ANIMATIONS in LUMION. What can you do?

1. Introduction: Would you like to create incredible animations in Lumia? Would you like to sign up your imagination and bring their projects to life? In that case, this is your course. During this class, I will teach you how to use Lumia and do its mass. In order to get amazing animations, you will need to have a little knowledge about luteum to follow these different episodes. We will start having a look about the basics of the movie mode. We will create our first animation. This would be the structure for the next episode where things will become complex. In this second episode, we will go deeper into the movie mode and it's most important effects. We would work with a thing called key frames, which is very important if we want to get an excellent final result. Eventually, we will end up this episode getting an incredible professional animation. In the last episode, we would work with a new effect of Lumina 11, the animated face. In effect, this effect will open up a new world of possibilities to tell our project and we will make the best of it. Once you have finished this class, I assure you that you will be able to create amazing animations and you will make your projects sign in a professional way. Are you ready? Because we start. 2. Starting with the movie mode: Hello everybody and welcome to this new episode of This lithium course in where we are going to go to this movie or film mode. So I will click here and we will find these new menu with different options. As you can see here, we have different literal Windows. And if I click any of these windows, I have these three options. First one is record in case that we want to record a movie. Next one is image from file, in case that we want to insert an image like a static frame to our movie. And the last option is a movie from file. This means that we can insert a movie MP4 file in order to compose our future movie. We will start by record something. So I click here and then this big window connected with the build mode will appear with these sliders that we already know. So once here, we have to choose our point of view. Let's do like a panoramic view from here for example, it could be a very good start point. I will adjust my focal length to 20 millimeters. And what I am okay with this point of view, I will have to click here at camera keyframe. Then I will move the camera to the next keyframe. So let's go to the left side. Once I have decided my second of view, I will click again on Add camera keyframe. And then we will have two keyframes. With these two keyframes, Let's say that we have composed a clip. We could do it longer, just clicking here or shorter. If we want to watch it, We have just to click Play, and here we are. So the way Lumia makes our movies is very simple. We have to decide some keyframes and the camera will travel from one to another, recording that traveling technologies that here we can through these options, make a smooth the ECM, or make a smooth that out. Once we are happy with the result, we will click here and our first clip has been recorded. Once here we have three options available. We have the option to edit the clip. If I click here, I will go inside again. And here we can do whatever we want. I will say, okay, we can as well rendered this clip, just this clip in case that we have many of them and we can erase it clicking twice on here. Furthermore, if we want to have a preview of this clip without going inside, we can do it by clicking here play, and we have that preview at the main window. And once we're happy with our first clip, Let's do another one. So I will click on this window and these three options will appear again. I will say that I want to record another clip, and this time my point of view will be as a human being. So for example, I will start the clip from here. I will say that I want my eye level at 1.6 meters. I will fix the horizontal eye level and the focal length is okay. I will add a camera keyframe and I will move myself to the swimming pool. Once here, I will set the eye level again and I will add another camera. I will move to the right side. For example, here, another key frame. I will set the eye level again. I will add another camera keyframe. I will go towards this corridor, said the eye level, another keyframe. And I will finish my clip here at the swimming pool, set eye level. Another keyframe, looking at the swimming pool with the statue at the left side, you can see that the total length is 22 seconds. Let's say that we want to make it 25. And let's have a preview of this clip. Here we are. Then we turn right Towards the corridor in case we don't like, for example, that movement of the camera when we went through the pillar, we can go to that key frame and just delete it. Then we should go to the previous one here near the swimming pool. I will move myself again to my Desire point here, for example, I will set the eye level again and I will insert a new camera keyframe between the swimming pool and the corridor. Here we are. Let's have a look again about the full clip. Here we turn right. Now it seems that we will not go through the pillar much more better. We take the corridor. Once here, we finish looking at the right side. I think it's okay. Finally, we can use these options for making the beginning and the end more smooth. I will save your changes. And once we are back in our main panel, we can see that we have two clips now. And in case that I want to watch the full movie, I should go to here, entire movie. Click on it. And then this bar is representing the length of each clip separated by this line by 12. Have a preview of this full movie. I will click on play and we can see our movie. Here. It starts the second clip. And that's so I will pause the movie. I think that in the second clip when we are going through the corridor, the camera is too near to the wall. So I will fix that. I'm going here, I will click on Edit clip. Here I will go to the keyframe of the corridor. I will move the camera a little bit to the right side, and I will update the camera keyframe. I will save changes. At this point, our full movie is complete, but I would like to insert a cover. To do this, I will just drag my clips to the right side. Then I will click on the first box. And here I will say that I want an image from file. I will select, for example, this image. And here I have to arrange the duration in seconds. Five seconds is okay. So I will save the changes. And now we can see our image like another clip of our full movie. Let's have a look about the final result. So I will click entire movie and I would say clay, it's working correctly, so I will pause the movie. So once we have all the structure of the movie correctly, then it's time for adding some effects. As you already know, defects are here and we can choose between different templates or we can add effects individually. Here with the videos, it is exactly the same as we worked with photos. Yes, in this case with the image. We can add a template, but we can add some effects, not all of them, of course, but if we go to Artistic, then we will find several options which are available for us in case that we want to add effects to our eclipse, then I recommend you to use a template for this example. Let's use this over gas template. Once we have loaded the overcast template, let's add the AST defects as we already know. So I will start with a real sky. I will increase a little bit the brightness, and I will move the heading in order to get the sun in a better position. Here, it could be fine. I will disable the fog, I will not touch the sharpen and exposure color correction. I will increase a little bit the temperature, and I will decrease a little bit the saturation 0.8 reflection. I will add some reflection planes, for example, the swimming pool and the glasses. So here, another plane here, another plane here. And the last one for this class, I will say OK, and I will jump to the next effect here. He pearlite. I will increase the pearlite to 50 percent, at least a skylight. I will turn on a skylight internal reflection, and the skylight in projected reflections and shadows. I will leave it like that. Once we have arranged our overcast template, maybe we want to use it again into the second clip. Then we should go here to menu Edit, Copy effects, and then go to the second clip menu again. Edit, Paste effects. Here we are. So now we are ready for rendering. Our movie. Go here to render. And once here we have different options. We have the option for rendering the entire movie. We have the option for rendering the current frame. This current frame, the one which was selected before we came here and here. This third option, image sequence is for rendering the full movie, but getting its image separated. And then we can adjust the output quality. Three stars is okay. If you go to the fourth star, then the time of rendering will increase a lot, but the quality, not that much. So I recommend you to use the three stars option in terms of frames per second. You can use 25 or 30 as usual. And if you want to go to a super quiet the HAI video, then I recommend you to use 60 frames per second. And finally, just in case that you are doing a movie like matrix and you want an a scene like in a very high quality slow motion, then you have to use these 200 frames per second in terms of resolution, we have this option, small HD, full HD, HD, and ultra HD. Here, like with the photo mania, we are talking to us about pixels. So this first option, a small 640 per 360, is just for doing like a draft. This HD resolution is already okay. But this full HD is the one that we will use quite a lot because it is the most universal video format in the wall in case that we want a super high quality, we have these two options. Mention that if you want to use these ultra HD, well-known as for k, you need a graphic card of six gigabytes. Remember that my graphic cards has four gigabytes, so it's not available for me. So I will choose full HD. I will select my folder and I will put a name number 1, and I will say Save. Here we have our render complete. You must know that it took more than five hours to render it back. I told you here, it depends a lot of the speed of your computer and this could be the final result. So this being our first movie in lumen. In the next episode, we will go deeper into the film options. I say goodbye now, and I hope to see you in the next class. 3. Use of FX effects + keyframes: Hello everybody and welcome to this new episode of Islamism course in where we are going to do an exercise for practicing even more the movie mode. In the last episode, we did our first movie. That movie started with a cover which was animate. And then we have two clips. The first one was a panoramic view and the second one was a kind of traveling around the building. We will continue on working with these clips. So we will start with the first one, with clip number one. I will select it and I will go to Add effect. Here I go to animation, and here we will learn a new effect called Advanced Move. I will click it and its menu is already loaded. Here I will select Edit, and then I will go to a kind of build mode where I am asked to select an object, the object which I want to have an advanced movement right now, I will say, okay, and then I will go back to the build mode. Here, I will go to the Content Library, and once here I will go to Utilities. Once we are inside utilities, we will select clip claim, then will appear this kind of grid which will cut everything in contact with it. I will live in the section plane over the building, and I will go back to my movie mode. Then edit again. And now I could select my section plane. I will do it. This is the little ball of the section plane. And then you have to pay attention to the slider that we have at the bottom of the screen. Here we have different tools. This bar is the most important one because it is a time bar. Now it is representing eight seconds length, but we can change that length, increasing the time here or decreasing the time here. So once we have selected our section plane, look that our position right now it is at the beginning of the time we are at 0 seconds. So once I have selected my object, in this case my section plane, at the very moment that I move it just a little bit. You can see that at the time bar, there is now a keyframe. That keyframe is relating our time bar with the position of our object. So we are selling to Lumiere right now that at 0 seconds, we want our section plane at this high. Let's say, for example here, then we can click play. The time goes by more or less the middle of the time bar. Then I will change again the position of my object. I will press change height, and then I will move my section plane even lower. This time, I want my object to section building. Let's say, for example, till here. Then I will click Play again. And just in the end of my time bar, I will change my position again. I will say that I want my section plane even lower till this point, for example, where I can't see any wall just like the volume or the platform. So let's have a look. Well, I think that everything works well, except that my section plane is sectioning as well. All the trees. That is very strange. So for this video, maybe I have to hide the layer trees. I will say, okay, then I will add my layer visibility effect, which we can find here at objects. And here I will have to use as well this little box here called create keyframe, which works exactly the same as we did just before, but this time related with the time bar of our clip, this one, I will say that I want to create a keyframe here at 0 seconds. And then I will say that I want to hide layer trees. Here we are. Let's have a look. And it's not working. Surely is not working because our Section Plane object was placed by mistake in the trees layer. Let's check it. Once we are in our wheel mode, I'll go to Select. Here we have the little ball of the section plane, and here we can check that it is placed in our trees layer. I will place it to the layer number 1, and then I will go back to movie mode once here, let's check it again. And now we can see how our section plane is working perfectly. Of course, you have to take into account that this effect at once, movement can be used with other elements. For example, people, for example, cars, bicycles, not just with the clip plane. Now let's jump to clip number two in order to use another effect. This effect is called mass movement. So I will select the other flip. Our defect animation must move. Once defect is loaded, I have just one option, edit and new window similar to the build mode appears. But with different options at the bottom of the screen. First of all, I will be asked to place this node at some point, let's say here, then I will have to do the same with the second, for example, here. Once this is done, I have created my first path. This path will work like a conveyor belt. So we will be able to transport people, bikes, cars, through it with the options below, we can change the width of this path. Do we need wider? We can change as well the speed of this conveyor belt now it is at 3.6 kilometers per hour, which is very good in case that we are using a person. But if we wanted to use, for example, a car or a bike, we should change the speed here at the left side, we have more options. The one which is in the middle move, but note is already selected and it allows us to edit our path. We can change the position of this node. And if we click on the other node, we can change its position as well. In case we want to create another path, we have to go here at path, click on it, and then we can create another one, for example here. And one is created. We can of course delete it as well. Anyway, let's work with our first path. So I will click on here, move back nodes. I will select my first path. And in case that I want to do that path more complex, Let's see how to do it. Once my last node is selected, then I have to hold control key and then move the mouse and select the next point of my conveyor belt in case I want to continue my path till here, then I have to press Control key again and click on here. Pay attention that if I select the nodes which are at the curves here at the bottom, a new option appears where I can control the smoothness of that curve. This is very important in order to make the movements of the people more realistic, not two orthogonal. Once I'm happy with the result, I will save the changes. And other very interesting option is this one here. Thanks to it, we will be able to change the direction of the movement. Currently, all the elements above our belt will be moving from this point to the last point to here. I can change that direction, clicking on here. And now my objects will move in the opposite direction. And if I continue clicking on here, you can see that now I have two directions. If I click once more time, then those two directions have changed. So let's leave it like that. I will confirm changes and then there is one more step that I have to do in order to use this effect, I should go to the bill mode. And once here I have to imagine the belt I have just created and place some objects above this belt. For example, in this case, I will use people. Then I'll go here to people and animals. I'll select, for example, this guy and I place it here. I'll move my camera. I will choose now a girl, for example, this girl, I'll place her here. And finally, I will choose a woman. For example, this one. Once my objects are placed, I have to check how they are going to move. So I have to go to the movie mode again and click on play to what's my clip? We can see that guy moving forward, then the tile coming to us, the woman come in that direction and everything is working correctly. I will pause the clip. So of course we could add more paths and more people, more elements and doing more and more complex the sin. But we will leave it here. In order to show you more effects, I would create another clip. So I will click on here in the window number 4. And I will say that I want to record in order to do this new clip, I will post this on my camera here, the focal length will be 20 millimeters. The height of the camera will be around one meter. I will click the horizontal eye level button and I will add my first camera keyframe. Then I will move slowly to the right side. I will add here another keyframe, and I will continue moving to the right side. I will rotate a little bit the camera, when I'm moving a little bit, another keyframe, and I will try to finish watching the enter of the building here, another key frame. And the last one could be more or less around here. So let's have a general look about our new clip. It is 17 seconds length. We have seen that at the end of the clip, the camera moves faster. The reason is because the distance we have covered in the last clip is more than usual. And then the camera has to do it in the same time I go to this clip, I'll move the camera to the right side. And then I will update the camera keyframe. Once we have the structure of our new clip done, we should copy defects from tip number two. So I will go to clip number 2, menu Edit, Copy fact, clip number four, menu Edit, Paste effect. Now through this clip, we will start working with the keyframes in a more complex way. In this case, we will use the effect of the sun. We will make the sun rises and gets to its top, slowly comes down to the sunset till the night comes. And all of this along the duration of our clip in that 17 seconds. So first of all, I will add the sun effect. And in case that we are using the sun, then I will disable the real skies. Furthermore, I recommend you a strongly that if we are going to use the sun as our main natural light resource, go to the Build mode. Whether I'm here, disabled the real skies. This is because according to my experience and you can find problems with the natural illumination between the Sun and the real skies. But if we disable the real skies here, everything will work smoothly. So I'll go back to the movie mode and I will start working with my son effect. I'll click on sun. And here we have this slider for the sun, hate the sun heading the same brightness and the sand is size. As you can see, we have four little boxes at the right side of each bar for creating a keyframe. You will see in many of your effects that you have this possibility. And we'll try it through this exercise to learn how to use them. First of all, we have to have very clear how each of these sliders works. Mainly the son's height and the sun heading. I'll do a parenthesis right now to understand better how these both slider work, I'll go to the photo menu. Once here, I will move my camera up till I have super good look about in the horizontal and I'll be working just with the sun. I would look for the sun. Here it is. I will place it in the middle of my camera and we will start with the sun height. Here it is said that we are at 19.6 degrees. This is very important degrees. So if I move the slider to the right side, you can see that the sun is moving up. I can say that I am right now at 90 degrees. This is the maximum 90. Now I will look for the sign again. And here it is. Just placed at the top of the sphere. If we were talking about hours, let's say that it is around 12 o'clock. So this 90 degrees means the angle between this position of the sun and the terrain. If I move the slider again to the left side till 0 degrees, here it is. And we look for the sun again. You can see that the sun now is placed at the horizontal. It means that the Sun ADR is racing up or we are at the sunset. Now if I move the slider even more to the left side, you can see that the knight is coming because the sun, we have to imagine that this is still moving on the other side of the globe. If I put the slider more to the left till its maximum means 90 degrees, we have the darkness point of the night because the sun would be placed at its maximum but in the other side of the globe. So let's place our sun in a morning position, for example, 20 degrees more or less. Here we are. And let's jump to the sun heading. Slider is placed now around 0 degrees. If I move to the right side, we can see that the sun is moving to the right, but it is keeping its height. That is very important. When I move this bar, the sun is always keeping its height. If I move to the right side, I can go till 180 degrees, which means that the sun is just behind us because it has made not an entire circle around the horizontal, but half of it. Let's look for it with our camera. I will move to the right side. And here it is. When I have done just half of a cycle, once we are here, if I move the sun heading the left side and I go till 0, the sun would be placed again behind our backs. But if I continue moving the slider to the left side till the maximum minus 180, we can see that the sun is coming from the other side because this time has made an entire cycle around the horizontal. Once we are back in our movie mode and we have clear how the sun effect work. Let's start playing with the keyframes. So I will open my son effect, and I will say that I want to create a keyframe here at 0 seconds. So I click on here, create a keyframe on the sun height bar. Once the keyframe is created, I will place my slider. It might desire position. Let's say that we want to start our clip. When the sun is rising up, then I have to go to 0 degrees or something similar. For example, 6.5 degrees. Let's repeat this operation with the sun heading. I will create a keyframe and I will put my son heading near 0 degrees, for example, here. Then I will click on Play and I will let the time goes by more or less till the middle of our time bar. Once here, I will pass it and I will create another key frame for the sun head, for the sun heading. Now I wanted the sun much more higher, So I will have to move this slider to the right side till its maximum. We can say that right now it is around 12 o'clock. And in this equation, we don't need to move the sun heading because our sun, it is placed at the top of the sphere. I'll click Play again, three more or less, the end of the timeline. Here we have to imagine that the sun is moving down till the sunset. So we should create a new keyframe here and here. And we should go with the sun, hide till 0 degrees more or less. But this time the position of our Sun has to be on the other side of the horizontal. Here we are. Then we will click play again till the end. And here we will create more keyframe. Now we're imagining that the sun is still moving down and the night has come. So the son's height should be minus 10 or 15, something like that. And we could leave the sun heading like it is. Let's have a look about the result. We start in the morning when the sun is rising up. The sun is moving up till 12 o'clock. Then it starts coming down till the sunset here. And then the night has fallen. And we start again. Of course, this is not something mathematic, but actually very artistic. So here we can play with the lights and the shadows as you want. For example, if we consider that our saddles are moving too fast, we could go to this keyframe and now pay attention because if I move the mouse here too, It's keyframe button. We will see at the time bar align, which is telling us how rapidly those changes are happening. So for example, if I move this unhide here instead of 90 degrees to, let's say 40 for example, or 35, something like that. We can see now that our line is less estate and maybe then the final result is more attractive. So this mechanism that we have used with the keyframes with the sun, it is exactly the same with the rest of defects. For example, let's use it with another effect. In this case, an effect that we already know. We will find it in object layer visibility. Here we find as well the option for creating a keyframe. Previously, I placed in our model some artificial lights divided in different layers. So once we are here and we are right now at 0 seconds position, I will say that I want to create a new keyframe. I will not touch anything about this menu. Then I'll go to the second 15 were more or less. I know that we have our sunset. Here we are. And I will create another key frame. This time, I will say that I want layer number six, which is called a nice IP layer, and layer number four, which is called omni lights to be sown, We are already close to the end. But before rendering, I would like to add some sound to the clip. So I'll go to the Build mode. Once here, I'll go to the Content Library and here to sound. Here I go to the category called nature. Once inside nature, I will select the sound call forest. I will place it in the middle of the pavilions and I will select it in order to adjust its options. I will increase the maximum distance a little bit. I will reduce the volume till 0.6, and that's all. We are going to add our last effect. I'll go then to add effect here. Camera, handheld camera sounds to this effect. We will be able to make the movement of our camera more natural. Here we have different options, but the most important one is the first one, sake strength. You can see what happens if I increase a lot. This second strength, the movement of the camera will be like if we are in a boat. So I will place it at just 0.3 where I think it works perfectly. You can see now it is little, but it gives us this feeling of a human being moving the camera. So we are so near to the end. Never forget to add the effect of two-point perspective. Here, a defect camera, two-point perspective. Let's reduce a little bit the amount till 0.9 or 0.8. And before rendering, we can add a reflection control ball, utilities reflection control ball, place it in a very strategic position. And now we are ready for our render. I'll go here render clip because I don't want to render the entire movie here I will select the entire clip output quantity, three stars frames per second. This time, I will say 30 frames per second. You have to know that 24 or 25 is very used at the cinema industry. I'm 30 more for TV show. I recommend you to try both of them, and it is up to you what to choose. This time, I will select 13 in order to have both examples, full HD, the name will be number to save. It took more than five hours to render it. But here we are. Everything is working nice. I hope you have enjoyed this exercise and I will see you in the next episode. 4. Animated phasing : Hello everybody and welcome to this new episode of This luteum course. This time we will see an effect of Lumia and 11, which is called an animated facing. So we will create a new project, and this time we will select this template. Once here we can erase everything on the screen because we don't need it. And in order to use our new effect, we will need to work a little bit in our software model program. In this case, a sketch here ness gets up. We will have to create a strategically different groups with the elements we will use later in Lumia. Once the group is created, we should go to File Export mode in 3D. And here select data file or the a, E, you should name it. And before clicking on Export and go to Options. And here you should mark the option Export only selection set, Accept and export. You should have to do this operation many times in order to create the items which will be used later in Lumia on with the animation for this class, I have done this task for you. So you will find inside your material attached folder, another folder called phase effect. Inside this folder, you will find on the data files that we will use for doing this animation. As you will see here, the order and the names of the files are very important to achieve a better workflow in Lumia. So once Illumina again, I want you to go to Import search for the face effect folder. And once you are inside, you will find seven different folders. They have numbers from one to seven, so the order is clear. So we will open number one platform. And once here we will select the data file and we will say that we want to open it here. We should be careful to place all or Corolla files in the same folder. I'll click on, Okay, and I place my first item near the origin, and I will repeat the operation with the object number 2. This time is called exterior walls. Again, I will place it near the origin. You will have to repeat this operation with all the data files inside its folder. Once we have imported all the Galata files, then we'll have to make sure that all the files are placed at the same point. For doing this, we have different options. We could drag a box holding Control key and put inside the objects of our model, in this case 21. Then go to the Advanced Options and go to this one, align positions. The other option would be to drag again a box and take all the elements, then go to select typing. And once here, type 0 inside the three different axes here, for example, 0, y ax 0, and set x 0. Now, all the objects are perfectly aligned and at the same time we know that their position is the origin. We are ready now for a start using our effect. So we will go to the movie menu, we will create a new clip. Here I will move the camera using my navigation control keys. I love jazz the cameras lighter as always, and I will add a camera keyframe. For this first example, I will do it just with one key frame. I will make it longer, 20 seconds and I'll save the changes. Now we'll go here, our defect and he Mason, and here we will find our new effect and he mated facing. We'll click on Edit and two different menus will appear, one at the top left and another one at the bottom. Actually, both of them are related with each other. I mean, if we focus here at this first timeline bar, its name is facing animation one. This is the automatic name, but we can change it if we want to do it. We have the asked to select it and go here to the other menu and change the name here, let's call it platform, which is our first call ADA file. Then we have this blue button objects, Ciro. And if we click on it, we will be able to select the items for this first animation phase. Here, if I move the mouse around my objects, we will distinguish two colors, the yellow one, the green one. In case that I click on it, it works exactly the same as with the materials. Green means that it is already selected and yellow means that it is like building out, out of our face. So we will click on this platform. We can see at the bottom that there is just one object selected and we will say Save Changes. As you can see, our platform has disappeared. This is because now it's part of an animation, this timeline bar tell us when the animation starts, how long it is with this dark blue and when it is finished, we will be able to make changes through the top menu. We will be able to select how we want. That item to appear to drop in our model. For example, with pop, in effect, sky drop, ground rise or implode. We will see all of them. Here. We can change as well when the animation starts. And when I move this slider to the right side, you can see that the timeline bar is moving as well. They are connected. I can change as well the duration of the animation. And you will see at the time bar how the dark blue color change as well. And finally, we can have just the ISI in and stagger. We will see both of them a little bit later. So just for having a first example, let's say that this platform, we'll start at 0 seconds. Shopping is okay, and the duration will be three seconds. Let's click on Play. And here we have our result. But before I start preparing all the different phases with all the different elements, it would be nice if we go to the Build mode and we create different layers in order to have a better workflow. So I will click on Save Changes and I will come back to my bill mode. Here I named layer number 1 as platform, layer number 2 as exterior walls. Number 3 as pillars. For us, marbles, five as glass, six as furniture, and finally seven as roofs. Now, of course, I have to assign each element with its layer once this is already done and we have all the elements perfectly in order, let's go back to our animated facing panel. Once we are back, you will say that we can hide our lineage from here too. So now it will be much more easier to organize our different facing animations. I will hide roofs, furniture, glass, marbles, Pindar's, and I live just platform and exterior walls. In fact, platform, maybe it would be nice if it is not an animation, but an static element always there from the first moment. So if I want to do this, I should click on platform and delayed facing animation, two clicks. And that object is not a face in animation anymore, then I will have to name again my first animation, which will be exterior walls. I will select my objects and this time I will use the ground rise effect. I will set the start time at three seconds and the duration at three seconds as well. Let's have a look. Maybe the animation starts to late, so I will have just the start time at 1.5 more or less, the duration is fine, but this time I will set the ECN at its max. Let's have a preview again. Definitely better. Let's create it then another facing animation. I will click on here. I will name this animation as pillars. I will switch on the PDMS layer. I'll select my items and pay attention now, because for this animation, I have eight different items, not just one. So the order of my selection could be important. If I wanted to control that order of selection, I could click on here a stagger in order of selection and then click on My different objects. This one will appear the first one, this will be the second one, and so on and click. Okay, and now I will adjust the different properties of this animation for this class, I will use Sky drop, and it will starts just a little bit later than the thinness of the previous one. Like we have eight different items, the duration will be a little bit longer. Let's say four seconds is in maximum. And in this occasion, we will play with the staggered bar. But first, let's have a look. We can see that all the pillars are dropping down all together. So we will have to play with the stagger. Let's set it at its max, and let's play it again. Now it is up to you to adjust the stagger, I will say is 0.7 for example. And let's have a look about these two options, move, distance and invisible. Before I start, if I go to the beginning of this animation phase, I can see the first pillar dropping down from a certain distance from this slider. I can change that distance. Let's do it for example here. And in case I switch off this invisible before I start, then it would be like if we don't add just the MOOC distance var, because we will see the pillar dropping down from the top of the screen. So I will switch on this option. Let's have a look about this new phase animation. I think is working nice. So let's jump to any one. I will click on here, I will switch on the layer called marbles. This will be the name for this new animation. I'll select my objects, a stagger in order of selection, okay? This one will be the first and the second one. Okay, I want them to drop from the sky. The animation will start after the end of the previous one, and the duration will be around three seconds, more or less easy in, at its max and a staggered at its max to distance, let's say 50 as well. Let's have a look. I think is working correctly. So let's go to the next phase. I will unhide the glass layer. I will select it. Okay. I want a sky drop as well. It will start as usual after the end of the previous one. The ratio on three seconds as an operates is in maximum. We don't need a stagger. So let's have a look. Okay, move this stance again, little bit higher, 50, and it's okay. Let's add a new phase in animation. We will unhide furnitures. We will select all of them. We will click on a staggered in order of selection. This will be the first 1 second, 1 third, 1 fourth, 1 fifth, 16 to one. I've selected the platform by mistake. So I will click on it to unselect it. And I will say, OK, name furnitures. This time I will use the implode effect duration alittle bit longer than the average, let's say five seconds or six seconds because we have many objects, you seen. Maximum stagger, maximum distance, let's say 50. I will place the start of the animation here after the end of the previous one. But you can see that I can't do it because my total length of my clip is not long enough. So here I have two options. I could make the clip longer or my animations shorter. I'll do the second one. So here exterior walls will start a little bit earlier and the duration will be like little bit searcher PRs. Once all is arranged, I would add my last facial animation. I will switch on the roof layer, name roof. I will select my objects, this one and this one stagger in order of selection. Okay, Save changes here, Skype drop around here. Looking at we are in the page number 2. So if we want our references, we have to go to page number 1, duration around three seconds till the end of the animation is in Max, stagger, Max, move this time, 50, safe index. Let's have now a general look about our total animation. I think is working nicely. So I will save changes and now I will prepare my clip for the final render. So I will add a template. In this case, for example, realistic, I'll disable the real sky effect and I'd include Assange, either just stand here. And for this example, I think that it could be super nice if we use this orthographic view effect here in camera orthographic view, I will switch it on. I'll go inside the clip and I will arrange the camera in my desired position. I'd save changes. And now before rendering, I should go to the Build mode and prepare all my materials. You can notice that all of your data files have gone here without any material applied just in blank, I will start switching off the roof layer. I'll go to Material, click on here, standard choose colormap will go to the texture folder. And here we will use the diffuse map, the relief almost 0, whether in 0.3, okay, we will use the same material for this bends and for this exterior wall. So I will click on here copy material, Okay, now click on here. Standard based material, the same for the band and the same for this wall. The swimming pool has its water. But if we go under the water, we could apply here these little stones for the swimming pool. We would increase a lot the weathering and not much reflectivity. Ok, we can change the glass to this interior glass 000 001. Okay, here we have a marble. It is my carbon number 3. I will reduce the relief at 0 and I would increase reflectivity till 1.6, little bit weathering. And it could be okay. Now, I realized that the color is to gray. And this is because the polarization is 0.5, so I have to reduce it as 0 to keep its color. And here is okay, I have to do these changes as well with the stone. Let's go with the other marbles. Marble one, polarization 0, reflectivity, 1.67, relief 0 weathering 0.3. Now this one, polarization 0, reflectivity 1.67, relief 0, whether in 0.3. Now let's use materials from the Lumia phones library, aluminum for the pillars, for example, indoor metal, aluminum. Here we will choose another color, not white because they are gray color like that. For example, aluminum, 0.20.1 save ten years. And we would copy this material for the rest of the elements made in aluminum as well. So here I will say copy material, okay, I'll go here. Standard based material, save changes. Maybe we have to repeat this operation for the different pillars. Here we have another aluminum. Let's go now with this small things. Here I will choose another kind of metal. Let's go with the roofs now. And finally, we could change our water and I will get this clear pool. Once we are done with our materials, we can go back to the movie mode. Once here we could arrange our effects in order to get a better result in the render as we have learned already. But for now, I will render our clip. So I'll go here, render clip, entire clip, three stars, 30 frames per second, full HD resolution. Once the render is complete, Let's open it. As you can see, this effect is so powerful and it can help us a lot to explain our project. Besides one, we have done all the work we've animated face. In effect, we can make the most of it, for example, doing another clip instead with a drone view, with an eye level view. This time is going to be much more easier and faster as far as we have done already or the hard work. So I'll go here to clip number 2 record. I will choose An eye level view starting from here, set eye level 1.6, horizontal eye level 20 millimeters focal length. I will start looking at that part of the building at camera keyframe here. Next camera keyframe, we'll be keeping my position, but looking at the other side of the building. Then I will start moving towards the interior and other camera keyframe here. Another keyframe here. And here. The last one, I will say that I want my clip a little bit longer. And once I have the structure of my clip, I will copy all defects from clip number one. Once this is done, I will eliminate the orthographic view and I'll have a look about my clip. I think is working quite okay. And now I would be ready for render. Before doing it, I will edit some reflection planes like this one, this one, this one, or the glasses which are involved in my view, this could be enough. So let's render the clip three stars, 30 frames per second. And here, HD, or full HD, is up to you. I will say full HD. The name will be number two. Once the render is done, that's open it. So now it's time for saying goodbye. I hope you have enjoyed this class. As you can see with this effect, you could sign up your imagination a lot. And if you wanted to learn more about Lumia and you can go to my course, lumen 11, learn to render with MSB underway, where we will see the whole program into the tail.