Blender 3D Course: Model, Rig, and Animate a Full Cartoon Space Scene with Characters and VFX

1. Welcome to the class: Welcome to mastering the T D spaceship design and animation in Blender. If you've ever dreamed of creating stunning space scenes, modeling spacecraft and bringing them to life with professional animation techniques, this course is for you. We'll start by turning a TD reference image of a spaceship into a fully detailed TD model. You learn how to set up reference images for precision and model the space shape by blocking out the basic shape, refining the structure, and adding details like the landing gear, the windows, and the engine. Next we'll dive into Texarin. You will create materials for the spaceship, texturing the planets, creating a rocky surface for Mars planets. You learn how to create amazing textures that make your models truly shine. And once the models are ready, it's time to lighten up your scene. You will master creating an amazing space sky, adding sunlight and using volumetric effect to give your scene depth and atmosphere. Next we'll bring our scene to life. We'll animate the spaceship take off at a realistic smoke effect with particle system and make your planet spin. You will also master dynamic camera movements to capture every exciting moment of your animation. And finally, you will render and composite your scene to create a polished professional quality space animation that you can proudly showcase. Whether you are a beginner looking to level up your blender skills or an artist seeking new techniques, this course will guide you in every step in the way. So join me and let's create the space animation you've always imagined. 2. Importing and aligning your reference image in blender: So the first step is going to be to delete everything that we got in the scene. So I'd like to press A to grab everything we got, and we can press X and delete it, delete the selected object. So next, I'd like to drag and drop the reference image so we can simply drag it and drop it here. So we got the reference image here, but it's facing us. So as you can see, it's a little bit distorted. So as we do we can work on it in the transform panel so we can press N to access the item here. Item tab and in the transform, we got the location and we got the rotation. So I'd like to left click and drag it down like this so that we can let me just do it again. Let's click drag and we can give it zero. So this way, we're going to be setting up setting all these X Y and Z values all the way to zero. So we can do the same thing for the rotation. So left click and we can drag down, and let's give it zero, press Enter. So now it's laid flat on the ground. So what we can do, we can spin it on the X. I'd like to work on the X axis. So we can just left it on the X by let's give it 9090 degrees. So now it's pointed up. So we can press one if we want to switch to the front or the graphic, and we can just move it up. We can just play with the Z value here, or we can use the move tool, and I'd like to press shift in middle now so that we can go up a little bit here. And I like to take it from the blue axis and drag it all the way up until these lending years are touching the red axis. So now if you notice we are on the orthographic view. So the orthographic view is a flat, non distorted view where objects appear true to the scale. On the other hand, the perspective view adds depth and gives a more realistic sense of how the object will look in the TD space. So we can easily switch between multiple views. So if you press one on the numpad, you're going to be switching to the front orthographic, three for the right side view and seven for the top view. We have this shortcut to control Alt Q. So this shortcut is going to activate the quad view, which divides the TD view port into four panels, each showing the front view of your model, the front, the side, the back, and the top. So this feature is valuable if you want to keep an eye on your model from multiple angles as you work on it. Also, to exit the quad view, you can press the same shortcut to control Alt Q. We have another shortcut, which is the control space. So this shortcut is going to maximize the selected viewport. So for example, here, if I hover on the TED viewport using my mouse and if I press control space, so this is going to maximize the TID viewport. It's going to allow me to work in a distraction free environment by hiding the other panels and interface elements. If you want to revert back to the regular layout, you can press again Control space, and this will bring you to the TED viewport. So the last thing to do is that we want to make it so we cannot select our reference image because you notice as you start modeling, you're going to end up selecting the image and not the object. So what we can do, let me just expand this window here. So we have this option here. I'm going to just click on it, and I would like to select this at this option, the selectable. So click on it. So this way we can make these objects selectable or not. So this is our reference image. I'm going to just double click on it. Let's rename it. Let's call it reference image. And you can make it non selectable by checking and checking this button here. Now if you click, you cannot, you aren't going to be able to select it. And basically, that's it. So now we are ready to start modeling our spaceship. 3. Shaping your spaceship with the screw modifier: In this lecture, we'll use the screw modifier to generate the shape of our spaceship. So back to our scene, we can start by adding a plane, so Shift A, go to mesh and choose plane. So all I need is just one single vertex, so you can press Tab to switch the edit mode. You can select one of these vertices and add to delete the rest. So if you want to select the rest, we can reverse the selection so we can press Control I. As inverse and we can press X and delete the other vertices. Now we are left with just one single vertex. Let me x we can press N to access the transform and I'd like to make it aligned with X axis. On the Y here, this is the Y axis, it is far by -1 meter, so we can just set it here to zero. Now it's completely on the X axis. Let me just press one and we can take this vertex and put it, for example, here. This is the starting point. I'd like to press shift and middle mouse so that we can go up like this. Extrude. So we can extrude, let me just exude here for the first time and exude the second. I'd like to have this wobbling, so it's going to help us to define the shape of the engine of the spaceship. So here at the top, let's exude this one up like this, and we can continue all the way till the top. So here we can create some kind of a curvature, something like this. And we can keep exuding by pressing E. Until we reach the top. Here we need also to stop here for this cut, the cocapit to define the cockypit and let's continue. Extrude here and we can add two extrusions and this one at the top. That's perfect. With that's being done. Next step, it's going to be to use the screw modifier. So we're going to be using it to turn around this shape that we created. I'm going to just go back here to the object mode. So as you can see the center is exactly here. If it's not the case, you can press Shift as and you can set the cursor to the word origin. I already did that. Now we can jump here to the modifiers and we can add so it's going to be the screw modifier. Let's just click on it and immediately going to see that we plug the shape of the spaceship. So the angle is set at 360. This is exactly what we want and for the iterations. So we're going to be improving the iterations later using the subdivision modifier. 4. Refine & optimize the spaceship geometry: So the next step is going to be to refine and improve the shape of the spaceship. So I'd like to do I'd like to drag our reference image. We can drag it or we can just duplicate it. We need to keep this copy. So Shift D, let's duplicate our reference image, and we can press X so that we can move it only on the X axis, something like this. So here we can keep an eye on it. So I'd like to do first, I'd like to select my spaceship, and we need to apply that screw modifier, so we're done with it. So next, we need to add the subdivision surface modifier. So it's going to help us to define or add more details to our spaceship. So next, we have to define some edges. So, for example, here, we have to define for the engine. We have to define these edges. So on the dige mode, press we can switch first through the edge mode, and we can press Alt and left click here to select these edges. Also, in order to see because some vertices are hidden. So if you want to see them better, you can check the cage on the subdivision modifier like this, you can see the difference. So with this one selected, you can also select the bottom, so all shifts and left click. And let's do the same thing here. So now we can press N, and here for the min increase, I like to increase this value up. So this way, we're going to be sharpening these two edges. Going to see that they look much better. Also, we can do the same thing here, so let's press old. Let's increase the increase all the way to one. That's nice. So I'd like to do the same thing for this edge line. So on the edge mode, you can press Alt Shift Alt. Let's select all of these edges, and we can increase the increase all the way to one. There we go. So I'd like to define this engine area even better. So what we can do here, let me just press Alt on this area, we can scale it a little bit up. We can also try to increase the increase up. Let's increase it 0.75. Let's press one again to face the front, we can insert another edge loop here, so control R, and we can scale it down. But also we can increase the increase here. Let's increase it to one and we can scale it just a bit up. Something like that it's going to be great. So let me just press, so to the back to the solid. Let's investigate this. So I think here so it's not sharp enough. So let me just find a better way. So here, let's just take it all the way to one. And let's go ahead and increase the level view port to have more defined edges. So for the engine, I like to make it its own piece, so we can separate it. I like to press Alt again here, and we can press V. So the V, it's going to separate that edge line. So now it's completely separated from the engine. The top, I'd like to define the cockpit. So let's press one. You can select the spaceship, switch the edit mode, press, switch the Y frame. So this edge line that we got here, we can bevl it. So let me show you. So we can press Control B to bevel it. That's a little bit too much. So something like that, but also let's increase the increase up, something like 0.6, and we can extrude it on the inside. So let's press E to extrude, and we can press all a to go on the inside like this. And we can take that inner edge a little bit up. That's nice. And for these edges, we can press, shift old. Let's take it all the way to one. Okay, maybe we can give it some distance. So G, we can press Alt on the bottom one and double G just slide it down a bit. There we go. So now we got the cockpit defined on the top. We can also try to add some new edge lines. So control R. So this way, we're going to define that area even better to make them more sharp. Control R also on the bottom. There we go. So now it looks much more clean. H. 5. Improve viewport shading with cavity feature: So now, I'd like to show you how can we improve the modeling shading in blender so that we can see our model even better. So on the top here on the top right, we got this button. So click on shading and down below, you're going to have this cavity. I want you to check it. So if you check it, you're going to see that the edges are more defined. So I can also increase this ridge value all the way to two. Same thing for the valley. So you can see the difference now. So the edges of our model looks more defined. 6. Modeling spaceship landing gears: So the next step is going to be to model the spaceship landing gears, legs of the spaceship. So let's go ahead and model them. So I'm going to be selecting the spaceship on these mode. I'd like to grab only one single vertex on the side here. Can start with this one here. Let's press one to be facing the front again and we can duplicate this vertex. Shift D to duplicate it, and we can move it freely down here. And after that, we can extrude and make that turn. Sound like this, we can press easy and go all the way down here. Extrude again. We can press X so that we can move it on the x axis. L's extrude up, extrude. So we can just follow the reference image. And now that we are done, so let me just grab it only. We can press L to select that unit, and let's sick this side and operate on it. So first, I'd like to extrude it on the Y, so we can press E Y, extrude it like this, and you can fill these gaps. Let me just select these two vertices shift to select all the vertices, and we can press F to fill that gap that we got over there. After that, we can press Alt on this edge. We can press F to fill it. Sending on the other side, let's press Alt and press F to fill the other side. But now we have to improve its shape. So we can jump to the edge mode. Let me just press here to grab that edge line, shift to select them both, and we can increase the increase up all the way to one. Same thing for the other edges. So for example, the bottom edge that we got here. So let me just find the right edges. These, let me try to increase the increase up to 0.85. Same thing on the top. Let me just track the reference. So the top here is smooth, but this top edge needs to be a little bit sharp. This edge here, let's increase the increase up all the way to one. Let's do the same thing here because this is a part that's going to be connected to the spaceship. It needs to be flat. A to next what we need to do, we need to bevel these edges. Let me just press Alt again, Shift Alt to select both of those faces, and we can press Control B. And we can slide our mouse just a bit to create that beveling effect. Here. Perfect. Also, we need to straighten up these edge lines. Let me just select them all. But Same thing on the other side. Not this control Z tag back shift like this, this edge as well, and the two on the bottom. And we can take them increase all the way to one. All right, so we got it. So all we have to do right now is to do right click and sheet smooth to have better shading. So now let's i it back and connect it to the spaceship. So I'd like to press one on the edit mode, we can press Alt A to make sure that everything is deselected, and let's select only the unit that we want, which is this leg. We can press L, and we can simply drag it to the left side until it touches the spaceship. Let me just press seven to go to the top. You can just have it centered here. So now I'd like to duplicate this landing gear three times. So the center point, it's going to be this cursor. So the center point that we need to pivot around is the center of the spaceship, which is this cursor that we got here. So what we can do, we can change the pivot point from the origin of that object. You can do it here from the median point to the tree dcursor. Now if you try to spin this object, if we press R and Z, spin it on the Z axis, we're going to be perfectly spinning around that center point, which is the two decursor. What we can do right now, we can press Shift D to duplicate this object and we can spin it around. But we need to calculate the spinning angle. So what we can do, so the total angle is 360, so we can divide it by three. We have three likes. So we need to spin each one by 120. So here we can press R, Z, and we can type one, two, zero. So this we're going to be spinning it 120 degree. We go so now it's perfectly here. Next, what we can do, we can parahi D again to duplicate this object and we can spin it so R Z and spin it again by 120. So this way, we're going to be having three legs perfectly distributed on the spaceship side. 7. Modeling spaceship window: And I'm going to be modeling the spaceship windows we got on the side. So let's go ahead and do that. So first, we have to start on is mode you can select the spaceship on the dis mode. I'd like to switch back from the predecursor, the pivot point. Let's switch it back to the median point. We can press Alt A to make sure that everything is deselected, and we can press Shift A. I'd like to start with this circle. So this circle selected. So without clicking on it, we need to reduce its number of vertices. So we are already using the subdivision modifier. So here we can just cut down these vertices to something like 12. All right, so that's been done. Let's take this circle. And we have to spin it on the X, so we can press R X, it's sp 90. So now it's spinned around. Let me just move it a little bit forward, and we can ski it down. We can press E to check the Y frame so that you can be able to see the reference image, and we can ski it down until it touches or matches the window that we got in our reference image. So next step, I'd like to extrude it outside. Let me just switch back to the solid. So we can press E Y. Exclude outside, we can press E a, and scale down. And let's go on the inside. So E Y and go like this. And for the inner window, I'd like to make it pop up a little bit. So to do that, we're going to use a different object, so Shift S to select it. I'd like to let's press Alt A to this like that edge line, and we can press Shift A. I'd like to bring UV sphere. So again, I'd like to reduce the number of segments so that we can be so that this object can be easily treated or easily modified. So for the segment se, let's stick to something like 12, 28. It's going to be enough. So now let's spin it around on the X axis, so RX I'd like to spin it by nine degree, and we can scale it way down until it's inside that loop. So I'd like to scale it on the Y, so Y, and we can make it really tiny. So I really like having a window like this popping up like this. All we need is just the front, so let me just switch to the face mode, and we can press Alt here and let's press X to delete those faces. Same thing here, let's press L to select this face or this back of that curve, the back of that sphere, and you can press X to delete it. Let me check if we got some doubles. Yeah, I think we're all set. Now let's go ahead and connect this window to the shape of our spaceship. So I'd like to select it by person L and we can drag it way back, for example, here. But we should not be having any clapping, so I'd like to do. Let me just we can put it here and we can push it outside, use the proportion in this dual. So let's activate the proportion in this dual and we can simply drag it out. But here we need to be activating the connected only so that we won't going to be affecting the spaceship. So let me just select switch here. To the vertex mode and you can simply drag it outside. Something like that, sat in here on the top. You can just keep selecting those faces on the side here. Let's select these two versus, can push them a little bit back. You can scroll the mouse to have that kind of curvature, something like that. And in order to see inside, we can check here this mask, this toggle X ray mask. Let me just check it. So this way we can grab this part can push it outside. Something like that. Let's do the same thing for this inner face circle. You can just push this part outside. And basically, we got it. We got the window, which is perfectly laid on the side of the spaceship. So we can do rice click and shade smooth to have it smooth like this. So next, what I'd like to do, I'd like to duplicate this window, and we can duplicate it three times again. So on the edit mode, you can press Alt A to make sure that everything is deselected. We can select only the window, and let's duplicate it. But also what I'd like to do, I'd like to put the cursor right at the center of the spaceship. So you can select any curve, any loop. So, for example, can press Alt here to select that loop, and let's put the cursor right at the center here. So shift a cursor to select it, and let's do the same thing with it with these landing gears. So Alt A, select everything. We can select only our window. And for the pivot point, I would like to switch therecursor and we can just disable propution individual. So now what we can do, we can duplicate the window, so Shift D to duplicate it. We can press R Z, and let's spin it around by 120 degree. All right, something like that, we can press Shift D again and RZ and let's spin it by 180 degree again. And we got two E windows on each side of the spaceship. 8. Create spaceship door & stairs: So let's go ahead and create the space shape door that's going to open and closes in the animation. So first, I'd like to delete this window that we got right here. You can delete any windows that you like. So I'm putting here the windows between those legs. So I'm going to just delete or let me just better position them here. Just spin them around just a bit like this. Let's say minus ten degrees to have them right at the center between these landing gears. So let me just select this one here. You can press X in the licit. Also here for the pivot point, let me just go back to the median point. Alright, so here, what I'd like to do we can select these faces Let me just press C to select in between here, and we can use this as window. But I'm not sure if we can add another make it white like this. I think yeah, that's the way. Alright so here what we can do, I'd like to press I to create an inset first. So this is the first step. Sounds like that. Also here for these versus Cs or edges, you have to increase the increase up all the way to one. All right. So with that being done, let me select again all these faces, and we can press B separate selections. Now we have the door, it's separated from the rest. So next, I'd like to Bvl. We can try to select this part and extrude it outside. Let me just press E. You can extrude it on switch the local, the normal Okay, that's fine. You can just push it outside. Let's push it outside just a bit like this. Alright, so that being done? Also, let's try to grab these edges and slide them up. Actually, not that one, but the other one. So we can press here, try to scale it down, press here, double G, or actually just scale it up. You just need to create that frame. But here we have to fix again. You can press Alt, Shift Alt, and let's press B, increase the increase up. Now it's perfect. All right. So now what we can do jump back to the medium point. You can spin it around. Let me just see you. So it's set can press Control I, apply the rotation. Same thing here. Let's apply the rotation. You can spin it around by, let's say, 100 105. Alright. So next, we have to work on the door. So for the door, I'd like to add to solidify modifier. We need to give it some depth. So you can push that on the inside. Something like that it's gonna be accurate. It's gonna be opening like this. Alright, so now we need to add need to add the stairs. So for the stairs, I'm going to just select some of these faces that we got here, let's push them back, extrude them on the Z. You can select this part, press B, separate selection. Let's get rid of the solidify here, and let's operate on this so let's select it. You can skit it down. Select the top. You can try EY EZ and EY again to go on the inside. Alright, so let's press SY. You can press zero to have that flat. And for these edges, press Alt, Shift Alt Shift Alt, we can straighten that up using the mean crease. So I think something like 0.8 is going to be enough. All right, red clack shade smooth. So we got the first unit. So what we need to do, we can use the array modifier so let's add array so that we can duplicate it multiple times. So we need to have the array on the Y. So let's set the y to one and the X factor is zero. Not xu is zero, but for the Z, so I think we got a problem here. Yeah, problem with the rotation. So Control A, let's apply the rotation. All right, so let's increase take the Z up, and next we can you can just keep experimenting with these values until we got what we want. Alright, so stick it a little bit up. It's not like that, so that looks good for the stairs. So I'm going to just increase that count up. I think five it's gonna be enough, but we have to scale it up. This mode, we can press Alt here, and we can take that up. Let me try GZ. No one's going to work. If you want to shorten that up, we can press Alt here and GZ to take it up. Should not be having any clapping whatsoever, and that's nice. So we got the stairs. So next, we have to fill these gaps. So let's so lens control R's insert an edge loop here. You can press F to fill those gaps. Same thing here, you can press F. And let me do the same thing on the other side. So select these two, press F, and same thing here. You can straighten up those edges again, as well. Press N, increase the increase up 0.4. All right, so that's good. So I'm going to just save a copy here. So let's duplicate this, save a copy. And here we have to tweak at the top. So to tweak at the top, we have to apply the array modifier. But you got a problem here. Let me just take the array first. Try to drag it a little bit down. Don't think so. Let's just go ahead and apply the array. Alright, so now there is a trick. On the Z, you can switch the Y frame. Let me select the last bag and we can scale it down. And we can use the proportion integent tool. Not corrected only, you can use the linear and let's just sce it down. You can sce it on the X. So this way, we're gonna be scaling everything down. But let me just try the sharp X. There you go. This one looks much more better. So we're trying to fit the stairs to the shape of the door. Let me just hide this. And we got the stairs. So here we got some clapping. Let me just check this part up like that. Here what we can do, press. We can keep taking these faces down. Z keep pushing it down. And be careful to have no clapping like this. So the first is well set. So let's find this check here. So for example, here, we can track this part down. So we got the so let me just combine the mi, Control J. Got some fluffy stairs. So you got the stairs, you can just push them down. And basically, that's it. So you got the stairs 9. Texturing spaceship 3d model: So the next step is going to be to jeckre our spaceship. So I'd like to give it this checka that we got here, red and white. So let's go ahead and do that. So I'm going to simply drag this reference, and let's put it here. We can just split the scene on the right side and we can switch it to the image editor. So on the bottom, we can simply drag our reference and put it here. So here I'd like to do. Let's start with this checker juxter. So we can press Z to switch the material preview. So I'm going to be selexing the spaceship. Let me just expand the bottom here. You can switch it from the timeline to the shader editor. And we can just press N to hide this panel on the right first institutes can be to add a new material. So let's click on you. We can call this spaceship main, which is the main color. And we can just zoom on it. So let's go ahead and start working on it. So first, I'd like to add a checker taxa. So Shift A, let's search for checker exer. You can go ahead and connect color to the base color. And let's see it. So there we go. So we got the checker applied to the entire spaceship. But the UV mapping looks a little bit weird, so we have to tweak it a little bit. So what we can do, we can add two other nodes. So also, there is a quick shortcut. We can add here the mapping and the texture coordinates. But we can simply press Shift T here, but it's not working because we have to activate the nod wrangular that's going to allow us to access these shortcuts. So you can go to Edit here preferences. And under the add ons, you can search here for wrangularT one here, the node wrangular. So just check it here. This node select it if you press Control T, we're going to be having access to the mapping and to the texter coordinates. So now we can play with the tuxorPosition, location here. For example, you can move it on the Z or on the X. You can spin it around if you want. But here as you can see the checker is not working correctly, so this has to do with the unwrapping. So what I'd like you to do, I'd like you switch from the generated. So for the texter coordinate, we're going to need to use UVs. Also, here we can keep an eye on the UVs. Let me just split my SNE on the left side. We can switch it to the UV editor. So if we press Tab to switch it at this moment, so this is what we got for the UVs of our spaceship. So what I'd like to do, I'd like to change it a little bit so we can press U. I'd like to use the cylinder projection. And for its details, I want to be using this align to object, not align two or view or so aligned to object. So immediately you're going to be having the best wrapping for the checkers. So also here, what we can do, we can align or we can improve lightly bit the scale. So the best ratio that I found is to multiply the X the Y by two for the X. So for example, if you give it here two, so the X needs to be four. So that's the best ratio that I found. So here we need to get the size of these squares to be even. So what we can do, you can fight the best ratio. Let me just keep tweaking the X and the Y. So for example, here, I found that if we give the Y value, for example, 1.2, so the X needs to be multiplying the Y by two, which is here, 2.4. That's the best ratio that I found. So another thing that I'd like to do, I'd like to take the chucker a little bit up until it reaches this level. So we can go here to the X. Let me just try to node X, the Y, so we can hold shifts to go real slow, and we can stop right here. Perfect. So now let's work on the checker colors. So the color number one is going to be the white, which is exactly what we got here. But for the second color, it needs to be red. So you can click on the second color, and let me just use the red here. Just make it completely white. But I don't think we're gonna need that sharp red. So something like this gonna be great. Also, I'd like to reduce the size of that checker. So I think let's use 122 for the ratio. Yeah, it looks better. Alright, so now let's tweak the roughness of that material. So first, I'd like to make it glassy, so to make it glass, you can reduce the roughness down to something like 0.1. So now it's glossy. So we can also increase a little bit the metallic to give it that metallic touch. So let's use 0.15 for the metallicness. That's good. And for the reflection, the IOR, let me try to see what's going to be great. So I think we can reduce it down to 1.25. So that's good. So the next material, it's going to be to add, I'd like to make the top completely red. So what we can do, we can chew the UVs. So on the top here, we can select only top the cockpit. Let's press d here, shift, shift old and keep doing it until we select all the top. So this is the top here. You can just ski it down, reel down, and let's spot it here. You can ski it even down. So I'm just trying to find that red spot. So here, just keep tweaking that until you find the past UVs. Alright, so now you can see the top is completely red. You can try to do the same thing. Let me check at the bottom. So, for example, the legs here, they need to be red. So you can do the same thing with it with the top. So for this middle section here, it's completely metallic. So what we can do, we can add a new material. So with our spaceship selected, we just add the new material. Let's call it steel. So space steel material, and for the steel, so it's applied first at the right location. So on this mode, you can switch to the face mode here, press Alt, Shift Alt, and shift l here. And you can assign that steel material. We can also assign it to the frame of the door. Let me just find the frame at the door here. Compress Alt to select it. Shift A to select the inner frame. Let's apply that steel again. And I'd like to do the same thing for the engine. So we can press L here to grab the engine, and we can also assign to it the spaceship steel. We can do the same thing for the doors. So let me select the door here. You can select the steel. Alright so now let's tweak this material, the steel material. So here in the principal BSDF, we can increase the metallic up all the way to one and we can reduce the roughness down to something like 0.25. And we got the steel material. Let me just collapse this window. You can do red color here, join area to the left. And let's check it. It looks nice. So next we can add the glass. So the glass of our spaceship. So let's select the spaceship. We can add the new material. Let's call it spaceship glass. And on the S mode by pressing tab, you can select only the glass. But also here, I'd like to press Alt A to make sure that you select everything else, the frame so Alt A, and let's select only the glass. Alright, let's assign it. Assign the material to it. And here we can tweak can tweak that material. So first, I would like to make it blue, so here on the base color, you can just pick some kind of this blue here. Also make it a little bit dark. That's nice. Next, I'd like to do I'd like to work on the roughness. So since it's glass, it needs to be reflective. So let's use the roughness of 0.1. And for the reflection, we can reduce this value down. Let me just see. I think we have to increase it up. So let's increase it to 1.85. So we need to texter some other elements, for example, here for the stairs. So I'd like to create some variations here. So let's select the stairs. I'd like to add the new material, so let's call it emission. So stairs emission. So it's going to be just like a light. So on the edit mode, we can select, for example, here, just the bottom or I think that's going to take too much. Let's select these instead, this frame of the stairs. So it's going to take a while to select all these faces. Just take your time with it. And after that, we can assign that stairs emission. Alright next, what we can do, we can tweak the emission value. So here in the principal PSD, you can scroll to the emission and I'd like to increase the strength to let's say ten. So now we're going to be having some light here on this frame of the stairs. You can also tweak the color of the emission, so we can use some kind of a blue, emit some blue light. Let's increase the strength to 50. So for the door, so we can also animate or texture the buttons. So let me just close the door first. So let me just press N, jump to the item. So I'm going to try RX and let's spin it around by this value. And here I'd like to add two buttons. Let me just press one to be facing front. G press Z. We go to be rigging, fixing that in the rigging process. So let me just scale the door a little bit up. So a Z can scale it up and move it down. To make it perfectly fit the spaceship door. So here, I'd like to add two buttons. So on the edge mode, we can select this pace here, shift as curtage selected, and can press Shift A. We can start with the cylinder. So for this cylinder, I'd like to reduce the amount of vertices down to just 12 and we can scale it down. So let me just scale it down. Also, we can spin it on the X or X. Let's spin it by nine degree and we can scale it even down. Let me just press one to be phasing it from the front. You can move it here, and we can select this phase here. We can press I to create an inset like this, and we can extrude it on the inside by pressing E again to extrude like this. You can press E again and scale that part down. Can do the right click and shade smooth. And here on the back, we can just delete that face. All right, so let's press L to grab that unit, and we can drag it way back. Push it inside. We can try to spin it a little bit. So RZ spin it round to make it look good. Also, you can spin it X, push it a little bit back, and we can duplicate it two times. Shift D to duplicate this and let's move it down. So once the door is going to be open, so we're going to be having the green light, and on the other side, it's going to be red. So one red, and one is green. So let's add these two materials, so I'm going to add a new material. So it's going to be exactly the serious emission, but we have to make it a duplicate, so you can click on this pattern, new material so that you can create a duplicate of this material. So here, let's call it steris emission, green. And here we can switch the color and let's make it green. You can just play with the saturation, not the saturation, but the hue. Take it back to the side here, the green. And on the edit mode, we can grab only the middle section, compress old, shift lt, like this part and we can assign that emission. Perfect. And for the top let's do the same thing. I think 50 is too much, so we can reduce it down to just ten. All right. So let's do the same thing for the top button. So I'd like to add a new material. So it's going to be the star is green, but we have to duplicate it again, and we can call it red instead of green. And here we can make it red, pick the red color. On that this mode, we can press Alt, shift old, select the middle, and let's assign the emission red. There we go. We got two buttons. Alright, so here we are, so we finish texturing our rocket. So in the next coming lecture, we're going to be working on the engine. 10. Creating spaceship jet engine: So the next steps can be to add the engine of our spaceship. So we need to add some engine on the bottom here. Let's go ahead and do that. First I'd like to select my spaceship. On the dis mode, we can switch here to the edge mode and we can press all on the bottom like this. Let me just press one since you can be facing the front, can press Shift D to duplicate this edge line, right click to cancel that movement and we can ski it a little bit down to push it inside that engine frame. Ski it down and you can extrude press Z to go down. You can scale up and keep extruded like this. So I'm not sure why the subdivision is not working. Let me just check. Yeah, it has to do with these frames, these seams. We're going to fix that later. Let me just keep extruding here. Extrude one more time, press each go down, scale L like this, extrude, and scale all the way down. All right, so next we can press L to grab this unit here, the entire unit, and we can press N, and here for the increase, let's decrease it down to just zero. Alright, so now it's not sharp. We can do color here and shade auto smooth so that you can smooth those edges. Now I'd like to do, I'd like to work on the material of our engine. So here on the bottom, so let's add a new material. Let's call it spaceship engine. And let's work on it. So on the edit mode, we can assign it to that object, and let's work on this new material. So here on the bottom in the shader editor, we have two nodes. We have the principal BSDF. So in my case, I don't want to be using the principal BSDF. I'm going to just delete it because we're going to be targeting the volume. So you can press Shift A. Let's start with an emission, which is the light, and we can use it as a volume for this material. All right, let me just go back here to the object mode so we can see our material coming into play. Let me just hide this reference image. And let's see. So this is what we got. So we can increase the strength up or we can play with the color. You can make it orange, just like the reference image. But we're going to be working on this later. For now, let me just add to improve the color, I'm going to be using a camera ramp. So let's press Shift A. We can search for kettle amp. So as you can see here, we have some variations. We don't have just a single keto have a variation. So we can do the same thing here. Let me just connect this camera ramp to the color here. And what we can do, we can tweak these handles. So, for example, the black handle, let's make it blue. Use the blue color here, and for the white, we can make it red like this or a little bit of orange. Also the type, I don't want to use RGB, we can switch to this SV hsV. This type is much more better for the fire. We can tweak the handle position. For example, the blue, I like to put it at 0.3, and for the orange, I like to put it at 0.6 for the position. There we go. Also, we can increase the quality of that volume to see it is better. Here on the render properties, let me just scroll a little bit down here until we find the rate racing, we can check the rate racing here and also for the volumes for the volumes, I like to increase the resolution up to let's say one, two. Now we have a much better, clearer volume. You can also press switch the render mode and we can work on it here. It's going to be better. For the bottom here, I don't like that part. So what we can do, we can fill it, can press Alt at the bottom, and we can press F to fill that gap. That's nice. Let me just go back to the material preview. It's going to be better. All right, so next, I'd like to handle these colors using a gradient color so we can add gradient. So let's search for gradient texture. You can connect the color to the factor here. And for the type sauce, now it's linear. We have the blue on the left and the orange on the right. I don't want that. I want it to be spherical. So you can switch the type to spherical here. Alright, so we got that, but we can tweak it even better. So we can spin it around. So to spin it around, we're going to be king new those two nodes that we used in the previous lecture, the mapping and the textacordinan. So you can bring them back by selecting our gradient texture and we can press Control T. So this we're going to be adding the mapping and the textacordinate. So here instead of using the generated, I like to use the object. We're going to use the object. And now we got it. So we got the red at the top and the blue on the bottom. Also, we can tweak the scale. So for example, if you reduce the scale down, we're going to be pushing that fire down. So I think something around 0.5 is going to be so for the fall power of our engine, the 0.5, let me just try to shut it down. You can also try to tweak the colors that we got here. Let me just try. We can increase the Y to two. Center for the Xs increases to two. We're just experimenting here, and here we can set it to 0.75 for the Z. Here, I think that's a little bit too low, so we can increase it up to one. Same thing here on the X, we can increase it to one. But that's too much, what about 1.5. There we go. You got some nice colors. Also here, if you want to increase the strength of our fire that we got here, we can use a multiplier. Let me show you how you can do that. So press Shift A, let's use a math node. And for the math, we have to use a multiplier, so we can choose the multiplier do we can connect the gradient color to the first value and this value output, let's connect it to the strength. Here we have the possibility to increase that size. So you can increase it up, let's say to five. Now it's much more brighter or about ten. There you go. Now it looks much more better. You can tweak the colors if you want to match the same color reference image. So for example, you can exclude the blue and replace it with some kind of a red. Also, let's make them a little bit close to each another. Also we can add a new color here, a new handle, and we can choose a different color. Basically, we got it so we got our engine. So to animate the engine, what we can do, we can play with this Z value. If you take it up, for example, if you give it 50, you're going to be shutting down that engine and if you reduce it down slightly, you cannot be so going to start with 25 with ten. So if we drag that value down while in shift, going to be starting the fire. So this is how we're going to be handling it. So we're going to be doing that in the next coming lecture. 11. Creating space planet model: In this section, we'll create all the essential elements of the space environment, the planet, the stars, the landing ground, and the shooting stars. In this lecture, we'll start by creating the planet. Let's get started. Here we are back to our spaceship. So first I'd like to hide so we can select the spaceship and we can press H to hide it. H is high. If you want to bring it back, so we have an eye shot, you can just open the eye by clicon on it. Let's do same thing for the stairs and for the planet. Now let's go ahead and start by creating our planet. I'd actually put the cursor at the center here so you can shift as a cursor to the word origin. I'd like to start with a sphere. As you know, the shape of our planet is spherical, what we can do, you can press Shift A. Let's jump to mesh and we can use a UV sphere. Down below here, we have this panel, I'd like to expand it. We have 32 for the segments and 16 for the rings. It's going to be really hard to work with this sphere. What I recommend is reducing the segments down. So we can reduce it to something like 12 and for the rings, we can set it to eight. At the same time, we can add the subdivision surface modifier to smooth out our sphere. We can jump to modifiers and let's add a new modifier. It's going to be the subdivision surface. First one. Next, we can do rice click and shade smooth. To make it real smooth, I would like to increase the level view port two. You can see the difference here. You can see these edges here. If you increases up to two, it's going to be completely smooth. Let's go ahead and create these holes. Let me just zoom on them here. For example, this hole as we got here. On the edit mode, you can press Edit tab to switch the edit mode and you can select, let me start by selecting four of these faces. So the first step is going to be to create an inset, so we can press I to create an inset, just to check them inside a little bit. And the next step it's going to be to make this shape looks like a circle. As you can see the hole here has the circle or shape. On the other hand, here we have a square, so we don't want that. What we can do, we can select these edges, and we can scale them down to form that oval shape. But this method is not the best. I'd like to show you a better way. So let me just also here on the subdivision, we can check this on cage so that we can see our geometry even better. So we can scale it down here. But there is better way. We can use a built in add on. It's called the Loop tools. Let me just show you you can go here to edit preferences and inside the Get extensions. I want you to search here for extensions. Let's search for loop tools. This one right here. I already have it installed, so you can just click on this install that you're going to be seeing it here. Next you can jump here to annals, and let's search for it. So loop tools, so make sure that this box is checked. So now if we are on Davis mode, so this is the condition for the loop tools to work. So if you press N, you're going to be seeing this edit panel on the bottom. So let's click on it, and let's expand these tools. So now we have plenty of tools, so the circle is the one that we're going to be using. So I'd like to select all these the entire edge line and we can click on circle. Now we got it as a circle. It's not well shown here, we go back, if you uncheck the engage, you're going to see that it has that circle shape. Let me just bring it back here. Now what we can do, we can select these four faces and you can exclude them outside. You can see that shape the shape is circular right now. After exuding it, we can scale it a little bit down. Like this, and we need to create this inset that we got here, this top part of the hole. So you can press I again to create that inset. You can go a little bit inside, and after that, we can extrude on the inner side like this. And there we have it. We have our hole. On the inside, we can just sce it a little bit down. So the hole looks lit huge. We can ski it a little bit down. So on the dite mode, I like to grab this edge. We can press old left click here. Let me press seven to go to the top and we can bring it inside. So you can hold G and let's stick it inside a little bit like this. Next, if you want to have some kind of a flat top like this, so what you can do, you can tweak the top. So let me show you. So you can press Alt and you can jump to the item. For the me increase, you can increase this value up. So this way, you're going to be sharpening this edge. So you can do the same thing to the second edge line.'s press Aldu and you can increase the increase up. So as you can see, we have that sharp top. The last thing to do is going to be to randomize this hole, so as you can see, it looks perfect. So it's not the case in reality. So what we can do on the edit mode, we can select some random vertices. For example, this one, and we can activate the proportion edition tool. I would like to switch the type to smooth and we can, for example, take it a little bit inside. Let me just scroll the mouse up. Check this part up to have some distortion here. That looks good. You can select some random vertics. For example, this one we can push it a little bit up like this, the one on the bottom, you can tilt it a little bit to the left. Same thing here. For this, you can just randomize. The shape. There we go. So now we got some random random hole. So in our space scene here, we have plenty of these holes. So doing it one by one is going to take a lot of time. So instead of what we can do, it's going to be wise if we can automate these steps. So we can use the AI to create a script to automate the whole creation process. And that's going to be the subject on the next Cam of lecture. 12. Automating planets creation with ai blender scripting: In this tutorial, I will show you how to use a Python script to automate the modeling steps for creating the planet holes. So let's get down to it. So first, I'd like to start with the sphere. So Shift A, we can jump to mesh, and let's use UV sphere. So to make it easier to work with, I'd like to reduce down the number of segments and rings. So for the segments, I'd like to go with 12 and the rings, we can go with eight. Alright, right click Shade Smooth. So next, we can add the subdivision surface modifier so that we can bring back the details. So now it's completely smooth. We can lift up that level view ports value too. So now the edge of our sphere looks pretty much smooth. So in the previous lecture, we created the planet holes by following these steps. So first, we extrude up the selected geometry, we scale it down. Third, we insert the selection, and finally, we exude it down. So I use Sha JBT to write down the following prompt. So first, I tell the Sha JP to create a blender Python script that adds a circular hole to a selected face in the Edit mode. So the script should include settings for the following step. So extrude the face upward by 0.1 meter, scale the face down by 0.75 and inside the face by 0.0 25 meter thickness, and finally extrude the face downward by -0.25. So here we got the script that's going to allow us to generate those holes. So I'm going to just copy it from here. So let's copy it. And we're going to find this in resource down below. So next we can jump. Next, I want you to split the scene here vertically like this. So the left menu, we can switch it to the text editor for the scripting. So here's what we do we can click on you. And I'd like to call this space kits. And we can paste our code here, this script that we got here. So this script is going to automate all the modeling steps with it to generate these holes. So the first step is going to exuding up the selected geometry. After that, it's going to scale it down. Next, it's going to insert an inset, and finally, it's going to exude down to determine how deep that hole is going to be. So if we scroll off the top here, you're going to be seeing this play icon which is run the scrit you can click on it. So now the script is running. If you press N, you're going to be seeing here a new tab at the bottom called Space kit. So you got generate space planet hole. Next, I'd like to show you how can we use this script to generate these type of holes without modeling them. So I'm going to be saving a lot of time. So with our planet selected, so this script is going to work only if you are on the EVS mode. So you can switch here to mode, or you can press tab for the shortcuts. So now I'd like to do, I'd like to select the places where you put those holes. So we got the first hole that we modeled in the previous utorial here. So I'd like to do right now, we can add, for example, another hole here. So I like to press I to reduce the size. I don't want to have a big hole here. So you can press I to reduce the inset, create an inset to reduce the size of that hole. So we got that one over here. You can add another one at the top. So let me just select this part again. We can press I to create another inset. So next which we can do, let me just select these two faces. So one at the top and one at the bottom. So next which we can do, we can press N and we can colt on generate space Planet before you can do that, I want to switch the piv point here at the top. You can just scroll your mouse, and here you can switch the Pivag point through these individual origins. So now if you click on generate Space Planet holes, you're going to be seeing those holes that we got here. They will be generated. So we can tweak them a little bit to make them look like this. So in real life, they look like this. But if you want to make them look a little bit funny, we can tweak these settings that we got at the bottom. So for the scale factor, we can increase it something like this, 0.90 is going to be fine. And for the thickness, we can increase it also up to something like 0.11, something like that. So next, we can switch back here to the edge mode, and we can grab only the edges, press Alt here, shift Alt, shift all here, to select only those edges, and we can jump to the item. And you can increase this value to let's say 0.45. So this way, we're going to be having some sharp tops, exactly like what we got here. So all we need to do right now is to randomize these holes. So under this mode, we can use we can go back to the vertex mode. We can select some random vertices and we can activate here the proportion in this intral and we can try to make it not so perfect. So just play a little bit with it. Here at the top, can select these two edges and we can bring it down. So now we have some nice distortion here. So you can do the same thing for the top hole. So let me just select these two, track it a little bit down. This part here, we can push it on the x axis inside. Alright, so that's good. For example, here, we can track it a little bit down, something like that. So now, I'd like to show you how can we generate the second type of holes, these small holes that we got here. So again, on this mode, I'd like to select some random faces so we can select these two repass or these, one here, one on the right, and one on the left. So next we can press again that button, this urate space planet holes. And for the extrusion up, I'd actually reduce it back to zero so that we can have flat holes, and for the scale factor, which is the size of the hole, you can just reduce it down. So 0.30 it's going to be fine. And as you can see, we created the second type of holes. So this is the way to generate these holes faster. So last thing that I'd like to do, I'd like to create this orbit in circle that we got here, so we can select our planet on that mode. Let me just press Shift A. First, we have to deselect everything. So let's press Alt A to make sure that everything is deselected. We can press Shift A. And we can add a circle. So let me just press seven to go to the top. We can scale up that circle, but we should not be using that proportion edition ule. So let's just scale it up. Here, I'd like to go back to the medium point instead of the individual origins. You can just scale it up, something like this. You can press E to extrude but why we cannot extrude, let me just go back here to the vertex mode. You can try E S, scale it up just a bit, Shift D to duplicate this edge, and you can try S to scale it up just a bit. Try E again to extrude for the second time and you can extrude it up like this. Again to create this last layer of that big circle, we can press Shift D again to duplicate this. You can try to ski it up, click, and we can exude it, press E to extude and extude it up like this. So now we got that orbitin circle. You can just spin it around to have that famous look. So RX can just spin it by let's say -30 degree. So we got our planet. In the next hemlex we're going to be working on the landing ground. 13. Creating the landing ground: So we got the planet, so the next step is going to be to work on this landing ground where the spaceship is going to be landing. So I'd like to collapse this window that we got here so that you can make room. So is collect here, join area to the left, and I'd like to select my planet. We can press H to hide it. So let's go ahead and start by working on this landing ground so we can press Shift A. And for the size of it, I'd like to jump to the item. We can increase the size, for example, the dimensions. Here we can use eight by 12 by 12 on the Y. So here, 12 or even up, let's search to 14. We need to have a wide lending ground. So next step, I would like to add some subdivisions. So on the mode, you can press Tab. I'd like to press Control E, and let's click on subdivide. And here we can increase the number of cuts up so that we can subdivide even more. So I think something around, let's go with ten. Ten is going to be great. So next step is going to be to add some ups and downs in our lending ground. I should not be perfect in a flat like this. So I like to select some random pass here, versus Cs, for example, these three, and we can activate the proportion in this in tool, and we can just take these up. I'd like to increase the size of that circle, something like this. All right, we can select also some other ones. You can increase the circle up to have wide influence. So something like that's going to be great. We can do click in shades mood. Next, I'd like to add the subdivision surface modifier to this plane, so we can do it here. Let's add subdivision surface. By the way, I'm on the modifier stab here, and now we are ready to add these holes. Next, let's go ahead and generate the holes. We can press seven to go to the top. Let me just spin around by pressing five. I'd like to add some kind of holes that looks like this. So I'm going to press C and let me select I prefer to scale up. So we can select the entire plane. We can try X to scale it a little bit up like this. And now we can select some random faces here, for example, one here, this part like this. So here we can just select these faces instead. These four phases. And after that, we can press in to access our add on, which is a Spacekit and we can collect on generate space planet holes. But I want you to make sure that you are on this individual origin. So just click. There we go. You can tweak, for example, how deep those holes should be, and we can extrude them up, check them up a little bit, scale down the X factor. So that's good. We can tweak the up and down hills even better, so we can switch here to the vertex mode with the proportion enabled. For example, you can just take this part down. I just scale it down again. Same thing here. You can press, scale down like this. We can press seven to go to the top and we can tweak we can tweak these holes. All right, sounds like this, just to not make them perfect. So let's take a look. That looks good. You can also try to increase the level viewport for the subdivision to two to have better details. So the last step is going to be to add our camera. So you can press Shift A. Let's jump to a camera. And I'd like to position it here. So what we can do. So what we can do on we find the best spot, we can press Control and zero. So this we're going to be bring the camera to the viewport. So next we can play a little bit with it. So on the item here, we can better position it, can move it up. So I think 92 reads is going to be great. And on the Z, you can just keep it at -90 for the Y can keep it at zero. You just position it better. Also you can tweak the vocal length of our camera. So with our camera selected, we can jump here to the camera settings, and we can reduce the focal length down to just 30. Something like that, we can just move it forward again. Also you can try to expand these borders. So under this mode, you can press Ale. You can try EY and go. Same thing on the other side, so EY, so we should not be seeing the end of these borders here. And there we have it, so we got the landing ground. 14. Stars & shooting stars: Let's create the stars and the shooting stars in our scene. So first, I'd like to start by creating the stars. So I'd like to start by circle so we can press. Let me just select my plane here and the landing ground. You can just rename it to landing ground, and we can just hide it. So next, I'd like to start by a circle. So Shift A, you can jump to mash and you can use a circle. So for the dimensions of this circle, I'd like to reduce the number vertic to just ten. You can press Enter on the edit mode. So I'd like to jump to select and we can select you can use this check or D select. So now check this out if you press scale, but without this enabled. So if you press S to reduce the size down, you need to be on the median point again. If you scale it down, you're going to be having a star. So that's the co gase way to create a star. So all you have to do, you can press A and press F to fill that star. So let me just rename it here for the circle. You can call it star. Next, we need to create our shooting stars. I'm going to just tight the star here, and we can start again by sphere. So Shift A, we can jump to mesh, and we can use UV sphere. So for the dimensions, I'd like to reduce them down to just the half. So you can just go with 16 to eight. And when the right click shade smooth, we need to spin it on the Y, so we can press R Y. Let's spin it by nine degree. Can press Enter. On this mode, I'd like to select only, the second part here, can press, switch to the Y frame. Let me select this area and we can drag it here. After that, we can scale it on the X, so we can try Sx and scaled by ten or even up, so you can try SX again, and we can make it really can scale it real big. Something like that. So now we got that head, the head of the shooting star, and as you can see, the end is narrow. So let me just switch back to the solid, can investigate here, right shade smoothly. So now we got our shooting star, you can just rename it here. So let's call it shooting star. And we can just scale it down. And I'd like to spin it on the Ye so we can just spin it, let's say by -30 degree. So this is the shape of that shooting star. 15. Blocking out key elements of the space scene: In this lecture, I'd like to block out all the space element that we created so far. So here in this editor, I'd like to bring back all the head and parts so we get the landing ground, our planet, the shooting stars, the spaceship, and finally the stars. Alright, so now we have to organize them we can price zero so you can jump to camera perspective, and let me just organize these. So for the shooting star, we have to scale it way down and we can spin it on the Z. You can try RZ, and let's spin it by -90 degree, can scale it a little bit down. For the planet, let me select the planet here, can move it a little bit up. Center for the spaceship. Let me just find the best position. I think something like this, we can also try to scale it a little bit down. And put it here. So all those gear should be touching the landing ground. So let me just pay zero so that you can jump to the camera perspective, so here we can drag it a little bit to the right side so that you can center the spaceship. You can also try to spin it down, spin it around a little bit. Something like this is going to be great. So for the shooting stars, let me just scale it even down. You can duplicate it three times. You can have another one here. St like that. Scale this one a little bit down. Add two close to each another. Same here. And for the planets, let me just take this planet a little bit down to give it the same position of this planet that we got in the reference. And we can just keep duplicating these planets or shift the duplicate can take this one up, can just spin it around, give it a different spin. All right. And we can just keep adding random planets. Scale this one up, double, spin it around. So the double R is going to be for the random spin. And we can add another one here. We can make it real tiny. And finally, for the stars, let me just find my star here. C just take it up. So we need to make it pace in the camera, so let me just spin it on the Y like this by -90 degree, and we can just skip it down and we can just keep duplicating it multiple times. Shift D to keep duplicating it. And we have it so now we blocked all the space elements inside our scene. So in the next coming lecture, we're going to start check soring them. 16. Texturing Mars planet: In this tutorial, we're going to be creating a mars planet and we're going to be using that same texture to assign it to the ground to the landing ground that we got here. So let's go ahead and start working on it. So first, I'd like to press A to select everything and we can press H to hide all the elements. Next, we can start with the sphere. Shift A, we can go to Mash and I'd like to start with the UV sphere. So you can press period on the nam pad, right click and sheet Smooth. After that, control space to go back to the scene here. And I'd like to switch. For example, here we can focus on our here, and here we can switch the menu to the shader editor or let me press N, and we can click on this new material. Let's call it Mars Mars planet. And let's start working on this material. So first, here we can press, let me just press period on the numpad so that we can reset the Zoom. We can pressE switch the material preview. So to create a material that is similar to the Mars surface, I'd like to start first with the noise texture. So you can press Shift A. Let's search for noise texture and I'd like to connect it to a wave. So shift again, let's use wave texture, this one here, and we can apply or connect the factor to the vector here. And let me just go ahead and connect the color to the base color. So I'd like to connect it not the vector, but to the scale. Let's connect it to the scale. Next, I'd like to increase the distortion up this value. So I'd like to increase it to five. And for the details, I'd like to give it ten. For this third or fourth value, this detail reference, I'd like to take it all the way to one to add more details to our texture. So next, I'd like to add a math node to tweak a little bit the noise texture. So you can press Shift A, search for math node, and I'd like to put it between the noise and the wave. And here we can tweak this value. So I'd like we can hold shift so that we can go real slow. So to get the same value that I that I got, you can set it to -0.1. All right. So now we need to add a color ramp so that we can give our material some colors. So here we can press Shift A. Let's search for color ramp, and I'd like to put it between the wave and the principal PSDF. So here we can tweak these handles. I'd like to add the third handle. We can put it, for example, here at 0.9. Let me just reset the position 0.9. And for the colors so the first handle, I'd like to give it some light brownish color, something like this. So we can do the same thing here. I'd like to select the second handle. We can collect here and pick I'm going to use this eyrapper to pick the same card that we got here. And for the middle one, we can make it dark. So let me just again put or select the same card we got here, and we can make it darker. Let me just drag this part there. And as you can see our material start to look like Mars. So our planet looks exactly not exactly, but we can also add here subdivision surface modifier. To make this sphere looks more clean. All right. So the next step is going to be to add the roughness. So let's go down here. I'd like to start with coram again. So Shift A, coram. So the roughness is going to be how shiny or how rough our material is going to be. So we need to make it a little bit shiny. So let me just take these points up. So I'm going to simply connect the wave to the factor here, and on the other side, we can connect the car to the roughness. All right, so now we got a glossy planet, but we don't want that, so we need to tweak it a little bit. So definitely we got some water on Mars. So I'm going to just take this handle. Let's push it to the right side. For example, let's put it at 0.2. And for the is value, we can drag it way down. So this way, we're going to be eliminating or reducing down the glossiness. So here let's set it to 0.25. And for its color, actually, the white is the roughness, the rough surfaces here, while the black is the glossiness. So we can reduce the glossiness by increasing that color, making it a little bit of gray. So now it's glossy and perfect. So the final step is going to be to add some bumps. So as you can see here, this surface looks completely flat. So what we can do, we can add some bumps. So I'm going to be again using this wave texter and I'd like to connect it to a bump node. Shift A, let's add bump node, and we can connect the color to the height. And on the other side, the normal to the normal. And you can just track these nodes down here. All right? So you got some bumps going on here, so you can try to reduce the strength down to just 0.2. All right. And there we have it. So we got our material, our Mrs material. So we're going to be using this material to texture the landing ground of our planet. So I'd like to press Oldge to bring back all the objects in the scene. Let me also expand. You can press control space to maximize this window. And I'd like to select the ground. Actually, we are upside down. We can select the ground control space to go back. And here we can pick with the ground selected, we can jump to the materials, and we can select that same material that we just created, which is the Mars planet. And there you have it with texture, the landing ground. So I'm going to just hide my Mars planet here. So let me just find it. We can call it planet Mars. And we can just hide it. Let's press Cal on this eye to hide it. Let me just press zero, and we got the landing ground textured 17. Texturing all planets in the space scene: In this lecture, I would like to texture all the planets that we got in our scene. So we're going to be creating various materials for each planet. So we have the green, the red, the blue, and the purple. So let's go ahead and work on it. So you can stop by this planet that we got here. I'd like to split my scene vertically like this. So it's lagging because this material is demanding a little bit. So I'd like to switch the bottom to the shader editor, the bottom window. For this material, I'm going to be using the same Mars material that we created for the ground. So we can just click on this material browser and we can search for Mars planet. So let's click on it. So we can press to hide this panel. So we got our material here. So I'd like to duplicate it. I'd like to create a new material for this, so it's going to be red. So here, in the material shader, you can also do that here, so they are the same. So you can click, for example, on this new duplicate or new material, and we can call it Mars or just plant red. You can call it the red color. And let's go ahead and tweak this or am. So first, I'd like to delete the third handle can just keep two handles to keep to make our material look simple. And for this first handle, I'd like to pick you can pick the red color that we got here. And for the second handle, let's pick the second handle and also we can give it the same red color, but it should not be this dark, so we can just take that darkness a little bit up. So we got so now we got our so next order that you do, I'd like to show you how can we make it shine a little bit on the edges. So you can see that here. So, for example, we have some shininess around the edges of our planet. I makes it look really good. So to do that, we're going to be using the fernel node. So let me just show you the way. So here we can just take the material output. I'm going to just disconnect it for now from the surface, so it's going to be dark. And I'd like to show you this fernel on its own. So you can press Shift A. Let's search for Fernel node this node that we got here. Can connect so you can connect the factor to the surface so that we can see this fn on its own. So now you can see the difference that it give us. It makes the inner dark wild edges are white. We can also tweak, for example, this IOR value. If you want to make strong effect, for example, something like this, 1.2 it's going to be great. So the edge that we got in our reference is a little bit sharp, so it's not fading well like this. So what we can do to tweak this effect, we can use the color ramp. So Shift A. Let's search for color ramp. And we can put it here. And for these two handles, we can just make them close to each another. For example, you can take the white and drag it to the right side to the left side, and we can achieve this. You're going to be having some sharp reflection on the edges of our planet. So now what do we can use this setup as a mask. So on the inside for the black, we can replace the black with our material with our red planet material. So what we can do, I'd like to use the mix shader. So Shift A, we can search for a mix. Shader node. This one, I'd like to put it here. So the fern going to be using it as a mask. Let's just drag it up for the factor. And for the principal BSDF, we can use it as the second shader. You put it as second, and for the first shader, we can use anything that you'd like. So in my case, I'm going to just go with Cpresseshift A. You can search for glossy you can use a glossy color here. So actually, the principal ZF should be connected to the first shader. So we need to have it replaced in the black, not the edges. So we can just take it and connect it to the first shader. All right, so now we got it in the right place. So next for the second shader, we can use a glossiness, so let me just connect the glossy to the second shader. So basically, this node is going to be shown on the edges here. So we can tweak it. We can make it glossy, or actually, we need to make it rough. I'm going to just take it all the way to one. Also for its color, I like to make it dark. Give it some dark color. Let me just check it from here. Alright. Also, we can tweak cut Ramp. Let me just find the best spot. We can also play a little bit with this material, so I'd like to reduce the strength down to 0.1. Should not be having strong bumps. And basically, that's it for this planet material. So next step is going to be to duplicate this material across all these other planets. So you can do it manually. You can select each planet and add, and you can add the mars planet, but it's going to take some time. So the quickest way or the shortcut is to select all the planets while doing shift like this. And the last selection needs to be the planet with the material applied to it, this one that we got here. And inside our material properties, so we got this dot here. If you click, you're going to be seeing this copy material just selected. If you click on it, you're going to be pasting this material that we got here across all these other planets. So now all you have to do is to tweak the colors, for example, let's select this one that we got here, this planet. So I'd like to duplicate it, we can click on this new material. And since so the second material is green, so you can just change red, to green. And here, we can tweak this color. Let me just find this color ramp. So here, I'm going to just be picking the green. Let's pick this screen here. Same thing for the second handle. I'm going to be picking this screen. There we go. So I'd like to do the same thing for the third. So this one is blue. So let's just duplicate it again. You can call it blue and to repeat the same steps. So I'm going to be choosing this blue here. Nice. The one on the bottom, let me check it. It's purple. So let me select this planet, duplicate the material, call it purple, and let's tweak these handles. You can pick a purple color. And for the other materials, so you can just reuse the same material that we just created. For example, this one we can make it green. So let me just search for the green planet. The one on the top, can make it blue, and this one here we can make it purple. And basically, we got it. So we textured all of our planets. So in the next come lecture, we're going to continue with the shooting stars and the stars. 18. Texturing stars & shooting stars: Now we have to texture the shooting stars and the stars. So let's go ahead and texture them. This one's going to be pretty much easy. Control space to go back to this view and with this shooting star selected, we can add a new material to it. You can call it here shooting star. And for the principal SDF, we can go to the emission down below. You can change its color. You can give it that fiery color, something like this, and you can increase the strength to 25. Something like that it's going to be accurate. All right, so let's do the same thing for the stars. I'm going to be selecting the stars here. We can choose the same material that we created the shooting stars. So the last step to do is going to be to assign the same material to all the objects on the shooting stars. So let's select all the shooting star that we got in the scene. Shift left collects to select them all. All right. And the last element is going to be the one that is juxta, this one, shift selected here, and here in the material properties, you can go to this icon here that's drop down, can collect and copy material to select it. So this way, all the shooting stars will have the same material. So let me do the same thing for the stars. So let me just select all the stars that we got here. And Shift select the textured one. And we can click copy material to select it. So let's press zero. So now the shooting stars and the stars are textured. 19. Generate stars in sky: So now I'd like to start working on the lighting. The first thing to do, I'd like to generate some stars in the background, the sky stars. Let's go ahead and start working on that. I'd like to split my scene vertically like this and on the bottom, can switch to the shader editor. So now we're going to be working on the lighting, so we have to switch from an object, the object mode to the word mode. So this is what we got. We got the background color connected to this word output. I don't actually C this material applied, we can press here and we can switch to the render mode. So this is what we got. It's completely gray. So we are using this color here. So if you try to change it, going to be having different setup. So let's go ahead and start improving the lighting. So first thing to do, it's going to be to add the stars. So I'm going to just delete this background node, and I'd like to start with some noise texture. So Shift A, let's search for noise. Texer. Let me just expand this one a little bit further. So the noise texter needs to be connected to color AM. So let's press Shift A, let's search for color R And we can connect the factor to the factor of the color ramp and the color to the surface. So now we are seeing the noise sector. So I'd like you to tweak these handles, something like this, can take this one up. So to be more precise, you can take the black and give it 0.7, while the white, you can give it 0.8. And next, all you have to do is just increase the scale of the noise so it's increased up. So this way we're going to be creating can be forming our stars. So we can increase the scale all the way up to 300, and now you can see we are creating the stars in the sky. So the next step is going to be to add a fog layer here to make the sky looks terrain. So now it's completely dark. 20. Adding Sun lighting: The next step is going to be to add the sun to lighten up our scene. So we can press Shift A, shift A here, we can go to light, and let's add the sun. All right. So we got the sun. We can press zero so that you can see the lighting from our camera perspective. So I'd like to do to the sun, we can jump here to the abject data properties so that we can play with the settings. So for the strength, I'd like to increase it up to let's say ten. Next, I would like to tweak the position of our sun. I don't want you to be straighten up like this. So what we can do, we can press N. Let's jump to the item, and we can play with let me just find the right settings. So we can play with the rotation. So on the X, I'm going to keep it at zero. So for the Y, we can give it -80 degree and for the Z, we can give it 100. So this is the best setup that I found, so feel free to make adjustments so you can keep adjusting with the position here to get different lighting setup. So next step is going to be to work on the angle, angle of the sun. So I'm going to just increase it up. So let's say to 25 degree. Next, I'd like to tweak a little bit these materials on the spaceship, so they don't look that good. So we can do. Let me just find the spaceship main. So here, I'd like to go back from the word, back to the object, and let's check this checker texture. So I'd like to make the red completely red so we can increase the saturation all the way to one. And for the glass, so we need to make it look like glass. I just to reduce the roughness all the way to zero. And for this reflection, the IOR reflection, we can increase it up to something like 15. For the steel material that we got here, so it's barely visible. So what we can do, let me just work on it a little bit. So this is the steel. Let me try. Yeah, this is the one. So we can decrease let me just find the best way to handle this. We might want to bevel this edge. We can press Alt, shift t. Let me just bevel it a little bit. Control B, can bevel it like this. While increasing, we can scroll the mouse so that you can add an extra edge loop on the side. So now we got some reflection on that edge line, which is good. We can do the same thing here. Let's press Alt on the bottom, shift old to grab both of those edge lines, and we can bevel them. So Control B. Let's bevel them like this. Alright, so let's go back to the render mode. So now we got some reflection here. It looks much more better. So you can also add a new light source here to lighten this side here. It's completely dark. So can press shift A. Let's jump to light, and I'd actually bring this area light. So let me just take it up. We can move it to the right side and we can spin it on the X so let's spin it sideways. Next, we can on the object properties, we can increase the power to let's say 150 watts. That's good. Spread zero so that you can see it from the camera perspective. Also here for the size, we can reduce the size of the light. Make it really tiny, something like 0.25 meters. 21. Add fog layer: Next step, I'd like to add a fog layer effect and put it here. Let me show you that in the reference image. So if you press Control space, you're going to see that the bottom here looks a little bit light blue. So here we have dark blue and on the bottom, we have some light blues. So first, we have to switch to the word so that we can be effecting the stars and the overall lighting. And I'd like to start by creating that new layer. So we can just take these two notes down. And I'd like to start with the gradient color so you can press Shift A. Let's search for gradient color. You can go ahead and connect the color to the surfaces so that you can see it here. So let me just scroll down so that you can see that layer, right. So now we have that gradient. So I'd like to do, I'd like to spin it around so you can we can add the mapping and the texto coordinate to the gradient. So we can press Control T so that you can have access to the mapping and the texto coordinate. So previously we enabled the node wrangler so that you can have access to this shortcut. So the quick way to do it is go to Edits preferences, add ons, and you can search here for wrangler, and you can check this box. So now I'd like to spin around that linear gradient that we got here. So I'd like to play on the Y. So you can just turn it around. Let's type 90 degree. All right, so let's press zero so that you can go back. So we got that line here. But this line looks a little bit perfect, so it's straight line. So what we can do, we can add the noise sectors so that you can have some distortion on that line. So here, let me just you can just tick these two nodes down. And I'd like to add noise texture. So Shift A, we can add noise texture. I'd like to connect the noise to the scale of this mapping node. So let's connect the factor to the scale, and we can reduce the scale down to just one. So you're going to be affecting that scale. Alright, so next, we have to give this gradient some color. So here I like to add notes. So Shift A, we can search for color ramp, and we can put it here. So now what we can do can tweak these colors. So for the black, so the black is the one on the bottom, can give it the light blue. So I'm going to just pick a light blue from here. All right. And for the white color, and for the white, you can give it the dark blue. So let's choose this blue here and we can make it completely dark. Sounds like this. So next, I'd like to drag this handle and let's push it to the left side. There we go. So we got that gradient. You can just stick it down. But I think I'm going to just leave it here and instead, we can play with the mapping again. So I'm going to just play with the X so that you can reduce it down. Let me just increase it by 0.1. All right, so we got it over there. Let me just take this handle a little bit up. Something like this. Next, let me play with that noise texture. We can try to increase the scale here to have some noise because we don't have any noise here. So let me increase the scale to set 2.5. And we can add a math node here. Shift A let's search for math node. Let's put it on top between the noise and the mapping, and we can play with this value. Let's see here. So I'm going to just reduce. Let me just I think I found a way so we can just bring this node down here. Alright, so now we got that noise, you can see it here. That's really good. We can see that if we try to play with the scale here. Alright, so we added that layer, but I'd like to tweak it a little bit. It should not be strong like this. So what we can do, we can take this one a little bit to the back. Something like that's going to do it. Let me just see here. All right. For this color, we can make it a little bit darker. Nice. So now we have to bring back those stars because we lost them. So what we can do, we can mix between this color ramp and the stars. So these two nodes are the stars. So let's just bring them here, and we can add a mixer. So let's bring Shift A, we can search for a mixed node or mixed color. We can drop it between the color ramp and word output, and for the B, we can connect the stars. And we got it. So we got the stars, and we got that layer of fog on the bottom. You can play a little bit with the factors. So, for example, if you want to show only the stars, you can take it all the way to one. If you want to show the layer only, without the stars, you can take it back to zero. So here I'm going to be let's use, for example, 0.7. So you can make this handle a little bit brighter, so let me just take it up. Something like that. So for the sun, I'd like to increase the strength of the sun to have brighter colors here. So let's set it to 15, and let's see. What about 25. That's a little bit too much, so we can just bring it back to just ten, 20, 20 is going to be fine. For the angle, let's see here. So for the angle, if you want to have some sharp shadows, we cannot reduce it down, so let's reduce it back to just ten. So this way, we're going to be having some presence in terms of the shadow. 22. Lighting volumetric sun: In this tutorial, I'd like to show you how can we make the sun volumetric like this to give it that nice, realistic touch. So let's go ahead and start working on it. So first, we have to switch to the word lighting on the bottom here. Let's jump to the shader editor. And for the mode, it's going to be the word. So if you scroll up here to the word output node, I'd like to add the volumetric scatter. So right collect or Shift A, let's search for volume scatter, this one right here, and we're going to be connecting the volume to the volume. So it looks a little bit dim. So what we can do, first, I like to so now I want you to increase this second valid strophi to something like 0.98. And for the color, we can increase the saturation. For example, we can choose a red color. Let's make sure that the saturation is set to one here. So this is a must. Otherwise, it won't go to work. For the value, we can keep it at one as well. All right, so now we're going to need to add a new object. So Shift A, we can go to mesh, and let's search for UVsphere. So I'm going to just move this UV sphere here. You can just scale it down way down. And for this object, we need to go back to the object so that we can affect it. And I'd like to add a new material to it. So it's going to be volume volumetric lighting. You can call it any thing that you'd like. The name doesn't matter that much. So you can press A and period so that you can reset the Zoom here, and I want you to just delete this principle PSDF and what we can do, you can do we can do Shift A, and let's search for volume. So the same thing. So the volume scatter and we can connect it to the volume here. And there we have it. So now we got our lighting our volumetric lighting. So for this object here, it should not be visible. So what we can do, we can add the transparent. So Shift A, search for transparent node. And we can connect the BSDF to the surface. So this way, one can be visible in the render mode. So all we care about is just this volumetric lighting. So you can go back again to the world and we can adjust here the color. So for example, the color here, you can give me some color that makes sense. So let me just find so I'm going to just go with the blue. I really like the blue here, the blue sun. And this is a trick you can reduce here the intensity, the density, if you want to reduce it down. So I'm going to just reduce it to 0.75. So in my case, I'm going to just keep it at one because we're going to be working on the side from here, not from the front. So here for the density, I'd like to reduce it down to something like 0.01, really low value. And there we go. So we got our volumetric sun lighting. 23. Animate spaceship taking off: In this new section, we're going to be working on the animation. So this is the final result that's going to be able to achieve. So we got the spaceship going to be taken off, so the door of the spaceships to closes, and after that we're going to have the launch. Then we're going to be having some shooting stars in the background animated. Same thing for the planets. They will be spinning around their local axises. For the camera, we're going to be having some shaking, going to be adding some shaking and it's going to be reverting a little bit backward. So that's all that we have for the animation, so let's go ahead and start working on it. First, I'd like to make this spaceship door opens. So on the bottom here, I'd like to split my window vertically like this. So for the bottom, we have to switch it to the timeline so that we can so the timeline is where we're going to be animating our key frames. So let me just press T to hide this panel on the right side. And let me select my door here. We can press period on the Nan panel so that you can zoom on it. Let me also check the screen caskes and we can open it. So in my case, I have to open it on the y. We can press R. Y, but I'd like to open it on the local axis so that you can have it perfectly aligned with the spaceship. So you can just press Y another time. And this way, so that's the local axis, but not this way. So RX can press X double time. So the local axis is the X axis. So let me just spin it around here. You can write, let's see. So I think around 105, you can see the clapping right over here. So around 105 degrees, it's going to be touching the ground. Like this. So I'm going to be jumping to frame. Let me just press zero so that you can see the camera. So let's select the door. So I'd like to jump, for example, to frame ten or even 20. So from 20, we're going to be closing the door. So let's insert that the X rotation. So you can do right click and insert single keyframe of the X, and we can jump to frame 40 and we can close the door. Let me just take it all the way up back to zero. So you can write zero here. Let's do right click and insert again single keyframe. So now if we start from the beginning, if we set this value to zero, and if we press space, so at starting from 20, the door is going to be close in itself. So now if you play the animation by pressing space, so you're going to be having the door closes. There we go. So maybe it's closing too fast, so we can do to make it slow. So let me just select the door. We can expand the closing. I'm going to just select the keyframes on the right, and we can press G, X to move them around. So you can move them by 15 or 20 frames. So check this out. You can do right click and shift so that you can start from the beginning. The shortcuts you can do here is zero, and les press the space bar. And this we're going to be having the door closes really smooth. So after having the door closes, so I think around 90 from here, we're going to be having the lift off. So we're going to be seeing some smoke around 80 frame and around 90, so the spaceship needs to be taken off. So let me just select the spaceship. So the keyframe that we're going to be animating is the Z location because we need to take it up. So around 90 frames, we can do right click on the Z value, and let's insert the single keyframe. And we can jump all the way till the end, so at frame 250, and we can just take Z location up, for example, here. 9 meters up. Let's do right click and insert key frames. All right, so let's press zero and let's see. So the door closes, and around 90, it's going to be taking off. There we go. You get that slow start, which is great. But the problem here is that so the spaceship is going to be slowing down here. Should should be accelerating instead of slowing down. So to fix this problem, we have to work on the curves on the animated curves so we can switch the timeline to the graph editor. And with the spaceship selected, you're going to see the curve that we got. So here it's starting slow. That's nice. But also at the end, it's going slow. So what we can do, we can select this handle and we can spin it around. So let's press R. You can spin it like this to make it curvy. So now we're going to be having an exponential curve that means the speed is going to be exponential. We can also make it linear, but I don't recommend that because if you make it linear, we're going to be having those sudden movements. So let me show you can press A, press and we can change it to linear. So check this out. If we press space, so at the starch, it's going to be moving at a constant speed like this, and we don't want that. We want to have some slow start. So let me just reverse back control Z. All so now we got some slow starch, and at the end, it won't go to stop. It's going to keep accelerating, like this. Also, I see that it's a little bit slow, so we can increase its speed. Let me just select this handle. If you want to increase its speed, you can take it up. You can press GY and let's sick it up like this. So this way, we're going to be accelerating faster. So I'm going to go with this. So next thing to do, I'd like to add some movement to the spaceship. It should not be perfect like this. So we can make it spin around just a bit like this as it goes up. Just a bit of rotation here. So you can see that the rotation that we need to apply is on the Z axis. So let's jump here to frame. 100 and we can insert this value. So right click insert a single key frame, and, for example, at frame, actually we have to start a little bit later. So let me just select from here the z rotation, and we can take this handle and we can move it a little bit until the spaceship is taken off. So I think round 125 it's going to be fine, so you can just move it. We can press GY or act GX, and let's move it here. So here, Round 130 frame, you can just spin it around by, let's say, 60 right collect insert key frame. Let me just select the Euler protation. Yeah, but that's a little bit strong. So the next step to do it, it's going to be to add some rotation to the spaceship once it takes off. I don't want you to keep it completely straight. So you can have this effect by spinning it around just slightly like this as it goes up. So to achieve this effect, we can jump, for example, to frame, let's see. Frame 130 So if you want to move like this, you can press Shift and write click, so you can move around these frames. Round 130, let me just use the right row on the keyboard to move one frame. So here we can insert the Z rotation. So te click insert single keyframe, and here we can select that Euler rotation. You can press A, period, to zoom on that. So this is the key frame that we got. All right, so we can jump, for example, to frame 50 and we can spin it around like this and at frame 70 you can bring it back. I have a better way. We can make it random. We can use the noise modifier to make this animation on the Z access random. So first, let's select the Z rotation, and we can jump here to modifier, so we can press N to access this panel. And here we can add the noise modifier, this modifier. So let's add it. So now it's going to be noisy. So if we press space, we're going to have rotation, but it's not well set. So what we can do, we can play with the scale and the strength. So let me just increase the scale. Let's say to 15. Let's press space. So now we have some better wobbling, but that's a little bit too much. So let me increase the scale to even up. So let's say 30. All right. And we can reduce the strength down to 0.25 to have just some subtle rotations, something like that. We just doesn't need so it just doesn't need to be perfect. We just need to have some slight rotations. And next, we should not be having that rotation at the start, so here should not be rotating around. So what we can do, we can check here the restrict frame range. And we can make the start at once the spaceship is going to be taken off around 125. So it's going to start with 125, and it's going to end at 250, which is the end here. So let's press space here. Alright, we got it. But here, if you zoom in, you can see that we have some sharp start. So we should not be having this sharp here. It's going to move sundly here. So to fix this problem, we blend we can affect the blend in. So you can just increase the value here to have a smooth curvature. So let's press the space bar. So now we're going to be having some slight movement. Also here, we can increase the strength. Let me just bring it back to one. One is too much, so let's take 2.5. There we go. So here we can press Control space to maximize this window, and let's check out animation. 24. How to rotate planets on the local axis: In this storial I'd like to show you how can we animate an object on its local axis. So this planet that we got right here, if you try to animate it around the Z axis, so it's going to be spinning like this. So we don't want that. We want to animate it around its local axis, which is around here. So if you press R, Z, and Z another time, we're going to be moving around the Z axis. So this is what we want. Unfortunately, if we try to animate it like this, so let's press shift right click. If you start, for example, at frame zero, let's press N. So we can press R Z double time. If you press I creating insights, which one is going to be happening. So you can see the rotation here. So all the values are moving at the same time. So it's going to be a real challenge to animate them all. So the way to animate this planet around the local axis is by adding a new object. You can add any new object. I prefer to add an empty. So you can use, for example, this plane axis. Where is it? It's here. Let me just delete it from there. We can just make it as close as possible to the planet. So Shift A, empty and spring plane axis, stick it up here, scale it up in order to see it. Now we're going to be making a connection between the planet and this axis. So let's select our planet, and we can add a new constraint. So here in the constraint properties. So that's a transformation, transformation constraint. So the target of this transformation is going to be this axis that we just created, this empty. So we're going to be converting the rotation of this object to this locally. So let's select our planet. And here on the bottom, we have the map two and the map from. So the map two is the axis, and the map from is the planet. So since we want to copy the rotation, so let's set here both rotation. And like I said, the map two represent the planet, so we need to make it on the Z axis locally. So here, let's jump to the Z axis. So for the owner, it needs to be on the local axis. Like this. So now if we try to play with so we can increase here. So the minus needs to be -360 degree, and the max is going to be 360. And we can do the same thing on the Z axis of the map two. So 300 or -300 for the -260. So check this out. If you select this axis, if we try to spin it on the Z axis here, so we're going to be having the planet spinning around the Z axis. So this is exactly what we want. Now it's going to be easy. All you have to do is to animate this axis. So let me just move it here to the center. So on the Z axis here, we can do right click insert single keyframe and we can jump all the way to frame 250, and we can make it 260. Right click insert another keyframe. So let's press space, and let's see. So now it's going to be spinning around. So we're going to be having that issue again with the slow start and the slow end. So we can press A to select all the keyframes here and can press T, and let's make it linear. So this way, we aren't going to be having any slow down movement. So now we'd like to do the same thing to the other planets. So the quickest way to do it is by selecting all the planets that we got here. And next, this one, too. Next, we can select the planet that we animated to be the last one, so shift let's click to select it. And here for the transformation, we also apply to the entire planet. So here we can click on this icon, and we can do this copy to select it. So this way, we're going to be copying the same transformation constraint to all the other planets. So if you press space right now, all of them will be spin. I'd like to have different rotation. So all of these planets, they have the same rotation. So if you want to make, for example, this one, if you want to make it slower. So what we can do, you can select this planet, and here for the influence, you can play with it. So if you reduce it down to let's say 0.25 just quarter, it's going to be spinning by 75 less, 75% less. So check this out. So now, this one is spinning faster and this one is spinning slower. So this is the way to add some variations in the animations. So let's press zero. Let's go back, and we can start from here. So also for this one, it looks a little bit too fast. So we can just reduce it down to just 0.15. So let's start again. There we go. We got some slow start here. So let's press space here. So to start from the beginning, we can press Shift and left a row on the keyboard and we can press space. And there we have it. So now this plant is spinning very slowly. Perfect. 25. Add Smoke particles: In this tutorial, I'd like to show you how can we create some smoke? So the space shape ones can be taken off. We need to create some smoke here. We're going to be using the particles to create this smoke. So let's go ahead and do that. So first, I'd like to jump to the first earlier frames. So here, I'd like to create an object right here at the bottom. So we can press Shift S, Curt just selected, here can press Shift A. I'd like to go to mash and we can bring UV sphere. So for the dimensions, you can just reduce them down to just 12 to eight. He for the ranks. Can the rag collect shade smooth. At this mode, we can scale it real down. Let me just press switch the Y frame, and we can push it down here. So this objects going to be emitting the smoke here. So as you can see it's pretty much close to the engine. So you can just drag it a little bit down, scale it down here. So next we can jump to the particle system here, and we can add a new particle. So let's call it spaceship, smoke. So for the number, I'd like to experiment with lower number. So let's try 200 to start with. For the starting frame, so basically, we need to have the smoke after a little bit before the space is taken off. So the space is the spaceship is going to be taken off around 90 here. Let me check this your location. So it's going to take off at 90. So we need to emit the smoke right before, so we can go back by let's go to 75. So we're back 15 frames backward. So let's select the sphere that's going to be emitting the smoke and we can do the starting position. So the start frame is going to be 75. And the smoke is going to end. Let's see. So once the spaceship is going to be reaching, for example, this level, I think 200 is going to be fine. So for the end, so once the spaceship is going to be reaching this level here, so let's say 160. So you won't go to be having any smoke. So let's set the end here to 160. So for the lifetime, it means how long these particles they will live. So for example, at 75, so these first particles, they will die after 60 frames, after 50 frames. So you can increase the lifetime, let's say, to 60 can keep them a little bit longer. Alright, so let's scroll a little bit down, and we can be on the dynamics to see the result. So if you press space here, we're going to be seeing those particles come into play. But we have to work on them. They should not be like this. So first, we need to make them interact with this landing ground here. So what we can do, we can select here this landing ground and we can make it a collision. So we can jump here to the physics, and I want to trick click on collision. So let's select again the particles, and we can redo that baking. So let's scroll here. We can delete all the bikes, and let's pick all the dynamics. Ar shift right click and we can press space, and let's see. So there we go. So now they are colliding with the ground. So let me try to increase the size. I'm going to try to increase. Let me first. So here, this is the scale. So in the render, we have the scale. We can increase it up to point let's see here. 0.3. As scroll a little bit up, delete all the bakes. And we can press space here to see that. Okay. All right, so we got the particles. So I'd like to do I'd like to replace these elements with some objects. So you can press Shift S cursor to select it. Shift A can go to mash, and I'd like to bring a new UV sphere. You can keep the same segments and rings 12 to eight, or actually, let's just reduce them down to ten to five. Because we're going to be duplicating this sphere multiple times, so it's good to keep it optimized. Let me just take it here. Sideways, we can do Ric click and shade smooth. So for this object here, we can press F two and we can call it smoke poticles. You can add the name units smoke particles, units. Units. All right, so now let's select the particles that we got here, and I'd like to emit this sphere instead of these objects. So you can scroll down. Let's delete on the bakes. And if you scroll down to the render, so instead of rendering it as halo, so this is the halo objects, you can just switch it to an actual object. And here for the instance object, we can pick you can just search for it, which is sort of search for smoke particle units. Now we're going to be replacing those hail objects with our sphere objects. All right. So next, what we can do, we can tweak the scale. So now we can tweak the scale here. I'd like to increase the scale here to, let's say 0.5, and also we can increase the randomness so that you can have different scale. Each one is going to have different scales. So let's give it 0.75 here for the randomness. All right, so let's start from the beginning. We can set the frames here to zero and let's press space. All right, so the door closes. So we got some particles, and the spaceship is going to take off. So you can see that they are dancing here. I don't want that. So what we can do, we can tweak a little bit the dump value. Let me just find it first. It's inside the physics, the forces here. So we can increase the dump to something like 0.01 to reduce that bounciness of these elements. So let's start again from here, press space, and let's see. So now, I don't see much of a change. Let me just try to increase that value to 0.1. Start from the beginning. But they stick together. We don't want that. So let's just reduce it down to 0.0 25. Press space. So I'm going to decrease the gravity factor, so we can only scroll a little bit down to the gravity. Let's give it 0.5. So we need to make them a little bit fly. Alright, let's start from the beginning here. Okay, we can decrease the gravity even down to something like 0.15. So with particles, you just need to keep experimenting. All right, so we got some nice effect here. So let me try to increase the number of these units instead of 200. Let's give it 500. And let's start again. Alright, so that looks good. So as I like to animate the scale, so I want to scale up those smoke site, the size of the smoke. So here for the scale, you can increase it with time, something like this until it's going to reach the camera. So the goal here is to create a loop animation. So one's going to be reaching the end here, so we're going to be having a big smoke like this and we can start again the animation. But I think I'm going to just get rid of that dump, this dump value. Let me just reduce it back to zero. And let's try again. Okay. Also, I'd like to increase I'd like to increase the lifetime, so you can give it 100 for the lifetime. We need those particles to stick with us a little longer. All right, something like that. All right, so we got the particle, they are expanding. So for example, once we're reaching 200, I want to increase the size of them even more so that they can cover the entire camera frame. So here in the particles, let's scroll down until we find the scale again. So here we can do click insert a key frame, and at the end here at 200 and let's say, 240, so you can expand it even up. 26 again. Right click insert key frame. All right, so now let's start from the beginning and let's see that change. Alright, so they are expanding. All right. So here, nope, I don't like that, so they will be expanding too fast. We don't want that. So I'm going to just delete this frame at 200 Right click Delete key frame. Also, you can delete this one. So we can tweak this animation better if we jump here to the graph editor. So we can select here the size. Let me press A period so that you can reset the zoom on the curve. So we're going to be skiing like this. So here, what we can do, we can spin around this handle, this trR. You can spin it like this. So now it's going to be going exponentially. So this is the way to get the smoke skiing up. So it's following, as you can see, it's following that engine. Perfect. So what we have to do right now, we have to give this particle unit material so that we can make it transparent and look like the smoke. So if you press Z right now, what should render. So this is how it's going to look like. So you have to work on it. So I'm going to be selecting the smoke particle unit object. And here, I'd like to switch to the shade editor, and you can give it a new material. So let's call it here smoke. So in my case, I won't going to be using the principal SDF, so I'm going to just select it and delete it. And instead, I'm going to be using the volume scatter. Shift A, let's search for volume. Scatter this one right here and you can connect the volume to the volume. All right, so now it's start to resemble to smoke, but we can work on it even further. So we can reduce the density here down. But I'd like to control the density with a cameram. So let's press Shift A. We can use a cameram then we connect the color to the color. So here you can tweak the colors so you can make it red, and give it any color that you like. Also, I'd like to give it some kind of noise texture. So I don't want it to be perfect. So you can press Shift A. Let's search for noise, noise texture. But before connecting it, as you can see here, the quality of the smoke is really bad. We can improve that, Let's go to the rendered properties. So if you scroll down here, you're going to find the volumes. So the resolution is such a one to eight, which is really low. So what you can do, you can take it up. So the best setting is going to be one to one, but it's going to be a little bit hard for the computer to generate. But that's fine. So now we got it here. So it's going to see I'm experiencing some lagging. I'm going to just go with one to two. So next, I'm going to connect the factor of the noise to the factor here. And let me try to play with the smoke with the scale here. I'm going to just reduce the scale down to 2.5. And also, in order to see it, we have to add let me try to add the mapping and textarcdinant. So with this noise, texas selected, we can press Control T. So now we got the mapping and the textile coordinatet. So now let me work on this camp. So what we can do, we can take the black. So now you can see that noise comes to play. If you play with the noise texture, the scale, you're going to be seeing that change. So I'd like to take the black to the right side and the white here. Alright, so that's fine. The best way. Also here for the type, I'd like to switch it from linear to constant. So I think I'm going to just bring back so something here. Also, I'd like to tweak the rotation of the particles. I don't think they are so they look the same here. So down below, you have to check here in the object. In the instance object you can check the object rotation. So this way we're going to be having some random sizes with random rotations of the smoke, which is great. So the last thing to do is going to be to make this sphere transparent, which should not be appearing in our render. So let's select the smoke and here on the bottom, you can switch the timeline to the shader integer and we can give it can add a new material. Let's call it transparent. Transparent. You can press A period to get this node set up, and we can just reduce the Alpha all the way to zero. So as you can see, we don't have that object. So it's here, it's the object that's given us the smoke, but it's not shown in the render. So the last thing to do is going to be to bake the animation, so let's go back here to the timeline so that we won't go to lose it like this. So select the smoke here and you can scroll down and we can bake all the dynamics. So now it's baked. So let me just press Z, switch back to solid. So now it's going to be baked. I 26. Mastering camera movements: The next step is going to be to animate the camera. So we're going to be having some shaking when the door is going to be closing here. So I'd like to shake the camera just a bit like this, and we can slightly move a little bit back. So let me select my camera here and we can jump here to the camera data properties and we can focus, we can tweak a little bit the focal length. So at frame zero, we can right click insert keyframe and we can jump all the way to frame let's say, we can go till the end, 250, and we can give it 25, right click in search key frame. Also, to make it linear, we can press T and search it to linear. So now we're going to be having some movement backward like this. So next we need to add the shaking. So once the door is going to be closing here, we need to add that shaking around 58. So here we can animate the Z location. So let's press N. So I'd like to animate it on the Z. So I'd like to animate here the X rotation, right click insert key frame. So now we can add the noise modifier so that we can animate this rotation here. So let's switch the timeline to the graph editor. And here I'd like to select the object transform the Euler rotation. You can press A period to reset the Zoom here. So the red one. So here we can press N, go to modifiers, and let's add the noise modifier. So now it's noisy. But we have to limit or restrict the frame range. Let me just restrict it. So we need to start from 58 58, let's say 63, only five frames. Let's see. We got it, but we need to reduce the strength down to 0.15. Let's try that again. That's good. Maybe too much. So what about 0.05? Sounds like that. But I'm seeing some other noise come to play here. So why do we have another noise? Let me just remove this noise here, and let's see. So we still have another noise going on. Let me check the focal length. Yeah, we also have noise for the focal length. I'm going to just remove it. I don't know how it was added. And let's bring back the noise of the rotation. Let me scroll back here. Press space. There we go. So next we can add another noise when the spaceship is going to be taken off. So we can start, for example, from 105 or actually, we can start from 100. So let me just do that. So I'm going to just collap this noise. We can add the second noise modifier, send them to this Euler rotation. And we can start so let's strike the frame. So you can start from 100 and it's going to be 200, 250. So let's see. There we go. Let's reduce strength down to 0.05. There we go. You got that shaking, but that's a little bit too much. So we can decrease it again to 0.01. There we go. So we got that shaking. Also another trick if you want to keep the camera looking at the spaceship, so I'm going to show you the ways to do this. If you want to make the camera, focuses on the spaceship. So the track that you do it, you can select the camera. You can go to the constraint here and you can add the track to constraint. So for the target here, it's going to be the spaceship. You can just use this eyedropper and select the spaceship here. So check this out. So now the camera is going to be focusing completely on the spaceship. So it's going to take off, it's going to keep focusing on it like this. Also, you can apply or you can affect the influence. For example, you can put it to 0.5 so that we can have some not mics perfect. Alright, so that's really good. 27. Rendering & compositing: In this tutorial, we're going to be rendering our first shot. Let's set the settings for the rendering. So we can jump here to the render properties and we can start first by increasing the rendering samples so that you can have higher resolution, higher details. So you can increase the resolution here, the samples to let's say 500. And I want you to check the shadow. We need to have some shadows in our render. Next, for the rate raising, we're going to need the rate as for the resolution, I'd like to increase it up to one to two for the factor of one to two. Also, down here, we can check the volume. So for the volume, I'd actually increase the quality to one to two. And for the second tab, we have the output. So for the output here, I'm going to just use 1920 pixels by 1080. And for the dimension, going to keep it at 100% of these resolutions. So now let's go ahead and give our scene a render. So on the top here, you can go to the Render tab and render image. And just switch for it. Alright, so we got our render, so next I exchange the composite sitting so that we can improve our render. So let's go back to our scene here. We can jump to the compositon on the top. And I want you to check here the nodes and the backdrop. So in order to see our render in the background, we can add the viewer nodes. So Shift A, let's search for viewer. There's no there and you can connect the image output to the image input of our viewers. So this way we're going to be seeing our ender in the background. If you want to move it, you can press Alt and middle mouse so that you can move it like this. If you want to zoom in, you can press V. Actually zoom back, you can press V, if you want to zoom in, you can press Alt V to zoom N. So I'm going to just keep it like this. So the first thing that I'd like to do, I'd like to add some glare so that you can make these stars shiny. So you can press Shift A. Let's search for glare node. I'm going to just put it between this line here, and we can also connect the output to the viewer so that we can see the effect here and immediately going to see this nice effect, but we have to work on it a little bit. So first, I'd like to reduce its effect. So to do that, you can increase the threshold here, so you can increase it up to, let's say 25. So this way we're going to be reducing the effect of this glare. We can even increase it up, so let's say 35 or even 50 or something like that. And if you want to spin it around, you can spin this glare effect. So here for the angle, we can give it, let's say, 45 degree. So this we're going to be spinning our stars by 45 degree. Also, for this color modulation, we can decrease it down to 0.1. So next we can add another glare. Shift A, let's search for a glare again. So let me put it first here. So for the type, I'd like to switch from streaks to ghost. So we're going to be having this ghost effect. Also here for the quality, let's increase it up to high. And for the threshold, I'd like to increase it up. So let's give it 25. So we're going to increase it up to, let's say the threshold. I can increase it up to 50 exactly like the first glare. So now we got this line here. So this is the ghost glare. And finally, I'd like to add another glare for the fog. So I'd like to add some fog here. So Shift A, let's add the glare. Let's put it on the first line here. And for the type, you can switch it from streaks to fog glow. Let me try first the bloom. All right, we can increase the threshold again to 50. That's too much. What about 25, just half. I even like this effect here. So let me just try 35 or about 45. All right. I like this. Also, for the size, we can reduce it down to just six. So next step, I would like to add some foglow. So can press Shift A, let's search for glare again. Let's put it here. And for the type, we can switch it from streaks to fog glow. So now we got some fog here. So I'm going to just change the quality to high, and for the threshold, we can increase it up to reduce the fog. So let's start with 25. Let's see. All right, so this one looks good. So finally, I'd like to add some color balance so that we can give different feeling to our render. So we can do it here at the end. So Shift A let's add color balance. This node right here. You can put it between the final layer and the composite. And also, in order to see it, you can connect it to the viewer node. Alright, so now we can tweak the color, so let me just choose a blue color. So I'll just wait for it. So now we are changing the mood of our render. Also, we can give it a warm color. There we go. So now it looks red. So, now it looks red, but I prefer to go with the blue. The blue looks better. If you'd like to increase the brightness of your rendering, can use the brightness contrast node. So Shift A. Let's search for brightness. This node here, and we can put it again between the viewer and the last node that we got on the left. So you can also connect it to the viewer here and we can play with the brightness. So let's increase it to 0.1. So it's barely visible. What about 0.5. All right. Also for the contrast, let's set it to minus zero point minus two. Just want to see the effects here. Okay, what about two? Can case it up? Okay. I think I'm going to just stick to the brightness. Let me just remove the contrast, bring back to zero. Sounds like this. And once you finish weaken your render, what you can do, you can switch to the image editor from here. And here, I'd like to pick the render output, so let's search for render result here, and you can just go ahead and save it. Soimage and save it as your desks. 28. Production of final animation: The final step to doing our course is to render our final animation. So to render our final animation, we have to render all the frames starting from zero all the way to 250, and we're going to be combining them. So to do that, first, we can go to the render output properties. And for this, I'm using these for the resolution. So for the resolution, I'm using this for resolution right here. So if you want to have fast render, you can just cut this by half. You can use 50% here. So for the frame rate, I'm using the default 24 FPS frame per second. And I'm going to scroll a little bit down to the output. So here for the output, you can choose any folder where you're going to be saving rendering all these keyframes. And for the file formats, I'm going to keep it L PNG. So we might want to switch it to a video, but I don't recommend that because you might have some faulty renders. So it's going to be easier to fix that but if you render it as a video, it's going to be a little bit difficult. So the last step is going to be to go to render and let's render animation. So once the rendering is completed, if you check the directory that you assigned earlier, you're going to find that it has all the renders, starting from zero on the way to 250. So now all we have to do is to combine all these frames, so we can go back here to our scene. And if you scroll a little bit at the top, you're going to find this plus icon. So I want you to click on it, and we can switch to the video editing. Alright, so let's jump to the first frame, which is zero. And what I'd like to do, I'd like you click on add Image sequence. Add Image sequence. And I want you to choose a directory where we have all the renders. Then you can press A to select the M and you can click on Add Image strip. So this way we're going to be having the entire strip here. So all you have to do is to render it as a single video. So now for the settings here, so on the outpost properties, we can scroll a little bit down until we find the outspot again. And here for the format for the file formats, we have to switch it from PNG to FF N PG video. For the encoding here, I'd like to make it P format, so we can choose this one here and for the encoding speed. So it's better to make it I'm going to just keep it at default. For the Os patch quality, I'd like to make it high quality, and for the keyframe interval, I'd like to take it all the way to the end so that you can reduce the size of our final video. So now let's just give it a name. You can call it final animation. And you can go ahead and render our final animation to render render animation. And there you have it, we have our final render animation video. 29. Conclusion: And there we also we've reached the end of this class. So you've learned how to model a stylized spaceship model, build a complete space environment, animate a fun loop in spaceship launch into space, all from scratch. You've taken a fall to the project from start to finish, and that's something to be proud of. So if you enjoy this class, it would be great if you could leave a review. It really helps, and let's Micky creating more content for you. So feel free to share your final project. I'd love to see what you've made. And remember, you can always rewatch the lessons and reach out if you have any questions. So thanks again for joining me, keep practicing, stay creative and see you in the next coming project.