Blender 3D: Create a Realistic Sci-Fi Movie Scene

1. Course Intro: Hi there. Dot in here with another blender tutorial. In this course, we're creating a Sci Fi sequence that's heavily inspired by the movie the creator and also influenced by other various three D artists. Just like in our previous courses, we'll start with a quick scene breakdown before diving into modeling the ship's interior and creating a distant planet as our backdrop. After texturing and refining our environment, we'll bring in a human model and then craft a custom helmet, adjust the design for extra character, and then ring it using Mixamo. Also blend multiple mixi mo animations into one continuous movement, which is something that we haven't really done before. With our character now fully animated, we'll add also some cables connecting to the helmet and run a physics simulation to achieve that realistic motion as the character moves forward. Finally, we'll wrap in post production, polishing the final result, and adding those cinematic touches to make our scene just feel a little bit more real. So with all that out of the way, let's begin. 2. Overview & Breakdown: Hello, there. Welcome to my new blender tutorial. In the same fashion as all the previous ones. I want to kick this one off by doing a quick overview of our scene and a breakdown of all the things that we'll be doing throughout this course. To be honest, I thought I was kind of done with sci fi shots after the previous Dune series, which were the last three tutorials, as a matter of fact, and I wanted to kind of jump into maybe some product marketing. But after seeing this image here on Behance, as I was kind of, like, looking for inspiration, I took a little bit of break from three. I saw this image, which I believe is the concept art from the movie The Creator, as you can see here on the left corner, and it was created by Thomas Dubois or Dubois. Not 100% sure how to pronounce the last name, so sorry about that. But just in general, this image, as you can see, my final image was heavily inspired by the setup from this one here with a little bit of a twist because it also reminded me of a couple other screenshots that I had taken a while back from an artist called Ash Thorpe. Uh, it's some kind of habit that I have, and I highly recommend that you do whenever you see some art that you think, Oh, that'll be like cool reference or this is a cool inspiration. Take a screenshot of it, save it somewhere, so you can have a library of inspiration to draw from. In any case, Astorp is a cinema for the artist who worked or who created the Batmobile for the latest Rober Patton's and Batman movie or actually the first RobertPatse Batman movie, depending on when you're watching this. But in any case, as you can see here, this idea of having this very sci fi bralistic, I guess, VR headset kind of on this almost like robotic person was also one of the key inspirations for the creation of this image or this animation to be specific. So when talking about this course, as I probably mentioned, as well is that it is going to have three key parts. The first part is the modeling of our scene, the setup or our foreground, as a matter of fact, which is this ship. And as you can see here also in the PURF, which you can find in your resources folder, we have a little bit more of an overexposed image so that we have a better idea of what are all of the elements that we need to build. Even though in post production, we are going to kind of heavily vignette our surroundings so bring our focus here in the middle. It's still good to know what are some of the details that we have here at the corners. You can still kind of see them here. A little bit, as well. For instance, this little cable. There's another cable right here. And then if you zoom in, you can see it even a little bit better. All these little details help bring our scene to life. So first part is going to be building the ship itself, and then the second part is going to be creation of the planet, which is why also I have a lot of couple of not a lot, but just a couple of images of planet reference. And I'll get to these once we start building the ship to talk a little bit more. And then the final part of this course is going to be bringing in our subject. If you have somebody else to bring in or another model that you like to bring in, by all means, be my guest because the same principles of animating can be applied to any other model as long as the topology is good. That's going to be pretty much the key part. So, I believe I've covered everything, and more or less, we are good to jump into our course. So I'll see you in the first video when we start modeling the. 3. Composition: With the new blender file open, we are ready to kick off this course. And the first best thing to start working on is actually we can work on the ship itself and the composition of our shot at the same time. And this is where we're going to have to well, pretty much heavily rely on this image to kind of eyeball the actual dimensions of the ship because we don't really have them. And this is why this subject in here is actually going to come very, very much in handy. So the first thing that I'm actually going to do is I'm going to commit a little bit of a heresy by not deleting the fold cube that we have in here. I'm just going to keep this one as is for now. What I'm going to change about it, is its dimensions. So just by looking at this image, I can assume that the height of this window here is roughly two subjects tall. So if I take this person that I have here and I add it one more time, roughly gives me up to here where my mouse is currently, and it leaves a little bit of extra space. So it's like 2.1 subjects tall and its height. So if this cube is going to be my subject, let's say, the height of my subject is going to be around 1.9 meters, which is the dimension that I typically use since it is my own height. Then the X here, I'm going to put it at 0.8 and here 0.5. You don't need to be super precise with these. These are just some rough estimates to get us going and trying to figure out the perfect proportions for our composition here and the ship size itself. So by doing all of that, I'm just going to go into my right view and then press G and Z to align the bottom of the cube here with the Y axis, so it stands here nicely. Like that. Perfect. So this is kind of the dimensions of our subjects that are going to be, so I'm just going to put in here subject. I just go subject dummy. So we know what we're dealing with. There we go. And then we can start adding the cube. And the cube is going to be our actual ship husk. So I'm going to call this one ship husk because it's not going to be the complete element of our ship, just like the main body or skeleton of it. We can even call it ship body if you want. Alright, next thing we want to do is we want to obviously expand the ship itself. But if I start doing that now, you can see it goes from all edges, all sides. We kind of just wanted to expand in its own height because if I position my ship now into the same place as I have my dummy, and I start expanding now, you'll see that everything goes up, bottom, top, left. We only want it to increase in its vertical size towards up, but not towards the bottom. So the best way to do is to change this dot, this origin point that we see here from center to bottom. Now, the easiest way to do it would be to press now Shift S and just say cursor to selected to go here. Sorry, go to go to this cursor by going object set origin to three D cursor, but this origin isn't yet fully in its right position. So we need to go first, click on this face at the very bottom. This and then press Shift S and say cursor to select it. It's going to do probably a micro adjustment because you can barely see it. But just for some kind of concept, if I go here and I press shifts, cursor to select it, you see what it does now. So if I go Control Z now a couple of times, it is going to go back in here and I'll press shifts, cursor to select it, and it's going to put it here. Once we have the cursor at our selected position, we can go object set origin, origin to three D cursor and it's going to push this down. So now if I scale, you can see this moves very nicely like that in the directions that we wanted to actually move. Alright. Now that we have this done, we can kind of start assuming the height. As we said, our current dummy is around 1.9 meters tall, and we're going to say that the height of this is around 2.1. So 2.1 is going to be roughly around maybe 4 meters for now. So this is more or less how tall it's going to be. We might even increase it just a little bit extra. We can even do it now, like, just giving it some extra meter, maybe 4.15, something like that. Right. Now we can go and spread it into the X x. Here, I'm going to go with roughly 16, so almost four times the height. So I get this nice spread as we have right now. And then I can actually just take this pace here by pressing Tab three and going into my Edit mode for face select and then GY to move this all the way back. This kind of creates the husk of the ship that we're looking for. The thing about it, though, is that we still need to add some loop cuts to kind of stretch its corners as we see in this here. Before moving further, I think it's best point here now to also add a camera to our shot to put it inside. So what I'm going to do first is actually cut two loop cuts right here, which are going to be later on used for these two corners. You just press Control R and add two loop cuts into your shot, and then I'm going to select these three faces here. Then I'm going to select these three faces in here and just delete them. This way, I have a nice little window into the entrance of my ship. So from here, I can actually go and now select these two faces that I have and press and then X and scale them roughly here. Now, the problem with this or not necessarily a problem, the challenge is better said, is that we don't have a good idea how much we need to spread them. It's much harder to eyeball it this way versus having a camera to look through. So if I go and add Shift A and type in camera, we add a camera here, and then let's go G Y, move it a little bit here, G, Z, move it a little bit more up. We reset its rotation on the Y and the X. For zero. And then we keep the rotation here to 90. Everything else, I think, seems more or less okay. We can add another window by moving our cursor to the top left corner and then just pressing, moving it like this. And then in here, pressing Tilda key, view camera, and then pressing N and then letter T to kind of clean up our view. Depending on how much how big of a monitor you have, you can kind of stretch this out a little bit more, a little bit less. I'm going to keep it around here. When I go into my camera settings, I'm going to change the camera focal link to 56, which is the focal length that I use in my final animation and the one that worked best for me. So this one I'm kind of like just saving you time without having to do trial and error. And then I'm going to go here under Viewport display and change this to passport tout to move all the way like this. And then once I have that, I can start moving my camera, actually, GY a little bit back. But another issue is obviously looking at the aspect ratio. So right now we are using an aspect ratio of 16 by 919-20-1080, which gives us this current look. One here in a reference image is more cinematic, is the one that is way more stretched. It is one that is most commonly used in movies, which is 2.35 by one. So we need to change this 1920 or actually keep the 1920, but change the 1080 to 816, which is going to give us a 2.35 by one aspect ratio. So now we are much closer in terms of our resolution or aspect ratio to the ones that we have in our reference image. And if we start moving our camera back a little bit further, we can start getting an idea of our scene. The best thing to do to save up some space is actually to move this here and just add it right below, so it's even easier to eyeball it. I'm going to stretch this out a little bit. I'm going to just move it here like that. Even I might considering all of this here, just go do this, move this a little bit back, put it in here, and then push this closer just so I get a much cleaner overview of everything that's going on. Perfect. So now, looking at how stretched, for instance, these corners are in comparison to well, the reference image, what I can do is select both of these faces and then S and then X, start scaling this inward to try to get this a little bit more of a stretched look as we see and here. Looking at how far the camera is from the actual corners, I'd say, this is more or less good. And as I said, this doesn't have to be super perfect right now right away. We're going to be still doing some tweaks to it as we go along. I'm going to select this edge right here and just move this a little bit more back. So just in case I'm going to have to be playing with the camera later on, this works a little better. I say, this is a pretty good start overall. Just one last thing. Don't forget to apply the scale, so we can go Shift A, all transform so that everything here is nicely applied. And this kind of gets us going. If you're happy with how your composition looks like, if you have your ship husk here, your dummy here as well, and the camera and everything looks good, you are ready to move on to the next course. If not, just play around with these dimensions, play around with these edges, play around with these faces. We might even do that in the next course, as well, but just until you get thing that works for you. For instance, just by looking at this, I'm going to actually press S and Z and increase a little bit more of the height of these two faces to get them something like this, and I'm going to press GZ and just move them slightly down slightly lower. So there's a bit of an angle, much larger on this side versus on the bottom side. So it's not fully, fully proportional in that sense, but not too much, just a little bit to something like that. I think this works overall just good. G to go press S and X, tweak it, play with it. Now that we're on the ten minute mark, I'd say this also looks overall pretty good to continue our shot. So I'll see you guys in the next video. Cheers. 4. Adding Ship Details Pt1: Go ahead now and add some details to our ship itself. But in order to actually see those details, it is best that we move this a little bit more towards the right or the left window move to the right and then zoom in by pressing Control and the middle click with the mouse, and then shift and move a little bit down. I'm going to do the same now with here. Just move everything like that. Pressing Z, left, click with the mouse, and just try to center it evenly to be as similar as possible to the image. I guess, something like this makes sense, and the one over here, and there we go. All right. Now that we have all that, we can see much clear all the details that we need to build. If you will zoom in closely in here, you can see that there's a little bit of indentation right here and there's an extrusion over here, so it's not perfectly flat as we have it currently. So that's the first thing we need to work on. So the easy way to do this is by simply pressing Control R and going in here. And then once we have the edge here, we can just bevel it like this. And we can add one more and then bevel it kind of like that. Keep in mind, though, that what I am looking at is exactly the image here on the left side versus actually being here on this viewpoard because this is the view that matters the most to us, which is why we also increase. So I'm looking to these edges to be exactly roughly around here because once I click on this face, and I go G Z, and then move this a little bit more up like this, now I can start to see how this indentation is potentially going to look like. So, for instance, I think this is pretty okay overall. If you want, you can always obviously scale it up a little bit more. You can click on this edge here and click on this edge here and scale this one up a little bit more like that into the Xxs. This is now completely up to you to get the proportions that you kind of want in general. So in my case, I think this is going to be more or less fine. I might actually take these two edges, and just move them a little bit more up. Now, if you want to create this exact kind of extrusion, what you can do is press this Control B. You get this little edge extrusion, and then you can press E to go up, and that should be pretty much it, right? You get these little extrusions. In my case, I'm going to do it a little bit differently where I'm going to take this entire space like that, and I'm going to go into extrude here and extrude along normals, and then just press here and move it slightly up, pressing Shift to add it just in much smaller increments to get this kind of look right there. So this pretty much gets me to what I wanted. And now, if you're not happy with the angle, you can always obviously press here, move this a little bit down. This thing here, it doesn't really matter because we're not going to be able to see it, so it's perfectly okay, although you can say that then the er part is the issue. So maybe we should probably select all of them. A matter of fact. So let's go like this, select all of them, and then you can obviously move it slightly lower if you want, or higher, depending on what works best. But I think I'm going to keep it as it is for me. So now another thing you can do is just go here under add modifier, and we can add a simple bevel modifier to everything here and add, let's say, three levels of subdivision or segments, sorry for our little bevels. Then we can start working on actually these little I guess lines on the corners. I'm going to call them ribs, edge ribs or something like that, just because they remind me a little bit of a rib cage. So what we're going to do next is we're going to select this entire edge here at the front window. So pressing tab to go into the di mode, pressing two, selecting this entire edge by left clicking on it, and then we're going to duplicate it by Shift D like this. In pressing B to separate this selection. Now, we're going to use this for two purposes. One is going to be to create these lines, and then the second one later on is going to be to create this window itself. So I think the best case here is to actually call this one a backup. So let's just call this one window edge backup. And then we're going to duplicate it one more time. I'm going to hide the window edge backup. I'm going to hold this one now edge ribs like this. Alright. Now for this, I'm going to go into the edit mode one more time. I'm going to press one so you select the vertices, and we don't really need these vertices on the side. And as a matter of fact, we don't really need this one here either. Now that I think of it and I look at this image, we don't need this one also. We only need these four vertices to begin with. So now that we have all four of them nicely selected, we can press E to extrude and then Y to extrude it into the Y erection. So, for instance, right over here. Choose how long you want them to be. I think for me for now, I'm going to stick with this here. This looks pretty good overall. And so next, what we're going to do is add a solidify modifier. So let's just go solidify. Perfect. And we can now push the solidify modifier to go into this direction to get something like this, play around with the thickness that you want to go. And if you're always unsure, it's always a good practice just to create a backup. So I'm just going to create a backup, Edge ribs, backup, and then hide it completely. So for this one, I think this is a little bit too thick. For my taste, I'm going to go a little bit lower around here, I'm going to press A. Now, I'm not going to use this bevel, so I'm going to actually take this out because it copied the bevel that we actually have on this entire ship husk. So what I want to do here instead first is I'm going to select these edge loops. So this one here and this corner and this one here. As a matter of fact, we might even do that as the final part now that I think of it, because the first thing we're going to do is go now in here, and first, we're going to add a cut right here, and we're going to add another cut right here. Because if we look at these edges, we see that there's lines that goes here, and there's another line that goes at the bottom around the same place. So we can pretty much keep these two as we added them, but we're going to go and add bevels to these loops. So control B, little bevel, and the length of this or the width of this bevel is going to control how strong or how easily visible this cut is going to be. So I'm going to go something a little subtler maybe on this side. So something like this, and I'm going to press X and faces. That I have the faces removed, I'm going to go and select this loop and press F. I'm going to select this loop to press F to close it. I'm going to do the same thing over here and same thing over here. Now, perfect. Now that we have all of that created, let's go and add a little bit of a bevel right here. So to do that, we can go press Control B and just start adding a nice little bevel. Or even before that now that I think of it, we could add a group total bevel that goes here like that. Actually, let's stick with a nice little beble over here. So shift and Alt, select these two bevels, Control B, go like this, and then start adding the beblsHmuch however much you want, whatever works for you, I'm going to go with let's see how this looks like. Do you want to put it a bit more? We might want to add more segments here. In that case, I'm going to go with a little bit more of an indent to something like that. Shade Smooth. Let's see how it is. Okay. And this is now where we need to add a secondary bubble. Now, to do this, we're going to select all of the loops that we have in here. Oh without actually selecting these edges that we have. So we just need to select everything around here. Let's go view selected. There we go so we can maybe see a little bit better. Select everything here, here, here, here, there. I just zoom in a little bit more. There are some stuff that still haven't been selected. This is the key part. Just make sure that everything that we need is selected. And then we also have the one here at the bottom. Trying to select everything, clicking Shift and at the same time to try to get all the loops. And I believe this is about everything we need. So if I press now Control and letter B, is going to bevel out these edges. Now, we don't need all of this detail. We don't need seven segments. We can just go with two. And then with the shape, we can maybe let's just oh let's just go Control B one more time. So two segments and then shape just something very small like this. Press Z to get this look, and there we go. Now we have a nice smooth look right here. Okay, so another thing now that still needs to be done is we need to duplicate this across. And now that I notice it, I actually added this at the very beginning of the camera, so it's not even visible so I'm just going to go push this all the way to the front, as a matter of fact, all the way in here. Let me just go here, GY, push this all the way to the front, somewhere around here. All right, I'm going to try to get the origin now also to three Dcursor, so I'm just going to add object set origin origin to three Dcursor because it moved back, I believe. Origin 23 dcursor. We don't have it selected. One more time. Object origin, origin to three decursor. There we go. And I just wanted to have it here in the middle because it would probably work the same way, but now we're going to also add a mirror modifier. Go the mirror modifier is obviously to mirror this to this side, and now it works perfectly. So we can actually go and apply the mirror modifier now, as a matter of fact, like this. And usually what you might want to do next now is you probably want to apply an array modifier in order to get let's go to get these ridges going off further. So if I go here and change this to zero and then change this one to, like, let's see. Little bit like this. We can then increase this, and there we go. We have kind of like the design that we're going for a least press control and space to kind of see how this is looking, right? This is the design that we're going for. But the issue with this and what I believe, at least, is that it is currently generating geometry. So if we go back in here, if I start, let's go reducing these faces. You can see that the number of words and number of faces is changing based on the geometry and how many array modifiers we create. And we don't really This isn't a huge part of our mesh, and we don't really need this geometry, as a matter of fact, it's more decorative. It's not going to serve any kind of purpose. It's not going to serve the simulation that we're going to be building or anything. So what we need to do is actually create instances of this object because those instances aren't going to have any data. It's just going to be one set of data that's not going to be duplicated. Now, looking at this also overall, I kind of want to just make this a little bit thinner to kind of go like this a little bit smaller. There we go. I think this is a little bit better. So now we're going to go and create a instance of this object using geometry nodes, as a matter of fact. So to do this, the way this is going to work is we're going to first add a simple plane. Shift A plane. There we go. And we're going to call this plane edge ribs instance. Like this. All right. We can now go and add another window, go like this. Let's push this a little bit more forward up. Let's zoom in here so we can see a little bit better. All right. Let's push this a little bit more up, push this a little bit more down, organize our stuff a little bit better. There we go. Now clicking on the plane that we have Edibs instance here, we're going to go here under our geometry nodes, geometry node editor, and just press new. Now, looking at our node setup that we have, we don't really need the group input. So we're just going to press Control right click to use the knife tool to cut this off, and we're going to add instead here just a second. We're going to add a mesh line. So mesh line, there we go, and we're going to connect this mesh line into the geometry. If we look here, it has basically created a line. So if I go here and change this from Z axis to negative Y, you see that we have a line spreading across. We're going to now convert this line into points. And to do that, we're going to use a instance on points node, very simple. Right here, we've used it in pretty much every other previous tutorial that I did, so you should be pretty familiar with this node as a matter of fact, and then we're going to go and add our drips here into our notes or jag and drop the drips. And then from here, we can select the geometry and say instance. Now notice that we increase, let's just set this up a little bit nicer. But once we increase overall the count, our geometry stays the same while the objects are actually change. So this is kind of how we keep our memory usage still at the low because later once we start adding the planet and some other stuff, they're going to actually take more of our computers performance. So we're trying to optimize wherever we can to save up on space, while at the same time now, we nicely have all these ridges literally added here into our shot, which is pretty awesome. So, I believe that covers everything for this part, and I'll see you guys in the next video as we continue building out our ship. Cheers. 5. Adding Ship Details Pt2: Still a few more details that we want to add to our ship, starting off with the obvious being the glass and also this little frame that's holding the glass all together. So to start off, we can actually pretty much hide our edge ribs from the previous part that we did because we already have these ones that were created by the instance. So the ones that we had here, we can just have them hidden. And we can now start relying on our Window edge backup that we created, which is, I believe, all the way in the back right now. So let's just push it forward GY, move it all the way up here. I'm just going to go select it and then create a duplicate. And while we're at it, let me just push this a little bit below here. So there's a little bit more real estate going on. Have a little bit more space here, and zoom out over there. There we go. This looks better. And now, once I have the duplicate, I can hide the original. And then with this duplicate, I'm going to start off first by creating this frame. So I'm going to call this one window frame like this. I'm going to go into the edit mode, press one to go into the vertex select mode or I guess, Vertex Select mode. And then E to extrude, and then Y to extrude and direction like this. Just a little bit. Something like this, we can change this later. It doesn't need to be. We don't need to get married to the idea of it immediately, but I am going to add a solidify modifier, which is then going to allow me to basically, let's move it about the bevel, but to add some thickness to this itself, and then the bevel, I'm going to make it super small. On top of it, I'm going to go and use shade smooth or actually, let's go with shade auto smooth like this. And then for the bevel, let's go even smaller, something very small. Roughly around here. Now, if you're not satisfied with thickness of this yourself, you can always go into your Edge select mode and then by pressing old Z, just selecting here one side and then pushing it a little bit more closer together to get overall something like this, which is pretty good, I would say overall. So we might even just add a little bit more thickness to it to get some and remember, I'm constantly looking at this image here on my left side. So as I'm pushing this forward, I'm still looking at the image on the left side to get an overall idea of how this whole scene is starting to look like. Now I'm going to push this also a little bit more back to get this current look that we have. So we have the window frame pretty much set up. You can do some extra personalization to it if you want, but I'm pretty much going to keep it as is because I'm happy with that. So I'm not even going to change the application or apply any of these for now. We might do it later, but for now, I'll keep it as I'm happy with it. Alright. The next thing on our list is now obviously going to be the glass itself. So for the glass, we can go back to our window edge backup, duplicate it one more time, and let's call this one glass. All right. So for the window edge backup, hide it. And now with the glass itself, let's just take a look where it is. It's over here. Go into the edit mode one more time, select everything by pressing A and then press F to fill in. Let's now start connecting these vertices by selecting two of them, pressing J, selecting this one with that one, pressing J, selecting this one with this one, pressing J, this one, this one, and this one, J. Now let's connect this one here to everything here at the bottom, and then this one here to everything here. At the bottom, let's do the same with the ones here, one more time. There we go. And if you wish, you can add a few more cuts, something like that. But should be pretty much okay the way you have it. So we have now the glass and we can push the glass here in front. Like this. As a matter of fact, you can push the glass to go in between into our window frame that we just created to get something like this. So this is the current look that we have going on. On top of everything, there are a few more things that I want to do. We want to add the light now that's above here, and then we also want to add a plane that's going to be used for this line here specifically. So to start off first, what I'm going to do next is just take this top part here that I have selected. And then I'm going to just duplicate it like this, press P, separate the selection, and then call this part, let's call it ship top. Edit mode. All right. And I'm just going to push it a little bit lower. Now, it's getting a little bit hard to navigate to understand what is what. So to kind of make my life a little bit easier, I'm going to go here and under coolor. I'm going to put it on random. So this should give me a little bit of an easier way to navigate through everything. But on top of that, also, I am going to, as well, just move the top here a little bit lower. There we go. And I want to add a little bit of a thickness to this. I'm going to press A, E, just to add some subtle thickness to the top itself to get this look. Alright? And then on top of this, I'm going to probably want to add this line here in the middle, as well, but I might do this after we finish with the light itself. So for this one, I'm just going to play around now until I get a nice alignment to roughly something like this because this is going to make it easier since we're going to have different materials applied to the whole ship here, but also and then to this ceiling that we have over here. So this just makes our life easier when applying those materials onto all these objects separately. Okay, let's add the light itself. So for the light, I'm going to start off with a simple cube like this. I'm going to call this one light frame. So we have two things. We have the light, and then we have the light frame that's inside of the light. So for the light frame, I'm going to go something like this, squish this, then squish this also here and then expand it. To get, I guess, somewhere around here and then push it up to roughly here, and then I'm probably going to want to move it closer to the actual shot. So let me just take a look here as a reference where that is. Probably something along this, but I don't want it to be this thick. I want it to be thinner to go roughly, I'd say like that. Alright. Now that we have this, I'm going to go here. I inset. But before we even inset it, as a matter of fact, let's apply the scale because we can see that our scale is way off differently. So let's go scale and then inset. There we go, and then 'stru inside like this. Perfect. And as a matter of fact, now I'm going to go backwards, one more step one step backwards before even insetting because what I noticed here is that the light itself doesn't stretch out from all the way. So I'm going to go and X when I have this selected before I have the inset to get something like this, maybe a little bit more. And then I'm going to press Inset extrude inside to go that. Now I'm going to duplicate this, and this is going to be for my light itself. So I'm going to press P, selection, light frame, light. And then for this light, let's go here into the light by clicking on this dot. Make sure to change the object in the current mode, like here is selected. All Z to see everything. Press A, E, and then just a little bit of an extrusion downward to get the whole Look. I'm going to press SX just a little bit to kind of and then SY to leave some space around these edges. But there we go. Now, this light itself is going to be more of a aesthetic slash dummy light. It's not going to actually light up our scene. We're going to have multiple lights lighting up our scene when it comes to the whole shot altogether. Alright, so on top of this, now, let's just have these two kind of parented to one another. So I'm going to select the light, and I'm going to select the light frame. I'm going to press I believe Control P at parent two Object Keep transform. So now everything is parented to the light. And then I'm just going to move this. Let's see. Somewhere around here does look good just based on the camera angle, we might need to or want to change that later afterwards. All right, another thing I'm going to do is add a actual floor. So the one that we have currently here isn't actually one I want to use, just because of the way that this blends a little bit more nicely versus how it is with ours right now here in the corners where you can see these parts. So what I'm going to do is if I go here, into my shot, and I select the floor itself. I'm just going to duplicate the floor, B, selection. I'm going to call this one lore and I'm going to take this floor and then just move it a little bit up and then and then X, scale it just a little bit to cover it much nicer. Here we go. So this blends a little bit better together. Perfect. So now we have the floor. We have a lot of stuff going on here, and it would make sense that we just put it all inside of a collection by selecting it all like this and then pressing the New collection, let's call this collection ship. Now, interestingly enough, we are also going to have collections inside of collections, as a matter of fact, let's just take all of these elements here, push it here under ship so that we have it all nicely like this. Let's give this ship a color as well. I'm just going to go with red. So everything in the ship is red, just for organization purposes. And I believe this covers pretty much all the details that I want to add for this video. There's still one more detail remaining, which is this white thing here. And there's also these corners here of the ship. But we can add those actually at the very very end once we start texturing our scene. Now while we're at it, actually, I just remembered, we still haven't added the white part over here. So let's do that quickly. We can actually take the ceiling itself. Like, actually, we can even go, I guess, like this, take the ceiling and then add a loop cut. Control B, go somewhere around here. Let's take a look at the thickness. I would put it. I guess I would put it something like this together. And then I would go select this shift D B selection. Let's just take a look what's going on here. Ship top. I'm going to call this one ship top White. And then select go into the edit mode of it, select everything E Z, to move it ever so slightly down. But we don't need to have actually, we can have the bevel, but I would say we can stick with two and then make this super, super small like this, and then take this, move it a little bit up. Just like this. And we can even take that selection from here. So all Z, clicking one, G, Y, moving this only to get once we get to this actual art right here. I would move it even more up to get something like this, so it's barely there. So I think this pretty much now concludes this video, and then in the next one, we can finalize the most important parts of our ship by simply adding this element here in the very corner. All right, guys. I'll see you in the next video. Cheers. 6. Adding Ship Details Pt3: This video, we're going to be modeling the support that we see on both sides, so here and here. So to start off, we're first going to go and rely on our good old fashioned Window edge backup. So I'm going to select this enable it one more time. Tilda, V selected. There it is. Went to duplicate it, hide the previous one, and then go into the edit mode, select all the vertices that I don't need, which are these ones on the sides, the ones over here. And now additionally, what I'm going to do is, I think, because my, as you can see, the what's it called? Origin is all the way there. I'm going to go and put set origin to three dcursor just so it's a little bit more closer. I'm going to try to align it, as a matter of fact, with the origin as much as possible. So I'm going to go Edit mode, GY, and just select everything all Z, and align it nicely with this right here. So it's as close as possible to the actual position of the origin like this. Alright. Now, there's a couple of things that we're going to do first. Well, there's one more extra vertice that I have here that I don't need. But for starters, we're going to disable this bevel for now, we're going to enable it later. And we're going to select all the vertices. And now, once we have all of them selected, we're going to go E and then Y to extrude into Y axis, and we're going to add a new modifier, the solidify one. So we're going to use the solidified modifier to add thickness to our material. So just pushing it roughly around here. We don't need to be perfectly exact right away. We just want to get a rough idea. So I think this is maybe even a little bit too much for my taste. So I'm going to go somewhere around here. I'm going to apply the solidified modifier now, which is going to give me this shape that we see. So from this shape now, I'm going to actually cut off this entire side, so all Z, cut everything off here, and then go vertic. So that I only have like this of an element. From here now, we are going to reenab our bevel bodifier but we're going to change it from angle to weight. The purpose of this now is going to be once I have these two edges selected and I press N, and then I go into the mean bevel weight, and I increase this, let's say, to one all the way, you'll notice that these two edges now have been bevelled. Now, we don't see the bevels exactly, but if we go here under ViewpotOlays, and we enable the wireframe, we can see the bevels that we've created, and we can go and add only two segments for now, which is perfectly good. And here you can see the bevel edge weight that has been added into here. Alright. So from here now, what we're going to do next is going into the back view so that we can have this nicely aligned and see how everything fits together. I'm going to reduce the amount to make this a little bit more sharper on the corners, and then I'm going to now start adding some edge loops and overall just trying to align this shape to how I want it to be for this. So we're going to try to create a very low poly version first of this support that we see here. So I'm going to move this a little bit more down. I go to move this one a little bit more roughly around here. Then I'm going to go at a cut right around here so that I can then take this, move it a little bit down. Move this one maybe a little bit up. Then using this cut, I'm going to push it maybe slightly somewhere here and then move this a little bit here because you notice this part here, the front part is a little bit shorter than the back part. This one here. So if you look at this corner and then this part corner where my mouse is pointing at right now, this one is shorter than the one on top. So we need to kind of replicate this where this one is going to be shorter than the one on top. And again, we don't need to be super perfect exact, but we do want to give some thickness now to this part that you see here being created because obviously that part itself is what's going to be used for this hole that we have in here. Additionally, we also need to get this sharp corner going as it stops here. So to do that, we're going to go select this edge right here, press E to extrude in the x axis, and then I'm going to lower this GZ vertice right here, GX, move it somewhere around. Going to select this edge one more time and then E extrude it in the X axis one more time. And what is like these two edges and just lower them even further till I get something like this, and then this one maybe a little bit more, maybe one more edge right here. I don't know. We'll see. For now, probably, I wouldn't even want to have too many edges, so I'll just go with what we have going on in here for now. And then if I need to add one more right here in between, I can always do it. So for now, I'm just going to keep it like this. Right. Then we are also going to move this a little bit more towards this side. And I might actually now looking at it add one more edge just to smooth out the whole transition like this. Okay? Then let's see this part is looking a little bit maybe too thick. If it's looking too thick, you can always press GG while having two vertices selected to edge slide it kind of and make it go like this. We can then move this one maybe a little bit more up or a little bit more down. And don't forget you can always go and select each individual edge and control how much you want it to be affected. So if I go and increase this much more here on the amount, say putter 0.5, you can still go back to this top edge and say, I want the top edge to be a little bit more squished. So I'm just going to decrease the strength of the bevel weight here to be maybe 0.6 or so. Um but that pretty much does this part. Now, all that is remaining for us now is to pretty much go in here and start building out this hole that we have going on. So to do this, we're going to be using an inset. So I'm going to press first to hide this on the side menu and then press I to create a nice little inset right here. Additionally, on top of that inset, I'm going to go press Control R to add one loop cut right in here because, well, this inset itself has a little bit of you can see indentation here, the way like cornered and then cornered in here. It's not perfectly squared. So I'm just going to select this GG, move it along this side, then select these two, and then GG move them along that side and do the same over here, have this one be moved inside, and then have these two moved a little bit more like that. We're slowly starting to get our shape now. We can actually go, as a matter of fact and add a hole in here by pressing X after selecting both of these faces, and this gives us the shape that we're currently trying to build. A couple of issues that I'm noticing right off the bat right now. If I go into my back mode, I think this is too thin. So I'm going to select this face and this phase here or this edge in particular and just start moving it a little bit more to give it some thickness. I'm going to select this edge, start moving it a little bit more down, this edge, move it a little bit more down, this edge, move it a little bit more down. You might even want to consider adding a third edge here potentially. Now I want to try to keep it as low polly as possible. So I'm just going to try to do my very, very best that I can with the whole situation that I have going on in here. While keeping this line relatively straight, more or less. Alright, this seems to be looking a little bit better. I'm going to select this edge and do the same with it where I just select it and just move it a little bit more lower to try to get a little bit of a thicker line. You can always go back also in here and in here, and then just try to move this a little bit more lower, and then this one a little bit more up. Now, this part is also a personal preference. So whichever way you choose to go, there's no right or wrong. It's what you prefer in terms of how it's going to look. Alright. But I think for now, this is not too shabby. It's pretty good. So I'm going to go and create another backup for this. So Window edge backup. I'm going to rename this first to support, and then I'm going to shift D and call this one support backup. Just in case something goes wrong, I can always go back to this and use it. So I don't have to control undo a couple of times, or even if I get left out of control undoes. So with this, everything else here selected, what we can do next is go and press A and then E and then just extrude. To Let's say, let's go somewhere like here. Alright, couple of issues. First one being, if we look at our edge loops right now, we are missing a little bit of that blue highlight here on the side. So we need to reselect this edge loop. We need to go here, reselect this edge loop here as well, and then just go and type in here, whichever values that we had, I'm going to go and say 0.67. And then for this one here at the bottom, I'm going to increase it a little bit more. And I think this one here is okay, looking at it from here. Let's go one more time. All right. Perfect. Let's go take a look how everything is in our back view now. Okay? So this looks fairly okay. Accidentally press one. Let's go old Z, move this one a little bit more up, and maybe move both of these a little bit more two words inside, like this. Then take this one it a little bit more like this. This goes a little bit more here. This goes a little bit more here. Just some slight alterations. This part here, and then this part here, a little bit bigger hole. And then this edge here, GG, just try to align it a little bit better. GG trying to align it a little bit better. But overall, this is pretty good, I'd say. All right. From here now, what we can do is pretty much apply, I would say, our Bebble modifier, or if you want, you can go in here and start adding loop cuts. I'm going to first apply the Bebble modifier for now. So then I'm going to go in here. I'm going to select this part here as well, and I'm going to add a loop cut. Not loop cut, but an inset first. So I'm going to start off actually with the bottom side because what I just noticed a quick second is that, well, this here is actually not all the way this hole where my mouse is hovered. So we are going to add a loop cut just somewhere roughly around here, I'd say, maybe even lower. I'm going to go like this. And then I'm going to add now an inset on both of these sides. So pressing I and just doing this. And then I'm going to press X faces. I'm going to select those two edges that I just now created. So these two that we just cut off, and then I'm going to press Control E and bridge edge loop. So this is going to create this nice little bridge. Now, from here, all that's really remaining is now using subdivision modeling. So we're going to be applying a subdivision. So you don't need to do now this part. I'm just going to show you quickly. So we're going to apply a subdivision, as you can see here, and then we're going to need to start adding loop cuts, et cetera. But the problem is, we're going to need to do this for both sides, and we don't really want to do it that way. So instead, what we can do next is just add one cut right here in the middle that goes through it all. Like this. And then we're going to, as a matter of fact, just, I would say, Well, even before we do that, I was going to say we're going to remove these vertices, but even before we do that, I would suggest doing one more thing, and that is adding this changing of thickness. So if you notice, there is a little slight change of thickness as we progress around this corner. So what we can do is add another loop cut right here to go like this and then select this loop cut where is it? Let's add one more right here. So we can select this one, select this one that progresses right here like that. And then we can go top you, all Z, select everything here. The select the bottom. It looks like the ones that we had selected here, got di selected in my case, so just selecting one more time. Not these ones, let's undo. One, two. So this one here in the middle, in my case, and then this one here. So the reason why I'm selecting all of this right now is because I want to add a little bit more of a thickness here. So to do that now, I'm just going to press S and then Y and then start just expanding a little bit. More like that. This is just going to give me some extra thickness. And if you want, you can always select these two edges here to smooth it out a little bit just by doing this. So here we have now the extra thickness that's happening right on these corners, and one last thing that you can do if you want is by going into the edit mode, selecting both of these parts, I would say, and then pressing I one more time. Like this maybe make it slightly smaller, so S Y, like that, and then E to extrude a little bit more inside. So that way you get also this extra extrusion right over there. And then if you want, you can go and select these two parts and just move it a little bit more forward. So going back mode, just a little bit more forward and doing the same thing over here, back mode, just a little bit more forward like this. All right. So bringing me back now to the original point where we're going to need to add a subdivision surface modifier. We don't need to we don't want to have to do by adding bubble cuts on this side, and then we don't want to go to this side and add the bubble cut, et cetera. We just want to be working on one side. So in here, and this is why we also pushed our origin point close to as possible here is we're going to now select this entire side like this and just delete it. So now that we have this side, we're going to go and add a let's see, mirror modifier. So if I click mirror, you'll see that we have one mirror created on that side, which is what we want. But we also want a mirror created on this as I'm going to press Y. You'll see that it's created. The issue is because our origin point isn't exactly properly aligned right here in the center, compared to these guys but it's a little push down. These two aren't connecting. But what we can do just go select this entire thing, GY, while in edit mode and just start pushing it closer together. Just make sure you're X ray mode, so just pushing it closer together. Now, before they connect, enable the clipping here. Now, have them connect and just go, let's see, something like this. There we go. So now, everything that I'll be doing on one side is also going to be replicated on the other side. So I don't need to worry as much. I'm going to have the thickness be roughly like that. Okay. From here now, we can go and start adding our subdivision surface modifier. Now, beware the subdivision surface is going to mess everything up a little bit. So once I press Control and number two, you'll see that we have two levels of subdivision added. So we need to now start adding some cuts. I'm going to go also and disable my wireframe just so I have a much clearer view of everything. And in here, let's go and start adding some cuts to strain everything out. So for instance, here, I'm going to add one cut on this side. Now that this side is a little bit straighter, I'm going to add a cut on here. I'm going to add a cut here on the bottom. And this has given me a nice little oval edge, but I'm also going to want to add a cut right here. Or actually this one I might even keep as is, but I want to have a cut right here to strain this out to straighten this out, and then I'm going to add a cut right here, another loop cut right there. We're going to need to fix this part here by adding a cut here, adding a cut there. We might need to do the same here. Actually, we don't because we already have those two cuts. We might need to do maybe something here, just by adding a cut like this. And this is kind of the beauty because now we don't need to worry about this other side at all because everything that we apply here is being done there as well. So let's take a look here, here, we can stretch this part out a little bit. Stretch this part out a little bit more. Let's go add Shade Smooth. Then we can take out this part here. I believe this is everything I need in this part and just move it a little bit. Let's go back view like this. So let's take these guys. Select it and just rotate it. That's going to increase my thickness, so probably not going to keep it as it is. The issue I have here is how this corner is so sharp. So I might just need to actually go and add a loop cut somewhere in here to cut this. There we go. This is what I was looking for, just to make it a little bit neater in there. Okay, things are starting to get a little messy. Overall, this edge is looking really good. We could increase the sharpness, though, maybe by doing this, and then this side here is the transition from thin to smooth is pretty good. If you want, you can always increase the thickness just by going in here, selecting pretty much, I believe, roughly around here, just make sure you have the right selection like this. Then just going GY and this should increase your overall thickness, as you can see. If you want to make the thickness a little bit sharper here on the corners, you can do that, as well. I think I'm going to leave it a smooth transition over here as we see. And I think looking at it overall, this is pretty much everything that we need. One part here is a little bit too maybe aggressive, so I'm going to smooth this out. I don't think we need to have it be that aggressive, so I'm just going to make it a little bit like that. Let's see. And then this part here, I'm going to make it a little bit more smoother on this part as well. Again, if you want to have super sharp edges, all you need to do is just clamp down, as you can see, right here, then you go and clamp down this edge. I'm going to add one here right in the middle also kind of balance it all out. I think this looks pretty good. There's some stuff still going on in here, so we might need to add one more or the stuff that's going on here, we need to just clean up a little bit more so it's a bit nicer. Or if we go back a couple of steps, we add a support. Then this one here, this one here, then this one here. Then this one we can tweak by squeezing it a little bit more. And there we go. The last part is, I want to add a little bit of a you can see that this isn't flat perfectly. It's a little bit rounded, so I'm just going to select this part and then just GX start moving it, and then this one, I'm going to start moving a little bit down. This one I'm going to start moving a little bit out until I get a nice little curve going on, and selecting this last edge and just doing that. Perfect. And then if you want to make this, like I said, a little bit sharper, G, move it down, move this one up, and there you go. So this is pretty much our entire edge. You can always also go back if you want to make this a little bit softer, move these two edges like this, or if you want to make it sharper, you can tighten it up together. We're going to make it slightly softer. But this is pretty much our edge. So let's just go put it now into our scene right over there. Looking at it looks pretty good overall. We do have some extra shading here happening, which I believe is the cause of everything that we have going on in here. So we might need or want to make this a little bit of a smoother transition or we think that maybe this is way too much of an expansion at the bottom side, which is also a possibility. So we might need to just dissolve. We can pretty much play around with it until you get the results that you like. I would say maybe Ds to do expand a little bit too much, so I'm just going to go all Z, push it slightly closer together overall, so it's not so aggressive. And now it's much smoother. So now if I put it in, there we go. That looks much better overall. The last thing I would probably do is looking at it. Let's just take a quick look. Everything looks really nice. I go in here and just make sure that this length is roughly right. So somewhere around this and that this top is perfectly touching. And it is perfectly on top, so that's good. And then going back here at the bottom part, you can just go and let's go right view or actually back view. There we go. So something like that, and then we can push it a little bit more back, a little bit more up, a little bit more back, a little bit more up. So it looks a little bit nicer. Let's take a look how it looks over here. So here, it goes like, perfectly completely through everything. So if you want, you can even do that. So just go like this. And, you know, we pretty much did the same thing. So I'll leave that choice up to you. As a matter of fact, now looking at it, I kind of do dig this look. We have now both of our supports here on our sides. Let's take a look at our shot. This looks overall, really good and very close to what we have in here, as a matter of fact. So, with all that, we if you want, you can tweak or you can move on to the next video. One thing that has been bugging me. I might do some minor tweaks to this in terms of thickness, looking at it now, but I'll leave that also choice up to you. In my case, I might want to just make this a little bit more thicker. So I might just go and select, you know, these guys right here, move them a little bit more. Wart like that so that it gives me a little bit more of a present and easier fit for the light that we have here later on. But again, this is now your call. Do whichever way you please and whichever way you find works best for you. And in the meantime, I'll see you guys in the next video. Cheers. 7. Adding the Planet: In this video, we're going to start building out our planet. But before we jump into that, I just want to thicken this out just a little bit to expand it because I think it's too thin in this corner. So what I'm going to do is just go into my top view, edit mode, Z, make sure everything here is selected like this, and then just start moving it like that, so I get a little bit more of a thicker vibe going on in here. I think that's a pretty good job overall. While I'm at it, I might just go into my backview make this here a little bit thinner just by selecting these vertices right here and then these three as well, and just pushing it all a little bit more back. Up like that. And then this bottom part, I might just push it a little bit more here, and then this one, push it a little bit more here to give it a bit more of a nicer indentation. Looking all of it, right now, it looks pretty good, very satisfied with how it turned out. So now we can jump into working on the planet itself. So to start off, we actually don't need to see the ship itself, so we can just hide the ship for now. And while we do have the camera in here, I don't think we're going to need it. So I'm going to push this here on the side. I'm going to add this right here because I do want to have a reference or a planet. Ally, we also have some other extra planet references, but I think we're going to take a couple of videos to fully build out our planet, so we'll cover these ones a little bit later. So for now, I just want to focus on adding all of the key elements that we need. So to start off, I'm going to press new collection here. So right click New collection. I'll call this collection here planet. I'm going to give it a green color. And then I'm going to start off by Shift A and going here into a UV sphere. Segments 32 rings 16, I think that is okay. The key thing is, though, that we are going to be scaling our planet quite a lot because we need to get this kind of a look right now. Eventually, at the very end, we're not going to be even using the whole plane. We're going to be cutting a couple of parts of it short. We're just going to be using the part that's visible. But to get us there, we need to start from actual scratch. A couple of things first. I'm going to go right click Shade Smooth to get this nice smooth look, and we're going to need to scale our planet. Now, we do want to adhere to as close as possible real life dimensions. And to kind of get us there, right now, we see that the Earth's diameter is around 12.756 kilometers large. We can't use, obviously those exact dimensions because our whole scene would pretty much break, so instead, we're just going to go to something like, let's go here one, two, 75. 1,275, and this is our planet. But we do have some clipping happening on our end. So while we're at it, we need to go here into our view, clip Start one, and then we need to change this one to add an extra zero to get our whole shot going on. And while you're at it, you can do the same thing here in our scene so that our camera doesn't do any clipping later on. So once you have all your clipping here done, we have everything in here, we can move on to the next step. We can, as a matter of fact, turn on our render engine. So while we're here, let's go into cycles. Let's go unsupported. We're going to change this for experimental because we will be using adaptive subdivision. So if you have it unsupported, you won't be able to use adaptive subdivision. You will just be able to have the regular subdivision. But in our case, we need the adaptive one. And then I'm going to press Control one to add one level of subdivision and check in here adaptive subdivision just like that. Alright, we're getting done slowly, but surely. Additionally, what I'm going to do now next is, I think I'm going to push this somewhere around here because I am going to need to lift part of it up. So let's go actually something like this. We're going to use this lower part for our texturing while we have everything in here. We can turn on our render view while we're in cycles, experimental and GPU compute. For our viewpoint rendering, I'm going to stick to 1024, but you can go lower to maybe 516 or such. And also, if you're going to be using denois if you have an Nvidia GPU, be sure to go with optic X, optics, and then Abdo and normal. I would say start sample. If you're using 516 samples, I would say put your start sample to be also 516 to it so that it retains as much details before applying the denoise itself. In my case, I'm going to stick to these values that I have right now. Alright. Next, we're going to go here under world. We're going to make this dark, so our complete background here is black. And then while having this sphere selected, I'm going to go and add a new material. Oops. This is our geometry note. Let's go into our shader editor, add a new material, and that materials here is going to be called Earth surface. And here, I'm going to do the same Earth surface. And then additionally, I'm going to go Shift A, and let's see type in here a sun. So light sun then move that light somewhere around here, scale it a little bit so I can kind of see it a little better. Let's see where is it. There we go. And then for the sun itself, I'm going to use the strength of I'm going to go with 15, but I might push it later on to 20. So for now, I'm going to just go with something around here. This looks pretty good. Just move this a little bit more to the right. All right. Next thing I'm going to do now that I have my Earth in here is go press Control T using the node wrangular add on, which is going to give me an image texture with a texture coordinate and everything else. Before we start adding our textures itself, we do need to apply our scale because right now our scale is a little bit all over the place. So I'm going to go Shift A all transforms. There we go. And then inside of Image texture I'm going to click open. And inside of your blender files for this resource folder, you'll find one that's called NASA Earth textures. So for the NASA Earth textures, we're going to open that one, and we're going to add Earth color. So for this one, we're going to be using a ten K texture. Now, there are also 43, 21 textures as well. I would suggest starting first with a ten K, and then if your PC can handle it, go more. Keep in mind that you can't use more VRM that you already have. So this is the part where you're going to need to be thinking about optimizing your scene as much as possible. So I would say start with ten K, and then if you need, bump it up to more depending on how it goes. Oh, in my case, I'm going to go with ten K first. Open image, and there we go. Next, we're going to also add a roughness. So I'm going to move this a little bit more up. Push this a little bit more here. I believe I can also add a dot here. I just forgot how to do it. There we go. It's going to be a little bit easier to connect stuff together. So just pressing Shift and then right clicking, it's going to give you a dot like that. And now we can go duplicate this earth here, connect it like that, and then go open. Next, we're going to add our roughness. For our roughness, we can use our land ocean. So I'm going to go with a eight k for starters, but I might boost it up later on to 16 K if I need to. If I connect this now into my roughness, I do need to do a few more things. I need to change this color space to make it non color, since this is a black and white value, and then additionally, you might notice that if I preview this that we have our water not being rough and the surface or the ground itself being rough. Looking at the details now, I might actually bump this to a 16 K. So I'm going to go Earth Tito t t, t two, two, lend ocean. Let's get it into 16 K. I should be I'd be adding a little bit more detail now. There we go. But you'll also notice that my VRM might increase here as well. So now that preview everything here, what we need to do in order to solve this is add a invert, and with this invert, we're going to add it here into the roughness, and then we're going to reduce it to somewhere around point let's go 0.8 ish, I would say, or something like this. So there's a little bit of that still going on. This looks overall good. Alright. Next thing on our list is the displacement. So to add the displacement, we're going to go and add one more here, connected. There we go. And then go here into selection. For the displacement, I'm going to go with a larger value, so I'm going to go with 21 K, clicking open, and then I'm going to add in here displacement And then in here, I'm going to go color, height, and plug this here into the displacement. And one last thing before we finish off this part, we do need to go now into our material settings and then inside the settings themselves, simply go here, where is it? Settings changes from displacement from bump only to displacement and bump. Otherwise, our displacement itself isn't going to work. So if you look at a part here now that it has some displacement, if we go in here, let's push the mid level to zero so it doesn't push inside and we only push outside. We do notice there's a little bit of a displacement happening here. If you push this to two, it increases three, so on and so forth. I'm going to go with something small of 2.5 for now. Don't want to overdo it. This needs to be all very subtle. Alright. We have our Earth. Now, the only things that are remaining are our atmosphere and also our clouds, which we'll be focusing in the next videos. So I'll see you guys there. 8. Adding Clouds: Thing that oftentimes gets easily forgotten in blender is the correct setup of the image textures color space. For instance, if I press Control Shift left click with my mouse on my Earth color, we can see here that the color space is being set as SRGB, which is actually correct. It is applying a Gamma correction to our image to get this here result because our color space is SRGB. Problem is, the SRGB Gamma correction is also being applied to our land ocean one, which is not an SRG is not an RGB value image. It's in fact a grayscale image between black and white. So we need to change our color space here for blender to correctly interpret this image as non color. You can already see that we also get some extra detail popping up. The same thing needs to be done also with our topography here. So color space, non coolor Whenever you image that has black and white values, it's always good practice to always change its color space to non colorful blender to correctly interpret that image. So control shift left here, and here we have our Earth surface planet. All right. We can now go and then press Shift D to duplicate our planet. And we can rename this one here to clouds. Additionally, we're going to increase the dimensions here by pressing here on the right side plus and then say by 10 meters. So it's going to be 10 meters above ground. But because we're not using actual scales, it is technically, I guess, 10 kilometers above ground. I'm not 100% sure. I'm not that good at math. In any case, what we want to do now next is pretty much take out this texture here and create a new one called Clouds. For this cloud texture itself, we're going to be using not the principle BSDF, but instead, this is a very popular technique where we use a subsurface scattering and a transparent node, transparent BSDF and then also an image texture. For this image texture, we have actually a couple of clouds textures available in our NASA folder. We have a 16 K, a 43 K. Sorry, this is the 43 k and then an eight K as well. For the start of this video, I'm going to go with a 16 K. Again, be mindful of how you use these textures because they're going to increase, obviously, slow down your render times. So if you have a device that can handle, for instance, a 43 K, I have a 28 TI, and as I was doing this, I was able to handle the 43 K, but it did take much longer. So I'm going to go with a 16 k for now, and then later on, if I see that maybe I want some extra details, I might push it to 43 k. So for now, I'm going to go here with 16 K like this. Oh, if we look at our 16 K texture, again, it is a black and white image, so that means color space non color like this. Additionally, what we want now is basically for the black values to be fully transparent, but then for the white values to have the subsurface scattering effect as light passes through them. That means that we need to basically mix these two shaders together. And then we need to use the Earth cloud here for our factor to control where does the transparent BSDF get applied? Where does the subsurface scattering. So the transparent BSDF is now being applied to the black values to the values that we have over here, whereas the subsurface scattering is now being applied to the values that are white, the values that we have going on everywhere around here. Alright. Additionally, now, what we can do next, you might notice that we have a little bit of this issue happening at the very top here. I believe if we change and also we have that with our planet, but with our planet, it is not that big of a deal, but I believe if we change here our mapping, so press Control T here, and then we change it from UV to object. And then instead of flat, we go to sphere, it should mitigate that issue for us, as a matter of fact, as we can see right now in here. So that worked pretty well overall for us. Now, there's a couple more things that we still need to do. We're going to push my subsurface down here. I'm going to push my mix shader up here and just move everything like this. If we zoom in a little bit closer, we're going to notice this blue tint kind of happening. And this has to do with the radius here being set up as the light passes through, we can see which values are getting pushed. These are belie red, green, and blue here being. So if we push this one or push this one, we're going to get different values, different colors coming in. What you need to do simply is just take everything here and change it to one as is, and we shouldn't have that issue anymore happening. Now, when it comes to the scale itself, the lower the value, the more the less light is going to pass through this, and your basically clouds are going to be looking I'm trying to find a nice little angle here where we can see kind of what's going on with our clouds, but it's a little bit difficult. So let's just start changing up our light a little bit till we get some maybe nicer shadows. Uh, let's see. Is there anything going on here? I guess it's much more difficult to look exactly what I'm talking about until we add maybe our displacement. So let's just go and add a displacement first. So shift a displacement. And then for this displacement, we're going to be using the same color here, Earth clouds, and then pushing this here into the height, into the displacement, and there we go. We can start seeing all these little details. Change the mid level to zero, and I'm going to use a height of two for now. And now, if we see the lower the value, basically, the clouds are they're not really letting light pass through them, so they're very, super almost like pixelated in a way. If we push this more to a value of ten, we can see that light is passing through and the clouds themselves, they lose this detail. So what we can do here instead is use somewhere of value between, I guess, zero and ten. What I found is a value of around four, that's a very nice trick. If you want to have more detail, you can go to value of two or maybe three somewhere in between. I might even keep it at three for now to maintain all this little detail. Additionally, now, if we look at our clouds, we can also see that there is a shadow that's being created by them themselves. So this shadow can be kind controlled, well, by the height, but also by the direction of the sun itself as it's hitting our planet. Let's also now while we're here, change the scale here, apply it, and let's just double check our scale of the Earth. That one is. Look at our sun one more time. Let's just start moving it to see, and there you can see how we have some shadows being created by the cloud by the sun. So if we move it a little bit more here, we'll see the shadow right over there. This is where we can also control the strength, obviously, of our sun. So if we go to round ten, the shadows might be a little bit more visible, but we then lose some of the nicer highlights of the sun that is happening at the same time. So I might go and stick it to 15 for now. And that pretty much does it with the clouds. There are still a few more things that we're going to be doing with them. But for now, I'm going to close off this video, and then in the next one, we will be adding up our atmosphere as well and then doing some extra tweaks to our overall scene altogether. So I'll see you guys there. Cheers. 9. Adding the Atmosphere: Add an atmosphere now to our planet. To start off, we just need to repeat the same steps as we did in the previous video. So just take our clouds, shift D, duplicated, press escape so that it gets back to its original position. Let's rename this here to atmosphere. And then in here, we're going to unlik this data block and then create a new material. Like this and then call it atmosphere. Additionally, we can actually push this a little bit more so we can select everything here or just go S. Then while holding Shift, just move it slightly to something around here, one, two, eight, eight, apply to scale. And then instead of a principle BSDF, what we're going to use is a volume scatter. Side of this volume scatter, we're going to connect it from volume to volume. We're going to decrease the density to something lower. Maybe get an idea around 0.10 0.2 or 0.15 for starters. We need to also change the color here or atmosphere because obviously the atmosphere is a little bit more of a bluish color here. So we're going to go to get a nice little blue, something like this going on, and that's looking already much better. Now, a couple of things. First off, if you're using a version of 4.3 or higher of blender, I believe this is when they introduce a couple more formulas or calculations to get the volume scattering to calculate how the volume scatters, essentially or how it works. One of which is called ali. This one says volume function mostly used for particles smaller than wavelength of light, such as scattering of sunlight in Earth's atmosphere. So it would make sense that we use this one for our volume scatter. Additionally, we also noticed that because we added the blue color for our volume scatter, that the ocean is looking way too bluish. So we need to desaturate our ocean a little bit to offset it to correct it at least against the current blue that is being added on top of it. So we can go back into our Earth's surface here. We need to add a huge volume and saturation node that we have right here. And then we also need to give it a mask because right now if we were to change the saturation, it would impact the entire thing, and we don't really want it. We only want it to impact our ocean. So what do we have that could impact our ocean? Well, we have a mask here of our Earth and land ocean. And so if we push it here into the factor, like this, it's going to be basically changing the saturation of whatever here is set to in white. So if we press Control Shift left like here to preview again our principal BSDF and I take my saturation all the way, start taking it down, you'll notice that the color of the ocean also changes. I think a value somewhere between 0.5 0.6 or something around there is going to be pretty good for our current needs. Right. So we have also our atmosphere now. We have our color here going on. One more thing that you can do. This isn't necessarily something that's necessary, but you can also control the density. For instance, if you want the density to be a little bit higher around these edges the corners versus here in the center, we can actually use a fernel to drive our density. So if I preview the Ferneello control shift left lq, you'll notice that the edges are whiter, whereas the center here is darker. So if we connect this into our density and then unplug it from the surface, you'll notice that basically this part here is going to be more denser versus the one here in the middle. You can also control this here by changing the IOR. If we change the IOR, you'll notice that the part in the middle gets a little bit more darker. If you want to get some extra controls on top of that, you can also go and add a color ramp and then use this color ramp to drive how you want this to go. Case, I'm going to push this a little bit more in here to get a little bit more denser, this fall off right there. And then for the center, I'm going to increase it to ever so slightly maybe 0.005 and then preview it one more time. And then this is going to give me this kind of look right now, which works pretty good. Again, if you want, you can push this a little bit more, or you can push this a little bit somewhere here in the middle. I think the middle part is going to be pretty good overall. Now let's take a look at a couple more things. If we look at our image right here, we will notice that one of the things also that's happening with our clouds is the ones that are here in the left corner, have a little bit more of a golden hour happening. So the sunset is hitting this part of the planet right here. But over here, it looks like it hasn't yet started setting down. So we can kind of recreate this effect. As a matter of fact, we already kind of have it happening right around here, as you can see in these corners, but we can also exclamate and make it a little bit more aggressive if we want. And depending on how we are going to be changing up our sun here, it's falling off, as well. We can play around it. So what we can do is if we go here to our clouds, we can actually adjust the color here that's happening based on this area right here that we have of the shadow of the sun. We just need to map it out accurately. And to do this, we can use a gradient texture. So if I press Control T and press Control Shift Lefl to preview this gradient texture, I believe right now if I have it set to generate it, I just need to play around with its current rotation somewhere or maybe even location. Let's see. To get there we go, something happening. So let's just play around with the location. Right now, it's a little bit aggressive. There we go. So we need to go opposite of this direction right now, so we need to go something. Let's see if this is going to work if I push it. Or let's go with Y Z, I basically want to just invert this, but it looks like it's not working for me. Let's try a rotation. There we go. Something like this. So after a lot of tweaking with it, values for me around 131, 133, and then 11.2 seem to be getting me very close. So now if I go at a mixed color right in here, and then I take it, and I take the value also from here, there we go. And in here, I add a color ramp. I'm basically going to be adding color ramp and then multiply these two values, pushing this together. I'm basically going to be adding whatever color I put in here on top of our white color that we have in here, and it's going to be following this dark shadow that we have created. So if I go here under rotation, you'll notice now that we can map out this dark shadow to get very, very close to this look. Now, what does this mean? Well, this means that if we go here and we choose, let's say, a red color, and then we plug this now into our color over here, crave you the mix shader. And push this a little bit lower, almost all the way down. We now get an extra level of control, obviously, we don't need this to be this red. So we're going to go change this color to make it something a little bit more of a sunset type color, not the white one, but the red one. So let's just go zoom out a little bit, change this one to be a little bit more of a sunsetty type color. We can then push this a little bit more like this. And then we can take this value and just push it. And see if we move this back. There we go. We now have an extra layer of this orange happening around right here, almost like a bronze, golden color right there, and we can change this to even B now. As a matter of fact, the B spine, so gives it a little bit more of that ball off, so it's not a rough transition, as a matter of fact. So now we also have that in here. And again, you can control it by pushing it like this. If you push this one even further and push this one here in the middle, you can see getting it like this. But obviously, we don't want that. We want this to be a very nice little fall off. And this will be very useful, especially since our scene is heavily cloud based, as we can see once again, it's very heavily cloud based. Once we find a nice little angle for a shot that can be seen from the ship and there's a lot of clouds. We can add a nice little golden hour effect to it. So around with these values. We're gonna be tweaking them later on as we go. But for now, the ones that we have in here are pretty good altogether, I'd say. So I'll see you guys in the next video, where we're going to be continuing to work, I believe on our ship, as a matter of fact, next. Alright. I'll see you guys there. Cheers. 10. Planet Composition: This video, we're going to be working on our planet's composition in relation to our camera frame. In other words, we're going to be deciding on where and how we want our planet to look when seen across the window here, whether we want to have it being really close or somewhere further away. So all of these things were going to be discussed in this video. And as a matter of fact, I recommend that you don't really need to do too much here. The only thing that we can start off kind of is just changing this bottom part into our three D view ports, going here into our view camera, and just turning on our rendered mode here. Then you'll see that pretty much everything is black because, well, we can't really see anything because our camera is inside of the planet here. So we're going to select all three of them. We don't need to parent them yet and just move them GY to somewhere here like this. And now we can start seeing our planet. So let's just talk about a couple of important things. So from here on, you don't really need to follow along. You can just kind of listen or if you want to kind of use the information as you learn as you go and then implement on top of it. Either way, is your choice. So if I go here now and I, let's say, take my sun, move it, make the planet a little bit more visible, let's get a little bit of a cooler angle to something like this. Then I take the planet and then move it a little bit more down, get something like that, take the sun and go like this. And for now, temporarily, I'm just going to also get rid of this orange here that we have. So I'm going to split this in half. And then in here, I'm going to turn off all my overlay so I can have a nice little clean look on my planet. And then in this side, I'm going to use my shader editor. So for now, as I said, I'm going to turn off temporarily my orange color here and just have pure white clouds. Now, if you decide to have your planet be somewhere around this angle, great, because there's really not much more that you need to do in terms of your image textures. But if you're in the ter boat of group of people that decide to have the planet be much closer because, well, either want to be as close to this image as possible, or you want your, let's say, country or some piece of monument or something important, like landmark on Earth to be seen. Well, there are going to be some challenges that you're going to need to consider. Specifically, it will have to do how much VRAM and memory your device is able to handle. Right now, we're using still pretty medium sized textures. 16 K is quite a lot when you think about it, as well, I believe, for our Earth's surface, we're using ten K, 16 K, and for our topography, even for a displacement, we're using a 21 k texture. So these are already pretty decent sized textures. And depending on how much VRM you have, it might actually crash your system if you go overboard. So in other words, let's say you want to get much more closer to maybe something like this. Well, you're going to need to do two things. One, you're going to need to scale up your planet. Do something like this and then get it relatively close as well towards the camera. Because even now, if I go and start moving my planet like this, you'll notice that we still have this kind of curvature going on here, whereas in here, it's more of a straight line. That straight line is a great indicator to tell you, well, we are, like, really, really close to the camera. We are like, somewhere around here, because now you can see we're kind of slowly losing that straight line. Okay, great. So we don't have an arc anymore. It's no longer as strong of an arc as we had in here. It is much weaker, but it comes at a cost. Well, for starters, if we take out our clouds and we start looking into our planet in here, and we take the planet and maybe let's rotate it a little bit more here to the side at a certain surface, you'll notice that this is now starting to look, while our atmosphere does kind of help hide it, let's go quickly apply all of our scales so that everything here is one. Our atmosphere does kind of help hide it. You will notice that textures here are very blurry. So let's say if we decide to go at a certain part, I don't know, maybe these islands here, which look really cool, by the way, somewhere around here, and then we turn on the atmosphere. You'll still notice that we have some pixelation, which means we need to increase our earth color over here. If we increase our Earth color, let's say, to 21 k, what we have in here, then my VRAM is also going to increase respectively, as well. As you can see here, it just jumped to 5.2 k. The same goes with our clouds. If we look at our clouds over here right now, you can see that they're very pixelated. If we increase the VM of our 16 K clouds to, let's say, what we have here, 43 k, our VM is again going to jump as well. And on top of that, you have to understand that not only the VM is going to jump, your render times are going to be increased drastically as well. So depending on how you want your planet to be seen, whether you're going to be wanted to have it really close or you want to have it further away, will also dictate how heavy your scene is going to be, how long your render times are going to even if your device can handle all of it. So if you go with something really close, you might need to go with a 43 k texture. You might even actually if you use a lot of clouds, you can actually bypass this and say, Well, because I can barely see any pieces of Earth, I don't need to go with 21 k. I can go with maybe ten K or I can go with maybe, let me see, Earth color. Do we have anything lower or higher? We don't have a 16 k, so we need to go maybe with ten K. So you can kind of bypass it here because you can barely see these are all the decisions now that you're going to need to think about as you move along. So I'm going to apply the scale here. Let's see Earth's surface. Everything here is one. In my case, I'm not going to go this close. I'm going to select everything here, move it smaller to, I don't know, like let's see, 2.2 0.8 for now. Let's just move this a little bit more up. Get it somewhere here, get this a little bit more here, get some kind of a look like this. So there's a much more of a curve here, so we can tell that we're further away, and then I'm going to temporarily hide all my clouds because I want to get something really interesting going on here. And this is already a pretty nice angle because I have all these little islands that look really cool and also have, I believe, Greenland right here, which is also really cool. I'm going to maybe rotate it. I'm also going to turn on my render view here on the top side, but just keep in mind that once you turn on your render view here, your VRM is again going to jump. So it's another thing to just keep in mind. I'm just going to start rotating this a little bit till I can get some kind of angle that really, really works for me where I can see all these cool islands while at the same time, seeing all the other details as well. And if it's easier for you, we're pretty much here. This is where our camera is. There it is right now. So you kind of know what you're looking at. This is going to help you maybe rotate a little bit easier to kind of figure out which kind of I guess, a part of the planet you would like to showcase. There you go. This looks pretty good. Then for my son, what I'm going to do with the sun is going to I want to have a little bit of a glare just around over there. A little bit of a glare around there. All right. I don't I don't want the atmosphere to be so dense, so I can probably just push it a little bit more this. There we go. Maybe are a little bit more up somewhere here. And again, I can go here as well and play around with density by moving this further away. It's going to be less dense by moving this closer here. It's going to get more dense, as you see, by a little bit more. It's going to be less dense around here and so on. So depending on how you want your atmosphere to be, remember, also, atmosphere helps you kind of hide the issues with the low resolution textures if you have, so it can be very, very useful to have your atmosphere be a little bit more denser. But then also you might need to bring back up your color for the ocean as well because you might lose that. So just some details to keep in mind of as we go along. Alright, in my case, let me see where my son is pointing at right now. I kind of want this to be something like that. Alright? Let's now take a look here on our Earth. Surface. Let's see if I increase our displacement, does anything interesting happens. So increasing my displacement, I might even push my displacement a little bit higher just because of the look here of these islands. So I might even go, let's see, maybe ten just so it brings a little bit more detail, a little bit maybe too much, so maybe like seven. It's going to be cool. Then going back here onto my clouds, let's see, we have currently a 43 K resolution. I'm going to try to stick with a lower one. So 16 K, as a matter of fact, like this, and then I'm going to turn on my clouds. Let's see what we have going on here. So this is obviously way too hard of a darkness, even though we do have some over here. So going back to my sun, I'm going to go and push the sun a little bit less dark like that. And then for my clouds, I'm going to not rotate my clouds through here, not like this. Instead, I'm going to rotate my clouds changing this rotation so it doesn't change the position of my gradient texture as well. So I'm going to start just rotating here to find a position for my clouds where there is There's a lot of clouds, but there's still a lot of holes so that I can actually see these islands the islands themselves we really interesting, as a matter of fact. So I'm just going to try to rotate this until I find a nice set of clouds, but also with the position that I can see my islands. And already over here in this corner, I can see there's a lot of clouds happening, so I'm just going to go and bring it up by messing around with the Y here. And we can slowly start seeing now I'm bringing up these clouds. And these ones are looking really, really cool. Let's see. Let's take a look. So this is stuff that's over here right now. I might need to push them a little bit more there just so I can get a bit more visibility on the islands themselves. Something like this is looking really interesting. Then again, for the clouds, you can play around with the scale here as well with how much of a displacement you want. But just remember, additionally, I believe we do need to apply here. Let's see, displacement, change it to bump, displacement and bump. Here we go. We aren't going to have this much of a displacement because you can see then the clouds issues happening here in the corners. So we're going to use a displacement of maybe five let's say, five is too much. Three let's see, two is looking better. We're going to need to push our atmosphere a little bit more up or at least our clouds a little bit more down so that they don't get bigger than our atmosphere itself. This is looking really awesome right around this corner. It reminds me quite a lot of what we have going on here. So I'm going to keep this as is with the current scale of four. And then additionally, I'm just going to take my Earth's surface and then just try to rotate it a little bit more to get those islands a little bit more visible. Something like that, and then maybe taking the sun, just pushing it a little bit more. Let's see. Towards the ocean itself. Something I guess, like this is going to be the best I can, maybe taking the planet. Again, you're probably going to have a completely different scene than I have right now. I'm just going to go with something like this, I guess, what I have currently set up. And now I can additionally go and add my gradient that we have here for our cloud. So I'm going to enable the gradient color once again. Let's now preview to see how it looks like. I'm going to press Control, Shift left click on the gradient. And it's not pretty, and it's not that bad. It's over here, whereas our sun shadow is over here, so we need to just play around with a few details. So we just need to go here, rotate, change, mess around with the actual rotation of it. Okay. Rotating a little bit more. And I'm slowly aligning it, and now I'm just going to push it. And here we go. We have it almost perfectly aligned. I have it almost perfectly aligned here with our shadow. Let's just see what just happened. Like this. Alright, let's preview everything. There it is. Now, obviously this is way too strong still, so we're going to push it back to just have it around this part right here, and then push this and this as well, so it's a little bit weaker. There we go. And if you want, you can also add a little bit of a blue here as well to your clouds. So we can add one in between here and it's going to be, like, a light ish blue We just spread it out a little bit more. This one is a bit too strong. But if you compare it to the reference image, it is not that far off, as a matter of fact. So this looks very, very close to the reference image that we have where the sun is kind of slowly falling down. If we want, we can even move our clouds a little bit more or just at least what I'm going to do, maybe just move a bit more of my clouds wrong button here. So where are my clouds here? And there we go. So for me, this is pretty much going to be more or less similar to my camera angles or what's going to be seen from our planet. I might go to need to move it later on, depending on once we consider the frames and everything. So if we turn on our ship right now, the easiest way to kind of figure it out how this is going to look like if we go and find our glass and just hide it. So this is what's going to be now visible of our planet. So what we can do here is just, you know, if you want, you can then take it, move it a little bit more up, move it a little bit more down. Depending on what is going to be seen or what you want to be seen, in my case, something like this looks perfect. So I'm going to keep this as is. I'm going to turn off my ship temporarily for now and save my scene, and I'll see you guys in the next video where we're going to start texturing our ship. 11. Texturing pt1: Jumping into the texturing, I'm going to prepare my scene a little bit more appropriate. So I'm going to go Tilda view camera here in my top view. And then my bottom view, I'm just going to set it up as rendered. Zoom in a little bit, push it a little bit to the side, move this one more because I'm going to use this one for texturing for my shaders and then zoom in here a little bit until it fits as much as possible like this. And I guess do the same over here just to get the most out of my real estate. Kind of like that. Alright. To begin with, we currently have the same view in here and in here as well. So what I'm going to do next is actually enable my ship. Right off the bat, what you notice is obviously everything goes pitch black, and that's because, well, our current glass material doesn't have any material, so there's no light passing through it. So what we can do here is simply go on the glass, click on new material, call this one glass. Then frame all. Let's just check our principal BSDF, take it out, shift A, add a glass BSDF connect it to the surface, and here we have our glass. Now, the issue with this glass is obviously it is letting it so much light in, and we don't really want that. We want to control the light within the ship actually that's happening and not have the planet or the sun currently light up our ship or inside. So what we're going to do here inside of our planet here where we have the sun, we're going to go into object settings and then under, I believe, shading, light linking, we're going to change this to only affect the collection called planet. So this way, now the light the sunlight here is only affecting the planet, and we're going to be building out our entire light within the ship itself. So while we're at it, let's go create a new collection, call this one ship light, and let's add it inside the ship. As we're doing that, we can actually go and click on this little light that we have created here, so not this frame of it, but the actual light itself, and then go here a new material. And instead of the principal BSDF, let's call this one a emission. Let's add an emission connected to the surface, and it's immediately going to start lighting up our scene a little bit. I'm going to change the strength to three. And also, I want to be able to control the warmth of the light itself. So I'm going to add shift a black body emission. So plug this into the color, and I'm going to change this to roughly 10,000, which is going to give me a very cold look similar to how we have here in our scene. It is not warm. It is actually very cold. Right. This kind of sets off us going. And then in the ship light here collection that I have, I'm going to go and add an actual light to kind of add on top of this because this is not enough to just light up my scene. We're going to be actually adding much more lights as we go along. But for starters, let's just add a few now to kind of get us going. So the next light I'm going to go and add here is go Shift A, and then area light that we have in here, G Y or GZ, actually, move it up, R, Y or R, let's see, R X negative 90, so it's pointing directly here. Make it thinner, so SZ like this, and then make it wider as X until we get something close to the light that we've seen here. Let's just go here and say use nodes, and then let's just start pushing it closer you can see here in the bottom part, this little nice highlight that we're getting on the wall, top wall is kind of what we're going for to create. So if we make it a little bit more and then push a little bit more down, it's going to light up more and give us this nice little highlight. We can go even further a little bit more, kind of, like, I guess this is a good sweet spot. And then I'm going to just go Essex, maybe push it a little bit less. Kind of like this overall, a little bit more or less. There we go, so it feels natural. Then let's see how much back we want to push it. We can go in our top view and then Old Z to get an idea. So it should be coming basically from here where our light actually is. So there we go. While we're now at it, we can also add a few more lights here to the sides to light up these bridges that we have. So I'm going to go here and go and press Shift A. Again, light. Let's also call this one top top light, then let's go Shift A nutter light, G, Z RX, negative 90. This one can be bigger, something like this. Let's go use nodes. And the goal of this light is going to be to light up our stuff here on this side. So I'm going to make it also around this tall and then just start pushing it here to the side, it's going to be lighting up this corner from here. I'm going to also push it a little bit more back. So it goes behind somewhere around here, and then again, a little bit more towards there. To get me this look, and I'm going to change the strength, not too strong. So just like let's go to 0.25. Like this, let's go check our light four and after. And so this we get this nice little highlight right here. Let's go 0.25 and the same as before, I'm going to go here and add a black body emission, and I'll go with a little bit warmer. So this time instead of 10,000, I'll go with 8,000. Alright, we're going to basically now duplicate this. Let's just call this one as we have it. It was on the right side, so let's call this right light like this. And then let's move on to the left light, which is going to be the same thing, Shift D, GX, move it to the left side, roughly around here somewhere. Let's turn it off temporarily, and before and after, let's call this one left light. Okay, there's still going to be probably a few more lights that we'll be adding, I believe, around these edges right here. But for now, I think this is going to be enough to kind of get us going with our scene. Alright, starting off next, what we're going to do is let's go into let's see what makes what is easy to kind of texture right off the bat. Well, for starters, let's go with these edge ribs here. We don't really want to texture the edge ribs instance. We want to texture the edge ribs because it's using it as to create an instance. So in here, we can just go, let's see, we need to probably enable it. Vs new. We can now hide it, as a matter of fact. And so if I change the color of this, obviously, now, you'll see that all of the instances get changed as well. So to change our edge rib here, I'm going to go with a color that I have saved here and use this one here. Then additionally, we can go with a metallic of probably, let's see, 0.6 here, and then user roughness, also roughly similar 0.62 or something like that. 0.62, give us this little nice dark look overall. Then what else we can texture that's be super easy. The white part here that we actually have is also very simple to texture, so we're going to go new material. Also, while we're at it, let's actually name our material here to have the same name as the object itself. So edge ribs, and then the one over here, let's name this one and call it let's see support. For the support one, we pretty much just want to push the roughness probably to around 0.9 0.3, something like this and keep it everything else as this should be fine. Then we also have, I'd say, the actual ship itself to ship husk. So new material, ship husk. And then we're going to just change this color to something very dark, again, like this and push the metallic all the way. And also maybe push the roughness just a little bit to, like, 0.6. We can always go back and tweak. For instance, our glass is not yet fully completed. We're going to deal with out a glass material at the final stages off. We just want to be able to now to see the planet and see how our overall composition is taking into look. What I might do, as well, is just take my camera and just slightly move it more forward. So if I go here into my camera view, let me just go into my camera view. View camera. Oops, I mess something up. Let me try to undo this. There we go. There we go. And then if I go into my camera view and I lock my camera or you can just go press G, and I believe Y and then just slowly start moving forward, once you have your camera here selected instead of the glass, like I just did. I just want to zoom in coming a little bit more closer to somewhere like this. It's just a little more closer to my subject and to my overall shot. All right. From here, then we pretty much textured this one. We textured this. We textured. We can go now with the ceiling, or at least the first part of the ceiling. So for the ceiling, we can actually turn on here our render view because I do want to get in closer to the ceiling itself. So I'll just going to go roughly around here so I can get a better look. And then click in here, click New shipped like this. And for the metallic, I'll push it probably all the way up. And then roughness go maybe around 0.8 or something like this. And now for the base color, we're going to be using a brick texture. This something that you should probably be familiar if you watch the Dune series where we use it, I believe in part three of the Dune Series videos, we use the brick texture quite a lot. And for this brick texture, we're going to be playing around now with these values. I'll start off first with the colors just by copy pasting the values that I used in my previous videos. So 474747 FF. And then the other value here is going to be 767676 FF. There we go. Additionally, we can also change the mortar here to make it something super thin. So 0.005, that way we lose all those very, very big edges that we just had here, and then the smoothness can stay as is the bias also. But the brick width, we can pretty much increase to push to something larger, maybe 1.4. Again, this is going to be a matter of your own personal preference and how you want to have it, to be honest. So feel free to do whatever you find works best for you, obviously. Alright. From here, additionally, we can also then change, let's see, our brick height, maybe just push it a little bit. Larger to get maybe around 0.85. Okay. And that pretty much concludes our ship top part. As a matter of fact, the scale, we can also increase if we want, maybe push it to, let's see, seven ish. But this overall looks good. And then if I go back into my camera view, press control space, Zoom in wait for this to kind of finish off rendering, I can get an idea of how this part is now looking and we can see that we have this effect of different tiles now being stacked together on our light, which is pretty neat overall, I'd say. That looks pretty good. We are still left with this white part here. So for the white part, we're going to do actually a very similar thing, but we're going to combine two brick textures instead of one. So let's go here, select this white part, go new material, call it ship top, white, and then we're going to add a brick texture in here. Let's first deal with this one. Let's connect this one, rest control, T, give it an object, and then go here under color, and just connect it to the base for now. And then the values that we have in here, I'm actually going to change this one to a little bit more of a wider, so I'll select here, get my value, which is the one that I use, and everything else here is going to remain the same. We want to now make these ones a little bit more thinner, a little bit more detailed and compressed in comparison to the previous ones. So for these ones, I'm going to go here and add a higher frequency of five, and then I'm going to go squash everything here, keep put it at one. Additionally, you can now start seeing these little lines that we're kind of getting. Let's just make sure that our scale and everything here is applied. We are good on that front. Alright. The scale here is going to be like around 0.3. Then mortar size, we can push it to 0.002, which then still leaves us with, let's see, smoothness, that's fine, bias. Let's go zoom in here a little bit closer because I'm noticing that I'm barely now seeing stuff happening here, which isn't really good. Okay, we have our lines actually. Now I can see them. And then for the bias, I'm going to go push the bias. Let's see. 0.4 width, we can drop this down to maybe 0.3, and then the row height, we can drop this one down to 0.2. So we get this kind of look right now, and then additionally, we're going to go now with the second one, so we can duplicate this one like this and then start adding other ones. Here I'm going to use pretty much the same connect this one here as well to the vector. And then instead of the current one, I'm going to connect this one now to try to get a little bit more of a compressed look. So here I'm going to go with 0.5 here, that's fine as it is, and then here I'm going to use 1.3 and then the scale, I'm going to push all the way up. So I get all these little details here. You can kind of see them a little bit showing up and mortar size again 0.0. One here, I'm going to go a little bit more thicker. Then smoothness is going to stay the same, but the bias is going to go a little bit more up. Let's push the bias in, maybe two round, 29, and then brickwidth I'll drop the brick with 2.24 and then this one to row height to push it a little bit more to get that stretch look like this. So one point I guess 1.1 should be. We're basically going to combine these two bricks, brick textures that we have created. And so if I go, click on this one, Control Shift, and then right click with my mouse, using the node wrangular add on, if I push it down, it's going to automatically create a mixed texture. We're going to be using the multiply here, so that way, we get the black values merged together into one, and now we have a lot of detail going on in here altogether. If you want, this is necessary, but you can also go if you want to add some extra detail, go here and add a bump map and then connect this here into the height and then go here into the normal. And this sh add a little bit more of a bump detail also going on here if you want. And you can do the same kind of thing in here as well, where you go take this brick texture, bump take this one height, push it here into the normal, it's going to add a little bit more of a bump effect. So if I go and I'm into the view camera, zoom out a little bit, review the whole thing by pressing control space so I can see only one screen. This is the current look that we have going on, which is overall, I'd say, pretty good. Let's give it a few seconds for it wait for it to drop rendering, but there we go. Looks overall pretty cool and interesting. If you want, you can also again go back, do some tweakings. This is now a matter of personal preference and how you want to go. I'm going to go control space maybe and then change some values here if I wish, let's see if we go with a scale. Zoom in here so I can see it better. But this pretty much overall concludes our current video. And as I said, if you want to do add some extra more detail, play here with the bias, change it overall. You can also go here under viewpoor shading. So once you click here, you'll be able to see your materials a little bit easier without the wait for the render time. So that way, you're going to have maybe better idea of what each of these settings does to you. Essentially. So, for instance, the brick width, you can see you get all these super thin details like that. We get some imperfections like this, the lines and how they align. This is where also the bias takes in place and the motor size, obviously, and the scale, how we want these lines to be. And so on. So overall, this is kind of the direction now that we're going. One last thing here. I just want to double check the light here that I created that it is actually using a black body emission because I just noticed that this scene when I was in my rendeu, it was a little bit too warm for my taste. Like even looking at it here, it's a little bit too warm. So I'm just going to connect this here into the color and then add a 10,000 K Black body omission so I get this nice little cool look happening overall. Going back here to the top, I'm going to go now here and just play around with these values one more time so that they align a little bit nicer. Let's see, maybe something larger like this. I think I really like this one here, so that's where I'm going to keep it at. Going into my camera view, go back into the render settings, zoom out. And there we go. So now we can slowly start seeing the details of the ship coming to life and getting us to look similar to how we have in here with all these things. Alright, guys. 12. Texturing pt2: Working on the ground. Let us first get our camera to a similar positioning as we have it in here. So what I'm going to do here, since I already added my Puref here on the left side, I'm going to go here on my three D view port. Just try to while taking the camera here, go GZ moving it to try to get a similar angle going on here. Now, obviously, it's not going to be exact, but what I do know is that my camera is going to be somewhere closer to the floor like this and then RX something looking around, I guess around here. This might be fairly close. We do want it still to be somewhat centered. So what we can do here is go into our camera settings and then under, let's see, viewpoint display, composition guides, thirds, we can then use these thirds to kind of help us also align our camera a little bit better. So RX one more time, and I'm just going to try to get this to be I guess, somewhere around here is already pretty good. Again, it doesn't need to be perfect yet. We can always come back to it and align our composition a little bit later. So that's fine. But as long as we're a little bit closer to the ground as we are right now, this should pretty much get us going because we do want to be able to see these lines here that we're going to be now creating. So let's go back into our shader and simply while having the floor selected, click on New and let's call it floor. All right. Once we have that, we're pretty much going to be messing around with the roughness. And so, first off, I'm just going to push the metallic all the way up top to make this metal floor as it has a similar property right over here. And then for the roughness, I'm going to start in order to get these lines, I'm going to add a wave texture like this, and immediately, you can see how it impacts it. So I'm going to press Control Shift left click with my mouse. And here I can see my wave texture. I'm going to then add a lot more waves, maybe go to, like, I guess, an 80 to 50, 70, what do we have? 70. I guess 70 should be around close to what we're going to need as shown in here. Then on top of that, we don't really want, obviously our wave texture to be like this. So we're going to be controlling the strength of it or the strength of the roughness itself by adding a color ramp. So the color ramp is going to be driving the strength essentially of the roughness. If something is super white, then it's going to be rough. If something is black. So for instance, if I push this white all the way to black, you'll see everything is now crystal shiny. But then if I start increasing a little bit, we're going to start getting those lines of rough happening. So for now, on the right side, I'm going to use a value that I already have saved up in here. So 77777 FF, this one here, and then on the left, it's going to be pure black. But I'm going to change the interpolation here to peace plan to give me a bit of softer fall off here between the two colors. Alright. Additionally, we can pretty much keep these values as is, but to make our floor a little bit more interesting, we can now combine this wave texture with a noise texture. So we're going to go at a noise texture here on the bottom. And then for this noise texture, I'm just going to go press, let's see, control shift left to preview it. I'm going to add a color ramp again the same so that I can better control the contrast that is being created in here. I'm going to start messing with the value just by, let's see pushing the detail a little bit more. I'll drop this a little bit more back. Then for the color here, I might even use a similar color. So I'm going to go here, copy paste this value that I have, which is 9595 FF like this. Then in here, I'm just going to start pushing this a little bit more down. The roughness, I'm going to push the roughness ever so slightly, maybe to 0.60 0.68. Narity distortion, those values can stay as is. This gives me a nice now look that I can add on top of my material. Additionally, looking now at my martila here, I can see that my scale is a little bit off, so I'm going to go apply the scale, while you're at it, be sure to check the scale of some other stuff here, including the glass and the overall ship as well, et cetera. So everything seems to be fine. The cube the dummy that we have, we don't really need to be worrying about that. So the floor here is okay. Let me just take off caps so it's it's like that. And this looks overall, I'd say, pretty good. Now the next thing, I can maybe just mess around with a scale just to get something more going on. Guess somewhere around here, let's go take a look. Okay. Let's combine now these two nodes that we have. So we're just going to combine them here, and you can choose a different variety of blending modes, but what I found worked best for my use case of what I wanted to end up with is to go with Lighten. And then it maybe go a little bit more here because what lighting is going to do is if you look closely, it's going to add, it's going to blend the light values on top of our current here existing. So if you go full on, you'll see we have more light values like that, and if we go a little bit darker, we have a little bit less. So we're now going to combine these two and just preview how everything looks. And again, if you want, you can always push this darker or higher, depending on how strongly you want to have these streaks of these lines here on the floor, on the panel. Additionally, if we look at our panel here at the bottom, there are also lines here almost like well, they look like panels. The floor itself is made out of multiple panels stacked together. So for this, we're going to be re using a brick texture that we've already done in the previous video. So separately from here, I'm going to go here and shift A at a brick texture, and then I'm going to preview the brick texture as it is. We want to be using pretty large panels. So for the size here and everything, I'm just going to start changing the scale here to go to maybe 0.1. Let's go 0.1. That's a little bit, I guess, still not good. So let's go I think something like this might be okay. So one exactly. Then here I'm going to change these guys to, let's see, 0.45 or something like that. Then here, these ones 0.7. Actually, we want this one to be a pure well, not really. There are some disruptions here going on. So whether you want this to be pure line or not, that's going to be up to you. For now, I'm just going to experiment a little bit. Then I'm going to go with mortar size and use something very, very small, so 0.0 003, so I have this nice little line. I do want to push this closer towards me, so I might need to go here like this. And then while I have it in generated, let me see if I can move the location to get it closer to me. But then I might need to separate reset these values in here and let's change the frequency here to one or both of them, then go back to the scale until we get this nice line here right in the middle or close to the middle as possible. Looks like 1.5 is going to bring it roughly to the middle. For the height here, I'm going to increase this to, let's see, 0.4, so it gives me a bit more of that height. I can go back in here, mess around with the Y location to push it closer to me, and then also, I guess I can mess around here. To try to point it to the middle. So maybe negative five negative 0.33 is almost close to the middle, so I think that should be fine. Negative 0.2. Holding Shift should give me a little bit more increments, but I think this should be okay. Let's take a look now at our panels. What do we have going on here? I'm actually going to have all of them be the same color, I'm going to change the bias. I'll use this bottom color here. So if I went with negative one, it will be the top color, but if I go with one, it's just going to be the bottom color. Looking at my panels now, I might actually go and play a little bit more with the values here. Let me just see. I might just make them a little bit more smaller altogether. So we have a little bit more panels going on. I'd say roughly two let's see how might we have. Something like this might be good. Yeah. And then I do want to push them again, closer to the middle. So somewhere around here. Let's go two oh five is too much two oh one, two oh 89 There we go. It's not exactly the middle, but I'll take it maybe. This is as close to the middle as I'm going to get, so I'll take it. Alright, now that I have my panel here, my brick texture, I'm going to then add a color m that's going to again, allow me to control now the strength. So if I move this super dark. Let's go here, preview it. There we go. And now I'm going to mix this brick texture as well with another noise texture. Just to give me a little bit more of an extra detail because let's just go here in our noise. Let's add another noise texture. And the goal of this one is going to be just to add a very, very small incremental detail. So I'm just going to start scaling it to something. I guess, something like here should be fine. We're going to also go into generate. And then I'm going to start messing around with the scale also in here, start getting this little bit of a stretch look like this. And then I'm going to increase the detail to roughly, let's go six and then roughness also to a little bit more seven something, and these two can stay as it is. Add another color ramp. Let's take a look at this detail. I might make everything a little bit smaller. So I'm just going to keep playing around with the scale here. Let's go to one. One is obviously too high. But then if we start messing around here, let's go squish this a little bit more, squish this a little bit less. Push the contrast a little bit more so we can see better what's going on here. Let's change this to object. Let's see what we have here. This looks pretty good. I'll just decrease the strength here. Okay? Let's go into our view camera. And then I'm going to combine these two together and map them into a multiply and then push this all the way here to the side. So I have the line here in the middle as we can see it. And then if we want to make it bigger, we can always go into scale or mess around with the mortar whereas our mortars size. If you want to make the mortar bigger, you can go here 0.5. That should increase it. But the point here now is that we're going to combine this here with the one that we have in here. So control shift, right click, and then just use it as a mix between the two for our roughness going to push it in here to roughly, let's see, somewhere around here. And then for our normal map here, I'm going to add a bump. And then for the bump, I'm going to use the brick texture itself, connect it to the height and then connect this into the normal and then connect these two. And here we have our line. I'm going to go back and decrease the strength of it because now it's a little bit too strong. So let's go find our mortar size 0.3 something like this, this is a much thinner one. Let's preview our texture one more time. I'm going to push this panel probably a little bit closer towards me. So let me just temporarily increase my mortar size to 0.4 and then push this. A little bit closer towards the camera. I can barely see the line, but it's right there. Let's preview this now. There we go. Perfect. Now, we're still going to be working on this material a little bit more, but I'm going to close it for this video because we are at the 13 minute mark. And so in the next one, we're going to continue adding some extra details to this floor and also finishing up the rest of our textures that we have going on here as well. Alright, guys. See you there. Cheers. 13. Texturing pt3: Now you might notice when looking into our floor here is that we do have the reflection of our light source that we have over here on both of the sides. So we actually need to tell this light to only affect these edge ribs instances. So I'm going to press here to add a new collection. And I'm going to call this one edge ribs. Like this and just push the drips back into my ships. And we're going to add drips and dribs backup, everything in here. And while I'm at it, let me just turn on my screen cast keys so they're on. There we go. And then in here, actually for the top light, not but the right light and the left light. So both of these lights, we want to go here under object and then in here on our settings under shading, light linking, we're going to tell it only to affect the edge ribs. So left light, do the same thing, Ed rips. So now we still have that light effect here on the sides. If I take a look at my right one, I turn it off, you can see it did notice, but we don't have that reflection. It's only affecting this element here that we want. Perfect. Now, this part of the video, you don't need to do it if you're already happy with your ground, but there is one extra addition that we can make to the ground itself, and that is adding a layer of coat. Now, this is where actually having blender kit can come very useful. For instance, we want to add some extra imperfections to our top layer. And so what we can do here is go here, pressing on this arrow, going here down, and then typing in metal. Binder kit is going to list out here once I click on materials, a lot of metal materials examples. I already downloaded this one here, the scratch metal, and let me just take a look at some of the other ones. Additionally, in here in the filtering, you can say, what do you want, only procedures or texture base or both. So in my case, I'm going to go with both, and I'm just going to go and take a quick look into some of these materials and see if I can find something that might work for my case. And after a little bit of searching, after typing in just metal here, I found this material here that looks very interesting. Now, a couple of things. Once I click, now I'm not 100% sure why this is, but once I click on applying this material, the sizing of the current one is going to be a little bit messed up. Here's what's going to happen. You don't need to do anything now, but watch this. So when I click on this material, it's going to mediately be applied here. If I go here and say, instead of the dark iron, I want to have my floor back, you'll notice that the floor doesn't look again the same. And if you focus your eyes just a little bit, you'll notice that these lines that we had here before for let's see where is our wavelengths have become super, super tiny. So what we're going to do now here is just adjust this scale here. Let's go to around 15. That should bring us roughly back to where we started. Let's just double check if all of our outer textures are okay. The noise texture here is okay, but the brick texture isn't, so we need to also change the brick texture here at scale. So let's just do, let's see. We could go probably around let's go 0.1 and see if that makes a difference. It does sort of make a difference, but we're going to need to play around with it a little bit more. So maybe we drop this to get somewhere around here. And we're going to need to also adjust our mortar size to maybe be 0.3 like that. I'm going to go into my view camera again and then change or adjust again the position of this here. Go again maybe with the scale just a little bit, so I have a little bit more of these, as I said, plates roughly around here, view camera one more time, and then just go and adjust the position of this line. And this should be pretty much it. All right. Now if I go back into the let's see where is. New material, Ship house floor, atmosphere. That's not one, whereas our iron F dark iron here. I preview it. Actually I just want to take here my roughness and the normal from this material. So I'm going to go select everything here, go back into my floor like this, preview the floor again here. There we go. And then I'm going to go here where you see we have coat and weight. I'm going to paste it right below here like this. And now because this is using UV projection, we need to go here into our edit mode of our material and just change this here and subdivide it a few times so we add some UVs to it, and then wrap, we can go with angle based like this. This should do fine. And then once we now connect our gamma here, let's just preview this into the roughness, preview how this looks like. Let's connect this one here into the normal map. And also, let's just double check. We apply the scale last time, so that should be correct. Let's see how everything is mapping. We can pretty much reduce maybe the scale of these little dots to make it a little bit smaller, something like this. And now let's take a look at our overall material. Now, nothing shows up right now. Let's hide this arrow. But once I start applying this weight, you'll notice that we started getting some dots appearing here in these corners, a little bit here, a little bit there, and so on, so I'm not going to go super crazy with it. I'm going to go maybe around 0.5, just so I get some imperfections happening here on the sides, and I'm going to go and decrease the size also of this here. So I'm going to go in here, whereas my mortar size Let's go probably to. Let's go to one, so it's a bit thinner like that. So play around with these values, play around with the weight code here, and just try to figure out what kind of result works best for you. So this does add a little bit of that dirtiness here, which I really like. And from here, we can move on to some ter stuff that we're still missing in terms of texturing in the next video. Let's see you guys there. Cheers. 14. Texturing pt4: Earlier on, I did mention that we'll be coming back to our glass material. So in this video, we're going to be just updating our glass BSDF here our glass material overall and adding a bit more extra detail to it. For that, we're going to use Blender kit again. And if you type in here glass, you'll be gifted with a bunch of cool glass materials here. But the one that we're looking for is going to be called frosty glass, this one right here. So, selecting the frosty glass here is going to change our glass to completely be frosty and barely, you know, visible. So we want to add now a separate glass PSDF. So clicking on this one, Shift D, duplicating it, and then control shift right click with our mouse so that we get this, have the two, make a mix shader out of them. And now we basically have 50, 50 of each. So we want to use a texture now or noise texture that's going to help us drive this to get this kind of look that we see in here with these lines and so on. So I'm going to go here into my factory, and I'm going to choose Voronoi texture. When I was kind of experimenting, this whole scene, this literally came on accident. I'm not even sure why this is working. In my opinion, it's not supposed to, but it just works so well with this scene. So if we change this to two D, so from three D that was before into two D, we get these nice streaky lines. And then we start adding some roughness. As well, some other things here in our detail. So a little bit more detail, push it to 1.6 or 1.7. We add a little bit of roughness to maybe 0.8, and then scale, we can go here to around three or maybe let's go 3.2. So now we are getting these lines, which is pretty cool and unarty and random here, I'm going to keep as is. Now, additionally, I'm also going to add a color ram just so I can then later on control, and now I'm going to connect this, connect the color m into the factor, and this is what I'm getting. What I want is to reverse the effect. So I want these areas that are actually not that condensated to be condensated versus these ones that are super condensated not to be. So I'm going to go click here on my color ramp, flip it. And now I don't want to have it to be so aggressive, so I'm going to choose a beast blind instead. That's pretty much it. Now we have our glass created, and it works pretty good. Additionally, if you want to add a little bit more extra of the frostiness, you can always push this to more of a lighter color. As you can see, it's going to then increase drastically. I'm just going to keep it barely, barely black, almost completely. Like value 0.005 should be good for me. There's our material for glass. One last thing, as I was looking, what I noticed was, if I went into my face orientation, I noticed that we need to change some of our face orientations here to have everything inside be blue. Now, the issue with the glass one, specifically, if we were to change the face ortation is it's going to kind of mess up our planetary position. So I'm going to press Shift A here, press Shift N. And then go into the edit mode here for this material, per shift to reset the normals, going into here, recalculate normals. There we go. And then these guys, as well, the light above as well, we don't need to do for everything, but for this here, I'd say, we're pretty okay. The light itself is fine. And then here one as. The glass if we recalculate the normals, our planet is going to look a little bit different because it's going to be calculating it differently as you notice here. So probably if you do that, if you decide to do with the recalculation of normals with the glass, if it's not causing any issues to you, you don't necessarily need to do it. It might cause some problems later on down the line, but if it doesn't, I'll just keep it like this so I don't have to change the position of my planet for now. So I'm just going to get out to face orientation, and that's pretty much it. We have our scene created, and now in the next video, we can start getting into our main subject, our main model, et cetera. 15. Modeling the Helmet: Much done with the environment for our scene. So in this video, we're going to be jumping on to work on our actual subject, the model that we have here in the middle. What I'm going to do is open a completely new instance of blender that I have right here, and then I'm just going to go find my human folder and then drag and drop the human model in here, Import FPX I'm going to remove everything else that I have in here. I don't need that. I'm going to go into the human model that I have, press N, open my screencast keys. While I'm also here, make sure that we reset all transform scale rotation, et cetera, to have it be like this. Additionally, let's go here for these eyes, do the same thing. So, this is the human model that I actually was able to find, I believe, on Sketchfab. I don't remember the exact person that posted it. I do know that it had, like, it was free of copyrights and all the other things. But what we have here is an unfinished model because if we look here into our pure ref, here we have the reference images of the helmet that we still need to create. So in this video, we're going to be modeling this helmet that we see in here. So I'm just going to put it somewhere around here, so I can have it as a reference. And the best way to kind of start with this would be to create a cube first. So I'm going to go Shift A, search, at a cube like this, and then go right view AZ GZ, the cube so that the origin point is roughly in the middle of the head, scale it down to somewhere like here, apply the scale or all transforms, going to my top view, and then edit mode, control R, add a loop cut right here in the middle because, well, we don't want to be doing the work on both sides again, so we're just going to take this side out like this and go use a mirror modifier. To kind of get rid of the other side, let's enable clipping. And there we go. Additionally, now while we're at it, we don't need to be this wide, so I'm going to go select these vertices here while in Xray, move it roughly to here, and then now we can slowly start laying out our helmet that we have in here. First things first, the height of the helmet. It's probably going to be somewhere we can see close to his nose as we have in here. And then I'm going to add a loop cut roughly around here, and then another cut roughly around here, and then we're going to take out this phase that we have in here. So completely taking out this pace and taking out the phase that we have in here. So remove these two faces, and then we can also remove temporarily this phase as well. And we can also take out this phase here. So this is basically our helmet, and now we need to start adding more details to it to improve its overall look. Starting off first is we can go and create a subdivision surface modifier, so Control one. I can press maybe Control two to add a little bit more detail to the modifier, and then I'm going to go and say shade autosmooth to get this kind of look. And so from here now, I can start playing with all the details that I want. I'm going to go again Z. I'm going to expand this side. So G, let's go select everything here. G X, for some reason, it's locked. There we go. G Y. And I'm going to push it. I think roughly around here should be okay. Yeah, maybe a little bit more. I'm going to keep it roughly around this height. And then we want to control this edge right here, the angle, the arc that happens here, as we can see it in this video in this part over here. And one more important detail, depending on if we go back to our original scene, I don't know if I have it here. If you want to push your camera somewhere, you know, in the middle or somewhere here, if you're going to be doing some close up angles as well in your shot, then obviously you'll want to have more details in your scene. But if you won't be doing any close up angles, then you won't need to go into all of these extra details, these lines, these maybe extra sharp edges, this little stuff here, because they won't be necessary because they won't be visible. So this part, I will try to get as much detail as possible, but just know that you can actually skip some of the details that we'll be creating if you decide not to go with some closer angles as well. So for here, I'm going to go now and do this, add one loop cut here. I'm going to add one loop cut right in here as well. And then I'm going to press K with my knife, connect these two like that, and then I'm going to select Alt this here and dissolve the edge, and then do the same here and dissolve this edge. Then I can pretty much take this one here and push it a little bit closer or actually a little bit wider to somewhere around here. I can pretty much select this one, align it a little bit better. So it's like that, and then I'm going to add one here just to tighten everything up as we can see how it does it in this corner. And I'm going to add one loop cut also here in the bottom. To get something like this going on right now. Then we also have an extra loop cut that we can see here if we want to add maybe some extra detail to this where we can push now all of these ones a little bit more forward. But we do need to tighten this part up. So to tighten it, we're going to add one more cut here and then one more cut in here, and we can press S Z zero to kind of perfectly make them straight as Z zero, like this. That's going to give us this nice little sharp angle that's happening here. But then the problem is we have these three lines going on. So what we can do with these three lines, as a matter of fact is we can actually take these three here that we have, press M, merge at center, and we can take this line out and say, basically dissolve the edge. So here we actually have a quad now. So this is a one, two, three, four, and then we can take these lines here, merge them center and merge these guys at center as well. So basically, we turned a quad into basically turned three lines into one, and here we have it expanding nicely into this squad and we can push this a little bit closer. G Y or like this. And then we can push this one a little bit closer like that. So now we have this little nice sharper edge. Then for this part, if you want, again, you can push this to give it a little bit more of a softer edge or a bit of a harder one. This is going to be on you. I'm going to keep it as is. This is perfectly okay. In my case, additionally, then for this front part, I'm going to move everything here a little bit more front so it's not so flat. So it gives it this kind of look that we see in here. And then for this bottom part, I think everything else here is actually pretty good. We have two levels of subdivisions being currently applied. And so what I'm going to do next now is I can pretty much take let's see. Everything here looks pretty good. I might push this a little bit more towards my character, though. Then I might take this make it a little bit more towards his shape of his head, and then this one here also a little bit more towards the shape of his head, in that case. These two a little bit more down. It's all just a little bit closer to his overall shape of the head. And then this corner here, I might just push it a little bit more like this and this one a little bit more back to get that kind of rounded instead of a squarish This can be done perfectly whichever way you like, you have to complete control, as well. I'm just showing you, I guess, I guess, my own personal preference. We have some edge here that I guess wandered off, so we can pretty much, I think, take it out, dissolve this edge. Let's see. What happens if we remove this edge completely. We have some extra edges going on here where this is spreading. I see now that this is connected to this overall edge here. So this must have wandered off. This needs to go all the way here a little bit more lower. There we go, we just had, like, a wandered off edge going on, but that's pretty much it. And then now from here, when having everything here created like this. What I'm going to do next is just take out this extra edge I added. I don't think it adds value. But I'm going to go select all these bottom edges. So the ones in here as well. But with the exception, I guess, for these guys here, what I'm going to do here actually first is, let's see. I'm going to put a cut right around here somewhere, something like that. And then I'm going to go and I'm going to extrude this and push it all the way over there. So E, and then Y, move this roughly around here. And then with these two vertices, I'm going to press M at first to merge it together. And then I can actually take this part, push it a little bit more forward. So let's go back into my right view, push this part here, a little bit more forward to just close down this part around the head, get this nice look like that. And then from here, what I'm going to do now next is up to, I guess, up to somewhere here from this point all the way to here and press Control and click with my mouse, so I select this entire area minus this part that we have currently here selected. So I'm going to deselect this, this select this, this select this. These select this, I guess it kind of went in the wrong direction overall. I was expecting to go here, these select this, to go up to this bottom part, to this bottom part, through here, through here. And then there, minus this vertice. So this entire bottom edge overall just having it selected. That was kind of my hope. But now, once I do have it selected, I guess minus also this part here. What I want to do next is simply extrude this E and then X in this part, right here. This is going to give me that thickness. Let's just see so that we don't cover his ear, but This looks overall pretty good. Perfect. And then for this part inside, let's just try to get inside and see what's going on. We now need to fix also whatever we have going on in here. So I'm going to select this edge here. I'm going to go E and then X, put it roughly here. Going to now merge these two at center. And then here I'm missing, I guess, an inset or something that's going to help me close this, so I'm going to go do this inset. And then I'm going to select these two, merge them at center as well. I believe this should pretty much fix my issue overall. I'm going to move this now here. And looking now into my helmet, everything seems to be looking quite nice overall. With one exception, we have a very sharp end here at the very bottom. So what I can do with that is mess around with this inset, so just taking these two edges GG, moving them or moving this one, I guess, a little bit more inside, moving this one, a little bit more inside, this one a little bit more outside. And taking this one here, moving it a little bit more inside. Taking this edge, moving it inside, this edge inside. Just trying to space everything out a little bit nicer. And now I'm starting to get that softer transition here, which is what I'm looking for. So I'm gonna need to do some extra spacing in here. Just to get that a little bit more softer curl. And then while I have everything here selected, let's just take a look at how this whole helmet is looking. I might want to push this part and I also want to push this part a little bit lower. You can see that this here has a little bit of that indentation. So I'll kind of do that and I might as well push this edge a little bit lower as well. Now that I look at it or actually higher. Again, this doesn't have to be fully perfect. I think this overall is going to be good enough for our needs. Now, looking at it, this looks like a pretty good helmet. Alright. In the next video, we're going to be continuing to add some extra details, but that part is again going to be optional depending on whether or not you'll want to have your guy facing the camera. One more thing I just notice here is that I'm probably going to need to push this one vertice a little bit more to get that. There we go. Thickness in the front part. But yeah, in the next video, we will be continuing to adding some extra details to our shape, so I'll see you guys there, cheers. 16. Adding Details: For those of you they'll be sticking to this specific shot that we see here and the one that has been created in the intro for this course, you're pretty much good to go to the next step. But for the other group of people who are interested in taking their animation to the next level and adding maybe some of the close up shots as the character is walking and such, in this video, we're going to be adding some extra detail to our main subjects such as these cuts on the helmet, these little bolts here, and maybe also these cuts here on the face as well. Oh, in case you won't be adding some close up shots, you can pretty much skip to the next video. But if you will be adding some more details and you're looking to take your character to the next level, then stick here with me as we add a little bit more details to our camera. Alright, to start off first, we need to undo a few things that we did earlier, and that mainly has to do with this extra corner here that we created. I wanted to do it first for the group of people that won't be adding any details so that they don't have to worry about it in the next videos. So what we just need to do is pretty much select this entire edge loop that we have here, remove it, and then delete the vertices. And we can also, as a matter of fact, just take this part here. We don't need to delete it and just push it forward somewhere around there. Then we're going to go bring back our solidify modifier that we have here and just go and let's go thickness, change the thickness to, I guess, this is pretty okay. And then with this edge here that we've created, we can go select these three faces or these three vertices, sorry, and press F to close it down. But this gives us now a triangle, so we want to have it a quad, so we're just going to go add another loop cut right here. So with that, we have created this closing. We also have this little deformation that's happening here, but I'm not really worried about that because that won't really be visible, and this works perfectly fine as is. The reason why we added a solidified modifier is because it's going to help us when we do and create these cuts that we've seen here versus the previous method that was pretty much using a very thin version of the model. So, in here now, I'm just going to go into my right view and maybe align some of the things to maybe fit bit better overall with the shape of the head and I'm kind of going with this everything here. I think this is overall pretty good. I'd say. So what I'm going to do next now is just go here, and in the order that I have, I'm going to be applying all these modifiers. So, in case you always want to go back, I recommend just duplicating this, creating a helmet. Backup. And then while I'm at it, I'm just going to rename this one. Helmet. I'm going to hide the backup. And then for this one, I'm going to apply in order that they are added, all of these things. I'm going to keep the smooth biangle for now here as well as is. But now we get all these points that we see in here. So what we're going to do next is pretty much select this one right here, this edge, and just make sure that the entire edge is properly selected. So I'm going to go Tilda key so I can look also inside and make sure that throughout the core area, this whole edge is properly selected, and then I'm going to go and add a loop cut. I can pretty much go and add maybe something, I guess, two might actually be fine in this case, because we already have these supporting edges here. So in here, when I have cut like this, I'm going to go X and then faces. So now that I created that bevel and I pretty much removed it, then I'm going to go and select the vertices that I have right here at this corner. And because we install the F to add on at the very early on of our video, I'm just going to press F now and it's going to autofill all these places. Again, here, I'm going to do the same thing here. Press F, it's going to auto fill all of these things here. Perfect. Now, once we have that, this already looks pretty good. Later on, we'll be adding some bevels to this whole thing, but for now, we can keep it as it is, as a matter of fact. Additionally, we can now go here and say, let's add another cut. So, for instance, this one right here, Let's just make sure that the whole part is being selected. Looks like it is. So I'm just going to go press Control B to bevel. Make sure that it's like two levels. So something like this should be okay. You can have the same thickness or maybe thinner one. I'm going to try and get roughly the same level of thickness. So, okay, this is way too much. Let's see. We have 0.1. Let's go 0.2. 0.2 looks to be good. From here, again, remove the faces. Going here, select these two points, then just pressing F. There we go. And then this side here as well. F, it's filling everything very nicely. There we go. We have our helmet. This is pretty much it already, but I do want to add edges, some bebles here so that it's not fully 100% sharp because that way, it's going to create nice shading when interacting with the light. So I'm going to try and select all of the faces here that I need. Including also here at the bottom. So you need to be careful here that you select all of the faces necessary. Otherwise, this won't properly work. There we go. Let's just check now Z here to make sure that all of my faces are selected, that I didn't miss anything. I believe I did, so we can try. We can always undo our step, but let's press Control B to Bbleis and add, let's see, three or four levels of subdivision depending on the shading that we see going on there. I guess four levels, for me, is going to be good. Now we have some nice, little in dense like this, and we have added some extra detail to our helmet. Awesome. If you think that maybe these edges have been, you know, way too they're way too wide, and you want to kind of bring them back together, there's always a quick, dirty way to do it, where you kind of select all of them from here, and then these ones here as well. Then you just press G, Y and push this a little bit closer, and you do and repeat the same step for here where you just select all these edges in this cut that you've created like that. Obviously, we need to deselect the ones in here. And then just push this a little bit lower, and then you have a bit of a thinner cut. This again is a personal preference. Whichever way you choose to go, there's not right or wrong. Just make sure that you have everything selected. As I've seen now. Looking at it, some of the edges that I have here haven't been properly selected. As I said, this is why this is a little bit of a dirty way. There's one more edge over there. Looks like everything is now moving. I'm just going to push this a little bit lower to get this which is a bit more thinner cut, which is also more aligned with our reference image. All right. Let's also add now these circles here that we have. For that, we can go with a simple, I'd say UV sphere. Now for the sphere itself, we don't need to use this many detail. We can go 16 by eight, I'd say, because they're going to be so small, and then I'm going to press. And here, because I'm going to scale this super small, push it a little bit more up. Let's go shade smooth while we're at it, scale it a little bit more again. And then for this part and here, I'm going to select this entire loop here. So let's go or actually let's just go like this, control, and then clicking so that we select everything. And then X to remove these faces, select this edge loop, press E, scale inside, and then scale E, Z, extrude. And here, let's just push it as much as possible to something like that. Then we can press F three and type in grid fail. So here, and that's just going to close it altogether. We can add a cut here to kind of tighten this up, and you can add nutter cut in here to tighten this up like that. And then we can take pretty much the bottom part here. Like this, press control, and then plus on our numpad to select all the way up to here and then press X and delete the vertices. So we only have this part in here. And from here, I'd say, Well, you can either add a level of subdivision here. Just to smooth this out a little bit. I'd say render, we can also keep it at one. This is already pretty good. Then press S and Z to kind of squish it a little bit more. A scale. And here we have our first kind of sphere model that we can mess around, play around with to add on top of our helmet. Now, the way to do this, there are multiple ways to do this, but I think the quickest and simplest one is going to be by using here the magnetic tool. So if we go here, snapping tool, and then we say faces, and we say face project. I believe, and then we just try and see, let's see if this is working. So it is kind of snapping, but right now we also need to have it to align rotation to target. There we go, and now it's projecting properly here. And then we can always push it a little bit more inside. So here, I believe the shortcut for this is Shift tab, so like this. So we can go say here and then say, move it a little bit more inside, like that. Additionally, what we can do here to kind of speed up our process is we can set our origin here to the three D cursor. So let's just go and set object set origin, origin. Oh, actually, that's not going to work because if we set our origin to three D cursor, it's not going to properly align this shape, so we won't be able to use the mirror modifier. But what we can do so that we don't need to so we don't always have this extra area in here, we don't need to go and leave this part and then go edit and then push this one a little bit more like. Actually do something like this where we have the origin B somewhere in between these two points. So that should automatically actually now put it pretty deep. So if I go now a Z, there we go. It looks overall pretty good. And we can make this hole even smaller if we want just by selecting it here, and then just scaling it a little bit more like this. All right. That looks pretty good. So now we're just going to be adding a few holes here. And the best way to do this that I found was by pressing Alt D, as a matter of fact, so that we have instances instead of reusing the same mesh. Now, in some cases, if you're going to be making these guys smaller, then you might need to reapply it, so it's going to create mesh, but I'm just going to start off by pressing here Alt D. Let's go here in the back or front view technically and just try to line these guys similar like that and then pressing AD while having both of them selected to add another set and then AD to add maybe one more set somewhere in here. And then to keep things a little bit more interesting, I'm going to add maybe one small set of them here, so I'm going to press D here. I'm going to scale these guys super small and then press Alt D one more time, front, Alt D Alt D. I can add one more here. Move them a little bit more top view. I just want them all to be relatively aligned. This is how we add some extra details. We can now take this one, push it maybe a little bit here. They don't even need to be perfectly in order. We can just go and add some of them randomly. And I don't even worry to having them equally on both sides because we are well, in my case, I'm only going to be seeing one side, but depending on which angles you're going to want to go, you will want to kind of randomize this in a way that works best for you, in other words. There we go. This already pretty much does a nice little job. So what I want to do next is actually parent all of these spheres to well, our helmet. So here I looks like I have two helmets accidentally created. I'm going to take this one out. I'm going to then take all these spheres selected. And then while holding Shift with my keyboard, drag all of them into the helmet as just going to parent them to the helmet itself, as we can see here. If I say origin to center of mass, my helmet is now here, its origin to center of mass as well. There we go. So now all of them are basically parented to my helmet, which is pretty cool. And then for this front part, we can also add, I guess, a couple of more of them in here if you wish to. So, for instance, we can take, let's see, one of these guys and then just aldi it, move it here to technically this is my back. Let's see. Then I'm just going to scale it, make it bigger. This looks pretty good. I might modify it by making this part now bigger. If you have something like that. And then if you really want, you can maybe even take this to the next level by selecting this one. I believe this is not the main one because if I then extrude this is the main one, looks like it. So if I do any changes to this one, then everything is going to be different. So I'm going to go and apply the scale here to this one here. Scale is going to create a separate one. I believe it should still be parented. It's good. And so for this separate one, what I'm going to do, let's just go into my back view one more time. Let's try to temporarily turn off this so it is a little bit more aligned towards me here. There we go. So for this one now, what I'm going to do is in here, having all of these, I just select to press I to inset, I one more time to inset individually like this, and then E to extrude like this, and then I to inset like this and then maybe I to inset one more time. This is just going to give me a little bit more of a cool detail going on this shape. It's actually tried in like bigger one. So let's go here plus here, I I inset individually. Like this, I one more time inside, and then E outside, I inside. And then we can even do one more I inside and then E externally. We want to go really crazy to add some extra detail to this shape to just have something like this, but I think this kind of sticks out too much. So I'm just going to undo and maybe just go with, let's see, E inside. That looks pretty good. Like a main plug here where you can go in reverse when you just go. Instead of outside, you go like this. So, whichever way you kind of want to go with this detail or if you don't want, it's kind of on you. I think I'm going to go with the one actually, I had very beginning where I just had one side, so it's not too much, but just a little bit of a cool detail. Like that for the main plug. Then the other thing that's remaining is our main character, which we can do a similar principle as we did with the helmet. So where we go in here, we select one of these edges, go Control B, and then we press E, S, and scale this inside kind of like this, then we add a little bit of extra beveling right in here. Just to help us with the shading. We can do the same thing in here, selecting this hand here, control B, and then ES, and then just adding some extra beveling in here. There we go. And then if you want, we can go also all the way in here to his face. So let's just isolate our main character here. We don't need to be super perfect. This won't affect our animation at all. But what we can do here is potentially just go with, let's see which one goes through his face or this one here. Since we're going all the way like that, which is pretty cool. Let's go and try to select this entire thing. Here going through his face into his mouth. We do have a lot of stuff going on in here. So let's just try to connect everything properly. Actually, this one extends, let's see, all the way here. O there. This face, this one. Like this, trying to connect it all. There we go. I believe we have now the whole thing kind of connected. Let's see if it's connected also here. There it is. And now we can do the same thing where we add a bevel. So for this one, let's just go Control B, add a bevel, cut it somewhere like this, go to make it somewhat thinner. And then we can go and press E S to a scale inside. To get this kind of cut, we again, need to go and now select this entire edge here that we had we just created. So I'll just go and select everything here. The one that's not visible isn't going to hurt us, to be honest, so we can just keep that one as is. But the one here that is visible or at least the one that's outside here, this part, we can go and add now supporting loops to it. Like this and then Control B. There we go, for some extra detail to our character. And again, you can now go pretty crazy with this by adding all kinds of stuff, all kinds of detail. Let's just go back and let's undo our helmet so that we can actually see it. There we go. Again, the switching of the language has messed me up a little. So here we have our character pretty much created. And like I said, you can go crazy with all of these, but don't go, you know, maybe too crazy, so just be mindful of all the details, and that's pretty much it. I'll see you guys then now in the next video. 17. Downloading Animations: We have our character created, whether he has more or less details, we can start working on its animation. To start off first, I'm going to select here the helmet backup that I've created earlier and then going to right click on it, select hierarchy and completely delete this one. Then I'm going to click on this helmet. Right click again, select hierarchy so it selects all these other additions that we have in case you want with more details. Just click on it and drag and drop it into the human while holding Shift on my keyboard so that I can parent it. So this way now the human is basically the parent of my helmet and as it moves, the helmet follows. Now, we do need to export this model in order to be able to upload it to Miximo. So I'm going to go here under File, Export FBX. I'm going to choose where I'm going to export it. Here I'm going to go with the human folder. I'm just going to be calling it Human Details added and clicking on Export. Once the file is exported, I'm going to go into my browser, and here I'm already welcome with the Mixamo login screen. If you already don't have a Miximo account, you can completely sign up for free without adding any kind of credit card or any information like that. Mixamo is a free database that is gifted to us by Adobe for some reason that has all these cool animations as you'll see in a quick second. So be sure to create your account. If you don't have it. You can use your Gmail, and I'm going to use my Gmail now to log in. Once you're done with your setup or login process, you'll be welcomed here with a screen that basically has a bunch of character animations and models and so on. And you can already see that I also have my character here added. But what we're going to do is actually reddit one again so that you can follow along. So I'm going to go here, click on Upload Character, select Character file, and we're going to choose the human details that I wanted to add from the beginning. And we just need to wait a few minutes until the rigging process gets completed. Once the processing is done, we first need to orient our character, so we're going to go click here on the Y axis and then rotate it so it's facing towards us. Then I'm going to click next, and then I'm going to click on the chin, move the chin here in the middle like that. I'm going to click on this right one, which is for the right wrist, which is this one right here. So I'm going to go like that and then do the same for the elbows, put it in here. Then I'm going to go for the knees and lastly, for the groin, like that. Here you have an example so that you know how it needs to be, but this is pretty accurate and I think it's going to do us good enough justice for our work that we need. Then I'm going to click it on next. And now, again, we're going to need to wait a few minutes for the auto rigging process to take its part. And now we have our character and all its glory fully rigged so that we can now set up our animation presets. I'm going to click on next here and then next one more time. And so the first animation that I need to use is actually called, I believe, Sit to Stand Up. So sit to stand up or something like that. And there it is. So this is this animation. So we're going to click on this animation. It's immediately going to rig it to our character, but we don't really want him to stand up so enthusiastically. At least I don't want it. So I'm going to go here under overdrive and drag this almost all the way to one. Something like this, maybe even like a number two or three might do us justice. Let's see. That seems a little better. So we're going to use this one, and then I'm going to click on Download. Witskin 30 frames per second, that's fine. And I'm going to click on Doload here and then choose where I want it to be downloaded. I'm probably going to also create a separate folder that's just going to be for downloading all these animations. So I'll go here under my human file folder, and a new folder, call this one Human Animations. From here, I'm going to click Open, and I'm going to call this one Sit to Stand, as is. There we go. Now we need to find all our other animations. I think in total, there's going to be four animations, as a matter of fact. So for the second one, because I also want to be comparing the tempo and speed, I'm going to go here and open this in a new tab so that I can always go and compare the speed between the first and the second animation because I do want him to be relatively close so that I don't have to be tweaking for that in blender as much as possible. So for the second animation, we're going to be using one called SAD walk. We're gonna have our character pretty much walking sadly. And again, for this, now we want it to be first in place to make it easier for us like that, we can see that this animation is already loop, which is pretty awesome. But we're going to make it walk slower. So we're going to go with somewhere around five. Let's compare it to its standing up. Is it the same energy level, sort of? It stands up like this. And then here, it starts walking. I would probably push it even a little bit slower to maybe like a number three. There we go. It's a little bit of a dramatic slow walk that we have going on, which is pretty good, I'd say, overall. Alright, I'm going to download this animation now, click on Download, Download. And here as well, Sad Walk. Then for the third one, that one's going to be called, I believe, Stop Walking. It's pretty convenient. So for stop walking, we have a couple of examples here, but let's see, there should be one that we need. Stop walking this one right here. So the character comes and stops. And again, we wanted to have the same energy level. So I'm going to go back here, at a new one, go back here so I can compare the sidewalk, which was, I believe around number three. So comparing the speed of sidewalk to the speed of stop walking. Let's see. There it is. Stop walking. Just try to get to, like, something relatively similar in terms of speed. I think that's gonna work. Fine, maybe a little faster. A little slower. I think three might be the magic number for us here. Looks to be the case. Yep. That looks good. I'm sold. Let's go with this one. Download with skin and everything else. And then click on Download, save. And then the last one that we have here is, I believe, looking down the one that we need. So we're looking down, we're just going to go here, type in Looking down and then just download this one. And again, just go to make it super melancholic, very slow. I might even increase the character arm space in case we decide to animate this hand to touch the glass kind of where that dramatic effects. I'll push it maybe to 64, 65. Let's see if 63 63 seems to be doing a good job, I'd say, maybe y'all might even go a little bit lower to just 61. Yeah, this seems pretty good overall. So from here, I'm just going to download now this animation as well, and that should be pretty much it. So once you have all four animations downloaded, you are good to go to the next step of this tutorial. See you guys there. Cheers. 18. Animating the Character: Have all your animations downloaded, we can go back to our original blender file. And in here, we're going to now do a few things with our layout just to make it a little bit more organized. Starting off first, I'm just going to push this and join these areas together, and then at the bottom, I'm going to add a new one, and I'm going to use this one for our dope sheet, this one here, and then this one in the middle, I'm going to use for non linear animation, which is basically a tool that's going to allow us to essentially blend between animation presets that we've created earlier. While here, I'm also going to remove the subject dummy because I don't need it, and I'm going to create a new collection here under collection, new and call this one animation. While having this animation here clicked, I'm going to go and now drag and drop the first animation that I have downloaded, which is, I believe the sit to stand. So dragon dropping it in here, clicking on it, and there we go. This is our first animation. Now with this animation, I'm going to do a few tweaks. I'm going to press R Z, and then 180 to have it facing the window direction. And additionally, I can also probably rename this one here to be called or sit to stand like this. And also, while having it selected here under our dope sheet, I'm going to change it to action Editor and rename this layer here also to sit to stand just so I know that this one is for. That's pretty much it for our first part. If I click Play, we can see our animation. Additionally, you'll also notice that we have a new layer here added into our non linear animation, which we can cover in a second. Also, let me add my screencast keys because I believe they got removed once I merged some of the stuff in the layout. So we have everything in here now added. I'm going to temporarily hide this Citus stand, and then with this animation here, click, I'm going to add the second animation, which is the Sad walk. So clicking on the SAD walk, drag and drop, adding it in here, and then I'm going to RZ 188 like that. Going to rename it here to SAD Walk. There's a few more things I also need to do with the animation, and it mainly has to do with the fact that it well, obviously stops. So what we're going to do is go into our graph editor. And here we also see a modifier panel here on the right part. So I'm going to go here under Add Modifier and simply click on let's see cycles. Is going to allow me to basically loop my animation indefinitely, as you can see in here. So while we have that, we can also expand the amount of frames that we have in our animation. Right now, it's at 2:40. We're going to push this a bit more to maybe 560. We can then later on check whether we want more or less. So with all of that, I believe we have everything pretty much set up, and we can go back here into our non linear animation. As a matter of fact, now that we have everything added here, we can pretty much click on the mature, right click Select hierarchy and delete this one because the sdwalk is still going to be here saved. So if I were to go sit to stand and then show everything here while holding shift and left clicking on my mouse, you can see here that sad walk is still there. So from here now, I'm going to click on this icon here where it says push down action, and then going to go here and say, add action. This is going to now let me add another action, and this one is going to be called Sad Walk. So right now, there's nothing really going on, but if I go in here on the sidewalk and here under blend and start changing things, you will notice that as the character starts getting up, there is a blend happening between animation. You've done any video editing before, this is pretty familiar to you probably as you're blending between two layers. So in here, we're just now going to control the blend, but there's also one more extra issue that we see happening. So in our case, once the character stands up and he starts walking, you can notice that there is a sudden move from one direction to another, and it's a Y axis. So what we're going to do here is while we have the sidewalk here selected, I'm going to press tab to go into the edit mode, and then I'm going to click here on the armature. Click on Control and tab and then I'm going to go into Z. So Control and tab essentially is just going to allow me to go into my pose mode. And then here, I want to select this bone right here because this bone is going to allow me to move my character overall. So from here now, I'm going to go into the graph editor. In here. And then while in the graph editor, I want to be able to go to this bone, and I'm going to pretty much first hide everything and then go for the Y location. So in short, messing now with this Y location, I believe, or actually Z location at the Y location, in this case, is going to now allow me to, let's see, while having it all selected to move with forward and backward. So what this means is, if I go now into my view selected or if I go here into my right mode, we can see our character where it was before. And as it is here, it starts moving towards the back. So we don't want that. We want all of it to be kind of in the same position as it is here when it stands out. So in order to do this, we're just going to go G and then Z. To move it a little bit more back, and let's just preview it now. So as the character stands up, it now starts to move, but it's still a little bit of moving, so we need to move this a little bit lower, GZ, one more time. This looks a bit better. As it stands up, it starts moving. Now there's another issue still that we are facing, and that one has to do, well, let's just quickly take a look with the way that its neck is posing. So if I go back in here, see that its neck kind of just goes like super drastically down, and we don't really want that. We want its neck to be a little bit differently positioned. So with that in mind, we're going to go select this neck bone right here, and we're just going to remove everything here by pressing X, and then RX rotated a little bit more up. And then this should probably fix our issue, but we do need to add a keyframe, so RX rotates a little bit more up, pressing K, and then say, basically, insert keyframe from the rotation. So if the character now goes like this, notice that this looks a little bit better, but it is maybe missing a little bit more. So we can go now for this one here and just go and do the same. So X, delete the keyframes, RX maybe somewhere here, rotation. Let's just now take a look how everything is together like this, and that looks a little bit more normal. Now, obviously, we still need to work on our blending together. So I'm going to go here into my non linear animation and then just increase the blend here that's happening to maybe a little bit bigger and start pushing want to make sure that around the time this line ends is when the new one also here below it finishes. So something like this might be a little bit better. Let's just take a look from the start, as the character gets up, it slowly starts walking. We might need to push this even a little bit more to go something like this. I might even want it to start walking as it gets up, so somewhere here might be even better. Yep, and then I'm going to push the blend a little bit more to make it smoother. So this looks much better. Additionally, because we made this animation loop as a cycle, we can expand it just by going here under end and increasing it. Just like that. So for that, we shouldn't have any issues. One more thing I'm going to do now is I'm going to leave my pose mode by pressing Control and tab. And then additionally, while I have everything here selected, I'm going to go to the starting position and then create an empty that's going to be used kind of as a brick for this entire thing because obviously our character right now here is, well, he's moving in the same place. So I'm going to go Shift A empty at a sphere. I'm going to call this sphere. Let's just put it somewhere here. I just call it animation rig. Now we're going to click on Animation Rig, click on Sit to Stand, rest Control P, object, keep Transform. This way now, everything is in here. And if I move, this while I have the animation going on, everything is moving as well. So this will help me basically just control the animation, also move my character a little bit up because you can see that his feet are kind of like in the ground and so on. So this same technique is something now that we're going to do in the next part as we continue animating our character. I'll see you guys there. 19. Animating the Character pt2: This video, we're going to continue adding, blending, and fixing our animations as we go. So to start off first, I'm just going to move this rig here a little bit up because I'm noticing that my feet are below ground level, so I'm just going to go Z and just go a little bit up like this. And then I can start by adding a new animation, which is going to be the one called Stop walking. So stop walking, dragon drop, Import FBX, there we go. Then I'm going to press RZ Rotated for 180, changing the name here of the armature, to name it stop walking. Once I have everything created, I can go right click here, select hierarchy and delete. And then click on Sad Walk. Then go add action and stop walking. Once I have that, I'm going to move this one somewhere around here. I think since we have this animation going to 550, I think I'm going to push this a little bit more to, like, 576 bc I think that should be 24 frames. So if I go here and then on my output, let's see, output here. 24 times 24576. So our timing should be around 24 seconds long. And then in here for the sidewalk, I'm just going to push it. Let's go here all the way to roughly I think roughly like this should be pretty good. I want this one to start happening around 270. So let's try to blend it now from 270 and see if there're going to be any issues. So while our character is then walking, he's walking, he's walking, and then all of a sudden well, the character walks out of our frame. So we need to go back into our rig. Let's just push our rig GY a little bit back to see our character as it stands here. So, this looks pretty good. Let us preview this one more time. Okay? Overall, I'd say this isn't pretty bad. Maybe I'm going to try experimenting and see what happens if I push it to 260 and slightly increase this There's a little bit of an improvement, but I might want to go even then further. Let's try 250. Okay, so 250 things start to slowly break where this is probably too much because we get these weird steps and stuff like that. So I'm just going to go back. I think I'm going to go to the 2611 more time. That looks overall pretty good. Let's just go one more time to the 270 to double check. I think even for 270, I might just go and stick with that one. That one seems to be working really good for me. All right. Once we're now here, we can add then our final animation, which is the looking down. So looking down, drag and drop it in here. Import FBX, R Z 180, rename this here to looking down. Clicking on the armature, select hierarchy, pressing X, deleting it, and then clicking here on Stop walking, at action looking down. There we go. Now, I think this is going to be way too little for blending. Let's just try. And here we are also noticing our first issue, which is the positioning of our character. So while I'm at it, I'm just going to increase my blending a little bit more to 40. And then also going here, I'm going to need to reset or change the position of my character. So while having this one here selected mode. Clicking on this here mature Control tab to go into pose mode, clicking on this hip here, and then going here into my non linear animation, changing it to the graph editor so that I can select specifically. Let's hide all of our rigs here and animation data and just show let's see why location or actually the Z location is the one I believe we're looking for. Let me just preview and try this out. Looks like the Z location is the one that we need. So I'm going to go view selected or actually write view to be specific. Let's just see where our animation was before. It's here. Now it's over here. So we want this part to be lower more towards the screen, so I'm just going to move this down by pressing GZ a few times until I get it where I need it to be. Let's just preview it one more time. Well, we need to push it a little bit more forward. So GZ a little bit more. A few more steps, let's go again. This seems to be much better. There is a little bit of wiggling happening here, but I don't think that's going to be too much of a problem. You can also manually offset it by playing with the key rig here, which will give you the opposite value. So what I'm going to do now next is just press, click on this armature Control tab to leave it and then go back into my nonlinear animation, leave the edit mode in here, then just try to preview the whole movement once again, just by looking at it from this angle, going through my start frame. Pressing play. Let's see. So the character goes. They're walking, walking. Everything seems to be going okay so far, so far so good. There is a little bit of an extra longer step happening here, but I don't think we can do too much about it. That just has to do with our animation. And then the conversion to the second part seems to be pretty good. I might actually just go and move it a little bit more forward and then just blend it a little bit more. I might even try blending it even more. That feels more natural to me. And that also seems to reduce some of our extra wiggle that we had, which leaves it at a very, very minimum now. So technically, if you were wanting to reduce the wiggle, if something moves left here, so let's see it moves forward, you would then move this a little bit differently. But we can leave that for the final part here. For now, I think I'm okay with everything here. So the only thing that I want to do next is well control the movement of my actual character. So I need to see where he actually starts moving first. I believe he starts moving around frame 100. E. Yep, frame seems like frame 100 is the point where they start making the first steps. We're going to go here, press K, just so I have a keyframe at this point. And then where are they going to stop they're going to walk? And then it looks like they stop moving roughly. Seems like when they take their extra steps from away here, so roughly around frame 280 somewhere here. So I'm going to go press K, and just go at a location keyframe here. We don't need the rotation ones. Let's go clear these keyframes. So now I have in the same position, but this one here, I'm going to move back. So I'm going to go G, and then Y and move it somewhere here for now to test it out. While I'm at it, I'm going to select both of these keyframes, right click Interpolation mode, change it to linear. And then go in here, just change this here to my timeline so I can see it. Let's just go back one more time. Looks like I haven't added my keyframes properly here. I'm just going to go in here GY like this, then K location. I should add my keyframes. Make sure that the keyframes are interpretation mode, linear one more time. Let's go take a look at our entire animation. Character stands up. They start walking. We're going to need to do some extra tweaking here, maybe move this a little bit like that. Okay? There is some extra movement here, extra sliding, so we should probably stop moving around this point. Maybe even slightly sooner. So somewhere around here. There we go. Let's take a look at now the speed of our animation. Does our character move roughly okay? Is it glining too much on the floor? And I think it's more or less okay. The only thing I would probably do then is move him just slightly slightly bit more forward overall here. So I guess I would just go and move it a little bit more here. I just press K location. Let's just take a look now. Looking at the speed and how his legs are moving. Is he sliding on the floor or not, whether he's moving too fast. So if you want, you can push this even further closer like this, okay, location. So the closer your character is to the point, the slower he is going to be animated moving towards. The further he is away, the faster he's going to move across the field, essentially. I think this looks pretty okay. And the best way to test this is just by going into our camera view, hiding all our overlays, just looking into this. Let's go shift left click and just take a look. I'd say, overall, this looks pretty good. I don't think there is much need for anything else. Now, if you want, you can also add a secondary camera angle if you want to render multiple angles, so you could go maybe shift a camera. Then let's push this camera here into the collection, call this one camera. Two. Then let's go maybe where this camera is right now. R Z. Let's go. G here. We should a little it backwards. Rotate, reset everything here, R X, move it like this for 90, RZ, move it. Let's see roughly like that. Then just go somewhere like this here. Let's change this here to three D view 0.2 camera view camera number two, move this a little bit closer to here. So basically, you'll be switching from, you know, this angle to this angle as your character goes, stops with the animation, maybe stops moving. You might want to even zoom in here to go a little bit closer to, like, 100 millimeter. You kind of really get that moment in when he is going to raise his hand touch it over there. So yeah, in case you do decide to render out multiple different frames and then compile them together, you can go with some kind of different angle like this one. Or speedsake in my case, I am going to render out only one angle. So I'm going to delete this camera and just keep this one here, go back into my view camera view. And I think that's pretty much it for this video. In the next one, we're going to be finalizing our animation by just adding that extra movement with our hand. So I'll see you guys there. Cheers. 20. Animating the Character pt3: Video, we're going to tweak our animation and add the finishing touches to quite literally our hand as it moves and touches the glass itself. So to start off first, I do want to do some minor tweaks to the positioning of my character by moving here the animation rig, and that mainly has to do with the distance from him and the glass itself. So I'm going to go here under location and change this here to let's just make sure that I'm in the right keyframe here, 291, and then change this to negative one, press K, once again, or I can actually go here, right click replace a single key frame. So from here, as my character moves, you should be now a little bit further from the glass, which is exactly what I want. But again, now because of this that I brought him closer together, his movement is slower. That means that also the timing of him moving on the floor is a little bit off. We can see that gliding a little bit more aggressively. He's technically moonwalking, you can see. So what we want to do next is just take this part here and move it backwards to kind of offset that movement to maybe like 3.2 or something like that, replace a single keyframe. Let's just see now if he's moving a little less. It seems to be a little less gliding now, which is good. I can live off with this one here. There's still a few more issues. I'm going to try to move this a little bit more up. Let's see now. That works much better. Now, there's still a few more issues, basically how kind of abruptly he starts here. I'm going to go fix that by just going here in the graph editor, frame all looking now only into my Y axis, I'm going to hide the X and the Z ones. And then in here, right click, I'm going to go Interpolation mode bezier. This one here, I'm going to go and make it shorter. And then this one here I'm going to go and almost make it fully linear. And then I'm going to just try to time his movement of his feet to kind of where he starts, which is roughly right here and then just move this a little bit more, I guess, here towards the back. So there is a little bit of an offset. So when they start doing this, you can kind of see this moving. So let's just take a look. This does feel a little better, so that's good. I might even make this slightly shorter so he starts moving a bit faster, so he gets up. There we go. It's still a little bit of robotic, but I think from the distance, it's not going to be that visible, which is what really matters. So now, as they come here, there's going to be a little bit of a glide that I'm noticing on his left foot that's on the floor. There it is. So it kind of starts off right here. So in here, I'm going to add a first keyframe, go to even it out with everything else. I just press Control right click with my mouse, so I'm just going to delete it first and go here, control, right click. It looks like now it's not working. Let's try to select this one. Some reason now, it doesn't work exactly as I hope so I'm going to press K and just location. That way, I can add this keyframe. Then from this point, I'm just going to roughly map it out to where his foot glides, which is roughly here. Press K, one more tire for location, then move this one GZ, just ever so slightly few steps, frames back so that I can get a little less of that glide happening. Maybe a little bit more. There we go. So we kind of fix that glide. And I think our animation is pretty good on this end, so let's just see one more time. Caracter steps up. They start moving. This works pretty good. And then from here, we can now start working on our hand animation. So that means I can go select here on my armature, Control tab, Z, going to the armature. Let's see if we can now see everything. We first probably need to also go into our non linear animation edit mode here, click here on the armature, going to the graph editor. There we go. And now at some point, we need to decide when is this hand going to start moving? While we're at it, I can also go here and enable my auto king so that I don't need to worry about manually adding each key frame. I'm just going to press here to start auto king. And so around which point do I want to start the hand to kind of, like, start moving forward? And I think it's going to be like when he looks down. I think that makes most sense kind of, like, from a story point of view, so he walks, then he looks down here, almost like sad. And then at this point here, I'm going to delete all the key frames up to this point right here. And this is where his hand is gonna go kind of following his body's movement, start moving up roughly up to here, I'd say, so, something like that, I'm going to move it maybe even further so it's a little bit more smoother. Let's see. Maybe even when does his body move somewhere there? Okay, let's maybe try to make just a little bit of bussier offset here. Okay. That works better. Then for this forearm, we're going to go somewhere also around here. We're going to select all the keyframes up to that point, just delete them, and then go roughly here. We'll probably going to need to go around here and then just have this forearm move like that. RX to have it go maybe too much. Just roughly here somewhere seems to be good. We're going to be doing some extra tweaking so we don't need to worry. Now this is obviously too fast, so I'm just going to delete it to here. Maybe a little less, let's just see. Once the hand starts moving somewhere around here, it seems natural. I'm gonna push these ones a little bit more back, so it goes like this. And again, do the same thing, selecting this set relation bessier mode, so it's a little bit more softer. We can make these guys a little bit not so aggressive, so I'm going to press S and then X to kind of push this inside. There we go. We're gonna probably push this a little bit more like this, so it's softer, like I said. And then let's take a look how everything is going here. We're gonna still need to do some animations. Let's see our hand one more time. Now, looking at it, I would say that my character is a little too far. So I might go back in here, pressing Control tab to leave Bose mode and just go in here, go back to the final position. I think it's just going to go here. Let's just go frame all and then just start. Let's go our final position, which is there. I'm going to start moving my character a little bit closer. Let's see when the hand moves GY, go roughly here. Considering that the wrist is also going to be moving, that makes most sense. So let's just see we might need to do some extra tweaking, but everything else here seems to be okay with now the exception of our hand that needs to be fixed a little bit better. So as it goes up, All right. Let's go back here. Pressing the Control tab to go into pose mode. R clicking on this keyframe, going here into the graph editor. Let's just preview everything going on here. As the hand goes up and the wrist, sorry, not the wrist, but the elbow here and the forearm goes up, so we need to have this part here go as well. So roughly somewhere around here, we need to move. So I'm going to delete all these keyframes or actually these ones as well. And then I'm just going to go and do this. Let's just take a look from this angle. This is way too much. Let's just go reset RX, RZ, and then G to move it a little bit more. So as his hand goes like that, we don't need to go all the way like that. We kind of want it at this point here to be like that. Alright? And we still have some stuff going on here. So we're probably going to need to move this, delete this part all the way here. Et's see. And we want to drop this roughly like that. And then we need to also not have it be so angled as we have it in here. So we're gonna drop this one, as well, like this. Okay? Now, with this movement, I would say that right now because it's being still clipped off, I could fix it by adjusting the movement that I have with my forearm. So in my case, I'm going to go, let's see, maybe not even the forearm, but just taking this part and not having it come there already, but instead just taking it and then moving it a little bit more back like this. Let's see. That looks much better. I think there's still a little bit more clipping. Like, there's just a little bit clipping here happening. So let me just try to fix it just by doing this, and then here, maybe just by pushing it a little bit more. We actually even pushing this part here a little bit more quicker. Let's see. Okay, let's try to make it a bit softer so it's not so aggressive. Maybe this is too much, so I'm going to remove this part here. But what I'm going to do is just cut off from here and just see if slowly moving this fixes it. And I think this part is barely going to be visible. So I think we should be okay if we do have some clipping. If you really want, you can also move your character backwards, which should help fix it. So let's just take a look and hear what I could do to kind of mitigate this clipping. It starts happening right around here. So if I were to push him a little bit more forward or just maybe the forearm here, just moving it a little bit more closer here. There we go. Now I've mitigated pretty much all the clipping. And there we go. Let's take a look now directly from our camera here. How this is all going to be turning out. I'm gonna press and control space so I can see the whole thing, hide all the stuff from here. So I can have a very clean look at my animation. Alright, I have my character now slowly walking. Takes his final steps, looks down, his hand starts moving towards the glass, he touches it. There it is. We can also now, because this animation kind of abruptly ends, we could potentially go and add some extra keyframes to it so that it doesn't just so finish right there. So maybe 526 plus an extra second of time just to have him move like that, just for that extra finishing touch. Oh This looks really good overall, very happy how it turned out. So pretty much be sure to just tweak around. And once you're done, also just make sure that you finish this auto keying part. And so with this, I'll see you guys in the next video where we also need to then add the chair and we can also work, I guess, on our texturing of the character, but also adding the extra lights. So a lot of still things left to go. I'll see you guys in the next video, cheers. 21. Improving Our Scene: Since we're almost getting to the final part of our scene altogether, for this video and the next couple of ones, we're mainly going to be focusing on improving our scene altogether with some tweaks in terms of scaling proportions, animation tweaks, and just overall lighting to bring that cinematic look to life. Starting off first, one thing I noticed when I was going into my camera view or something that really bugged me is that my character is a little bit too shy in terms of the proportion that we were initially discussing at the very, very beginning of this tutorial where we want it to be at, like, roughly around 2.1 here, and I think he's a little bit short. So what you can do if you want, and if you have a similar issue, is just clicking here, all your armature that you have here, sit to stand. I'm just going to press S to start scaling it a little bit to get it's kind of like that dimension that I really want so that my character is a little bit more applicable or a little bit more noticeable on the scene, and it doesn't get eaten by the environment itself. Alright. With that in mind, once you have your character increased in terms of its size, you can even go a little bit more, something like this. Next thing we want to do is readjust our animation because, well, for starters, what you're going to notice, maybe is if I go here under my animation rig and now I start pushing it all the way here, you'll notice that our character now is clipping with the mirror itself. Now, this shouldn't be too big of an issue because we already have everything nicely set up in here. And the only thing that we really need to do is just find the area where he's clipping the most, which is roughly here at the very end. Take this part that we already animated. Pressing G and then Y to move it up or down, and then just simply try to adjust this to get roughly around here. And so once we have that, we can now go back to our starting position, which is here where he's sitting and just move him again, GY, just move him a little bit further back somewhere around here. Let's just take a look at how this animation is going to fit together if he's going to move too fast, too slow. This seems to be going pretty good together. We even see that there's, like, no actual kind of sliding happening right there. Up til this point, everything seems pretty good. But then there's some extra sliding right here. Now, the sliding itself is not big of an issue for me personally, but for some of you who kind of wonder, well, how can I kind of fix this? If you really want, let me show you a dirty quick solution on how to do it. So what you can do here is kind of mark his current position of his feet over here. You can do this by using the annotate tool right here and just drawing his current position right here. And then with that in mind, you can go here and press on auto king. With Auto king, enable, you can now go here, press V to have its selection here, make sure that this part here is selected. We just slowly start by pressing K location to add a keyframe to its current location. And then from here, we just want to make sure that his feet are always roughly around the same position. So they were here. We want to move this one a little bit back, so G Y, move him a little bit back, roughly here. Let's see then, we see that the forward one is moving a little bit too much, so G Y, a little bit more forward, a little bit more forward again, a little bit more forward, a little bit now backwards. A little bit more forward. And then a little bit more forward. There we go. This should pretty much help us kind of mitigate some of the issues. As you can see, he is much more stable than he was before, and there you have it. So just make sure that you have your auto keying enabled, and from there, you just start moving him doing these slight increments in movement in the Y axis, and then you can disable the auto king. Additionally, you're probably going to want to remove the annotations that we have in here. So I believe if we just go annotated eraser, we're going to be able to remove them altogether, and there we go. Alright, once we have that, we can go back to our sitting position, so shift left click to go back to our sitting position, and we can actually add a chair. So, for instance, now, I'm just going to go here under my add ons, scroll down to the Ikea one, and then in here, I'm just going to type in here hair. From here, I'm going to import it. And additionally, also, if you don't like any of the chairs that are available for you here, you can also use the blender kit add on. If you go here and type in hair, you should also be welcomed with a bunch of chairs. Some of them are locked, so you just need to go here and say free first. And this should give you a bunch of other alternatives that you can choose from, as you can see in here. So, feel free to go crazy, whichever way you wish to add, and some of them are actually even Sci fi looking chairs, which is pretty cool. So they might be applicable, but I wanted to go like, something like really simple so it doesn't take away from the main scene, which is this pretty bland kia chair. With the chair in mind, I'm going to move him into the ship here like this. I'm gonna rename this to chair. And I'm going to take the chair RZ, one edit, GY, move it towards my character, then move it a little bit up so it's not fully clipping the ground and then scale it, so it's nicely going like that. And there we go. We have our character now sitting. He has a little bit clipping with the chair, but I don't think that's going to be too much of an issue. You want, you can also spread out your chair just a little bit. Just be sure to apply all the scale and transforms here to it once you're done with it, and that's about it. I'm going to move it slightly down. I'm going to go now into my camera view to just take a look at my overall scene looking like this. That looks pretty good altogether, I'd say. Additionally, what we want to do now next, let's just hide this here as well, is just take an overall look at our final animation so far. And I'd say, this is looking pretty good. While we're at it and we're looking at our animation, one extra thing I'd want to do probably is add some movement to my camera itself. So what I would like is to have my camera kind of start animating here. But as a matter of fact, I'll actually wait because we might need to do some later on, final offsetting with our animation once we add our rope simulation, but we'll get to that in a bit later. So while we're here, we can also now turn on our lighting to just check how our overall light in the scene looks like. And so, looking at this, while the lighting is pretty nice, and you can see that we have this nice silhouette of our character. We have a nice little reflection of the planet happening here on our ground. And everything else. I do want to add some extra depth to our ship here interior that we have created. So starting off first, just by comparing it with the current shot here, we can see that we have some extra light happening right here on the corners and another one right here as well. So that's what I'm going to do. I'm going to keep this view here at the very top, like that. And then for the bottom part here, I'm just going to go here into my three D view ports, go into my camera view for starters and then just move a little bit more here. And then while I'm in here, I'm going to go, actually, I might even move this back to the original how I had it because I'm going to need probably the shader editor here. So once I add the light, let's go here, make sure that we have also ship light collection here. Shift area. Area Light, GZ, R, let's go. In this case, R Y 90. I want to have this light shoot directly into this area. So I'm going to move it all the way up to here. I'm going to make it thinner and longer, kind of like this. And just go let's go like that. Now, I do want this light only to be, again, affecting this shape right here that I have. I don't want it to be here on this back part on the support that we have going on. And again, I also don't want this light to be reflected on the ground itself. Instead, I just want to have it right here, lighting up this shape. And I want that light, as a matter of fact, to also be relatively cool. So I'm going to do a couple of things. I'm going to change the strength of this light to let's go tenish maybe for now and just pushing it back. Okay, that's a bit too strong, I'd say, maybe 53, two, while we're at it, let's add a black body. And let's use the same color temperatures as up till now of 10,000. And then what I'm going to do is for this one, this is going to be called left support. For left support, I'm going to go here now select both of these supports, put them inside of a collection. Put this collection here into our ship. Call this one supports. Take the support and put it in here. And then for the left support, I'm going to go and tell it only to affect the supports. Like that. So now I have some nice light hitting right around here, which is how I want to add some extra depth through my scene. And I'm going to do the same thing just by duplicating this light, then moving it to the other side as well. G, X, roughly to the similar position, R I'm going to press R Z 180 and have it light up that part over there. Just try to match similar look and feel and strength of it overall to get something like this. There we go. This is looking pretty good. I would say maybe that I want to make my light a little bit smaller in size. I'll do that, the same thing for both of them at the same time SZ. Push them both a little bit smaller in size. Maybe this one on here, just push it a little bit more back. To guess something like this. Again, I just want to add some extra detail. And then while also we have these lights, I want to add some simple point lights as well. So with the point lights, now I'm going to go here, move them to this point roughly here. Let's just take a look at them. G, somewhere around here. Let's just take a look at the point light itself. Use node again, use the same thing. Black body, 10,000. And I'm four to point, I'm going to go and increase its radius to roughly let's go 0.0 0.25 0.2 And again, I also want it to pretty much only affect the support itself. So I'm going to go in here and choose support. I just see before point light. Okay, so the point light is a little bit too strong for my taste now. So what I'm going to do with it is actually reduce the radius. Make it smaller and make it weaker. The goal of it, I just want to add some highlights to this specific part to just moving it a little bit closer to that part, let me just get him right up here. There we go. So this is just going to add some extra highlight right this corner here, which is exactly what I want, as you can see. Let's take a look at some of our outer lights here that we have. Let's go back to ship light. This, let's go with our supports, move our supports into ship. Then point lights, I'll go with this one point, right, support. We also need to add one for our left support. So we can do this by shift D, G, X, and just move it. Get them relatively close over there. Let's just preview it once again. Let's call this one left support. And then I'm looking at I want to add some extra little shadow happening here in these corners. So I think this is caused by my let's see, right light. Let's see how my right light is affecting the scene. So it's not by my right light. It is then caused by my Let's see where is my support. This is my left support. This is my right support. So let's check out our support. And so the support is causing that highlight happening right over there. I think it's overall fine. We might be able to just tweak it a little bit and post. If I move it a little bit lower, I might get some extra shadows on the top right corners here. So I'm just going to select both of these lights, try to scale them down a little bit, a little bit more, and then just move them a little bit lower. There's something around here, which is going to give me a little bit more of a shadow now on these parts and these details that we've created, which is something I want overall. Alright, let's see if we just completely hide them temporarily. Yeah, so we do want to see those details, but I think they're being a little bit too strong. What if we just took it and rotate it by 90? And then going back to our point left, I might increase this to, let's see, two, and then point right point right and then increase this one also to two. I might go 1.5, two is maybe a little bit too strong, point left. 1.5, I'm just going to take out here to support so I have the same naming. But there we go. I think this does a pretty good job with our light. One last thing that's remaining that I want to add is, like, some kind of light here that's going on my character. So I'm going to go Shift A. Ight area light. There we go. R X 90, RX actually minus 180, so we have it pointing to our character. I just want to add some kind of a light that's going to be going at him here from the side, and then like this because I want to add basically some nice overall silhouette to him, and a rim almost like a reverse rim light is what I want to add to have him be glow. I think what we're going to need in order to get the idea of that is to also add some texture to him. So I'm going to stop this video here and then continue off right where we left off in the next one, where we're going to be adding some texturing to our character because right now he has this weird material applied to him that's basically just absorbing all the light and nothing is happening. Well, this does look pretty cool. I will admit it looks pretty cool. I would want to probably add something to give him that shininess happening. So I'll see you guys in the next video where we're going to be doing that. 22. Texturing the Character: In this video, we're going to be adjusting our light and material for our main characters. So I'm just going to go here going into my camera view to take a look at my whole scene. The first thing just by looking at it is that my light is now being reflected here at the bottom. I don't really want that. So with the light here selected, I'm going to go move it into my ship light, rename this one here called Subject Light, and then make sure that it only affects my subject. So you're under animation. Additionly, now, we can see that the light itself isn't really doing anything, and that's because our subject currently has a material preassigned to it with a normal map. We don't really want that, so we're just going to delete, delete this one as well, and we can actually just take out this marble. Additionally, really cool trick if you have any materials that are currently being unused, you can just go here and say, clean up and purge unused data and just go like that, you can see that it's immediately going to remove that material. Alright, just by looking at this, this already looks pretty cool. So, you know, if you're gonna have your shot go pretty far like this and you're barely gonna see any details, you really potentially might not even need to add any essentially stuff to your character here. This already, by default, just looks pretty good. Looking at it, once it renders and everything, this is very nice, as a matter of fact. But if you want to go and take your stuff to the next level, so to speak, you know, you want to add some extra detail to the character itself, then we can go and add some materials now. And again, same as Bforwd we can now use, as a matter of fact, our blender kit add on here to find some really cool materials. In my case, I already have some ideas of what I want to go with. So I'm just going to type in here a scratch white. This is going to give me, let's see here for materials. This nice one called Edgewre white. So my character here is selected, I'm going to click on it, and it's going to immediately apply this material onto my character and gives this nice little edgeware look to him. What I'm going to do next is just go into the material itself, and then I'm going to change the color here to desaturate everything to have it be pure white, the same here as well, desaturate everything. And this final part as well, so it's just like pure white thing going on. And you can apply a very different material if you want here as well. You can go maybe with Edgewareblack, for instance, and get something like this. This already looks really, really cool altogether. And then maybe for these spheres, what I'm going to do next is simply have all of them selected. So just click on the one here, then go all the way down here. And then for the first one, I'm going to go with, again, Edgeware White and then select all of them once I have the first one selected and pressing Control ELT using our copy attributes add on, I believe, it's going to just link the materials, and here we go. We already have a very cool look to our character, even from the distance or if you want to go close up, you can then go here and mess around with all of these details. If you want to increase the scratches, decrease the scratches, as you see here, if we go in here and I'll preview this and mess around with these values. It's just going to control overall everything. I think we're controlling even the color of our scratches here. So you can play around with this here. Let me just go back a few steps because I want to have pure white scratches, as a matter of fact, instead of them being colosh so I'm just going to go here under saturation like this, this looks overall really cool. So play around with it, figure out kind of, like, what's the overall look you want to go. I think in my case, I don't want the scratches to be this freaking huge. So you can just go here, I believe in the bevel settings and then mess around with the radius itself, that's just going to reduce the scratches, depending on how many samples you use. And I think you have the mint and max here as well to help you control the level of scratches as you can see here.This going to allow you to kind of clamp them up if you want. But yeah, play around with these details, try out some different materials, figure out what works best for you, and then you can always go back and take a look how your scene looks like. I believe we still have our second camera or we don't. So I'm just going to go and add one quickly one more time to see how this could potentially look from a different angle if you guys are always interested in adding a secondary angle to render. So let's just go here, add a camera, move this camera all the way here, rotate it to our subject, reset everything here, and then go R X to 90, and then rotate here. Push our camera into our camera collection, Let's just preview it. And here we have it, how it currently looks like. I think an angle that could really potentially work is if we have the camera over here and then just looking over the subject, but you can also see a little bit of the planet itself. So just moving the camera all the way back, rotating it to the point where you see the planet, as well as the subject, just showing up there with its own reflection in the mirror while looking over there. So yeah, be sure to experiment, try out to see what works best for you. And I'll pretty much see you guys in the next video, where we're going to start adding now the cables into the helmet itself. So, see you guys there. Cheers 23. Adding Cables: Before we can start working on our cables, we need to readjust our layout appropriately. So I'm just going to merge these screens below into one. I'm going to use this one as a three D viewport to go into my camera view. But I'm going to go into my main camera, this one right here, zooming in a little bit here, just going something like this. And then for the top view right here, I'm going to go into just regular three D viewport. But if I zoom in a little bit closer, you'll notice that we have our clipping. So we need to fix this by going here into my view and then changing clip start 2.1 so that I mitigate all the clipping happening in here. And now additionally, the only thing that's actually remaining that I want to do next is to go here under my animation, Right Click New collection, call this collection cables. Like this. And then additionally, now, what I want is to kind of select all the key parts of my animation and then isolate them so I don't have to have everything here in the screen. So I'm going to go shift left click to go to my starting position of the animation and just go a little bit above here and try to select everything like this. I think this should pretty much select almost everything I need. But if I zoom out, we can see that we have our planet and also this here selected. So while holding control and then left clicking with my mouse, we're just going to deselect some of these things that I don't need. And I think this pretty much covers it. Actually, I also want to have the floor selected. And so with that, I'll press the slash key, and this is going to now isolate everything in the top window while I still have my main composition here in the bottom window, as a matter of fact. So starting off from here, how do we go with our cables? Well, the easiest way I think after trying multiple different variations is to go here and add our three cursor right at this point. So in my case, I'm going to have six cables, one coming from each of these points, and then I'm going to go press Shift A and go here under curve and add a simple bezier curve. I'm going to rotate this bezier curve by 90 degrees and try to align its initial point here with my cable. Also, to make it easier to kind of see what's going on in here, I can go for this bezier curve all the way down here to geometry and just add some thickness, something roughly around here. Should be fine. As a matter of fact, I think this would be pretty okay. And then on top of that, I can go here and rename this one and call it able one. Alright. With all that in mind, I'm going to go now to this vertice, push it all the way to the starting position right here, and then scale it down so it goes like this, press Alt and S to make it a little bit slimmer, while this one here is going to be a little bit thicker. I'm going to go into my right view. Just try to position this on the floor somewhere here. Doesn't have to be fully on the floor, but just barely touching it. While I'm at it, I might also go select both of them, right click, subdivide. And then for this middle one, just make it a little bit thicker, including the second one as well. So it goes from a thinner one to slightly thicker so that we can just see better what's going on here. All right. Gonna push this one a little bit more up like that. And then I'm going to go into my top view and just start messing around with its original alignment of how this is going to function. Let's go here into my right view as well, and just push everything here a little bit more like this, push this part here, and select this verticee or this handle right here and then scale it up so that I can get this nice kind of, like, exit or indentation happening. So it gives it a bit more of a natural curve. This one I'm going to make it a little bit more like this and then from here, just go kind of like that. All right, push it a little bit more up top view, and then I'm going to press Control right click with my mouse. And while having this one here select again, control, right click, and this is just going to extrude the curve into a new one. So now I'm just going to mess around with it until I get a certain shape that I really like. So maybe maybe something like this. I do want to maybe align it a little bit better, so I'll push this one a little bit forward. And I don't want to have it completely zigzag like this, so maybe I'll push this one a little bit more here. This one also a little bit more here. This one might rotate just a little less. Like, making this a little bit more natural looking. Overall, this could be more or less okay, and I'm pushing this one a little bit more here, as long as the one that we have in here is more or less okay. Alright, so we have our first cable now. We can actually now use this first one for all of the other ones. So I'm going to go into my top view. If I go and duplicate this cable, G, and then X right here, and I just call this one cable number two, and I can take its data from here. Let's just go and try to align everything a little bit better so this thing goes roughly in here, it should more or less almost match perfectly, not perfectly, but roughly to something like this. You can push this a little bit more inside. So G let's see. I do want this to go a little bit more inside, so G Y and then GX to just go like this. I'll do the same for this one in here, where I also want this one in here to go a little bit more inside. Kind of like that. All right. Now let's go for this cable because we don't want it to be perfectly identical. We want to mess this one up as well in its own unique way. So I'm just going to go and start doing a little bit of a different layout while having everything here selected, just moving it slightly differently, and maybe even selecting this one, moving this one a little bit closer to here, taking this part here, moving it like that. I kind of want these cables to guide the viewer almost to our main subject, everything that's going on there. Okay. Then from here, I can go now. I'm just going to duplicate this cable that I have. On my left side, I'm going to call this one, and call this one cable number three. Again, I'm going to do the same thing now where except I'm going to go here, push it upwards, rotate it on the X axis like this. Let's go and go here R Y to kind of go a little bit more like this. Just plug it in. There we go. Then again, repeat the same step going into my top view, selecting everything. And if you want, you can even delete everything and just go from scratch. If you want to kind of, like, reset it, so just go here, delete all the vertices, starting from maybe these two right here. You might want to go and say, Okay, let's go a little bit differently. Something like that. Then add a bit more rotation in here. Okay? And another question as well. Okay, so this one is looking a little bit too weird, so we might want to push these two a little bit more closer to it. Then we can even rotate this one, a little bit more to this side like that. Okay? Now we can take this one and again, duplicate it. And at this point, I'm just going to speed up this part of the video until I finalize all my cables. All right. So once you have all your cables created, something like this should be perfectly okay. We can now start basically adding our physical simulation to them. So just make sure they're all named, kind of like how I have mine here. We're going to use first one, for example. So temporarily, I'm just going to hide all the rest of them. So just this one here. So let me just show you what needs to be done, essentially, then we can do it with the rest of them as well. So starting off with this first one, once you have your cable gear created, you can even use this one as a backup. So what you could do potentially is go here, put them all into a new collection like this, cables, backup, duplicate them. Put them in here, hide this collection temporarily and just have these guys going on. Again, hide these guys here. Starting off with the first one, what we want to do is once you're happy with the thickness and everything else, remember, you can always increase the thickness just by going here, playing with the depth, and so on. So even higher thickness is pretty not bad, so I might go and just update all of them with a little bit of a higher thickness point. Maybe even don't want to have the same thickness for all of them. So here is going to be 0.9, and this one's going to be 0.1. Then the rest of them even go with 0.1, as well. 0.01 and then here also. Mint 01 like this. Alright. So once you have all that set and ready, you're happy with your thickness, we can now right click here and then convert to mesh. Now, once we have our object converted to a mesh, we can go here in the edit mode, A Z, press one, and then here where we have these vertices, let's go add one, cut right here and then take these guys, add one extrusion, a few more to go something like this. Let's go and add one more cut here. Select all four. Let's go five of them. Like this, let's see how they fit together with our whole, so we might want to just move them a little bit more like this, Alright. And then once we have all of them here selected, I'm going to go here under Vertex group in my data settings and click on plus, and I'm going to call this group in click on the sign, make sure that the weight is set to one. I'm going to go and select this now vertex group here as well, and then we're going to drive this one to, let's see, 0.5, and I might go and take this one here and just drive this one to maybe lower point let's go 0.5 0.4 as well, something like this. All right. Now that we have that created, we can actually go back in here, select one, two, three, four, these vertices in here. We don't need to go all the way but these guys are here enough, and then press Control and letter g, and this is going to give us the hook settings. And we're going to say hook to a new object. This first object we're going to call then hook one. And then I'm going to change this shape. So once I leave the edit mode of this hook, I'm going to go and change this shape to be a single arrow and push it a little bit smaller so it's not pointing all the way like that, just be like something like this. Now, the purpose of this hook is essentially this is going to allow us to basically pin our animation or pin our simulation to this point right here. Problem is right now a press play, the hook stays as is. So we want this hook actually to follow our object as it moves to kind of stay pinned to this point, but we're not going to pin it to this. We're going to pin it to our bone because if I click here, you're going to find this is the origin point right here, but the origin point stays at the same position due to the armature animation. It starts moving once our actual empty object starts, so we can't actually pin it to this object because if we were to do that, this would still stay stationary, so it wouldn't follow the actual movement. So we need to pin it to this bone right here. So what I'm going to do then is click on this hook, hold shift, click on this bone, and press Control P, then say set parents to bone. And once I do that, you'll notice that now my hook is also following the position of this bone as well. Now, the only thing that's remaining is we need to give this a simulation. So we're going to go here under our physics properties, and we're going to choose cloth. Now once we do cloth, if we press play, you'll see that it falls down immediately. The reason why it falls down is we need to actually pin it to our vertex group that we've created. So if I go here now under our data and here, as a matter of fact, I go under our physics, scroll down, go to shape, click here on Pin, it's going to now pin it to that vertex group. And if I press Play, you'll notice now the animation actually starts going and our object starts moving. Problem that we have now is that, well, it is falling through the ground because we need to go back and we need to set this ground to be a collision object. We can also go and reduce the damping here and just put everything very, very small. And once I have that, I can go now into my object here, go here under its collision settings, change the quality to maybe four, decrease the distance, and then press play. So now we can see that our object is going here, but it's very, very flat. If we look here at the bottom image, you can see how flat it actually is. So in here, what we need to do next is go back into our object here at the very beginning and then scroll up a little bit here where it says pressure, changes this pressure to one, and then change the custom volume as well to one. I press play now, now it's going to be nicely built up. Then if we look here, we can see how everything is going on so far. So now with that in mind, we just need to repeat the same step again. I'm going to go do this one more time, and then I'm going to speed up the video afterwards. I'm going to enable my cable number two, this one right here. I'm going to go here, right click on it, and then I'm going to convert to mesh. Once I have it converted to mesh, I'm going to go in here. I'm going to extrude this a few times, so one, two, three, four, I'm going to add one cut right about here. I'm going to select all these vertices that I have right now. Going to go here, vertex group, assign all the way to here, call this vertex group pin. You can even call it group as is, but I'm just going to like that, then I'm going to go and assign this one here. I'm going to put it a little bit lower to 0.61. And then for this one, I'm going to go a little bit lower to roughly 2.4 something. So just like that. From here now, I'm going to go and with all these guys here selected. Like this, I'm going to press Control and then H and say hook to a new object. I'm going to call this hook hook number two. Then with that in mind, I'm going to decrease the size of the hook, clicking on the hook itself, making it smaller, and then changing its shape to a single arrow like this, just trying to make it roughly the same size as the previous one, like that. And then from here, what I need to do next is go here. Let's just check if our hook is working. Hook looks to be working, which is pretty good. We need to go now in here, go under our physics enable cloth, and then for this clot, let's just change a few settings immediately, change the pressure here, put it to one, custom volume, put it to one, go down collisions, put it to four, and then here under let's find our pin, pin group, change it to our pin group, so it sticks to the ground. Distance changes this 0.001, because we want it to be as close to the floor as possible. And if I press play, now we have well, our object still isn't moving pcorrectly and that's because we haven't parented. There's a lot of steps that we need to kind of keep mindful of. So we need to click on our hook here. Let's go one more time. Click on the hook itself, and then click on the bone and then press Control P and then parent it to the bone. And once we have that done, then it's actually working. So checking in on our animation now, let's see how this goes. And there we go. Now, the issue here that happens if you're noticing is that everything sticks here, and that's because if we go into our basic settings, here we need to change the frame length, all the way, let's see where is it. It should be under cache right here, 2600. So right now it's set to 250, so we need to change this to 2600. Click on the other one and just redo this one more time. Let's just preview it now just in case to see if everything is okay. Seems to be going great. Now, you might notice there's a blue line showing up here at the bottom. And so what this line here is is actually it's creating a cache immediately for us. You can see it here being filled in as we go, so it's currently 31 megabytes. So if your animation currently is going a little bit slower, once this cache fills in, and you can always click on here under Bake or Bake All Dynamics. And if we go and preview it now, you'll notice that the animation actually is going much, much faster than before, which is exactly how we want it to look. So usually the first part is going to be a little bit slower once it gets all the cache, and then once you have the cache, it's going to go much, much faster, which is exactly how we. Alright, so there's still a few things that we need to do. We can notice this part here that it has a little bit of a very, very strong kind of drop here. So we're going to go to our beginning frame and you can go and experiment with the softness of it. So if we go here, I believe it's this one right here that we have. So if we go on a verte settings and we reduce this one to maybe lower, it might be a little bit better for our animation, but then it's going to drop all the way. And so we don't really want that. So this is going to be now a matter of experimenting with the strength, maybe two point for this, it is a little bit better. So I'm going to keep it like that. And then I might need to do the same thing or the bottom one for the second one, technically, this one right here because this one has 0.4, and then I might need to go here to also 0.3 but you can see now it drops all the way completely. So this isn't a good example, so we'll go back here, make sure that all these guys have a one, then this one here has a 0.5. Then here we have maybe 8.4. All right, that's much better. And don't worry about the clipping yet, so it's not really that big of a deal. We'll focus on that a little bit later. Unfortunately, this isn't now something that we can fully fix, but we might have some luck after we go into the tweaking of the actual final animation. So for now, this is okay as it is. Also make sure that your hook is always before the cloth in both of these, because if it's not, there's going to be some issues with the actual animation. We're going to do the third one, and then from here, we can speed up the video. So going to go once again, right click, Convert to mesh from here, select these at the bottom here, press E, and extrude in towards bottom like this, then E one more time. Let's go E one more time. Let's add a cut right in here to go something like this. Going to go now, select roughly up to here maybe, I think this park here should be okay and going to assign vertex group all the way. This one here is going to go up to five, then this one here is going to go lower like 2.2. Five, like this. I'm going to call this vertex group pin, and then from here, I'm going to go with everything here selected. Create a hook, so control H, hook to a new object. New object is going to be called hook. Three. Then from here, we're going to make this smaller, change this to a single arrow. I'm going to increase this arrow a little bit, so it does kind of stick out so that we know hierarchy of it, sort of like this so smaller to bigger. Then in here, I'm going to go and add a claw simulation. The claw simulation is going to have. Let's see, we need to go and change our pin group here to pin. We need to add our pressure, one custom volume, here one as well. And then from here, let's see obvious collision changes to distance. Let's just press play to see how it is. One issue that we forgot is to parent our hook to our bone, entropy bone, and now it should move perfectly. So there we go. Alright, at this point, I'm going to now speed up the video. All right. So here we have it. Now, in the next video, we're going to be adding collision objects so that we pretty much try to mitigate as much of this clipping as possible so that animation works smoothly. All right. I'll see you guys there. Cheers. 24. Adding Collision Objects: When working with collisions, there is a setting here that we can adjust. So if we scroll all the way down, we have a collision quality. I'm going to use a quality of five for all of them. So just go here, typing in number five for each and every one. And then one of the key things for our collision here is the chair that we have in front of us. Now, one thing that you might think of doing is just clicking on the chair and giving it a collision. But if you look at the chair geometry, it's kind of like all over the place. So what we can really do is, as a matter of fact, just go and let's go click here, click on the chair, and let's see if we can go Shift cursor to selected. So that cursor ends up being around the chair, but it looks like the chair's origin is over there, so we need to go right click here, and then go, let's see, set origin, origin to geometry, and then shifts to get our cursor to select it because the reason why I want to go here is going to go mesh and add a cube. And then with this cube, I'm going to just go something like this, trying to get it roughly to the dimension of the chair. Take this bottom part, move it all the way here like this, and then take a loop cut, add it right here, add another. Let's see if we even need to add another cut somewhere around here and just try to get now this overall look of the chair, and to make my life even easier, what I can do additionally, as a matter of fact, is just go here under visibility and changes to display as wire like this, and then from here, I'm going to go select this face right here. Let's see, this face right here, push everything down, then select this face, extrude it up to get here, and select all the vertices here, just push them closer to get closer to here. Let's just take a look of the whole thing now, how it is. Okay, we can actually go additionally, ops select these points here, these points. Actually just everything on these two sides. Like this and just push it closer together and then select the vertices over here, push them a little bit lower, push these guys a little bit closer here, and then just take these points, move them closer. Take these points. Press Control B. Let's first apply the scale. Check out if everything here is good. Okay. Let's go now one more time. Control B. You might have missed something here. Let's go edge and add a few edges. Let's see. Like this here and this here. And selecting this point just me a little bit more up. I think this should be pretty good overall for our chair together. Now, if I select the chair, go into edit mode, I think we have an extra stuff here that we don't really need so I can just go and dissolve this edge. And from here, I'm going to go under physics and then go in collision. And let's see damping, thickness outer. I'll just keep everything as it is. Now, let's see if our object is you can see it's reacting with the chair. And going around it and everything else. So we have added our first collision object, perfect. Now, we still have the issue of the collision happening here against our character. To fix that, again, we could use our character, but because of our mesh, I think this would take too much of our timing calculations and everything. So what we could do potentially is simply going in here, adding a plane, rotating that plane, roughly here, making it smaller, and then just trying to bring it close to the character as we can like this, then here as well, like that. Then parenting it to this main bone control P bone. Let's see if it moves. Okay. That was good. We might need to just how would I say it, also move this a little bit more forward here a little bit more forward like this. And then these parts to a little bit more forward like this and then scale it like that, so it kind of protects our character from behind, and then apply the scale, control a scale, let's add a collision. Let's go and hide it. Wire. And let's take a look now how this is going to work. Okay, so we see already an issue here that while it is kind of working, our parenting isn't doing the best job right now. So we might need to try to parent this to a different specific bone. So let's just go P clear parent. Let's just parent this to a bone. It's maybe closest to what we need, which might be just this one right here. It's a press control P object bone. Let's see if this is going to do a better job. So far so good. There we go. Now, if you really want you could potentially kind of save up the issue that you have happening here by going into our object that we have just created. Let's leave the pose mode, go in here, selecting let's see, these ports here, moving this And then moving it roughly around here, trying to save up that space so we don't have anything kind of falling and clipping. Clicking here, and maybe extruding a little bit more forward just to get something like this together. Let's take a preview now as everything starts. You can see that we are obviously overdoing it here, so we're going to need to now we go and select these vertices and just start moving them in a way that is kind of best for this whole scenario that we're trying to create. I need to just connect these two vertices also together. So you can use the F two add on, I believe if we connect these two or just press these and then press F like this. Now let's just clean up our mesh here that we've created overall to kind of make this as best as possible for the collision. So I'll start off by just taking these two vertices, moving this a bit closer, taking these two, moving this a little bit closer, then these two, moving it a little bit closer like that. I'll do the same over here by taking this vertice and then moving it closer over here. Again, remember, we want to have these points as close to the body as possible, but also not too much inside, so we don't have any clipping. So let's try this now. There's still some very small clipping happening here with the hands, as we can see. So we might need to take this point here and just move it a little bit more up like this. Then if you need, you can also add one extra cut. Again, keep in mind that you do want to keep this low resolution as possible overall. In All right. So now we can preview our animation, see how it works with all our collisions. This looks to be pretty okay. And there are some small issues happening in here, but I think in my case, I'm okay with it. I'm just going to zoom in here and try to see how it is once I get really close. Looking at it, though, I'm pretty happy with how this looks. Again, there is this issue here happening on the side. So what you could potentially do and the reason why this is happening is obviously the reason why it's happening is because of the top part. So what you could potentially do is actually select everything roughly up to here. And then go Shift D to duplicate, B to separate by selection. And then select again this part here, select what you just created, delete this part. So now we have two duplicates. You have one part that's for here and then one part that's for here. The part here that's bottom, you can actually go and reparent it, clear parent, and then choose a bone that's more appropriate for it. So going here, All Z, and let's see which bone would be appropriate. Maybe something around here, the neck or the head. So like this one here. So pressing Control P, bone, and there we go. Plus preview it now. I'd say, overall, this looks way, much better. So, I'm pretty happy with how this here turned out. And I believe this pretty much concludes everything that we had to do with our cable simulation going on. And so in the next videos, we're going to be jumping into our render settings. Before moving forward, though, one last thing, take these guys here that you have. So we're going to take this plane here, name this one collision. We can move it here into our cables, and let's take the other one, let's call this one. A here, collision. Lane, neck. Let's move this one also here into our cables. And we want to basically hide them from the render view. So the Sable in render and the sable here in render as well so that when we click on render, they're not going to be visible to us. So from here now, we're going to be going into render settings. See you guys there. 25. Render Settings: Alright, let's prepare a scene for the render. So a couple of things to go through. I'm going to go here first and enable my camera view to just get a look of everything. I'm noticing that my planet here isn't showing, so I'm just going to enable it right here. It should pop up any second now. There we go. A couple of things with the planet itself. Now that I'm looking at it, I kind of want to push it a little bit more towards the right so that I fill in this area that I have versus as it is right now. So I'm going to go just select everything in it and just move it G, X, a little bit more towards the right side. To get some of that extra stuff just going in here to fill in that area. I think somewhere around here, I actually move it a little bit more up? Just something like this. And then a little bit more to the right. I think that works okay for. I saw there's something like really nice clouds here at the bottom, so I just wanted to, like, showcase them as well, and maybe moving it more to the left little more above. Yeah, something like this. Then we have the nice sunlight happening over there. All right, this looks overall pretty good. So from here, what I'm going to do next is then go back into my ship here. Let's click on my character view, select it, and go in here. One thing that I'm noticing here, I believe, is that my cables don't really have a material assigned to them. So what I'm going to do is I'm going to assign the same material that I have on my helmet here, Edgewaarblack. So I'm going to click on this one here and just go Edgewareblack, and then go click on all the other ones. So holding shift like this. The clicking on the last one, Control L link materials. So now all of them should have that edgewarblack on them applied. Pretty good. Lastly, you might notice that your cables are floating a little bit in the air, and that is mainly due to the fact that we have here are ticking out, potentially we can lower this a little bit more and then just make sure here that you have your let's see where is the collision set all the way to the lowest value that you can. I don't think we can go even lower than this. Yep. So once you have that, just be sure to bake your animation. I'm just going to delete all my bakes for now temporarily, and then later on I'll bake everything as one last step. But then I'm going to make sure that all of these objects now are hidden in my render. So, for instance, my chair, so chair collision or collision. Chair is currently visible, so I'm going to hide it here. So make sure that in the render, all of them aren't visible. You can also go here and hide them like this if you wish to. I'm going to keep them and then hide this here in case I want to change something. All right. Then let's see, is there anything else that we need to check in here? Let's say, look, we need to decide what to do with our camera. So as I said, I'm going to go only with one camera angle, but if you wish to render out more different angles, be sure to try it on an experiment. For me, I'm going to stick to this one. Now one thing with this camera angle, what I can do is actually from a starting position. So here, I want it to kind of slowly zoom in towards our shot. So in here, I'm going to go and press K for location, and then as our shot goes all the way here, I want my camera to actually zoom in, so I'm going to go press N. And then just on the YX is getting really, really, much more closer to our target. So somewhere here, I'm going to then insert keyframe, take this keyframe out that we have. So from here, now we have all kinds of stuff happening because of our cables, but from here all the way to there. We have a nice little zoom in. I'm going to make sure that this zoom is also Let's go that it starts actually. Let's go into our graph editor. And I'm going to have this zoom here. This is our Y location. I'm going to have it start fairly slow, then finish off linearly, like this. Again, ignore all of this as the camera is moving. I'm going to now just hide this at the bottom and going to bake my animation to just preview how the whole thing looks like clicking on one of the cables and just going right in here and saying bake all dynamics. So I'm going to first delete all dynamics and then bake all dynamics. All right, let's preview out our scene. Alright, that is really cool. I'm going to go now all the way to my starting frame here, and I just want to check here how my character is looking all the way here up front with everything going on. So again, we see that this part here, let's just go into our settings. Make sure one more time that everything is hidden in the render view. Let's go make sure that this part here is also hidden and then plane and the chair. All right. As long as those are hidden, that is okay. Everything else here is fine. Like I said, you can ignore this parts at the bottom. We can now go start looking into some of our render settings. So start off first. I just hide everything here like this. Then I'm going to go here for my render. So I'm going to be rendering at 5:16. Now, keep in mind that this is going to be a little bit of heavier animation, so it might take you longer. In case it does, you can go with lower values and then turn on your Dnise and again, use optic X if you are with an NVDA GPU and push it to an obito and normal. In my case, I'm going to stick to 516. But then there's some other stuff that we're going to still tweak. So here under, let's see, our subdivision. We're going to change the maximum subdivision here to roughly around eight. Because we don't need it to apply all these subdivisions, as a matter of fact. Then we can go here under our film and click here transparent and also transparent glass so that we are rendering here without any background. Then we're going to go here under final render and choose persistent data. And the last thing we can also go here for our noise treshold we can just slightly increase this to 0.02, which should be less rigid when detecting noise. So overall, I think that should be pretty okay. And then in here, we can also choose our file where we're going to be saving this. I'm going to go and choose one of my folders that I have created specifically for it. So here, I'm going to create new folder, render, and then I'm going to go except in here. Then additionally, while I'm at it, I'm also going to choose a file format. Again, per usual, if you watch my tutorials, you know, I like to render an open EXR, which gives me a bit more flexibility. If you want to render PNG eight bit or a 16 bit, you can go that way that way. It's going to be you are going to have much larger file sizes and less color if you go with eight Bit. But then if you go with 16 bit, you're going to have much larger five sizes. So open EXR is a good option if you wish to, but it does come with the fact that, you know, it might require a little bit more post production on it, but it is certainly something that I prefer to use and I recommend to use because the file sizes are smaller and the color space is bigger. So I usually go with an open EXR here, and I choose float half and DWA lossy. And so this is basically a linear color space, so that means that we're going to be having to do some color adjustments later on. Was if you're rendering it as a PNG, that would kind of already integrate the color space that you are currently working here. Blender. Speaking of color spaces, if you wish to stick to PNG, you can always go here under render, go down and choose a color space of your that you wish to go with. Usually, a good one to go with is AGX. So something like this, and then maybe a medium contrast is always pretty good. Because we're going to be rendering this in a linear space as an open EXR, it will be basically skipping this production or post processing, essentially, and that will be done later on in after effects or a compositing tool of your choice. So for me, it's going to be open EXR, RGBA, float half. Then here under layers, what we pretty much just need is going to be, I believe, a volume indirect Everything else we have here in our shot. If you wish to render some separate layers, you can, but that is going to also increase your overall render time. We are going to be doing one quick test render right now to just check if everything is going to be working correctly. So stick along to that. I believe this is pretty much everything that we need. So what I can do now is just press render and then render image to see how long this is going to take. One last thing, make sure that you're out of your render view because it's going to say system is out of GPU memory because this is a very heavy shot. So just make sure that you are not using your cycles preview, but you are in this regular kind of preview here, something like this. All right, so it took me 2 minutes and 33 seconds for one single frame. There's probably you could probably also reduce your sample coal, but I think I'm going to stick to 516 just because of this roughness here on the window that's showing up. So let's go now into our compositing. Let's go use nodes and preview at a viewer node. Let's just check if we have everything here. There we go. And also, let's see here is our volume indirect, which is what we're going to be using to add that nice little glow effect also it. Now, like I said, if you want, there are some other stuff that you could potentially use to kind of, like, have a little bit more control, but I am very happy how my shot is looking even directly out of the render. So there's not much that I will be doing besides just some basic tweaking with the glow and other effects as we will be going along. So from here now, the only thing that's remaining for me that I'm going to do is go Shift A here into my settings and then choose a file output like this. And for the file output, I'm just going to go, let's see. We can even render an Alpha if we want, but I don't think we're going to need it. We can choose the volume indirect, connect it in here, and then go here into settings and call this one volume. Indirect and then volume. Indirect. There we go. And I believe once you have all of that, you're pretty much good to go to start rendering because in here, this is going to be now rendering into our file. So click on Render. Make sure one last thing that your scene is going to be rendering at 24 frames per second. This is what I'm going to go with. So 24 frames per second, 1928 16, open EXR. All right, guys. Once you click on Render, I'll see you once it finishes in the next video, where we're going to jump into post production. Cheers. 26. Compositing: Once our render is completed, we can jump into post production. For me, I'm going to be using after effects, but you're pretty much off using any other compositing tool of your choice, including Blenders own compositor. Because I render it in the Open EXR, which is a non linear color space, I need to now readjust the color space inside of after effects. In case you render it as a PNG or similar, you won't need to do this step. So for me, the first thing I'm going to do, let me just show you if I were to import my file over here and go here, let's just assume that this is 24 frames per second. Click on it, you'll see that it looks very much off. Then if I go here under my file project settings, I have my option here to change my color space. So this is exactly what we need to do now. Under here where we say OCIO configuration as 1.2, we need to go and choose on custom, and then we need to basically upload Blenders own Config OCO file. So we're going to go wherever we install Blender. In my case, it's my program files, Blender Foundation, 4.3, 4.3 data files, color management, and there it is. So config dot Oso. We're going to go and open it. Once I open it, we need to go here and change my display color space to be, let's see. I rendered it AGX, so I'm going to go SRGB AGX to bring it back to what I had in my blender preview. After clicking Okay, it's going to look a little bit wonky. So what you need to do next is just delete this one, go into Import file one more time, and then in here, import it again. If I preview it right now, there is my file. Additionally, if I go right click on it and then go Interpret footage, I need to change its frames to go 30-24 like this. Now I can also add the second one, Import file. There we go. And here's my volume indirect. And I'm going to repeat the same step, right click. Or if you want, you can use the shortcut Control Alt and G. So once you press that, it opens immediately this, and there you go. I believe it even shows it in here. Control Alt and G. Once we have our footage interpreted, I kind of noticed that this part here is a little bit darker, so I might want to bring it up. You can also go back now into your file project settings in here, color, and you can change around a little bit of your color space. I'm going to try and use here, let me see, display SRGB. I'm going to go with filmic SRGB here Press okay and see if that brings back some of those highlights. As you can see, it kind of brought them back. So from here, I'm going to go now drop this into my none. So I'm going to mediately create my composition right here and it's 25 seconds long. Now, starting off first, I need to add a dark background here of space. Since we're in space, a new solid should suffice us. So I'm going to go here new, click on solid, black solid, push it below, there we go. In between our planet and our solid, we're going to now add the volume indirect, which we're going to be using to help us create glow. So right here, dragon drop it and put it in between. Once we have it, we can actually start off with our first thing that we want to do in our compositing. That is the glow itself. Under effects and presets here, I'm just going to type in glow. It's going to find me the stylized glow effect. Once I have it, I'm going to click on it and just drag and drop it into my volume indirect right here. You can already notice a very subtle glow happening right there, but we want to increase this a little bit. We're going to go and change its radius to be a little bit bigger like this. Then also let's try to push its intensity just a little bit more. Kind of, like, overall, like, here, and then a little bit more to add that extra intensity around subtle like that. I'd say it's pretty good. We can also push its color. So here under glow colors, we can say use A and B colors instead, and then we can add a little bit of a stronger blue that we kind of see red around here on our planet. So I'm going to push this blue a little bit more saturated to get it somewhere around here. I'm going to do the same one for color B and push it to a blue that's somewhere here and then a little bit more saturated. Just like that, go back into my radius, play around with it until I get a value and look that works best for me. I think something around here is pretty good overall. So what I want to do next is add a secondary radius, and I can actually move this one just a little bit more down to get kind of like this. I'm going to go add one more glow on top of this one. And then for this glow, I'm going to increase its radius to give me that nice little shine extra right around here. But I'm going to also drop the intensity a little bit more, so it's a little bit more subtler like that. Once we have this, we can jump now into some extra features such as color correction. So from here, I'm going to go right click New and then go adjustment layer. This adjustment layer, I'm going to call pressing Enter on it, and then call it color. Like this, I'm going to go back here into my footage as I accidentally double clicked on it, and I'm going to drop here a Lumetri. So instead of a glow here, I'm going to go type in Lumetri. And here we go, dragging this into the color. I'll just preview here under a composition like this. And then under Lumetri, I have a bunch of these settings that I'm going to want to play with now. In my case, I want to add starting off first, a little bit more contrast to my shot. Just a little bit. And then I'm going to drop down the temperature to make my overall scene a little bit colder. Not too much, but just negative nine seems to be doing good. Then I'm going to bump up that saturation just a bit more to add some extra color to it. I'm going to do the same maybe with the exposure, just bumping it up a little bit. But then I'm going to drop some of my highlights lower so that I can preserve that detail on the planet to go roughly around negative 0.8. This obviously is now making my glow a little bit stronger. So I'm going to go back to the glow here and under under opacity settings, I can actually just drop the opacity of the glow itself. So just pressing letter T should drop down the opacity settings, or you can click here on the drop down, go under Transform and then go all the way here and just play around with this opacity until you get something a little bit more subtler, something like that. That works much better. Going back to my color, I'm going to go here under vibrance. We should pretty much even out all my saturation to make it a little bit better. As you can see, it pushes nicely those blues that we have over there. All right. Then I'm going to go now into my RGB curves and just start doing a simple S curve for starters until I didn't start adding additional things. Starting off with a little S curve like this. Then I'm going to go into my blues and just see if I can maybe do my scene just a little bit, tiny bit greenish, dropping this green a little bit down and pushing everything else a little bit more to get this look, and then I'm going to go into my hue and saturation. And in here, I'm going to isolate first, my warm colors, so these ones right here, and then I'm going to push this a little bit more up or down, which is going to punch up these clouds here on the sunset that we have. I'm going to take the blues here as well and punch the blues up as well to get a little bit of a color extra here for my ocean there as well. Is going to also bring up some of the greens here. Like that. So overall, we just punched up some of our colors. Might actually take the warm ones a little bit down so they're not so heavy. Just like that. And then I'm going to go all the way here to my color wheels and try to play around a little bit with my highlights, drop the highlights, maybe just a little bit more down, push the mid tones a little bit more up, and then the shadows, I'm going to overall just lightly push up. So I can preserve some of these details in the corners of my shot. And then I'm going to go into my vignette. And in here, I'm going to go for, let's see, amount. I'm going to drop my vignette to make it a little bit darker here around these corners, just like this overall. I look pretty good. Then the last thing for my color correction, I'm going to go into my HSL secondary here. Drop this down, and then press on key, set a color. I'm going to try to pop up a little bit of a green here for these for the islands that are floating in here. So I'm going to go here, try to get a little bit of a greenish color selection like this and then try to see how my mask is looking. And there we have it. We have some of them selected. We can improve our mask here when we click on show mask and then refine and then correction. Now let's go here and choose HSL sliders. Let's try to get a little bit more of that green area. That seems to be good. Let's try to do add a little bit of blurring on it onto it. Let's go leave our mask now. Just try to let's see what happens if we bump up our temperature just a little bit. And then if we bump up our saturation just a little bit, not too much, but just like this. And what we can do last kind of even all of our colors with almost like a wash. So if I scroll all the way up here, what I'm going to do here under creative look, I'm going to add one small look here. Let's just go here with, I believe SL fuji C. This is a little bit of a bluish one, as you can see, then I'm going to drop its intensity down to Roughly let's go 20. So let's go before and after. It just popped up our colors just a little bit. I'm gonna go back now to drop these highlights just a little bit because they're a bit too strong for my taste now still, I'm going to go lower to get something closer to here to roughly 80. I'm going to push them maybe even down if I want, so by clicking, let's just hide our color temporarily, go here under volume indirect and just hide it slightly down. Go back here, punch it up. There we go. Overall, I like how this looks, but I'm going to decrease its overall strength just a little bit. So I'm going to go here under let's go 85 opacity. So pressing T again, going opacity 85. And now from here, I'm going to go add some extra blur and other effects to my shot altogether. Looking at this now, I might even go and drop this to go back a little bit more to a bluish shot like this. So let's add now a little bit of a camera lens blur here. What I'm going to do is press here a new solid. I'm going to go with a white colored dist, like this. I'm going to open up this solid and put it into a precompose. Right click on it, precompose, white solid. I can call this one blur mask. And then I'm going to open it. Once I have it open, I'm going to add basically two new solids. So one like this, and then I'm going to go in here and type in here the amp. So find gradient ramp, and then drag and drop it into the first one. We can hide the top one for now, and this is what we have so far. If I zoom out, you can find that we have these little buttons. So if I press space here, you have this one button right here, I'm going to push it a little bit more kind of like this. And this one a little bit like this. Additionally, as a matter of fact, for this shot in particular, since we have our comp, let me just go here and hide this. Since we have this in a little bit more of a circular motion, what we could do instead of a linear mask here, let's go and improvise a little bit, go off script, and add one more time, a ram. But this one, let's go change this shape to radial ramp. Now let's push this radial ramp here into the center like this and then go all the way like that. So basically, everything now that's in our center here should be masked out. So if we go now into our comp and we go right click New and then adjustment layer or this one, we're going to rename it to camera nsplur If I go here under camera lens blur, I take it, drop it in here. We can now go and sell it to use a layer. We're going to say, use the blur mask like this. We can now see that everything around here is blurred versus the center. So we can go back now into our blur mask and kind of readjust its blur altogether. If you want, you can even go and try linear. So this way, let's go here and do some readjustments to its selection, pushing this one a little bit back here. And then the other one, a little bit back here. Let's take a look how linear could look potentially. So let's go duplicate this white solid. And then in this one here, it also should have a gradient ramp. I'm going to change this one to multiply. And now with the gradient ramp here selected, I'm just going to reverse it to push this one down, and then take this, push it up to go like this. Then go back to this one. Click on the gradient ramp, push this one a little bit higher. Take this one into the gradient ramp, push this one a little bit lower. In other words, now, everything that is again dark is going to be blurred, whereas everything that is white is going to stay simple. Let's go back to our composition. Take a look what is going on in here. We're probably going to need to invert this invert blur map like that. Let's take a look if we increase the strength. You can notice that the bottom part is blurred as well as the top part right around here. So we can go back to our blurred mask. Mess around a little bit more with these values, kind of like this here, then this one right here. Blur map, push this a little bit darker at the bottom, and then all the way that. Now let's go preview it one more time. There we go. We're getting way too much of a blur, so we can go here, press T again, opacity, change that strength to maybe a little bit weaker to go something like this, or you can go just in here, blur radius, change it to five, maybe one, two. Let's go two. Seems to be doing good. As per creation, I'm going to change this one also to two. Like this, and there we go. We have our blur at it. Now, on top of our lens blur, let's add another effect that's also going to help us achieve that anamorphic look. So for this one, this one is going to be called Light burst. So right click new. Let's go adjustment layer. Call this one Light. Burst. Then in here, let's just type in Light burst, CC light burst 2.5, dragon drop it in here. We're going to change this to be way, way lower to intensity to be, something like that, and then ray length to also be very, very small. Let's go change maybe intensity to be a little bit stronger. Let's go five. This is going to just give us a little bit of that extra blurriness here on the sides. We change railing to be a little bit more, it's going to be too much. So I'm going to go with 1.5 with the strength of five. That seems to be doing good. If I increase this, it's way too much. So again, like I said, 1.5 with the strength of five seems to be good overall. Then we can also add some chromatic aberration. So we're going to go in here, new adjustment layer, and then call this one, rename. QA or chromatic aberration, actually CA technically, CA. And then we can use the plugin that we have in the resources folder which called quick chromatic aberration able quick or chromatic There it is from plug in everything. Quick chromatic aberration, dragon drop it. You can also install this file. As I said, inside the resource folder, you'll find it with also the instructions on how to install it. So from here, I'm just going to go and add, as you can see, there's already some chromatic aberration being added to my shot. So I'm going to go, let's see if we push this all the way up, it's going to be way too strong. So I'm going to go with like 0.5, maybe maybe one. Let's just drop it back to 0.5 so it's not as strong. So this looks to be overall pretty good. Let's go all the way to our final shot to see how everything is looking. Here's our scene together. And this is looking very nice. Overall, I'd say, we can add one extra layer now of adjustment for our color correction. And so from here, I'm just going to do some final tweaks with everything that I have created up to this point. Again, we can go and push some stuff up, push some stuff down. I think in my case, kind of like everything to be almost like this. Just a little bit less of a highlight being seen on the planet itself, and then mid tones punching up a little bit more, just like that. That looks overall really nice. Then you can again preview it in different color spaces if you wish. For instance, filmic, which is gonna have a little bit of that extra punchiness in here. It's RGB standard. I also looks really nice overall. I'm going to go with AGXF now here. I might even actually go to filmic. This. And then once that is completed, I'm going to go into File, Export, add to render Q, and then here, you can choose where you wish to export your file or if you wish to change your file output settings overall. For my case, I'm going to keep everything as is. Be sure to export it somewhere where you know it is. And then once you have all that completed, you can click on Render. And that's pretty much it. So once again, guys, thank you so much for going through this tutorial. If you've enjoyed it, do let me know, leave a comment, leave a review. If there's something you wish for it to be improved in the future videos, let me know for that as well, and I'll see you guys in the next.