Autodesk MAYA 2022 Basic Tutorial for Beginners: LEVEL 1

1. INTRO: Hey guys, my name is Bran and welcome to this complete beginner tutorial series for Autodesk Maya 20, 22. Now this course is geared to people who are new to using Autodesk Maya, or people who are wanting to transition from a never 3D package, as you all know or as most of you know, onto this one is an industry standard. It has been there for long term and it's used in making a lot of films and in a lot of visual effects to reduce end game students. Okay, So this tutorial was this course because I plan on making this a three-part series. So this is part 1, was inspired by the famous Blender guru donor tutorial. And my main aim is to measure by the end of this first part, you'll be familiar and comfortable using and creating things in my, what I'm going to go through over this tutorial or our main aim in this tutorial series is to create a doughnut. Okay, the image you can see on screen, and I'm going to be going over the basic UI, how you navigate around it, saving and creating projects and also saving files, the types of primitives or the types of objects you can find in Maya, from which we are going to create a torus, which we are going to manipulate using the Maya modeling tools. Make some cream, make the bond itself. And then we're going to use some sculpting tools to add more details and then texturing, which is adding the colors and all that stuff. Again, one of the last things we're going to do is adding some lights, backdrop and then rendering and saving the final image. Now stick would be, and I'm sure you, after this to you. But after these tutorials, you will become proficient at using my 2. Navigating the Maya User Interface: Hey, what's up, guys and welcome to this tutorial that was inspired by the Blender. Blender gurus. Not tutorial for Blender. And not just sat down and thought it was that maybe I should make a replica of the tutorial and maybe help NEW my users on understanding Maya. And of course, in the long end, goal is to make a doughnut. Okay, So this is the donuts. Andrew Price who is Blender guru made. It looks quite neat. So we hope to achieve this by the end of these tutorials. And yeah, so I want to sort of all, I'm going to start by first of all, explaining the Maya interface. Now what you're seeing at the moment is what Maya 2020 to looks like. And you're not sure which version of my using, as you can see up here, it's saying my 2022, okay. So use that. Not used that but gender. Am I I am using. Now you can acquire my af by getting a student license, which will give you three years. Or you could use my free and do whatever you want to do with it. Of course, avoiding Using don't use the software for commercial purposes. So yeah. What you're seeing on the screen right now is what we call the viewport. So this area, this rectangular area, right now, this is your viewport. So generally, everything happening in the 3D software is usually happening around here. Or let's just say a lot of background processes that are happening that are generally displayed here, okay? And obviously most of the time, I want you to see that is also on the viewport. Okay. So there you see me navigating right now. It's easy. It's not really that difficult. So what I'm doing right now is zooming in and out. That is simple by just holding down. You're not holding down, but by scrolling on your mouse wheel. So if you plan on using our 3D software or if you plan on using my alot, actually you have a mouse with the middle mouse button, so scroll. Okay. The other way of navigating around the viewport is by rotating, which is done by holding down Alt and left mouse clicking and dragging. Left mouse clicking dragging will allow you to rotate around the viewport like this. Televisions create an object that it's much easier for you to understand what I'm doing, okay? And the other form of movement is you're pining. So that is our middle mouse click. Okay? If you ultimately mouse-click, that is what will happen. Okay? So scrolling and now this whole zooming, zooming in and out, alt, left-click and row 2 and moving your mouse is for rotation, is conceiving a mouse cursor changes into rotations. Sign. And for planning is our middle mouse end. You'll pan around you viewports, okay? So the thing you need to understand this, because this is a 3D view port, is going to see on the left corner here, you will see something that looks like an x, y, z axis is the axis indicator. Okay? So generally they y-axis is the up, the x is this side is easy. So let me just pull up my move tool. Show you better. Okay? So, and that's useful because that is what enables you to move stuff in the 3D interface or in the 3D view port to move stuff precisely where you want. Okay, so maybe you want it there, okay, let's look and see yourself as moved. So that is why it's a 3D software in the first place is because it allows you to navigate around in 3D axis. Okay. So yeah, so that is how you navigate. Okay. So as you've seen, you've seen me create an objects. You've seen me create objects from the create meaning. So that's where you create your primitives. So generally, because you're new, just walk within the nubs primitive, polygon primitives. I wouldn't necessarily recommend volume, but knobs in polygons should be good. Okay, So in this case it's a cube. So I went to create a polygon primitives cube. And yeah, we have ourselves a nella cube. Now, there are two because I already created this one, so yeah, and it's not only a cube, there is other stuff like cylinders. Move that, tolerances and move that. Okay? So just click on objects and stuff you want to walk with. I think I'm going to create a more interesting thing, I think is an option for creating a gear. So Polygon Primitives gear. And I think I like it. I like the gear, okay. So how, how am I moving objects around the scene? Like having created them, okay? And by the way, even before I continue, this menu is accessible by holding down space and holding, Okay, There's one sees the same set of menus, but all menus are found here. As you can see, it's no different create polygons. And again, it's not going to do anything different. It's still going to create, so it's just a faster way of walking. Okay, Remember space hold, bring up the name. So how am I moving this object? So how did I get this translation or Movement Gizmo, that is done by clicking on this part of your interface. So the first one is move, the second one is rotate. That one is scale. Okay? So it will give you this axis and you can move your objects along this axis, okay? So you click on it. If you click on the X is going to move only in the x. If you click on the zed is going to move only in the Zed. If you click on the y's going to move only in the y. And as you can see, there's these boxes. This one will move in the y and x like that. If you go on this other side, you'll move in the y and z, z, z, depending where you come from. If you click on the bottom one here, this one, it's kinda hard to see, but this one will move you in the zed and x. Okay? So yeah, it's, it's useful sometimes when you just want to be precise on how you move. Okay, and how can we just stop? So the next one, like I said, is rotation. So if you click on your Rotate tool again, still same thing, rotating on the x and the y on x and z. And if you click on the middle, and this walks both on all tools, it will rotate freely on any of those three axes. Okay, so if I go back to the move tool, click in the middle, it's going to see a moving freely. Okay? So scale tool works the same way. If you click on the middle screen to scale on all axis, click on x. It's going to scale on x, skin, and z. If you click on the Z, click on the why it's good to scale on the y. Okay? Now, for you to actually realize that you're actually doing something on your object is something we call a channel box. Okay? So your channel box is usually here, snapped here. So if you click on it, you'll see it. And as you can see, if I was to scale on the why something is happening. Okay? So maybe you want to revert back to the default. Just remember the values that were here. Normally the values, the default values are 0 for translate, rotate, and scale is one because if you scaled the scalar 0, the object will disappear. So let me just to let you see, the object will disappear. So remember, one is the default for the scale of zeros and 0 is the default for this scale, I mean for the rotate and translate. Okay? So your channel books, okay, and it's another box does have more interesting stuff, especially related to creating your objects is considered something called polling gear here. If I was to click on it, it's going to bring up some stuff. So these are generally things that That's help you manipulate these objects, okay, without you having to use the movement tools, okay? And I'm just going to talk about them more. But first of all, I need to show you the shortcuts for bringing up those tools. Okay, so sometimes it gets repetitive if you keep on clicking on this area here. But if you do, if you wants to bring up those tools without having to click here, so just must have these keyboard shortcuts, W, E, R, okay, so Q W, ER, so w will bring up with the move tool, E will bring up that are tool and bring up the scale. Q will bring up the Select tool, okay? So in case you want to get out of that tool, it's a matter of just pressing, maybe you're in the move tool. If it's a matter of pressing the cube, okay, and I'm selecting by just clicking once on the object, as I had also forgotten to say that. Okay, so w move, rotate, scale, Q, select mode. Okay. So let me go back to this channel box as I was saying. So these attributes here enable you to modify the object ever you where you want. And for each objects and their attributes may be unique in this case, I've also click if I was to middle mouse, click while holding down control, so control and click and then middle mouse drag. Okay? So let me repeat that again. Okay, So select the object, click on the extra attributes on the channel box, control. First of all, click on the attribute, and then Control. And middle mouse click and drag on any axis will enable you to modify those values. Alternatively, you could type in the values you want, but in this case, I'm just going to use my middle mouse wheel, okay? So I'm just dragging my mouse, okay? So like in this case the height is too long. I'm just going to reduce the heights. Can also see the subdivisions are too high, like these edges running along. So where are they? Is the inner radius absolutely can see these ones. But height divisions, okay. Maybe just put it at something that is easier to look at. The other one is. Yes, pacing, bad gear offsets. I think this is how long the good tips you want your hips to be generally, they're usually short. And gear tip, I think this is how wide you want you get to be gear middle gain, as you can see, really, really findings that help you like modify and add to and just mess around with the objects and it's different for different objects. If I was to move this aside and create my sphere, which is a circle, which is like a bowl. And you can see the sphere has its own sets, sets of controls, which again, um, you know, it's different. No, it's not the same as the gear gear has is a little bit more complicated, so it has a little bit more objects, okay? I mean, more things to work with. And this case, as you can see, the sphere, the sphere only has subdivision Y and the X. Okay? So subdivisions are these edges. These lines are called edges running along the object. Okay? So again, you, I think you've seen me highlights two attributes. You can do that by just holding down Control. Again. Alternatively, you can do that by clicking on the first one, holding down Shift to multi-select, again, control to deselect. Maybe you might have selected, maybe all of these by mistake and you want to be selective visibility. So hold down control and click to deselect it by. In this case it looks good. Hold down control and select these two. Again, Control and middle mouse and drag. And just go introduce the values and you can see the less the subdivisions, okay? Then the less the objects appear smooth. Okay? So that's something to put in mind. Okay. So, yeah, I'm I'm I don't think there's anything more I can add to this topic of the introduction and maybe file saving. So I'm just going to type in 0 for this one to bring it back to the origin. Okay? So objects created on the origin, actually 0, 0 and 1. Those are the default values. Okay? So maybe you want to save these DNA, but his gear has amazed you. Maybe you let go, it looks so how do you save files in Maya? The first thing I'm sure you've all the fast mode, what most people do is File Save. But generally in Maya when you're working with projects or you're working with a file, it's better. It's preferable for you to work within project folders. Okay? So in this case I'm just going to go to File project window. So this is where you create a new project. And as you can see, I've already had a project loaded in. So for you just going to say new, specify the drive away you want to store your project. And generally because I'm going to be teaching about, I'm going to be talking about a donor in the whole of this course. I had already created a project for me. So I'm just going to find the folder it is in. And as you can see, there's this folder here called donuts. So generally if you open where, if you open the location where you chose to put your project in, you'd see a folder with the name of the project. And again, that's project folder has all of these folders in here. So generally these folders are just good for Maya to reference. So maybe source images, textures, some maybe cached files, data. Generally it's good to walk within these projects because when you even like when you're transferring your projects to another computer or to another person. It's going to be easier for Maya for them to reference and get stuff, okay? And generally you save your files under you've seen switch if you set your projects correctly, set projects so evolves to set as a set project and select that folder. So go to a US, you've saved you project minusing F. And I can see it's here, donut and say set. Now if you were to go and say click, go and say Save Scene or Save Scene As it should pop up you since folders can see FDA or not since, Okay. And you should be able to save your file there. Normally save it as a Maya Binary, but you can save it as ascii if you want to open your file in an older version of Maya, but generally just leave it under binary and you should be. Okay. Okay. So generally, that's a good way of working with within my work within projects if you don't want issues, okay. It's easier for my reference files and stuff. 3. Creating and working with Polygon Primitives: Hey guys and welcome to the second part of this tutorial series. And let's just begin by creating the donuts. So we're going to go to your Create menu polygon primitives. There's a ship called Taurus, which looks like a doughnut or that thing, the floating thing for the simple, I don't know what its name is. I just call it flow diesel Something. I think that's the name. So yeah. It's good. We could walk with this, but I don't like the way it's shipped. So let's go and go to my channel box. And whenever if I mentioned a menu or a window, that's, you don't seem to find this go to always go to windows or check under Windows general editors. And again, you should see your challenge the book so evolves to hide it. Go to Window general editors. You see it's going to pop up, okay. Again, space when Windows, generators, handbooks again. Okay. So spaces just a quick way of accessing those menus again, because already said that. But I'm going to go to its extra attributes here by clicking this part of the interface I'm going to do maybe increased their radius. I'll do it. I think that's too wide section radius and let's try that. Okay. Maybe reduce this again, remember I'm holding down Control, selecting the festival, selecting the attribute onto manipulates, holding down Control and middle mouse, clicking on my middle mouse and dragging and his conceive in your mouse changes when you hold your middle mouse and drag left or right. Okay? I think we could do act with us. Okay. So for the radius case, you're wondering what these units are. If you want to check, you could click on this bottom option here. Or you could go to Windows, general editors, general editors, but settings and preferences, preferences, it's going to pop up the same menu. Okay? So again, space-bar hold window settings and present preferences. Sorry. Now for this baseball menu set, you have to click and not let go of your click. Okay, window, hold your click and go to Preferences again. That's how they specify many works, okay? And four units you need to just go, you need to go to settings and see your AP axis is y units. Swach, you know, working in centimeters, which is linear. So if you're American, maybe we worked with inches, but for me, I'm going to centimeters. It's fine. If you want to change, maybe you want to work with day once that you use to change it from there. So remember our preferences settings. That's where you change your options. Okay? So, and yeah, now once we've already, I think what I can add as a concedes, not kinda smooth, and I want these ones to be evenly spaced. So I'm going to add my because it's my subdivision axis. Nope, it's not my height rather, but I can reduce my height to a more reasonable number. I want them to look like squares, but let's go to my subdivision axis thing. I think we are, okay. Okay, don't worry there it looks like right now I know it looks nothing like doughnuts route show you. Okay. So another thing that maybe I want to say is make sure you're under the modeling menu sets. So you can see this menu up here. If you click on it, you can see there's the rigging, this animation, these effects is rendering generally be under modelling. Reason being, as you can see, once you click on a different menu, some menus disappear, some others popup, okay? Again, if you hold down space by, could access anything in each from here anyway. So, but just make sure you under the modeling menu sets, okay. So first of all, for us to edit these donuts, I want us to switch it to an editable mode. So how you do that in my eyes by holding, right-clicking and hold. And there's considers object mode, edge, vertex, face mode, or you could just press, let me go back to object mode, click and drag on way you want to. So Object Mode. Alternatively, you could press F8 will bring you to component mode. So the editable mode is called the component mode in my. And once you in the component modes, you could, if you want to go back to object mode, just press F8 again. So I fit two will toggle the component and objects selection mode, okay? So the first option but you will have is F9, which is vertices, okay? So which can also be accessed by holding. Now right-click Vertex. Ftn will bring you two edges. This one's okay, which is F 10. And I'm sure you've already figured out that if L1 is faces, so if you live in faces, okay? And again, you can access these ones by holding down, by just pressing, right-clicking and dragging your mouse to the option you want, okay? And components allow you to affect the niche in More precise way. So we've asked to press W to bring my move tool or just click here. And you can see you can move this face and you can start to get interesting shapes, okay? And maybe go back to vertex mode. Maybe you can left mouse and drag and select a couple of this. And as you can see, you can manipulate the object the way you want. Okay, So I'm going to press F8, go back to object mode, and let me just talk about selection for now. Okay? So select components, okay? Generally you just click on them once, okay? So if you left mouse, click again, if you click and hold, then drag, you'll have this rectangular selection mode. Generally anything within this rectangular selection mode will be selected. So we've also create other objects like cylinders. Later nobel just like, like a comb and devolves to like if I wanted to select all of them. See, you can just left mouse and drag, just click and drag, click hold, drag. Like that's should be able to select them, okay? Yeah, and to also unselect them, it's just a matter of clicking away from your interface, okay? If you want to select multiple items, is a matter of holding down shift. So select the first item and press Q to go to Select select mode. If I hold down Shift, as you can see, I'm adding on to this electron evolves to move all of these objects has can see a moving them. Okay? To subtract from a selection is just control. As you can see, your mouse gives you a minus symbol. I hold down shift. Let me just do that again. If I hold down shift, I think right now it's not popping up because I'm not in component mode but shifted to the left. Let you add onto this election. Okay? And again, you can also deselect by selecting the object you want to deselect still while holding down shift, but when you in component mode it's different. Okay? So I'm just going to delete these objects and I'm going to go to my doughnuts, press if eight and let's go to faces by pressing f 11 or just right clicking and holding and rescue. First hold down shift. You can see you can select multiple faces which you can move. Ok. And for now as you can see, shifts. Shifts is like a multi-purpose tool. Okay. Let's see if I was to hover on already, on an already selected component. It's showing you a minus symbol. If I was to hover on something that isn't added, as you can see, it's showing you a plus symbol, okay? So it's going to add onto this election. Again, if you click on the object already selected, it's going to minus. And I think control is the only one that cannot add. It only subtract from the selection or minuses, okay? It only subtract from the selection. Shift can do both. Okay? So depending on how you walk, how depending on which button is easier for you to reach. Generally, I just walked with the shift only because just as the job. Okay. So yeah. Okay. So as you can see, I don't know, it doesn't look smooth. Okay, so how do we make it look smooth? In Maya, there's something we call the smooth preview. Generally it's showing you what your mesh will look like once you decide to apply the smoothing algorithm, okay? So you access that by pressing down three. And this can see all of a sudden your Jonah at his smooth, okay? So generally if you want to go back, press Select the object, press one should bring you back to this normal mode to, if you press 22 will give you the normal mode as a wire-frame preview and the smooth mode underneath. Okay? This might be useful maybe when you want to manipulate sudden vertex is because when you manipulates in this mood, mood can see, you can see a very, very different result compared to any select this. Okay? So there are a useful reviewing was depending on the situation you're in. Okay. So three again, we'll generally bring you back to the smooth. Okay? So, yeah, and I think maybe in the next lesson we will be deformed this doughnut a little bit. So it will deform this doughnut a little bit and maybe add more polygons and stuff and yeah, so that's how you access your component mode. Remember FH, if it will bring IT components selection is considered. The vertices is if these vertices, edges and faces, okay, if 12 will bring you to UVs, but that is an advanced topic. So a mess around with your donut, maybe push and mess around with each. Maybe try and see what you can do with this components with those edges. And I'll see you in the next lesson. 4. Shaping the Torus in object edit mode: Hey guys and welcome to that section of this tutorial. Now in this tutorial, I am going to be messing around with this doughnut cuz it's kinda perfect. Looks perfect at the moment, okay. Oh, but there's another way of smoothing these edges without having to apply the smooth preview, which is done by going to mesh display software and edges. Basically it's going to try and average out, okay, and try and slide them in a way that it's going to create a smoother looking surfaces can see it has done quite a good job. You could repeat the same thing when we try and see if it's going to software need again. And that generally it has done a good job, okay? Alternatively, you could add more subdivisions. So this is the smoothing algorithm I was talking about. So mesh tools, mesh tools, but under Edit Mesh, you will find smooth way is smooth, smooth, smooth and edit mesh, mesh, mesh smooth. Okay? Now you could walk with it like this. But generally the more subdivisions you are, the more maya will, because depending on your computer, the computer will be stressed. So this generally I say this is one of the last process is you should be doing. So. Try and make your mesh look as good as possible while you still in these low polygon, okay? And of course you are the subdivisions by just clicking if you hover your mouse in the divisions and click and drag, it's going to see it's giving you the option to add. Okay? So I'm just going to undo that because I do not want that poorly smooth. Yeah. So let me just mess around with this doughnut, try and make it look as organic as possible. Okay, So for right now I'm just going to go to vertex mode. And I want you to press B. B will bring up this Select, Okay? So, so select allows you to, instead of let me undo it. If you can see when you move when he senior normal movement or mood, because you can see you only moving one LaTex if you press B. When you bring up select mode is can see you're moving them like as a unit. Okay? And I think maybe I might have to go and double-click on my tool here. So double, I'm good to double-click on my move tool. It should bring, you should see yourself select Settings here, so to select, Okay. And the fall of mode should be sophist. Just generally walk into a surface volume works sometimes, but for these objects, I prefer it to be under surface and that surface just means it's going to look at the radius surface shaped and try and move their polygon, the polygons or the components. We now relax, it would complement the ship. Okay, So, so what I'm going to do is let me go to edges first of all before and turn off soft selection by pressing B, I'm going to double-click when you double-click on an edge, rescue, and you double-click on an edge, it selects the whole loop, okay? So if you click on these ones that horizontal, it will select the whole loop. Click on this vertical ones. It's going to select the vertical loop. So I'm just going to select this loop. And I'm going to use my Scale tool and scale these inwards a little bit too soft in that middle part like that. Okay, let's can see it has become kinda flat. So I think what I might do is I might say yes, go to Mesh display, say soft in edge. And should be fine. We will modify this shape father, with the sculpting tools, which are better. But for now I'm just trying to, I think maybe I scaled it up to between inward, so I think it's good. It's good, It's good. Limit press three, Cs will preview. It's kinda good. Let me bulge out. Sometimes. This is where like in a situation LTP recipe is a situation where it's good to work with this mode preview. Or by the way, the region that the smooth preview effects can also be found on. By double-clicking on the tool. If you go to self-select, you see these falloff radius. Okay? It's gonna see the biggest is the big. It's good to go around today. Object. But another way of accessing that is by holding down B and clicking and dragging. As you can see, it's allows you to increase or decrease the brush size. In this case, my turn to increase. Let me deform this donut. I don't want it to look perfect. Okay. We hit the ball, move it hit the table or something there. I think I'm budged that too much. Push that different ones. Generally try to make your surface look as organic as possible. So imperfections, coincidentally what make stuff look realistic. Okay. So I'm just trying to deform the donut, maybe Ted a kink, there may be a chef. He teaches by mistake, call it heats one of the rocks when it was getting in the ocean or something. We introduced the sub selects these small kinks in the inside here. Who held down shift D then extrudes, which talk about that later. No. Generally just make your dough not organic. And then self-select walks also an edges and an amine on edges on faces. So, so for like, sorry, I think I double-clicked. So if you double-click on one face, it's going to select the whole leg, the whole phases of the object. One hold down Shift and I'm going to try and flatten some of these faces here, okay? Especially like the bottom row. Let me undo. So select, Okay. So for first is if you want to select this loop, okay? Is you select the fast phase and click the face horizontal. It's going to select the horizontal loop like this. If I double-click holding down shift, if I double-click, it's going to select the horizontal loop. If I click on the face and select the vertical phase above it or below it, and hold down Shift again, Shift, double-click. It's going to select the particle loop. Okay? So select Shift double-click, and I'm going to try and move this bottom face up. And I'm just trying to flatten it because obviously the dough the dough has been lying there. Maybe press B and C. What does my child to reduce? Radius? Little bit. Okay. Shifts double-click, could be pushed up these faces. Maybe scale them inwards, push them up. Okay. Maybe it's high time for me to get rid of self-select and I don't know, it is usually flat like that. And you can see when it looks more like a doughnut now because generally the weight is lying on the bottom. But inquiry could make it more organic. Let's press B again, increase my radius. Make it a little bit irregular. Again, imperfections help to sell the organic or the realistic feel that people have grown accustomed to. Maybe DO NOT head like a kink there. One of the corners. Okay. Thank You. Don't look irregular, don't make it look so perfectly round. Okay? Remember you're trying to sell this to someone and say that this is a green, don't. Okay? I think I like the way my doughnut looks, it looks kinda good. And I think I can also plot in the top faces, but it's not really that necessary because I'm going to add a cream layer, but self-selected is the B and drag introduce a brush size a little bit. I think we're good now. We're good. I like, I like it, I like it. So the next lesson I'm going to create the creamy top end again. Yeah, so in this lesson I just talked about they like there is to modify or just to make sure we don't have to look organic. In the next lesson, we're going to try and make the cream and make it look appealing also. Okay, so see you in the next one. 5. Creating the cream top : Hey, what's up, guys and welcome to this part of the tutorial. In this tutorial, I'm supposed to be making the top creamy layer, which let me just pull up an image quick. Give me a sec. Oops, middle mouse-click. I recently found out that this is a shortcut to open File Explorer, like when he middle mouse-click on Windows. When you meet a mouse click on your file explorer icon, it opens a new file explorer window. Now when you that, but that comes in handy, but they're supposed to be making these top layer as concedes to droopy. Say we're going to try and achieve the same effects. It's not really that difficult really. So we're going to go to right-click and hold good to faces, which turn off self-select. Click on this first one here, and it must press one. You can click on this double-click to select the edge loop. So click Shift, double-click on the next one. Select the edge loop again. Click Shift, double-click. And I'm still learning now shifts. So you can see my most classes even telling you I'm adding on to the selection. So just select this top layer here. Yeah, I don't think, I think it's fine. I think it's fun. I think we can do with this now. You could delete, you could do this or you could duplicates. As far as lift that selection on it. We could duplicate this by hitting Shift, holding down Shift and moving, or just pressing Control D. And then in the second mesh, as you can see, it's still remains, still retains the selection. If you get out of object mode while still having something, we can hold down shift. And remember, when you hold down Shift and click on an already selected item, it deselects it, I made it deselects. So what we're going to do is you're going to invert the selection. Okay? So if I hold down Shift and drag, it's going to de-select all the faces on the top and select the ones that I had not previously selected. And then we're interested, deletes. And you can get that top layer like that. Okay? So it has moved, you can just move it back to its original place. So by pressing 0 and it's back at its original spots like that. Or alternatively, let's delete this. We could duplicate these faces. So let's go to phases. As you can see, the selection is still there. And you can shift right-click and say duplicate faces, which should be somewhere here, duplicate face. Okay, let's go into, come into it has done it. Or we could just come up here to mesh tools. And isn't mesh tools, I think it's Edit Mesh and say Duplicate. It's still going to do the same thing. You don't want to mess with these values too much. I'm just going to press Q to go back to Soviet selection. And as you can see, if I was to highlight, there is two objects here. It's just that this one is a little bit difficult to be seen. So it's perfectly on top. That's, it's getting mobile app token. So this is where maybe we can talk about layers. I don't know if I talked about it, but let us think of layers as folders, okay? You can choose to hide there, just put some stuff into those folders. So think of layers like that. Okay? So in this case I'm just going to create a new layer. So when you click on this option down here on your bottom right corner, if you click on it while having selected something, it does create a new layer and put, puts this election or the selected item into the layer. So it wants to do that and click on visibility. Whiskers can see it has put the initial doughnut in the layer. Okay? So you can delete by right-clicking and saying delete layer. And again, you, maybe if you created the layer without having selected, you can just click on the object and just right-click. And again say, I'd selected objects and just hide your visibility. So you just many ways to get you to the same results. So with this phase, what we're going to do is we're just going to select the selection I still there. Luckily, we're just going to hold down Shift right-click and say extrude. Or again, you can just come up here and say Edit Mesh. And you can see under components, this is components, this is vertex, is, this is edges. And then this is for all of them. Sorry, this is all of them. This vertex is here. Some of these options are specific to vertexes, edges. So in this case we just want to extrude, okay? Now we're going to extrude by. Is extrude, I'm going to say I hate is. We can extract by pressing extrude. Or alternatively you could just hold down the press, bring up the scale tool. If I hold down Shift, It's still going to do the same thing. But I think for the effect I'm trying to achieve, It's just more easier if I hold down. If I just extrude from the menu. So if I press G, G repeats the last command. In this case the last command was extrude. So just remember that I'm going to mess with my thickness Control and middle mouse click and drag. And you can see that is what you're saying, it's written but they're degenerate donut. So we can estimate the weakness and not going to make it too thick. So this is the thickness is, and see what the thickness is doing. The offset is generally like the scaling of the phases. The divisions is the divisions between the extruded sorry. Like this thickness. It's the divisions of the thickness. Okay. Probably a little bit at 1. 1 is not bad. I think let me press three and see what's happening. Let's go to object mode. Means smooth and even bought a lot for the lower donut. And I don't know, It looks good. Looks fine to me. Okay. Again, maybe let's just say you've extruded and the option, then you are looking at or you're trying to maybe get you to this division and you're wondering how do I get to that menu that has just disappeared. It's as simple as just coming to the channel box. And the last command or the last item you DDOS or elastin actually didn't lose and a poly Extrude. So if you click on it, you will get more stuff but go down and find divisions. Most of your things are generally actually it gives you more options on the channel box. In this case, it's the divisions we're looking for is can see it's going to delete. This is what we call history, like way history on your item, okay. Sometimes you don't want it to pile up too much. So if you ever feel like your scenes are chugging out, you can just say Edit, Delete by Type History, and as you can see, it's gone. You can no longer money manipulators, but I'm just going to undo that Control Z and just bring it back for now. It looks like a cape. Now. Looks like a cape. I think what I'm going to do is I might I'm just modify the shape to try and fit it on to the doughnut. Okay, so I'm going to go to vertex mode. Sorry. Um, so the good thing with layers is you could add some things as reference objects. So what that means is when you put it and when you click on this box, last box here. The first option is templates. So template is you can select the object, but you can see that it's preview is a wireframe. When you click again, it's going to take you to reference. You can see the object, but you can't click on each or do anything on it. And again, this is the normal. You can do something when it's no, nothing is appearing, one more option is appearing. So I'm just going to gender reference to avoid selecting it. And I'm good to go to FM controversy feet, good component modes. Want press B, going to increase my brush size a little bit, and just going to try and push some of these vertexes in whites like this. Let's try ENT, later, tug the doughnut, okay. We'll find it and some missing up a little bit there. Press F to frame with a Ephrem, the camera to your selection. Okay, So remember that f again, to frame your camera. And you might hear some noises outside. So sorry for that. Maybe nano Z. So this is just a matter of manipulating. These are the modelling, this a lot of repetitive stuff. So I'll say chill out and put on some music gained. No good on your way, you do some stuff. I do recommend this playlist on Spotify goals, brain food, something, something being. So really good one. So it's like an electronic chance thing. You just put on end zone out, you know. So I'm just trying to make the doughnut hog F again to frame like cushion the dough, the bottom part, F frame again. Um, a lot of these points. F to frame my camera again. And it not only f, not only walks on Component mode, it also works on selected objects. So it's not only a component mode of being like a T, Malcolm. Maybe. It's like don't assume that it's because I'm in component mode F12. Ok, so if also press it, maybe move my camera and precipice can see it's still going to walk so long as something is selected, which tells the camera, hey, three months that objects. So I think this dog could use some puffiness. So I'm just going to undo. So select by pressing B, go to click, Show down Shift, double-click on an epsilon, select that loop. And I also think this one can be selected to double-click. And we can use the scale tool path this out a little bit and push it up. Like fats. Because I felt like it's a little bit maybe too thin. Now, obviously right now it looks like a cape. Okay. It looks like a Cape. Doesn't look like an actual cream. So in the next lesson I'm going to, yeah, I'm going to show you how to make the drips and I'm just going to show you how to add more detail on the doughnut itself. They DO and on the trip. So see you in the next one. 6. Organic shaping of the cream: Hey, what's up, guys and welcome to this part of the tutorial now and just spot you're going to be talking about making the cream. So what we are going to do is just select one of these faces and I'm going to try and push some of these faces down you to create that drippy feel, that feel from the top cream. No, just make it stop looking like a fricking heart or something. I think that goes I skills alternatively. Okay, so let me do this in, because I can see that this, It's this inner edge here that is bringing issues. So I'm just going to double-click on it to select the whole loop. And I'm just going to push it down and maybe scale it inwards. And I think I can also double-click on this edge and I think I can scale that little bit inwards like that. But I think I should have. Before I scroll this one, I'm going to double-click on this and possible skill. This one inwards a little bit to push it up. And then now select this one as the last one. Skeleton ones maybe push it down a little bit. I think that's better. It's definitely better. Okay. So they'll sing, you know, treating this drip is not hard first of all, before we even sub-divided down this creamy surface, It's good to walk with a low amount of polygons and fast for their details that are not really, that, that don't require a lot of subdivisions. You can first of all, start messing around with those ones before we, before we go on to, um, just said vertex is vertex. This will give me a more precise control. Maybe you're not seeing again, remember you can press F4 and you can see what you're selecting. And under the nose now I'm not in this view is because I know I'm not going to use, I'm going to smoothen out the surface. So I'm not really that concerned that mode locking in these we'll viewing. So let's press F5, push some of these polygons out or polygons, But Kotex is like that. And but I was lumpy layer that was very light-colored of cream was applied on that. But you can also do this ending on the inner ones. Maybe be self-select. Probably press F to frame. Now if you notice this is happening, this is a problem with that. It's not really a problem necessarily, but it's a setting on your camera called clipping. So how do you select the camera of your viewports? There's this option here, select camera, or you can go to View select camera and then open up another menu called the attribute editor. You could go to Window general Editors, Attribute editor or you could. Another shortcut is normally if it's pinned here, just click. Another shortcut is Control a. And select your camera again. And you should see these options pop up. Now you're near clipping. I just want you to add two zeros in front of that one. And you should be good. Like you should be able to zoom in closely without clipping so much. Okay, so let's turn down. So to select molding down below, remember if you've forgotten, it's B. I'm trying to make sure that those vertex is don't mess around strand to make the cream glucose as organic as possible can just make it look irregular. So that is what I mean when I say organic doesn't look like someone was pushing and pulling, but rather it's flowing in on itself like that without any human intervention. Okay. So like that could push that in. It's like maybe the law on press F to frame your camera will select this low on. And we turn downs of select a little bit, holding down V and clicking and clicking and dragging. Just be precise with what I am doing. So there's the surface looks like it's lying. Like it's really not it's not floating cause it was it was like it was floating in the air and it didn't look that good. So me pun, sorry. Again, press F to stabilize your camera. Another zooming in. In with like precisely is holding down Shift, holding right-click. Or is it holding no, no, no. Is it is it holding? Right-click? Think of forgotten that shortcut. Oh, okay, It's not shift. It's holding down Alt and holding down right-click and dragging forward and backwards. That is another way of smoothly scrolling in. If you notice that your scroll wheel is really jumping, like the scroll is so intense. So like it's jumping. We then within same values. So I'll move, I'll try to click move in and out, should allow you to scrolling and editing. That's maybe useful for people who do not have a middle mouse wheel. But yet still, it's in our next case where you don't love me. I'm also the middle mouse button, so it's just an essential thing in 3D softwares. Okay? So for some of these details are some, for some of these extra details, I might have to add subdivisions. So you do that by going to mesh smooth. Alternatively, you could just shift right-click. And I should see smooth somewhere here. It's just going to give you the same option. When to act with the smoothness of 22 is fine. You could go higher, but you don't want your computer to lock out. So I'm just going to select these faces. Let me turn down, turn off soft select, select this, a couple of these, and you select the bottom one's a couple of these bottom faces here. Oops, shift and extrude. I'm going to just bring up my move tool. I'm going to try and create those drips that you see dripping. And this side. So maybe I could show you another tool that is called the multicultural. So It's found under Mesh tools and you will see it multi cut, okay? It allows you to any two, OK, so Lewin, you in this mode of viewing, it allows you to cut edges. But for me I want you to create a whole loop. So if you hold down control, as you can see, each PRI shows you a preview of where the loop will be placed. So if you click, it actually adds the edge loop. So I'm just going to add one here and one here. And you can see that's too boxy. So it could undo. But I know I need to on there. And what I could do with these faces is I could just select the whole loop, double-click. Oh shit. I selected the whole loop at the bottom layer. So select the back ones here. And remember I'm pressing 0.52 alternates. If you forgotten. I know sometimes when you're learning new software, you tend to be to be overwhelmed with the shortcuts. So as I keep on repeating them, because the possibility of you for getting, and I think I selected on the other side as well. So just going to trends electron this view to avoid selecting others. Let's press F5. Scale. This one's in one, select that. Again. Select this one's mingled, could raise these ones up. I'm trying to make it appear saccular. Like a drip, like how the drip will look like. So that's what I'm doing case you're wondering, is this guy doing just moving points around? What is it doing is you're crazy. Some of these vertex is you could push them outwards like this. For this one maybe be inwards because the drip flows down, it tends to become thin. Know like that. Another look that perfect. But I mean a, we're getting there. Okay. So in the next one, in the next lesson, I will, you'll find, I've added more drips around the objects and it doesn't mess around, don't make it exists. But that's how you will add a drip. You can add, we can make a big one, you can make a small one. Miss Kaylee, it's up to you. So see you in the excellent. 7. Scultping fine details on the cream top: What's up, guys and welcome to the section of the tutorial. Hopefully you mess around with your cream. I added some more drips, just made it look more organic. But let's deal with the sculpting tools, okay? Now, for the sculpting tools, you actually need to subdivide. Let's just say you need to make sure that your mesh is, has a very high polygon count. And again, I'll also recommend to get rid of your history at this point because there is a possibility that the sculpting tools we'll start glitching out and having problems. Okay, So again, press one to get rid of smooth preview. And that's because, and see why this is important. So let's just press one again. Of course it looks like shit, but if I was to add my subdivisions, but my subdivisions is going to look even better. So let me just return this to three. And this three, what I'm going to do is I'm just going to go to Mesh mesh it. And I didn't know I think it's niche Michelle mesh. Mesh smooth. And that's how you add subdivisions and how you smoothing out your surface. And I'm just going to press one as you can see it as smooth blend it out. I think we can walk with the detail of 22 divisions. So bad to deviance, no bud, I am going to put this top layer, top cream in its own layer by clicking and adding it on its own layer. And now where you find your sculpting tools is under Mesh tools. Sculpting tools and you should see scout smooth. So these brushes, you might never use them, but we're just going to use a couple of them. But generally how brushes work is this dribbling? Just pull up the sculptors. As you can see, it gives you an organic results as quick as possible. And obviously as you can see, the string is too high. So let me just talk about the brush settings. So your brush settings are found and when you double-click on this icon here, this icon shows you the current tool you're using. So if I double-click, you will see your brush size in this case, which can also be controlled by holding down B. Again, like I said, every brush in mind is controlled by holding down B, clicking and dragging. Okay, they align in the middle you see is strength, okay, which is also affected by these, okay? So string is brought up or the shortcut off exchanges M. So if you take on M, click and drag again, you can affect its string. So I'm just going to reduce its string. And as you can see, the effect is small. A little bit more subtle, subtle, subtle, subtle, subtle, subtle. Okay. Now, so if you have a pennants stylus, this will be absolutely perfect for you because it's going to take into consideration your pen pressure while applying the strength. So, but I'm using a mouse to just make it to be, at least some people cannot be found feel like they're left out of him. So what I'm going to do is I'm going to, I do want this effect, but I wanted on the inside like I wanted to go in, so to reverse or to invite your brush and then paste the option here somewhere in, but it's going to do the inverse. Or alternatively, if you don't want you to keep on opening up that menu, just hold down control. And as you can see, it's going to invite the brush. And I want to create that kink, this kink in the middle. So that is what I want. So I'm going to hold down where does my brush size? And I'm going to go around and I'm clicking by the, oops, and I think I did that excessively there. So be careful not to run through an area twice because I think if you run through an area twice, it's deciding to double like that, It's gonna see. So be careful though are you can fix that. I really loved difficult to fix it in union. So I just want to hear that kink like that and obviously that success. These are smooth brush. But general load I will say is just hold down shift and shift tool smoothen the effect of any brush. You can see I'm holding down Shift, clicking and brushing on the object and is can see it is doing the inverse. Now what she does, gender the Aedes each tries to fix their arrangement of polygons in a way that is appealing and nice to look at or just evenly spaced. Okay? So called smoothies trying to smooth out or massage the polygons in a way that it's going to appear now it does do these on everything irregardless of whether you're sculpting and each or not, it's going to try and smoothing it out. So basically, it's going to try its best to average out every polygon, every vertex, and to make it appear as smooth as possible. And in this case it's good, it's doing a good job. Fixing my mess that I had made. So as you can see, it's not all doom and gloom when you mess up with the sculpting tools and I like it. My struggling a little bit annoying, but I do like it. Okay. Now, if I press 3 and go back to my sculpting tools, you see, you will see a black surface. So when you're working with smooth or New York in with the sculpting tools. And I'll show you under your normal view mode. So if you want to see a smooth preview of your mesh, actually sub-divide your mesh and don't press three. Okay. So, yeah, so if you press the that is what happened. And I think I'm just going to delete my history just to be safe. And I will say get into a habit of bucking up. So say file increment and save. So if I say these already, saved something else, but I'm just going to say yes. So as you can see up here, it changed from two to three. So basically it's creating a new file with a different number. So that is going to allow you to jump back to our point. Maybe you felt like you had not missed up to a certain point. Okay. So just gives you back up and let's go and see the criminal looks like it's hanging all over. So it's fine. Again, I'm going to press one and I'm just going to repeat the same thing now before you even go. And I subdivisions who could fix some of these edges that look, we are using the smooth using the smooth option on the brushes. So if I press Shift, you see, so what I was saying when I say that your smooth tool, this does try and average out the vertex is like each tries to make them appear as appealing as possible or space them evenly out as possible. So, so sometimes when you feel like, Oh, you've been editing a mesh, Oh my God, you vertices look so bad. You can, there's a cheat sheet using the smooth smooth option on this carpeting brushes and should be good. Yeah, it's because it's doing a good job, like what it's doing. So I think we add good for now. Okay. It's the same thing when you're sculpting and press three. So this point, I just have to hold down Shift right-click. It's also going to bring up this smooth options. And I think I'm also going to maybe let's put three for this one because I want to add more detail. And I think before we even add this MOOC, Let's get rid of the history. Edit, delete by type, history. No, not before I clicked on Monday, former sorry. It's consistent with telling you a shortcut is Control Shift D. So oh my God, that is bad. That is way too too far away from the doughnut. Okay. But it's fine. So I just wanted to make sure that my meshes are clean. They don't have so much history would save. And let's repeat the last command, ls command, but let's press small. Would walk with 44 is a lot. And Maya is going to start chugging out. But let's let's let's, let's leave it at for, for me, for you, just try three. So I'm just going to use my grub and push these points in here. Notice again your strength is too high. Just try and and I don't like what it's doing there. So just trying to grab the screaming, bring it back to the doughnut itself is I'll fix that using this smoothness, but cut them. It's too much. I think four is too much. Let's go to 3. Four is just too much. Too much. And I think even before we go to such a high subdivisions, I just think it's a good idea to manually fix this before we continue. So yeah, I don't like that. So yeah, let me do this end because this might take a wildly I'm going to pause the video to avoid making the tutorial so long. And then when I'm Buck, everything will have been fixed magically. So it says a lot of pushing. I'm not doing anything else. It's just a matter of pushing this vertex is to make them appear like we are actually lying on the donor to be low. So yeah, so just give me a sec, hold you back. Okay. So I went ahead and push everything back. Now, I do have to caution you denote psi and add subdivisions again, what I will say, just go to edit and delete history again and then add your subdivisions. Add like a smooth. Again. The reason being if you do that, if you are do some dividends from your history here, you will notice something weird happening with your mesh and you do not want that. I don't know if I can demonstrate that, so okay. So here it is. Okay, So if you decide to other subdivisions like this, this is what is going to happen. Okay? So and you're going to waste a lot of time, time to fix this. So this is why I've said, Don't add subdivisions from your history, just clear your history and add the smooth modifier, or just add this smoothing algorithm again. Okay? So where is it? Splits was, was, was, was, was schooled. I can see it again. I'll smooth. Sorry. Okay. So avoid that. Okay. So I think now we're good. I think we could maybe let me I think it will go to this party. I can see this part is kinda looking. We fix that. And fat present now shift to split that and I think now Mesh, mesh is good. Okay, So remember, delete your history and then add your smoothing algorithm again. Okay? Now, it's good. It's good that we've done that. Okay. I think what do I need to do is we need to use our brush. We call the spray tool. So Spray Spray does these like irregular buildup. Okay, so because I already have done some smoothing, let me just delete this history and again add another smoothing. It's like no, basically what I'm doing is I'm adding this number, but without using basic divisions, I'm just stacking up the smoothing algorithm without adding the division. So in this case, avoiding that issue that I had shown you. So let's go back to the mesh tools and use the easy it again, spray and say This is what Spray does. Okay? I think the string is the strength to 0 if the string is too high when it's like that. So I'm just going to hold down shift and some of these areas I'm going to invert. Okay. Like somewhere here, like where I feel like maybe they added a little bit small access, an excessive amount of cream. Maybe I can. Oops. And I'm also painting on the other sides. No problem. Okay. And for some of these minute details, it's just easier if you have a little geometry remembering to clear out the history. Yes, it's better for you to stack up the smoothing algorithm than to go back to the smoothing here and then adding, because there's can see that we must have permission. I think you've not only applies to the, it not only applies to the, oops, I pressed S, which adds keyframes on everything. That's why everything. Keep getting confused there. The way to size up your brush in ZBrush is a setting that is what is confusing me. Sometimes I find myself pressing S. So that's what what I was doing there, so okay. And you're not you don't have to use my brushes. You've seen me use. You can use your own. You can just experiment with the like wax. See what walks is doing. Clearly the string is way too high. I don't know what is it doing? I don't know exactly what it's doing. Let's try another brush. Knife, knife NEF, NEF is my fees no bad. Maybe cuts. Think. My FOLDOC page I gave. It was a small here like that. Maybe, you know, like the chef and you still can cut. I'm just adding irregularly. Irregular. Rarely t's having problems pronouncing Rs, by the way, so so I'm not going to follow the trend. So yeah. Just adding irregular or irregularly irregular cuts to reverse, you know, I think they DO will use this. But let's see. Let's consider sculpting. Lets you like get some verifying amount of detail that you wouldn't necessarily get by just using a regular tools. So you can mess around, do the same thing on the bottom. Do NOT here, like mess around with it, do some self. But I think for this one we might apply a texture and then maybe in the next level. And I can see something weird is happening here. So I'll just mess around with these brushes. See what works, see what doesn't work. Again, UPS and a thick I selected the wrong mesh. See what works, what doesn't work. You know, at the end of the day, you don't have to make it exactly like mine. You can do your own thing. No. Just make it as unique to you as we want. And I think we shall meet in the next lesson where maybe we'll talk about loops, whereby we will talk about lighting and maybe you can conclude it, texturing, but we'll talk about lighting in the next lesson. So, see you in the next one. 8. Creating and adding lights to the scene: Hey, what's up, guys and welcome to this section of the tutorial. Now, I'm recording this in the readings so you might hear chickens crowing. This is their time. Sorry, can't do anything about it. She probably by a bit. I'm like, That doesn't make as much noise. But anyway, as you can see, this is where my doughnuts is currently. You'd go I went ahead and did some more tweaking on each, you know, pulled some parts down in there, doesn't make it more organic. But anyway, the first thing I want to do is I want to rotate it too high. You can see that it rotates and look at me this way. I did it this way. So it's better in the exits this now. Let me see. This we are filling. Yeah. Facing a profound the z faces me. This is just my preference again. And you could rush it both of these items like this. But the preferable way is because these two things are basically one object is parent least under these. What does that mean? It just means the cream should follow the bottom one. The bottom does, the top does. Okay? So you do that by holding down the child, the object to be constraint or the objects to follow. And the parent last and press P. Or you can go to Edit and press parent. As you can see, it tells you the shortcut is P. Now to on parents, you select the child again and say Shift P. If you shift P on the parent, it won't work. So Shift P on the child, as you can see, no longer follows. Okay? So P, I'm going to rotate this towards the fuel like this. I want to see the drippy part of the doughnut them. It's a good view. And again, I think I'll push it on top because I can see it's sitting below the grid. And I don't know. I think this is like half from multiple there's 1.51.2.15. Anyway, since the volume in numbers and I'm walking, I'm just going to go with ammonia. Now what I'm going to do is I'm going to create a backdrop because I don't want to just place it on a plane. But to do this by creating a plane plane, I'm going to reduce my subdivisions. So holding down Control and middle mouse dragging, reduce some of them. Select all of this, scale them like this. I'm going to add one subdivision on the height to width. Height like that would be 2, 1, 2, 2. 2 is good to his good. And what's going on I want to do is I want to push this a dermatome of self-select, push this edge up like this. Or you could do this, by the way, is nothing wrong with that. Okay. Or you could rotate the face. But how would the rotation? What you'll notice is once I select this face and try to rotate, as you can see, it's rotating from the center of the face and you want to treat it from the edge. How do you do that? Now this is because your pivot point is in the middle. So your pivot point is, where are you anchoring? And oh my God, those chickens, my need to chill out where you anchoring your object from. Okay? So in this case on to ANCA from this edge. Okay? So what I'm going to do is to go into pivot more, just press D or insight on your keyboard and then move your pivot. Want to make sure when goods the Tokyo to make sure moving it onto this edge, going to pan a little bit. And I'm going to move this here. Okay? Once I'm done, I'm just going to press V again to go back to my normal view. And you can rotate like this, but to be sure that you're rotating completely 90 degrees, eyes can notice you can't see anything on the channel box. So another trick is to hold down J. J will snap, absorb J is up in increments, I think of like 15 degrees. Okay. But I don't want it to be completely 90 like that. I want you to be like that a little bit. And I'm sure the most logical step for us to maybe press three. But of course, don't do that because you can see what is happening. So what you're going to do is select this edge and is an action we called beveling. Beveling splits a point into Lake 23 depending on what you specify. So if you go to Edit Mesh and say bevel, you'll see this is what would happen. Alternatively, every menu AB sub many VAs and shift right-click and you'll still see it. So beveled edge. Fraction is the distance between the splits segments. How many segments are in-between chamfer is if add segments as a chamfer off, as you can see, it doesn't smooth. So you basically want to chamfer on the others. I don't know as much as they do. I generally just use segments and fraction a little bit. And I'm good. We have a smooth surface. Let's go to Mesh display and see soft and age and get those to do backdrops. And I think I can reach the height of this a little bit. So W raise it. Should be good. Now. Okay, so we have our studio backdrop and we can add it on its own separate layer. Just audits, call this spark drop by double-clicking. By the way, if you're wondering how I'm doing it, It's double-clicking on a layer. It should pop up. Are they going to miss? You can change colors. It was changes to blue and deselect. And then turn on something we call wire frame on shaded, which is found here. Okay. So after him was shattered, you see the edges of blue, okay. And falls to double-click on the layer again and change this to red and say Save, as you can see the edges. It's just basically a neat way of visually organizing your scene. And I noticed that my donut is below my surface. So I'm going to push it, or let's just push the backdrop below because I think the backdrop is what was above should be good now. And, uh, basically it's just a way of visually organizing your stuff. You can change for the cream. We'd like this yellowy color. Something is going to see. You can do all kinds of things, but I'm going to turn off wireframe shifted by clicking this box again, which is also found on the shading and should see wireframe when she did here, which is considered shortcut is Alt, S. So S, to oops, sorry. And guarded keyframes. It says the shortcut is Alt S, but on a press Alt S is it's adding keyframes. I don't know why is that. So I'm framed in the camera, but framed in the doughnut by pressing F. And, and I want to talk about the Maya lights. Okay, This was just positioning. So the kinds to certain kinds of lights in mind, there's a couple of ambient. Okay. So ambient, ambient does, is impressed 79 can see everything is heights. So what ambient does back in the days, we change this red color, reduces intensity quite much. Okay. So what ambience does, it tries to FEC like bounce lighting. So bonds lighting is, you know, when you like wow, you know, when like hold the flashlight. Again, it's like a red surface. You such see the sum of the red bleed through. That is what we call bonds lighting orators in, okay. Not reducing, but generally in computers, computers fake that bounce lighting by literacy. Okay. So there's a good video because I'm recording this tutorial like like at that time. There's a good video I had already shown on my previous one. I think it's going to come in here. Give me a sec. There's a good video for, by a guy called Andrei liberal. He talks about retracing rasterization, basically like how the technology has evolved over time. Okay, So the video you're seeing on the screen right now, this is what I was talking about. You can find it on YouTube as well. It's only that I was watching the Vimeo version of the video again. And they render, we are using, the renderer is basically the engine that is going to compute the light in the scene. Okay? So the Rindler we are using is anode, and this is Arnold's gallery has consistently been used in a couple of blockbuster films. And pretty good, pretty good you can do, you can really get realistic looking images from it says can see from which you can see on the screen. But yeah, so notice what's an ambient light shines to fake retracing or just bouncing. Okay? I rarely use it. Okay. Or you find yourself really using directional light, tries to mimic sunlight, say vasopressors seven. As you can see, these arrows basically just show you where the light is coming from. Okay? It's just a blast of light coming from the directions. These arrows showing, okay. And you don't have to give on deleting and creating a new light. You can just go to the attribute editor. Again, window generators, attributes, shortcut, Control a, and you can change the type of light here. Say they answer written AI from animals to us, written vary from veering. So we generally want to find the lights, these ones down here. These ones are for Maya. And as you can see, the other one we have is an area light basically, generally also this is the most commonly used, or this is the one that you will find yourself maybe using a lot in Maya because it's so good and it mimics the studio, sorry, should probably references layer to avoid selecting the buttock and also reference all the other objects or when selecting them and just like the lights in the scene. Okay. So this one mimics the studio lights, the soft boxes. You seen studio lights. Okay. The chickens are like, Oh yeah, this guy's recording, Let's blast his recordings with the chicken noise, isn't it? So yeah, it mimics the lights you've seen studios. Okay, And how's extra attributes that are interesting, but relative of lights using real sees, what you call a spotlights is acts like a spotlight basically. Okay. As you can see what it does there, that's like a like a torch or like what he called those things flashlights to call them torches. Yeah, Americans call them flashlights. So great. Week isn't a torch, that binding thing, but that binding rag on a stick. And just call them torches. Anyway. As you can see, there is the spotlight here. You can mess around with the cone angle to increase the cone penumbra too soft in it, of course, as you can see, this one is more realistic. Okay? So you'll get very interesting defects with a drop of there and all that stuff. The other one is the volume light, which I honestly, I'm not going to lie that I've used. These are not used it I'm sure it has its own uses, but I have rarely used it. But the one Let's prospector not be as opposed to using let me just say the most preferable light you should be using are the ones that come with animals that render itself. Because this is my Galois use chicken speaking so much. This is our lights built to like walk with a render. So I'm just going to change my menu set to rendering. I'm going to go to Arnold lights. And the one that I want you to create is an area lights. Okay. And press J. By the way, for the area lights, the arrow, the direction of the line is where the light is going to face. We can see, that is what you see. I was going to see the enolate looks similar to the one with in Maya. So both create another area light here and let's do the same thing. Remember I'm only known J to snap. As you can see, they both look similar, but trust me, there are different, they're different settings. First, personnel attributes, editor, controls. You'll see the certain CIA minimal compared to the ones on the area, the area lights for. And but there's an AMOLED tab or these usually are rendered or a tab for each renderer using for the lights. Okay, So you can see, you can access some extra attributes from pressing the animal. But generally I just want to walk with the animal area light. So I'm just going to delete the default one for Maya. I want to bring this block here and I can see the intensity is kind of low, but it's because this viewport, viewport is rendering. Rendering type in the viewport is rasterization, so it's not realistic. Okay. It's good for quick previews and just view port workflow. But it's not the most realistic view or accurate view of things. But before we even continue, I think I can increase the exposure here. And yeah, so before we continue, I'm just going to go to Render Settings or alternatively just click this flim film, whatever chalkboard, Sierra Club wood or asleep or bored. Click on it one with the gear settings. You see the Settings pop-up out and are using which are using Arnold's system. And by the way, if you ever noticed that you're not seeing your anode, just go to Window settings and preferences, Plug-in manager and scroll down. It says opened on this other window, scroll down until you see something called M2 II, so on and on Donald, let's look for it. On all to where you were. You yeah, this one. Mon and make sure that it's loaded and outer load or load means next time you're bidding y should be 0 to looted. So I'd note, make sure to watch, but I'm going to go back to my Render Settings. I'm going to go, I'm going to go under system. And I have a graphics card that's consistent listed donor. Preferably, it's better for you to use your graphics card because if you, if your graphics card is like the recent ones from the recent years, it's probably going to do a good job. But it's finicky because I know all those built ground-up as a CPU render or not a GPU to interrupt. So sometimes it may crash. Okay? So, but if you have like this Ryzen CPUs with 12 cause I don't know it cause 16 threads, you can use your CPU, but for me I don't have a good beefier CPU. Some would say GPU, render, roll back, revise advice, sorry, Fall buck. Just means we need era's out which verse you want to render with them doing to say CPU. Can see GPU names. You can type your graphics card manually these name, but I'm just going to say enabled device selection, select on this and make sure you set your marks texture. Because I found that and also a MUX texture with this one. But it generally I just found that if you put like a number that is like gigabytes and plus memory. It walks with, now this depends on the amount of memory you have for me, hub for gigs. So if you are by law, you might, maybe you want to leave it at 500 and me, but I'm also going to see maximum resolution to 500. And I just found this out, the values that tends to walk without my having to crash. So what I'm going to do is because I'm also showed an oven and wants to incremental save. I'm going to overwrite the file that was there previously. And I'm just going to say, now you can go to IPO or you can just rent out from the viewport. But good to render an old, this will pop up plus prey and it has much crushed. It has done a good job. So you notice that obviously this looks more realistic, looks more good. And this is because retracing is very, tries to mimic how light works in the real world. So that's why it looks so nice. Okay? And I'm using my GPU, so my recording might be fucked here, four minutes, but let's see. So the values is supposed to be messing with them. The color, the color is straightforward. It's just means the color of the light should want it to be red and it'll be the green, blue, purple that's on you. For me, I'm just going to take it too wide, just do that by In this today, beginning in this park, it should be white intensity. You could walk with intensity, but for an older ice, prefer just take this but one for analyte before you walk with exposure. And right now normalize his own. So what normal is does is the bigger the light. So you expect that the bigger the light that because the exposure, the exposure or the modal light will spill onto the set. Okay. When normalized his own, if you just increased scale of relate, it's just going to soft in your light, okay? If you, maybe this might be useful. Maybe if you're trying to like light the whole of this set like this, okay? Maybe you want to scale this, okay? And maybe probably I should push this up. And my move tool, if I hold down W and click, your move tool should be an object so wild, we'll align it to the world's object to try and objects. So this might be useful when you're trying to. Maybe you don't want it to be so harsh. And I don't know, you can increase your exposure to something like 20. Which is absurdly so much. I think actually that works well. And as you can see, because of the backdrop, you have a very nice background there. So this might be good for such a scenario, but when you decide to uncheck normalize, so what I'm going to do is let me just pulls the rendering for beating. Let's do this. When you decide to uncheck, normalize. Let's render now. This is what will happen. So the exposure is now tied to the scale of the lights. The bigger the light, the more exposure you have in your scene. Okay. And our isn't necessarily a bad thing. It's just that you can get away. This just enables you to get away with smaller values instead of typing so much big values. Okay? And I think I liked what I was doing, like lighting the whole background. But before we even like the old background, what I'm going to do is am going to scale this down. I'm going to push this up a little bit. I'm going to hit on Play. Let me just increase the exposure. Sorry. Remember normalized it's not on, that's why it's jumping as quick as possible. I want to talk about these things called like the spread or the light type here. But there's another one here called use color temperature. This fiscally is how warm or how blue cool do you want it to appear? I don't use that generally. That's going to uncheck that alleged type is just this disc, which we'll look at your shape, change the light ship into a disc or a cylinder. Which again, I don't find myself using this as much. But the law often they spread. So basically this is how spreaded do you want to light that looks like a window pane services, the shadows are too sharp. Might if you like that effect and can reduce the exposure if you like that effect, that's fine. For me. I think we can deal with the lowest spread, maybe. Resolution on this is if you have a texture, yes, you can apply textures to light. So that's like applying an image. Can be an HDR or something. Roundness is how round do you want your lunch or peers? So let me reduce the spread start. You can see what's happening, a fuzzy, it's going mimic like a spotlights. That is by measuring the roundness. Okay? So maybe you want to mess around the spread. That is how roundness to be softer edge against the software being like How do you want the edges of this, these edges of the lights to be samples? Again, these are just things to reduce the noise, like sampling. How many times is You've seen being sampled. Okay. And shutter density. I don't know how to invite myself missing. That is, marches can see if you will reduce it to the shadows, become less and less so don't miss it, It's going to be a mess, the shadow color, but generally the values that you have right now. Oh, okay. Visibility. Let's just stick with these values that are advanced. Okay? I'm going to reduce that one increased by spreads. I'm going to what I'm going to do is a, let me just increase this. Let me just pause this. And I'm going to just leave it normalized only to rotate this, this way. Because I want you to write this in evenly. And I'm going to do that. I'm going to scale this like this. It's obviously too big. Good thing is that you can scale it vertically. It doesn't have to be, doesn't have to be like perfectly square. Cs up to ju, just boom and effort. And now let's just see, Let's see. The light is extremely soft. I like it. I like it when it's sort like this, the only thing that you might have to do is increase my exposure slowly and remember by church normalized. So that's, I don't have to put some crazy values too. Three. The, My God, there is too much to 0.5. Let's try and find a sweet spot. I'm actually digging 2.52.4. Let's turn it down a little bit. 2.3. There's a gallery at this point is just a matter of taste and preference. And yeah, I think 2.3 is going to work for me. Okay. So yeah, man. Now, I'm sure you've noticed there's a noise, these things that look like rice or the old television, we'll call them rice. I don't know. It's like a terminology we're using. So healing challenge ALL rice. So you just see him tell him Charlie on the screen or the rice use rice grains you see on the screen. This is basically tied to your sampling or your anti-aliasing phosphorylate. So let me just prosumer camera correctly. So how do you message settings? Let me just hit Play. If you go to your render settings and then click on this. And if you go to Arnold, There's something called camera a anti-aliasing samples. Okay? So what you want to do is increase maybe this value to something like five. Okay, let, let, let, let's leave it at four and see what fall will do. Ok. And it's going to slowly clear out the noise in this scene. As you can see, it's doing a better image. It's creating a better image. But this is not, is not a good way of comparing. So I'm just going to actually have to have to render like something that we can save into memory. So I'm going to stop this. I'm going to hit five to seven GPU memory there. I'm going to go to my render. I clicked my, I keep on clicking the Hypershade. This is something we'll talk about later. But go to Render Settings. So go to common. And if you scroll down, you will see something calls. And the image size, the render resolution. So I'm going to set mine to its default 540, which should be good. I think these are small enough size that it's okay. You could go to for 18 is better. It's just too for 80. And when you click on this or you, and you just go to Render and say render the current frame, it's going to rent out from the viewport camera. Okay? So give it a sec and it computes. And this is like a receivable. Images can see. It does have a significant amount of noise. So what I'm going to do is it this one Is this one for saving image. Yeah, keep image. It's for comparison. Okay. So I'm going to go back to my render settings and our unknowns. Let's increase my anti-aliasing to seven and maybe turn on adaptive sampling. And Let's put a six and try and render again, I'm going to bring up this window and I'm going to say it again. Let's see what we will see. So there's a sec, It's loading, loading. Give it a sec. Maybe I might have to pause and when it does end up being I'll be back because I can just see this is adding more today doesn't really finished. Okay? It has finished. But significant difference if you compare this to the original one. Okay, So remember you save the image here. So if I slide this, okay, this is the original one. Let's see. This is the new one. You can see so much noise has been cleared up. I think when you turn on adaptive sampling, it does a good job. And as you can see, I actually like the way it looks. Now. This is a clean image, okay? You can render a higher resolution image to even see more of the details. But again, I have to have the resolution the longer it's going to take two random people just leave it at 720. And, you know, yeah. I think what am I supposed to talk about? Is anything that's left oh, cameras there. Okay. So you probably don't want to render from your viewport camera, your perspective. Okay. So how do you create a camera that you can render, maybe a camera that you don't want to tamper with. You do that. We're going to create cameras. Camera. Okay? I can just go to perspective, punnets perspective new, but generally I prefer to use the Create camera method. This is your camera, okay? If you want to see what your camera is viewing, go to Panels, perspective, camera one, this is what your cameras being the good thing. Navigating. It's just the same. I'm going to at references to these objects. So it's elected donuts there of unchecked reference. Let me frame it. And lunchtime under zu finden resolution get. This basically shows you what you're going to render. And let's do, let's position the camera in a way that is pleasing to see. Some of the cream on the inside of the Cree on the outside, then that's a good fuel. The good thing is that you could lock your camera by going to View Lock camera or just clicking on this icon here. And you lock your camera dipoles to go back to my perspective, your camera won't move 0 even notice that the translation is locked, even shows you the air. Okay? So that's just a good way of ensuring that like not be ordered that heme camera move. I don't want it to move. I like the angle upset, so yeah. But now for the render resolution, for the rendering, now if you render it now it's going to end up from the perspective it turned us from the current camera you're viewing from. Okay. But if you want to make sure it's going to end up from like this camera. Just go to your Settings again and a sirtuins go under common cameras. Camera one, okay, Now you can rename it. So by going to your channel box and double-clicking and call this render cam. We're trend underscore comm, and that's better. So evolves to go to Render Settings, you'll see it under rent account. Just make sure you set it there so that once you hit your render is going to end up from your camera. And you can also see this camera from another viewport. You can split your viewport is normally when you click on it, it's for views. You can split it into two by clicking this and then go into panels for this one will be set to render cam. For this one, set your perspective. And for this one you can just turn that. I could just pull up into r1 plus pray, place. Please. Play. Else, give me the problems. Press Play. Okay, let's go see you can look up. You're going to cue light on this view while still seeing your dissolved on this other view. So the good thing is that my allows you to measure the interface to where you want to. Yeah. In the next lesson, we should be adding materials and making these looms. The scene look sucks, say, so see you in the next one. 9. Rendering the scene: Hey guys and welcome to this section of the tutorial. This is the last chapter in this level one tutorial. So yeah, we are going to be adding materials. Now did have a previous scene loaded because I'm recording this tutorial like the 15th time because I keep encountering issues with my recorder and just something happening. But this is where we left off. I did manage to make a render that is 10 ATP. You just confirm with I'm going to get noise. I think they are anti-aliasing. Numbers are good. But because I wanted to use the viewport alone, I'm going to tunnel of adaptive. I'm going to turn out but enough to give ton of adaptive sampling, which take this down to something like two. And we should be, should be good at the time down. I need to turn down the GPU memory usage because they're recording software I'm using is using my GPA. So notice it's also bringing all giving me problems. But this is where we left off. Okay? So generally we're going to be texturing, okay, just creating the outer loop. As you can see, this doughnut is Brown, is crema pays its chocolaty. So basically, the way I'm describing it, that is what like adding material just means, okay, just adding these how to color this texture that feel, you know, generally how it looks. Okay. So yeah. Okay. For me I said I'm going to make it like maybe a brown chocolate layer. I like this version of this, like dark chocolate. Find it good. So let's go ahead and do this. The first thing that I wanted to do is first of all, our materials on this backdrop, because I don't like its color, its color is white. I might give it more and more interesting color to look at. So we add new materials by going to make sure you're under rendering, lighting and shading. I'd new materials or you can just right-click and say add new materials, okay? And the first materials you see here are from Maya decided basic ones that come generally when you're working with a renderer, make sure you are working with the materials that come in the render. So in this case, just click on unknowns and the mature we are going to use is AI standard. It should be applied. Now you will notice you will see it on your attribute editor. And remember, attribute editor window generally just attribute editor or Control a. And I want to clear my history on this in this mini backdrop promoted in this group. But again, notice that my attribute editor cleared up a lot of stuff. So yeah, Plus it's just optimizes the scene. Okay. What do the same thing pressing G. Make sure that I seen as clean as possible. By the way, towards the shortcuts cues you can see this is a custom menu of mine. Okay, So if you find that you're clicking on something so much, holding down Control and Shift and clicking on whatever. Maybe you want a shortcut for creating cubes. I think that is already there. Maybe lights, no, maybe you like creating area lights. You see if you'll appear up here on one of these menus. Okay. I'm just going to delete it because I don't need it for now. But if you notice you're clicking on something so much like maybe adding materials, you know, this one. Let's just leave this on there. It might be useful. Okay, so let's go back to the materials, AI standards. This is a mature created on to rename it. I'll show you why the y. I'm going to explain why it's important later. But let's call these backdrop. And a score mats for material. I do like it's let me first of all, mature. I am under my render come to Panels, Perspective render come. And then I'm just going to hit Play renderer. Make sure Amanda, Amanda, that's just hit play and see what we are going to get. As you can see, it's whites and yeah, it's white. Okay. So to change your color basically just go to Color. And the good thing is that my already has the color Isozaki previously, I ended up choosing this color. So yeah, I like it. What did you notice that the surface is reflective. I don't know if it's a good thing to leave it as reflective as it is, I kinda like the way it looks. It doesn't look that bad. But let me explain some of these settings here, which is basically how much color do you want to be? How much color do you want to see from your OPT, from your object? Okay? So normally just don't mess with weights. Again, diffuse roughness. Still one of those settings that I don't mess with mental illness, we just determined how metallic material. So how crummy chrome gold with those materials behave as going to see the more I add metallic and more reflective it becomes. Now it's black because the environment is black. That is why you're seeing black. If I had something like a sky dome, it would be Scott DOM is like an image that shrubs around your scene that allows you to like the seniors in the image. So but I'm just going to run down mental illness. So for the specular, this is what is affecting the reflectivity. You can turn it down. If you turn it down to like 0, you notice these 0 reflectivity, which can also be a good look, but I don't know. I like it, so let me But generally there's nothing that is, there's no material that doesn't have some form of reflection. So the only thing is maybe I can turn it up a little bit. And now how smooth or how clear your reflection is, is determined by roughness. Okay? So if my check my roughness down to 0, you will notice that you can really see a crisp image, but I don't want it to be this reflective. I'm just going to increase my roughness up. And it's basically find now any object you see has some form of reflection and it's something that some objects are sort off that you can't see. The reflection, whatever is being reflected around all the light and all that stuff. Okay. I just leave it at 1.5. This means like you've ever noticed, maybe you've noticed like on your phone on certain angles. From certain angles you can see like a lot of reflections. This is very prevalent in glass materials. So that is what IOR means, index of refraction. Okay, So 105, It's fine. Generally I don't mess with these settings and we should be good for this material. So let's go to my cream here and create another material. And again, just make it your own color. You don't have to make it mine. Okay. Just remember, it's the color tab, it's the diffuse. Okay. We're going to say standard shader. I'm going to call this cream. Cream underscore mud. Let's uncheck and see, as you can see, it has some nice reflections. It looks kinda realistic. But what we're going to do is let me select the cream again. Go to Korematsu. And for the color. For the color we can sample. The good thing is this eyedropper. Let's use some colors. As you can see, it's going to pick any color. And this also applies to external images. Okay? So you see if you were to bring this external image int I don't know. I have to click it forage to appear. So luckily I have two monitors so I can really picked the color from the other monitor because whenever I pop it up and click on it and click on my disappears. So the color was already there, but you can use that color picker to save yourself some time. So for me, I decided to go with this dark chocolate color. I liked. It says can see, looks yummy, looks droopy. Now it looks reflective like it's just fresh. So this is, again, remember roughness. So if I decrease my references sources just going to look even ofs and I think I'm sorry, I'm on the I clicked on that backdrop. Okay. I didn't notice I can't see what I'm selecting clearly. Okay? Now this is where we let me pose this. This is where we go to something we call the Hypershade, okay? Though the Hypershade allows you to select materials only and this is why it is important to rename. Okay, So if I was to click on my iPad by this button here, I think it's also found under Window rendering editors Hypershade. Let's open it. And he does tend to crash your scenes. Who might be a good time to save your scene. But this is the hyper shade is gonna do still have the same settings here, but the materials are up here. These are the materials in the scene right now. Okay? And then we're looking for is creamy top. So this allows you to select a material without actually selecting the geometry. Ok, and now you can see if I was to press Play, I can walk on this item without seeing that wire mesh. Okay. So so roughness, if I was to turn down the roughness is concedes going to be very reflective, like it says, just been applied there. Which is, look, you could go for good also turn up the roughness is can see that looks like it'll stay there for some days. Does the rough end up or it has dried up. But generally let me just take it down and let me just take my roughness down. I want some form of reflection. I just don't want it to be excessive. And I think that is good. Okay. Now, for cream, cream has a property called subsurface scattering, which means that light gets into the object, sponsor bounces around and gets out. A good example is your skin, like you notice around your ear tips. I, you see some red. So that just means the light is getting in and bouncing out the red color of your blood. Okay. So generally I found the subsurface is subsurface scattering is in a lot of organic materials. So fruits, foods, skin, animal skin, pinch, all these things meet. So anyway. Yeah, so just go to your subsurface scattering and turn it up a little bit. Okay, now you'll notice something tricky is happening. It's looks like, and this is because, like I said, remember for your human skin because you have blood within, it's going to reflect red. Outside. Like red is what is going to be seen because these blood underneath for chocolate, chocolate doesn't have blood. Chocolate is just chocolate inside and out. So for my subsurface cutter color and for my subsurface radius here, just put the same colors only for radios or might make it a little bit darker. Okay. Generally, I don't have a good way to explain what these things do. But generally, I just know if you put like if it was like You're dealing with human skin and you put like red, red, it's going to appear more accurate. Okay, and for your type, random walk was introduced recently, you can choose the version two and version 2 is not bad. You can see, you can see some weird specs happening, but it doesn't look as different. But if I was to turn these subsurface scattering up, you will start to notice that they the chocolate fields lights. I don't know if that's the proper way. And I'm sure as you've noticed, subsurface scattering introduces a lot of noise in the scene. So it might take a while to compute and for you to see what you want, to see your result. Okay? Now for courts, what's called t is, let me just turn off subsurface scattering for the time being. I'm going to come back, they're scored is like, you know, like you've seen, like the chicks paint their nails. And the acrylic transparent layer the paint with on top to hold a choline like we need. That's what you call like the coating. That is what coating does supposed to increase this. Okay. It's like you increasing a layer of coating on top so your material can have everything going on that needs. But when you apply like a transparent acrylic paint oh, like the paint transparent thing they apply to cause that is what quote means for in this case, this thing rather and our quote and quote is not really useful in this situation. So let me go back to subsurface scattering and see what it's going to clean up some noise. But generally those are the settings that you will find us using today, okay? So some of these things are advanced and they might bog you down as if I start to try and explain everything. So I just think I'm going to spare this for the next level where we are going to apply actual textures. So like images is textures, okay? And I do notice things taking a while to compute. Okay? Let's see. I don't know. Let's first do a value of one and seawater one does, but I can already tell one is too translucent. And what am I? What am I It's probably do is I might increase my aliasing. So let me enable, like the aliased samples. Drop this down a bit like ten, and try that again and see if that would help. So let's see, let's see, let's give it some time to compute. I might have to pause the video and do it for each to compute and then unpause when it's done. So give me a sec. So I did finish, but it's still kinda noisy. But you notice like how the chocolate now looks kinda transparent. Looks like it's not act is not enough chocolate, two kids, a thin layer of chocolate. Okay. Like it's not so heavy with I'm trying to explain it. So this is wobbly. Looks like candle wax actually. Okay. So that is what is ops office does? I just think one is too much. I think I'll walk with 0.4. So just make it lifelike. And for the donut here below, and you do notice another problem in now if you were to apply material is going to overwrite this one. So this is a problem with parenting sometimes. So what you do is there is certain ways you could select these donor without affecting these, okay? The first one is by going to your Outliner. Let me move this here. And as you can see, the donor tissue, if you click on this Plus Box icon there, you can see that doughnut shape and the creamy top, okay. They're just generally when you parent, they just generally like glucose, are not grouped under one object. Okay? So you could select your doughnut here and add a material, or you could select it again. You could press down, direction down, okay, as just telling it go down a hierarchy or go up a hierarchy, think 11 will go up the hierarchy, downwind, go down the hierarchy. Okay, so like getting in the group and go into the very fast object like on top, which in this case is the is the doughnut. Okay. So I don't know if that made sense, but just press down. Okay. So right-click again the usual shebang new materials. Shader my has started becoming slow because we're adding so much materials, but yeah, standard. And for this one, let's go to our color, Diffuse color there. And I had already found like a color that looks like brand something that I might need to sign off. Okay, I think it's good. I think that looks okay. Now good. Use a texture like this one or this one. But like I, again, like I said, some of this stuff is advanced and we will talk about it. Don't worry, we'll talk about it in the next lesson when the next level, okay, so let's play and see what we have. And now the first thing you'll do not exist reflective and they can see. So I think that sell fast problem, okay? Again, take it down, press down. And if this is a, still a problem, I will post this. Let me go to my Hypershade and let me select the material. I think it's these AI standard EndNote renamed it's limited, name it from here and just call it dew point. Is it delegates? Doesn't matter. Selected the material. Now let's hit Play. Now. It's reflexive. Obviously it's reflected, reflected. Okay? And by the way, if you're struggling to work sudden materials, there's presets. When you click on Presets, you can see bloods carpi into, copy, all of this stuff. You can just see replace or replaced 75 percent. You're gonna replace the old material and use one of those presets as well in this case is still good. So I'm just going to consider is you don't have, it's very reflective. We can turn down the weight of this peculiar and I can increase the roughness significantly to a point. It's not as reflective. Okay. That's nice. What else? Maybe you can increase the saturation. So this one, a little bit like that. Too saturated fats. And this point I'm just missing around to get a value that I like. I think it's good now. Still done, done that specular because this is breads. It's like the same material is spread. And again, it does have subsurface scattering. But for this on the bread is kinda translucent, meaning that it has a lot of air gaps. So, but I think subsurface will also help on this one. And again, remember our new let me tell me don't like all all I got to look at what is happening. Let's change the color. You know, it's sometimes it's good to experiment and see what's going to hire been doing. You mess around with some values because this is just a better way of landing the materials you're working with. Okay, I'm going to darken the radius. And as you can see, it's clearly too. It's clearly like excessive. So standing down, See difficult JOB. Chris it out a bit there. Because I don't want you to have the same sum sophistry, they're cream. But it's not reflective. So it's not really that much of a problem. I think it's good. Maybe increase it a little bit more. I just want some image to go in there and bounce around. And I think we are good. And we can say random mock version two. And I think I like it. I think we're good. I think we've made I don't not that looks scrumptious. Now for the flow. For me, I'm just going to make it reflective. You know what? I'd like you to flex it. I'm just going to turn up my data, my roughness. The increase may reach a little bit. Turned out my rough has even more. I think for me I'm just going to leave it like that. Like you can see kind of the reflection there looks awesome. And Yemen, here we're the doughnut, okay? Now you do notice the sub-surface has a lot of noise and this is where you need to mess around with your aliasing, okay? It's considered something called transmission and SSS, Okay, So if you're using a CPU, I hope this features wouldn't be enabled for GPU eventually. But generally you just need to turn up with a SSS for your for your subsurface. Just been subsurface scattering. Ok. Lunchtime these up to what? Six things 66. Turn this up to 20. Let's see, filter clumping. Ray depth. Depth is also good. By the way. This just means like how many rays are going to be computed. It's one of those advanced stuff. But I'm looking for the honor them looking for his I think. I might have to increase that for, for like specularity increase too. So and you say too, I think total, it's going to say 20 when you see is going to be like ten times. I'm not so sure if that's the math, but I kid you not sometimes I don't understand this settings and even just generally mess around because you're new mess around. And increase a LinkedIn is good. Specular because my flow is that reflective. I'm, I put three transmission is already at eight. That's just means light go into objects. Let's just put both of these hit three. And yeah, man, I don't think I can mess with anything else here. So I think we're good. So I might have to pause and see whether my final render looks good. It doesn't. I'll take my settings, but mess around with those settings and just give me a sec, I'll be back. Okay. Yeah, we did finish rendering and actually stepped out for a message. But as you can see, looks lovely, doesn't have as much as it could be better. But I think I'm satisfied with the image. And remember I rendered using this are just going to render render the current frame. Just make sure your settings are correct. The correct camera that correct resolution is the you should be good. You should be good. Those are my settings. You can apply them. Everything on a scale. Remember this is under GPU or CPU. For CPU or say maybe put it to four, diffuse limited to, but the subsurface, you might have to increase this to like four something or three or two anyway. Yeah. It's it's it's fine. It's fine. Okay. I like though it looks so how do you save an image? You go to File Save image. But before you do this, now, if you want to save this, generally the default settings is rho image. If you are to save our row image, it's going to look we had okay, because it's in like linear color something. Let me D2, no notch to lemmie. See, let's see, let's see what we are going to see. This is what I'm talking about. Just can see it looks dark now this is good. When you want to like mess around with the colors. Maybe I'm just going to do some adjustment with Windows. This is good when you want to mess up with your colors. And if you want to like edit with something like Photoshop, this is generally the workflow you need to be using. Okay. Like the linear workflow. But for me, nope, I, because I just want this to be like a final image. I'm just going to save another image. But this time I'm just going to make sure when I click that box, I'm going to say column managed. And I'm going to apply and close. I'm just going to say Save image again. I'm going to call this be B3, B3 donor 3, and click on Save. And once you click on Save and see now how about proper looking? About proper looking doughnut image. Okay. So I hope you enjoyed if you have any questions, do you have any issues? You stuck somewhere. Be sure to ask me in the comments section and I'll try my best to help you. But I like the overall result of what we have. So see you in the next level.