clouds, this noise that we have. I'm going to put it at the size of four. And now what you can see is that it goes way slower. Now inside modifiers, you could even put a strength that bit down if you think there's too much happening. So maybe 0.7. You can see that now it still moves, but it doesn't go as far as before. So very cool. Now, get your metal sphere back. And here we can start to think about our camera position. So click on 0 to go into your camera few, click on few, camera too few. And you want to put this in the right position so you can of course choose whatever position you think is right for your scene. I'm gonna put it here. What you don't want to happen though, is that any of these little spheres or desert glass wire goes outside of our camera. So you just gotta check a little bit. Just go round here your timeline, you can see that I need to move a little bit backwards thread. So like this and suffered it, this would work awesome. So now you can start to think about the size of this metal sphere and you wanted to get smaller. You can do that, give the shade smooth, perfect. I don't want this gamma to move anymore because I think it's OK in this position. So we're gonna go to few and then carry out a few. I'm going to turn it off so I cannot move it by accident. You can also animate all of these other objects. So maybe you want to animate this sphere inside here. What you gotta keep in mind though, if you want to make this a looping animation, is that the beginning and the end frame are the same. So at frame one here, we want to click on I do location. At frame 250 is going to be exactly the same eye location. Now we can start to think about what we want our model to do. So at around half, which is a 125, we want to move this a bit up, maybe, maybe bid up to the left eye location. So what you will see now is we have an animation and it just goes very slow up, which is great. And I want this to have any sporadic movements in this case. And then because our beginning and end frame are the same, we can see that it's a nice and looping animation. And you can put any of like maybe you want to frame a 190, you wanna move a bit more up again to the right. Let's all possible, just play around and add some more keyframes to your liking. Now what we wanna do is we want to start to think about the lighting, the background, and the materials. So I'm just going to fix the lighting first. Go to shading world and add an environment note. Firemen texture, color goes into color are open and we can open an HGRI. I get all these AG rise for free at HGRI haven.com. Now, I will use the canary wharf. And if I put on the few ports, shading called rendered, this last one, you can see what my lighting is doing. Here. We can see we have some very cool lighting and we can start to play around the fair materials. So I will go back here into our material few ports and just play around with these materials. So it's gonna be super simple. I like to go here instead of 0.500-2x cycles. That is up to you though it doesn't make too much of a difference in this case. But let's go to GPU and then I put the performance a bit up, so 256. So these are essentially the tiles. And yeah, that's good for right now. But what I want to do now is create some materials. So go back into objects. And then let's create first a glass material. So you want to delete the principal shader and add a glass BSD, F, B SDF goes into the surface. And we have a cool glass material here. We also want this glass material to work on these fairs. So I'm going to select this main sphere, then just go down and click on this glass. Can also rename this, of course, glass. And you can see that we have glass on this wire plus of these spheres. Very cool. And this metal sphere is going to be a metal ball, right? So click on new and we're going to use the principles shared a story fine. What I did is I just went on a little Google search for iron texture. So if we open this, you can see in my texture folder, I just found software like this. It doesn't matter too much, just yeah, do something interesting. And as you can see, it kinda works. But I wanted to also have some extra roughness in here and a little bit of a bump map. And because this iron texture, as you can see, is already kinda grayscale, it's already like black and white. We can use this also as our roughness texture. So here just put us in roughness and add a color ramp, color ramp, and weaken. Yaks. Change this a little bit to whatever we want. So maybe you want to move the bit here and you can even change the color, maybe not all the way black, but the bid a bit like this, so it gets more rough, but you can see what it does, right? So just play a little bit around with this color ramp and we can create some yeah, cool-looking results. And I did the same with this normal bump maps. So here, search, bump map, bump map also needs a black and white or detail. So I did hear the exactly the same thing at this color ramp here. And then this color into the height. And here we just want a very small, yeah, high difference. You can see that now it's fairly extreme, even if I change this color. So this strength, this needs to go down, just make it go down quite a lot. Actually. Just use very small numbers for this and it will already adds to your realism. So as you can see, a very simple, a very just thrown together material, but it kinda works right? And then we also want a nice background. So I just added a plane, rotate and then move it away backwards, scale it up, and then add a new texture, delete the principal shader, and add a diffuse shader. Bsd f goes into the surface. And here we can add a nice gradients texture. So we can just put it in here. You can see what is gradient does. So right now we have linear, you can put a quadratic yz, whatever you want. But I like to combine this with our color ramp because now you can add extra, call us to here. So maybe I add one of the stops and change this one to black as well. You can see it now we have two of these parts here. So you can really do cool stuff if this so you can change the colors, like you don't have to be specific fifth black or whatever you can do blue, just do whatever you like. Then I rotated this little bit like this and make sure you scaled up. But softener this i did. And of course don't feel constrained to whatever I do. That is why I rather explain like the concept behind it and how you do stuff instead of showing you exactly what you should do this then this, then this, it's not a step-by-step program, right? I want you to learn the basics of something and then build something cool with it, with your own creativity. So that is it. And what I also used, which I think could be very handy, is some depth of field. So we can just duplicate this sphere here. Moves to the back here. Whereas here it's still in our camera few, Yes, headed here. So I'm going to make this a bit bigger. This duplicate it over. And we can move this a bit around, whatever we want here. Maybe one in a bottom doesn't matter too much. But what we want to do now is we want to select our camera, then go into our camera properties, depth of field, and we want to focus upon one object. I'm going to select our metal sphere. And what you can do now is you can play around with these F-Stop. And you can see that if I put this blower, that the further something is away, the more it gets blurred, right? So you can of course go too far and everything gets blurry. But if you just use a decent number, then the background gets blurred, which is very cool. And the object that you're focusing upon, which now is the metal sphere, is nice and crisp. So yeah, very cool. If you want, you can move these even more backwards so they get even more blurry. But it's totally up to you. Just play around with that. And you will see that they will get nicer blurry in the rendered view port shading, you can see that they are already getting blurred quite well. It can move from even back forwards or play around with this f-stop inside the aperture. So this is exactly what I did. I hope you guys learned from this and I would love to see you renders. So please show me and I'll see you guys in the next part.
7. Exercise 2: Disintegrating sphere: Welcome, and you are going to learn how to create this animation. So as always, the first thing that we do is delete the default cube and add something better. So we're going to add a UV sphere. In this case, I want the UV sphere to be a little bit more high resolution. So I'm just going to duplicate this, thanks to this also times two. And then go here and do a shade smooth. Go into the front view which is numbered one. And we're going to duplicate this and scale it up. So this is essentially going to be our Kafir, which you can rename as well or refer. And this is going to be the main sphere. So just main sphere. So what we want to do is want to animate this and cough, disbarred, await. So let's start with animation. Just make sure it's a little bit out of this main sphere. There should be a little bit of an opening in-between. Click on eye location. Now, you can choose how you're, how many frames you want the animation to be. I want it to be 200s. Go over here and then you move this Ofer, they'll everything fits in. Then i location. So now if you play this, you can see that it starts to move over it. And then at the end, it is all the way, It's all the way covert. So now we want to add some modifies. Select this main sphere at modifiers and we're going to add it Boolean. Now we're going to select this offer and you will see that if we just hide the scarf right now, so selected, click on h and play. You will see that everything gets Goffin away piece by piece until it is all the way hidden. Very cool. So that's essentially what we want to do. Now. We also want particles to shoot out from here, right? The problem is if I now add a particle system, which I can show you, then even if I use all the modifiers are particles will just shoot out of the whole model. And we only wanted to shoot out of this little Barth which gets Garvin away. So how do we change this? Well, this actually not too hard. What do you want to do is we want to select our main sphere. Here, go into physics properties and added dynamic paint. Now, we want this to be a canvas. So at Canvas, in this canvas we need a surface type which is weight. And then we want to output this in a vertex group. We don't have one yet. So go here in your object data properties and then click on plus on further extrudes. So now we've created a vertex group and we can go back to our dynamic Baines and output as this group which we just created. So now what we want to do is we want to select our Garver here and also add a dynamic banes. But this is going to be a brush instead of against us. So brush and brush. Now as source, I want to do mesh volume blas proximity and put the distance very low. So 0.001, something like depth. What will happen now is If I look here in my weight paint and just play this animation, you will be able to see that wherever MacArthur goes, we have a red. Yeah, wait, bade, right? So there is actually weight added through our model and all this information is being sent towards this group. Ok? So what we can do now is we can hide this golfer for right now, select our main sphere, go here into your modifier properties and add a mask modifier. Now we can select our vertex group. Now you can see that it only uses this part where it gets carved. Very cool. So we want to duplicate this. And one of these is going to be our particle system. And the other one you can keep as main sphere because we still want our main sphere to be here. In the main sphere, you can delete the mask because we like, we want to show all the whole sphere. But in a particle system, we want to add some particles, so hide everything else off except the particles. And we want to add a particle system. So here, click on plus, and here we already have some particles flying off. The problem with this animation is, if you look here, you can see that it tries to spawn, yeah, our particles from the middle somewhere. What does it do this two reasons. First reason is we need to go to our source and mixture. We use a modifier stack, okay? Because we need to use all of these modifiers before we are going to use a particle system. But you can see that in the beginning and in the end of our animation, it's still sponsor them in the middle. Why is this? This is because in the beginning of the animation it does not have any geometry to spawn the particles bomb, because our geometry actually only starts at frame 25, as you can see here. You can also hide the particle settings for right now, but you can see now it knows to spawn upon this little bar. But before you can see that there is nothing to spawn a bone, so just tries to spawn them somewhere in the middle. So if we go to this frame which is 25 or mine, you want to do frame starts 25. So any frame before this, it will not try to spawn any of these particles. So from twin frame 25 till frame St. Luke, squandered and 67, so n is going to be one 67. Now, what you can do is you can unhide this. And let's look if we get any of those weird reactions. So let's play. We had something weird here. No storage grapes. And then it should stop. Now, and that's it. So as you can see, it works like intended. And now we can start to play around with these particles because do we want them to fall down? I don't. So I go here, field weights and Apple the graph D to 0. Now if you play it, you can see that it doesn't fall down, but it moves around hair. I want them to move up in the z axis and not just somewhere here. Why does it do this? Let's go to velocity. You can see that the normal is set to one meter per second. So it moves around the normals of your object with one meter per second and enormous Airforce pointed that way. So I'm going to put this at 0. And if I put the z axis at one, you can see that now it moves one meter per second up. So you can put this higher or lower. And the higher will essentially it will go quicker and the lower then it will go slower up. But yeah, where I wanted to go. So this looks cool, but can we make it more interesting? You can do this in multiple ways. First of all, randomness is quite important to make things look more interesting. So lifetime randomness can go a little bit off. Maybe even the velocity randomness can go a bit up. So that is kind of a very simple way to make something look more interesting. So I also like to go to physics and play a little bit around with the Brownian, drag them. So, yeah, I just suggest doing him first at 0 and then at them to actually see what it is doing. So if an outlay it, you can see that Brownian makes these particles move randomly, but you can also just drag over here and it will say it so brownian amount of random erratic particle movements, every f I drag amount of air drag, damp, amount of damping. So those are some ways to make this a bit more interesting. I'm going to put them all 0 because I'm going to show you one other way to also create a more interesting look. And that is in your force field settings. You might already know that you can just add force fields with shift a and just add the hair a force field. But you can also do it in a particle system itself. So let's do self effects and we can choose a type. I'm going to choose turbulence, but choose whatever you want to play around with this turbulence. And now if you play it, you can see the turbulence working. So it's quite extreme in this case. So I might want to put this way doubts of 0.1 and see what it does then. So here you can see that you can create very cool animations with just playing around with effectors, randomness, and any of the physics that we have in our particle system. And yeah, just play around with the strength, maybe even the size, flow. And yeah, I would love to see what you guys came up with because it for sure does not all have to look the same. Ok, this is what I thought was interesting. So a bit of turbulence. I think I used a little bit of Brownian, even some drag. Yeah, and that's kinda it. So then you create a quite interesting looking particle simulation. So once you're happy with this, then we can start to think about what we want to spawn as particles, because I don't want just halos to spawn. So these are essentially halos. If you go to Render, you can see rendered as halo. But I want to spawn a object. Why an object? Because I want to give a my object some materials. And you can't really give halos. Yeah, cool materials. So I'm going to add another sphere. You could do ecosphere to make it a little bit less dense that say, skill it down, make sure shades smooth and move it to the right. And now what you can do is you can select your particle system, go into your render, then chase render S from halo to object. And we're going to select this object, the sphere. You can see that they are very small and this is because the object scale is set to 0 dot 05. So just put this to one. Now wherever you skill is still, you can see that these are the exact same scale. So I like that kind of way to do this. Let's go a bit up, but around here will look very, very cool. So let's start to think about the materials. The first thing that I like to do is go inside cycles, changed the random device to GPU, and then performs do 256 by 256. So let's create some materials. The first thing that you want to do is just put your camera in a red position. And we want to create some background lighting. Because if you just use the normal lighting that we have here, it looks kinda yeah, shitty that's saved. So what I'd like to add is go here into the world settings and just click hold Shift a and add an environment texture. Now gone Legos to color. And you can open an HGRI. And I could go here and just change to it, whatever I want. So Katie interior seems to look good. Now you can see that my background is actually transparent. So normally your backgrounds will look like this, but you'll be able to see the whole HGRI. There is not what I like, so I just click on transparent underneath film in our render properties. So here we have our lighting looser k, And now we can at least judge our materials a little bit better. So let's create some materials. The first thing is we are going here its object, and we're going to select not the particle system, but the ionosphere that we've created. Click on New. And here we can create our material. So you can essentially just, yeah, great, any materials you want. So that's sort of base color to blue. You can see that everything changes. Yeah. What you suspect, right. But what if we want a different kind of color in the bottom than on the thought with particles. This is also possible and it's actually, yeah, very cool. So let's add a color ramp and I'll show you how we do this. Colorramp colleague OSI to the base color of the principal shader and we use it. Let's use a different color here to read in this white one, output to blue. But you can see that right now. It tries to take the middle color. So it tries to do this purplish color, but we wanted to actually choose the color based upon the age of these particles. So if we go to our particle in front, we can see that we have an age or lifetime even size, and we can put it into our color ramp. So h into color ramp. You can kind of see at the bottom ones are a little bit purplish. And you can fiddle around here, but it doesn't really work well. What you want to do is you want to add a meth shader. So math. And then instead of add, we're going to do a defined. And here, play around with this value. But you can see that while we play around, if the value, we actually set up a very nice contrast between these colors. So if you put some around here, you can see that now if I play around with these, like the color ramp, I can make the contrast even sharper as you can see. Or I can even add different kinds of colors if I would like to. So maybe I want a green here. You can see that I add David colors. Very, very core. Bought for me. Changing colors wasn't enough. What I wanted to do is I wanted to have two different types of materials. And you can do this also very easily. The only thing you have to do is just grab a new color ram here and then add a mix shader. And this color ramp is going to be the effect of this mix shader. Okay, so what we can do now or are virtue already can't see actually is that our bottom part is now blue, that is from this principle shader. And the other part is black dense because we did not put any shader into death part. So if we just add another principle, shader, principle, shader, Buddha's BSD f into the second shades of this mix shader. Then we can start to play around with another material. So in the bottom, I like to have a kind of a golden color. So metalic is going to go all the way up the hair. And then the roughness is going to be quite towards the 0. You can see here that we have yeah, nice golden looking color. Then what I'd like to do next is go here into the second principle shader. And you can choose any color, but either a bing, bing kind of Color. And then subsurface on. And as the subsurface color also the think with a little bit brighter. So you can see here that we have two different types of materials during the animation, it transforms into this other one, which is what I really liked. So play a little bit of rounds of these shaders and I would like to see what you guys come up with, which different colors or materials you have. And then we can go onto our next one. So for this one here underneath is the main sphere. Instead, a very, very simple material for this one. And then roughness 2.2 or 0.3. And the only thing I added here is a bump map. So the bump map then add an image texture and the color of this image texture goes into the height. And then we can open a image texture. I personally did one of these and I literally looked online on Google Moon bump map. That's it. So I just use this one here we can see a bump map is working. So I personally put this at boys three sorts, not too strong. And here we already have quite interesting looking render. Now, you can choose to actually not run at the emitter, because the emitter is still kind of a weird white color. So if you go back to your particle properties, you can go here into render and then turn off Show emitter. Now what you could do is something in the background maybe. So I personally just did a nice plane, rotate this a pair. Then instead of doing a lot of stuff like adding a principal Shader, I just did a very simple diffuse shader. So diffuse, and I put this to a very dark blue. But that's of course up to you, which ever you want. And here you can see that everything is kind of done. The only thing that I would suggest now is playing a little bit around with the lighting, your HGRI, And yet there you can start rendering. So I hope you guys learned from this. I would love to see what you have done and I see you guys in the next part.
8. How to roll a sphere: Welcome to this new material and you guys will learn how to animate a ball or spherical shape the correct way. So what we have here is a spherical shape, The ball, soccer ball, and then we have a big J curve. And this soccer ball will essentially follow this curve as you can see here. This is just done with a simple constraint. As you can see here. Now, I've put it in some drivers. So when it follows this shape, it will also rotate. And you can see here, but evaluation time that we can just go all the way till a 100, right? Very, very simple. Now, the fun thing about this is you can also get some key shapes in here, so you can just animate this. And as you can see here, I changed my interpolation modes from the normal BJ curve to something fun as bounce. And now if you play it, you will see that it just bounces back. And yeah, it follows this curve. The cool thing about working with these curves is that you can even slow or fast than the movement of the ball. And you can even go backwards, as you can see here, the rotation will still be fine. And this will also work for bigger balls, bigger balls, or longer or shorter paths. It doesn't matter. So yes, let's just get into it and I hope you guys will enjoy it. I'm working in blended 2.9. And yes, the first thing that we can do is delete this cube and we need to change to settings. So go here into edit preferences. And here you want to go to save and load. You want to make sure your alto run Python scripts is on. Then we want to go to add ons and look for our curve tools add-on. So this one we need to make sure is on. Then safe references. We can close this and here we have a little new little tab. So go to Edit. And here you can see that we have a curve edits, but we're going to do curve info. Here. You can see that we can actually calculate the length of the curve. Because if we want to rotate our ball around a curve, we need to make sure that we know the length of the curve and also the diameter of the ball. We're going to add a nice little UV sphere. And we're going to add a curve. Can do a VGA curve and scale this around ten. What you want to do though, is you want to make sure you're also apply to scale. Because if I now you'll get this length. And if I now apply a skill, you will see that the scale is way different, right? It was timestamp because we scale it around ten. So make sure you apply the skills. Otherwise, we will not have the correct length of this curve. So we can hide this for right now. We don't have to look at it because we're just going to focus on this. Select your ball and you want to go here into the object constraints. Now, we want to add an object constraints which is going to be followed bath. We want this ball to follow this curve. You can see here that it starts at the beginning of the curve, which is offset 0. If you move it around, you can see that around minus a 100, it'll reach the end. Even if I go further, it doesn't matter at minus a 100, it reaches the other end of the curve. This will also count if I make this curve longer. So let's say I'm put it here, then even there, a 100 will be this nth. Very, very simple. So one more thing that we want to do is we want to also make it follow the curve. Right now it just says the rotation stays the same. But if he choose follow-up curve, you can see that it moves around with it. It is a little bit hard to see right now. And also rotations will be very hard to see because this is just one solid color. I'm going to change the color a little bit with shading new, and then just use a noise texture. Let's look at our ball effect goes into the base color, and here we can at least see some stuff. So, yeah, just changed whatever you want to make it a little bit more feasible for you. But something that this will work great for me. So I'll go back to Layout. And here, just make sure you put on your viewport shading. Now I will show the difference between a follow-up curve and a naught. So this is following the curve. You can see that it moves a little bit width here at this point. I don't have this on, you'll see that it will always stay the same, right? So that is why we put follow curve on. The next thing that we need to do, we want to rotate this sphere. So go to item and we want to look for the rotation which it needs to rotate around. So it'll be wanted about it around the x axis? In my case, yes, could be different than your case. So x right-click and then add driver. We're going to use a try for this. You can see that we have a lot of options here. And if you go a little bit too far away, all these options disappear. But we can still get back to them. And we're going to do that right now. I'm going to animation. And here, instead of this being a dope sheets, I want to change it to the drivers. So here, and we're going to select our rotation. So this is the driver that we've just created. If you select it, you can see that now we have our driver curve here. But we want to edit this a little bit. So if you click on M or if you just drag this out here, we can see that we have a lot of options and we're going to select the drivers. So here we have even more options. We have here our little scripts, a little expressions and stuff. But we're going to look at that later. And here we have a variable. We need this. How does this work? Well, we want our lives fair while we are moving around this path. So what we're going to do is we're going to select here single property and S prop, we're gonna change this to curve and select this curve. Now, what I want to do is I want to change these names. So I want to change this as evaluation time or just evil. And then time like this with the lowest score here, the same evil. Time, which is a bath. Make sure they are the same because we're going to use them in our expression as well. The expression that you can see on screen right now is quite simple. We have minus two times the length divided by the diameter of the sphere, then times the fall time, which we have put in here, divided by the evil max for everyone that doesn't do any math. And also for me, it seemed quite confusing, but it is actually very, very simple. So here you're just going to do minus two times. And then I'm just going to click on Enter. So our expression stays here. Now we're going to look for our curve length. So what is the length of this curve? Well, as you guys know, we added this little add on hair. So go to edit curve info and then select this curve. Then click on Calculate the length of this active curve. So here, bam, just copy this control c, go back into your sphere and we're going to base this behind this little expression. Now, we need to divide this divide and we need to divide it by the diameter of the sphere. So I'm gonna click on Enter and look for the diameter. Also, this is very simple. We are just going to select our sphere, go to Item, scroll down, and here we have dimensions. So the diameter of this curve is just two. So behind here is going to be two. Now we're going to duplicate this. Now, a open brackets. And here we want our eval time. So just type eval time. This load text here has to be the same as you have here and here. Okay, so keep that in mind. Now what we want to do is we want to divide this by the evil max. What is evil Max? This evaluation time is essentially going to be the evil max. Okay? So our max, which is at the end of our whole animation, in this case will be 259. So this can differ a lot of times. It's just a 100. You go from 0 to a 100, but in some cases, a 100 won't be enough. So you can check it always hair, just put this number inside your code. So we can just do hundreds. And then close bracket, click enter and hair. A little code is ready. So now if we animate this around the curve, so select the curve. Here, go into object data properties. Beth animation. You can see that we can change this evaluation time. And when we change this at a 100 will be at the end, just as before, but now we have the correct rotation as is needed. And the cool thing about this is we can animate this. So at around frame 0, we want to right-click, insert keyframe. Let's do an iframe a 100. We want to make sure that evaluation time. Well, where should we put it? Let's just put it at minus 100. So all the way at the ends, right-click, insert keyframe. So here from frame 0 to a 100, we have this animation. The cool thing about this is we can also go to Graph Editor and we can change this graph. Even this interpolation mode can be changed. So interpolation, let's do bounce. And you can see that now we have a very cool animation which works correctly. And yep, that's it.
9. Exercise 3.1: Rolling stairs - modeling: So here we are in a blender and we're going to create, of course, a sphere. So get a UV sphere and we're going to use segments. Let's do 64 servings, 32. So from this geometry, we can also create our platform. So what I would like to do is select this whole edge loop, which goes around the x axis, here and here. Then duplicate it with shifty. Then I just five clicks, so it snaps back, click on P, and then separate by selection. So now if we hide the sphere, you can see that we have this circle here, which is sphere dot 001, which is a duplicate. We can rename this to platform. Platform. And now in the front view we can delete a few of these vertices. So just see, you can select off the vertices that you want to delete x and f vertices. Now on selected this vertex extruding upwards so around the z axis and just do with quite high. And this one and the end extra z also do this quite low. Why? Because we, we don't want to see like the bottom or the top of this model at all, then we want to extract this sideways so around the y-axis and I'm gonna do four. Okay, so what does this mean? This essentially means type four. We go four of these blender units to decide. So that seems to be a good length. And now we want to mirror this. So I would like to mirror this around the middle. But you will be able to see that if I now add a mirror modifier here, then do it around the y axis that we get a very big gap in between here because our origin is hair. If our origin is inside the middle, then we get the right results. So let's change the origin. I am going to select this whole edge loop here. Then click on shift s And put cursor to select it. So now our treaty cursor jumped from the middle to the middle of this geometry that we just selected. Then go here into object mode again, object. And now you set the origin to the treaty cursor. So bam, it can see that not only the origin jumped back here, but also our modifier Instantly works with that knowledge. So next thing, I also want to make sure my clipping is on because if it is off and I by accident or whatever, move, this one here, you can see that we get a huge gap. If it is own, I cannot move it from the y-axis. Okay, so it stays in deck in the middle, it stays there. And here I want to make it a little bit more solid because this just looks flat. So extra this around the x-axis and just put it like for BEC, so minus four. And then I'm going to scale it. Also skill x and ng-click on 0. So it's all flat. And then here in the back, I wanted to just finish off. And now that this is done, we want to make sure it looks a little bit better than this. It's not bad, but if we use a bevel than we already get some better corners. So with the bevel modifier, you can see that I can't really change a lot if I play around with this amount. That is because we are now baffling every single one of these edges. And I don't want to have all of them beveled. I only want these corners here. So I am going to select the corners that I want to have a bath along here, here and here. And what I'm gonna do now is I go here into item mean Bethel weight is going to be all the way to one. And what this means is that now I have set a weight to these edges. And in my Bevel modifier, I can change my limit method to weight. So it now takes into account everything that we've just put a weight on. So everything that we've just selected, you can see a little bit of a weird thing happening here. And this is because all of these vertices, like these edges are too close to each other. And the baffle doesn't know where it needs to go. It's kinda overlaps. So if we select all of these here and just move them a bit down, make sure you select all of them here, muffin down around the z axis, air. We can already see that it works way better. For some reason it's kinda messing up here. Let me also put these down. Maybe it works. We can just combine these. So if you just select them all, then m center, that works and can do the same here. All of these at a center, then just move this a bit down. They are quiet easy, but yeah, that's how we can do this, seems to be good. So now we could add a few more segments if you would like to shade smooth. And you can see you have the smooth shading at we have a little bit of a, another problem here. But if you use a sub deficient surface, this problem goes away quite quickly. So this is our model looks quite interesting. One thing to make it look more interesting, you could of course add more detail into this, right? So if we create another edge loop, control B, and then actually this inwards, maybe around the x-axis. Then zed excess hair, I know that this needs to be deleted. And then also the bottom. And the array looks a little bit better, but we also need to apply some weights hair. So here you can grab the edge select and then let me turn off all of this so we can actually see what we're doing. Going to select all of these edges and then mean beveled weight is going to be on. And now if we apply everything again, you can see that we have a very nice little Nimbit or whatever we can call this. Sadly, I don't know how to call this. The only problem is that you can see that it's not really flat anymore hammock top. So if you select the whole top edge loop skills at 0, and then also for the bottom, that will make them nice and flat. And that is essentially it. These kinds of things are very important to make your yes scene a little bit more appealing. It also works very good when you're trying to decorate with substance painter because substance pain there takes into account any of the edges that you have a, you can essentially mask those edges. So yeah, we'll look really cool. So as last sphere, we might want to change a little bit. It's just going to be the same. Select a sphere. Then we want to select this hair extrude scale shifts sets might want to delete this inner edge loops are just dissolve it. So x and then you can see here edge loops. And yeah, that seems to be quite okay. Now let's add a bevel. Let's do two or three segments, but I only want the bevel it around these edges Arad. So with angle we can do that very simply. Just make sure you put this a bit close to each other. Yeah, that's what a tree and that's it. Very easy. We can also, if you want, at a subdivision surface here, makes it even more clean. But that is essentially what I did and how I created this, Luke does so in the next part, I will show you how I did the materials. It will probably be quite short because I already talked about materials in three different sections of this whole class. But I still want to go over it very, very shortly. So let's go there and I'll see you guys there.
10. Exercise 3.2: Rolling stairs - materials: So here we are, and I'm going to talk a little bit about our preparations for substance painter. If you don't want to render this and substance payment, then you can kinda forget this. But I do want to, so I will show you how and important thing to do is if you have your model, you first want to apply these modifiers. So I'm gonna apply my Bevel and apply the subdivision surface. And yeah, I'm not going to have a high poly and the low poly in this case. So it is not going to be game ready, let's say. But for this animation that will bring great. I want to select the edges here, here on top and on the bottom. Then click a through E And Mark seem. Now if you go to UV Editing and select everything with a ng-click on new to unwrap your model, you will see that you have a nice UV on rep and you can start to texture this. Very cool. The same is for this piece here. So go back to layout, select this. I think everything looks fine. Maybe I want to add one extra edge pair. But yeah, let's go and apply our modifiers. If you think to submit to March, you can always go to one and then just apply it. And what you have here is a very messy blue looking, blue lines looking model. Just select everything with a, then make sure you're in a mean Bethel weight is 0 again. So when you normally do this very clean, you don't really want to do this. You want to have a low Pollyanna, HI polly. But in this case we just want to make a cool looking animation. So I don't want you guys to worry too much about the other stuff. But let's just go and make this quite simple for us. I'm going to select this part here. So select this whole edge loop. Let's add this edge loop. And same on this side. This whole edge loop, contour E, Mark CME. Let's go to a UV Editing. Select everything with a U and unwrap. Now we have this unwrapped and our spheres unwrapped and we can start to export them. So always make sure you save your files before you export and all that stuff. So save s And I'm going to save it. And then I can start to export these. So File Export, you can do it as OBJ or FBX. So make sure you only do the selected object. So I want to only have the one that I selected right now, which is a my platform. So I'm going to save it as a platform, exports and also our sphere. Inside substance painter, you can open a new file, new and select one of your models. So I'm gonna do the platform right now and click on ok. So here we have our platform as you can see, and I would like to add a material. I'm just gonna do a Smart material, just a very simple. Let's put on the steel painted. And you can see that it doesn't really resemble what we can see down here. Why is that? That is because none of our masks which are in here, are working. Because we need to have some of the mass like here, the edges damages. We need to know the edges of our model, right? The program needs to know the curvature. So how do we do this? Very simple. You just go down here, mesh maps and we can start to bake our mesh maps. I'm going to put my output size at like 2048 and use my low poly mesh as high polymer mesh. In this case, we don't need to add a high polymer mesh because we don't have a low Polly Anna, hi Polly. So this will be just whatever we need. Then click on bake and we can see that our baeg is starting. So now we are baking all of these maps here. And you can click on a game and you can see that our material are smart. Material is working way differently than the boss before. So now it is up to you to really play around with all of these options inside here. You can go into the curvature, for instance, and play around with the balance. And there are so many more options which you can do. Then you of course, just export your textures, File, Export textures. And here you can choose which texture should want to export. So config is quite important. You just choose a configuration which yeah, kinda work since I blender. So we have a metal rough works and blender spectrum was also so get juice, one of these, I think in this case I chose metal rough. So then export it and you can import them inside blender. I of course, already explained all of this, but this is kind of what I did with these models. And in the next part, I will explain to you how we create this animation. So see you guys, there.
11. Exercise 3.3: Rolling stairs - animation: So now we can start creating our animation. The first thing that we need to do is we need to create some extra blood forms because it needs to be sort of a stair, right? So I'm going to use an arrow modifier, gonna go around the y-axis. You can choose one. But if you don't want them so close together, you can put a little bit further away, but don't do it too far. So 0.01 further away would work great. Then the zx is, I like to do at 0.06. And you can see that now we have a little step to fall, Donald. And I like to recount higher. So let's do a round 12. And here you can see that we have loads of stairs. First, we need to add a path so this sphere can actually grow up on something. So I'm going to hide the platform for right now. And I'm going to add a curve path. This path, as you can see, goes the wrong way around. So I'm going to rotate it around the z axis for 90 degrees and then click on Enter. Then I'm going to scale it by five. Technical answer again. Now what we have is we have a nice Beth, it is 20 meters. You can see the x-axis, but let's apply the skills or through a applied scale. We're going to select our sphere. Click on Object Constraint properties at object constraint, and let's do follow path. We're going to use a target and that is going to be this new nerves, Beth. So now when we animate this path, so if you select the bath, click here and go to path animation, you can see, you can change the if innovation time. The thing is, I wanted to start here instead of on this point. So you can easily change this by just going into edit mode. Once you are inside your nerves, bath, select one of the segments, click on segments and then to switch direction, you can see that it automatically switches the direction and our sphere starts here. So essentially what is going to happen? This sphere is going to roll from right to left, right. And what you want to do here, if you want to look at the evaluation time at 0, it is at the start of your path and add a 100, it'll be at the end of your bath. If you go any further, you will be able to see that it doesn't really matter, right? Because at a 100, it is already at the end. So what you want to do now is you want to start thinking about how long you want this animation to take. I'm going to do a 150 frames. And what I'm gonna do is I'm going to add some extra keyframes to actually animate this. So at frame one, I want time to be 0. So right-click on it and insert keyframe. Then at frame a 150, I want this to be a 100. And then right-click and then insert keyframe. So right now you'll be able to see that from frame one, it starts to roll, or at least move around the path. And then at a frame, a 150, it reached the end. But our sphere is not rolling yet. What is the problem? Well, we need to make sure we add some drivers. I've talked about this before, but let's just do it again. Let's look for the rotation which we need. And we're going to need the y-axis in this case. So right-click, insert keyframe. Now I'm going to drag this up, get another section down here. And this is going to be our drivers. Now you can select your sphere. Now, make sure you don't do keyframes actually. So the leaf keyframes do drivers at driver does my mistake. So why eula rotation? Then just drag this out and we're gonna go to drivers. And what we want to do here is we want to start to add our expression. Our expression is going to be minus two times the length of your path or curve. In this case it was 20, right? So 20 times 20 divided by the diameter of this sphere, which is two. So here times the evil time divided by evil max, which in this case is a 100. So then we can close our brackets. We can allow execution. And what you can see here is that we have minus two times the length of your path divided by the diameter of the sphere times the evil time, divided by a 100, which essentially is just the evil max. But if we look here, we can see that our evil max or the evolution time, the maximum evaluation time is a 100. So that's the only thing you need to know. Then evil time, we need to get some extra variables in here because otherwise it doesn't work. So here we going to single property. We are going to change this to our curve. And here we can select this Nerves. Beth. Now we want to change this text. So evil, dime, SCA1 hair, so evil time. So now what should happen? It should have role when we start to rotate. And you can see that it works perfectly. So that it's literally the only thing you need to do. You can see Yet works good. So what ever we have done here, it works great. So you can see that you can change this expression to whatever size the sphere is, that whatever length this curve is, or whatever you evolution time will be in this box. So very cool. And now we can start to look at our platforms again, because at the frame one, we have our sphere hair. So let's go to click on three. And we want to move the stairs. So I am going to move them all liquid down. But we still want to be able to see this sphere on the beginning of this stair. So I'm going to click here. So what you can see here is. It is on one of these platforms. It is not like intersecting anything, so it's not like inside here and it is touching the bottom. So that's all that you need to know and that is all is good. So I just moved the platform itself. I don't move the sphere or Beth yet. So very cool. Now we can select our bath and we can look at where we wanted to create some of these keyframes. Because what we want to do is we want to start to animate this. Alright, so we want to start rolling our sphere. And then around here it should start to fall down. It doesn't do that, so we need to do that manually. So around frame 40, we can always change this by the way, well, let's do around frame 40. I'm going to add a location keyframe in my nerves bath. Then around frame. Let's do 45. When I click on g, z and move this down. So it touches this bottom of the platform again. So you only move down your nerves path, then click on AI and location. So now we can start to look at what our animation looks like. So it rolls and it falls down and Ross, I think it goes a little bit too quick. If I'm totally honest, you can barely see that it really fast down. And there is, of course, not really a little bouncy thing happening, but we'll add that later. So how can we make this rolling less quick? It's very easy if you just grab this keyframe in our nerves path, which is the evolution time keyframe, right? We put it at a 100. If we just move this to the right, you will be able to see that now. It only ends up here at frame under 5250. It will be, of course in the ends because then the evolution time is a 100th. Because we prolong this, you'll be able to see that now it rolls way slower. So it is your job to see kinda how far you are, how fast you want this to role. Maybe I'll do 200's. And now you'll see that it rolls slower. And of course a false a bit too early down, but we only have to move these keyframes. So I like the way that it's rolling now. Now I'm gonna move these keyframes just so it fits. So around here probably needs to start falling down. Let's look. Maybe a bit earlier. It is okay if it goes a little bit through this through this platform because we're going to look at it from hair. So you will not really see if it kinda clips it. And you can see here, you will not be able to see that. So that is not the worst that can happen. The thing is though, like it falls down, which is cool, but it does not really have a bouncy feeling. So how do we do that? Also, very, very easy. We actually need to select this keyframe, give frame before it falls down. So right now it is at 52. And then what you do is you select this keyframe, go to interpolation, and change it to bounce. And you can see that this curve here now has a bouncy graph to it. So now if we play, as you can see that it bounces. This bonds goes a bit too quick. So you can just move this keyframe like the last keyframe further away. And this will make the bouncer longer as you can see. So going, going, going, which looks way cooler in my honest opinion. Very cool. So we can do the exact same in this other stairs. So at, so now it's fell down one stair and we can do the same. And this one southbound frame ADT we can give it another location. And then around frame, how long's this 52 till 40 or 64. So it's around 12 further. Whatever eye location, something like that. And what you can do here, of course have to move it down first i had so i location. And then aswell as before, the first frame will be bouncy frame. And then you can see that if it played as it bounces and bounces again. So we can do this one more time essentially. So unframed with say, a 110 eye location and a frame 122 G. Let's make sure it is nice on it. I location, select the first, first, and then the shape curve and then do bounce. So let's look how it all looks and if we need to change anything. So wrote that join bounces and bounces. Perfect. That is the only thing that we need. And we will just make this animation that say like a 100 at 30 frames instead of a 150. And then that's it. That's what we need to do. And in the next part, I will show you guys how we put the camera. And I'll see you guys there.
12. Exercise 3.4: Rolling stairs - Camera setup: So we have our animation done, and now we also need to set up a camera, describes a few steps. And I will try to explain as clearly as possible if there are any questions, just ask down below, but you should be able to follow it to be honest. So here, let's select everything, click on H to hide everything else. I'll also put on my screencast keys so you can see down here whatever I'm clicking. Now, I'm going to move this a bit up here and we're going to add a camera. So just go here. And a camera. This camera, you can change the multiple ways. That one thing that I chase for sure, let's go here into the Output Settings and make this resolution square. Right now, if you click 0, you can see that we have this kind of a output. This is our resolution. If you put this through 1080 by 1000 AD, you can see that it is a nice n square. Awesome. So let's go and also delete our first gamma. Actually, we don't want this, this camera can Basel. Now we have a camera here and we also want to add a curve with a bath, right? So a bath. Now we are also going to animate our Caremark just the way that we estimated our sphere. So just click on shift a at a curve path, we're going to rotate this or not, the zed axis for 90 degrees. Scale it up by five, which is all the same steps which we did for the sphere. Now, select your camera, go here into object constraints. Object constraints followed Beth. And we're going to select, of course, our newly created Beth. Also, this camera starts at the wrong side. So just go here and select the segments and switched direction. Now, a camera starts from this direction. The only thing we have to do now is move this bath and you can see that the camera follows with us, with us. So click on ALT H to unhide everything else. And we want to go to the first frame just to see where we start with our camera. Now, with our camera Beth selected, we go to this side view and we want to rotate this beth. Otherwise what will happen is we will just go with a camera in a straight line. We actually want to rotate at something like this. So how do we know how far we have to rotate it? I like to just go down here and then move it up. So it's kinda touches all of these little corners of the of the platforms. This is just a handy little trick. It's not very precise, but it works great for this methods. So just moved a bit down. It doesn't have to be too perfect. But yet this seemed to work awesome. If you have this kind of fall off, then it will work great. And what we can do now is we can grab another scene out of hair. And in this write scene, I'm going to click on 0. What that does is it will show us the camera view. And then here I'm going to move only this bef around, which will change our camera view. We can also of course, rotate this gamma so we can actually look at our sphere, right? So rotated sets, rotate, distributed around, but only rotated because we want to have it in the same spot. Okay. So what I like here is if my camera is just nicely pointed at what we are looking at, which is in this case the sphere. And I put it a little bit lower because you will be able to see that if we go to one of these corners and our cameras also here, that the sphere will get out of our screen, which I do not want. So you can, or move this back a little bit up or it can move a bit further away so we can see a bigger bottle of our scene. You can also rotate, force the camera a little bit, which is also possible. There are many ways to change this, as you can see. So let's go back to frame one. And also this one goes to F elevation time at 0. Somewhere like this. Play a little bit around what this will look great. Now the last thing that we need to do is we need to estimate this evacuation time. So click on insert keyframe, right-click insert keyframe on inflation time 0, when you are at frame one, your first frame. Then let's go to a frame, a 130 or your last frame, and then just go into the evaluation time and drag this evaluation time until you can see your sphere again around in the middle of your camera. Right-click and insert keyframe. There's one big problem that we have to solve and then you're done. So you will see that if enough start to play it on camera will move further. Then our sphere, Y s, This, there's one reason why this happens, and that is the falloff. So if we look at our graph here, you can see that our evaluation time, which is this curve, is not flat because there is a curve here. That means that it is slower than beginning, then starts to speed up and slow in the end again, right? So if we just select R first keyframe here, or just select the spots, then go to interpolation and Buddhist to linear. You can see it now this is straight. Our camera will be at the same speed at all times with a beige, it kinda has a false, so it will start slow and also n slow, but now it is the same speed. We have to do exactly the same for the bath of the sphere. So if you clicked on the path of the sphere, you will be able to see that also this line here start slow and also ends up slow in the end again because the interpolation is BJ. Boot this also to linear. Very cool. So now it will start to see that if we display this, we have, of course our camera few. We will have the same speed of both of these models. Just the last frame, we need to adjust a little bit. So select the camera Beth. Then as less frame just changed evaluation time slider until it's in the middle again, right-click and replace the keyframe. So now everything is set up and you'll see that it is always in the middle. And this is perfect. So now you can start to render your sphere. I hope you guys learned from this. I wish you good luck for any questions. Please ask down below. And otherwise, I'll see your renders come by.
13. Exercise 4.1: Rolling spiral - modeling: Here we are inside blender. And the first thing that we're going through, we're going to delete this cube and we're going to add the sphere. This sphere is of course going to roll around in our scene. Now, I like to go to my top view, which is not bad seven. Then I'm going to move this around the x-axis for three. If you wanted to roll around and run like a biggest circle than you do, of course, further, if you want to roll around and around a smaller circle than you do it less. But the amount that I like is three. Now we need something for this ball to roll up on. We're going to name this track. So we need to create our trek. And I'm just going to go here. I'm going to select these two edge loops here. So around the x-axis, shift D to duplicate it, then right-click and it snaps right back where it should be. P. Two, separate our selection. So now what we have just as a little circle here. So you might think, well, I could just also add a circle. Why do I need to do all of this extra stuff? Well, the thing is, if you want a bigger or a smallest sphere, this technique will always work and it will have the exact same size as the sphere. So that's why I like to do it this way. Now, we need to screw this around. So here modifiers at modifier and V are going to add a screw modifier. So this just creates a little sphere. Why is that? Well, our modifiers work or bound the origins of the models itself. And our origin is here. So it tries to like a screw around here and that is not readable. We need, we want it to screw around the middle box. Our origin of our model is here. So we could move this origin. Or what we can do is with this xs object, we can add an object, and let's just do a cube in the middle, then select this cube. And now the modifier will use the origin of this model as the origin used in this modifier. So here we have a little donuts. Very cool, but I want to this screw a little bit bigger. It can instantly see what is happening. So you can make it bigger, smaller, and you can also move it up in iterations, as you can see here. Very, very cool. In this case, we're going to keep it at one and I will do the screw at three. Now, what we want to do is we want our sphere to roll in here. So yeah, it does role in here, but it's all closed off. And I thought it would be fun if we just expand the selection. So if you select this top vertex, then click on Control plus you can expand your selection. If you go too far, you click a contra minus a can shrink that expanded selection again. But yeah, I'm going to select it until here, then click on X and delete these vertices. And here we have our nice track where our bulk and roll up on. Before we are going to apply this screw modifier, we're going to enter the top view. And here you can see that this shape is submits to blocky, right? It's not, the geometry is not dense enough. So what you can do steps viewport instead of 16, put it up to 40 or even higher. And now we get a nice and smooth Yes circle. So now we can apply a screw modifier. Go in here. Click on apply. You can also do control a. Now that it is applied, you do not have a curve anymore, but this is actually a mesh. So I want to select this edge loop here, click on seven and just click on until we reach this line, P and separate the selection. Now we have two separate parts of this because one is to go up, one down, and we can create our animation if this one thing though, I do not really want to edit them both. So extra this one then x to the other one. That is why I'm going to delete one part. And later on I will just duplicated and voted this one over here. So what is this weird dark line here? Why do we have it? Well, it is very easy to explain. If you just go here and look at their face orientation, you can see that our normals are flipped on 1.5. So we have red and blue. We want blue to be here. So what we're going to do is we're going to select everything with a mesh. Normals, ache and recalculate outside. You can also just click on shift n, bam. So red or blue doesn't really matter at this point, but maybe later on we need to recalculate it again. So now at least this line is gone and we will see later if we need to recalculate it again. But because normally you want blue to be on the outside of your mesh. But right now it is just a single layer, so it doesn't really have an outside or inside. So you're going to select all of these vertices, extra roots, and then around the z axis. And we're going to move it around here, make it whatever thickness she wanted to be, and then shift. Select your going to deselect. These outer edge loops are the inner and outer one. Now that these are de-selected, you can just delete all the unnecessary vertices. Now what we can do is we can select these four vertices, click on f, then select this edge and just click on f, two fill all these phases until here. Then you can see we have a nice and flat bottom. If I click on f again, you can see that, yeah, this doesn't really work because this edge loop hair has way more vertices then the one below it. So how do we do this? Well, you can just select this edge all the way over here. So all of these vertices. And if look down here, you can see how many of selected. If you cannot see this, right-click and make sure you're seen statistics are on. Now we can see that we have 11 vertices. So if we just create also 11 vertices down here, what you can do is you can just click on contra are typing 11, click on Enter. And now we have 11 here and 11 there. So if you just select this edge loop on the edge, click on f and it will fill up all of these edges because we have the same amount of vertices on top as on the bottom. Let's do it on both the sides. Are mom. And now we have these gaps filled up. Perfect. So now that this is done, we can start to create some modifiers and make this look a little bit more clean, more interesting and nicer. So add modifier and we're going to add a bevel. The problem that the Bethel, which you've probably already can see here, and you can see it even better if I make this smaller, is that we create also a bevel around these edges. We don't want it, we want this to be smooth. What I personally like to do is go to limit method from non, and I'll put this to angle. Now, everything above an angle 30, we'll have a bevel, but everything below does not. And these are not below by, by the way, you can also change this angle if you would like to. But 30 seems to be okay. And you can see that these sharper edges which are around 90 degrees, will have a bevel. And all of these, yeah, softer edges that we want here don't have a bevel, So that's this perfect. Now, I like to play you a little bit around with the amount of bef O'Hare and the segments. So maybe I do two or three segments. Play a little bit around if the amounts, and then I can add another modifier. Maybe the self-sufficient service will do this goods, and I think it does, looks very clean. The only problem is these corners here. They get a little bit soft and that is because we have a very big distance between these vertices. So the baffle will also be a bit bigger. Let's say you can just add a new edge loop in here if you want to. And let's do it here and hair. And this already makes it look a little bit better. Awesome. So this looks fine, and especially from further away, it looks perfect. So let's not double in this too much. So next thing that we are going to do is we are going to UV on rep, this, this is not entirely necessary. What I personally like it because then I have more control over the textures that i'm gonna put later on. So it's going to be a very, very simple. If you turn this off, it's going to be even more easy. So these little real-time displays. And then I'm going to put on my Edge Selection. And then I'm going to select all the edges to where I want my UV on rep to be. So here, also around here, and in the bottom, I'm going to do both of them. So bam, bam, if you're happy with your selection country Mark scheme. And here we can see our whole seam around here. Looks goods. Then select everything you and unwrap. So our unwrap, you can see very easily as a UV Editing. And here is our unwraps model. I already noted this. It doesn't have too much stretching. You can always check it up, but in this case it's not really necessary. So we're gonna keep it at this. Let's put our bevel on and our subdivisions as well. And what we want to do now is we want to create a kind of a frame on the Neith with a bowl. So it doesn't look like this is just flying. We actually have a yeah, a pole. It is pushing it up and pushing it down. So I'm first going to create this frame. So in a bottom phew, I'm going to select these four vertices all the way around, all the way over here as well. Bam, shift D and then be selection. So here is this part. And if we want to make this thicker, it's very easy if we just go to object, conferred to curve from mesh. So yeah, selected this go object and then make the curve from the mesh. Then go here into your object out the properties of this curve geometry and change the bevel to, yeah, just a little bit thicker. So here we have our starting frame, let's say. So if you get this outer part back here, you can see that they have a very nice frame underneath of this track, let's say. So you can move this a bit down. If you want to give it a shade smooth, then just click on W and here its shades move, BAM. And you can of course, also give this some soft deficiency if you would like to. You are also able to change the shape of this. So you can even remove some vertices like let's say we don't really need those vertices because that a straight. Anyways, then select this, moved a little bit up, like all of this is possible. Just yeah, make yours look as good as possible. But be wary that you don't really see this a lot or heights. It's kinda look at them like the animation like this. So it's more that this little bottom part you can see, but we're not really looking down here. Next thing, we want a little poll, which is pushing it up and down. I just selected this frame again, then just select these two vertices. Those are the ones that are aligned to the y-axis. Then click on shift s And do cursor to select it. The cursor will just snap to the, like the average of these two selections, so the middle of them. Now we can add a cylinder, and I don't want the cylinder to have any caps. So here in add cylinder you can just kept filled type nothing because we're not going to see the bottom or the top. Anyways, you can scale this down, go and edit mode. Select this edge loop here in the bottom and just move it down. And yeah, just choose what kind of size you want. You don't have to be too specific here. But yeah, that's good. If the shades move and yeah, you can even create another cylinder rotated around the x-axis, make it very small hair. And then something that this would work as well. Then you have like solving that connects these. But normally you don't even see this one because you will never go this low in this animation, but yet it makes it more realistic. So whatever. And what do we do now is, yeah, this is kinda done, right? But now watts, because we need another part, we're just going to duplicate both the frame and everything of this side to this other sides. But how do we do this? Very simple. Click on shift C. So your 3D cursor is back in the middle. Then your fifth here should be 3D cursor. You can duplicate everything. Then rotate this around, rotate 180. So now it is rotated at a 180 degrees around this middle point. So you can see that it works great. It just doesn't have the right height. If you remember correctly. What we did before is we had a screw with our modifier of three. But because we only have half of a modal left, we just need to do g set minus 1.5. So what it means is instead of the three, we take half of it and that needs to be down. It's also a little bit weird, but it's quite easy. I hope you guys understand this, but otherwise, just do whatever I'm doing and it will be, it will be good. You can also just look very closely here and just match them up like whatever you want, right? There's no, this is art so you don't have to be too specific, but this is just the easiest way that I felt awesome. So this is kind of yeah, but we want it. We have our nice track here. We have an acid base for this. The one problem is, I don't really want to animate each of these things. Like by itself. I just want to move this, this one and everything moves with it. This is very easily done. If you select all of these frame parts, then as last this track, then click on comfort p and you parent all the objects to your last selection, which is the track, so object. And now what happens if I move this track? You will see that all of these other models move with it. So you can do the same for despots, bam, construct V, and then set barren to object. Very, very easy, very nice. This is perfect for our first part. And then the next part, we're going to go further and start the animation. I see you guys there.
14. Exercise 4.2: Rolling spiral - materials: Okay, it is time for our animation. So in the last part, we've created all of this and we want to create our animation right now, which is going to be quite, quite simple. You gotta keep in mind that we have our sphere here. And the sphere already has the right position. And what we'll do is we want to make sure that the middle of the sphere that we start our curve there. So what we're gonna do is we're going to select the sphere, can shift S cursor to select it. Now what I'd like to do is I'd like to add a plane. So if we had everything else off, so just select on the plane. What we can do is we can create yet two edge loops here, and this creates a nice little vertex in the middle. We're going to delete all of these other vertices. I know it seems a bit weird through all of the stuff just for one vertex. But from here we can actually extrude everything and create the curve that we need. So add modifier, we are going to do the screw modifier, just like the tracks that we did in part one. And what we're going to do now is we are going to make sure we select the same cube as well, because we want this excess objects to be here. So here's a little line. And if you guys still remember, in the last part, we did a screw of three. That is great. And let's look at our am oliver. Other stuff. You can see that it stays nice in the middle, less part. We also did a steps few ports of think with 40, right? So let's also do with here. It's nice and smooth. But that seems to be, yeah, the right counts. The only thing that we need to do though, we need to make sure our iterations are going up. So let's do an iteration of three. I'm happy with this. And what you can do is you can apply this. So here apply, and now this essentially are, yeah, these are vertices. So this is still seen as a mesh, but we wanted to be seen as a curve. So select this mesh object, convert to curve from mesh. So now it is a curve. If we select our sphere, we can go here into object constraints and then add an object constraints which is going to be follow path. And we're going to follow this path. And now if you animate Beth, you can see that it starts from the top. And if we play around with this offset, it goes to the bottom. The one problem though, is that you can see that it is not really in the middle. So if you go to item, you can see that the x location is still at three. You could just put this to 0 and that will be fine. Now, you can see that if you play around with this offset, it will just follow this, yeah, this shape. I also like to put falloff curve on. And now what I'd like to do is make sure this ball actually also rotates. How do we do this? We'll do this with drivers. So how do we create these drivers? While first lecture sphere? And we need to know a way which we want to rotate this around. So the rotation is going to be, in this case around the x axis because we want to make sure it rotates a add the right ways. So yes, right-click on the x and then add driver. Now you can see a lot of options. If a go away, you can see that they disappear. We can still get them back. And that is the first thing that we're gonna do because we're going to move this up, create a new. And it'll layer hair. Tab here. Move this opposite well again. And then we are going to change this one to drivers. Now you can see your ex utero rotation. This is this one. If you select it and click on n, We got some extra options in here. You can also just click on this little arrow here. Here we have some extra options. And here you can choose drivers. And here we have for expression. So the expression, we're gonna put some code. The code is minus two times the curve length divided by the diameter times the evil time divided by evil. Next. So this is the expression that we are working with, but we have to find some of these values. So the curve length should be the length of this curve. We need to find that out, figure it out somehow. The diameter is the diameter of this sphere. So we can also figure that out. Then we have an eval time, which we need to booth here into one of the variables. We're going to do that later on. And then we have an eval Max. And the economics is the amount of frames you use for your animation. So let's start with the curve length. How do we get the curve length of this curve? It is not two hearts, but it was kind of figuring out for me how to do this. We have a nice little option here which is called measure. I'm just going to hide everything else off just so we can focus on this. So go into edit mode and we're going to click on measure. I want to measure from here till here. What you can see is if I just click, it looked like I went on here, right, I just left-click and then left-click to here. But it didn't snap to these vertices. But you can just reselect it, make sure you hold control, and now it will snap towards a vertex. This other one is going to be the same. I'm just going to snap it to this one for some reason. It doesn't really want to snap to the first one. But it doesn't matter because each one of these vertices or edges have the same length in between them. So one of them is 0 dot 476692. Okay? So what do we do if this, well, what we're gonna do with this is we're going to duplicate it by the amount of edges that we actually have. So let me show you what I mean. So 0 dot 476692 times, which is going to be sec, everything. And here we can see the amount of vertices. You have to remember that the first and the last vertex don't connect with each other. So these are a 120 edges. So if you do this times a 120, then we have 57.20304. So if you just do 57.2 This is going to be, let's go back to this drive for the curve length values. So select the curve length. And then we're going to foods this length instead of the text curve length. Now the diameter. So make sure you click on enter when you are happy with what you put there. Otherwise it doesn't put it there, it just snaps back. So the next thing we need the diameter of this ball. So select the sphere and the dimension is just the diameter. So this is two. So here dy meter is two. So now we have minus two times 57 dot TH2 divided by two times E If all time divided by evil mx. So SRA told you guys before, Evo Max is a 100, so 100 and enter evil time. We keep here. So this is all that we need for our expression. This is our little code that we've created. Now scroll down and this is going to be our little variable that we need. Here. We're going to make sure this is a single property. And instead of var, This will be our evil time. Make sure you write this one the same way you write it here. As we're going to use Curve. Select this curve, assure prop curve. And then especially if we're going to do exactly the same here, evil on the score. Time, by the way, makes sure these things here are not comas, but that should be dots, okay? And now it should work. So here what you can do is if you start playing, you can see that it starts to rotate around while it is moving around the evil time. So we should give this some materials. So let's go into shading. And what you can do here is we can just give the so material. So here, let's select the middle of this. And I'm gong to UV unwrap this. So e, mark seem a, you unwrap. And for the materials, I would like you guys to just, you know, play a little bit around with what materials you think a school. But I'll show you a very nice add-on which is Edit Preferences. And it is called the node wrangler. So nodes wrangler, which you can see here, make sure you put it on and then save your preferences. What you can do now is you can create a new material, so just click on New. And here we can select the principal shader, then click on control shift T. And here you can add a principles texture setup, as you can see. Now, you can take one of the textures that you would like. And I get these textures from texture haven. This is the websites you have free textures which you can even use commercially. And you can just download them for free so you don't have to pay anything. Just go to Browse textures and you can choose whatever you think looks cool. So yeah, I chose one of these, but let's say we are choosing this one. You can then download. Yeah, you can choose whatever you want to download. Maybe you want to only download the diffuse or displacements or just all the maps. And they can choose which resolution you wanted to download your texture. So you want the 2K or 4K. We'd like to image JPEG or PNG. In this case, either the 4K, P and G. It might be a little bit on the high end, but yeah, I like it to just choose for yourself. And then you get all of these textures. Now you can choose what you want to apply into this principle shader. So I would like to defuse, I would like the normal map, I would like the specular map, and I would like the roughness map with control. If you hold control, you can select them piece-by-piece. Then I'll click on this blue principled textures setup. And here you can see that everything is edit. We need to wait a little bit for it to actually calculate. And here it is. So you'll need to check this up a little bit because I remember I did not put a metallic map in here, so I'm gonna delete this one. I think this one should be good to diffuse. We have a color space, SRGB, This is good. Specular is a non-color goes into the specular, that is goods. Roughness. Monocular cues to the roughness is good. And then as last we have our normal map goes into our normal map node, and then into the normal also is known color so that it's perfect. And here we have everything already set to argue fees in MIP node. So you can see that this saves a lot of time. Inca put amazing dexterous in yet just a few seconds on hair. So let's go back to our animation or whatever we have. And if you play this now, you will be able to see that it rotates the correct way. Display a little bit around if these materials I would really like to see what you guys come up with. I don't really want you guys to just copy me or anything. I would really like to see some different kind of color schemes and all of that stuff. But this is kind of the way that I approach this. And it's exactly the same for these. Like, you know, you can just copy even that material if you want to. I think I used this material as well for yeah, myTag, my animation. And maybe we want a different one from here. Doesn't matter. Display a little bit or rather fraught you have. So now that you guys know how to create this curve, we have the driver said, you know how to create some materials. And I would really like if you guys now put some materials on every part of the model I've now, then you can go onto the next part. And in the next part, you're going to learn how to animate this. So I'll see you guys there. We're going to animate it and creates Ugo lightings hood will actually look decent. So I see you guys there.
15. Exercise 4.3: Rolling spiral - animation: Okay, so we have reached to the last part and we're going to do the animation and also a little bit of the studio and the background and that shebang. But let's first look at the curve that we have. If you play this, you can see that the animation works, but it goes quite quick, maybe a bit too quick in my opinion. So I want to select the curve, go in here, and then go to path animation and change the frames to, let's do 400. Now if you play it, you will see that it will go way slower. And yeah, it's just more interesting in this kind of animation. So another, the speed is good. What do we want to do is we want to make sure, yeah, we are actually animating it. So this curve has to be in the right position. It needs to go down. So g, Z, three minus three, it's almost there, Jesus, at minus three. So if you move it six around the z axis downwards, you can see that it ends up perfectly. And now you can see that if we animated, it will roll down perfectly on grounds. These tracks. Very, very cool. So how did I start my animation? I actually started with this one up, so G3. And here you can see that this is the starting position of every model in my animation. So what do you want to animate? This track, this track, and this curve. So click on the track. I look rot skill. I, Locke wrote skill and also this one, lacrosse scale. So now everything starts here at around frame T10. You can just look at it as well like, okay, it starts to roll around here. I want this Barthes and the curve to move up. So it rolls again on, yeah, it starts to keep rolling on this other track, right? So how do we do this? Well, just go to frame 20. Then select both that curve and this track that you want to move up, G, z, three. And now you can see that it ends up perfectly here. And now you just want to key frame this. So I loc dot scale for a track and also for this curve, I lacrosse skill for a curve. Then our ground frame 60. Then around frame 80, we want to start moving everything. But before I'm going to move this one up, I want to make sure a fret around frame AT that, everything has, again, some keyframes set to it. Because if I don't do it, I will show you if I don't put the keyframes here. And then I go to frame, let's say 120. And move these up around three. Do I lock lot skill. You will see that this part will already start moving up because I did not create another key frame for it. C. So that is why these, this key frame and reframe 80 is quite important. So I'm just going to select this one copy adrift sea and then phi. So it will just copy this part here and app-based there. But now we will see that f, the frame 80, it starts to move up. Amazing. So at frame a 120 it is all the way up, which seems great. Then around 140 we want, maybe even further, maybe 145. We want to create keyframes for every part again, so i, location plays a scale for all of these. And then add the round frame, 180, maybe 85. I want this part and the curve to move up three, creates some keyframes. Oh, not skill, location, Rotation scale. And then that should be fine. And here it will start to roll down so around frame 200. And then we're going to create some extra keyframes. Again, I look cross-scale. This, this and this. And then at frame 250 is of course going up. G sets three, G, three solver around. This would be great. And then make sure you get some keyframes in here. And here we can see that if a player animation was up and it goes their moves up. And it just Thus it, how ever we wanted to. So I really enjoyed this and this is kind of what I did with our animation anyways. And the only thing I did now is I placed a camera so you can place your camera just by looking through your few hair, karma too few, and find a nice position. So I think that's Luke. Somewhere around here will be okay. The problem is, if you now want to run this loop, what Luke, where are like ball and our animation goes, it goes up. So here we can't even see it anymore. So how do we actually keep seeing this? Well, what I did, I used an object constraint, but I use the Object Constraint not on my actual camera, but I first parented the camera to an empty. Let me first show you what the camera does if I just do an object constraints around the camera. So the object constraint that I was working with, you can go here. Object constraints. And I, and I did Object Constraint, which is Gopi location. Now I only wanted to use the zip location. So up and down. And at targeted this sphere, the problem, as you can already see, is that I cannot move my camera up or down. That is the big problem because our location will be always at the same place. So you are kind of forced to keep your rotation at the free, like at 90 or little bit lower, a little bit less. But this is not really what you want because I want to look down on my sphere and go with the sphere. So what I did instead of having this copy location, what I did is I created an empty plain X's, move it around the y axis. And that's also move the camera there. Then I parented the camera towards this empty. So going from B, set parent to object. So now the cool thing is if we put this object constraint on the empty, so octa Constraint copy location on the empty, only the z axis. And now we put the targets towards this sphere. The fun thing is this empty will have the same z axis location as the sphere. But we have a lot of freedom now with our camera. So if I just move my camera to wherever I want to. So let's say I wanted to look at from here. You can see that because our empty moves us up and down, we will still be able to see whatever you want to see. If we can move our camera object and rotate it to whatever way we want to. And yet depth gives us a lot of freedom. And yeah, that's kind of the way that I like to render this. And yet this way it also stays always in the middle because we are following this sphere and we want our sphere to be the focal point of this whole animation. So great. And the only thing that I really want to show you is maybe the background. I created a cool little background than here and it's super, super simple to create. Yeah, you just need to give it some nice materials. But here, I just went over and created a plane. This plane I'm going to rotate for 90 degrees around the X axis. And I'm just gonna hide everything else just so we can folks on this. So what I did here is I went and created three edge loops here and here. And then I selected these vertices in the middle. Now, you can go to Mesh, transform to sphere. And here you can move your mouse up and down and you can see that it's tries to transform a sphere, which is what we want. So now it's circular acid can get, and you've selected this from in the middle, and then you just, oh, extruded a bit backwards. So the cool thing about this is if we give this a modifiers, so a bevel modifier. And I'm going to use the angle. Make sure the amounts of bid less. You can see here that if we add also a sufficient surface, that we get a nice and yeah, more of a smooth shape. The baffle is also trying to Bethel this which I don't like. So I am going to put my angle a little bit odd, but you can see now that they have a nice spherical shape surrounds an angle of 40 or 50, it starts to look good. And now the only thing you have to do is create some extra areas in here. So count of three or four, great. Another arrow modifier, not the x axis, about the y axis in this case for one. And then also I don't know, count of four. The only thing that you have to make sure of that these merge buttons are clicked on. And the one problem that we have now is we should have these area modifiers before we are actually baffling and subdividing it. So just put them, so you can just put them up like this. Bam. So array's first, and then you get your Bevel and self-sufficient. So, and here we have a cool background. And I think the only material that I gave this as just a nice white material with a roughness of 0.1 Soviet idle or 0.05. it's, it's really, really simple. I am not really going to explain to you guys too much about how our random this. But what I will show you is that if you go here into the world setting and you just add a very nice environment texture. And this texture you can also get from HGRI haven. And yeah, I just picked gala interior, I think. And then what you can do is you can see that everything is already lit nicely. Just make sure your skill this, put it in the back, but you can see that the lighting already is quite interesting and that's kind of everything that we did, right? So the materials you guys know how to put, you know, the background now you know that animation and all of that stuff and are really, would hope you guys would share this with me. So yeah, show me your renders and I see you guys in the next one.
David Jaasma, 3D enthousiast and ofcourse teacher.
