Blender 3.0: Masterclass in Product Animation

1. Introduction Video: Product advertising is evolving every day. The BOD entry is incredibly low. And RBD is it has provided me with amazing opportunities to creatively visualize and sell brands from all corners of the world. Hey everyone, My name is Smith. I'm a 3D artists with Arbor, five years of experience creating in the industry. And as a freelancer, I've produced this class or that there is a sense of incremental improvement in each lesson with a class project, we are going to recreate this, in fact, advertisement from start to finish. We'll start from the default blank blender scene and events through each lesson to an increasingly more complex shot design while following industry standard 3D workplace. But reference will be covering the following topics and concepts in detail progressively through each lesson. The entire goal of this class is to empower anyone that's interested in product animation to take the dive into this wonderful world of 3D and start building out their portfolio of wax for this class, ideally, you'll have a basic understanding of blenders, UI, and Viewport navigation. However, if you are complete noob to Blender or 3D in general, don't worry, I'll be holding your hand through each step of the process all the way to the very end to follow along in this course, well, you'll need as blender and Da Vinci results. I've also provided a zip file with fold the class resources, the projects and resources tab. By the end of this class, you should have a greater understanding of the 3D Wexler as a whole. And an amazing product advertisement to show to potential employees. There's so much to cover in this class. So with all that said, let's get started. 2. Download & Install Blender: Alright, welcome to the class. I'm glad you could join me. Firstly, we're going to download Blender three-point one, the latest version. If you haven't yet already downloaded this, you can access this on the blender.org webpage. You'll have this graphic here. You can click the download Blender button. Once you've come through to the screen, just click the download Blender button. This will start a download and then you can run through the installation process. And once that's done, I'll see you in the software blender. 3. 3D Modelling - Creating the Bottles: So here we are inside of blender. You should be met with this splash screen. Now, where does going to create a new file here in general new file. So just click that button and we're just going to immediately delete everything. If you press a and then X to delete everything and accept that, we're going to have a blank scene here in the viewport to get started, I settled in the insurer. We're going to assume that you have a very basic understanding of Blender and how to navigate and move around your scene like this. However, I will still be explaining everything in detail so that there won't be any confusion. Let's just start out by first modelling the bottle. We're gonna be using the resources provided. So we'll be going up of more of a box modelling concept here. Let's just start out by creating a collection or renaming this collection, I should say, the period of the outliner, press F2, double-click to rename, will just name this something, will just name this reference images. Now let's just add in the actual reference images. If we press Shift a, come down here to image, and we'll click on this reference is it'll open up a navigation window here. So just navigate through to where you've saved the class resources. And we're going to be importing the bottle reference images. I've been up this and just grab all of these. And then click Load reference. So we'll actually have to do this one by one, but it looks at it. But as you can see, the reference image has come through on an angle that's basically it loaded in at the angle that we're viewing the viewport. If you want to fix that, we can just click on the reference image, press Alt R, and that's going to reset the rotation. Then we can continue with importing the rest of the images. So shift a image reference. And I'm just going to input the top side, front and bottom. Once they're all loaded in here, we can start by just selecting all the reference, pressing Alt R and resetting their rotation. Now we can start positioning them. So I'll just click on this first empty here and move it up. So G and Z, this is the top view of the bottle. I'll just move this up like Sir grabbed the next image here and see where that is. So that's the bottom of the bottle. So I'll just push that down a bit. Crap, the next image, bring that up. That's just one of the sides. I'm just going to bring that back to its original position here. So Alt G to reset its location. And I'm just going to rotate that on the x-axis by 90 degrees. You can press R and then constraint to the x-axis by pressing X. And then you can literally just type in 9290 degrees of rotation on it. Now let's just move this out like so. Then lastly, let's do the same thing here are X9. Then we're going to need to rotate it 90 degrees again on the z-axis, that 90 degrees. Now I'll just line this up so that they're all sort of in a box shape. There we go. This is a pretty common practice, box modeling. So I'm just going to select these two top and bottom images. I'm just going to scale them down a little bit because as you can see, the top image here was a little bit larger than the top of the bottle on this image. That shouldn't do well there. So I'll just move them into place again. Now we can start setting this up so that it's not so much in our faces and sort of in the way. What I mean by that is currently where I'm perspective mode in the viewport. And we're going to be modeling on an orthographic view. If you just click on any one of these reference images, come down here to this object data properties tab. You can see we've got Show in orthographic and perspective currently enabled. If I uncheck that perspective box, we're going to get rid of that and that's gonna make it a lot more easier for us to view the bottle in perspective mode. So let's do the same for all of these images quickly. So I'll just click them. Uncheck the perspective bucks. We go. Now when we go into orthographic view, you can do that up here on the little gizmo. You can click the X and Y buttons, or you can do it on your number pad just by going through the numbers. One will take you to the front view, three will take you to the right view, and seven will take you to top. If you do want to quickly alternate from top to bottom or left to rot, and just press Control and click the Save button. So for example there you can press Control seven, and that'll flip you to the bottom where you can press three for the right view and then control three on your number pad for the left view. So now with all of that out of the way, let's actually add in the cube and stopped and modeling the bottom. Now let's just create a new collection. This will make it a lot more easier for us to keep clean and not get confused with all these random objects. So let's go up here, click this little button for a new collection. And we're going to rename this to bottle. From now. Let's just make sure this is selected. And now we can add in a cube. So Shift a, go to Mesh cube. And like I said before, we are going to be modeling this in both the graphic. So let's press one on our number pad to get to the front orthographic view. And let's just scale this down to about the outline sides of the bottle. From here, you can see that we now have a scale of 0.557 and basically need to apply this. Let's press Control a will go into apply old transformations. This is now set at scale back to one. So now everything is going to work correctly and we're not going to have any weird scaling artifacts. We've got our cube here. So let's just jump into edit mode by pressing tab. And you'll see straightaway, we've got a bit of an issue. We can't actually see the reference behind the cube. To fix this, well, you have to do is press the toggle x-ray button here. And that'll talk with that on and off. If you click it. If you want a hotkey for that, you can press Alt Z and that will just cycle through. Let's just press a, select everything and scale this on the z-axis to about the size of the bottle. You'll notice again that this picture was taken with a bit of a field of view. So the bottle isn't exactly orthographic, so it's not going to line up exactly. But this sort of framing should work just fine. From here, we're going to want to sub-divide our bottle with everything selected. Right-click and press sub-divide before clicking anywhere else, we're going to give the number of cuts, three down here in the sub-divide menu. Now we can clip, click off and accept that. Moving on, we actually want to create this sort of square extrusion shape for each of the corners. To do that from the front view, we're basically just going to select these side panels here. So Alt, left-click to select the whole row. And then we'll go into Shift Alt, left-click each of the remaining sides here. And now we're just going to do a basic Bevel controlled BY to bubble. If you have a bunch of cuts here, you can change that just by scrolling up and down on your mouse wheel. We're just gonna go with one cut. And you'll see my babble is clamping. So if yours isn't and it's doing some weird things like this, just press C on your keyboard and that will clamp the selection flight. So we're just going to go to about this size. Now we want to create that sort of extrusion for each of these sides. With everything still selected, we're going to press S to scale. You can see it's also scaling upwards, which we don't want. If we now press Shift Z, that will constrain it to just scale on the x and the y-axis. So we'll scale it out to something like this. And from there we can move on to the next step. Now we want to make the angled top part of this bottle. So we want to sort of transitioned from this sort of square shape into a more circular shape up here. To do that, what we're going to do is select each of the faces up here. If you're not on theta select married, you can alternate between the different birds up here by clicking them. So that is vertex, edge and face. Or you can just cycle through them by pressing 123 on your keyboard with the face selection here, we're just going to select each face up on the top of the bottle here. Like so. Now we're just going to extrude this up back to our orthographic view. I'll press Alt Z to go back to x-ray mode. And we're going to extrude and then scale this in IE to extrude. Then we'll go on to constrain it to the z-axis, would take it to somewhere back here. And then we're just going to scale that in until it roughly matches the profile of the bottle. Wonderful. So now we have this pretty nice-looking top of the bottle. But you can see it's not very circular. We can definitely make it circular manually, by manually moving all of these vertices. But that would take quite awhile and we want to be more efficient with our modeling practices. So there's actually an add-on called loop tools that comes pre-installed with Linda. You just have to enable it. What we can do is come up here to the Edit menu. Click on Preferences. Then just head over to Add-ons and we'll make sure to specify search for it. So just FOR loop tools in the top, search by here. And just ensure that this mesh loop tools is enabled. Once you've got that enabled exit out of that. And now with all of these same faces selected, it was going to right-click, come through here to loop tools. And there's an option here for a circle. If you click on circle, you'll see that's just changed the telegraph bottle to more of a circular shape. Now we can continue extruding upwards. Back to orthographic view. I'm just going to press E, extrude that up on the z-axis again until it roughly matches the profile. You'll see we've got this sort of extruded lip right here basically on the bottle. Sorry, what we need to do is replicate that by extruding up again just a slight amount. Then one more. Just a bit like that. We're basically going to use this loop right here to extrude AdWords and create that sort of extroverted CAP. Going to head over to Face Selection Mode. And I'm just going to Alt, left-click this ring here, this edge loop. Now I'm going to extrude it on the normalised to create that little lip. To do so, you can press Alt and E. This will bring up an extrusion menu. So you have to do is click extrude face along the normals. Then you can just slowly bring that out to a back here. That's going to give us a pretty quick and easy bottle cap lip for us to work with. Moving on from here, we haven't touched on the bottom of the bottle. Let's just jump down there. So I'm going to press seven and then Control seven to go to the bottom view, Alt Z to go into X-Ray mode. Basically, we just want to create this indentation here. Then we want to create this little notch in the bottom of the bottle. Alt Z. I'm going to jump out of orthographic view for this actually and just work from IT. Perspective view here. Basically, we want to grab these four faces, scale them up just a tad. And then we're going to eat to extrude and S to scale. Just scale it in until it's, It's fairly small there. Then we'll right-click Loop tools again and we're just going to create a circle. Now with this, what we can do basically is create that notch and it actually is pushed up to about here in the bottle. That's hard to see what these references, but you'll see what I mean in a moment. So let's just press G and move that up on the z-axis. We'll just bring it up to about here with the actual bottle itself. That's where the plastic is indented to. We'll leave it as that for now. And that is basically the bottom of the bottle complete. If you do want to, you can select the edge loop here. Just do that, scale that in further if you need to. Whatever you would like. This pop can't be stylistic if you want, because honestly, you're not going to see this at the bottom of the bottle very often, if at all. But yeah, if you do want to stay true to the reference, you can scale it to about there. There we go. It may look very basic and low poly right now. But once we put a few pebbles into the right areas and add on some subdivision surface, it'll look quite nice. Let's just jump into doing that right now. We're going to jump back into the front orthographic view. I'm just going to, it jumped back to x-ray mode. We're going to bevel basically this edge loop and all of the edge loops on the sides of the bottle as well. So let's just Alt Shift left-click each side of the bottle here, like sir. And will also hold Shift left-click the top of the bottle here as well. With that done, we're just going to do another simple bevel Control V to bevel. We'll bring that down like sir, because it's clamped. It's actually specially at the farthest I can push the bevel. So if we jump back to orthographic view, press Alt Z to check the profile that is looking pretty accurate to the bottle representation. So I'll leave it as that for now. The only place where we didn't bevel is the bottom of the bottle. So I'll just run through that quickly now. Just gone to edge select by pressing too. Then I'll Alt left-click. I'll shift left-click each of these edge loops here, like sir. And then we'll do one final bevel here. So I can try. I'll give this one to cuts just so it's a little bit more of a smoother transition. Wonderful. Now with all of that out of the way, That's basically the base of the bottle completed. Now we're just going to finish this up by adding a subdivision surface modifier. So over here on the wrench icon, you can click this Add Modifier and regarding to the generate drop-down menu here. And we're just going to click the subdivision surface. Currently you'll see everything's smoothed out a little bit just with a viewport level of one. If we were to increase this to something like two, you'll see it gets more resolution, becomes a little bit more high reds. But what we want to do is tighten up some of these corners and also change the shading. Because currently it's using shade flat and it's giving it all of these weird cavities. And it looks a little bit strange. If we just click on Object, press, right-click, and then go Shade Smooth. You'll see it looks a little bit nicer. But we can also come down here to the object data properties, this little triangle. And we can also click on the normal strap down here and press auto smooth, just in case you have any shading artifacts that needs to be cleaned up. Alright, so now that's out of the way. We can give this model here a little bit more resolution. You'll see it's currently at the top here, sort of going from a flat surface and then caving into the bevel that we created. To fix this, we just have to tighten up the edges. So what you can do is press Control I, while we're on edge mode. And you'll see as I bring this up to closer to the top of the bottle, it makes the transition a bit more sharp. That is more of a correct look for the bottle, so we'll do that for the top. And I might also do it for the bottom as well. So back to Edit Mode. I'll add an another loop cut here by pressing Control R. And then I'll just drag this down, tightened up to the bottom there too. All right, moving on. The other thing that we might do is fix the lip of the bottle here. You'll see it's sort of just a weird round shape and we want to make it more defined. Again, was added another loop cut the rim of this bottle. And that just basically tightens up the outside of the bottle. But we want to do this for the inside as well. Instead of manually adding the loop cut, what we can do is actually bevel the edges here. It's a little hard to see the edges currently with the subdivision surface being applied to everything. So with the Modify here, you can actually turn it off completely in the viewport by clicking this little TV button. With that now off, we can see what we're doing and where all the edges are. What I'll do is I'll Alt, left-click this loop here. And I'll Alt left-click to the same loop on the bottom. And then I'll just bevel this. So Control B. I'll Bevel that too about. Just give it one cut for now. With all this still selected, I'll click the TV icon again just to see if that helps with the transition. And it definitely looks like it has. So I'll just leave that as is for now. The final thing I think we'll do here for the base bottle mesh, I'll just select the top loop here. So I'll shift left-click all the way around. And again we'll just bevel this. So Control B, Give that a small bevel, and that is basically the base mesh completed. Now, the next part of the base mesh is to add the bottle cap. And then lastly we'll be imprinting or embossing the collagen letters onto the side of the bottle. Let's now create the bottle cap. To do this, we're just going to use a basic circle mesh. Let's go shift a mesh and grab a circle. For the bottle cap, we're gonna need a fairly decent amount of vertices, sir. You also probably be something like 32 currently here. We'll just increase that to 128. And click off anywhere to accept that. Now in edit married tab into edit mode, we're just going to bring it up to the top of the cap here and scale it in until it's roughly the same size as the top of the bottle. Something like that. Wonderful. And now we can just start extruding the basic shape of the bottle cap. Back to orthographic view. With one, I've just went over two vertices, married. So one on your keyboard to go to bed as he married. And now we're just going to make this basic shape. We've got an extrusion and then a small indent, another extrusion. And then we have some check-in sort of extruded faces, which we will do. And then the top is basically just go to the top view, small indent here, and then just filled in for the rest. Let's begin by festival to extrude. And we'll just bring that up a tad here to about there. Now here we have this little indent, which is fairly simple to create. So all we need to do is press E and then S to scale inwards. You see I've scaled slightly inwards. Now from here we'll extrude again z, and then we'll go up just a tiny bit. And then we'll just extrude out once more. So E and S, and we will scale that roughly back to where it was. We go. Now we'll create this sort of gap here, sorry, E, Z, make that small gap. And then we have this lodge face where there's going to be all of these extruded faces. Sorry, let's just festival, extrude up again, just to create that sort of face. And will basically select every odd face here and extrude it outwards. So we'll do that just an amendment. Once we've done the top of the cap, I've just jumped into perspective mode here. Basically we wanted to create this little extrusion n, and then the indentation to extrude S to scale. We'll scale in just a bit. We'll stop just about there. And we'll extrude and scale one more time slightly. And basically it will select this edge loop here and extrude it inwards to make that indentation. For the rest of the bottle, just again extrude and scale inwards. The final face, you can just press F on your keyboard and that will fill in the face. Wonderful. So now we can start the process of indenting the top of the bottle cap here. I'm just going to jump to Face Selection Mode. I'm going to Alt left-click this ring. If you are struggling to select the ring, just make sure you're clicking on the actual edge inside of the ring. If I select that entering, now we're going to extrude on the normal inwards. So Alt E to bring up the extrusion menu. And then we'll click on extrude faces along normals. From here, just indent that just a tiny bit. Like so. Now we'll move on to creating those sort of rigid checkers on the side of the bottle cap. To do this, it's actually fairly simple. Let's open, let's go to x-ray marriage. So Alt Z. And I'll deselect those faces. Face select mode. We'll just select all of these faces here. And actually I may also just add in another edge loop here at the very top. So Control, I'm sorry. I'll push this up to about here. The cat. That way we will only have to check is here and we can have a nice transition up to the top of the bottom. Now with that out of the way, with the selection mode enabled, will select all of these phases here. We basically want to de-select every other face. A very simple way to do that fits in the selection menu. Up here. On the Select menu, you can come down and do checkout, de-select. And as it states, it's going to de-select every other face, sort of like a checkerboard. So now you can see instead of manually de-selecting each one, we've just very simply changed the selection here. Now we can very easily extrude these app. So what we'll do is press E and then we'll just scale it out to roughly here. That's basically created the pattern that we're looking for without having to do any extra steps along the way. That's looking fairly good for the bottle cap. You can see it's very low poly or very blocky. Currently. What we can do is add in a subdivision surface modifier with your bottle cap selected. Just come over to the wrench icon here. We'll click on the Add Modifier tab and just come through to the generate and add the subdivision surface. So now that that's added on, you can see it's looking okay, but we want to tighten up these edges so that we don't have these weird sort of triangle follow-ups. Back into edit mode. We're just going to add two loop cuts to this ring here. So Control R. We'll left-click there. Depending on your computer, this might take a while because this is a fairly dense mesh for the top of the bottle, will just tighten that up at the top here like so. We'll add another one to the bottom. So control our left-click to select. And then we'll just drag that down and tighten up the bottom. Awesome. That's basically the bottle cap complete. You will notice that the bottom of the bottle cap is completely empty. So we will want to fill it in. So to do so, we'll jump into edit mode again. With edge selects enabled, we'll just select this bottom edge. We'll extrude that and scale it in words. And then we'll press F to fill the final face. In x-ray mode, we can press E and then S to scale inwards. We'll just scale that into about here. Then press F to fill in that final face. Wonderful. That is basically the bottle cap completed. You will notice that it's got a lot of cavities and it looks a bit strange. We can shade this smooth now. So right-click and shade smooth. If you do have any sort of weird shading artifacts like I do here, you can come down to the Object Properties tab. Again. Just enable the normals auto smooth, like so. That'll fix that up for you. Okay, brilliant. So now we have the base bottle mesh and the base bottle cap mesh. And the final thing that we need to do now is add the embossed letters onto the side of the bottom. Before we do that, I'm just going to rename these two objects. So circle, I'll press F2 and I'll rename that bottle cap. And for the cube, double-click there and I'll rename this to bottle base mesh. Awesome. Now with this out of the way, we can now create a text object and we'll go through the process of embossing that onto the bottle. Alright, so now we're on the final stage of the modeling process for the bottle. We're just going to be creating some text objects and applying a Boolean modifier to the bottle. Basically emboss them on the side of the bottle. To do so, let's just first off, go Shift a and add in a text object here. I'm just going to bring this out side so we can see what we're working with. Now instead of it saying texts, we want to edit this to say collagen. So we'll just go tab into edit mode. And now you can literally just type in the words collagen. So I'm gonna go collagen with all caps and then tap to accept that. Now I'm just going to realign the origin of the geometry. So you can see currently, the origin is here, this little orange dot. So I'll just right-click this object and set origin to geometry. Now it is in the center of the geometry and it makes it a lot more easier to rotate and manipulate them. So moving on from here, we actually need to turn on the wireframe just so we can see a little bit more of what's happening down here in the object properties. I'll just click on this, come through to the viewport display dropdown. And I'll just ensure that the wireframe is turned on. That way we can actually see what's happening without text object here. Speaking of we were all done with the text now, so we need to convert this through to an actual object or mesh. So what we can do is with it selected, we can press F3, will just search for and move to mesh object kind that mesh. Click on that, and now you'll see it as an actual mesh object. Now that we've got this as an object that we can edit, you can see the topology is all out of whack and there's a lot of triangles and it's going to be a little bit tedious to manually retaught, apologizes until it's going to cause a bit of an issue when we try and Boolean with this much geometry, what we'll do is add in a decimate modifier. So over here in the modifier, properties will open up the Add Modifier out. And underneath generate, we'll head over to the decimate modifier. And now all we need to do is change this from collapse to planar. You'll see straightaway that's immediately helped with the topology. Before and after. What we want to do is actually apply this. Over here. You can click this little drop-down and press Apply. Now we have a more manageable piece of mesh. But if we do jump into Edit marriage, you'll see there is still quite a few vertices. So what we can do now is select all of the vertices. Then we're going to do emerge by distance. If you'd press F3 to search, you can search for marriage by distance. And what I generally do is match by a distance. Basically, there's a little slider here. And we can slide this until it starts destroying itself. Like say, once it does that, I'll just scroll back up just a tad until it looks feasible. About 0.0681 works for me. I will accept that. The last thing that I generally do is I'll select all the vertices again, press X to delete and will perform a limited dissolve. What this will do is it'll create a max angle here for me to select from. And it'll basically delete any vertices that are really packed in tightly together. Sir. I'll just start scrolling this forward with Shift while holding down Shift to make it a more precise movement. I'll just wait until it starts really looking quite deformed like so. And then I'll just back it up a bit until it looks just about right. Something like that. Now we've basically taken a very high all the mesh at dense mesh and decimated it and made it a lot more workable. And this is going to be. A very helpful once we stopped to Boolean this into the side of the bottle. Great. So now all we need to do is align this up and add a solidify modifier. What I'll do is I'll rotate this on the x-axis by 90 degrees. And then I'll rotate that the y-axis by 90 degrees as well. I'll just move this over and line it up with the bottle. About there looks good. And then of course we'll just scale that inwards until it roughly matches the dimensions of the bottleneck. So wonderful. And now we basically just need to bring this to the side of the bottle. And I'm actually going to jump into edit mode. And I'm going to duplicate this across to the other side as well. So Shift D to duplicate. Just move that along the y-axis until it roughly reaches the other side of the bottle. And obviously it's backwards, so we'll need to rotate this the z axis by 190 degrees. Then I'll just make sure it's lined up in the middle. Likes are awesome. Now with that, there's obviously a bit of an issue as there's no thickness to this. So we'll have to apply a solidify modifier. In the modifier properties we can come through and create a solidify underneath the generate tab. So solidify, and this is basically going to do at it states it will solidify the object down here with the thickness. We can just move this up. So I'll go with something like 0.10.1. Looks good. And now we just need to basically move this into position. So I'll move this side across like so. Then I'll select this side and move it on the y-axis until it's about the same. There we go. We just want the letters to basically be intersecting just a tad. And if you feel like they aren't intersecting enough, you can always add more thickness, like so. That should be fine to as back into object mode. We now need to create a Boolean operation on the bottle itself, so it makes sure that you've selected your bottle object. And then what we'll do is with the bottle objects selected, we'll come back to the modifier properties, and we'll add another modifier under the Generate tab. It again, it'll be the Boolean modifier. Click that. Now what we want to do is select the object that will be Booleans. With the object area. You can click on this and choose it manually from the drop-down. Or you can click on this Eyedropper Tool and literally click it in the viewport. We're gonna be using the object text. What we've done in essence is created a D boss currently because we're using the difference method. If I was to turn off the text icon here, you can see that currently let's cutting into the object. But we want it to be sort of cutting out of the object. What we'll do is just change this from different to union. Now you'll see with the text object that we have here, It's basically creating that M boss effect that we would like to. Now what we want to do is actually apply the subdivision and also the Boolean. What we'll do is we'll just save our project vest. If you haven't already just come through to File, Save As and make sure that you've saved your project. We go. So just ensure that you've saved your project just in case your program crashes. Now, what we can do is go through the process of applying all of these modifiers. But before we do that, it's generally a good practice to save your current state of objects. So just in case something goes wrong down the line, you can come back to a previous version of it. So what we'll do is we'll come through to the scene collection here and just create a new collection. With all of our base meshes here selected. We'll press shift D to duplicate them. Like so. Then what we'll do is move them to that new collection. You can press M to bring up the move to Collection option. And we can just select collection three. Just so that we have a clean outline here, we can actually name this collection. So let's name this as backup. Like so. Now we have some backup models just in case something goes awry down the line. Let's just click this little checkbox so that they don't appear in our scene and we can come back to them when needed. Great. So now let's go through and apply all of these modifiers with your bottle selected. Come over through to the subdivision and select this drop-down and press Apply. And then again for the Boolean, come through to the drop-down and press apply as well. Now you'll see it does look a little bit weird. And that's because we still have the text objects in the scene. So if I was to move this, you can see we now have the collagen embossed onto the side of the bottle. We don't necessarily need this object anymore. So you can either delete it by pressing X and delete, or you can just turn it off from the viewport and the render by using these two buttons here. As we have a backup, I'm just going to delete this, so I'll select this as x and delete. And now we have our base mesh to start UV unwrapping and texturing. I'll save this. And I highly recommend before we continue on with the course. Run through this video one more time. Take the time to actually model out this bubble yourself so that you can follow along with the process. Once you're happy with your model, we can move on and start the UV unwrapping process. So I'll see you in the next lesson. 4. Texturing & UV Unwrapping: Welcome to the UV unwrapping and texturing part of this course. We're going to start off by first doing a, an overall texture for the plastic bottle will have the whole of this bottom plastic bubble plot here with one specific procedural shader. So it'll cover the entirety of the bottle. And then we'll add certain layers so that we can place the stickers exactly where we need them to be. So it's a fairly simple process. And to do so, we're going to jump into the shading workspace up the top here, click on the shading workspace and this port you over to the shading workspace where we have these new layouts to work with. Straightaway, I'm just going to close these two windows as I don't find them particularly useful. To do so you can come to this little cross-section here. And once you get a crosshair, can basically click and drag and push it across to the side. Now we have more space to work in and it'll become a lot more easier for us. Okay, So now without base measurement model here selected, we can click this new material so we can create a new material. We're going to start off by creating that procedural plastic look. We can now rename this from material to bottle. And essentially what we're gonna be doing is mixing a few shader notes together to create that sort of plasticky look. Let's just start off by adding in a glass shader. So I'm just going to shift to a such gloss be SDF. So I'll grab that, place that down here. We're actually just going to mix these it together into the surface. So currently we're using material preview. And this is basically the EV shader. So it's sort of a real-time shader. But for this to actually look good and to actually see what we're doing, we need to change this over from AB to cycles. So up here, you can click on this render properties. You'll see where it using the Render Engine API. Like I said before, we want to just click this and change it up at his cycles. Now if you do have a GPU, it's best to change the device from CPU to GPU, like so. But if not, that's totally fine. You can use your CPU to render. Now once we've done that, you'll see we're still looking at the material preview. What we actually need to do is either come up here to the top right and change it to the viewport shading. Or you can press Z to open up this little pie menu. And you can drag your mass to the selected render or that you would like. So we'd go to Solid View. And we can come up here and go to rendered view. You'll see straightaway. It's completely dark and that's because we don't have any form of lighting in our scene apart from the world lighting, which is a completely gray light source. So what we're gonna do is add an HDRI. And this is basically a form of lighting. So we'll come over here and switch from object to weld. Will basically add in an environment texture and then load in the HDRI in the class resources. So shift a, I'm just going to search for environment texture. Then we'll plug the color into the color here. Straightaway. It's going to tend completely purple. That's because there's no texture loaded in here. If we click on Open and navigate to the class resources, we can learn in that HDRI. Just click on Open and just locate under the HDRI folder here, we'll have this latent whole market for k. Hdri learned that one up. You'll see straightaway. We now have some ample lighting to see what we're actually doing and what would texturing here. The background does become a bit distracting. What we can do is come through back to the render properties here. And underneath the film tab, you can open this and we can click on the transparent just checkbox out to be enabled. And now we're not going to have that background distracting us from our luck. Alright, so back to the objects here. We're going to stop mixing this together. Shift a, and let's search for a mix shader. And essentially we're going to mix the gloss here. The principle of BSD f. So I like so then the shader we'll plug into the material output. So straightaway you can see this has become highly reflective now. But what we want to do is actually change the settings on this principle be SDF, because currently it's a completely white module and we can't actually see through it. What we can do is just scroll down to the transmission. Transmission basically does what it says. It makes it transmissive, almost see-through. So what we'll do is grab this and make this ladder up to one. Then for the roughness, we can drag this to 0, like source, and that's completely see-through. And then lastly, we can increase the speculum to something like one. There we go. So that's the base of the plastic shader completed. If we'd like to, we can also add in factor. So currently, where mixing half and half between the glass and the transmissive material here. If I push this down to 0, you'll see it now it's completely just the glass shader. If I was to push it to one. You'll see now it's just the principle of BSD F. I'll just change this back to 0.5 for the fact that let's actually just add in another node here. It, let's just go Shift a and search for the node. What we'll do is we'll pluck the factor here into the factor for the mix shader. Like so. For the material that I used on the advent, actually had the for now down to something like 0.25. This is more of a stylistic thing, but at the end of the day, this is now a plastic bottle. But we'll need to do is actually create a duplicate of this base mesh to be the liquid inside of the bottle. Let's just go ahead and create the stickers. Now, this will introduce the UV unwrapping section of this lesson. Let's go ahead and save this. And I'm actually going to jump back into material preview quickly back into material preview, gonna go to this side, right? Orthographic view by pressing three on my number pad. Going ahead into edit mode. Basically what we're going to do is select these front-facing faces, like so. And we're going to use these to unwrap and put the sticky texture onto. For this, Let's just scroll this down just a tad. So we have more of a view of faces. Basically, I'm going to go Alt Z to get the X-ray mode here so I can select both the front and the back faces. Let's just select these top faces. Like so. We'll just box select to the bottom that we are. So you'll see we've selected this front face and also this back face, as well as some faces inside of the bottle. What I'll do is I'll just press Control and box select these two, de-select them. Now what we can do is create a new material slot for each of these back in front stick of faces. In this slop drop-down, what we can do is actually assign faces to a selection. I'll click this one here. And basically it will create two more slots. In this top slot here will be for the front sticker. This bottom slot will be for the back sticker. I'll just select this one for now. Click Assign. You'll see is as soon as I've done this, it's made this whole material whites because it doesn't currently have anything assigned to it. Now what I'll do is I'll de-select this side with the back faces selected. Come through, click on this bottom texture here, and click Assign as well. Now we have clearly distinctive the bottle texture if we select, you'll see it's selected all of the procedural plastic material. Now if I come through, click on this material here and click Select, you'll see it's only selected the front portion of the bottle for the front of the sticker. And then also with the back face here, we can click Select and it's only selected the back of the bottle. So with this in mind, we can jump out of edit mode. And what we can do now is start applying the sticky material. So I'll make sure I've got this slot here selected slept too. We'll create a new material and call this front stick a manga. Now we just need to find out nodes here. If you are struggling to find them, like if it was way off in the distance and you didn't know where it was. You can just press a to select all of your nodes and then press the period key on your number pad and that will zoom you back into view of your nodes. For the sticky material, that's quite simple, we'll need to do is add in a image texture. Go shift a search for image texture. We can pluck the color into the base color. You'll see that's gone gray. So we just need to select the mango image here. So let's click this open button and find our Mango texture. Through to the bottle textures. We'll just go through two omega. We can select mango front, click Open Image. Now you'll see the image is completely stretched and looks really warped. And that's basically because we haven't UV unwrapped this set of faces just yet. So what we can do to rectify this is actually jump into the UV Editing Workspace. So let's go through to EV editing. What we'll do is in edit mode, basically start unwrapping these faces. Now it will be a little bit tricky to select all the faces just for this sticker. What we might do actually is just quickly jump back to the shading workspace. And in edit mode, we'll make sure that we've got our fronts to come and go here selected. And we'll click the Select button. That way we have all the faces needed to be unwrapped already selected for us. Let's now go back to the UV Editing and you'll see everything selected for us to UV unwrap. Basically, what's happening currently is all these faces are being shown here. If I just quickly change this to material preview, was to move this around. You'll see it's sort of stretching all the faces into just a small packed content size. And we want to stretch these out so that it fits this whole box here. It's actually fairly simple. With all of these selected, what we can do is press U and then we can click on Wrap. Now you'll see it's unwrapped them, but they're still quite small. Ulcer rotated themselves. What I find is beneficial is in this screen on the left. So you can actually switch from vertices to edge to face. Select. What I generally do is select a face in the middle here, press you, unwrap that, and then I'll just select everything else here. Right-click and do a follow active quads. And what that does is it basically, I'm not sure if you saw it. That's all just control Z. You can see we have this sort of curvature to the UVs and that's going to actually skew the texture onto our objects, which we do not want with this spot here that we've unwrapped, it's completely straight on each edge. And we want all of the other quads here to follow that. With this selected, we can just right-click, Right-click fully active quads. And you'll see when I click this, all the other quotes here I've straightened up and are now much more nicely unwrapped. Now it's just a process of orienting all of these to be in the upright position and scaled into this sticker. What we need to do is just scale this so S to scale. Now we can rotate this onto the correct axis flexor. I'll just rotate that by 90 degrees. And then I'll just move it so G to move, G to grab. And now it's just a basic method of lining this up so that it matches this rectangle here. I'm just scaling it into position. Like Sir. That's almost correct. We just need to stretch it on the y-axis. So our S to scale constraint that to y. And then I'll just push this out. Like so. You can see it's actually gone out of the bounds. And it's actually gone out of the bounds here. And you can see it on the texture itself here. It's just repeating itself in showing more of the bottom of the liquid will stick up. What we want to do is just ensure that this is completely in the bounds here. If you need to, you can scale it on the y-axis down just a tad. That is a fairly decent unwrap. Just move it down slightly so the life isn't being chopped off at the bottom that we go. Awesome. So that's basically the sticker completed. But you'll notice it's pretty harsh on the edge. It's, it's basically a square. So what I find we can do is actually just go into Vertex selection here. And if you select each of these corners, you can actually just babble it so that it's more of a rounded edge and more of a sticker. Just Shift-click to each one of these. And now we can bevel this, so controlled BY to bevel. You'll notice straightaway, nothing is happening. So we actually have to do is press V for the vertex. Now you'll see we've got some beveling occurring. I'll just run through that again, Control B and then press V. And then you can see we've got more of a rounded edge happening here. If you need to, you can scroll up on your mass will, as per usual, and make more of a rounded edge. Like Sir. Before you click off the selection, what we can do is you'll see we've created more UVs for the unwrap here. We don't want this. So what we can do is with these weird cold is selected. We can jump back to the shading workspace tab into edit mode. And we can actually change them from slop to back to the bottle. So just make sure you've got the bottle here selected. And then we can click Assign, like Sir. So now all the vertex is here. I've been assigned to back to the procedural plastic material. And you'll see it creates a much nicer, sort of smoothed out a stick a look here, which is awesome. Now it's just a matter of doing that process again. But for the back sticker, let's click up bottle again and just run through that process one more time. With this, Let's go through and make sure we have the bottom slop three selected. Let's just tab into edit mode. It will make sure that we've clicked Select so that all of the faces are selected. Just so that it's a little bit easier for us to unwrap this. And you'll see, we've still got all these vertex is selected. I'll just left-click off to de-select that. Come back to slot three. Click Select. And now that's highlighted all of the faces that we need to unwrap. With this in mind. We actually haven't created the material for this yet. Let's click new material. We'll name this Mexica manga lexer. And then again, all we need to do is add in the sticker for the back of the bottle. Let's go Shift a and stretch for a image texture. Place that down wherever. Just ensure that you've loved the color into the base color, like Sir. Lastly, let's open up that sticker. Go through to your class resources, come through to bottled textures. And then in the mango screen here we can click the Vanguard back, double-click that to load it in. Now it's just a matter of unwrapping this with all of these faces selected will come through to UV Editing, and we'll run through that process one final time. All of these quads here with Face Selection here, what we'll do is come through and select any one of these phases with left-click flexor. Now what we want to do is press U on our keyboard to unwrap that face. So click the unwrapped button. You'll see it's unwrapped. Just this quote here, but we want to make sure that all of the other quotes are following the same unwrap method that we just done for this one. We'll just press a to select all the quads. Now we can right-click and press fuller active quads. There we go. So that's now straightened all of that quad dapp. And now it's just a matter of fitting this to the sticker. Let's scale this up. We'll rotate this 90 degrees, like sir. And now we can just bring this up on the y-axis using g. Again, we need to scale this so it fits the boundaries. So S to scale until it matches the boundaries. And finally, we just need to ensure that it's filling up to the top, to the bottom. And then going to scale this on the y-axis for up and down. Just until it reaches the boundaries here. It doesn't have to be completely perfect. So you can see this still a little bit of spice up the top here. So I'll just do my best to match this, so I'll grab it again. We showed up at tiny bit on the y-axis. And then I'll scale it one more time on the y-axis. So SY, just slightly scale that just like sir. Awesome. So again, this is more of a square stick a currently, as you'll see on the object here, what we want to do is again, just bevel the bed is on the edges. So Shift left-click to select each corner of the sticker. Now we're just going to bevel the vertices. So control B to bevel and then press V for Nevada, see Bevel. And then we're just going to bring this app slightly until it makes them more rounded edge for us. Again, before we click off of this selection, what we'll do is jump back to the shading workspace. Now we'll tab into edit mode and just central that these Betsy's that we have selected are actually assigned to the bottle texture. So click on your slug menu here, come through to bottle. Then we'll just click Assign. Wonderful. So now we have the base mesh here, completely textured. And all we have left to do now is texture the bottle cap, and then create the liquid texture in side of the bottom, which is fairly simple to do. Let's just start off by texturing the bundle cap. Let's click on New. With the bottle cap selected. We can rename this to model cat manga for this shedder, it's actually quite simple. We're going to basically change the base color to something more of a mango desk color. Just click on your base color here and through the color wheel, we can drag this down tomorrow of a mango color. Something like this looks quite nice. Zoom in, so we have bit more of a viewing angle here. Wonderful. This color will suit just fine. Now for the actual plastic, it's just a matter of playing with the roughness factor. Generally, plastic, hot plastic has been in particular, has a bit of a sheen to it. What we'll do is just bring this roughness slightly down to something like 0.3. So let's just try 0.3. If you're struggling to see how your materials looking in the material preview, you can just quickly change. I would have cycles or rent it by pressing Z and then pushing up. Quite good, so I'll just jump back to material preview. Sorry, now to actually finish off the material here, the final detail that we can add is some fake detail with a bump node or some normal value. Basically, what this does is it creates fake distortion to the material. You'll see what I mean in a moment. So let's just add in a festival a bump node. Let's shift a search for bump will just place that down here. And we can plug the normal here into the normal straightaway. Nothing's going to happen. But what we can do now is actually apply a texture to create the distortion to the bottle. Let's go Shift a and we'll search for the voronoi texture. Vor, Voronoi texture will just place this down here. We'll pluck the distance into the height value straightaway because this scale here is quite small. You can see it looks pretty ugly. But what we'll do is we'll bump this scale up to something like 300. You'll see it's going to give us a lot of granular detail here that you tend to see on the tops of plastic bottles. Material preview. This is obviously pretty harsh. And one of the main reasons why is because a bump node is currently set to a strength of one. So it's using all of the detail of this bar, no texture and it's pumping it up to a strength of one. If we just grab this slider and bring it down to something like 0.3. You'll see straightaway it's breaking up the patent off the bottle and giving it that sort of plastic texture. But I'll just bring this strength down to something pretty small. Maybe even just 0.1. We'll do we go. That's basically the entire bottle cap material completed now. So the very last thing that we need to do to complete the entirety of the bottle is basically duplicate this mesh here and shrink it down so that it's on the inside of the bottle and it'll act as the liquid. Sorry, let's just do that now. With this selected, I'll go Shift D to create a duplicate. What I'll do is just press S and scale in the x and y-axis. So I'll press Shift N, Z. So that'll just constrain it to the x and y. And then I'll just scale this in slightly like so. Now with this bubble is still selected, you'll see it's currently got the bottle material attached to it, as well as the front and back sticker. What we want to do is actually remove all of these. What we'll do is we'll just press this minus button on each of these and create a completely new material to act as the mango liquid will click this New button. We'll rename this to liquid finger. And honestly it's quite a simple material. It's basically just a color with some transmission. So it will just go through and select the Base Color. Bring this down to something like Sir, you'll see we can't actually see what we're working with currently. So I will just inches across to rendered view, sorry, press Z and then scroll up to the wrench view that we go. And you'll see straightaway, It's not looking physically accurate. So what I'll do is just change the base color again. We'll try with this color for status. And then what we'll do is just create the transmission and change this to a value of one. We can actually see through as almost as if it's like a liquid. You'll see we've got this Doc liquid and it's currently not looking very accurate. So what we'll do is we'll change the color until we find something that actually works. All right, I've just gone with a hex code here. If you want to copy this directly, it's FFD 100. You'll see the liquid is actually looking a little dull. So if we want to sort of cheat and make this value a little bit higher, what we can do is actually input some notes to make that happen. If we just go Shift a and search for RGB, what we can do is copy this color across. Sorry, if you just hover your mouse over the color, press control C will actually copy the color. And then you can just have your mask wherever this and press control V, and that'll paste it in for you. If I just plug this color into the base color, nothing's going to change. But there is a special node which will actually allow us to change the value input into something like two instead of one. Let's go Shift a and such for hue saturation. Now what we can do is just plug the color here to the color of the hue saturation value. And then we'll plug the color of the node here into the base color. This node allows us to do is change the hue, saturation and value as the node states. What I tend to do is just change the value here to something like 1.5. There we go. That's looking more like a mango color. I think I might even just play with the color a tiny bit more. There we go. So if you want to cut, copy this color exactly as mine, you didn't just come through and click on the color here. You can come through and change over to the hex value. You can just type in this card here, it's FFC, d, 0, f. But in this part is kind of up to you. So I'm just gonna go with this color as it looks physically accurate to me. And that is basically the entire UV unwrapping and texturing process completed. What we can do now is I'll just change this back to material preview. And what we can do is because we're going to have a few of these bottles in our scene. We're basically gonna be duplicating or reusing the same textures and slightly altering them. It's generally a good idea to, instead of move everything one by one, to actually add everything into a collection under an empty. What I mean by this is we can place an empty objects if all of the atoms here, so the bottle cap, the bottle itself and also the liquid. Be constrained to one simple empty. Let's go Shift a and let's search for the empty here. We're just going to use a simple cube. Now with the cube, what we can do is select the bottled base mesh. Base mesh 02. We can actually rename that. So let's scratch F2. Rename this to liquid. Now let's just select model-based mesh, bottle, cap and liquid. And then lastly we'll select this empty. So Shift left-click. We're going to want to parents, everything is empty. Let's go. Control P will set parents to object. Now instead of having to animate everything manually, we can actually just click this box here and everything will move along with it, which is very handy and it'll create with it'll make the whole process much more easy. So with that in mind, what we can do is now start creating the other bottles. So it's a fairly simple process. We just need to select everything here, including the empty press, Shift and D to duplicate. To keep our scene vulcanized will move this to us are in collection. So let's go to move to collection and will create a new collection to house each individual bottle. A new collection. Let's call this the modal collection. Then click Okay. Now, just quickly, I'll move this empty here, which the, which is the original empty we just created to hash the mango objects. I'll just move this to the, I'll click and drag this into the bottle collection. Let's just rename these empties as well so we don't lose what we're doing. So F2 will call this mango controller. And I'll ulcer rename this one f2, but we'll call this LacI control. Now to read texture the lacI bottle, Let's just click this bundle collection here and click this little checkbox that will disable it from all views. So we can now just focus on the lacI bottle. If we were to move this lunch, you control that everything's connected to it. But it still has the mango stickers, the mango colored bottle top, and the mango colored liquid. What we want to do is first of all change the stickers in the slots here. Let's go to front sticker, mango. What we'll do is you'll see there's a number two icon here that's displaying that number because it's currently linked to the lacI bottle here and also the mango bottle. If we click that button, it'll create a secondary one here it'll say 001. And now we can just rename this to LacI. Like Sir will need to do from here is just change this, stick a texture from the mango to the lacI. What we can do is come through to this little file explorer. Then we'll just navigate to the lychee folder here and click LacI front and RP an image. Because we've already unwrapped this. You'll see it's already correctly applied to the bottle, which is super awesome. Now let's go through the process of 3D texturing the backstory here. Click up into your slots here and just go through the slop three back stick manga. And we'll just run through that process again. Click on the tool icon here to create another instance of this texture. And then we'll just rename this from backstage omega two back stick a lychee. Finally again, let's just come through to this image texture here. Click the File Explorer, navigate through to the lychee folder and click the lacI back dot JPEG. Just open that image. There we go. So the bottle is not correctly textured. But now we need to change the coloring of this bottle cap and also the liquid inside of the bottle. The bottle cap, it's fairly straightforward. Need to do is create another instance of this bottle cap mango texture. Click the icon here to create another texture. Then we'll just rename this from photo cat bingo chip on cap LacI. And lastly, we'll just choose a color that red symbols the lacI color, which is basically just a red. I'll click open this color here. What we can do is just move this along through to the red, like Sir. That's basically the texture completed. Lastly, for the actual liquid inside of the bottle, if you can't actually select it in the viewport, you can come through to the outline here and just scroll down to liquid or one. And again, super simple, we just need to first of all, create another instance of this texture. So I'll click the tool icon once again. Then we'll just rename this from liquid mango. Liquid LacI. Obviously now we can actually see the color of the liquid, so we'll jump into rendered view. And now it's just a matter of updating the color here on the RGB. We'll, we'll just move this across to a bit more of a red color. Awesome. So now that we've got this color here, again, if you want to copy my color directly, you can use the hex value SF-36, 100. And now it's just a process of repeating this for each other bottle. I'm just going to go through a quick time-lapse of me creating all of these bottles. If you do get stuck, I recommend just re-watching this section, but I'll see you on the other side. All right, so now that process is completed, now have basically one of each bottle. I'll just activate full of the bottle collections again. There we go. We now have a version of each bottle that we can start creating routes animations for. The final thing that we can do is just ensure that everything is named correctly so that we don't have any sort of confusion while we're going through all about animation process. I'll just quickly run through renaming everything. All right, so now that we have a complete scene here, all of our bottles circuit correctly textured as you can see. All of them are also connected to there aren't empty objects. So now we're basically ready to start our animation process and begin with that opening shot of all the bottles sliding into frame and revealing themselves. Again, I'd highly recommend that you either re-watch this lesson or run through it in real-time with me to create all of your bottles. Once you're ready, we can move on to the animation process. 5. Animating The Opening Shot: All right, So welcome to the animation part of this course. Garnet first start off by creating that opening sequence of the bottles sliding into frame, as you can see on screen. What I'd highly recommend it, it's actually saving up blend files for each different shot. So what I'll do is just kind of appear to File and click Save as. What we'll do is just name this two shot, one shot underscore one. As we progress through, each shot will just save a file for each individual shot. That way we keep asking nice and clean and we don't get bogged down with any clutter in our outliner. Let's just start off here by jumping into the layout section up at the top left here. What we're going to do is create a basic scene for all that bottles to be showcased in. So to start off, what I'll do is add in a plane. So shipped a mesh plane. I'm just going to scale this up by a factor of ten. So I press S on your keyboard, and then I'll just type in ten and enter to accept that. Now what we're going to do is create an infinite backdrop. For the infinite backdrop, It's quite simple. All we do is jump into edit mode on those plain view. What we'll do is go to edge select mode with the width number two. Or you can just click up here. We'll select this edge at the back and extrude it up on the Z-axis. Ie to extrude, press Z to constrain it. And what you'll see now is we can create an infinite backdrop by clicking this middle edge, sort of the Cloner. We'll just bevel this. So Control B will pull this out and just give it a few. Luke cuts. I'm just scrolling up on my mouse wheel. I've just given mine about seven loop cuts here. As long as there's a gradual sort of full off between the top plane and the bottom plane. It'll do just fine. I'm going to tap back into object mode to accept that. And you can see straightaway, It's client faceted and it doesn't look quite nice just yet. So what we need to do is shade this Smith. I'll right-click Shade Smooth. And now, once we've put in our camera to the scene, you'll see this is basically an infinite backdrop. Let's just start off now by aligning our bottles. I'm just selecting these empties and moving them out of the shot. Like so. What we're gonna do is add in a camera. Let's go shift a, come down here to camera will just select the camera there. And it's going to get a little bit tricky to look at what the cameras viewing and also edit everything at the same time. Now is about a good time to create another view for us to work out how to do so, you can come up here to the top left until you hit this little crosshair. You can just drag that across a new screen for us to look at that we go. Now what we'll do is we'll work out of this workspace here. And we'll have the camera's view. Will have the camera's perspective in this screen so that we can always see what's happening. So it actually view what the camera's looking at. What we can do is press 0 on our number pad. What you'll see is now we're looking through the camera's lens. These little pop-ups here, I sort of in the way. So what I'll do is just press N to remove that or we can click this little arrow here. And we've also got a menu here, so I'll just press T to get rid of that as well. Now we simply just have the camera's perspective. What I'm seeing is the camera looks to be on an angle. What we can do is actually move this camera by pressing Shift F to frame it. Shift F will basically allow you to frame the camera in any way that you'd like. Another alternative if you find it easier, is to press Enter again to open up this transform menu here. And over on the View tab here. You can come through to this view section. You can actually click Lock camera to view. If you do this, whatever it's sort of change you make. Now, I'm just scrolling up and down through the viewport. The camera is going to follow. This is also a great way to quickly line up your shot. So I'll just do something like so. It's always good to remember that whatever you do in this view will also affect the camera. So once you have your shot lined up like sorry, you can't actually come back through and press N on your keyboard and de-select the lock to. That way you don't accidentally zoom in or out when you're trying to get a closer view. So I'm just going to save this now. And now we're just going to lay out the shot. For starters, we have three bottles that are coming from the left, on the left side, and tuples are coming from the rat to create that sort of triangle effect. What we'll do is I'm just going to jump into material preview. I can see which bottle is which. And another thing that I'll do is actually change some of the camera's settings because I wanted to have a different focal length on this camera. So you come over here to this camera's settings. You'll see currently we've got the type perspective, which is fine, but the focal length is 50 millimeters. So actually want to increase this to something like 100. I'll place 100 there. That's basically going to give it more of a flatter look through the camera's lens. Another thing I'll just quickly do is I'll actually increase the range of this floor here with the plane selected AP going to tap into edit mode. I'll just select this edge here and press G to grab it and bring it out. Quite a fair bit. Like Sir. That's a tab back into object mode. And I'm actually going to grab the camera and also bring that back just a little bit here. Lastly, I'm just going to bring all of the bottles up to flow level. So I'll grab all of their empty objects by shift clicking them. And I'll just bring them up on the z-axis until they get to the floors level. So G and Z bring them up there. There we go. Now they're on the floor level so there won't be a slightly hovering above the ground. And from what I can see, the mango bottle will slide on first from the left. So I'll just grab this, bring it across here. I'll also bring it back as well. So a cool thing you can do is actually snap your movements to the full grid here. I'll press G to grab this empty objects. And while holding control, you can actually move it along the grid here. Let me get back to blocks on the grid, like so. And I'll also grab this model here, the cactus bottle. I'll just move this along two blocks as well. I'll move it along three blocks here so that it's even. There we go. Now I'll just grab this bottle here, the line bottle and just move that across. And lastly, I'll frame this one up. Like so. Awesome. Now what we're going to do is actually animate these sliding onto the screen. And then multiple govern that. I'm actually going to bring this view just across a bit because we don't need that much space to look at the camera. And actually I just want to frame one of these bottles into the camera's perspective so I can actually see if the cameras lined up correctly, which it looks like it is not. Again, what we can do is grab the camera. I'm just going to slide this up until it's framed correctly like sir, wonderful. I think what we can do to start with is actually animate the camera first because the motion is the camera will start as a fairly close-up shot. And it's going to slowly zoom out to reveal all the bottles. Isolate slide on screen. Let's just start by animating this with your cameras selected. We're going to bring this in close to this bottle. Like so. Mostly going to bring it down just a touch. There we go. So currently there's no key frames attached to this camera. So what have we do it, it's not going to bake that into the animation. What we can do now is actually manually in set a keyframe to the camera. What I'll do is actually now that I'm looking at the camera, looks to be on a downward angle. I may even just rotate this up slightly. I'm going to press R. And then the constraint that to the y-axis. And just slightly rotate this upwards. So it's more of a looking upward sharp, brilliant. Now let's actually start Keyframing the camera. To manually insert a keyframe, it's quite easy. All you need to do is press I on your keyboard and you can choose what keyframe you want to enter. So that could be location, rotation or scale, or you can do any combination of them. You could do location rotation, location rotation and scale, or you could do everything that's available. But what we're going to do is just the location for now. We're going to press I. Then click on the location. And you'll see down here in this timeline, we now have a small yellow dot which indicates that the keyframe is being inserted on the timeline on frame one. A quick tip as well because we will be using this hotkey quite a lot. If you are trying to cycle through your keyframes, say you're on frame 40 and you want to get back to this specific frame. What you can do is with your keyboard, you can press the up and down arrow keys to cycle between them. Down will take you to the most recent keyframe on the left-hand side of the timeline. And up will take you to the most right side keyframe on the timeline. And you'll see as I pressed it, there's no more keyframes to jump to yet. So it's not going to do anything. That is a definitely a very handy hotkey to remember. Moving on, What we'll do is we'll just come through. This is going to be a 24 frames. A second. Animation will say that this animation will go for around three seconds. So what we can do is just put that into the timelines actual frame allocation. So we've got a starting frame of one. So the animation will start on frame one. And currently it's going to end at frame 250. We actually want this to be three seconds of animation, so we'll just change this from 250 to 72. Now we have three seconds of animation to complete this shot. So now with that out of the way, let's actually animate this camera zooming out and revealing the bottles. Let's say it's going to take two seconds to reveal. We'll go to frame 48. We'll just bring this camera back. Just press G and I'm constraining it to the x-axis. We'll just bring the camera back to somewhere around here. You'll see no keyframe has yet been created. So what we can do is again press i. Then we can press, we can either click this button for location or you'll see there's actually on the location option here, the L is underlined, which means what you could do is press I and l. That'll quickly put into location keyframe for you, which is really handy and it makes the animation process a little quicker. All right, so the camera animation looks pretty good here. So now we can start animating all the bottles rolling onto screen. And we're actually going to introduce a new concept now, which is the auto keying. What you can do is click this little circular icon here, the oder keine. What that's going to do is basically whatever movement we input, it's going to automatically insert a key frame for the location, rotation, and scale that we've just done. So I'll actually Control Z that. But as we move, you can see up at the top here it says auto keying on this just a way for you to know that whatever operation you do now, it's going to automatically be key framed onto the timeline. Let's just start off by keyframing all of the bottles rolling on the screen. So I'll move this back to its original position. You'll see it's credit a keyframe on frame 17, which we don't necessarily want. So I'll scroll back to frame one. Push this back to frame one as well on the timeline. Sorry to do that. I'm just pressing G and then moving it across the frame one. And now let's just start timing out our animation. For the mango bottle. It's going to push this out to frame 40. I'll just bring this across into the middle of the cameras frame here. Like sir. And currently we start scrolling through, you'll see it's just coming onto screen. There's not really any rotation or easing in our app. We can, we can fix the interpolation of this later on in the bullets here. But let's just first off start by creating the rotation of this on frame one. What we'll do is we'll rotate this on the z axis by 90 degrees. So we'll rotate around the z-axis again by 90 degrees. So it'll do a slow rotation in to the frame. You'll see as we push this through, it's going to already have the rotation information on this keyframe on frame 40. That's basically the animation complete for the bottle, it says rolling into frame 40. Now what we'll do is we'll have the live bottle here, do the same, similar movement. So let's say frame three, we'll set a key frame. So let's rotate this on the z axis by 90 degrees as well. That's set a keyframe for its location and rotation. Then let's just go through the frame. Let's say frame 40 ulcer will bring this across to a bat here. And we'll actually rotate that by negative 90 degrees. We can just scrub through the timeline here and see how the animation will look. Not too bad. And you'll see as well that stopping quite abruptly. Again. That's just because of the interpolation method, so we'll fix that up later on. But what we now want to do is also have the lacI bottle sort of following the same motion and timing as this line bottle. So let's just move this on frame 40. I push this across till it's roughly at the same position. Like so. If you need to update this again, we've got all the king on, so that's fine. So let's just go G on the y-axis until it matches the same amount of spacing. Has the line bottle has. That looks pretty good. But now you'll see we don't actually have any animation keyframe for when it starts off. We'll see what time the lion bottles taught smoothing, which seems to be frame three. So we can click on our LacI bottle. As we have already keen on. We'll just drag this back to its position at the beginning. Ink, and now you'll see it starting its animation. Awesome. So obviously the first thing we need to do is change its rotation. Let's go, let's actually just go out Z and we'll just do 180. Now as it rolls on, it'll be coming in clockwise counterclockwise motion. And that's looking quite nice. The only thing that we need to fix here is the clipping. So you'll see both the bottles are actually intersecting with one another. We'll actually just need to move this slightly backwards. So I'll just press G, constrain that to the x-axis and slightly move that backwards. I'll do the same for the line bottle as well. So I'll grab the land bottles controller. Bring that forward just a tad. And now you'll see that birth no longer intersecting and it's much more smoother transition. Wonderful. Now for the final two models here, going to go back to frame three and we'll actually move forward a frame five. So there's a little bit more of spacing in between them. And we'll click on the cactus model here. Let's again rotate that on the z-axis by 180 degrees. That's inside of that keyframe here. Let's just move forward to, let's say frame 40. Again. We will push this onto the scene here until it's roughly the same spacing. We go. Again, we need to rotate this. So let's rotate it by negative 180 degrees. And I'm actually going to push this forward slightly as well on this x-axis. That way we have room for the strawberry bottle to slide in as well. Again, frame 40, let's just push this into the scene till it's got the roughly the same spacing between bottles like sir. Now we have the keyframe there and let's just push this back to frame five. Push it back to its starting position. And we'll change the rotation to be negative 180 degrees. Now, we'll see it's coming onto the scene here. Like so. There is a tiny bit of clipping here. We'll just update that in a moment. We'll just make sure that that's not actually happening. So we can push this back slightly on the x-axis and we'll push the cactus bottle slightly forward on the x-axis as well. There we go. There is still a small amount of clipping. But to be honest, if we change over to rendered view, you can't actually see it happening. So we don't need to worry about that. Back to Solid View there. The next step in this animation processes is actually make that zooming in effect. What I'll do is I'll push the mango bottle forward on frame 72. So let's push this forward here to about the same length of distance as the cactus bottle. We're going to do the opposite for all the other bottoms. So these two bottles we're going to push backwards. And these two bottles we're going to push forward. In this case, we can actually just line them up so they're actually perpendicular to one another. Because there won't be any intersection. Let's actually just play this, scrub through the timeline and see how this looks brilliant. The first thing I'm noticing is the timing needs to be changed because currently the sort of zoom in effect is way too slow, will crunch that timing in. I can actually see some form of clipping here as well with some of the bottles. I believe the strawberry bottle here on Frame 72. I'll just push this out slightly further. Also to do with the framing as well. So you can see we need to have the same amount of spacing in-between each bottle. I'll do the same for the line. I'll push this out slightly, like so. In fact, I might grab the strawberry and the cactus here and I'll just bring them in close up because currently they are quite spaced out. Let's just push these two top as well. We basically just wanted to frame this final composition a little bit better than it currently is. I'll push them back a little bit. As the camera's going to be zoomed at, at frame 72, we're actually going to have more space in this frame here. What I'll do is just And move all of these bottles out slightly so they're not so close together. We go. What I'll do is I'll actually slightly rotate each of these bottles, Atwood's. For these two here, I can shift click each of their MTS and I'm gonna rotate them both on the z axis. And I'll do the same for the latching cactus. So Bertha that controller selected, rotate them both on the z-axis. And now just for a little bit more of a final touch, I'll grab the strawberry and the cactus. I'll grab the strawberry control here. Rotate that slightly more on the z-axis. I'll grab the cactus. I'll rotate that again, slightly, a little bit more on the z-axis outwards. So it's creating that line of attention directly to the middle bottle here, which is the magnetic bottle. Now with all of that out of the way, we've basically blocked our entire animation here. That we're going to move on to the part where we actually play with the graph editor and fix the timing and spacing for all of this animation. So let's come through to the timeline section here, and we're going to change the layout. If you come through to the top-left, there's little clock icon here. What we can do is click it, come through to the animation section and click on the Graph Editor. This is a new layout that you haven't yet seen. And what we're gonna do is basically change all of the interpolation methods from a linear interpolation to a Bezier interpolation, which is going to introduce easing in and easing out, which we're gonna be using for all of the shots in this course. What I'll do to start with is I'm just going to grab each empty object. I'm going to Shift click each one of these with the graph editor here. It's basically the same controls as the viewport. I middle mouse click. You can move the graph editor, scroll in and out to zoom in and out. What we're gonna do is box select all of these. Or we can also press a to select everything. Then we're going to zoom in on all of our keyframes. So Presley period key on the number pad. And that'll zoom in and normalize all of the curves for us. Now you can see basically all of these lines are linear, so it's gone from point a to point B. There's no easing in or easing at. What we can do is press a to select everything. Then we're going to change the interpolation mode. If you press T on your keyboard. This will bring up the interpolation menu. And we're going to change it from linear In Bezier. Like Sir, you'll see straightaway everything has now got this slope, this slope to the curve and then easing out to the end of the curve. This is what we wanted if we play the animation now as the little most Meta. You'll see here at the very end, takes quite a while for the zooming in effect to happen. In fact, we haven't animated the camera either. What we'll do is just quickly animate the camera zoom out effect as well. So we'll go through to frame 72. We're actually going to animate the camera moving backwards and tilting slightly to the left. Let's just quickly do this now. We're going to grab it on the x-axis, push it back. And then lastly, we're going to rotate this on the x-axis as well. I think we want to rotate this on the the rat. So we'll write this like about negative 12 degrees here. Now we can see how this looks in friend. It appears we don't have any rotation data on either of these keyframes. So what I'll do is just come through to frame 48 by square, cycling through the keyframes on the up and down arrow keys. So I frame 48. We're just going to rotate this back on the x-axis by 12 degrees. There we go. Now as we scrub through, you can see it pulls out to reveal everything. Then it slowly pulls out and rotates the frame as well. One thing I'm noticing is that we don't have all the bottles in the cameras framing. So let's just quickly fix this. What I'll do is unframed 72, going to bring this down on the z-axis. This is going to alter the framing quite drastically. In fact, we may even need to pull it back a tiny bit long. So I'll pull this back just a bit more. Bring it down on the z-axis, a tiny bit that we go back to frame 48. We basically just need to replicate the location. Let's just bring this down on the z-axis. Again. We want everything to be in frame. Let's pull this back again slightly. Like so. Everything is now in frame. As we pull back, you'll see we get everything was slowly in frame and then we zoom out. Again. All of this is currently set to linear. So what we can do is press a with the cameras selected and all of the keyframes selected. And then we'll press T and change the interpolation from linear to Bezier. Like sorry. Now we're going to see a lot more easing in and easing apt. So if we play this now, a little bit more smooth up. Awesome. What I'm going to do actually is bring this forward to say frame 50. Just as the bottle starts to push inwards and zoom forward like this. What we're going to do now is actually play with the curves here. So again, all these keyframes are a little bit hard to read now, I'll select them all across the period key to zoom in. What we can do now is actually alter the curves here by using these handles. A quick trick that I've found is you can actually scale the curves in and crunch the curve. I'll show you what I mean by this. Currently, if you come up here to this little drop-down, you're going to have the bounding box center selected. What this means is if we select these keyframes and I started to scale them, it's going to select the center of this selection and start scaling basically everything. So it's going to scale on the x, y, and z. But a quick trick that I've found is if you come through here to the drop-down and changes to individual centers, what we can do is select all the keyframes. And if we press S, you'll notice that they're scaling, but they're not scaling on the x, y, or z axis. It's just scaling the individual origin, which is each keyframe. You'll see as I've been scaling this, you can see the curve really crunching in the Zoom in furlough. So you can see that's what we want. We want to have a more harsh transition. So if I was to play this back down, you'll see especially here, the camera doesn't more harsh transition or ease in and ease out right here in the center of it. Now what we need to do is basically just match the camera movement. What the bottles are doing. Let's play with the bottles curves down. So I'm going to select each of these bottles. Like so. Again, we're just going to scale their cubs in algorithm a to select everything. And then I'll just press the period key on my notepad to zoom in so I can see them all. And I'm going to scale on the curves here to really crunch them in. So you can see as I start to scale farther and farther, it does hit a point where it just becomes a pure S curve. But we want to find a happy medium. I'm going to try something like this. And let's just see how this looks. Okay, awesome. Actually want all of these bottles to sort of come on the screen, but you can see they're all ending at the exact same time. Actually once the bottles here at the front and lost for these two sort of slowly transition on. So what I'm gonna do is select the mango bottle here. I'll select all of the keyframes on frame 40. And I'll actually push them forward to about frame 50. For the strawberry, sorry, for the LacI and the lion bottle, select both of their controllers. And I'm going to push these two frame 55. And you'll see what I'm doing is I'm just staggering the movement. So again, I'll click the strawberry bottle controller and the cactus public controller. And then I'll just lock select all of their key frames and I'll push these to frame 60 here. And now if we scrub through this, you'll see the mango comes on and then the rest slowly follow. To finish off the animation, you'll see it's a pretty harsh transition here. And that's because if we zoom in to select all of these bottles, you'll see this curve here. It's quite harsh. Only need to do to fix this curve here is select these keyframes. And we just need to scale it inwards. Like so. It's less of a harsh transition. More of a smoother transition. Looks pretty nice to me. What I'll do is I'll just run through this back to myself. And basically what we're trying to do is replicate that final shot that I created. So if i chapter material preview here. Just to help with how I'm viewing this, I'm going to click on the camera. And I'll actually just change the viewport display. If you click Viewport display, we can currently see everything outside of cameras frame and it's a little bit distracting. So what I'll do is I'll alter this spot out, which basically means fits at 0, you'll see everything and if it's at one, you'll only see what's in the frame. We can just now watch this back in real time and see how this is looking. Brilliant. You'll see the camera motion when it zooms out and rotates, actually is a little bit too early. What we want to do is basically match that movement to how the bottles are doing it as well. Currently, all of its movement. If I just select these and zoom in on them. Bowl of the movement is really with this S-curve right here. And it's happening way too quickly. So what I'll do is just grab these keyframes here. I'll scale them down slightly so it's less of an intense. We want the app, we want the motion to be happening as these are about at their transition point here. Let's just play this now and see how this looks. Again, it's still a little bit too early. So what I'll do is I'll actually just grab these keyframes here and crunch them forward. Then I'll grab this again and I'll scale it down. Like Sir, you could see the S curve now is sort of matching. Awesome. It does end quite abruptly. What will actually want to do is have a few lingering frames afterwards, so that we can have this composition here of the final frame lasting a bit longer. What I'll do quickly is deltas changed the layout here from the graph editor to the timeline. Instead of it ending on frame 72, I'll just push this forward ten frames, so it'll go to frame Eddie two. Now let's just see how this looks in its entirety. That's about shuttling completed. I think the final touches that I'll do is I'll just Ultor the rotation slightly so that when these bottles slide onto screen, they're not looking directly at the camera. What I've done here is I'll just click on the cactus model. I'll go to its keyframe on frame 16, and I'll actually just right hand it slightly upwards. What I'll do is I'll do the same for each of these. Against strawberry. I'll push this up slightly. Now for the lime, I'll make sure I'm on the keyframe where it stops. I'll push this out slightly as well. Now for the latchkey, make sure that I'm on the keyframe where it comes to a rest here. Again from just write heading on the z-axis and rotating it out slightly. Lack sir. Now instead of them rolling onto screen and looking directly at the camera, it's more of a natural look here. And then it just pushes out to its final position. If you're happy with this, we can now move on to the process of lighting the shot and changing the background color to that darker orange. Then we can move onto animating shot to moving into rigid body physics or at, for the lining. It's called a simple setup. We've currently got the world shader. So if we jump into rendered view, they say We currently have an HDRI shading the environment for us. It's up to you if you wanted to create a custom lighting setup, like a three-point lighting setup, or if you just want to use the HDRI that we previously learned, Lynn, I think taster eye looks quite nice, but I'll do the three-point lighting setup just in case you want to use either all. So I'll jump back into material preview. Let's jump through to the shading workspace up the top here. In the shading workspace, what are we going to do is give the back the infinity backdrop here and material. And it's basically going to be a deep orange. If we just click New here, we can change the material and aim to backdrop. And literally all we need to do is change the base color. So basically here, click this arpanet, the color wheel, and we'll just drop this down to orange. And we'll bring the orange. We'll just make sure there's just like a deep orange, something like this. Looking through the camera. I'll just quickly jump into a rendered view here and you'll see what we actually wanted to do here is change the roughness because currently it's quite glossy and you can see a lot of reflections coming up with a backdrop. If we just change the roughness to one, you'll see that immediately changes the whole composition of the shot. I'll also just change the base color now till something that suits it. Awesome. There we go. I've gone with the hex code of FF for c zeros, zeros. If you do want a copy of the exact column. The final touch is we'll just pull this specular all the way down to 0. There we go. We now have this orange vibrant backdrop here. And now let's just move on to the process of creating the three-point lighting setup. I'll just quickly jump into material preview. What we can do now is just add in some lights to keep out saying a little bit more clean. What I'll do is I'll create a new collection. I've seen collection with this new collection button. For collection a, we're just going to rename this. So double-click this to rename it and we're going to call this LCA. That just stands for lights camera action. And basically we're gonna put the camera and the lighting objects into this collection. Right now, for some reason the camera isn't there. Laci puddle collection, which we definitely don't need it to be in. So I'll just grab this, drag and drop it into the LCA collection. And now we can start adding in lots for the lighting to work here and not have the environment lighting interfere. We're just going gonna come down to the object here and change this to weld. What we can do is get the background here and press M to mute it. Now if we were to jump into rendered view, you'll see the entire scene is dark and we can have a blank canvas to start lighting as seen. I've just jumped back to the objects shading here. What we're going to do now is just add in a few lights. Shift a, we're gonna go light and we're going to highlight it a little bit hard to see now. So I'm just going to depress the period key to zoom in on the light. I'm just going to bring this up above the bottles. I'm going to scale this up just slightly. Obviously this lactose is a little bit dim. If we come down to the object data properties here, we can actually change the power. Let's go from ten to something like 252 bad. What I'll do is I'll actually bring this up. I'll bring this up above the bottles feather and I'll increase it to 500. Brilliant. Moving on from here, we actually want to make this a softbox light. To do this, all we need to do is add in a plane that's roughly the same size as this light and create a transmissive material for the plane. So I'll just jump into solid view quickly. And now what we can do is just add in a plane. So Shift a, go to Mesh plane. I'll bring this up in front of the light here. Scale this up to be roughly the same size. We're going to create a new material called softbox. I press New. We'll call this softbox. And what we want to do here is delete the base shadow. So I'll click on the principle of BSD F, press X to delete it. So what we'll do here is we'll add in a translucent shadow, just such translucent be SDF. Play sat down and plug-in this to this, the office. And now what you'll see is in the rendered view, you'll see this object is now acting as a softbox for the light. This is essential when lighting. It basically makes it so it's less of a harsh light source and it gives it more of a soft reflection or rat to the final thing that we can do here is we can actually parent this plane to the light so that whatever we, whenever we write out this light, the plane will follow. To do this, let's just click on the plane, shift, click the light, and we can go Control P, set parent to object. Now when we rotate this light, the softbox is also going to rotate with it. Now it's just a matter of setting up some more lights to completely light up a scene and make it look professional. If we select both of these, this area light and the plane, we can go Shift D. This is create a cradle, a secondary latch holes for us. Now with the light selected, we can press Shift plus T. And what this will allow us to do is wherever I'm mass pointer is, the light is going to follow it and point towards whatever we're pointing. I've just got my mouse pointer on the main manga object here. And now the lightness followed. We can jump into render view now and see how this is looking. Not too bad. What I'll do is I'll scale up this light source and increase its pal. Awesome. So I've just scaled up this light source just a tad and I've increased the power to 100. What I'll do now is I'll create another light source to the left of the objects. Awesome. Again, I've just pointed the light source with shift and t. Now if we just press a 0 on our keyboard, we can look through the camera's perspective and see how the composition is. Balsam, That's looking quite nice. I think all that's left to do is alter the power levels of each lot. Because currently the whole scene is looking a little bit dull. I'll just quickly run through that app. Brilliant. So I've just increased the Powell level of the top light to 800. I've increased the other two lots as well to a power level of 1500. That's looking quite nice. I'm just going to leave that as is. If we now scroll through the timeline. And we can see how the overall composition is looking like as the animation plays through. Bolster just noticed because we have auto keying on, you can see that there's some keyframes on the lat sources. What we can do quickly is select all of these just by Shift. Selecting them. And we can get all of their keyframes here and delete them so that they all stay in their position. And it's probably a good time now to turn off order king as we no longer needed. Now if we were to just scrub through the animation in render view, we can have a closer look at how the lighting setup is. Awesome, So that's looking quite nice. So moving on from here, but it's basically now just up to rendering out the sequence. And what I suggest you do is Festival ensure that your render settings correctly set up underneath the render properties we 6. Animating Shot 2: All right, so now we can move on to starting the second shot animation. Before we do this, we should say another blend file as shot T2. So we can just compute a file. You can click Save As, and we can just click this little plus icon here. And that'll just rename it to show up to. And we can save that as I'm moving on from here, we're going to start picking up the pace a little bit now that we have all of our assets ready to animate. For shot too, it's actually quite as simple shot as you can see on screen. It's just two bottles coming across the screen and transitioning into the rigid body physics that we'll be setting up in the next lesson. Let's just start off by recalibrating as seen here, and resetting all the animation data. I'm going to go straight back to frame one here. I'm just going to press a to select everything in the scene in the, in the graph editor here I'm just going to select all these keyframes, press X and then delete them. So we have a fresh scene to start off with. And once again, I'll just save the scene. So what I'll do is I'll change this layout down here from the graph editor back to the timeline. Again, I'll just enabled or a king so quickly animate our scene. I'm just going to grab the camera and pull it back, just a touch. And what I'm gonna do is I'm just going to grab the cactus bottle here and bring this into frame. I'm going to push this back as this is going to be behind the strawberry, but also I'll just put it frightfully into frame like so. And I'll find the strawberry bottle, which I believe this this one. Yeah. I'm just going to rotate that a 180 degrees on the z-axis. Then I've got a frame that up in the camera's view as well. Just quickly in material preview for the cameras so I can see the materials. Again, this shot is quite simple. It's basically this story, but all will be going from frame, from the left of the frame to the right of the frame, as well as the cactus bottle. It'll be going from the bottom of the frame to the left of the frame. And it's going to create that small transition in the middle where we can mask out the rigid body physics shot. So what I'll do is I'll just rotate this. Like Sir, it's on a bit of an angle. And what you can do is press R twice. So RR and it'll give you this sort of gimbal rotation. I'm going to rotate it to something like this. We go for the cactus but I'll, I'll do the same. So RR suppress our twice to get the gimbal rotation. And I'm just going to bring it back legs, sir. Again, I'll just move it slightly to the right of the frame. Only reduce credit transition animation. So I'm just going to go to something like frames 60, which this across out of frame. And also push the strawberry out of frame as well. Now just scrubbing through the animation as long as they're both intersecting each other. Roughly the same time like they are. That's basically the animation complete. The only thing that I will do is give it a bit of rotation. On frame 16, I'll make sure that the strawberry bottle has rotated. Just a touch like so. It's more of a natural movement instead of it just slowly dragging across the screen. And I'll also do the same for other cactus bottle. I'll press R twice and I'll just rotate it. It's slightly moving while going across the screen. It's very subtle, but it makes it less static while going across the screen and it looks a lot more natural. To finish up this shot. It's basically just playing with the curves in the graph editor will just come through here to the timeline view and switch this to the graph that lie at the top left here, come through the graph editor. Again, we'll change the interpolation. Select everything, press T on our keyboard and change this to better yet. Now what we can do is with individual origins on, so just click this Drop-down, make sure individual centers is active. We can just scale this to make more of a S-curve here. Now just scrubbing through the timeline, I can see I've only actually edited the cactus bottles keyframes. So what I'll do is I'll describe the strawberry bottle here and I'll do the same thing. Select all the keyframes, press T, change it to Bezier. Again, I'll just press the period key to zoom in on these frames. And I'll press S to scale and create more of an S curve. Now that birth transitioning at the same time. And that has been shot in its completion. So after everything is rented out, we'll actually go into DaVinci Resolve and composite this. But for now because we don't have all the shots ready to start compositing will keep it as is, and we can actually just render out this animation. Again. The render properties should have been saved from our previous scene and shot one. You shouldn't need to change anything here. The only thing that we will need to change is the output settings. Just come through to the app settings, make sure that your output folder is updated. So click this little icon here that makes sure instead of it saying shot one. We'll change this to shop on a score to underscore. That way when we start rendering out a sequence, it's not going to write all of these frames that we currently had. This except that the very last thing that we can do is we don't need all of these extra frames at the end of our scene. So what we can do is in the frame range, we can change the end frame from 80 to just click this and let's change this to like 44. Now you'll see will be rendering out this short sequence here. Awesome. So once you're ready to render this, just come up again to the render tab here and click Render Animation. Or you can press Control F12. Once you're happy with that, we'll move on to shot three and start introducing some rigid body physics. 7. Creating The Rigid Body Physics Simulation: All right, welcome to sharp three, where we're going to be animating the rigid body physics shots. First thing we're going to do, as always, is reset our scene. So let's just festival save the blend file. Let's come back up here to File Save As. And we'll just name this shot three by clicking this plus icon. And we'll save that. Now let's just reconfigure it a shot here and just reset it basically. So I'll select everything in the same, select all these keyframes and delete them. Then for these two bottles here, I'm just going to move them out of the scene. So the strawberry and unmute the cactus out. We're going to focus on the manga bottle here. So I'll bring this to the center of frame. Rotate this on the z-axis, want 90 degrees. And we're actually going to have the camera B from a bird's eye perspective. So what we'll do is we'll just grab the camera here. Gun press Alt G to reset its location. It's gone straight back to the world origin. And I'll just bring this outcome the z-axis. Then I'm just going to rotate it on the y-axis by negative 90 degrees. So it's looking straight down onto the bottle. You'll see currently this light sources sort of in the way of the camera's perspective. So what we can do is we can click on the light soils here and just come over here to this little orange box. And this is for the object properties. And what we will do is basically just turn off its visibility to the camera invisibility. The camera checkbox here should be disabled. And I'm also just going to change the viewport display from textured to wire. Will do the same for the plane here the softbox. Select the softbox, make the writer's ability invisible to the camera. And I'll come down here to the viewport display. We'll just display this as wireframe or y-axis. Now the camera can clearly see what's happening through this light source. Again, just on frame 0. I'm gonna bring this camera up just a bit more. We have a little bit more real estate here in the shop. And now I'm just going to quickly block at the animation. So just for reference, the animation is on screen now you can see what's happening. Basically, the bottle is slowly floating upwards towards the camera with the mangers acting as rigid bodies using a physics simulation below it. So first of all, let's click on our empty here and I'm just going to rotate it on the y-axis and bring it into frame a bit more. Just looking at the framing here, I might actually even bring the camera farther up. I'll just click on the camera. Mess up just a bit more. Now with the bottle here, what I'll do is I'll bring it up off the floor just a bit more. And basically it's gonna be a very slow animation from random zeros. At say, frame 40. I'm just going to rotate this. It's tilted on an angle and I'll scroll, scrub it here to frame 40. And I'll just press G Z, bring it up in the z-axis, and then I'll just use my gimbal rotation. So press R twice. I'll just rotate it like so. Now you can see in the, you can see in the graph editor here, we select all of our keyframes and press appear to get a zoom in. We can just change the interpolation from linear to bezier. Now, I'll just scale the keyframes here. So it's got more of an S curve in the middle. Now if we play this, you'll see a very smooth and bottle nice-looking transition. We basically have everything done for the animation of the bottom, but now we need to move on to the rigid body physics. So let's just start off by actually inputting the mango object. What I'm gonna do is create a new collection here, I'll click on the Scene Collection in the outliner. Then I'll just click this little new collection button here. This will create collection nine at the very bottom of the outline. So I'll just rename this to mango rigid bodies. With this election selected, I'll start to input the manga object. So up here in the file, just click here and come through to input. The file type is going to be wavefronts dot OBJ. So just click on that. This will open up your browser window here. So you can just come up to your class resources. In the 3D assets, you should see the manga folder here. So just open that one up. Click on your Vanguard dot OBJ, click on this input object. That'll import into the scene and you can see it's way out of proportion to the bottle. So let's first of all scale this down to something a little more manageable. I'm just going to quickly turn off auto keying. I'll change this viewport here to timeline. And I'll click the little or looking button here to turn it off. And I'll delete this keyframe here. Awesome. Now with the mango selected, I'm just going to scale it up a little bit more. You can see the point of origin is a little bit OK, good. So at the very base of the mango. So what I'm going to do is right-click set origin to center of mass surface. That's going to basically put it right in the middle of this mango object. Moving forward from here, we're basically going to create a whole bunch of these mangoes and just give them different perspectives to the camera. So we will rotate them and scale them all slightly. The way I like to do this is festival, just create a base mango here. What we're gonna do before we start duplicating this mango object is actually apply the textures over here in the shading workspace. I'll change this from world to object. And what we can do is with Node Wrangler enabled, we can basically import all of the textures in one fell swoop. If you don't have Node Wrangler yet enabled, we'll just do that quickly. So come up here to the Edit tab and just click on Preferences. Then in the add-ons, you can come up to the search bar and search for Node Wrangler. Just make sure that is ticked on and then close out of this window. Now with Node Wrangler enabled, we can use a hotkey to automatically set up the PBR texture for the manga. Just click on the principle of BSD F. Then what we're gonna do is press Control Shift and teeth. And what this will do is open up a window for us to select some textures. Let's just move up to the class resources here. Come through to 3D assets. And for the manga folder, we've got a few maps you that we can use for the principle of texture setup. So just control-click each of these PNGs and JPEGs. And then once they're all selected, just click this principle texture setup. What this is going to do is you can see is it'll just automatically plug-in those textures to the correct place in the shader here. And it basically just saves you a whole lot of work. Now if we jump into rendered view, you'll see on manga is textured correctly. And now we can start duplicating this and creating a bunch of mangroves behind the bottle that we'll use as a rigid body physics simulation. So let's just jump back to the layout section now. Just quickly I can see for the light here, It's a little too close to the bottle. So what I'll do is I'll just bring this up on the z-axis slightly so it's not such a harsh light on the bottle. Now let's just start duplicating this mango in the mango rigid bodies collection. With a mango selected. Press shift D. From the camera's perspective, we can stop rotating and scaling them. So there's slight variations to each mango. And it just doesn't look like it's being copy-pasted a bunch of times. What I find to speed up my workflow here is once you've duplicated one manga, you can select both of the mangoes, Shift D to duplicate it. And then you can do a rotation. And it basically it speeds up the Webflow. So each time you're doubling the amount of mangoes that you're duplicating. It's important to note, we don't want to have any mangoes intersecting. If they're visibly intersecting with one another, that's going to break the simulation. And when you start to simulate the intersecting objects that are gonna fly off screen, and it's going to look really unnatural. So this makes sure that there's a little bit of space in-between each object while you can. Now it's just a process of making a compelling composition. Here. I find once you have a fair amount of mangoes setup, like so, it's good to just come through to some random mangoes and scale them up or down depending on your scenes composition. Because obviously each one is going to be entirely different to one another. I can see over here we're lacking some mangoes, so I'll just shift D, X and more. And again, this is a part of the process whereby basically just set dressing. Then we're going to simulate all of these mangoes. Alright, so we don't want to have too many mangoes in the scene. But something like this looks pretty good for now. If you see any major gaps like over here, mr. Your best to fill them up. Like I am now. The last two gaps here, I'm just going to quickly fill in as well. Now I'm just quickly checking to see if anything is intersecting, which I believe it was. So again, it's just good to double-check that you're not intersecting any meshes. Wonderful. Now with all of my mango set up, what we're going to do is create a, an active rigid body for each mango. Generally the process for this would be you'd select your object. Then you'd come through to the Physics tab. Over here on the right, down to this button here. This is the physics properties tab. And what you would generally do is click this button here, which anybody. And that would add an active rigid body to that object. The base settings here are absolutely fine. But to do that process for each object would be pretty tedious and would take quite a while. So the quicker way to do this is to actually come through the outliner, select your first manga and then scroll to the bottom and Shift-click your final mango. So that'll select all of your objects. The moving on from there, what you can do is come up to this object Instructions button here. This will open up a tab and you can scroll down to the rigid body section. And all we need to do is click this Add active button. Once that's done, each migrate will now have the same rigid bodies settings. And again, as I said, the base settings here are fine. So essentially what we've done is each mango here now it has a mass of a kilogram, which isn't realistic. But honestly it's not too important because we're going to be playing with the gravity settings and the speed and velocity of the physics simulation. It will all even out once we start baking the simulation. But now if we would have come back to frame 0 and just play, you should be able to see this sort of yellowish bar at the bottom. What's happening is Blender is updating the physics simulation on the fly. So it's basically it's baking the simulation while we're scrolling through the timeline. That can be pretty taxing on your computer. So a better thing to do is actually bake the simulation. What we can do is just select all about mango Sierra. And I can see that I placed all of these on frame 22. I'll just come back to frame one and actually just bring them down below the bottle so that's framed correctly. I'll just quickly save the project as well. Now we have a functioning rigid body physics simulation, but older mangoes are basically falling downwards. And they also aren't going to be interacting with the environment, so they'll just be falling down forever. Basically, what we need to do is add in some passive rigid bodies that the microbes have something to bounce off of. This is quite simple to do. So. For example, the liquid bottle here, we're gonna need to add a rigid body to this. So just select your bottle and then come through to the Physics tab. Check the rigid body, and then it will change the type from active to passive. And all this means is that this isn't going to actively conform to the physics of the weld. It's just going to be a collision object. Now we have on S passive. And what we can do is change the settings to animated because the object is animated, so we're going to need it to update as it's animating. Now with that out of the way, we can once again save the project. And we're going to want to create an object that pushes the mangroves upwards. This is pretty easy to do. We're just going to use a simple cube. So let's go Shift a go to Mesh cube. Just going to make a flat surface for the cube to push the mangroves up. I'm going to scale this to something like this big. And I'll scale it down on the z-axis best we can to make it about this big. So now what we want to do is animate this to push the omega is up. Let's first of all, give this up. New object, a rigid body. It can, I'm here. Click rigid body. And as this is gonna be an animated object, will change the type to passive so that everything can interact with it. And we'll click this animated checkbox. Now let's just create a very simple animation. We're going to let the mangoes full down and land on the plane. Then at around frame ten will push it up. Let's enable auto keying again. What we'll do is we'll just press G, left-click and they'll create a keyframe on frame one. Now moving forward, let's head to bat frame eight. Press G again to make another keyframe. Then on frame ten. I'll push this up slightly to just about there. Now what's going to happen is this is going to push the mangoes straight up. We'll do an initial bake of the simulation just to see how it looks. Then we can sort of refine it from there. Just before we bake this physics simulation, I can see the object is actually visible in the camera. So we want to turn it off from the cameras visibility again with the cube selected here, just come down to this little orange cube, the uptake properties. And we're going to scroll down to re visibility. And we'll just turn it off from the camera's view. Last thing that we'll do as well is we'll change the viewport display so that it's not showing in material preview. It come down to viewport display. And we'll change it from display as textured to display as wire. Awesome. Let's just quickly save this and then we'll bake out the physics simulation. Actually bake this. We need to come through to the scene properties. So just click on this little uptrend here, steam properties. We've got a few dropdowns here that we can start playing with. The first thing that we want to do is open up this drop-down for a rigid body weld. And we can come down to the cage settings here. The cache setting is basically instead of having to manually bake this every time we play, it'll create one instance of the physics simulation that we can repeat constantly without having to bake the animation every time that we scrub through the timeline. And it just increases our performance in the blender seen overall. You can see we've got simulation start on frame one and end on frame 250. We obviously don't need 250 frames, so let's just change this to 44. Awesome. And now only need to do is click the back button here. All right, Wonderful. So once the bake is completed, you can see that we now have this orange line at the bottom of our timeline. And that's basically stating that everything is being baked into the scene and we don't need to constantly update this manually. As I scrub through the timeline now, it'll be able to see what's happening. Straightaway. You can see obviously that push up from the cube is a little bit too intense and it's launching all the mangoes way off into the distance and added a camera's perspective. So we want this to be a little less intense. Let's just with our cube selected on frame ten, Let's bring it down. Actually. It's less of a bump here. May even break down a little fellow. Cool. Again. It may even still be too harsh, so I might just push it from frame ten to maybe frame 12 and see if that helps with the simulation. Now what we can do is delete out, bake, and remake this physics simulation to see if this is updated. And help the scene look a little bit more natural. Let's just click this delete fake button and bake again. Alright, So the bank has completed. Let's just review the simulation again and see how it looks. You can see that time it wasn't as intense. So we may need to just alter the keyframe position again. You can see for even some of these mangoes, I just completely stopped still. Let's just move this keyframe back to frame ten. We'll delete the bank. I'm just going to head back to frame one. What I might do is actually change the height position for some of these mangoes. I'm just going to select some random mangoes here and bring them up on the z-axis. So there's a bit of a difference in timing of the mangoes. Just remember to be careful to not intersect any mangoes if you can, because that'll dog at your physics simulation. Something like that should be good. Just started saying that when I was baking the simulation, it looked very flat, almost like they're all on the same level. So now with that out of the way and the cube has been altered slightly. Let's just make this one more time and see how it's looking. All right, so the bank is completed, so let's just review this. A simulation bank and see how it's looking. That one is actually looking quite nice. I'm just noticing that a lot of the mangroves aren't actually being launched forward. I think what we need to do is just tinker with the timing of the push. Basically, I'm going to pull the stagnant frame here back into, let's say frame five. That way, the actual motion of the push will happen sooner, but I'll push this forward a little bit. So let's go. Let's say frame 13. I might even just push it up a further. So it's touching those mangoes that don't actually get pushed. With that done, let's just delete the bake. Bake again. All right, So the bank has finished. So let's just review this one. It is looking quite good, but you can see there's not a lot of velocity on the push. So now we're going to jump into actually playing with the gravity settings of the scene. And this will help us refine this physics simulation as a whole. So to do this, let's actually come over here to the same menu. Will come up here to gravity and open up this drop-down. You can see currently the gravity for the z, which is up and down, is negative 9.8 meters per second squared. That's basically real-life gravity, but where working in a 3D software so we can alter that too. What if we would like? I feel like for this shot we need the mangoes to be floating a little bit more. So to counteract that, we basically just need to change this Z to something less intense of a pull down. So let's just go with something like a negative five to start with. And again, it's just a process of iteration. So now we can come back down here to delete the bake. And then we can remake this and see how it looks. Alright, so with those changes, Let's see how we're looking so far. That's actually looking quite a bit better. I think we could just push it a little feather by changing the gravity to maybe 2.5. And I think that should finish off this scene. Let's just bake that in. Now. Delete the bake, and then we'll go bake again. Right? So let's see how that's looking. Wonderful. So that's a lot nicer. You can see the mangroves are being pushed up in the direction of the bottle. And they're slowly levitating upwards, which is exactly what we were looking for. Again, the physics simulation is a little bit of an iteration process, Sir. Even though you may have the same settings as my scene here, you might get an entirely different scenario in your splendid scene. So just keep that in mind as you're working through this part of the course. But for now I'm going to call this shot completed. And all we really need to do now is check the lining of the same. So I'm just going to go to rendered view straightaway. I can see an issue. And the issue is that the box here that we've created, Let's pushing all the magnet up. It's actually creating quite a harsh shadow on the rest of the scene. We need to do is come through to this object properties option here. We can come down to the rabies ability and just turn off all of these checkboxes. Wonderful. So now we have the background layer view for the camera and we're still getting all of the cool physics simulations. Alright, so that's shot three completed. All we need to do now is update the output properties like we did for shot to come through the output properties here. Just scroll down to the output. We're going to click this folder button and update the name from shot to. And we'll rename that to sharp three. Except once you're ready to render this again, come up to the render tab here, or just press Control F12, and that'll start rendering out your sequence as there is a rigid body physics simulation for each bottle. I'm not going to run through that process as that'll take quite some time. But if you do get stuck while you're doing your own version for each bottle, just come back to this video and re-watch it if you need any assistance or you are finding something that isn't working as it should be. And once you're done, I'll see you in the next lesson where we'll start on new liquid simulations. 8. Creating The Liquid Simulations: All right, So welcome to the liquid simulation part of this course. We're going to first of all start off by running through a quick liquid simulation setup. To start with, let's just create a duplicate of this scene and save out another plant file. So let's come up to the file here and go save as. And we'll just call this shot for. Then. Save that as awesome. Now let's just do a quick recalibration of as seen as we're going to need to remove quite a few of these mangoes and we no longer need this object to push them and goods. I'm just going to quickly delete this cube that we made previously. For the mangoes. I'm going to just make sure we've got only two available in the outliner. I'll just select them all. Press X and delete. Now I've just got these two. And we've also got the mango bottle here. Just while we're cleaning up the scene, I'm going to select these two mangoes here. I'm going to remove the rigid body that's applied to them. So up here in object, I'll just come down to rigid body and I'll click the Remove button. Now both of these mangoes are just regular objects again and again, I'll do the same for the bottle. I'll click on the Macro button. This time I'll just come through and I'll just remove the rigid body by clicking this button here. Okay, so now let's quickly run through liquids simulations and what exactly they are. What I'll quickly do is just turn off the LCA collection here so we can actually view what's happening in our scene. I'll give you just a quick rundown of a liquid simulation by adding in a cube. So let's just go shift a cube. I'll just bring it into frame here. Basically, what I'm gonna do is apply a quick simulation to this, just that you cannot understand how this is going to work. So I'll just hit F3 and such. Like liquid object quick effects, quick liquid. Now to select that, you'll see straightaway, it's made out entire viewport here into the wireframe. People that said that we can more easily see what's happening with the liquid simulation. For the screen here, I'm just going to change it back to solid. What it's essentially done is it's created a domain which will host the liquid simulation. And it's created a fluid object in the middle, which is this cube. This fluid object is going to actually be the fluid inside of the simulation. You'll see over the side here, as I've clicked on the cube, you'll see it's in the physics properties tab, and it has a fluid modify here, enabled. The fluid is a flow type. There's a few types here. We've got the domain flow and effective. So we're gonna be using each one of these. This cube is the liquid and it's going to be the flow. The settings here says the flight type is a liquid and the float behavior is geometric. So when it says geometry, what that means is this cube is going to be the liquid. If I instead change it from geometry to inflow, it would then mean that this cube will have a constant flow of liquid coming out of it. If I change the flow behavior to outflow, it would do the opposite and it would actually take liquid out of the domain. So speaking of the domain, by just click on this. Now, this is actually where we will set up all the bacon simulation settings. Over here in the Physics tab, you'll see we've got fluid type domain. The domain type is liquid, which is correct. And there's a lot of settings down here that we'll jump into in a moment. But just that you can kind of see what's going to happen, I'll do a very quick bake. You can understand what's occurring in the scene. I'll scroll down to the bottom of the page here. This is just important for when we actually start baking things. We've currently got a frame start of one and a frame end of 250. So we're only really need to bake up to frame 44. I'll just change this end frame to 44. And then for the type, we've currently got it set to replay. What this means is like the rigid body physics that we were doing before. That's going to manually, it's going to update on the fly as we play through the timeline. So we don't necessarily want this. So I'll change this from replay to Modula. Modula just basically means that we can bake each section of the simulation at any given moment. We can, instead of baking everything at once, we can come up to the very top and we can bake the liquid particles. Then we could scroll down and make the mesh, and then we can make the whiteboard particles. So it's a very modular process and that's how we'll be doing it moving forward. Just for reference, I'll change this to all and I'll click Baikal so you can see what happens once this liquid simulation here has completed. So I'll just click Bake all now. As we're baking this on a pretty low resolution of 32, fairly quick. You can see already we've already got some thoughtful here. So if I do start scrubbing through the timeline, you'll see basically what's carrying. We've got this cube here. The cubes currently set to an inflow object, so it's not going to be moving at all and it's going to be constantly creating liquid. You'll see it's just a constant stream of liquid coming out of it. But what we're going to be doing in this shot as actually having one large cube at the bottom acting as a reservoir of water. For that will change it from the flow behavior inflow to geometry. We see nothing is updated yet and that's because everything here is banked. Two occasions. If we want to see any updates, we will have to click on the domain again, come through to the bottom of the Physics tab and free the bake. So I'll just click this free All button just for your reference. I'll bake it again so you can see what the geometry will do. All right, so that bake was not completed. You'll see it's basically just created a cube of water and it falls to the bottom of the domain than just splashes. Alright, I think with that quick introduction to the liquid simulation, we can actually just stop locking up the simulation and putting in all the parameters and also creating the effector objects, which will be the mangoes and the bottom. Let's just begin by actually scaling all of these objects. And I might even just begin from this dot so you can follow along with me. So I'll grab these objects here, X to delete them. I will make another collection as well while we're here to hassle of the domain and liquid settings. Up here. I'll click new collection. It's made it in the manga rigid bodies collection. So I'll just pull this out to the bottom here and I'll rename this to liquid simulation. And again, we're gonna be using these mangoes, so I'll just pull them into the liquid simulation. Just so it's a little bit more tidy. Let's just create another quick liquid simulation. Let's go Shift a, go to Mesh cube. What we'll do is press F3 to such, again, just such cool. Quick liquid object, quick effects, quick liquid. Click that. And you'll see your viewport has now changed. And it should have spawned them in the liquid simulation collection as well. So just quickly, let's do some housekeeping here. The cube is actually the liquid. Let's just press F2 to rename this and we'll call this liquid. And then we have the liquid domain as well. This is obviously too small to house the liquid simulation because the bankers and the bottle of currently bigger than the whole domain here. What we're gonna do is scale both of these up. Just make sure you've got the liquid and the liquid domain selected. I'm going to quickly turn off auto king so that we don't have any weird things happening to add domain. I'll just bring this up on the z-axis until it's basically on the floor of infinity backdrop. And what I'll do is just scale this to proportion. So S to scale, scale this basically to this size almost as big as the profile of the infinitely backdrop. Now what we want to do is actually move this so that it makes more sense. Right now the liquid is going to be inside of the infinity backdrop. So I'll push this back to here. And I'll also push back the infinitely backdrop, just a touch. Now let's just grab that domain. Bring this up on the z-axis so it's on the floor. If you need to align this up properly, you can press one on your number pad to go to orthographic and just line it up like so. And again, we'll grab this liquid object here. Line this up with the floor as well. Now what we want to do is scale it. So it basically fits the bounds of the domain. Almost like a reservoir of water. I'm going to go S to scale, Shift Z to constraint into the x and y-axis. And then let's just scale this up until it meets the bounds of the box here. And that's basically the domain and liquid object that complete. All we need to do now is apply the scale. Make sure you've got both of these objects selected liquid and liquid domain. Then press Control a and apply the scale. This is going to do is ensure that the liquid simulation will actually simulate correctly. Because if the scale is all out of proportion, it'll do some funny things without objects and assist a very good practice to make sure that your scale is always set correctly and apply it. So moving on, we can now actually create the collision objects, which will be the bottle and the mangoes. Let's come through and select this first micro here. We're going to manually apply a collision or effect modifier to this object. Again, in the physics property tab here, come through to this fluid button and just click it. This will create a fluid modifier. And we want to change the type from none to effect. Once you've done that, all of these settings down below should be fine. So basically what it's saying is affected type is collision, which is correct. So it's gonna be colliding with the water. The rest of these here you can leave as it's basically what these other settings will do is the sampling subsets. This will basically refine the simulation, but it'll also make it take longer to simulate. The surface thickness is pretty self-explanatory. So we can keep this at 0 for now. Obviously we want to use the effector so that can be a checkbox. So you can just leave that checkbox selected. Is planar, is not needed as this is a round surface. So we wouldn't even need to be using this for any of our objects. That's basically all we need to do to set up the collision effect for the manga. So let's just run through that again. On the other menu, I'll select this one, come through to physics properties. Click on the fluid button again, and we'll change the type from none to effector. Then again, we can keep all of this as is. So effective type collision sampling subsets is 0 surface thickness Sarah. And we can keep these two checkboxes as is. One final time. Let's click on L, mango bottle here and we'll run through that process again. Physics tab, come through to the fluid. Click on that, and then we'll change the fluid type from none to effector. That is all completed. Now, what we're gonna do is create a very simple animation of the bottle and the mangoes folding into the liquid. Let's grab our bottle here. You can see there's already some keyframes on this. So what I'll do is just delete them. So a and then X to delete them. And I'll also just change the rotation. So I'll press Alt to reset that. And I'll come back to frame 0 here. Bringing this up on the z-axis, you can see as I've moved the mango object, the timeline, we've got some liquid particles here on the cube. The reason for this is the domain is currently set to replay. So I'll click on the domain. I'll scroll down to the bottom here. You can see type is set to replay. This is going to really slow down our scene. Sorry, we're gonna just quickly change this from replay to Modula. At again, we don't need 250 frames to be simulated. So what I'll do is click this and change it to frame 44, which is seen frames. I'll also click the is resumable button. This basically just allows us to post the bank at any given frame just to see how it's going. And if it's not up to standard, you can either reset it or you can resume the bake from what you've paused it. Alright, so with all that out of the way, let's continue animating our objects falling into the water. I'm gonna go to frame one here. Again, I'll make sure that the king is turned on. I'll just enable that with the mango controller selected. I'll just create a appealing pose for it. So I think we can start with a simple rotation lexer. Then we can rotate it backwards a little bit. And we're basically just going to have this full straight down from frame one to frame about frame 40. Let's go to frame 40 here. We'll go down on the z-axis until it's about midway suspended in the liquid. We go, I can see it's sort of in the back half of the liquid, so I might even just bring it forward. And I'll go back to frame one and bring this one forward to describing through that. I've got a very simple animation up in ten on frame 40, I want to give it some rotation data as well. So I'll just do twice to get the gimbal rotation. And I'll rotate up more on its side almost as if it's folding into the water and then sort of settling in the water surface. So that looks pretty good. I'll not grab these two mangroves as well. Come back to frame one. You can see they've already got a keyframe here, so I'll just delete that. I just want it to be perpendicular to the bottle. Bring it close like so. Then I'll bring it up on the z-axis. I'll grab this one, the secondary magnet here, and pushed across to the other side. Just so we can have a bit of a composition and once they land in the water. Alright, so with both of them, mangoes select it. I'll go back to frame 40. I'll just bring them down on the z-axis like so. We're going to introduce some composition. Now. I want this mango to be a little higher than the one on the right-hand side. This one can be sort of lower like this. And I want some rotation data as well. So I'll press twice for the gimbal. And I'll just do a little bit of a rotation on both of them like that. Wonderful. Now it's just a matter of adding some appeal with the curves here. So what I'll do is jump into the graph editor. So over here in the viewport and just click this little clock icon counter to the graph editor. And obviously all of these objects, if we just select them all, they're all on a linear animation path. Let's press a and then t to get the keyframe interpolation menu. And we can just change this to Bezier straightaway that keeps it a little bit more appeal to the animation. But what I want to do is actually crunch the S-curve in as per usual. So make sure you have the individual centers here enabled. If you are unbounded box just click this drop-down, click on individual centers. It with everything selected, just press S to scale. And then we'll just push it in to make more of an S-curve here. Now when we play, we've got a much smoother and nicer animation up the bottle and macros falling in. So I'm gonna go to frame 40 quickly and just play with the mango bottle a tiny bit more. I'm basically just going to rotate it more. Are on the gimballed twice. Something like that. That's looking pretty good. Moving on from here, we now just need to set up the camera angle and the lighting. Let's just quickly do that. Now. Again, we turned off the LCA collection. So just come up to the outliner and click the checkbox for the LCA. We go. So now we have all about lighting and camera angles back here. I'll click on the camera. Currently it's at bedtime view, and it's also going to keyframe. So I'll just delete the keyframe. What I'll do is bring this down somewhere here. We're going to point it directly there. I'll rotate this on the y-axis by 90 degrees. So it's looking directly straightforward. That's just a matter of framing a shot. You can see over here, I'm just framing this up. This looks quite nice. Just from the camera's perspective. I think the only problem is that the mangroves are a bit out of proportion to the bottle. I'll actually just scale these two mangroves up with both of them selected. I'm just going to make sure that I'm on frame 40. And with the scale here, you can just press S to scale. But you'll see as I scale them, it pushes it away from the center of the scene. This is much like the bounding box issue. So you can actually change where it's going to scale by coming up to this little drop-down here. You can see currently we've got the median points selected. We actually want to use individual origins. Click this individual origins, and then you can press S to scale this up and you'll see that there are scaling, but they're not going away from the scenes composition. Alright, so I'll just scale this up to 0.06, as you can see here. Notice copy that on frame one. To frame one. I'll scale this up to 0.6. There we go. Now we have a pretty nicely composed seen here to start baking are liquid simulation. Let's select our domain here. What we're going to do now is with the domain selected, come through to the Physics tab here. We're just going to quickly run through all of these settings and actually start baking this out down the bottom. Again just to ensure that you've got the correct frames here. So our frames dot is one and frame end is 44. Will be using the type Modula as well as the resumable. So just to ensure that your settings are matching here, it back at the top of the physics settings here. We're going to do a very low resolution bake to start off with just so that we can see that it's coming together correctly. Once we're happy with the bank, we can we can delete the cash and restart and have a higher resolution for a more realistic looking simulation. Currently the resolution is 32, so this is the base resolution. You'll should look almost identical to this. So we've got the timescale. Timescale, that basically just means how fast the simulation will simulate. One is the default CFL number we don't need to worry about. And we can keep the use adaptive timesteps checked. So timesteps are pretty important and the base settings here are actually quite good. Essentially what it means is these are the steps that the simulation is going to take before it moves to the next frame. So it'll have a maximum of four and a minimum of one. We can keep that as is. And essentially now we just hit the bank data button. Once your settings are all set out like this, come through and click the bake data button here. Awesome. Again, depending on your system, it might take a bit of time to bake this out. But as we're doing it with a low resolution, it shouldn't take too long. And that is essentially why we're doing it just to get a feel for how the simulation looks. If you start to scrub through your timeline, you should see as your objects hit the water, it's starting to disrupt the fluid particles, which is exactly what we're looking for. So moving on from here, this looks quite nice. We now just need to head over to the mesh settings. Scroll down here on this, on the physics properties tab, all the way down to the mesh button here. Just to ensure that the mesh button is ticked. Then we can drop this little arrow here to get the whole drop-down. So all of these settings here are basically good to go. The defaults are honestly quite good to work with. But we can quickly run through what these mean. The opera is factor is basically going to, as, as quick tip suggests, it's going to, the mesh simulation will be scaled up by this factor compared to the base resolution of the domain. What that's saying is the base resolution of 32, which is the resolution of the domain. It'll be up-scaled by a factor of two to 64. So we can keep that as is for the particle radius. This is absolutely fine as we're going to be having a lot of particles in this simulation anyway. So we can just keep that at two or mesh generator just keep that at final. For the rest of these we can keep as is, and click on the bake mesh button. All right, Wonderful. So that's completed for me now. You can see we actually have a mesh here that we can stop working with. Let's just scroll through the timeline now and see how the objects are affecting the warm-up. Brilliant. So obviously, you can see there's quite a low resolution mesh. And if I just come through to solid view, you can see this sort of halls where the objects have indented into the water. Once we start to bake the simulation at a higher resolution, however, this will look a lot nicer and I won't look so low poly back to wireframe. We can leave that as is, as the meshing side of this is completed. And the final thing that we need to do now is add in some bubble particles. Just above the mesh dropdown. There's a particle's drop-down. Click on that little arrow to drop it down. And you'll see we've got three options here. We've got the Spray, we have the farm checkbox as well. Then lastly we have the bubbles. So obviously as this is sort of an enclosed, almost like a fish tank simulation here, this is not really going to be any spray or farm, those sort of particles. And most are found at the beach or if there's a lot of water splashing around on a thin surface, for this one, we're going to be inside of the water. So it makes more sense for it to just be bubbles. So let's click the bubble icon here. And there are quite a few settings here that we can play with. To be quite honest, the base settings here, more than okay. It's quite a nice simulation. And each one of these settings here are only really changes slide details to the simulation. Where it's going to stick with the base settings here. And all we need to do now is click the bank particles. Brilliant. Once that's done, you'll see a few more particles have shown up in the scene now. But what we need to do is actually create an object that'll be rendered as the particle itself. So currently if we were to render that it wouldn't look quite nice. I think it would actually be invisible. So we need to give it an object to render out as the bubble. This is pretty easy to do. We're just going to be using a very low poly hydrosphere. So let's just quickly add that into the scene. Let's go shift a mesh. We'll click on Ico sphere down here in the subdivision. So I'm just gonna change this to one as there's gonna be quite a few of them at the scene. So we don't want to bog down APA formats here. Radius, we can keep at one meter and accept that and I'll just move it across out of frame. What we're gonna do is scale this down fairly small. I'll just scale it down just a touch so it's almost invisible now, but you can see I've scaled it to 0.05. If you want to copy that, you can just press S is 0.05. Now, what we need to do is apply this Ico sphere as the render object for the particle simulation. To do this, let's just click on the mesh here. Domain mesh. What we'll do is come through to this particle properties tab here. Just underneath the wrench icon, you'll see we have two particles simulations. So the liquid simulation, which is the overall liquid. And then we have the bubbles. So click on the bubbles. And you'll see this two options here. Let's click on the render drop-down and also the viewport display dropdown. Before we start applying the oncosphere as the particle renderer. Actually going to change the viewport display a map. Because I've found that if it's at 100%, it can sometimes slow down. You've seen to a stop and almost crashed your scene. Let's just change this to something like 10% for status. Now let's actually apply the ICU SFIA. So currently the renderer is rendering these bubble particles as a halo. And we will actually want to change this to object. Just click on this, come through and select object. What we can do is you can again, either use the eyedropper tool and select the object like this. Or you can click this blank space here and just search for the ecosphere lexer. We go. You'll see straightaway it has updated slightly. But as I stated before, the viewport displays are only showing 10% of the particles right now. If I was to slowly increase this, That's the 100% of the atmosphere particles they are showing. And what we need to do now is give it some random scale so it doesn't look like a uniform bubble on each particle. So just to do that, came through to the render properties again. And we'll change the scale randomness from 0 to one. There we go. Once we actually apply some materials to the oncosphere and the liquid and adjust all of the lighting will actually be able to scale the ecosphere to more accurately resembled the bubbles. So let's actually just go through that process now as we're basically complete with this test simulation. To start with, let's jump over to the shading workspace and apply some materials. Up here. Click on shading and you'll be met with this liquid domain material. And this is basically the base material that the quick liquid simulation will create for you. And it's a very simple material. It's got the glass shader for the volume. That's got a volume absorption night. We don't actually really need any volume absorption as this is a stacked in reservoir of water basically. So let's just print x on that to delete it. We'll just use this glass BSD F. It's actually fairly accurate. Well, it's doing is applying a color of white color. There's no roughness on it, so it's completely see-through. And the IOR, or the index of refraction is 1.330, which is actually correct. That is what the water is. Elr is this nerd in itself is more than capable of simulating the water's surface. So what I'll do quickly is just jump into rendered mode z for the pie menu. Then I'll scroll up to render. So you'll see there's a few things we need to do. Festival, the actual liquid cube that we created. We don't actually need to render this at anymore as it's already been simulated. So what I'll do is come over here. I'll actually just disable it from render. From the viewport. I'll click the eyeball itself. Just click the eyeball and the camera button here. That's just made it a lot more easier for us to work in the viewport. Now, from the camera's perspective, this is currently what the scene is looking like. You can see we still have the HDRI enabled and it's reflecting a lot of its detail. You can actually see the leading, the whole bucket reflecting and we don't really want that or neat that. I'm actually just going to disable that HDRI overall. So come through here to the shadow workspace. And let's just go to the world option here. And what we can do is actually just mute the background. I'll click on the background node and press it him to mute. Now what that has done is just muted the node entirely, so it's no longer showing in our scene or in the render. And now we can move on to lighting the scene and then shading the particles as well. Come through here back to Object. And what we're going to do is light the box from the side. You'll see a lot in real life with fish tank photography, it's a very common practice to have to soft boxes, eliminating the water from the sides, from the left and the rat. What is going to replicate this now? Grab both of these lats. I'll reset that rotation and I'll just place them on this side of the fish tank. You brilliant. So now those two lots have been set up on the sides of the fish tank. You can see just from the camera's perspective, it's creating quite a nice highlight on both of the sides of the bottle and also the manga. But you'll notice the backdrop is quite dull. So what we're gonna do is just place another light directly on the backdrop just to fix that issue. I'll come through and we do have this top light here, so I might just select this one. I'll just go Shift D to duplicate that. And I'll line it up on the back. I'm just going to reach it out on the y-axis. Now from the camera's perspective, let's see how this is looking. Alright, wonderful. It looks really quite nice. The only issue is the softbox is creating a pretty harsh shadow. I'll actually just get rid of the softbox entirely and I'll just have the light illuminating the backdrop directly. I'll just delete that softbox. Now let's see how that's looking. Wonderful. That looks really nice. It's got a very smooth gradient from the center to the edges. And it just looks really good. From here, I'll jump back into solid view. What I'll want to do is actually just push this softbox stand on the top view. So it actually captures more light on the bottles. I'll move it into position. I can see the indents of the bottle and the mango. So I'll just push it down to here. And one final time, I'll just jump into my camera's perspective and see how that looks. All right, lovely. You can see it's really highlighting all sides of the bottle and the mega. I'm going to just creating wide a nice composition. So from here we now need to add a material to the bubbles or the ecosphere. So let's just quickly jump into solid view. And I'll select the sphere from the outlining here. And to be quite honest, it doesn't need any special material. It's literally the same material as the liquid. What you can do is with the atmosphere selected, you can just come through here. You can search for the liquid domain material that was created and just apply that to it. Now if I go back to the camera's view and jump into rendered view, you'll see we don't really see many bubbles here because they're quite small. I'll just make sure I've got the liquid domain selected and I'll come through to its particle properties here with the bubbles come through to render, and I'll just start scaling this here. So let's go to scale of 0.05 currently. I'm just going to increase this. There we go. So you can see now quite clearly all of these bubbles. So as I said, there's quite a few of them. And at this stage it's a little bit up to yourself as to how large you'd like the bubbles. I find that having them fairly small gives it a little bit more realism. I'm just going to quickly define house large. I'm gonna have these. Alright, awesome. Sorry, I've just gone with a scale of 0.4. If you do want to copy that. And you can see they look pretty realistic as they're coming through the water. Again, this is gonna be an animation. Once it's all rented out, it'll look quite nice. So moving on from Pierre, it's not just a matter of baking the simulation at a higher resolution. And it is important to note that with the more resolution you add to your bake, it's going to take quite a while longer to finish. And not only that, but it will also create mole particles. This also includes the bubbles here. Again, I highly recommend that you save your scene as much as you can before you bake. And also with the viewport display of the bubbles. I'd highly recommend keeping it quiet layer. So something like 10% because once you start baking the simulation out at a higher detail, gonna have quite a few bubble particles. So you may even need to change your scale once it's completed. Let's now just actually set up the settings for a higher resolution bank and go through the motions of banking that app. I'll click on my liquid domain and we're just going to clear all the banks, come through to the physics properties again, unless just free the data. So I come down to fluid and we'll just click free data. This is going to reset everything. As you can see, we'll come down here. Mesh is being reset and ulcer the particles have been reset. We're just going to go through that process from top to bottom, come through here. And for the resolution, generally speaking, a resolution of 250 is ideal. But depending on your system, this could take anywhere from an hour to 2.5 hours. But for me, I'm just going to go for a resolution of 200. That's our find that this is an optimal resolution and it's sort of the media ground between low resolution and high resolution. Let's just go with 200. And again, all of these settings below here, we don't really need to worry about them. So we can just now go ahead and click the bake data button here. Alright, so the bank is now complete. What we can do is come through to the wireframe mode to actually see what's happening. You'll see straightaway. It's got a lot more resolution and it looks a lot nicer. You can actually see. Let's just go back to the layout here to see the timeline. Let's scrub through this to see how it looks. Lovely. So you can see again, all of this detail is going to be looking quite nice with the mesh once it's banked. Also with the particles, we're going to have quite a few more particles once it's finished baking. Leaped to reiterate the scale of the ACA sphere particles, which is totally fine. But let's just now move on to the meshing data bake. Over here, let's scroll down to the Physics tab and we'll scroll down to the mesh, drop-down here. Mesh, make sure it's enabled. Again, we'll just leave that all the details here as is. And we'll click Bake mesh and I'll see you on the other side. All right, so the mesh has completed now, as you can see, it's quite a dense mesh here. And as we go through the same here you'll see how detailed some of these are now. Again, even inside here you can see we've got these small bubbles coming off of the geometry once they land in the water. This is going to look quite nice once we actually render this out. Moving on from here. Lastly, all we really need to do now is bake the particles. Again. Let's just save. This is our progress. Over here in the physics properties. Let's come up to the particles drop-down menu and show that the bubbles icon is selected. And let's scroll down and click on the bake particles. All right, Wonderful. Now at the bait, complete, again, you can see there's quite a few particles in this region here. What I'm going to quickly do is just change the viewport display so that there's not so many showing on screen and we can actually use the viewport. So once again over here in the particle's properties and show you got the bubbles here selected. And even with an amount of ten, it's still quite laggy in the viewport. Instead of changing the amount here, I might change the display as from rendered. Instead of rendered, we can go point. What this allows the software to do is basically showing the particles as a point cloud instead of the actual final result. Now let's just increase this to a 100% to see how many particles has actually going to be. You can see up to the top here it'll actually tell you how many particles are going to be on any given frame. Currently at frame 42, as apparently going to be 2.5 million particles of Ico spheres essentially being rendered. So we're definitely going to want to change the scale so that they're not just a big cloud of black bubbles. Let's grab this scale and I'm going to bring it down to 0.05. Alright, so you can see it is still overwhelming. The objects in the mangoes. Again, I'm going to bring it down even further. Let's get 0.01. And to be honest, we're not really going to know how this will look until we actually render this out. What I'm going to do quickly is just jump to frame 44. Alright, so frame 44. And what I'm gonna do is just have a quick test render. To perform the test render out, Let's just press F12 and this will render out the image for us. Alright, so you can see just with a quick test render you, we can't really see any of the bubbles. Very faint pieces of them here, but they're too small Currently. I'm just going to come back and change their settings. I did change them to 0.001. Sorry, let's just try 0.005 to see how that looks in the render. And again, we'll just do a test render here, sorry, F12 to test render. All right, So once again, the, I guess we're starting to appear to be showing up very much here. They're very small, so I'm just gonna keep tinkering with this until I find the scale that works for me. Then I'll check back in. All right, So I've gone with a scale of 0.08. And that seems to be a decent size for the ecosphere bubbles. Now all we need to do is render the sequence. Once you're happy with all of your settings for your particles here, you can come up to the render properties again, jus 9. Animating The Outro Shot: Alright, welcome to the final shot of this course. This one is quite simple and won't take us too long. We're just essentially going to be going through the motions of setting up a simple composition and camera animation. Let's begin by clearing, as seen in getting rid of the liquids simulations that we've just created. I'm going to just Festival say that another copy of this up the top here, come through to File, Save As. And I'll just call this shot five. I'll save that. Now in the collections here, we no longer need this liquid simulation. So what I'm gonna do is select everything that I no longer need. If we go and I'll just press X to delete that. We're going to keep a mango here in the Seine, and we're also going to import all of the other fruits for the other bottles. And then we'll set up the composition. Let's start out by first resetting the location for the mango bundle. So I'll describe Alt G to reset that are as well to reset the rotation. A little bit hard to see what's going on here as well. So I'm just going to jump into material preview. All right, lovely. And I've also got auto King enabled. As you can see, a keyframe has been created here. So let's just fix that quickly by removing all of these keyframes. I'm just deleting them. Now come through here to the timeline. And I'll turn off or a king as well. Let's just go through the emotion of creating the composition shutdown. So to start, I'm going to just set up the bottles in that triangle formation, just like the beginning shop. I can see that these soft boxes are kind of in my way. I'm just going to quickly hide these. So I'll just grab the light and the softbox and press H to hide that. And I'll do the same for this side. So I'll select the softbox and the light object and press H to hide that. And now we can have a more clear review if what we're doing. And also for the camera, I'm just going to reorient that. So it's actually framing the final composition here. I'll delete this keyframe. Looking through the camera's perspective on the right-hand side here, I'll just bring it down a touch to look and see flow. Let's just start making this composition for the bottles. The mega will be at the front like so. I can see the rotation for this is off, so I'll just reset that by pressing Alt. I'll also do the same for the rest of the bottle. So I'm just selecting their empty objects, pressing Alt an auto reset that. There we go. I'm going to have the mango objects followed by the two strawberry and lychee bottles. And then I'll have the lime and the cactus behind that. I'll grab this lacI one here. Again, it's going to be in sort of a formation here. I'll put this just behind it, like so. Great. Now grab the strawberry here. Bringing this across. Make sure it's actually sitting on the floor. Analysis quickly set up the line and the cactus. All right, brilliant. I think for the actual final composition, there's not gonna be as much of a space here. So I'll actually just grab these two and bring them in a little bit closer so there's not so much of a gap between the bottles. And I'll just replicate that on the right-hand side as well quickly. So I'm just pressing G and then moving it on the y-axis. Let's finish this up with the cactus puddle. Alright, so now that we have them sort of lined up in the competition, actually going to change the camera's perspective here so that there's a little bit of space on the right-hand side for the logo and the tagline to be underneath it. So I'll just move this across. Back here. You can see with the focal length of the camera, It's actually skewing the objects. So you can still see the parallax of the bottles. And we don't really want that. We want it to be straight on. So what I'll quickly do is I'll just rotate. I'll select all of these objects here the empty control is, and I'll just rotate that slightly on the z-axis. Now you can see we're still using individual origins, so it's not working as intended. I'll come up here to this little drop-down and just change this to median point. Now, I'll rotate it like so that they are actually facing the camera instead of being slightly skewed. Awesome. Now it's just a matter of set dressing all of the objects onto the scene and also importing the images. So let's just start, please start by importing the images fast. And then we can set, dress all the fruits into the same. Importing the images is actually really simple. You just press Shift a and then come through to image. Then we're just going to click this image. Images as Planes option. This will open up the file browser here and we'll just come up to our class resources. Class resources, textures, and 30 assets. And we'll come through here to the bottle Textures folder. In here will have brand images to choose from. So just click on this, select both of these, and I'll just click import images as planes. There we go. Now we have these two images that we can stop placing in the scene. You'll notice just now the bottles of actually moved back to their original positions. And that's because they actually had a keyframe on them. So what I'll have to do now is just delete that keyframe and reset them quickly. So I'll just do that now. Rats and now that's out of the way. Let's just quickly set up these images here. You'll see what's happened is we've inputted this image and it's basically got an alpha transparency background. So I will only be able to see the actual letters and everything behind it will actually come through in the Render, which makes placing it in the scene just a lot easier for us. Let's just line this up with the camera here. In fact, we might need to shrink it down just a touch. Just scale this like so. I'll put 100% life just underneath it. Let's just grab this down. These are essentially just floating in space and we don't need to do anything else with these. Just for reference, I'm going to go into rendered view and see how this is looking from the camera's point of view. All right, great. So that's looking good. Obviously we've turned off the lights. So if we press Alt and H to unhide the lights, we'll see how it's looking. They're wonderful. Again. We'll have the HDRI on and we'll also move these lights into a better position. But for now this is looking great. The only thing that I can see that needs updating is I need to move these two bottles across just a touch. So I'll just do this now. Awesome. Now let's go through the process of importing all of the fruit objects. Then we can set dress them up here in file. Just come down to input, will go through to wavefront OBJ. And again, it's just a matter of coming through, took the class resources compared to 3D assets, and then just start inputting all of these objects. So let's do the strawberry blink bought that. You'll see most of these will come through with no textures, will have to read texture them as they imported. Let's just continue this process. So again up here, file input, and we'll go through two wavefront dot OBJ. Now let's come through, let's input the cactus object. There's actually three cactus objects in this one. So we'll, once you've imported them, we'll go through the process of separating them and making them workable. Again, we'll just finish in putting these up here to file input, wavefront dot OBJ. Now let's import the lime object. Just click on the dot OBJ and input tab. There we go. And lastly, let's input the lacI File, Import, wavefront dot OBJ. Let's open up this LacI object. We go. Now let's just make this a little bit more easier for us to read. So I'll turn off these lights again. Just left clicking them and I'll press H to hide them. For the cactus tree, I'm just going to move them across here. Basically just make all the objects to size. And I'll also move them out of the scene. We can start texturing them. I've got the lacI here. The line here, the line is actually quite small. And I've got the strawberry as well. All right, awesome. I'm just going to quickly do a scale of each of these so that they're at the correct size. I'll grab the line here. Just scale that up. It's correctly sized. Go after the strawberry. I'll scale that down just a touch. The cactus tree or I'll scale that down to about here. Wonderful. Lastly, I'll grab this manga object up here that we've already got textured. And I'll just put it here. What I'm gonna do is just remove these keyframes on the manga as well. Select all of them here, X to delete. Now let's jump over to the shading workspace and actually give all of these texture. In the shading workspace here. We've got all of these objects that we now need to texture. And you'll see as you click on them, they do already have a texture on them. For example, the lacI here. It's currently got a sort of popular shade to it. And that essentially means that the image It's sourcing is incorrect or isn't available. What we're gonna do here is in slot one on this IZ to material. I'm just going to open up the file browser by clicking this little file icon and re-import that texture. Click on that, and then we'll come through back to the class resources. Double-click into here and we'll come through to the 3D assets, lychee. And I'll just make sure that this IZ to dot JPEG is selected. Open the image and now you'll see the texture is correctly applied, which is awesome. Moving on from there, we have the lime here. So let's start off by checking the texture. Obviously there's nothing here. We're gonna do a quick PBR texture setup for this one. Again, just click on the principle of BSD F here. With it selected, you can press Control Shift T to open up this file browser. Then just come through the class resources, come through to 3D assets. Then finally lime here. What we'll do is just select all of these textures. So control-click each one. Then we'll click on the principle of textured setup. All right, so once that's done, you'll see everything has been plugged into its correct or tear. So essentially what we've done is we've just put the base color into the base color. We've got the speculum map of feeding into the speculum map, roughness map into the roughness and the normal map into the normal. Again, it's just a very quick way for you to set up the texture without having to manually import each image and plug them into each socket. Awesome. So now we've got the lime here all setup. So let's move on to the strawberry now. With the strawberry selected, again, will come through to the principle of BSD f. Make sure you've clicked it and we'll go through that process while I'm on tap. I control shift T, come up to the strawberry option here. Again. Just select each of these textures here. Control. Left-click all of them so they're all highlighted. And then click the principle of texture setup. Now for the cactus one here, we're actually going to delete these two top cactus pears. And we'll just be using this bottom one here. With that in mind that it's actually quite easy to separate them and delete them. Let's just quickly jump into edit mode. And we'll left-click off of the mesh that we can actually see it. Left-click off the mesh. And what we're gonna do is hover over this cactus here. And we're going to press the L key. What that'll do is it'll select all of the linked faces. Let's just run through that again for this top actors here, press L while hovering over it. You'll see that it's now selected that cactus. And all we're doing now from here it's just deleting these faces. So let's just go x and delete faces. And now we're just left with this one, cactus to texture, tap out of edit mode. Now, what we can do now is actually delete some of the slots that we don't need. We're gonna be using this lab bit three SG. Just remove this one up the top by clicking this minus button. We no longer need this limit full. So just remove that. Now we're just left with this lab at three SG. Oh, we're gonna do is again, the quick principle be SDF setup, sorry, just select this node here, will go Control Shift and tea. And we're gonna be using the yellow texture here. So just come down. Make sure you've got all of these bottom texture is selected. And then we'll click on the principal textures setup. Wonderful. So now we have the cactus textured and all the other fruits completed. Now it's just a matter of putting these in a, in an interesting composition with their parent bottles. Let's just do that now. I'll grab the mega. I'm going to bring it across. I might just quickly jump back to the layout section here so we can see what the cameras viewing over into layout. We're going to just basically set up the scene so it looks appealing. With the mega. I'm going to have this sitting behind the mega bundle. So I'll just rotate that. I think I want to have it with the green pot on the side here. Like this. Awesome. So we'll have it like that. Then I want to have a strawberry sort of sitting, resting on the bank of battle here. I'll grab the strawberry. Move this across. We go. So something like this looks pretty good. Just make sure it's not intersecting with the floor too much. So it's keeping that realism. And moving on from here, I can see the bottom of this bottle of soda parking out. I'm going to just cover that. Domingo. Moving on from there, I'm going to grab the line object and put it just behind the mango bottle as well. Grab the line, bringing it across. Just put it here. Awesome. There's something like this looks pretty good. Now we can just put it down till like cheese and the cactus. I've got the light sheath and I'll move it across onto the right side. Just going to have it basically sitting behind the line here. You can see as I'm trying to rotate this, the origin is set by OFF here and the distance right here, I'm just going to quickly reset the origin. So right-click set origin to center of mass. Now it's more easily rotatable. I'll put it to somewhere like here. Again, this is technically intersecting with the bottle. But because of the point of view of the camera, it's not really much of an issue and we can't really see it. I'll just keep it there for now. And I'll actually just duplicate this and make a copy. So there's two of them sitting here on the side. Shift D. Let's move it out a bit. Scale it down. So that's a little bit of variance here. And I'll also rotate it. It's not looking very artificial and non hand placed. So that just makes it look a lot more natural if it's got a different rotation. Very last thing here is now just to place the cactus down. I'll put the cactus around here. Bringing across like this. There we go. That should do for the composition there. I think the only other thing I might do is just scale the line down just a touch. And also Birth of these latches will scale up just a bit. Again, make sure that they're actually sitting on the floor. Lastly, I might just rotate this strawberry here. And what I'll do is I'm actually going to stretch this strawberry, just attach find which accesses the up and down for it. I believe it's the y-axis on this object. Press S, and then I'll press y two times. Now you'll see that's changed to the local axis of the object. And I'm just going to stretch this up. Just a touch. There we go. That's the composition can complete. If we just quickly check it out from the camera's point of view in rendered mode. This is currently how it's looking with minimal lighting so loud, Let's just quickly go through the camera setup and then we'll finish off with a lighting setup. Back to Solid mode here. We're really going to do is to, uh, Whip Pan from basically looking down and then looking up. With the cameras selected. Let's come to frame one. I'll click this auto keying option here. Basically what we're going to set this keyframe here at around frame 20. So just come to frame 20, just press G and then left-click to enter in a keyframe here. We're going to transition from frame one to frame 20. As sort of a lookup whip pan. To do this, Let's just bring the camera across a little bit. Also bring it down. And I'm going to rotate it on the y-axis. So it's looking down at the floor to something like this. What we'll do now is sort of zoom up and the final composition, awesome. That's essentially the entire shot completed. So we need to do now is add a subtle camera shake for this lingering shop, because currently it's very static and it looks a little bit artificial. Let's come through to the graph editor here. The clock icon. Open up the graph editor and we'll go through the basic process of putting the S-curves in. Select all the keyframes. Press T to change the interpolation will come through to the Bezier. And again, I'll just press the period key to zoom in on these. I'm just going to scale this for more of a S curve in the middle here. That looks pretty good. From what I can see. Awesome. Moving on from here. You can see obviously there's no keyframes happening right here. But what we're gonna do is add in some procedural camera shake. So over on the left-hand side here there's a little bit of an outline. If you click this Drop-down, you'll see we have all of these options here to play with the keyframes. So what we want to do is actually just apply noise modifier to some of these to add in some procedural camera shake very quickly. On the X location. With explanation selected. You can press N window and it'll open up this Modify tab. Just come through, change it from F curve to modify as. And we're going to add the modifier noise. Just select that. You'll see very, very faint here. But you can see there's some procedural noise being applied to this now. Essentially we want to make it so it's not incredibly strong. If I was to play this. You'll see in the camera's point of view, it's kind of shaking. If I increase the strength, you'll see on the graph out of it here. It's very much adding some procedural noise and that's an incredibly intense. So we're going to just minimize the strength to something like 0.15. And the scale we can keep us one, it's totally fine. We basically want to copy this noise texture and alter it slightly for each of these options here. So for the y and the z and all these other options. To copy this, we can come up here to these little clipboard icon. You can press Copy F modifies, click that button, and come over here to your y location. Again, what you need to do is come back to the clip, clipboard here and just click this second one, paste F modifiers, like so. Now if we play this, you'll see this a very slight bit of camera shake happening. It's obviously still pretty strong and not very subtle. So we want to make it a bit more subtle. For the scale. I'm going to bring this up to something like 12. The strength we can keep at 0.15. But for the offset and the phase, I'm just going to play with these because we copy this across from the X location. These are gonna be identical and that's going to cause it to look kind of artificial and not very natural. If you just drag this across to an arbitrary number like this, you just literally grab it and scroll your mouse wheel or move your mass. It'll give each axis its own sort of individual noise modifier. And it'll look a lot more natural. So what I'll do now is just copy this. And I'm going to place this onto the z location that we go. For this one, all I'm gonna do is grab the offset and I'm gonna change it to something arbitrary. So negative 360. I'll grab the phase and I'll just drag it as well. So I've just put the phase onto a four-inch from full. And so if we look at this in its entirety, you'll see that there's a lot of camera shake. It's actually a little bit too strong in my opinion, but you can kind of see it's actually quite unnatural. Camera shake. Let's just make this strength a little less. So on the x location, I'll get a festival, increase the scale to 12th. I'll change the offset as well. So I'll just scroll the offset and the phase to something, some random number. And again, the strength is just a little too strong. So I'm just going to go through each of these and change the strength to something like 4.05 on each of them. 0.05 and then lastly z location 0.05. Now if we watch this back, you'll see we have a pretty subtle and natural camera shake as the clip comes to its stagnant and awesome. That's all complete. Now, the last thing we need to do is set up the lighting and then we can render this out. Let's come through to shading. What we'll do is I'm just going to enable the HDRI in the shadow workspace here. Just click this and change it to weld. I'm just going to unmute the background. I'll click on the background node. Let's press M to unmute that. What I'll do now is I'll just press Alt and H to unhide all of the area, lots of the audio in this viewport, Alt and H, that'll unhide the lights. And now I'm just going to quickly look at the rendered view and see how it is looking from the camera. Awesome. It's actually looking quite nice. The only thing I think is that we need to change the area lights from a direct side view to more of a three-point lighting setup. Jump back to Solid View. And I'm just going to grab this light here. I'll bring it across and up a bit. Again with shift and t, we can aim this at the bottles. So I'll press Shift T and I'll just aim that just at the mango. And I'll replicate that on this slide as well. So bringing across Shift T, and I'll just make that here. Instead the bottles. Now let's just see how this is looking from the camera's point of view. Awesome, that's looking pretty good. The only thing really now is I might actually just re-frame the shot because you can see this quite a lot of empty space up the top here. What I'll do is I'll just come back to solid. Come through to layout. And I'll just update the cameras ending position starts off at frame one here. Come through to the frame 20. I'll just bring this down to sort of close the gap here. On the z-axis, bring this down just a touch. That framing is looking a lot nicer. Awesome. Once you're happy with that, you can just save your project. I can, I can see these lots of switched back to their keyframes. So I'll just, It's like birth, the light's not delete old key frames and I'll quickly put them back into position. All right, with that done, It's not just a matter of setting the output to a different naming convention. And then rendering this out. Again in output properties here, come down to the output folder. Just click on this, and we'll just rename this to shot five. Shot underscore. Five underscore. Accept that. And for the final time, we can render out our sequence. At the top you come through to render and click Render Animation or press Control F12. Once your render is complete, we'll jump into DaVinci Resolve to do some simple compositing and finish off this entire advertising sequence. So once you're ready, I'll see you in the next lesson. 10. Download and Install Davinci Resolve: Okay, so now let's quickly and download and install DaVinci Resolve. Just open up your Internet browser and come through just Google. Davinci Resolve. And you should get this first option to Vinci Resolve 18. Just click on that. You should be met with this screen here. We just want to scroll to the bottom and actually download this. So just come through tabs at the bottom here. And there should be this option to great versions. We just want to click this one DaVinci Resolve as it is a free download. Let's click on this and let's just download the DaVinci Resolve 17 here. If you're using a Mac, click on that, but if you're using Windows, just click this Windows button. It will ask you to fill out this quick form. You can just pop in all your details here. You don't need to worry about your accompany the reasons why you're downloading it. You can just throwing your details here, register and download. And once you've done that, just run through the installation process. And I'll see you in DaVinci Resolve. 11. Compositing In Davinci Resolve: All right, So welcome to DaVinci Resolve. You should be met with a similar screen to this here. To actually stop working in the workspace here, we just need to create a new project. So come through to this New Project button here. Click on that and we'll just rename our project to product advertisement. And then we can just click this Create button. Wonderful. So now we're actually inside of DaVinci Resolve and we can just jump straight into it. This screen here, this tab on the bottom left, this is the Media tab. This is where it will be importing all of our image sequences. What we can do from here is on this side panel here, you can scroll up and down and you can choose where you've actually saved all of your image sequences. So I've saved mine just in this folder here. In renders at, for example, if I just double-click this folder, you'll see that it's just one option here. And it's basically as image sequence from 00320096. If yours doesn't look like this and it looks most like this, don't worry, all you need to do is click this three icons tab up the top here. Just makes sure that show individual frames is unchecked. Just uncheck that. Now what we can do is we can actually drag and drop these into media pool. This is our master media pool and this is what will hold all of our media. Let's just grab this, drag and drop. And you'll see here, I can scrub through the thumbnail and it'll show me what the shutters. Or I can actually select it and I can play it. Awesome. So moving on from here, It's not just a matter of finding all of your sequences and dragging and dropping them here into immediate pool. I'll just quickly run through that myself. All right, So once all of your media clips are important view, we can move on to actually editing this together and then doing some simple compositing. Down here in these tabs, we're going to head over to this third tab along the Edit tab. Just click on that. This will open up a new workspace for you to get familiar with. Just keep in mind that your workspace may look a tiny bit different from mine. I'll quickly run through each screen here. This screen up the top here is the media pool. If you don't see it yet, you can click this button here. That'll turn on the media portfolio. It down here is the effects library. If you don't see this, don't worry because we're not really going to be using it that much. But again, you can click this button here Effects library to enable that. Across here on the right-hand side, we've got the inspector. This is a pretty important window. Up here. You can click this little icon inspector. This is where we'll be able to edit things and crop things. So it's a good window to have open. With that goal in mind, let's actually start blocking at the sequence here. In your media pool. Just look at your starting shot. Again. If you can't really see what's happening, you can actually double-click this and it'll open it up here for you to mute. This is shot on to me, so I'll just grab this. You can literally just drag and drop it onto the timeline. Like so. Now that we have this timeline here, you can see it's a layer based workflow. We've currently got one video track here and one audio track. Move things, you can just left-click and move them. To add extra trachs, a video, you can right-click here and just go Add Track, and that'll add a secondary video layer. Let's just quickly block out this scene. We've got the opening sequence. Then we'll have the two bottles crossing over each other like so. So I'll just drag and drop that here. Awesome. Maybe not from now we'll have the rigid body physics. So I'll just grab all of these. Alright, so if you do actually want to scrub through the timeline, you can just grab your cursor and move along this timeline option here. If you want to zoom in and out, you can use this option here. Zoom out and zoom in. Or alternatively, you can press Alt and then scroll on your mouse wheel. That's quite a handy one to know. So I'll just finish up these rigid bodies simulations that we go moving on from here. Then we just add in the liquid, since I'll start adding those in now. Awesome. Then lastly we have the attributes shop, sorry, this one here. Okay, great. So we've got the whole scene here blocked up. I'll just come back to the start of the sequence for this shot here we're going to create a mask and animated mask that will show once it falls through here much they transition. This will open up to the manga, rigid bodies. What we'll do is this clip selected, come down here to this little magic wand button. This is going to introduce another workspace. And basically all we're going to do is create a simple animated mask to move around this nodes section here, you can press in your middle mouse button and that'll allow you to move. But just for this course is sake, we're not going to go to end up with this screen, so we'll just quickly run through making the mask now. Median one, this is the clip that we're gonna be putting a mask onto. So just make sure that you've actually clicked this. And up here there's a lot of icons that we can start adding effects to the clip. We just want to create a mosque. Come through here to this polygonal mosque option polygon mask. And just left-click that. You'll see straightaway in this view here, it's actually gone completely. Lost, meaning that there's nothing going to be showing. What we want to do is with the Inspector open. Just make sure you have this open. We can come down here and we can actually invert the mosque. So just make sure that this option is ticked on. Now with the polygon node down here selected, we can actually start drawing the mosque on each frame. For example. On this frame here, you can actually scroll through the timeline, but this here, or would this here. But on this frame, as soon as they pass each other, we want to draw a mask out as square mask. With this cursor here, you can literally just left-click to create a point. I'll left-click down here again, and I'm just drawing a square. To close the gap, you can simply click on the first you created. And now you'll see we have this mask that's going to show anything that's behind the media layer inside of here. So what I'm going to do is just grab these full corners and do my best to line them up. Then I'm going to move to the next frame in the screen. You can just press right the right arrow key, and that'll go to the next frame. Now it's just a process of moving the mask and animating it. I'll drag all four corners here to enlarge in the mask. Then again, go to the next frame with the right arrow key and just continue the process. I'm just going to quickly speed through this later and have to watch me do this. But if you do get stuck, just come back to this section of the video and re-watch how we set this up. All right, so once that's completed, we can actually soften the mosque up a bit. So that's not such a harsh line. What you can do is with the polygon mosques still selected. Over here, you can see there's a couple of slides to play with. So we've got a soft edge here. We actually just increase this just a touch by dragging. You'll see it creates a nicer transition from the mask to the image. I'm just going to put is 0.006. That's essentially the animated mask completed. Now we can jump back to the editing workspace and continue on with the compositing workflow. Come through here. Let's come to the edit tab. You'll see now as we play this, we've got the mosque here working for us. But there's actually an issue with the mosque being on display for the entire clip. Let's just quickly fix that by jumping back to the Fusion page, this magic icon down here. So just click this and we'll just quickly fix up the polygon mosque. It makes sure that the polygon one here is selected. We're just going to go back in the time frame here. So you can see the keyframes are these little white lines just here. Each one of these white lines is a keyframe. We need to go back one frame here. We essentially just need to close the mask. On this screen here you can, again middle mouse button to move and actually zoom in. You can press Control and scroll on your mouse wheel. What I'm going to do is just quickly push these together until they close up. We go. So again, I'm just zooming in as close as I can. I'm just closing the gap between these. There are essentially are overlapping and there's no mosque there. I'll scroll to the bottom here. I'll do the same for these two. Push that in. There we go. Now there's essentially no mask effect on this frame. And the next frame or comes up like so, and then just completes the animation. Back to Edit mode. Let's come through here. Click this little edit icon. We can now just preview our work. Play this awesome. We've got a very smooth and seamless transition there. And you might be wondering, okay, how do I put the rigid body physics in this black screen? But all you need to do is grab your manga rigid bodies simulation clip and just drag and drop it below this clip here. Let's again, if you haven't credited track yet, just right-click Add Track, or you can click and drag this above. We'll put this mango simulation below it. Grab this, drag it and palpate the lymph. Will just want to line it up to the frame where it actually happens. You can do this with the the timeline scrubbing here, or you can actually use your arrow keys left and right. I'll just go right until it opens. On this frame, I'll place it in like so. Now we have a very nice and seamless transition to the manga, rigid body. And now what we're gonna do is basically layer these other rigid bodies simulations on top of the mega one and crop the image. Grab your next simulation, just pop it above. Here where the secondary clip ends. In the inspector, you'll see there's a cropping section. Just click this open and you can actually click on these numbers here and slide them across lexer to actually crop the image. I'm just going to crop it so it only shows the bottles and a little bit of cactus. Sorry, I'm just dropping the left and right. Then you can actually scrub through To see if it stays within the bounds of your crop. Sorry, this one looks like it hasn't, so I'll just pull it up just a bit. There we go. Again, you can increase the softness as well. Sorry, I'm just going to increase the softness by maybe, let's say one. So it's not such a harsh line. Now we can just start layering all of these on top of each other. I'll grab this lacI one here and I'm just pulling it below. And I'm just gonna do the same. I'm going to crop left like that, and I'll crop the rat like that as well. And basically what it's going to want to have a, all four of these rigid bodies simulations and align with crop this now, but it's currently being ever run by this cactus one on top. So it actually move it. You can use this position here. You can move it with the position x or the position y. Just grab this position x and move it across. We go again, we want all four of these to fit on screen at once. So it may be just a matter of Festival layering them. They're all going to be on screen at once. So what I'll do is actually just pull these up another layer. Let's just start cropping the strawberry. I'll crop left. I'll crop the right. I'll move it across to this side already. And then lastly for the line crop on the left, I'll crop on the rabbit as well. Essentially, we just want to make sure that these all fit on the same frame here. I'll just make sure that they're all at least pumping on screen at the same time. This looks good here. And obviously we need the lime as well. So I'll just pull this across, going to add another track here and just pull it up. Now I just need to position all of these in the same scene. I'm just going to make sure that they're all times the same. They're all stacked on top of each other at the same time. Like so, I'm just left clicking and dragging to select them all at once. And now what I'll do is pull this up to the second frame, like sir, and just drag it in. That's just a matter of aligning these. Let's just offset them oldest, just a bit. Like this. We get the Nanga. Then I want the cactus to shot first. So I'll just pull this back. We get the mango and then the cactus. And what I'll do is I'll actually push the cactus across. Just push this cross slightly. Wholesome, and then actually want this robbery to be here. So I'll grab the strawberry one, push that across like so. And then lastly I'll grab the line and I'll also push that across. You can see the line is cutting over the strawberry and that's because it's sitting on top of it. So what I'll do is I'll actually just crop, move the strawberry across a bit more and crop it to the right here. Then I'll prop it left just a touch. Like this. I'll just move the line bottled across just a bit more. Awesome. That's the basic gist of the composited in there. And then we're just layering some clips on top of each other. Obviously, this is a pretty, pretty quick lettering job, so I'm just going to go through and refine this until it looks correct. Also, essentially a loved one is just lay at these and then I've just played with the softness. I've given them Ola softness of five. Then I've just cropped them so that they all fit on the screen at the same time. The only other slackening I've done is I've made sure that they are open. But they pop up on screen at different times. Because mango and then the two in the middle pop-up and then the two on the side. Cool. Moving on from here, we don't actually need all of this extra clip at the end here. You can actually just cut it off and delete it. Up here there's a blade icon. You can click that or you can press B. And you can literally just click here. For each of the clips. I left-click. Then I'll press a to go back to selection mode. And I'll select all of these clips and press backspace to delete them. Now be viewing them from there, I'll just scroll out rabble of these clips and bring them closer to the other clips and Nas just a matter of compositing in some text. So currently, this scene is a little bit messy. We've got a credit pretty big stack of media clips here. So what I'll do is I'll just select all of these and I'll turn them into a compound clip because we're no longer need to edit these. What you can do is select them, right-click and go new compound clip. I'll just call this rigid bodies. And I'll click Create. You'll see that's just shrunk it down into its own individual clip here. If you do actually need to edit this, you can right-click, jump through to sharpen and timeline. And that'll basically open it up to Edit in another window. You'll see we've got these breadcrumbs here. We've got timeline one and then rigid bodies. So once you've finished editing all your stuff in here, you can double-click timeline one. That'll take you back to the overall timeline. Moving on from here, let's just start adding in some text objects in the effects library. If you don't yet have it, just click on this little magic icon at the top. We'll open it up. And what we're gonna do is just search in the titles. We want to use text plus. Just grab this left-click and drag and drop it into your scene. You'll see it's currently got custom title. What I'm going to do is I'm actually going to select all of these. I'm going to bring them up just one layer. I'm going to is added some text here on the text object in the Inspector. You can just put in whatever you'd like. We can just type in what was on the actual ad. So 25 MG Milligan. And so we're going to want to have three of them on the screen at once. You could either make three of these objects or you can just copy and paste this three times like this. Now in this text Inspector layout, It's basically just setting up all the options for it. So for example, we've got font here, Open Sans. You can choose from a litany of different fonts here. Just for example, we'll just keep with Open Sans. You can also change the size here. Let's go with something like this. You can also change it from regular to bold. I think I'll keep mine on bold. Let's just finish creating this text now. You'll see some of the letters are sort of fading off into the background and it's kind of hard to read. What I've done to counteract that is just add in a drop shadow. If you come over here, just click on Filters. You can come up to this little magnifying icon and search for drop shadow. Just stop typing and drop and you'll get it here. You can just drag interrupt this onto the text object. Now you can see that's a distinctive drop shadow and it helps the text out of the image a little bit easier. A lot nicer. Awesome. So now with this selected we can come up to, we can change the inspector from titled to settings. And we're just going to enable a Dynamic Zoom. So you can see here there's a little option for dynamic same. So just click this and make sure this is enabled. For the Dynamic Zoom is just drop this down and we'll do ease in and at ease in and out. Now when we actually play this, you'll see it's currently Zooming and it's actually zooming backwards. Sir. What we'll do is we'll just click this Swap button and that'll reverse the direction of the Zoom. Now it's zooming up just like all the rigid bodies off. And that's essentially the compositing of the texts complete. If you didn't want these other layers here to have different kind of text fonts. Or maybe you wanted an outline text. You can just create another text icon. Another text object here. If you want to copy the same one, you can just press Alt and then left-click and drag. That'll create a duplicate of it. Then for this one, we can just change the title of settings. Maybe we want the top and the bottom to have a holler text. We could just get rid of this middle of text here. Like SAR. For these two, we can come through to you just scroll up. You can see there's a shading icon, shading tab. You can click on the shading. Instead of it being a completely filled xt, it can change it to this appearance here, text outline. What that will do is basically give it the outline of the text object. Because we have them still in this bottom layer here. We can just delete the top and the bottom. So just select them backspace. And now you'll see we have this sort of hollow text, which is really cool but nice effect. If you don't think the thickness of the line is thick enough, just make sure you click on that secondary texts object. In the shading tab, you can come to thickness. You can just increase this alike, sir. Awesome. First thing to do is create a compound clip. Just select them. All right-click and do new compound clip. We'll just call this text. Now we're just going to add a very simple effect to the text object here. You can see as it comes through, it basically just pops on the screen or you up rapidly. But we can actually just add in a cross dissolve. So it's a lot more of a smoother transition. With your text object here. Over on the Effects menu. Again, effects library. You can come through to the video transitions here. We've got a cross dissolve option. So just click on this and drag this. I wrote your text object like this. Now you'll see when we play this, it's a lot more of a nicer transition. Awesome. That is essentially completed. The very last step is basically with these liquids simulations here. There is some texts that pops up on the screen and it is essentially the same as this text object here. What we can do is actually just copy and paste it. Basically. Click on this objects and we'll just go Alt, left-click and drag. What we can do is if we actually edit the timeline because it's a compound clip. It'll also change this clip as well. So we actually just want to decompose it in the timeline and then edit the text objects. Let's just right-click this and come up to decompose in place. What that will do is it'll just put the two text icons back onto the scene. For the bottom texts icon here, let's just change this middle section and we'll make it just say. We'll just type in 100 milligrams vitamin C. Let's just copy that text and we'll do the same for the top Texas object here as well. We'll just change these two to say the same thing. Now all we really need to do is add another cross dissolve to the top text object as well. So again, in the Effects Library, just drag and drop this cross dissolve onto the top text. And it'll see now we have this very basic texts animation on screen. The very last thing that we need to do is add in one more text object. So I'll just grab these two and shrink it down. Just a touch. Then I'll copy them. So I'll box select them, alt, left-click and drag a copy of them. I'll just push it back to the end of the clip as well. We're gonna make this one say sugar-free. Just click the top text. Type in sugar free and we'll just copy that and paste it on the other lines as well. There we go. You'll see the cross dissolve is basically encompassing the whole of this clip. So I'll just push this back. It's very abrupt, just like this. There we go. Awesome. With that. That is essentially the entirety of the compositing completed. Now, the clip, if you're happy with it, is ready to be exported and published online. What you can do is come through to this rocket Icon, the Deliver tab. So just click this and we'll just quickly run through naming your file, saving it somewhere, and then exporting it. To start off with, let's just call this product advent. Scotia. Will want to save it somewhere. So just choose a location on your computer to save this to that we go and then moving on from here as we only have video in this, generally speaking, the YouTube. If you just click this YouTube icon here, all of these settings are absolutely fine. You don't need a tinker with anything here. So again, if you are on the custom tab here, just change over to this YouTube tenant API. You may need to rename your file. So just to rename it. And once you're ready to render this, you can click Add to Render Queue here. Click on that, and it'll be put into the Render Queue here. And then the last step is to click this render old button. Awesome, sorry, it shouldn't take too long to render. But once it is complete, you'll now have an awesome product advertisement to add to your portfolio of works. 12. Outro: Alright guys, so thank you so much for completing this product animation masterclass costs. I'm glad you could join me and follow through all the way to the very end. Hopefully now you have a greater understanding of the 30 workflow and more comfortable inside of Blender 3D and Da Vinci Resolve. If you want to, I'd love to see what you create. So please send me your creations on Instagram at Smith's sculpts. And please leave a review on this class if you enjoyed it. I'll see you in the next one.