Backrooms in Blender 2026 (procedural, beginner friendly)

1. Introduction: Hello, and welcome to new step by step tutorial. This video you have just watched was created entirely in Blender, almost completely using the procedural backroom generator. It is a geometry node modifier setup that I created. But while I was thinking about this tutorial, I had one dilemma to make a tutorial on how I created the modifier setup or about how I created the animation. A tutorial about the modifier setup would mainly focus on geometry nodes, which wouldn't be suitable for beginners or users with less Blender experience. But the thing is that it is not necessary to know geometry nodes or to be advanced Blender user to create good renders. You can let someone else to do the hard work for you and create tools like this one we will use in this tutorial that speed up your workflow. In fact, that's the essence of Blender using tools to work smarter and faster, not harder. But even with ready made tools like this one, it is still important to understand the basic of Blender. So you can later avoid potential issues or customize and adjust certain things to your liking or an to create an animation like this one from introduction because the tool creates a scene but not an animation. That's why I decided to keep this tutorial simplified, with the help of the generator. We will create the scene and lighting. Later, we will animate camera, the paper doll, and the leaking effect. And the plan is to put everything together at the end into final animation with sound effects. 2. Start with Blender: Now start actually with project first thing, I usually do when I start with project, I like to create folder in which I will put all these things so you can create background StorialFolder or something anywhere on your computer. And here we have references. These are just stills from upcoming movie, and I use this for reference for my theser which I will also share with you. So you have this video in four K. You also on my YouTube channel, you can see how this look. And if you now go to these references, you can recognize, for example. This space here. They are almost identical and I have intention to create similar spaces from this official teaser, and we will also try do this in this tutorial. Actually, we will try to create similar animation in this tutorial. So this is this first scene here. But the main tool I will share with you is this background generator. If you download this before my recommendation is to delete that file and re download this because I have few fixes, not too big things, but this is my recommendation. And of course, if you are new here, I will share link with you where you can download this file. And when you download this, you will get this Zip file. And inside this Zip file, you will get this vendor file and instructional video. My recommendation is to watch this instructional video. It is about 14 minutes long, but you can set speed to two if you don't have too much time, but you will understand better how this work. So what is next you need or I need to copy this with Control C, and we have this bottom tutorial folder. I will paste this here. And I will call this maybe scene two or something because I already made scene one, but you can call this, for example, bottoms, animation or HVO. We can now jump inside Blender. When you open Blender, you should get something like this or exactly this. I already prepared these workspaces. You can customize your Blender spaces. For example, if I go with Tri click horizontal split, I can make another one here. I will close this now. This is how I like to customize this. Of course, you can change this, but this is how I set up this. I like to have render preview, so I can in anytime preview what I'm working. And here I have actually three workspace, three D viewport, and here I have this asset browser. We can maybe close this because we have all these assets here. I think it is same if I just drag this here or if I do this but for now, I can keep this how it is. If you need these tools here, you can press T or you can just click here. We can also maybe hide this if I click here, so we have even more clean this left side. But sometimes I just want this in out or move with this tool. This button here is for overlays. If you turn on this, you can see all these slides. And for example, if you select this, you can also see selection here. I think I don't need this. And I also set all these render settings. For example, if you go here, you can see that I switched to cycles. We have this port render. To see this, we need Okay, we need, I think, enable this overlays. Every time you move this on left, you will see that this actually renders to this value here. I think this is too much. If I sell this to 100, it will be enough. So we can save some computer resources if we sell the tolower number. So this 300 this final render, which is what we get when we press F 12. But one thing you need to know. I'm not sure if I have some things inside compositor. Yes, I have, but I'm not sure if this is live preview here. Yes, it is. So if I will disable first this overlays. So because this is set to always, Blender will also calculate all these things which I put inside compositing tab here. If I disable this, you can see that this look a little different, so it is not so big difference. I put some glove lens distortion and some color adjustment here. So this is actually before and this is after. Just to know this can affect your performance. This compositor is sometimes little heavy for calculate. So if you don't have strong enough computer, you can just click disable and you will get small difference here. Okay, I will press T to remove this tab. And let's see what I do last time. One thing I want to do here is I want to have these references inside my Blender file. You can use programs like PureRef. I have this here. And for example, you can put I will put this first reference because you will now start with this scene. Here is my PUF. You can, for example, put this here. Every time I want to see this reference, I need to click on this PUref. I think we can recite this, yes. And I think there is also option to stick this over this window. So when we click to bender, it will also stay here. But I'm not sure how to do this because I usually like to put this inside bender. And to put this inside Blender, you need make one workspace here. So I will go with Try click. And I will put this here and I need image editor here. You can click here open or you can just drag and drop this inside Blender, like this. And now we always have this reference in this corner here. Here, you have this instructional video link. If you stuck in some moment, you can also watch this video, but I don't need this window here, so I will okay, what I do. Join up and join up. So we have here layer. Let's see what is next. We have reference image here, and we can now start building this space here. But first, you can know that we have five main objects here. So these first three are actually generators. So if you select this one, let's, for example, select this ceiling, you can see that you can adjust this. So these three are actually adjustable. So for example, volickness if you move this, you can see that we increase this voliness these three are actually just static objects. For example, this column, if we need one column here, we can just put this column here. Actually, it is not so static. We have also this dirt option and leaking option, and also we can change color of this and shader with this option here, this will not work. To make this work, we actually need select these backroom walls, but we will talk about this later. For example, I will just show you. If I move this, it will also affect this object here. But if I select this and move this, it will not affect. So we will talk about this later. This is not so important. For now, I will set this to zero, and I will delete this object. This on life should be viewport, TD viewport. And let's now start with creating this first scene. 3. Camera animation: Because this will be animation. I don't want now manually place this camera, I will for now quickly create this animation. We actually just have sliding camera from left to right. This is how this look. And we can create this with a few clicks. So for this, I need timeline here. So I will set timeline here. I will go to frame zero. And now I will move camera to left. I will press N, I here and I here. Now we put one key frame and we can now go to last frame and I. No. Before I press I, I just want to move camera. On right. You can press and to remove this tab. We don't have too much space here, so we need sometimes remove these tabs. We can just move this with grabbing this tool here or you can just press G, X. Move this here. It is not important where for now, because we can adjust this later and now I will press I I. So we are srame and if you now press space, we get this. We get camera moving. This is now too fast and how we can slow this. Last time I go with 1,000 frames, but this is maybe too much for this because this take over 1 minute and it is a lot of frames to render later. So for example, I will for now, set this to 500. But you can later if you want this even slower, we can see how this look. Now it is double slower. But if you want, even more slower, you can set this to 700 later and just slow down this. Why I said this because when we will start creating these rooms, one room will be here, and I will draft this. So we have one room here, another will be here. Third one will be here, and later we can just move camera here and start working with third one. I think I build maybe five or six these rooms. And if you use this annotation, you can just click to view and you can find this annotation tab and remove this. Okay, for now, I want stick to frame zero. There is also one thing you need to know. You can see that we have this slow start and then this slow start and then camera speed up. That's because we have this interpolation. If you set T to get these interpolation types, we have this by default, this busier. You can play with this if you go to graph Editor. We should select this x axis. And if you press full stop on Numpad, you can just isolate this, I think, and we can click normalize too. I think this is maybe better. What is important here, for example, if you want change this interpolation type, for example, if you select this keyframe here, and if you press you can set this, for example, to linear. Now we get constant speed. If you like this, you can change this, but I don't like, so you can press T easier. And if you want this transition to be faster, you can just maybe drag this handle here. If you go up, you will get this effect that camera go on this side and then so you don't want to go up. But if you want to make this more fast, you can move this here. Or if you want to make this slower, let's see what Ifi. Move this left handle to here. I didn't use this last time because I like these default settings. It is good enough, but just to know. So let's now just bring this timeline here. I just want to see these two keyframes, and that's all I need from this tab. Actually, this tab, I think it is not useful for now, so I can bring this down. And let's now start with creating these walls. 4. More about scene: Backroom walls is actually main tool here. If I select this, you get this shape, which is just for preview. It is not important for us, and now I will delete everything except one wall here because we will start from scratch. So I can keep maybe this wall. And when I select this, you can see that we cannot see the face is selected. That's because we select this face inside. And the reason for this is because we have this wall thickness here. But you can also know that everything is little slower that's because we have a lot of things with the geometry nodes, modifier do and to speed up and simplify all the.This my recommendation. Just disable this in Viewport. To show you what I'm thinking, we don't have the dirt overlays here. But for example, if I increase this, you can see that we get all these dirt overlays. But, of course, now it's much harder to work this is much slower and these green things are a little annoying, but we don't need this for now because we now focus only on creating these arts and we can always later click here and see how this look when this is final result. So disable this for now because we want to focus only on these ors. One thing I will also do this ceiling generator, I will also hide this for now, you can press age just to hide this. You activate this button here. So this is now hided in ePort but not in render. You can see this. If you press F 12, this is still visible in render. I actually want that, so I don't need this for now. One thing you also need to know we have here some volumetric cube, which is this one. And you can see this we're lighting this from this volumetric cube. I think I didn't use a principle volume or something. I just used this emission node and this actually create you can note some small yellowish haze here. So it is not too much, but I think it is better than nothing. So without this, this part will be a little more black and little more crisp, but not so important to note that this is here. So this is before you can maybe note here before and after. Not too much, you can disable this enable or you can even play with principal volume here to get a little better volume effect. But principal volume will slow down the scene even more. Not so important, but just to know why this cube is here, you cannot select this because I disable this selectb. Now you can Okay, not so important. But one thing which is important now without this lighting, it is very hard to see these rooms. So because I want to keep this disabled because this here is annoying. We need, go inside to see what happened here. So I want to disable this. But I will now increase this word lighting. Now, this is by default, this is almost too black. So this is almost not visible. We still see something because of this volumetric cube, but now we don't see anything so what I will do, I will for now, increase the lighting so we can see better what we are doing on left. 5. Creating a maze: Now we can actually start shaping these walls. So I need this reference, bigger. Let's see how we can create this. First, I will select only these phases, control I delete pass. So we have only one phase which is enough for start, and we can now move this about here. We have very long this room here, so I will move this to about here, EX to extra this on X axis. And now we can go with EY. You can switch between a vertex edge and phase selection with one, two or three. So if I press one, two, three, you can see that we switch here. So I will use this shortcut, so three is for phase selection and we can move this here. Okay. I actually want to make this corner here. So I will move to about here. Let's actually move this even to about here. Maybe to here and now EX. And now we get this corner with three, maybe I will go closer to camera. Okay, we get similar things like we have here, and I want to create these doors. This is something like doors. Let's see. Control R one edge here to about here. And now I will go with Ex about here and what we can do here. We can try cut here and try match same position because they are in same position. But what we can also do, we can go with Shift D, Shift D and then X, move one here, and now EX. We will get this intersection, but this will not be visible inside camera. And even if it is visible, it will just create some imperfection which are always good. We will get maybe some S or something. Let's see what next control are one edge here. Now we can grab this edge E x. I don't want to intersect too much here because we get this weird shading, but it is okay if you just stick this somewhere here. Small imperfection is always good. We have one room behind this door. So what we can do, select this pace EY to create this room, but I will delete this ceiling deletes deletorT part, and let's see what we can do here. Maybe with He select. I think I will connect this with F. So we get this wall here. Let's see. Control R. And if you scroll mouse up, you get two loop cuts. That's actually what we need to create this door. And let's go with K here, and control R. And if you go with escape after Control R, you need to go with G twice. G G to slide this now, delete phases. Yes, we have this phase here. We get actually what we want. Okay, now you know that we're missing this carpet. If you want sit this viewport little more, you can disable this, but I think this is not important. We have some particles here or dirt. I will now just go to Edit mode, select this carpet object or this floor object, move this until the end. We will need more space here so you can also move this on X. This is actually what this small wall here, we actually need this. We have one here. So I will not delete this. I will just move this one here. We also have this molding here which you can create if I add this option. If you just increase this, you get this molding. Okay, this go down, so we can just bring this up. I will show you here how this look. So we have this molding and you can also play with thickness. I think this is enough. This wooden part here, you can note here. I didn't create this procedural, but we can just manually add this. You can pick this from here. For example, you can just place this here or you can from set browser, bring this here. It is actually same. So let's quickly create this. For this, I will just go to edit mode. Okay, I need I go with Ex night to rotate this in another direction. And I like to do this in edit mode. If you go to material preview, you can know that this is unwrap properly because unwrap is object based. So we have this empty object, which actually control this unwrap. So if you just be sure to do this in edit mode. So everything you do in edit mode will be Correct. For example, if I rotate this, that's actually what I do. I rotate this in object mode. So I need apply rotation so you can see that this rotation is not zero. Control A, apply rotation. Now we fix this envelop here. Let me show you here. For example, if I go in object mode with x 90, I now mess this envelop here. So I need now apply rotation. So just be sure to do everything in edit mode then you are safe. So what I need to do here, I need to go to Edit mode. I will just grab this GI to put this here, and I think this is okay. Now I can go with GI and place this here. We have one here. Let's see what we can do. Shift Y Z 90. Let's see what we do now. Control A, apply rotation. Now we fix this unwrap apply rotation. Place this here and in edit mode, I will just grab this edge. This is edge, we cannot set these faces because if you remember this, we have this wall thickness. And now I can just grab this edge, make this bigger. And let's see I want also make this bigger. Okay. Let's now place this in place. So we have this more wall here, which would be somewhere about here. And we have one column here. So I will grab this one, and this should go to about here. Okay. And I have one extra object which I will just mon outside. 6. Ceiling: Next is ceiling. We hide this and let's now unhide this. We have here panel on X axis, which is this panel on Y axis. We need more panels on Y axis, and I will place this here. You can note on this reference that this part is without these lights. We will play with this later. I just want now fix this part or fill this part. So this should go to about here. And if you want follow this reference, precisely, you can count these like numbers, so one, two, three, four, five, six. So we have one, two, three, four, five, six, seven, eight. So this hallway is too big, so I will not this one, this one. One, two, three, four, five, six, seven. So we need remove one more, one, two, three, four, five, six. So this hallway should go to This door, actually, should stop here. We can select this object. It number seven, we can go to top orthographic view or up top. Now what I will do, I will go to edit mode and we can now we should be in X ray mode. For example, if you are not in Xray mode, you can get this problem. You can think, Okay, I select everything, but you just select this top and you get this problem. Number seven, Xray mode, or you can just press Z and switch two. No Xray R mode. Now we can select this and we can just move to this edge here. Okay. And we have this word lighting set to white. That's the reason why we see everything here. But if you said this to black, we will actually get closer to this reference image. Okay? But I don't want to put this empty. I need one light panel also here, but without light. So I will go we can go with Shiv D or Alt D. I think in this case, it's same, so I will go with D to create instance of this because even this is instance, we can geometry node works in a way that each of these are independent with another object. I will now play with these values. You can know that we have lights inside here, which we don't want. Okay. And I will turn off lights for this. So we have lighting light on and light off. I will send this light on all to zero. So you can see when I move this, we actually randomly remove some of these lighting, so I will set all to zero. So we have these panels inside, but just we don't have any light here. Let's see what is next. So we miss this part. This is actually a little tricky because you can note that we have these panels, but without these slides. And if I, for example, select this, you might think, Okay, I can just set this light off to zero. But this work a little different. We actually have these lights here, light panels, but light just don't work, which is not the case here. We don't have any light panels. We just have these normal panels and how we can do this. So I will set this all to zero. What I will do here, I will duplicate this. Okay, this should go or to here. I will just increase this a little. I think this is not so important. Okay. What I will do, I will go with Shiv D Y, and I don't need so many rows here, maybe just five. I said that this cannot go lower than five. If you want to change this, you can, for example, go to geometry nodes Editor. And if you press and, you can, for example, select this setting which is PanelX which is this one here, and you can find this minimum. You can, for example, set this to two and then you are able to set this to two. But when I create this, I think five is minimum you want, but I was wrong. In some cases, I will need this set lower than five. So for now, I set this to two, and I need maybe five or six this. So how we can remove these lights and just put these panels. Because I didn't create this by default, so I didn't create another variation on this ceiling, we will create this now. So I will call this ceiling generator with with no lights. With no lights and what I will do now, I will copy this and I will make duplication of this geometry node setup because I don't want to affect this object. So I will click here. So this will be version with no lights. And if you know just a little of geometry nodes, you can do theses. So we have instances, and I have one instances which is panel with lights. I will show you here. So I go to material preview. No, actually, I want to show you this one for all these three. So we have just panel, we have panel with light on and panel which don't work. So if you go to render preview, this one don't work, this one work. This one is just panel. And what I need to do now, I will go with Napk select this object. So we have panel without lights. And we have here, this is just panels. So I will just move this up. I will plug this instead of this panel with lights, I will plug this here. And now you can see what we get, we actually replace these lights with this panel. So we have another geometri no setup, which we modify a little. And you can also know that we still have these lights here. So that's the reason why this is too bright because this now cast light, but we can just set this one of lights to zero. And you can see that actually with this, we remove these lights from here. Okay, now we have same as in this reference here. And you can also note the chrome metal parts. I actually add this here. So to change this, we need to select main ceiling generator, which is this one. W ASL browser, then we can play with this This whole of settings are actually drivers which are connected to this shade the editor, if I go to shade the editor and if I select this, I need this material here. You can see that these are drivers, and we can drive these drivers only when we select main object, which is this one. Here, this is not so important for you, but just to know. So now we have these metal frames. And if I now set this one, now this become metal. If I set this roughness to zero, it will be more shiny. In this reference, I don't think they're too shiny and I don't think they're even metal, maybe they're plastic or something. But I think we can maybe say this 2.3 and the rogerence to maybe 0.6 or 0.5. Okay, this is not so important. Let's now just dig this here. Okay, we need one more. So I will play with this seven or eight, something like this. And it should now get similar from this reference. Okay, there is one thing we have these lights breathing on this wall. So let's see. We have one which is very close to this wall, something like this. Actually, I will try get similar. If I add one, I get something similar, like I have here and we have here one, two, three, so one, two, three. Now we can just adjust this word here. If I go to Edit mode, just be sure to select everything here. So this one, this one, withholding sheet, this one. Now we can adjust this a little. So we have we actually need more space here. Okay. Now this is pretty similar like here. And now we need to select, again, main object, which is this ceiling generator with this asset browser icon, and we can play with lighting. So we have here are ANPtnsity which is if I set this, for example, to ten, we will almost lose all lights, but there is one thing you need to know. So we have this emission planes, which is this value here. So if I set this to zero, we get we don't see anything here, and we can now. We don't want this to zero because then this doesn't look like light. So we just want this to look normal in camera. For example, Okay, this is not too bright. So if you go crazy with this, no, this is wrong value. If we said this here 20, we will get a lot of fireflies, which are not so visible now, but because we have the noiser but you can see that this rash our render. This is very heavy to calculate. So we just want these emission planes to look right in camera. But we want to keep this value low, maybe three or five or something. Five is okay, but I want to go lower with this value. And now we can set lighting with these area lamps, which actually speed up our render. Because when we have more lights, we get less fireflies. This area lamps actually help to optimize our scene. But I want to bring this intensity maybe to. If you said this 50, this is not enough. You can see that we have a lot of brightness here. So I will go with maybe 100, I think we can go with even more. So if you said this 200, maybe this is too much. So maybe 150, not 1050, 150 is maybe right value for this maybe too much, maybe 120. I think if we move camera a little to see this wall, this wall here, I think we have more lighting here. Probably they have something behind this or on set, they have some lighting on this area or behind this. What we can do, we can just go with Shield D Y and I will move this all down. And now we can with this light or off choose how much we want this light behind here to try and get similar look like we have here. You can even move these two because this is things they do inset. They play with lighting until they are happy with result. So maybe just one or two lights here, and we can move this. So if I delete this, this is before, this is after. I think this is closer to this reference image here. Okay, we are almost done with this first scene. We have these two walls here, which we can very easily put here if we go inside. Okay, this column should go here somewhere here. You can put this in middle. If you go with number seven, you can put this in middle of this panel. I think this have more sense. Okay, not here. Maybe this panel here. Okay, let's now just place this small walls here, one go here, this is good enough G Y, GX, OT or Shift D. I will go it Shiv D. This is not heavy objects, so I can go it Shiv D Y. Just use don't do anything in object mode. My recommendation is to go to Edit mode and just play with this. Okay. I think we need bigger doors here. So that's where easy just select this object Edit mode. Select this and we also need. We don't want stretch this shift, select this and we can now create bigger walls. Or we can maybe select this wall and do this. Okay. Now we have something very similar to this render here, and we can even render this with bigger sample values with hew. 7. Creating other rooms: Hello, it is another day here and this should be part sixth of Tutorial. We will now build the second room. So this should be first room and next will be second room. And let's see I will now find another reference here. I think we can maybe build this one and we can also take maybe this part here which I like. So we will start with this one. I will select these walls, and we can go to Edit mode. You can also press Tab on your keyboard to switch to edit mode and two to grab this edge selection. So tab and two is shortcut. Now I can grab this edge here, but first I will move camera to about here, so this wall is too big. I will now go with E Y. To extrude this on Y axis, let's move camera about here. And now we can build this room somewhere here. So EX and EY again. Now we have space for rooms. And let's see. So we have these two walls or three. Actually, I think I will make hallway here. It is not so visible, but let's go with Control R, and we can go with EY, but I want to delete this ceiling and the bar down. Okay. We can go again with tab, select this carpet, tab again, two for edge selection and move this about here. Okay, now we can continue with these balls. I will move this wall. So three phase selection, I will move this wall to about here. Or we can grab all of this. No. Maybe select this phase, Control Lampex plus to expand selection, and we can maybe put this in middle. Let's see what is next. We can build these walls. Here, I will go with Control R, maybe two cuts you can go with EX. Now we have the walls, but what make this more visible, you can increase brightness here. I will move this wall to about here so we can see the second one and maybe one here, EX. We can build this small wall or we can just, ok this is only supported in object mode so tab and we can bring this from As browser. We can place one small wall here. With tab, we can make this bigger. And if you want to put this wooden part, we can just grab this. And we can place this here I 90. Control A, apply rotation. Every time when you change rotation and object mode, just be sure to apply this. Let's see. With holding shift, we can be more precise and we can move this until this intersect tab to go edit mode, control R, you can basically just put this edge here, select this face and EY. No EX. But because I already press E I can now just go with X. Okay, so this should be something similar like in this part here, we can maybe move this to C or this part, or we can make this wall smaller. So tab. Okay, what we can do? Next, we can go to this reference image. Ten. And we can build this part which I like. So we can just do this if we go with Control R. Okay, this control R in this part will not work. This sometimes happen, and what I usually do in this case is I can just go with tab which is edit mode. Now. We are in edit mode, so that means that we can use K fork knife. I will go with K here and I will just stick this here. And you can know that this is not straight line. Now I can grab this and, zero. Now, this is perfectly straight, and I can now go with double tap G. G twice, G G, and I can slide this about here. Three on keyboard and we can now go with EX. Extra this on XX is about here. We can go with two, maybe move this little out. Now we get this space here, and here we can place this ceiling without lights, which is this one. But let's first add normal ceiling with lights. So all DX or shift DX in this case is, I think same. Let's place this in middle and now we need more of this. But we can also count this one, two, three, four, maybe five of these slides. Here we have four, so we can go with five. Let's increase this panel on X axis. Let's go with one more. And we also increase this on Y axis to cover all these. So we need even more here. And let's see this intersection I don't like, so I will grab this tab three to face selection and let's just move this about here. You can look on this area here, so I don't want this light which intersect with wall. Let's move about here. Okay, so we have this very bright and big room. Let's see. I mess something here. That's because I didn't select both faces. I just select one and let's see how I can fix this For now, we can just move this on X axis. I make little mess here, but now this is not important because we can just go with EX. Okay. We can now go delete the low edges. Okay, I will go with Napa K because I think I make a big mess here. What is easier thing you can do in these cases? We can just grab this. I think we don't need this. I'm not sure what delete vertices. Delete vertices numbed seven Xray mode, and Xray mode, numbed seven, select everything Y zero. Now this should be perfectly line up. NumpdKT back to our scene. And I will just grab this ceiling without light, Shi the x or the X. And let's now just place this here. I will go with H to hide this so I can focus only on this small part. A little more on Y axis. This part behind will not be visible. So I just need cover this edge here. And now we move this down. So GZ, let's move this down. Until we start these panels. Okay? And to unhide this, you can click here or old cage, which is shortcut and we have this. What I do last time I bring these chairs here, and these are not same, but they are similar, like chairs, I model in the oldest view project. I have the oldest view assets. You can find this on my stores. I think I will share this chair with you, so I have the stores assets. So this is everything I model. For this project, I will just show quickly these stores we have here a lot of these stores 28, I think. So if you are interested, you can take a look on this, and I will just quickly show you this wall. So I build completely this mole, so we have this more, but we need ceiling. Okay, this is how this look, and we have a whole more from the oldest with animation. So if you need these project files, you can find this on my stores. But let's now open this assets rest. And here we have a chair, which I model. Somewhere here. Okay, I think this one. And I also record tutorial how I modeled this chat if you want, you can find also that Tutorial, let's now go with paste here. Okay. And you can know that we have a lot of chairs on ceiling. This is one of most common errors which you can get when you work with this asset. What now happened, we put this chain in okay, we have something selected here, and when we go with triclPaste, we actually put new object in this collection. But this collection scatter objects on ceiling and we scatter this chain on ceiling. So what you need to do you can set this to thin collection or you can create new collection, for example, other. In this collection, we will put all things we import in this project. So just put this here and you are safe. Now we have this other collection. Okay, this is marked as assets. So I will just click asset. Okay, and where is this chair. Here. Okay, it is here. Now we can just place this had in a few places. On X axis is on zero, which is good, so we just need care about YN O Z axis is good, so we just need care on YN X axis. So it is about here. We can maybe change little color of this. We need more brownish or reddish color. So I will go with Shade editor. Let's see which materials. We have this oak and black leather. We obviously play with this oak material. I will try to make this more reddish with just hue saturation value node. If we hold sheet, we can move this precisely. We obviously want to go on left little. I think this value is good. We can also bring saturation to make this little more red. Mm. 8. Playing with settings - Ceiling: In this part, maybe we can play with these settings which we have with these walls, ceiling and floor. Okay. Let's start with one which don't have too much, so we have this carpet. We have this density factor, which is, I will bring this viewport here. So with this, we just scatter more of this dirt. This transparency is actually how this is visible. So if we go to zero, this is completely transparent. If you go to one, this is visible and we have this scale. So you can see that we make this dirt bigger. And what we actually scatter, we scatter something which is in this you know, carpet dirt folder. So if I select this, we actually have this overlays, which look like this. I didn't use any noise texture or mass grave texture to make this computer generated dirt. I actually try find what dirt can go to carpet and I make this image overlays. If you want to make this more visible, you can select individual piece of this and you can then go to shade the editor, and you can play with this color ramp. So if you increase these white colors, this should be even more visible. You can see that this tar become even more visible. I will try to disable this compositor for now so we can see this even better. Okay, we can clearly now see this overlay here and let's select this now. So to make this more visible, you can just increase this contrast. You can now clearly see this dirt here. But if you want to make this more transparent, we can just move this closer to black. Okay. Just to know how this works, if you want, of course, you can in this in backrooms movie, we have this formula here. So we have one light and then three panels, which is not light. So maybe we don't see these lines, but we have one, two, three of, and then again light. And on XX we have every other one light, one panel, one light. You can change this here. This is X axis. If we set this to one, each of these will be light panel, but if we set this to two, we get what we have here. If we set this to three, we will get two empty and one light. So two is what we want. But you can also play with this. If we set now these 23, we will get two panels and one light, light, two panels light. To get same in movie, we need to set this to two by four, which is by default. Okay, we talk about this panel sex panel cycle. I try to measure this and I think they use 1.2 by 1.2. This looks stretch, but it is not just because camera perspective. We can see here that they are same on X and Y axis. But you can change scale of this. So if you want bigger, you can just or smaller, you can play with this light random. So we use this formula, and if you set this to one, it will follow this formula. But if you change value here, it will go randomly. So now this also affect here. For example, if you said this to three, we will have more lights. But with this, we also get random value here. But I don't want this, so I will set to one, and this is four. On our flights, we talked about this before. With this, you can get this nice type of animation. So if you just do this, you can, of course, put keyframes here if I press I here, I can put keyframe, and then you can move on timeline and put another keyframe and get this animation. So this is this effect and seed, of course, you can play also with seed, but I will say this to one. Area and pitasity we talk about this before. If you said this to 30, we will not have too much light here. But this is important. I talked about this before. So if you change this value and nothing happened, that's because when you see this gray or half transparent values which are all these, this means that these are drivers. Drivers are always connected with main objects. For example, we can duplicate this ceiling, but they are always connected with main object. Example, if I change this value, nothing happened, that means that we need select main object. So first one, which is this one with asset briser icon. Select this one, and now if we change this to 30, we will affect whole this space. And of course, there is timeline. This will also affect this part here. So I will break the 220 emission. So this is the emission objects here. If you said this to zero, it will become black glass transparency. So we have here this glass but with this, we can choose how much this glass will be transparent. So if you set this to one, it will be completely transparent. If you set this to zero, we will get this glass. We now have this glass roughness. If you send the glass roughness to zero, you actually see just this bump. So this is not roughness, but we can also play with roughness here. Basically, you can choose look you like here. And emission contrast, I'm not sure if this is so important for you. If you increase this, you actually make this light with these tubes more bright, but this part between less bright. You actually get more contrast here. You can just like this and choose look you like. These metal frames, we talk about this before ceiling stain dirt. So this is same on carpet, but I just found different overlays. So we mostly have this water stain or something. And we can increase this. And now, you need to be careful. This object is not hollow, so we have these white numbers. So that means that when you select object, we change, which is this one. Object we want to change. Before we have selected this ceiling here, which is this one, and we add here this stains but now I want, this one is actually object we want change. So just be sure you don't have selected this one, this main object you need now, select this one. And now we can add these dirts. We can also play here with scale, but this one is whole also. We need to select this main. Let's crease these 21 and let's now play with these options. So we can make maybe this bigger to get this effect, of course, you can play with seed. This is how much of this we will get. And if we look this in solid preview, you can actually see what we do. Okay, but in normal cases, you don't want to make this visible maybe 0.3 or something just to make this effect sutter. 9. Playing with settings - Wall: We are done with ceiling and we have backroom boards. All this is just one object. So we don't care about what we are selecting and what we are doing because everything is just one object. Voltickness is, but don't forget this is disabled in Vwport we don't see anything what we do here. We now enable this voltiness is this. Basically, volickness you can hold shift to move this slightly. Dirt over this is Okay, this object is very big. Everything here is this object. And when we scatter this, we actually scatter thousands of these objects, but it is same on ceiling and floor. So their overlay, we can, of course, play with scale. You can maybe just type here some value. It will be a little faster. We get this effect, seed, so we can changed. Leaking. I will now say this to zero. Leaking are things which go from ceiling to down. So if I increase this leaking, we actually add on this part only, and we have different overlays, which look like this one. We can make maybe this less intense 0.3, we get this subtle effect. The scale. So if you want, make this bigger or smaller, you can change this value and, of course, seed. Okay, let's now jump to this wall paper. I will make this to zero. So this wall paper is this first option is backroom spatter. If you sent this to one, you will clearly see this backroom patter here. But if you keep this all to zero, we still have these backroom patters, but they are actually how they should be very subtle. But if you want to increase this and make this little more visible, you can set maybe 0.3 or something. Brightness. So this is how this wall is bright or dark. I think 1.8 is actually value I like. If you want to make this little more bright, you can play with this value saturation. So if you increase these to one, they will be more yellowish. You can know that there are now a little more yellowish bump backroom spatter. So this will be bump. I will say this one bump based on the backroom spatter. You can now see this bump here. Maybe normal values 0.2 or something. Bump seam. This is this seam. So every two or 3 meters, I'm not sure what I said, you can actually control with this word paper scale controller. This is empty object, and if you now scale this, you can see that we actually change this UV. I think we also change this SM. I will select this, this is bum SM. If I set this to zero, we will actually remove these lines here. But I like this bomb scene because when they put this paper on word, you should see some of the sem, maybe pointt or something. Okay? And we can clearly see a few of these sems maybe even more in material preview. Yes, we have a few of these sems here. And let's see what is concrete glossiness. If we sent this to one, we actually increase roughness closer to zero. So this should be more shiny, but this is also based on concrete texturing. And last one is concrete dirt. So if you sent this to one, you should get the same dirt we have on this floor, which I showed you before. This is not so visible, but you can clearly see some of these dirt. See some of these imperfections on my four K video. So let's stop somewhere here. You can clearly see this concrete glossiness. I think I said this maybe 2.2. We can also see this seam here. We can see this dirt. But I just keep this subtle. You can also see on ceiling, this dirt. So this is pretty subtle, but you also can note a lot of these imperfections. You can see these dirts here, this concrete glossiness and these seams. We have one seam here. And we have one seam here, another here. And I also increase this bump this bacumpattern a little, maybe just 0.2 or 0.1. We have this ceiling. 10. Lighting: When I work on this teaser, I try to get closer as much I can to reference images or references from film. I see one problem in film, we have these lights which are completely flat, so we don't see any details, but we can see the office light panels here clearly, especially if we remove this, I will select this ceiling generator and if I increase this glass transparency, we can see that I model these office lights. And I think this is much closer to reality. This is how these lights actually look. But because this is film, I think they use something like soft diffuse or something to get better and more soft lights. You can also see on these words that we don't see enough details like we can see in our renders. For example, here, we can clearly see these lights, which is actually more realistic, but for film purpose, they use the soft box. So this is not what you will find in offices. How I can achieve this because we are trying to get closer to this reference image here. These objects here, actually this panel light on. So we have this object. We clearly need edit this object. So if I go to edit mode, I will go with old Hage. You will see this, but for now hide not hide. I will actually duplicate this SDZ I will say what they do in reality. I will press Hage. So now we have this object. Basically, they put something like light diffuser on top to make these slides off. So we can try do this new material here. I will call this fake lives or something. And I will now go to shade the editor, and we need to assign this. Now, you see what we get. We actually get this material, but I want to go with emission. Emission and transparent because I want control transparency of this. Now, if we block this here to surface. So if you set this or to zero, we get this emission. If we set this or right, we get what we have before. I will now see which values I used last time. I use this yellowish color and strength to 40 and this 2.9. Okay. I don't have time to mess with this, why we just copy these values. Now, if we move this, we actually get something similar which they do. We can maybe try sample this tint here. This look like little reddish. I think they have this halation effect on these edges, but we will do maybe this impose. So because I want affect color, I will increase saturation to here. But I also want to keep some of these details because this is realistic and let's go last time I go with value of 0.9. This is actually how I achieve this effect. Now you have just one more controller. So if you want this look or this one, you can play with this slider. This also effect. If we said this, for example, to ten, we get this effect, let's see, 100, this effect, but this is what I used last time. Okay. And you can also affect this affect lighting in our scene, which is what we should expect because we add this emission with this value, and of course, this will affect lighting also here. And of course, if you change this color, this will also affect this tin one thing which is very important here, I mess this default value. So if you go to render preview, and if you go down, you can see that this is AGx by default, you have this standard, which is completely different. I also play with this wide balance. So this is what you will get by default. But if you lick here and enable this to get these values which I put. So if you want change this temperature, you can maybe change these numbers. If I go with higher number, I should get more warm tones. And this tint, if you go to left, you always get this greenish tint. If I go to right, I get more this reddish tint. These values, I think, look similar, like this reference, but of course, you can play with this and also this effect a lot. 11. Combining with SuperScatterOnSurface: Now recommend you one of my add-ons, which I do before a few months, which is super scatter on surface, just to show you that you can combine this background generator with any other assets. So we can maybe have fun with this. I will not share this with you, but I think if you follow me, you already have this super scatter on surface. If you don't have, you can find this on my network and download, but I think it will not be included in this pack. So you can just take rest a little and watch what I'm doing if you don't have these assets. I have instructional video how to use the super scatter on surface, so I will not now explain each of these steps, but I will scatter on this ceiling down. So this is actually asset browser objects, so I will go to super scatter surface. And we have this plane scatter and curve scatter. We should know that this plane is actually very big. We can split this. I will for now disable this. Here, we can split this in few smaller pieces because if I apply this scutter now, we will scatter a lot of objects because this object is big. I want maybe make this smaller, so it will be less intense for my computer p separate by selection. So now nothing happened. We just have two of these objects. And if I now import this planes cutter, I need to be sure, again, that this is in other folder. Now, actually, nothing happened, but visually, but something happened in background. This is not for you, but if you go to Brander file, you can see that we actually import some of these assets here. You can take a look that we actually installed this scatter now. And what happened now if I now select this object, this scutter is actually geometry node modifier. Another modifier like backrooms, like this carpet modifier or this ceiling and this walls modifier. So I will select this. I will make this smaller and I will go with another modifier. I think I can just search for scatter on surface. No, I think I need to go with geometry nodes. And now I can select this super scatter on surface. You can see what happened here, we scatter something on the surface. And what we scatter, we actually scatter the soil things here. I will close this down. Why we scatter this because we have this asset value set to zero. So we basically scatter this. If we set this high Q, we actually scatter this high Q object, but by default, we scatter this one, low poly. I will keep for now this low poly. And we have here, I think, 75 or something, 79 objects. We can scatter here. You can take look all these objects that we have from nature to trash or to trees, rocks, dirt. For example, if you want to scatter this McDonald's trash, we can type here 44. So asset 44. And you can see that we actually scatter millions of these density is too big. So let's say this ten. If we go to material preview, all these are high quality photo scans. You can see how this look and all these should be real world scale, but this is not so good example. Let's go with maybe grasses 4-14 or something. So if I said here four, we get the grass. Okay? This is very massive room, so we can maybe increase scale. Okay, scale somewhere down. Here is scale. I will say this to 1.6 to make this little bigger, but we need a lot of particles to see this. If I said this to 100, this can become very heavy for my computer because we have millions of these particles, but there is also two ways we can scatter this with brush or curve. I will talk about this later. Let's see. So this is Asset four. Let's go with asset five. And of course, we can combine these assets. So I will set this density. This is what I will do for now. I will disable this. I will make this smaller. So tab to edit mode, Control R. Let's scatter for now, just on this area. Be separated by selection. Okay. This should be disabled for now. Let's just enable this here. Now, this should be much more faster. And let's now. So this will be grass one. Duplicate. When you duplicate this, you want change seed because you don't want scatter in the same position, which is this. So just change seed, and now we can change at maybe seven. We have this type of grass, maybe this old grass, which is 15. So offset 50 and we get this. Now we can make one test render to see how this looking with more samples. We get this nice render. I will show one thing. So if I set this to two and if I enable this high Q. I basically make two version. One is more low polymsh, another one have more mesh, but mesh is not only difference, I also improve shader. So I add something like transmission subsurface scattering and all these things will look a little more realistic. So I want also high Q here. Now we can compare. This is before, this is after. We have a little No, this is before, this is after. We have a little better reaction to light. Maybe this one is not a good example. I will say this to five. We can maybe no, these 25, but we can maybe duplicate this one more time. So we have here asset five. Let's add asset seven. So all this is still grass. You can increase this maybe to 70. This is a low poly version of this new grass, and this is more like high quality version. For example, if we said this to 40, we get this. This look nice. But when we have the assets which should be same size, we can just go to advance options and scale. I will set scale to one, and we also have here scale offset. So I will take this value here, but it will also add randomization here. So if I set this to zero, I will increase density here, maybe just a few of these. And let's duplicate this one more time. Maybe these big bags here, 54, maybe this Bruish one. Okay, we have a lot of this. Maybe we need say this value 2.2 or something. Maybe the trash can. Few of these so 58. You can also note small rotation here. That's because I said this rotation on X and Y to 50 degrees, we can line up this perfectly. We can clearly see this green reflection we get on ceiling, which is very nice. This is another test, and I feel that we have a lot of the chromatic aberration glow effects. Maybe we can reduce this side composite so E to zoom this scene, just move this little more. This should go maybe 0.005. Something like this. I now show you how we can scatter this. But if we want paint this specific areas. I will go to layout and for now remove all this. Let's just keep this grass number seven. Let's see what we can do. I will select only these objects, so I can work with this object, and let's go to render preview. I can paint this in two ways. First one is masking. If I go here, I can create new and I can call this grass. Okay, now, I need to go to let's see texture paint. I think now we should select here, we have selected material, which is not what we want. We want single image. And we should find this grass image, and now we can paint here. Okay? But we paint with black. We actually Black is value of zero. We want paint with value of one or something between. So we can now paint with this tool. If you said this to one, you will paint with 100% density. Which also affect this value here. So if I said this to 100, it will be more dense, but now we can reduce this here. Okay. Now, because I before have 100 and now it is about 50. I actually remove this. So if you said this to black, you will actually remove this. But there is another way we can paint this. Actually, in part of this super scatter on surface are this curve scatter. Maybe you like curve scattering more than this with this brush here. So I will show you how this work. I will actually replace this. No, I will remove this geometric nodes. I will go with geometric nodes and I will find curve scatter. We don't have curve scatter here because I didn't import. This is only in my Asset browser or another location on my computer, so just drag this here. Again, O. Now we import this and we can start working. Now we should find this curve scatter. Okay, but this is not good. Because this is curve scatter, we need curve object. So I will remove this shift click Shift A any curve object. So for example, busier. This object look like it is selected, but it is not just clear here. It must be yellowish. So we have this curve properties. Now we know that we select this object geometry nodes, curve scatter. And now we have the grass, which is somewhere here. Now, you can play with this curve. This is not what I recommend. What I recommend is to go to edit mode, A, delete vertices. Now, we delete this curve, but we are still in curve properties. You can see here. What we can do now, we can select this draft tool and we can draft this. Okay. But you can know that this is in three D perspective. So we need go to Control Z. We need drop this on surface. So now we can just drap this and we have here some of this option, almost same before. Why I drove this here? Because I think this curve is in the ceiling collection. And we can now continue driving this like this one. This is density. This is offset from curve. If you set this to zero, we get these straight lines, but we want offset here. Offset from surface. If you go with positive value, will go up and if you want to merge this better with ground, you can go to negative values, but zero is by default scale max. So if you want scale this grass, you will get this effect, which is actually a nice effect, and we can drag this part here. Let's go to our scene to see what we are doing and what we can do if we want. Now combine this with other assets, so I will click IQ, so we get a high quality grass. We have all these things you can play with, but I explain everything in instructional Video. So this is not instructional Video, can call this grass one duplicate seed, always change seed, and we can play with another assets. And if you want new curve to control this, it go to new object. For example, you can go shift a another busier curve and then you can go with geometric nos and add these curve scatter. Now we have new curve. We can go again with delete vertices, set this to surface and we can scatter these things here, which should be something different. Let's say I IVs. Let's try this pin cones. So 28. Now we can scatter these things. Here. Let's make also this bigger. And let's now combine these pine cones with Okay. Again, I placed this on ceiling collection and other This is result we get, and this will be end of this part of tutorial with super scattern surface. So if you like this modified or actually this is modifier setup, you can find this. You can search on superscatron surface and you can find this it is not so expensive. 12. Cardboard doll: This part of Tutorial, we will model this or I think better word cut this paper door. You can see this in M. You can see this in official movie Teaser, but you can also see this M Taser. And this will be very easy to model and also animate. So let's see how we can do this. I will for now close this Blender file. If you want to save this mask with cutter here, you can just click Save or you can unsave this. I will click save here. And now I will go with new Blender this will be easy. I will delete all this Numpad one to go to front orthographic I will copy address of this folder and image. Let's see. Mesh plane. You can go with reference, but I will go with mesh play. This is front. This should x 90, we can go to material preview, and what I do last time, I just go with K, and now we can just start cutting this you can zoom this closer and you can be more precise, but this is not so important for me. So I will just cut this quickly. Okay, Enter. Now I can select this control I delete phases. If you want, you can go to edit mode and you can just grab this. Okay, we can enable this correct phase attribute, so we don't affect UV and you can be more precise. What you can do, you can maybe subdivide this to get a double of these vertices and you can just slide this. You want cut this part, something like this. Delete phases. We can now start fixing this. You can also use C for brush to select, for example, all this and G. Let's see how we can create texture. For this, we can go to shade the editor. So we can start from scratch. Cardboard. We have this cardboard, texture and we can plug this to base color. Maybe we can just go with Q projection or project from you, let's open here. You'll be editor. And let's reproject this. Maybe we can select this top face and go down, make this bigger and now Okay, we are in X ray mode, so that's the reason why this is not easy to select. Okay. And we can now go with EYE do this on Yaxs here we want unwrap this. I think if you just add few SMs, markZN maybe one here, you mark Z. Let's see what happened now. I go with art unwrap. Okay, this work, there's It, we can now project this to this part of texture here. And we get this, which will not be visible in our render, but just to know. Okay, let's go with maybe bomb plug this to height because I don't want this to non color, I can go with color RM let's plug this to normal and increase this value here. So we have some bump. Roughness should be closer to one. And basically, that's it. Now we can build this part which go down. Let's go with image reference. And let's see just how this look. Basically, we have we just need one cube here. Cube a Z, and maybe on Y axis, as Z, we can apply scale. Go with tab to edit mode, a selection, and we can select these edges. Not this one and Control B. We can just go with another cube. Scale this down. Scale this on Z, axis Y, X. And if you just bring this up and select this S Y. Basically, that's all we can do here, S D, Z, night. And now we can just assign same material here, cardboard, UQ projection, and we can grab this part and project this down. And if you now go with, we have also this part here, which I want to avoid. Let's also project this here. Z net. Okay, something like this, this should be scaled. Ax to scale this and maybe also this one S. Okay, this is how I create this door Control J. Now we can join this to one object, and we have this door here. We should maybe bring this down. And we can save this door. Now we can just import this in our Blender project. Let's see dimensions of this. So this should be much bigger. This should be something like this 1.7 A real world K. Copy object and we can now I will disable the curve objects in render and viewport. And we have another one, which is this one. Disable this. And we can now pay this doll here and of course, M O collection. We can call this door. We have this doll, but we need one room for this doll. So we'll go to timeline, and let's move camera to about here so we can make room for doll let's see I need to select both of these. I will go with Control Z because I want disable these modifiers. This now becomes a little slow. Just disable this and we can go ran that preview. We have this white color here. Select this object EY. Ex and I will go with EY again. We need to select this carpet. Now we have two carpets actually, but not so important. This is too much space. So Object mode, select this, and now in edit mode, we need to select both of these faces. And with two edge select and now I will just move this outside of camera view. We can maybe move this little inside this closer to here and this should go here. Okay. Now I will back to asset browser to current file. Current file is file in which we are working now. So this file and inside this file, we have these assets here. So we basically get these assets here. We want to place this here, there's Zenity apply rotation. And we can put this wall here similar in our reference, but we bring this scale. Why I put this texture too intense. Not sure, but we can say this 2.1 or something. Okay, and we need door for our doll. So maybe somewhere here, Control B and maybe we can delete faces. Now we can just put our door which is somewhere here. Z and what I do last time. So we have 700. I will now set this to 900. So our camera stop here, move this wall a little after camera, stop in frame 700, we can animate this door. So I will first set eye on location and rotation and to remove this tab, and then we can start animating this door, we can you can actually I actually want to go to this keyframe, RZ night I want to rotate. In this direction, now I need update this few key frames later or frames later, I can press N. I can again, hi I, and now I can few frames later go with RZ 90 and Ii. We get actually this animation. And of course, everything is too fast, so we can we need more frames here. So we just need bigger offset here and it will be slower. To get this jump scare effect, which you can see here. This effect, you can just later press. For example, I here, and then maybe just two or three frames later, you can move this closer to camera. I will also move this on Xx somewhere here. And if I now press I, you actually get this effect. Okay, now we just need play with lighting. Now, we just need play with lighting, so I will go with Shiv D X place few lights here, but I will turn off all these lights, and I will go with shift the Y. And I will turn on some of these lights here. Now, let's see where so door. Basically, when we have these lights which don't work, I'm not sure if I delete all these lighting. It looks like I delete some of these lightings. So I will go for this case, duplicate this to close these holes. Actually, I will bring this to break, something like this. Okay, not so important. To get this effect, we actually want to turn on these lights in background, something like this, and then we can see clearly this silhouette heat. Okay. But you also need some of these lightings in this area, Shield X because now everything is too dark. You want to see something here, Shad the X. You also want some lights here maybe. Okay, so this is effect I get. And now we can animate these values, for example, if I set keyframe here with I if I move one frame later, if I do this and I, you can even, like, animate seed. If I change seed here, we get this blinking effect. And you can, of course, animate these lights. For example, if I press I here and then turn on some of these lights we get this effect. I think this is from my superscatur on surface. I will disable this. And we have this animation. We miss some lights here. Not sure in which point I remove this, but let's go with Shi DX. GZ. Okay. If I press play, we actually have this type of animation. We miss this ceiling panels here. If I want make this scatters here, I can enable this. So we have, another one. And let's try preview this again. So this is in cycles, and you can see that we can get live preview even in cycles. FPS is almost like almost 24, which is what we set. Of course, vendor quality is very bad, but And now our doll should appear. We can see our doll here. And now we should get this light blinking effect. That's basically almost everything I do last time. And last time I render with open XR file. But I think in this case, you don't need. Why? Because when I put this in after effects to make compositing things, I didn't do too much. Basically, I didn't use any of these light passes. You can use Miss pass to add more atmosphere here, but I didn't use this last time. I didn't I tried with ambient occlusion, glossy direction, but I didn't get any better result. So basically, I didn't use anything here. And because we don't use this, we don't need open XR multi layer. File format, you can basically render this us PNG or even JPEG. And one thing which is important, so we have this four K resolution, but because I said this to half, this is only ten ATP or one K resolution. If you want full render quality, you can set this to 100 and you will get much crisper result. I think this is all for this tutorial. I think we go through all main things. And I mentioned that we will go inside Primer Pro, but I cannot find all the primary profile. But basically, when we do everything is si render. So if I render all these thousand and 200 frames, we can basically get final result. 13. Final part: And one thing I also forget which I mentioned is this leaking effect. This is very easy. Actually, what I do, I select this wall, and I basically duplicate this Blender file because I don't want mess in same Blender file, so you can make backrooms animation, leaking effect, Blender file. Then you can what you can do, you can select this wall and you can just animate this leaking overlay effect. So if you press I to here and if you increase this and press I here and enable, of course, you get this animation. Okay, I enable this super scatteron surface, which slowed down a lot, so I will disable this in Luport and we get this type of animation. Let's select this fall and increase density here. Okay, so this is before. No, I forget to animate. So I set this to zero. Let's move this here to make this lower jump to this keyframe, I, here, and I here. Now, go to last frame, going four or something. I here and I here. And I also animate this transparency. So if I go to this keyframe, set this to zero, I and go to last frame. Send this to one. Okay. No, this is leaking overlay. I want this dirt overlay, but it is same, so I will send this to zero. I, Lasky frame one, I, and you get this type of animation. You can watch here. What I do, I also animate scale. I first add this to zero and then to 12. Then you get this growing effect from smaller to bigger. This thing is now a little too slow, but you can see, I think I will speed up this so you can see this effect. So this is effect we get. And what I do in private pro, I just animate this text which I also grab from movie Teaser, which I download for YouTube, and I put that as overlay and I also add this music is also from YouTube. You can find nor Came Pixels, YouTube channel, which is second channel of Came Parsons there I found this music, and I put this, and I also try like match this text that music. And basically, that's all. And this effect, I also download from official Ts and all these sound effects. So I think this is all for these tutorial thanks for watching and using my products and see you in next file. A