Transcripts
1. Product Animation MasterClass: Hey guys, My name is Smith. I'm a 3D artists with over 40 years of experience creating. And in this Skillshare class, I'm going to be teaching you the very basics of product rendering for this project, we're going to be walking through the creation of this Red Bull can't be walking through modeling, texturing, lighting, and of course, render, finish everything off. We'll do a quick composite and color grade individually result. And from that you'll have an amazing product render to share to your friends and family. I've included all of the resources in the projects and resources below. If you do have any questions, please feel free to post a comment below. And with all that said, I hope to see you in the next lesson where we start our journey with modelling.
2. Modelling The Can: All right, let's jump straight into curating this thing. So we're just going to start off with a general blend file. And immediately I'm just going to delete everything that would have been 0. And we're just going to start off by working on a little bit of scene management or so up here in the outliner, I'm just going to create a new collection by right-clicking and hitting new collection. You just click on your collection and double-click that. You can just rename that to whatever you'd like in this instance. I'm just going to rename this Red Bull can. I'm also going to come up here to come up here and click on this filter toggles button. And we're just going to enable selection and also display. So basically now we can disable things in the viewport, make them none selectable and flexible. And that's just going to help us with that workflow. So before we even begin modelling, we're just going to need to input some reference images. So if we just go shift a, come down to Image and reference, we can then navigate to your reference images and just select them both. So just select those ones and learned them in. Depending on how you're looking at your viewport, It's going to load in basically the point at which you are viewing it. So what we wanna do is just select both of these and hit Alt R to reset the rotation. And from there we can then just start setting up the reference images to our lacking. So lets just grab this one here. I'm going to rotate it on the X axis up, and then on the z axis 90 degrees as well. And then I'm just going to pull it up to about middle point here. And I'm just going to load in the top of the can as well. So shipped a image reference. And then I'll load in Red Bull can top. And we go again. It's loaded in the way that I'm looking at the screen, but the viewport. So I'll just fix that rotation and bring that up. Right now. You don't really have to worry about the scale. We'll fix that once we model the radical can. So I'm just going to roughly size it down to the size of the can's top. And for now I'm just going to come up here to the outliner and make lats, make the top of the Qin none selectable and also hidden from my VM. So now we can just work with this with the reference image of the rebel camp. So if we switch to orthographic view, we can start the modelling process for this CAN. So let's get shipped a mesh cylinder, and let's just stop modelling this guy out. So tab into edit mode. And let's just scale this roughly to the size of the can here. That's looking pretty good to actually see what we're doing. I'm going to press Alt and Z, and that's going to enable X-ray married. So now we can actually start doing our basic modelling of the can. I'm just going to line it up to the very top. And also at the bottom, line that to the very bottom. And now we can just start fleshing it out by adding in luke cuts and go from there. So first off, let's just add in to loop cuts. I'm just going to scale it on the z-axis and push them out closer to the top and the bottom. And now I'm going to select this loop here. Bring that up. All right, so where it starts to go in here. And I'm actually saying already that this is a little bit too big. So I'm going to select everything with a hit, S to scale shift and z to r only scale on the x and y-axis. And then I'm just going to pull that in just like that that we have. So now we can start with the top and the bottom of the can, which is basically where most of the detail is. So I'm going to grab this loop here and oppress G twice on the keyboard to slide it. And then while holding Shift, I can move it more precisely down to the bottom here while we start to get that first change in form. So now I'm just going to add an another loop cut here. Scale that end with that z. So Shift Z, that'll do x and y. And we go, I'll now just grab the bottom here, do the same thing, shift and z, and we can scale that in. Now you notice the image here, it's not completely symmetrical. So there will be a tiny bit of guesswork, but overall it's going to look basically the same. So Bowden for now, it's pretty good. I'm just going to go up to the top here. And I'm just going to flesh this out now. So with control, I'm just going to add in another loop cut scale that end shifts the, make that look nice. And then the very top here I'm going to scale that in as well. Ships the there we go. So now we need to make this bit of blow lip here to the can. So what I'll do is I make another loop, cut, scale that out just a tiny bit. There we go. And now I'm just going to battle that. So Control B2B level. If you want to add more resolution, you can scroll on your mouse will, I'd say about three loop cuts will do. And for this one, you can see it comes in. I shop here, so I'm just going to scale that in with shift and z. And now we can just move that up on the z-axis. And we've got a fairly decent looking cap there to the top. So that's the basics of the can. It's a very easy model. Thankfully. You can see it's super basic. Right now it's looking kind of jagged and that's because we haven't Shade Smooth. So if we just go right-click Shade Smooth, it's looking a little better, but you can't see this some weird artifacts from the shading. So if you come over here to the object data properties tab, you can just come down to the normals and hit auto smooth. And that's immediately just going to fix all of those artifacts. Great, So now we've got the can basically set up. We need to move on to the top of the cancer. But there's just a few more things I wanna do before I move on, which is mainly tell you back into edit mode here. I'm just going to Alt Z back into x-ray vision. And I'm just going to add in a little bit more curvature here at the bottom. So I'm going to Alt click this loop got here, control V to bevel. And I'm just going to bring that down just a tad. And w that's looking much nicer. I'm leaving out of orthographic view, just going to move down to the bottom here that go back into solid mode by pressing Alt and Z. And I'm going to switch through the different selection modes here. So we've got three to go to Face Selection tool for Edge Selection and one for vertices selection. So on three, we're just going to select this whole face here. And we're going to inset that by pressing, I say inset that in a bit. And then we're just going to make that concave shape underneath the can. So super simple to do. Once you've inset that here, we can just hit E to extrude and then S to scale. And from there we can just push it up. So G to move and then z to push up. And there we go. We've got basically got the bottom of the can set. So I'm just going to come back to edge select mode here by pressing to select this edge and Alt Shift click the inner edge as well. And now I'm going to bevel that so controlled BY to bevel if you want to clamp it so it doesn't go on forever like this. You can press C and that'll just clamp it to its maximum range. Totally up to you. I'm just going to do a tiny bubble here and not fully completed. Yeah. So that's basically the can complete. If you want to add more detail on the bottom, you're more than welcome to. But we're very rarely going to see at the bottom of the can, if at all. If you're not gonna see it, you may as well not waste time on it. So let's just go now to the top view by pressing seven, now Numpy. And from here we can actually come up through the outliner and review the Ken top again. And from here this is where we can actually start scaling it in and sort of roughly getting into that size of the can. So first off, it's a little bit difficult to see as there's no opacity on the image and we can't really look through it. So best way I've found, first off, let's get rid of this here. So this reference image, you can just click it and press H to hide it. And now if we click on this image here, we can just bring that down below the surface. And if we go back up to seven on the numpad and go back to orthographic view from the top, we can click on alkyne here and do Alt Z. And that makes, basically makes it visible to the eye, which is great. So now what we want to do is actually create the lid of the can, basically. So we wanna make this tab here. We want to make the index of the top of the lid. But before we do that, we actually have to model this top bit. So let's first click on the reference image and just scale that until we see it are overlapping with one another like, like that. Awesome. Now from the top view I'm just going to select the can tab into edit mode, go to Face Selection. And now we can actually start in setting and creating that little lip and the depth on the top of the cat. So let's go ahead and set bring that in just a bit. But I'm gonna do e to extrude and S to scale. Bring that in at tad bit more. And then we're just going to bring that down. So G and Z bring that down a bit. And already you can see it's looking more like a can. So I'm just going to go into edge select mode here and bevel these edges just a bit. So I'm going to select both these edges here. So, so I'm clicking that edge and then I'll hold Shift click the outer edges well, controlled BY. And that'll also staff from the top view by pressing Seven on your numpad. Just going to go to x-ray vision here. And I'm just going to start roughly. Lining up the inner circle here to the axial can tab. So somewhere like here seems pretty good. It encompasses most of the candle lit here. So that's looking good. I'm just going to add a loop cut here by pressing Control R. And I'm just going to scale that shifts the scale that in a bit just to give it a bit more of a crisp outline on the edge here. So with that done, I'm just going to add in maybe one more. And I'm going to bring that down. So G and Z, just to give it a bit more of a lip at the top there. And now let's move on to creating the tab on the top of the can. So by pressing 3, we're going to select this top face here. I'm going to press Shift D to duplicate that. So now we have a separate phase here. And basically what we want to do is separate this selected face from the can itself so that we have it's own separate object. So easiest way to do that is pressing P. And then we can do separate by selection. So hit that selection button. Now you can see we've got cylinder one, which is our Ken and cylinder 0, 0, 1, which is the lid. So super quickly while we're here, we might as well name our objects. So cylinder, we can press F2 on the keyboard to quickly rename something. And now we can just rename this radical can. And then cylinder 000 001 is the lid. So I'm just going to press F2 and call that lid. One more thing before we move on, I can see that we don't actually have these objects in the Red Bull can collection. So what you can do is select everything here. Press M on your keyboard that allows you to move it to a collection. So we can click on red-blue can. And now you can see everything is neatly tie delay in that collection. So now back to the top of the can here, just going to click on the lid tab into edit mode alt C for x-ray vision. And now we can start creating this unique shape on the top here. All right, so the easiest way I've found to do this is by first-off going to better see mode so you can see what you're working with. And I'm gonna do is press a to select everything. I'm going to insert this just slightly until basically until we get this shape down the bottom, roughly matching. So from there, we want to stop pulling in all these vertices to match up to this. We'll just go from there. So let's just begin by selecting these two vertices here. And the quickest way I've found to do it in unison and to make it basically mirrored, can hit S and then Shift N Z. And basically just pulled these vertices m two-way you would like them to be. So now I'm just going to speed through this process of lining it all up an LLC once I've completed that. All right. So now we've got a very basic sort of outline of the details that we are going to be creating. So now we want to actually fill in this middle section here. So all we have to do for that is just to pull out the knife tool. So you can either come down here and click on the knife tool. Or you can just press K on your keyboard and you can start drawing out some topology. So what I'm going to do is just click on it. Click on the other vertices, it should snap to it. Once you've done clicking, you'll see it continues and you basically to accept it or you have to do is press Enter and that'll create the topology for you. I'm just going to fill out the rest of this year now to create the lid or basically the part where the fluid comes out of, what we really need to do is go to Face Select mode and select on that face. And we're just going to inset that. So we'll make the basic shape and move it up as needed. I can see now actually that we don't need this edge here. So I'm actually just going to Control Z. And I'm just going to select this edge here, press X to delete. And I'm actually just going to dissolve the edges. So that's going to dissolve it without actually deleting the topology. So now back to face, select mode, select that face and set that n. And that's a much better line up there. So now the letter C mode, we can just start lining things up. So first off, these two I can see if overlap to some just going to move them back and scale them in that we go. And I mean, these have matched up pretty well, so I'm just going to leave them as is for now. But the topology here, there's not much to mess around with. So what I'm going to do is get back to the knife tool. I'm just going to draw in that topology. So now, so now what we can do, you can just go back to box like mode and you can just start moving these down into position. All right, Wonderful. So that's a pretty decent outline of the tab there. But now what we're going to need to do is add in a few loops just around the center of it. So basically, if you hit Control R, add in a loop cut here, just going to scale that in there become out of edit mode. You can see there's actually some weird warbling effects going on. That's because we haven't actually deleted the lid of this can. So what I'm gonna do quickly is just go back to the canned. Go back to the lid. Thought that by pressing H on the keyboard, come back to that. Can, they went to edit mode and I'm just going to delete this face here. So with Face Selection neighborhood, just going to select that face, press X, and delete the face. And we get back out of edit mode. You can just press Alt and H subtle unhide everything. Just going to hide that reference image again. And now we can see we've got a face with no detailing. Okay, so now we just need to inset this face one more time. And then this initial outline that we created is going to actually make that beveled edge that pops out from the camp. So let's go either inset, pull it in just a tad. And now with Ed select enabled, we're just going to select this edge will be more easy to see in solid view. Go to select this edge, press G, and easy to move that up. And basically we now have that indentation detailing that you see on the camera. So we're not done there. We also have to do this one here. And we'll just leave it as there's two very basic shapes. So let's actually make a selection here around the edges. So select all of this here. And I'm actually just going to scale it in very slightly, just so it matches up a tiny bit better with the edge there. And then I'm going to add in a loop cut around the outside of it. Now, last step here is I'm just going to add in one more loop cut. And that's just going to be a grad here. So I'm going to scale that in ever so slightly. And now we have a loop that we can basically select down here all the way to here and, and pull up from the can to give it that detailing, let's just start off by selecting the entire edge loop. And from there I'm just going to control drag and unselect these top view at the very top lexer. So now we just have the loop here that we actually want to manipulate. So from there I'm just going to go into solid view and pull that up just like we did with the opening of the can. There we go. So now we have a very, very basic low poly version of those details that actually make this look real and good. Easiest way to do that is to just add a subdivision modifier. So if you come over here to the modifies tab, come down to subdivision surface, can add that in. So immediately it's looking a lot better, but it's very smooth and it's a little bit hard to actually see the work that you've just created. Sorry if you tap back into edit mode, you can actually just bevel the edges and that will help make it stand out a little bit more. So I'm just going to, with what we had selected before, going to press Control B and Bevel that just slightly. Then I'm also going to hold, click this loop here, control V that. And just a tiny bit more. And now we have way better detailing on the top of ICANN, which is awesome. Great. So now we can actually move on to creating the tab that opens a CAN, as well as this little circle in the middle. These ones are super easy to create. So let's just jump straight into that. So first off, let's go shift a mesh and cylinder, just going to bring that up to the top here. Scale that n. Just gonna go to Solid mode now too. So it's a little bit more easier to see. And we're basically just making that little tab up at the top. So I'm just scaling it to size. And if we go back to Edit mode and just see what we're working with. That looks a lot more like the The pin that holds the tablet. But we need to make it a bit more smoother and aesthetic. Sorry, easiest way to do that is adding another subdivision surface modifier to this guy. So quick way to do that is just by pressing Control 1. And then if you just press Shade Smooth, so right-click Shade Smooth. That's looking a lot nicer and a lot more like the pin on top of the camp. But we're not done yet because you can see we've got these weird warbling artifacts on the pill. So what you can do is jump into edit mode and just add in a couple loop cuts around the sides. So what you can do is just to tap into edit mode. You can add into loop cuts on the side here, flexor. And then if you just scale it at just a tad, and also scale it up on the z-axis. So S and Z lexer. You can see already that That's looking a lot smoother and a lot nicer. Great. So we'll leave that for now and we'll move on to creating the tab now. So it's fairly simple. All we really need is a cylinder to get started to look, I shipped a cylinder, bring that up here, scale it down to roughly the size of basically the inner circle of the tab. So I'm going to scale that in till it reaches around that size. It seems pretty good. And now back in solid view, we're just going to go through to edit mode, go to Face Select. And we basically want to select every face except for this top one. So if you go into x-ray vision with 0 and z, it's much easier to select all the faces and then you can just hit X to delete faces. So now we have this singular face. We can get to work with the vertices. So I'm just going to get back to the top view mode here. And what I'm gonna do is select all of them and inset them ever so slightly. Like so. And now I'm going to select the outer rim and scale that out until it reaches basically the top and bottom of this section here. So the top of the tab and also just this bottom part here where it cuts out. So from there, last thing to do before we can actually start modeling it is to delete the interface because there's no face in the actual tab. So I'm going to go x, delete faces. And now we can start scaling out these vertices until they roughly match the outline of the tab here. So I'm just going to speed through that now and I'll see you in a bit. All right, we've got the rough shape down here. And now that we're down at the bottom, I'm just going to select all of these vertices here. And I'm going to scale them on the y-axis to 0 so that they level out. So you press S and then y, and then 0. You can see that it's just basically leveled them out. And now I can manipulate it a little bit better. So I'm going to pull them down here. I'm going to grab these outer ones, scale them out to the sides. And also with these two, I'm also going to scale them a little bit. Now from here. I'm just going to extrude these two edges down to make these two planes. So E and then y. We're going to pull that down to here. And then once more II. And why will that down to here? And then I'm going to select this edge and this edge going to press F3 and use they've already such a bridge edge loops. So if you just type in grid edge loops, you can see that that connects the two there. And we can continue extruding down here. So Shift click all these edges here, E to extrude via the code down. And we just have to create a little bit more topology to really match the edges here. So back into vertices select mode, I'm going to select these two vertices, bring them up, so it matches a bit better. And then in the middle here I'm going to Control R and create a few leukocytes like sir. And I'm just going to start refining that shape that we go. So it actually finish this off. We're going to give it a bit of depth and thickness. So if we select everything with a hit V to extrude and press Z twice to go up. We can just give it some thickness here. So that should do make it as thick as you want. And then from there, we basically want to bevel the edges. Let's just select all of the edges that we want to bevel, which is everything on the inside as well as the outside. So I'm selecting all edges now just by doing Alt Shift click. So now with everything selected, I'm just going to Control B to bevel that and something like that looks pretty good. So we're not done yet. First off, we can right-click and shade smooth. That immediately helps us out. And then also we can hit control and one to add on a subdivision surface modifier. And from there, I mean, it looks much better than before. So I'm just going to pull that down to the mat to match the can's top. Like so. And then we have it, we have the basic, they're very basic top of the can. So if you like, you can increase the subdivision surface modifier to have more in the render, which is by playing with this ladder here, I tend to find four is generally a good spot to put it. And so now we can actually move on to UV unwrapping and texturing this thing.
3. Texturing & UV Unwrapping: Okay, so now the texture this can that we've created, we're going to go through basic UV unwrapping and material creation. And and from there we'll move on to the lighting and the scene setup. And then actually get into the gist of all the products rendering tricks and techniques. It's really elevate your product rendering skill set. So first let's go over to the UV Editing layer. And from here we can, we can first off taboo out of edit mode and hide this reference image. And then with selecting the can here, I'm going to tap back into edit mode. And we can start creating some seams for our, for our UV unwrapped two, or our UV unwrapped to follow. So if you look at the Red Bull can reference image very quickly. You'll see that the texture goes all the way to the top, just worth ellip begins to flow over and it goes all the way to the bottom, basically to about this section. So what we're going to do is mimic that. So if we plot that here, come back to our bottle, go back to our camera, tap into it. We can start creating seems. So if you just double-click the edge loop there, come up to the top and we'll just zoom in. Alt Shift, click the edge loop underneath the lip. We can then create seams for the texture to unwrap around. So if we right-click and mock the scene, you'll see that even when we click off of this now, we have this very, with this red line around those edges that we've selected. And that's going to act as this scene or the place where the UV texture is going to unwrap two, it'll make more sense once we actually do this. So now that we have the same box, we can go over to the shading. From here. We're just going to start creating these basic materials and get started on all the other materials like the aluminium. So let's start off by the cancel acted hitting New to create a new material. Let's immediately call this one Red Bull can, just to keep our scene a little bit more tidy. And from here, you can either shift a and search image texture and then navigate that way. Or you can simply find your image and drag it in like that. Now from I am going to be using the Node Wrangler workflow. So if you haven't already got that enabled, I'd suggest coming up to your preferences tab, sorry, Edit preferences. And then in your add-ons, just search for Node Wrangler and just make sure that that one is enabled. Okay, So from here with the Red Bull can texture selected, you can hit Control T. That's going to add in a few notes here. So the texture coordinate narrative, as well as the mapping note. So right now the texture coordinate is using the UVs. So I'm just going to drag the color to the base color, give that amendment to load. And as you can see, as you can see the, the unwrap of this Canada's know to be seen and it's, it's all over the place. So what we need to do right now is go back to the UV Editing. Now that we have added that texture. And you can see it's over here in the UV Editing Workspace. And we basically need to unwrap all of these faces in the middle to match up to this texture. So before we do that, I'm just going to change this to material preview. That way we can actually see what we're working with. And as you can see, this is definitely not unwrapped, emanated. Get to work on this. So first off, I'm just going to select any one of these faces in the middle of the can. And we're going to use that as a base 2 for all the other faces. So let's like this one. I'm going to go right-click UV unwrap, faces, unwrap. And you'll see that that's unwrap the face and made it very uniform to the center here. So now that we've got that phase unwrapped with it still selected, I'm going to press Alt and z to Gary into X-Ray mode. I'm just going to go to the side view here with three on my numpad and with Shifts selected, I'm going to box drag, box select basically all of the faces that I want this texture to be a part of. So everything up to that red line that we created earlier. Now that's all selected. You can see that we've got all of the faces over here and we're missing this one in the middle of that we initially unwrapped. So we basically want all of these faces here to follow the same on-ramp method as this one that we selected earlier. So as you can see, it's still selected here. So what I'm gonna do is I'm going to right-click. And in the UV context menu we're going to click on Fuller active quads. So the long and short of it is they now all have the same UV unwrap. And it's going to walk much nicer when we're actually lining all of these quotes up to this square here. So let's start doing that and go into with all of this selected. I'm just going to rotate it to the correct orientation. So it looks like this way is correct. So I'm just going to go 90. There we go. I'm going to bring that up here. And already you can see it's kind of coming together. So I'm going to scale it down and basically just match it up to the square here. Okay, So we're almost done. I'm just going to scale it up on the y-axis. And that's a pretty good unwrap. There. Gotten to leave it as is. And yeah, as you can see, we now have a very nice unwrap of the reticle can. So for all of the other bits of this GAN, like the top here and also the bottom. We're actually going to make that gallium indium, or sort of like a scratched metal texture. So we don't need to worry about that right now because we're going to assign a completely new material to it. So let's go back to the shading workspace. And from here, we can actually start adding in a little bit more detail to the Red Bull can, but will also enable that metal material on the top and the bottom. So let's start off with the metal material. So to do so, we're just going to come over here to the slump menu. And I'm going to create a, another slot here and basically create a new material for it. So this is going to be cold. So let's just call this one metal. And to actually apply it to the can, but we want it to be applied to. We have to go into edit mode and basically select everything but this middle section where we've applied the Red Bull texture. So let's just start off by at the bottom here I'm going to Alt Z for X-Ray mode. I'm going to select everything up to that red line. And with that selected, I'm going to come down here to slot t2. We're going to click Assign. And now you can see it's given the wide to material here. And if I was to change the color, you can see it's going to change on the fly. So that's pretty cool. Now for the top of the can, I'm going to do the same process. Come up here. I'll Z for X-ray married. Just going to select everything like sorry. There we go. Come down to slot here. And then I'm going to assign that as well. So now you can see it's looking a lot nicer. Basically looking like the Red Bull can now. But I wanted to make this more of a metallic material. So first thing that we can do here is we can change the metallic to one, which is going to basically make it metallic. And then from there we can start playing with the base color. I found a sort of light gray works pretty well for this. That's looking a lot better already. So for the metal, basically you're just going to decrease the roughness. So it's a little bit more shiny. And then go into play with the color just a tad bit more. Something like that seems pretty good. And that's basically the metal material completed. So I'm going to mirror that onto the canvas to the top of the lid and also these other objects here. So now I'm just going to apply the metal material to all of these guys. So I'm just going to click on him, come down here and click on metal. And a quick way to just add the same material to these last two objects. You can just select them both and then shift select the metal material as the last material. Hit Control L on your keyboard and you can link materials. Lexer. Okay, so we've basically got the can, create it here. But we want to really improve this material here. Well, the red Bull texture, right now it's very bland and its aren't even metallic yet. So let's first off change the metallic to one. That's immediately going to increase its look and make it feel more like a Red Bull can. But from there we can add in a few other cool textures and tricks to really sell that this is a real product. So first off, what we're going to do down here is we're going to add in a noise texture here. So Shift a and we can search noise texture. It's going to pop that on down there. And if we move the factor into the roughness here, give it a second to load in. In C, It's basically adding in some noise to the material. And some of the pots are a bit more rougher than others. And it looks a little bit nicer, but we can definitely improve it. So what I'm going to do is first off, I'm going to link. And we've got to move this out of the way and the length of this vector to the vector here that we go. And then from there, I'm just going to add in an RGB curves nerd. So if we just hover over this, this connecting line, it's going to automatically connect it for us. And basically what this is going to allow us to do is really crunch the noise texture in and make it look. So I usually like to just crunch it down here. And it basically gives it that warping effect. Something like that usually looks pretty good. So I'm just going to leave it as that for now. So you can kind of see it stretching the reflection, in my opinion that looks more like a can already see before we continue, there is still a couple more things that we can do. Really elevate this thing. So firstly, so firstly, what I'm kinda do is add in some fingerprints. So I've just dragged and dropped the fingerprint texture in here. If I Control Shift and click it, you can see it's basically just a bunch of fingerprints here. So now to mix these two together into the roughness of the can, I'm going to add in a mix RGB shader. So we've just shipped a type in mix. Rgb says top one here. You can just basically connect the two. And you'll see immediately there's a little bit more realism on the can. So it's currently displaying fingerprints as well, depending on how how much fingerprints you want on this can I mean, you can make it as a factor of 10 to have only the fingerprints enabled. And I mean, that looks pretty unrealistic, so I'm just going to switch it back to 0.5. And I'm just going to change the factor here to add. And basically that's just going to change the way it's interpolating. It's going to make the fingerprints texture additive. So before we continue, there's one more thing that I'd like to add here. For the final thing I'm going to add to the texture is some smudging. So in the assets provided there should be a smudges large overlay. So I'm just going to track that in. And then from here I'm just going to connect that up to the specular there with that added n, that gives it, basically it gives another layer of detail. I'm actually going to add in an invert node what that is going to do. It's going to invert the color and basically change the way this looks. Feel free to not include this part. If you don't like this rough, dirty look up the can more than free to just take all of this and deleted. Or you can even just select it all and press M on your keyboard to mute it. And then play around with the texture yourself and change it as you would like. I find that this makes it a little bit more dynamic. Okay, Final thing we can do here is we can actually add in an HDRI to our scene. And that's basically going to give us real wealth lighting. So you've come over here to the world tab. You can actually click on the background, hit Control T. And that's going to load up this environment texture for you. And from there you can just open up the environment texture photo studio one. And that'll change the entire lighting of the scene. Okay, so I've just loaded that in now and nothing has changed yet because we haven't actually moved over to the rendered view. So what I'm gonna do is press Z on my keyboard, come up here to rendered. So now we have real-world lighting to go with our red cool cam, which is pretty cool. So you can see all of the reflections are interacting dynamically and it's looking pretty awesome. So from here, okay, So from here we're going to move on to creating the lighting setup, creating the infinite backdrop for the Red Bull cans to sit on. And then also starting on the product animation inside of things.
4. Lighting and Camera Setup: All right, so now that we've got our Red Bull can create it and ready for rendering an animation. We're going to move over back to the layout section here and basically set up our scene but lights and a camera and of course at backdrop for the product to sit on. So let's begin with a very simple backdrop. I'm going to go Shift a mesh and plain. I'm just going to scale this up by eight. So I'm just going to press S and then eight. And then from here, I'm going to jump into the edit mode. I'm just going to select the edge on the back here and extrude it up on the z-axis. And then the edge just here in the center, I'm going to press Control B. And basically give this a bit of an infinite backdrop for a link up on the mouse wheel. Something like that looks pretty good. You can see we've got these weird faceted edges. So all you have to do is just right-click Shade Smooth. And there we go. We have the very basic photo backdrop for our rebel camp. I'm just going to scale this up a bit more so it's a little bit larger and encompasses a bit more space so that the camera doesn't catch the background. Okay, so now that that's done, I'm actually going to create a secondary window here. We can see the camera view and work whilst we're working on the scene. So if you come up to the top here, you can just drag across another scene like sir. And so now we can work out of this scene and actually at the camera focused on in this scene. So speaking of the camera, let's actually add that back in. So I'm going to go Shift a camera. And then in this side of things, I'm going to press 0 to jump to the camera view. So now that we've got the cameras selected and we're seeing here in the camera view, we can pull this up and stop playing around with how to actually viewing the products. If you want a very quick and easy way to play with the camera and move it to the exact position that you want. In this view, you can hit N on your keyboard. This is going to bring up a new menu where you can basically come down to the View tab and you can do camera to view. So what that is going to do is while you're looking through the camera, you can actually move it with the way that you are looking at the viewport. So I'm just going to line this up roughly, something like this. And just so that I don't have the distraction of the outside of the camera. Got to come down to the camera settings, change the, change the viewport display. This particular pod out is basically just going to disable everything outside of the view. So if it's at 0, you'll see everything. And if it's at one, you'll see nothing. So I'm just going to leave it at one. So with all of that done, I'm just going to before I do anything, I'm going to change this from camera view. I'm going to switch that off so that now I don't accidentally mess up my shot. And now we can actually start lighting this thing and seeing it in real time here. So let's change this over to rendered view. And let's move the can to be viewing the camera. There we go. Alright, so now let's add in some point lattes and really make this scene stand out a bit more. So I'm just gonna go shipped a light point. You've got to bring this up here. And basically just position it in a way that gives off a few reflections to the can. So if we go over to the lab properties here, we can play with the power looking to increase that just a bit. So 100 you can see it's starting to give that reflection on the red pill. Can, I might start off with 300 and bring it off to the side here, something like that. And then I'm also going to increase the radius. So something like one meter seems pretty good. There we go. And what I'm gonna do now is I'm going to duplicate this and put it behind the canvas. Well, so Shift D, bring that behind the can here. I'm just going to push it up against the wall. And I'm going to increase the radius to something fairly large. And also increase the power to something like 500. There we go. So already that's looking pretty good. But what I do want to do quickly is just change the texture of the backdrop here. So if we go to the shading editor and we hit New and basically just going to make this a black backdrop that we go. So immediately that's giving it a bit more of a dynamic look. I do, however, want to change the roughness. So I'm just going to push the roughness up a bit to something like 0.7. So now we have a little bit more of a dynamic look on the Red Bull can. And I'm just going to decrease the specular ever so slightly to something like 0.3.35 seems pretty good. So now if we go back to the layout here, can stop playing with the lats a bit more and sort of cater it to this new backdrop that we've created. So straight away, this big light behind the canned isn't really doing anything. So I'm just going to increase the powder is something like 100 immediately. That's looking a lot nicer. And I think just quickly, what I'm gonna do is I'm going to scale everything down a little bit. So I'm going to press a on everything. Hit S to scale. And just quickly I can, I've noticed that the scale is a little bit off here. So what I'm going to do is I'm going to press a to select everything. And I'm just going to hit S to scale and I'm going to press 0.5 on the numpad and hit Enter. So now everything is scaled a little bit more appropriately. I'm just going to hit a for everything again. And then I'm going to press Control a to apply the scale. Alright, now with that out of the way, we can continue on with the lighting. So for this backlight here, it's a little too big. So I'm just going to change the radius down to something a little more convenient like this. One meter seems pretty good. And then for the power, I think 1000 still looks reasonable. So I'm just going to leave it as is for now. Now for your scene and the other scenes that we're going to create, the lining will change depending on the shop. So this isn't set in stone. We can always change it on the fly. But this is just the look that we're going with.
5. Animating Shot 1 and Shot 2: So now that all of that is out of the way, we can actually jump into the product animation side of things now and then move on to the product rendering and all of that juicy good stuff. So let's start off by setting up our can here to actually be ready for product animation. So first things first, all of these objects here, there are actually disconnected. So what we want to do is basically join this all up so it's one single object. Easiest way to do that is if you just select everything here. So let's select a little pin, the tab here and also the lid. And then finally the can. Once all of that selected, you can hit Control and J at what that is going to do is basically add it all together as one object. When we move this around, it's going to all move together. Whereas before, if we move it all around, it would not come with us. All right, so now that we've got the can all set up, we can actually start moving onto the product animation, which is going to be done using an empty object to control all of the keyframe data and things like that. So before we create the empty, I'm just going to set the origin of the can. So if you right-click it, set origin, origin to geometry, that's just going to make the cans origin a little bit more precise. And now what I'm gonna do is add in an empty object to control the Ken. So if we go shift a empty, I'm going to use a cube. But we can do now is just bring this up and basically align it to the can. There we go, something like that. So now all of the movement that happens with the canned, we want this to happen when we are moving the empty object. Sorry, the very easy way to do that is just simply parenting this object to this object. We click the can, Shift-click the empty, and then we hit Control P. We can set the parents to object. So now when we start moving this empty object, the cans actually going to follow what the empty object is doing. So what we're gonna do now is just bring up the timeline here. So we've got a little bit more space to work in. And with the canon, the empty selected, I'm just going to duplicate this twice. So shift the to create one extra can and then Shift D to create another extra CAN. So now we have three cans to start playing around with. So first off, Let's actually name these empty so that we know what they are. Empty. You one, let's just call this, let's hit F2 and call this can underscore one or empty number 2. Let's just hit for the second empty, Let's hit F2. Well this can underscore two. And then the fourth empty. Let's hit F2 and call this can on disco three. So now we have CAN 1, 2, and 3. So what we want to do is basically in this timeline, we're going to create keyframes at specific spots to create the animation. So now we're going to make that dynamic shot of the camera zooming out and rotating and having the cans also move around and rotate and do some cool stuff. So to begin with, let's first off, select the time range of our timeline. So over here, we can choose how long we want this animation to go for. So let's just say that this is a 24 frames per second animation. I'm just going to type in here 24 times 5. So that's going to make five seconds of animation, which is a 120 frames. So if we want this to be a 5 second animation, we can just simply type in here 120. And that's going to reduce the timeline to a 120 frames. For me, however, I want this to be a little bit more snappy. So I'm going to change this to 24 times 3. So it's just going to be a 3 second animation for this introductory shot. So let's make that 72. And now we can actually stop playing with the animation and creating that cool dynamic shot. So let's move the play head back to frame 0. And what I'm going to do is actually click on the camera and then come down here to this little dot, which is auto alkene. So if we click that, we've now got auto keying enabled, which means anything we do at all. Let's say for example, I'm going to move the camera in to the Red Bull logo. You can see down here it's created a keyframe. So if you move back two frames, 72 and I bring this out to reveal the cans. You can see we've now got this sweet animation and we didn't have to click any keyframes in or do anything. It's just automatically done it for us. Just pretty awesome. So I'm just going to, before I continue with the cameras animation, I'm just going to delete these two keyframes and I'm going to adjust the camera settings. So first off, I can see it's already on a slight angle. So I'm just going to level out this rotation here to 90, like so. And I'm going to label these two out as well. So I'm going to change y to 0. And also Xie, I'm going to change to 0 for the rotation. For the location. I'm just going to leave it as is because we're going to be animating that on the fly. So now I'm just going to push this N to be front and center with the Red Bull can even just kinda hard rest slight bit. And you can see the depth of field is a little bit intense here. So I'm just going to change that out here. So I'm just going to turn that off for now. And if it feels like it needs it at any given point, I'll turn it back on and play with the settings then and really refine it. But for now we're just focusing on the actual animation. So to begin with, we've got it starting at frame 0. We're just going to move it over to frame 72. Pull the camera out to reveal the cans. And you can see that's created the animation for us here. But we do want to have the camera rotating 360 degrees. So the easiest way to do that is just to come over here to frame 72. You can actually jump through each keyframe by pressing up and down on your arrow keys. So a frame 72 and go and come up here to the cameras objects properties. And we're just going to change the rotation of the y-axis 360 degrees. Just type in 360. And now you'll see it's got that dynamic rotation shot here. I'm seeing in the animation, however, there's that tiny gap where you can actually see the learner, the plane here. So I'm just going to select it. And I'm going to move this edge out beyond the camera's view. That way. It's not going to pick it up in the final animation that we get. So very dynamic shots, but it's very bland and very SLR. Sorry, I'll show you shortly how to fix that in the graph editor. But for now let's actually create the Red Bull can animation. So for Can one, I'm just going to select that. I'm going to go back to frame 0. We're going to press G and click, left-click. And that's going to create a keyframe here. And then I'm just going to go all the way back to the frame 72 and I'm going to pull it forward slightly like that. So now we've got the can pushing out. And for these two cans, they're going to fly out from behind the can and curate that dynamic shot. So back to frame 0, go to Select Cantu and press G to create a keyframe. I'm going to go and frame 72. And what I'm gonna do is just move it across outside of the other cancel it comes into view. And a quick way to actually make this symmetrical is you can hold down control while moving. And you can see it's snapping to the grid. I'm just going to move it across 1.5 meters. And then for Ken three, basically we're going to do the same thing. Back to frame 0 here. I'm going to press G and create a keyframe for it. Then I'm going to go back to frame 72. And I'm just going to move it across 1.5 meters in the x axis. Now we can see this is what the animation is looking like at the moment. But we actually want these cans to be spinning as they shoot out from the back. So for these two guys, unframed 72, we're just going to rotate it on the z-axis, like sir. So for this guy, I'm just going to make it negative 360. And then for this one here, I'm going to make it positive 360 rotation. Now you'll see they're slowly rotating out as they come out of you from behind the camera. It's pretty cool and I'm just noticing now, I don't actually want them all looking directly at the camera with the same rotation. Actually want this, these two at the back to be slightly off. So it's not, sorry, symmetrical and there's a little bit of asymmetry in there. So for this one I'm just going to rotate it slightly out like so. And then this one here, again, a little bit more, just like that. So now we have this playing as the animation. You can see as we're playing the animation, it's very slow. And also there isn't a lot of easing in our easing hat. It's just very linear. And that's because currently everything, if we select everything and we select these two keyframes, you can hit T on your keyboard and you can see the interpolation. It's not actually set to anything. So it's just using the default which is linear. So what we can do is we can change this over to bezier. And immediately it's going to be looking a little bit better. But we can obviously improve this a heck of a lot. So what I'm going to do is just down here in the timeline, I'm just going to come over here and change over to the graph editor if you want a quick way to switch between these two screens. So you can hit Shift F6 to go to the Graph Editor and Shift F 12 to go to the timeline. So now that we're in the graph editor, I'm just going to select the camera to start with, as well as these three METs. So k1, k2, k3, and you'll see all of their keyframe data is now selected in the graph editor. So we're little that selected. You can hit the period key on your numpad and that's going to shrink everything down to view. So now with everything selected, what we can do is we can scale the curve to make it really stand out when it's animating. You'll see in a second what I mean. So if we tried to scale it now it's not going to work as intended. You can see it's doing a lot of weird and wacky things. But if we come over to the pivot point here, we can change this to individual incentives. So now instead of between that weird stuff, we can actually just scale it in. Flexor. And it's going to scale relative to the pivot point of the keyframe. So I don't know if you can see yet. But what I'm doing now is I'm scaling in and it's basically squishing the curve together and creating the ease in and ease out effect. But it's just amplifying that. So you'll see when I hit play, It's really dramatically changed how fast it's going to go through that middle part of the animation. It's always too much right now. So I'm just going to decrease it slightly. And you can see already that's made a heck of a lot better animation so far. So now it's basically just a matter of refining this till something that you enjoy. So I generally tend to play around with the curves quite a bit just to get some of that suits the client's needs for the camera. I'm just going to come back now and enable Depth of Field. And I'm going to play with how much depth it has. So you can see if we really crunch that down to 0.1, it's going to occur at that super dynamic look, but it's kind of inhibiting the product. Sorry. I'm just going to pull that out to something like 0.7. I'm just gonna see how that looks. And that's looking pretty good. I might even bring it up to one meter and we'll go with that. So this is looking pretty good so far. That's basically shot one complete. What I'm going to do, however, is going to create that extra little twist at the end. So to do so, we're going to, to create, we're going to need some more frames to animate width. So I'm just going to bump this up to 120. Don't think we're going to need all of that frame animation. I'm just going to pull this to frame 92, and I'm going to animate the camera zooming out just a tad bit mole and also rotating just a tad bit more for that dynamic look. So now when we play this animation, it's going to look something like this. So just looking at this, I may even bring the animation play, play head back just a tablet monitor, something like frame 85. So let's go to frame 85 here. And let's just select this keyframe and move it across the frame 85 to that, a little preview. That's looking a lot more dynamic already. So last thing we're going to do is I'm actually just going to go back into the graph editor. And I've got a crunch these keyframes down, a little bit more, something like that. And that's looking pretty good. All right, So now moving onto shot two of the product animation. What we can do to really quickly copy this scene and create different keyframe data and animations. Because we can come over here to the scene. And you can click this button here, new scene. And it's basically going to create a copy. So if you click that, we can just do full copy. And then that's going to copy absolutely everything from that previous scene that we just created. So now that we have a completely new scene, let's just start off by renaming it. So we can call this shot T2. And we can call this one here shot one. So a good thing to note is that everything material wise is going to be linked. So for instance, if I change the material of the background to something like white and we switch over to shot one. You'll see it's stayed the same. So what we're going to need to do is make separate materials for each scene if we are changing the Middle East. So if you're shot too, we're just gonna keep basically everything the same so we don't need to worry about that. But we, what we are going to do is basically going to create an array of cans that's going to form a floor. And then regard to animate some cans rolling over at the top of it. So let's just start by first off going up, going up to our layout section here. And I'm just going to select everything, go back to frame 0 to delete all of their keyframes. So now with that done, what we can do is I'm just going to grab CAN 3 and can to just going to open them up here. I'm basically, we're just going to delete all of this. So we've only got one can hear. So with this selected, I'm just going to create an array modifier of the can. So we'll come over here to the Modify tab, come over to Add Modifier and click array. What we can do is we can increase the count to something that we need. So you can see it basically goes on forever if we, however many cans we want to add in. But I'm first off noticing that the rotation is incorrect, so I'm just going to press Alt and are, and that's going to fix the rotation for us. And I'm also seeing that they're basically touching each other in the center there. So what I'm going to do is I'm just going to change the relative offset factor. So if we just increase this just a tad, something like 0.06. Now we can see we've got those cool gaps. So before we continue, I'm just going to set up the camera and makes sure that it's actually looking, looking down from a top view onto all of the cans that we're going to create. So with the cameras selected, I'm just going to rotate it. Just going to press Alt R to reset its rotation to bring that up. Like so. And now I'm just going to rotate it on the z-axis. Negative 90 degrees. And now we've basically got a little playground for us to set up our Kansan. So with the cancel like that, I'm just from the camera's perspective setting this up. So just about there seems good. And now back to the Modify tab for the can go to increase the count to five. Looks like that encompasses everything. And then because we need it to go this way as well, I'm just going to duplicate the array modifier. So you can just come here to the tab, the drop-down tab, or you can just hit Shift D, that's going to duplicate it. And now with array, the second array, we can change the factor a different axis. So you'll see immediately this is what we're looking for, negative y. So I'll just go negative one, negative 1.06 that we go. And for the cat, I'm just going to increase this until it encompasses the camera's view. So it looks like ten seems pretty good. So now we've got the cans down pat, you can see immediately we've got a bit of repetition going on with the cans tabs. So we need to basically rotate each one individually. But if we try to do that right now, you'll see it's doing everything at once. And that's because we're still in a non-destructive workflow and we're using the array modifier still. So to do so we're just going to apply these array modifiers that we've created. So if we come down here, you can just click on Apply or you can just hit Control a, and that's going to apply it. So now that we've got this applied, it's still, it's ARN, one object. And to fix that, what we need to do is go into edit mode and separate the cans had begun to edit, merit, select everything, hit P, and then do separate by loose pots. You'll see now that everything is separated into its own individual can. The only issue here is that it's even separated the top of the lid as well as the tab and the nail. So basically all we need to do now is rotate all the tops of the lids and make them feel like they haven't just been copy-pasted, like they have pain. So first off, we need to change the origin point because as you can see, it's currently still at the origin point of the original can feel just hit a on your keyboard to select everything. You can right-click and then go Set Origin, origin to geometry. So now we can come in, we can select each of these here and hit R and Z. And we can basically just rotate it. You'll see it's updating in the camera's view to look a little bit more realistic. So I'm just going to speed through this down and I'll see you. All right. So now we've got all the cans roughly rotated and they all look basically like they've been randomly placed there now. So now we can move on to the animation side of this and basically create the empty that's going to roll over this view and have all those cans rolling with it. But let's start off with, first off, creating a canvas to animate. So I'm just going to grab these three guys here. We've got to control J them so that they're all one object. And then I'm going to Shift D and bring that up above the cans. Wilson, so you can see it's still parented. So I'm just going to LP and clear the parent. So now that it's got no parent objects, we basically just need to create a new empty for to use. So I'm going to go empty. I'm going to go with cube and just bring that up and basically scale it to size. Awesome said now let's just parent this one. So click the can, shift, click that and set parent two objects. Now basically what we're going to do is I'm just going to rotate it. So it's on its side here like this. I'm basically just going to push the can across the screen. So as you can see what I'm trying to move it on the axis is it's soft following the local axis of the empty object. So a quick way to fix that is you can just hit G and then double-tap the access that you want it to be following. So for instance, if we go to G and then hit Z, that's using the global axis. If we hit Z again, it's going to use the axes of the empty object, which is pretty cool. So what I'm gonna do here is just going to line it up like so. And then for frame 0, I'm just going to move it off screen a little bit more. So I'm just leaving it on the y-axis. And then I'm just going to move over to frame 72. It's gonna quickly change the timelines frames to 72. And now I'm just going to animate this, basically moving across the screen. And then I'll animate in the rolling. So on frame 72. I'm just going to move this like so. And I'm gonna do my best to make sure that it lines up so that it's starting here and ending here as well. So something like this. Let's see how that looks. Okay, that'll do. So now we're basically needing to animate the rolling of the can. So this is where the empty object comes in handy. We basically need the empty to be rotating to show that it's rolling. But try and do the rotating on the z axis, which is why we would need it to be rotating. You'll see when we actually play, it's doing some really weird interpolation. And that's obviously know how rebel account roll across the top of this. So what we need to do is actually just animate the can itself. So if we just hit R and then Z twice, Let's just do 360 degrees of rotation. You'll see now the can is actually rotating, but it's also following the form of the empty object as well. So that's pretty cool. Obviously, we need to increase the amount of rotation so it has, so let's just go r z. I'm hitting Z twice to do its local rotation. Let's do 720 rotation here. And you can see already that looks way, way better. Okay? So I'm just going to give it a few more rotation. So I'm assuming 360 times 3. So then any further rotation, and that looks much better. And now we basically just need to duplicate this a couple times to create that sort of array of rotating cans across the top. So let's grab the empty and it's going to do Shift D. And now at the beginning and the end, we need to just move them slightly away from one another. So frames here, I'm just going to move this duplicated cannot cross now like that. And then on frame 72, we basically need to do the same thing. So I'm just moving it across on the x-axis. And then I'm going to change to the local axis by hitting Z twice. So G to move or Z twice, and now moving on their local axis. And now if we hit Play, you'll see we've got two cans rolling across the screen. Pretty cool. Obviously, we're going to need to offset the rotation because this one, the resolute doing it in uniform Is, looks kind of weird. So what we can do to do that is if we hit this one here, we can change their initial rotation. So instead of starting at 0 rotation, I've just changed it to negative 180. And you'll see as definitely offset it, but we need to also offset the end frame. So basically it'll just be 180 minus 180. So that's where it will stop. And now there'll be rotating at the same pace, but they've got a different offset that looks a lot more natural. So now I'm just going to speed through this and do that again for a bunch of cans. And I'll see you once I've finished up that. All right, so I've made this array of Red Bull cans down and you can see it's looking pretty cool. Basically, the app just changed their rotation so that they're all upset. So you can see at a given point out there, any that are really symmetrical for maybe these last two, I'll just quickly update that one. So I have 49.9 that we go. So we've got a really cool dynamic shot to elevate the secondary shot of our sequence here. The only thing I'm seeing here is that it feels a little bit too slow. So let's just change the frames of our animation here. So let's just go with a 2 second shot here. So 48 frames. And quickest way to change that is basically just select everything and grab the keyframe here and just push it down to frame 48. So now instead of it being kind of slur, now it's going a lot faster. I may even just play with this a little bit more and change it out to something like frame 60. That was just dragging on a little too long. I felt like for that 72 frame shot, That's looking pretty good. So I think I'm just going to leave it there and we can now move onto shot three.
6. Animating Shot 3 and Shot 4: Okay, so now we're onto shot three, and there's only two more shots left in the sequence. Sorry. I'm just going to fly through these last two. So again, we're just going to come up here. Let's go short one. And we're going to just create another full copy. So just hit full copy here. And let's just rename this to shot three. All right, There we go. So now we're basically just going to clean up this scene again. So hit a for everything, to select everything. Let's go and delete all these keyframes here. And then we're just going to start setting up the scene. So first off, the camera, just going to move it up to somewhere like here. That seems good. And not for the cans. Basically, we're going to have a dynamic shot where three of them are sort of slowly rotating in front of the camera, showing off the cans design. So for this fest can, I'm just going to push it over here. For the second Can going to pull it up. Like so. I have a content behind it like that. Then the third CAN that's just going to be also behind the fast can. And now we're just basically kinda get into rotating these guys. I'm going to have them sort of on an angle. But to start with, we're just going to rotate them into the position that they should be in. Say something like This seems good. I'm just going to pull it off into frame a little bit more like that, that we go. And for this one I'm just going to make it a another 72 frame shot. So for the cameras depth of field, that's a little too much right now. So I may just push it back ever so slightly. Or I even might just, we're just going to turn it off the focus object really quickly. I'm just going to change it to this one here. So that's focusing on the subject in the front and the two at the back are a little bit out of focus. As you can see, a bunch of scary, something like 0.8 seems pretty good. And now I'm just going to continue working on the shot and moving them into position. Something like this seems pretty good. So now I'm just going to select all three of them. L3 empties. And I'm going to write, cite them on the y axis so that they sort of make this cool uniform view. So this is basically where I want the shot to begin. What I'm going for here is I want each of them to be in frame. I don't want any of them out of frame. They're getting very close to being out of frame, but they're slowly going to be rotating up. So either setup now is totally fine. And now it's just a matter of animating to frame 72 and having them slowly move upwards, so g, Z twice, so they're on their local axis. We're going to go up like Sir. And I'm actually going to dynamically change how far they go up each. So for the first one, I'm going to actually have him down a little bit further. So something like that. For the one on the back, that one's going to go up the most. So I'm just going to pull it up a tiny bit more. And then the one in the middle, I'm just going to bring it down a little bit. And right now, that is how the shot is looking so far. So now I'm just going to keep playing with the animation. So this bottle and the front, I'm just going to push it up just a tad bit more. I'm also going to select all the keyframes here. So select everything, select all the keyframes. And I'm actually going to make this one linear. So that way it's always in constant motion and there's no easing in our easing app. All right, so now that we've got that down pat, I'm just going to again select everything, go to frame 0. And now for the cans themselves, we can actually employ the same method that we did on the previous shot. Whereas we can make individual animations for the cans whilst they're following the animation of the empty object. So this way we don't get that really weird interpolation of the rotations. So for Ken one, I'm going to you on frame 0, thought off like this. So I'm just pressing Z twice, so it's on the local axis. And then at frame 72, I'm going to have it fully reveal. Awesome. Now for that this can in the back, again, just going to do r and z twice, like sorry. And then at frame 72 it's going to fully reveal itself, collect that. And then finally, this last CAN. I'm going to press R and left-click to put in a keyframe and then a frame 72, I'm just going to let it reveal itself at the back there. So immediately I can see, I think we need a little bit more movement in the front. So what I'm gonna do is just rotate this a little bit more like so. Actually going to have it start off a little bit more towards the back flexor. And then on frame 72, I'm just going to move it slightly more like so. And now they're all kind of moving relatively at the same speed. And whilst I'm looking at this, I think they all need to move up just a tad bit more. So I'm going to go G and Z twice. Push that up. And now we've got a pretty dynamic shot there. Now for lighting, this one, we can definitely play around with the lats. We may just go back and revisit the lighting for each scene as we're rendering it. But for now, let's just quickly play with the lights. So at frame 0, I want this lab to be here. And then it frames 72. I kind of wanted to float above the cans and across them as well. Like this. Let's see how that looks. In regression. I may even just make it straight up. Just like that. Looks pretty good. Just keep it as that. So I'll keep that light in the back as is. And then finally I'm just going to test an area light just at the front. Like so. Just to see how this looks in motion and I'll just bump that up to 300. Yeah, that's looking much better. So I think that suits it pretty well. I'm just going to make that n, sort of this shaping square. I'm just going to make it an ellipse. And I'm just going to move it off a little bit to the side here. Flexor. And then we go to that shop. Three completed. All right, so now for the final shot of this sequence, It's going to be that shot of the can swapping across the screen, revealing the companies slogan or a tagline. So what we're going to do is basically create another new scene. So let's go to shut one. We'll just copy this one again. So new scene, full copy. It was cold this shot full. And again, we're just going to copy everything over. So a to select everything, delete all of the keyframes. And now let's get to work on setting up the shot. So it's a very simple and quick and easy shot. So we'll just bring the camera back out here. That looks pretty nice. And then what we're gonna do is basically delete these two cans. I said they're only going to be one can on screen. Now for the empty, I'm going to move it out of shot, which make a keyframe for us. And basically we're going to have it swipe onto frame lexer. And then here in the empty spaces where there's going to be the slogan of the company, sorry, I'll move it all the way over here. I may even just have it floating a little bit like that. And right now this is past looking very slow, very basic animation. Here. I'm just going to change the rotation of the camera. So we're going to have it like so. And then it will slowly rotate on screen. And then for the final remainder of its onscreen performance, quite telling to very slowly keep it rotating, like so. And now that is basically the shot complete. But we can play with all of the curves and keyframes just to make it stand out. So first off, I'm just going to change Bezier. And straight away That's looking much nicer. But if we go into the graph editor, so Shift F6. So let's just select all the keyframes. Hit the period key on the numpad, so it zooms in. And now let's play with the code and find something that suits as seen. So I've just scaled it in a fair amount here. That's looking pretty good. I wanted to be more snappy there, so I'm just going to play with it even more and make it really tight crunch here on the curve. So that's super dramatic. I don't think we're gonna go with that. But you can see here at the apex of the curve it's, it's almost flat-lining at the top. So I'll just play with it, bring it down slightly. And that's looking pretty good there. I'm noticing that at the very end of its lifespan is just completely stopping. To fix that is just as easy as playing with the curve here on this individual keyframe. There we go. And that's basically the shot. It's looking amazing right now. Again, we can play with the lighting. So if we maybe don't want this intense light at the back and we maybe you just want to at the back of the camera can move it there. We could even just create new lights completely, change how they look. But for now, this is a shot and we'll do the compositing of the slogan in DaVinci Resolve once we've rented everything out. So little that said, let's go back to shut one. We're actually now just going to set up our render settings and then move on to compositing and finishing everything up into Vinci resolve.
7. Rendering & Compositing: All right. So for Shot Number one, I think that the lighting here is fine. We can leave it as is it does the trick, does the job. And it's looking fairly dynamic as is. So I'm fairly happy with it there. So all we really need to do now is set up our compositing settings to make this shot really stand out. And then also move on to rendering and setting up all of the final render settings of aschenes. So first up, let's actually create a test render. So if we go over to the render properties tab here, and if we hit F2, That's going to create our test data for us. So straightaway I can see we do actually need to do some work on the lats here, but now we can move over to the compositing workspace. So if we're just close out of this and come up here to the compositing workspace, we can start making some changes here to make this thing really stand out and pop onscreen. So if we come up to use nodes, will be able to see that we've got a couple nodes here that can help us stop compositing a couple of things in. So first off, we need to create a view and art so you can see what we're doing. So if you hit Control Shift and click on the render layers, you'll see that we now have the view and art here. I'm just going to move that across to there. And right now the image is super zoomed in. So zoom out, you can just hit V on your keyboard. I'll zoom it up. If you want to do it back in, you can hit Alt V. Not all zoom you in, but let's just leave it as that for now. So very quickly I'm just going to add in a lens distortion node. And basically what this is going to do is it's going to enable a chromatic aberration for us. So if I change this dispersion here to something like 0.5, you'll see we've got these crazy chromatic aberration around the sides of the bottle. And we always thought I needed to be that extreme. So I'm just going to change it to something like 0.025. That's not quite enough for my liking. So I'm just gonna change this to something like 0.05. There we go. And now you can see there's some very slack chromatic aberration happening at the back here. So that's definitely going to elevate the final shot once we get there, Right now we're only viewing this however. So we need to add this to the composite node. So if we move that over to there, it's not going to actually appear in our final renders. Great, so now that that's all set up, we can move back to the layout. And we can fix up the lighting here and make it a little bit more dynamic. So first things first, I think we need to add in a, a lot here at the front an area light. So I'm just going to move that up, bring it in front here, and have it basically pointing at full three of thing like so. And we're basically gonna do the same as before. We're going to change this to something like 300. Not too bad. Maybe we will go 250, little bit less than 10. It's going to change this to a, an ellipse instead of a square. And now from here, it's going to give another quick test render and see how that's looking. All right, that's looking pretty nice. What I might do just quickly is I'm actually going to change the focal length of the camera. I'd like it to have a little bit more of perspective to it. So something like, Let's go with 85. That's looking a lot nicer. So with that change of focal length, I'm just going to adjust some of the keyframes I've created. There we go. That's looking pretty nice already. And as you can see from the test renders here. So looking not too bad at all. I'm just going to quickly change one thing for the material of this Red Bull can, I'm seeing from this view here it's not as metallic as I'd like it to be. So I'm just gonna go over to the shading tab. And quickly on the Red Bull can texture, making sure that I'm on it here. I'm just going to change this from specular and just unplug that and see if that elevates the shutter law already. And I'm also just seeing here on the fingerprints texture, I'm just going to move it from slot two, slot one. All right, That's looking much better. I'm just going to close this off now. And I'm just going to change the material on the backdrop on more time. And actually just decrease the roughness just lightly to something around 0.6. Awesome. Okay, so now we're ready to start rendering and lock in those final render settings. So if we come back to layout here, come across to the Render Settings. All we really need to enable right now is ambient occlusion, bloom, screen space reflections and motion blur, which should already be enabled. We can check on depth of field and change this a little bit if we want to. But for right now, the depth of field that we have on the camera is doing all of the work for us. If we wanted to change a little bit more of the look we cans. If we don't want a very high contrast look, we can change that to very low contrast. This Potts totally up to you. I enjoy the look of the high contrast. And you can also change the exposure as well as the Gamma. I'm going to leave it as is. But that's there if you want to play around with it. So lastly, we just need to set up the Render Output and the resolution and dimensions of our first shot. So first up, it's going to put the images that you're rendering into a temporary folder on your hard drive. I recommend finding a folder that works for you, something easily accessible as we are going to be compositing all of this individually result, I've just created a folder for it to output all the images to just named it shot one. So from here, you can decide how you want to actually run it this out. So if you want to render it as an image sequence with which I highly recommend, you can just leave it as is, and you can leave it as file format PNG, leave all of this stuff down here. And as long as the resolution is as you wish, we're all good to go. So we're going to be rendering from frame one and then ending it, frame 85. Then the frame rate is 24 frames per second. And to render your animation, you can either come up here to render and hit Render Animation, or you can hit Control F2. And that will start the rendering process. So I'm going to hit Control a 12th and render this out now. All right, There we go. So the scene has finished rendering. Now what we can do for the final composite in dementia result to get that change in backdrop where it zooms out here, it's very simple. All we need to do is change the material here of the backdrop. So if we go to shading, will just change the material to want something like that. And now we just need to find the frame where it starts to zoom backwards. So here seems good. 74. So what I'm gonna do is I'm just going to change the timeline to 74 and to start its frame 74 and end at frame 85. And we're just going to render these frames out again. And instead of the black backdrop being there, it's going to automatically, if once we can pause it, everything and bring it into to Vinci resolve, it will automatically make that transition for us. So if you hit Control F 12, that'll render out. Continue on to shut T2 are at, so that's completed, it's rendering process. So now I'm just going to move over to shut two up here in the scenes. And we're basically going to do that whole process again. So for compositing, fortunately, it hasn't copied across the composite nodes for us. So what we can do is come up here to shot one. And if we just copy, looks like this, control C to copy that, come back over to SHA2. And as long as we have used nerds enabled up here, we can just Control V and paste it in here. And it's basically just copied it all across for us. So now if we go back to our layout here, check out our scene. Right now. It's looking r k. It's also copied across the white backdrop. So I'm just going to quickly change that back to the black backdrop in the shading section. Like so. So it's looking good, but I think we could use a bit more lights in the scene. So first thing I want to do is bring this light above the cans. Like Sir. And I kind of wanted to animate across the same with the cans, kinda like this. So already, I mean, that's looking much more dynamic. I'm just going to bring it down a little bit more. So it's got a bit more of a dramatic effect to it. That's looking pretty good. And I think that's actually going to be the final setup for the lats, for the shot as it's looking pretty dynamic. And that is the exact same lighting setup that I had for the initial shot that I created. So now it's just a matter of creating the folder for your shot to render out too. And then we can move on to shot three. Okay, so I've created a new folder for my shot to render out to. All of the settings should have stayed the same. So before we can render this out, we actually have to change the compositing nerds to have this scene as it's active scene. So all you need to do is come over to the compositing tab, come down here and change it from shot to shot two. And now when you render it will, instead of rendering the previous shot, it's going to render this shot lexer. So now you have to do is render this out with Control F 12, and we're good to go to shut number three. All right, so now we can move on to shot number 3 with that out of the way. So let's come up here. Change this over to shut three. And now we can work on the lighting for this scene and polishing up this shot to first off, let's go to the compositing node and let's just copy in. So hit used nodes. So we can delete these two notes first and then paste in those ones from the previous shot. And then finally just changes over 2 shot number three. So now let's come back out to the Layout tab and now we can start polishing the lighting before we actually start rendering this out. So first off, I'm just going to grab this light at the back here and pull it up. So it sort of gives it a halo effect around the back here. And for this shot, there's going to be three changes of color turn. So the first will be black, that's going to change to yellow than red, than blue. So we basically just want to set up the timeline so we'll split it into four section. So for the first 18 frames, it's going to be a black backdrop. So we'll just change this to 18. And we'll come over to our Render Output Settings here. Create the output folder, and then we'll render these 18 frames out. So Control F2 to render. And then we'll move on to the other factor. All right, so now we can click on the backdrop here and change the color. So if we go over to the shading tab, Let's just bring its color up. And we'll just pick a yellow here to start with. Something like that looks pretty good. So we'll go with that. Come back to the layout. And I'm just going to change the start frame from one to 18. And we'll end it on frame 36. And now will just render out these coming frames. Alrighty, Now that's done. We're just going to repeat the process. So back to the shading tab will change this over to more of a red. And we'll come back and we'll change this over to end on frame 54 and stopped from frame 36. Now I can just hit Control F 12 and render these frames up. All right, and now lastly for the blue backdrop. So back to the shading tab. Let's change this over to a blue or something like that seems pretty good. Now back to the layout. I'm just going to change this from any 154 change up to 72. And then we'll make it start on 54. Now we're going to do is render it out and we're good to go onto shot number 4 or Adi. So that's all completed now. So that's shut and B3 done. We can move on to shut number for now and finish up the process of rendering. So let's go up to scenes here and will change over to shop for. And now that we're here, all we really need to do is repeat what we've done with these last three shots. So let's go over to the compositing tab. We'll just hit Use nodes. Go into delete these two, and paste in the ones from the previous scene. And then finally, I'm just going to change this over to be linked to shot number 4. So now that that's done, let's go over to the shading tab, and let's change the material here back to a black, like so. And now let's go back to the layout and play with the lighting until it's something that we enjoy. And it's going to remove this lat here at the front, as it is, sort of flirting. They're not doing much. And I am going to add another Latin, an area lat, Not to bring that way in front here. And I'm just going to point it at the can. And I'm also going to increase it's bound to something like 200. And also change its shape to be an ellipse. Let's increase that power to something a little bit more drastic. Mostly going to make it a little larger by scaling. So looking pretty good, I might try just going to bring it in a little closer to the can here and just playing around but the power and the settings of this lab. So let's look at our k. I think I might even just add another light in, just copying this one. So Shift D to duplicate it, bring it in fairly close to the rebel can. And we're definitely going to diminish its power to something like 200. And we go, that's looking fairly decent with this area light. I've just scaled it on the z-axis. So I'm just going to press Shift T and aimed more at the Cannes there. And that's looking pretty decent. So what I'm gonna do now is just make that output folder again for the frames to render out two. And then from there we can jump into dependency resolve, and finish this whole Skillshare course off. And you'll have a sweep product renter, faculty. All right, so now with all of that out of the way, if we can save our project and move over to DaVinci, Resolve and get started on the compositing workflow. There.
8. Color Grading: Hello rights, and we're now here in dementia result. And all we have to do now is basically import our shots that we rent it out, lay them in here, and then do a very simple compositing, masking a technique on that final shot to reveal the logo and slogan of Red Bull. So first up, let's go down here. Let's go over to this tab and import those shots that we rent it out. So first up, I've got shot one. You can see it's basically it's an image sequence, but what did Vinci resolve does is it condenses it into one clip. So that's super convenient for us. So now I'll just go back to shot to here. Basically just drag and drop them into your media pool. And so we'll just finish up with Shot Number 3 and then shop floor jack, there's m. So now if we go back to the editing workspace, we can decide dragging and dropping all these in. So shut one will track that in to the timeline. Push that back to frame 0. And you can see it's kind of small right now because I'm zoomed out quite a bit. So if you just hit Alt and then scroll on your mouse wheel and it will zoom in and you can actually see what you're working with. So I shot one. Move on to shot to track that in there and snap at a long shot three and shot full. So if we play this now, this is what it'll look like. So everything is basically done now for just need to set up that funnel reveal here on the last shot, where as the Red Bull can swaps across the screen, will have a mask that shows the actual text saying gives you wings. That apart from that, we can just do some basic color grading. So let's just start off and make this mosque here. So what we're gonna do is we're going to grab the play head and we're going to go to the frame that we want the text to start revealing itself. So I'm going to say this frame here seems a good place to stop. So on this frame, we're going to press B on the keyboard to bring up the blade tool. We're just going to cut it by clicking there. And now we have this clip here in the timeline to actually start editing and putting that in Moscow. So with this clip selected, you can come down here to the Fusion tab. Click on that little magic wand. And now from here we're basically working in a shared workspace. So what we're gonna do is we're going to add some text, also a mask. So first up, let's click on this marriage known. And we're going to come up here and click on the text. So now at the text selected, we can just start typing in the slogan, which is of course, gives you wings. Great. So now we've got the text here. You can just move it across like Sir. Now we need to add in a mosque. So now if you just click on the merge two node, you come up here to these shapes. You can just choose on the rectangle. And that's basically going to create a rectangular shaped mosque flee. So you'll see we can move it across the screen. And at Mach scout bill Moscow, there is what's farce. So what we want to do is make this an inverted mask. So if you come over here with the rectangle selected, you can click Invert. And now we'll be able to keyframe. The reveal of these in conjunction with the Red Bull can see if we bring this play head back to the first frame. We can come over here to its properties and we can start Keyframing the center. As you can see, you can move it like this. So we can start to keyframe that. So on the beginning frame here, I'm just going to move it across like sorry, and keyframe it there. Then I'm just going to start moving through the frames. Sorry, next frame, I'm going to move it across a little bit to reveal that. And it's already Keyframing this for us. So it's just a matter of, I'm just hovering over here on the timeline and with my left and right arrow keys, I'm just switching between frames. So next frame, just move it across a little bit more. That's already key framed. Next frame a little bit more. And you get the idea. We're basically just revealing this ligand here. So it's going to get to a point soon where it's all completely revealed. And from there, we can just leave it as is, and move on. So now if we play this, you'll see by just de-select that here. When we play this now, you'll see it's a pretty smooth and seamless transition, but we can change this a little bit more. So if we come over back to the first frame. We can actually play with the soft edge here and just soften it up a little bit more. That way. It's not so much of a hod, mosque and it's a little bit more pleasing to the eye. So I can see with the rectangle on the first frame, it's still showing a little bit of this. So I'm actually just going to keyframe it. So on the first frame it's going to have zeros softness. Then the second frame I'm just going to increase it. Lexer are at. So now that that's out of the way, let's go back to the editing workspace. So we now have a completed adhered to use. The only thing left that we can do to really spice this up is added a little bit of color grading to the shots. So if we come down here to the color tab, it's going to load up the Color workspace. And from here, we can just do some basic color correction. So I'm just going to move this out to a part of the shot that's a little bit more dynamic like this. And you can literally just start playing with all of these settings here to sort of boost the image. So we're going to start with the contrast. I'm just going to bring that up at tad bit here. Something like 1.1 seems good. And for the saturation, I'm also going to increase that a little bit. For the gain. I'm just going to use this wheel down here and bring it up just a little bit, just to make it bit more vibrant. So 1.06 seems pretty good. Now for the Gamma, I might just bring that down just a touch. 0.02 seems good. Then the last three things I'm going to change here, the highlight. So if we bring the highlights up a little bit, something like 15.514, and then the shadows as well. I'm just going to bring them up slightly. The final one here is the color boost. I'm just going to go something like five seems pretty good. So now this is where it's looking like, which is not too bad. And this is what I was looking like before. So depending on what you want to do here, this is totally optional, totally up to you, but it definitely adds a little bit of flair to your shots. So if you want to, you can also copy and paste the data across each one. So for example, shot one, I can just control C here. Click on this shot, and then Control V. And that'll copy the data across lexer. That actually finish this off and render this sequence out. Well, you have to do is come over here to the Deliver tab. And from here, basically we're just going to name the file. Make sure it's in the formatting that we would like. So MP4 H dot H.264 is, it's got the correct resolution and frame rate. And from here we just name the file to and if we please. So I'm just going to name this Red Bull ad Skillshare. And then you just choose a location for that to save out to, right. So once that's done, you basically just need to hit this Add to Render Queue. And from there, down here, you can click Render OL. And that will finish off the sequence for you. All right guys, that's the end of my a product rendering masterclass. Thank you so much for watching. Can't wait to see what you guys have created. So please tag me on my socials or leave your project in the projects and resources below.
Smeaf, 3D Generalist and Tutorials
